OVERNIGHT REVIEW: Gay Men's Chorus at Walt Disney Concert Hall

By Robert D. Thomas
Music Critic
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
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Gay Men’s Chorus of Los Angeles; Dominic Gregorio, conductor
Saturday, August 21, 2010 • Walt Disney Concert Hall
Info: www.gmcla.org
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All performing ensembles contain elements of artistic performance and fellowship, but the Gay Men’s Chorus of Los Angeles has always been unique in marrying these components. Its concert last night amply demonstrated both aspects of this landmark men’s choral ensemble.

Founded in 1979, two years before AIDS was identified, the GMCLA has seen more than 150 of its members die (just 12 of the original 99 founding singers remain in the group). In its more than 30 years, the chorus has participated in a number of historic events, including singing at the 1979 March on Washington, D.C. and the first national lesbian, gay, bisexual and transgender (LGBT) concert at the Washington Memorial. It also made a historic tour of the Soviet Union chronicled in a well-received public television program, Out Loud, and has appeared frequently on television. In 2008 and 2009, it underwent a major strategic planning initiative to refocus its vision and objectives, but its function as a fellowship and advocacy group remains as strong as ever.

Last night the chorus made its third appearance at Walt Disney Concert Hall. In many ways, it was a throwback to the chorus’s original vision: to use music as a way to break down barriers when it comes to LGBT issues. It was also the final concert for interim music director Dominic Gregorio and gave two fascinating glimpses into ongoing GMCLA educational ventures.

More than anything else, however, this was a high-quality choral performance that included a world premiere (the group has commissioned more than 300 new works and arrangements), along with several other pieces that the ensemble introduced during the past several years. At the end of the concert, Gregorio mentioned ups and downs during his three years with the chorus (two as assistant conductor and this past year as interim director) but this final concert emphatically rounded out the young conductor’s tenure on a high note. With a strong beat and clear communicative skills, Gregorio — who conducted most of the program from memory — is a young choral conductor to keep an eye out for.

The world premiere was The End of it All, a 10-minute work for chorus and electronic music written by John Tejada, who postponed his wedding by one day in order to be in attendance and who accompanied on a MacPro laptop and several synthesizers. Tejada wrote the work in 2006 but wanted it performed live; Gregorio and his chorus handled the choral parts smoothly.

The first half of the concert focused almost exclusively on the chorus, with mostly effective lighting changes highlighting the various works. To these ears, the most effective pieces were Morten Lauridsen’s haunting Sure on This Shining Night (which was also the overall title of the evening) and Jonathan Wesley Oliver, Jr., a third-person account by Tom Brown with haunting lyrics about a childhood friend discovering Oliver’s name on an AIDS quilt; the poignancy, of course, had a highly personal meaning for the singers and for many in the audience.

A sextet of operatic choruses rounded out the first half, with several soloists, including baritone John Musselman and tenors Jerry Cordova and D.J. Pick, stepping out from the chorus to set a musical context for each choral segment.

After intermission, the GMCLA Gay Straight Alliance Youth Choir, with 35 singers ranging in ages from 13-25, made its in inaugural performance after just a month of rehearsals. It delivered exuberant performances of Baba Yetu (a Swahili version of The Lord’s Prayer) and a Dance With Me medley arranged by Michael Alfera, the GMCLA’s pianist who also gives a more-than-passable imitation of Bobby McFerrin playing various rhythm instruments. The kids got the biggest standing ovation of the night from the audience, which was undoubtedly swelled by family members.

The other major event of the evening was “The Harvey Milk Project,” a combination of historical skit and several musical selections that the GMCLA has already performed in several high schools. The program’s message is undeniably poignant and important but the chorus, possibly because of fatigue, wasn’t as crisp as it had been in other parts of the evening.
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(c) Copyright 2010, Robert D. Thomas. All rights reserved. Portions may be quoted with attribution.

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