Orchestral musicians aren't in the habit of smiling, especially wind
and brass players, whose faces usually are busy elsewhere. They play their
parts, do the conductor's bidding and adhere as closely as possible
to the composer's wishes.
But many members of the Cleveland Pops Orchestra
seemed downright giddy during the first concert of their 11th season Friday
at Severance Hall. And they had good reason: they were teaming with a trio
of captivating singers, the so-called "Broadway Divas," who scaled
the musical-theater heights whether they were singing for their supper or
going Lloyd Webber crazy.
The guests were Debbie Gravitte, Jan Horvath and Christiane Noll, veterans
of Broadway shows and each the possessor of a distinctive voice perfectly
suited to the material of the night. They sang their hearts and heads out
as singular sensations, duettists and in threesomes that confirmed the wisdom
of the Pops' decision to highlight them on opening night.
First, let's not forget Carl Topilow, the Pops conductor, who often
trades baton for clarinet (regular or red). He made his first appearance
sauntering onstage playing the famous trill and upward swoop from Gershwin's "Rhapsody
in Blue," which he seamlessly joined with "Everything's Coming
Up Roses" from "Gypsy." Once on the podium, he connected the
latter to the full "Gypsy" overture, played with typical Pops splendor.
Topilow was an unerring interpreter of Broadway fare and pinpoint collaborator
throughout the evening. The guests seemed to adore every moment, as did the
audience. And what wasn't to love?
Gravitte poured her trademark earthy wit and compassion into every phrase,
starting with a volcanic "Don't Rain on My Parade" (from "Funny
Girl," folks, not "Gypsy," as listed in the program) and adding
a sympathetic throb to "If He Walked Into My Life" ("Mame").
Horvath's diminutive demeanor only heightened the exhilarating charm
of her "Broadway Babies" ("Follies") or the fervent intensity
she brought to "Don't Cry for Me Argentina" ("Evita").
And Noll's crystalline soprano was the ideal instrument of expressive
ardor for "Till There Was You" ("The Music Man" ) and "I
Could Have Danced All Night" ("My Fair Lady").
Together, the singers had cheeky fun with "Big Spender" ("Sweet
Charity") and "Mamma Mia!", while deftly negotiating the vocal
puzzles of "Sing for Your Supper" ("The Boys from Syracuse")
and maintaining straight faces through the sappy sentiments of a Lloyd Webber
medley.
The evening was a Broadway blast even when the divas were backstage changing
gowns. Topilow, with clarinet charismatically set to lips, and his orchestra
were jubilant champions of a snazzy arrangement of tunes from "42nd
Street" by their principal trombone, Paul Ferguson. And after hearing
the Pops play the delicious overture to Leroy Anderson's "Goldilocks," won't
someone please consider giving this 1958 flop another chance?
