SCC Spotlight on SCC and PNB: Wheels and Circles

O Fortuna! It is the Seattle Choral Company’s good fortune to be performing with the Pacific Northwest Ballet in its April 13–22 run of Carmina Burana at McCaw Hall. It’s the fourth time we’ve performed Carmina with PNB, following shows in 1998, 2004, and 2007. In this month’s SCC Spotlight, we asked SCC conductor and artistic director Freddie Coleman to tell us more about this captivating collaboration.

How did SCC’s partnership with PNB get started? I was called in the spring of 1998 by Stewart Kershaw, then PNB’s music director and conductor, who said PNB needed a chorus to handle the next run of Carmina Burana. Of course, we were honored to be invited. We had worked with PNB’s assistant music director and pianist, Allan Dameron, on a few of our annual New Year’s Eve performances of Carmina Burana at the 5th Avenue Theatre, and he said he was very impressed with us. I think that may have led to PNB calling on us for its own stage production.

Can you describe the choir’s setup and what the singers are wearing? The chorus is situated far upstage, suspended in a large cradle resembling a big black box [see picture above]. We climb a short ladder to enter the cradle, one row at a time. We form three rows, seventy-two singers in all. We can gaze at the entire ballet from upstage, while dancers can freely enter and exit underneath us. The design of the ballet requires that each singer wear white makeup and a black garment with a hood that covers the upper body and the hair. From the audience, we look like anonymous medieval monks.

What is it like to be onstage with the dancers? At the start, the initial drumbeat of “O Fortuna” signals that the curtain is going up. At that same moment, we sing our first chord and see the conductor for the first time. It happens that fast. We sing the first chorus while looking through a huge suspended Wheel of Fortune, which rises while we are singing. The entire ballet is performed literally underneath the Wheel. At the finale, the Wheel returns to its original position while the entire corps de ballet dances in a swirl of concentric rings below. It really takes the breath away, it is so spectacular to watch!

The choir experienced some unexpected excitement during a performance in 1998. What happened? I was in the audience and couldn’t see anything amiss, due to the perspective, but when I went backstage to offer congratulations, I was met with singers who were bewildered and somewhat upset. It turns out that right before curtain, one of the several straps holding the cradle into position had broken. The singers were never in danger; we were assured that if life and limb were threatened, they would have stopped the performance then and there. However, this strap had a positioning function that helped to keep the cradle in its place. The cradle began to rock forward and backward . . . slowly . . . during the entire ballet! Some singers reported that they were near nausea. Everyone was a bit on guard, yet the performance went off without a single hitch. Now that’s professionalism.

What does the SCC like best about performing with the PNB? The SCC likes being a part of large professional productions, and the people at PNB treat us so graciously. It’s thrilling to sing this exciting work before so many people, and at the end, after all the dancers have received their just applause, the audience just explodes when it’s time for the SCC to receive its applause! The experience is enormously gratifying and rewarding.

Are there any other interesting tidbits about our PNB performances of Carmina? Well, ahem . . . I can tell you that front-row positions in the choir cradle are very coveted. Being able to look out and down directly below is a real treat. At the beginning of the ballet, the men of the corps take their places in a big ring, lying on their stomachs, forming a circle of some of the most gorgeous behinds in town!

You mentioned that your experience with PNB has come full circle. What do you mean by that? As it happens, I was in the house during a dress rehearsal at McCaw Hall in 1998. I met up with the founding artistic directors of PNB, Francia Russell and Kent Stowell. (This production of Carmina Burana was choreographed by Mr. Stowell.) I shared with them that the last time I had met them was in their old facility at the Good Shepherd Center in Wallingford. It was in the late ’70s, and the pair had just arrived from Frankfurt, Germany, to take on responsibilities of the then-fledgling PNB. I was an intermediate dance student at that time, and I had to audition for them to gain continuance at the school. They asked me to see them in their office, whereupon they told me, “If you want to get anywhere in the dance field, you’re going to have to double up on your classwork and forego all distractions.” This meant that I had to choose between a dance career and a career in music. The rest is history, with some interim tears shed.

And so I shared this story with Francia—that I had come “full circle,” so to speak, to end up as a guest artist of Pacific Northwest Ballet! Yes, sometimes you can “go home.” Our singers sent Kent and Francia a bouquet of flowers after the highly successful opening night. Later I received a letter on PNB letterhead that reads as follows:

Dear Fred and Singers of the Seattle Choral Company,
Thank you for the beautiful flowers and congratulations on an electrifying opening night! We were thrilled with the burst of energy you gave to your performance. The dancers responded to your music with incredible enthusiasm, and together, with the orchestra, you re-created for our audience the brilliant spectacle that is Carmina Burana.
All of us at PNB thank you!
Sincerely,
Kent and Francia

This letter is framed in my office, and bears the gold signatures of the entire chorus, along with soloists Paul Karaitis and Catherine Haight, and Maestro Stewart Kershaw.

SCC Spotlight on Phil Demaree: Music Director of SCC’s Annual Dinner Show

One of the things that makes the SCC’s annual auction different (and, dare we say, better) than most other benefits in the Seattle area is our dinner show. Not only will you be dazzled by the voices of our talented SCC singers but you’ll also be wowed by the energetic band. Each year the music for our show is arranged by critically acclaimed jazz musician Phil Demaree, who just happens to be married to SCC alto and board member Kathy Demaree. You’ll usually find Phil in the background, conducting the show while coolly plucking his stand-up bass, but we asked him to come out onto center stage for a short interview.

Where were you born? How long have you lived in the Seattle area? I was born in Berkeley, California, in the ’60s (which may explain a few things) but grew up in Boulder, Colorado. After about eight years on the road I relocated to Seattle, in 1989.

When did you start working with the Seattle Choral Company on its auction shows? I believe the Moulin Rouge show was my first, in 2005.

What has been your favorite auction show so far? I think my favorite show was the Silver Screen show, because in addition to doing some great music from the movies, we got to feature Dick Foley, local TV host and member of the famed folk singing group The Brothers Four, on a number that he actually got to sing at the Oscars in 1961. Plus we got to do the Pink Panther theme.

What are the highlights of this year’s show, Blue Hawaii? My favorite number is the last medley of “I’ll Remember You” and “Over the Rainbow.” It’s very wistful, and I think it came out well.

How did you decide which songs to include? Bing.com. :-) I found a site that listed the top 50 Hawaiian songs of all time, and found most of the numbers I used for the show listed there. Most of them I had heard before, so I tried to stay with the ones most people are familiar with. “Lovely Hula Hands” is one that I used to play at a little restaurant in Boulder when I was in high school. It was owned by a great guy named Fred, and I learned all the standards from playing with him. They had a waitress who was Hawaiian, and Fred would sing that song and she would dance the hula. My concept of the whole show is to try and recapture that relaxed, friendly atmosphere we had at Fred’s Restaurant.

What is your process when you’re arranging/composing music? Well, I spend a lot of time listening and playing the show through in my head to get a feel for the flow and what kind of sound I’m looking for. Then I will sketch it out on the computer and add the vocal harmonies. I sometimes use the piano, but mostly I just write it into the computer and have it play it back and tweak it as I go.

Do you have any surprises planned for this year’s show? Maybe . . .

What can you tell us about the other musicians you’ll be playing with? Brian Olendorf (piano) and Greg Williamson (drums) have been with us since I started doing the SCC shows, and they are great to work with. They have the experience of playing these shows, so they understand the pacing, and they're flexible enough to handle it when things go astray. Doug Zanger (guitar) is with us for the first time, and he is also a great player, and understands the different feels that the show needs.

Where did you study music? I come from a musical family, in that my dad was a great pianist and my mother a ballet teacher. I didn’t really study anywhere in particular, although I did go to the University of Northern Colorado for three years and played in the jazz program there. Other than that, it was just playing gigs and learning as I went. As I mentioned earlier, I spent a lot of time playing down at Fred’s, and I learned a lot of what I know from that experience.

When did you first learn to play the bass? I started on piano when I was 6, but my dad was my piano teacher, so that’s why I quit. :-) I then played guitar, but my friend Willis was a much better guitarist, and my brother played bass and violin. So I started borrowing whichever bass my brother wasn’t using, and I’ve been playing ever since. I guess I eased into playing bass when I was about 12.

What is the first piece of music you composed? Wow, that’s going back a ways. When I was in high school my friend Willis and I helped write a musical for this guy who used to do a summer theater workshop in a barn outside of Boulder. The kids from the neighborhood would build the sets and run the lights and act in the show. It was based on a children’s book about a pig keeper (as I recall).

What do you do when you’re not working with the SCC? I’ve been at Microsoft for almost 18 years now, so that takes up my days. I play less than I used to, but I still play down at Tula’s, in Seattle, on Sunday nights with the Jim Cutler Jazz Orchestra, and on the third Tuesday of the month with Roadside Attraction. I also play with a trio—Trish, Hans & Phil—at Bake’s Place, which is currently in Issaquah but moving to downtown Bellevue.

What do you like best about the Seattle Choral Company auction? Seeing the show come together and having it come out better than I had imagined in my head.

Editor's note: This year's dinner show, auction, and dance, Blue Hawaii, is scheduled for Saturday, May 12, 2012, at the Hyatt Regency Bellevue. For tickets and more information, please click here.

SCC Spotlight: 30 Years of Musical Memories

While looking forward to the year ahead, members of the Seattle Choral Company are also looking back, reflecting on the choir’s 30 years. With that in mind, we asked six longtime singers to share their musical memories—from the hilarious to the sublime. Read on to learn the answers to the questions below, plus why all six singers say you shouldn’t miss our June performances of Rachmaninov Vespers.

• What happened when the lights went out?
• When was the choir joined onstage by the Muppets?
• Who was the performer who caused a stir when he was late?
• Where did the group sing with a piano mounted on a bicycle?
• Why did a man give one of the singers a special gift during the Soviet tour?
• How did conductor Freddie Coleman lose his “memory”?

SUZANNE COLEMAN, SOPRANO 2

 

How many years have you been singing with SCC? 30 years.

What do you do when you’re not singing? I appraise commercial real estate.

Of all the concerts you’ve sung with SCC, which is your favorite? When we performed Morten Lauridsen’s Lux Aeterna, because the composer was in the audience, all the singers and instrumentalists gave their very best, and for one of those rare moments, magic happened.

Any other memorable moments? We were performing Giuseppe Verdi’s Four Sacred Pieces at Blessed Sacrament, which is a very dark church. We brought in additional lighting that proved to be too much for the church’s old electrical system. Suddenly all the lights went out, and for about the next eight bars we all continued on as if nothing happened. But of course, eventually, everything came to a halt as if a car had run out of gas and was coasting to a stop. I must say the audience was very patient while the sexton went searching in the basement for the fuse box.

How has the choir changed over the years? The level of professionalism has continued to rise during all our years together. Freddie continues to push us for greater excellence, and the singers keep honing their skills.

What are you most looking forward to this year? The Rachmaninov Vespers is an all-time favorite of mine. I believe this will be our third performance of this work. In my opinion, this work is the crowning glory of Russian Orthodox music. It’s haunting, and I always feel like we should be singing it by candlelight.

BRUCE DODGE, BARITONE

 

How many years have you been singing with SCC? I've sung for 29 years in SCC.

What do you do when you’re not singing? I’m retired, so I have lots of time. I spend time babysitting my 4-year-old granddaughter. I walk my dog every morning to the dog park. I love to ski, bike, hike, golf, and do yoga.

Of all the concerts you’ve sung with SCC, which is your favorite? My favorite concert was a Christmas concert at St. Alphonsus Church in Ballard, where we sang a commissioned work called “December” by the composer Rick Vale. I love the different styles he wrote in and the pictures of winter he created with his words and the music.

Any other memorable moments? When we were on the Soviet tour, I was on a bus with several members of the touring group including Freddie Coleman. I saw this old man and gave him one of our Seattle Choral Company tour buttons. He fished into his pocket and gave me this old, old pocket knife. Freddie translated what he said: "This is a gift to you for the time when we were friends.” It brought tears to my eyes.

How has the choir changed over the years? The big change I noticed in the choir is when Freddie came back from a workshop with Robert Shaw. The standards seemed to be raised much higher. Freddie demanded more of us with more challenging music and goals to be met. I've noticed each year the new singers that have joined have an excellence about them. I feel still very privileged to have a good enough voice to sing with this wonderful choir.

What are you most looking forward to this year? I'm looking forward to two things. The first is recording the Christmas album in Bastyr Chapel. I've been involved in all the SCC’s recording projects, and I'm excited about recording once again. Secondly, I'm looking forward to the Rachmaninov concert in the spring. I love to sing music by the Russian composers and hear those wonderful low bass notes. It brings me back to our Soviet Union trip.

LORI HENDRY, ALTO I

How many years have you been singing with SCC? Since 1985.

What do you do when you’re not singing? Hang out with my wonderful family—my amazingly supportive husband, Pete (former SCC board president and current board member), and Alex (16), Maddie (15), and Jennie (12). I love cooking and entertaining, and I’m a commercial insurance account coordinator/broker.

Of all the concerts you’ve sung with SCC, which is your favorite? I was incredibly moved by our recent performance at the AIDS memorial at Saint Mark’s Cathedral. The event was such an amazing outpouring of community support and fellowship, and our music was able to help set the tone and embody the spirit of the evening. It was a very emotional and uplifting evening. Another would be a concert we sang in Russia in 1986. We performed a concert at a vacation resort of sorts, and the people were so appreciative. They remembered the Americans from World War II and spoke very warmly of them. This was also shortly after the Chernobyl nuclear accident and a very difficult time for the Russian people. I remember them trying to give us bread as we were going back into our tour bus and saying, “We love Americans.”

Any other memorable moments? Sublime: Listening to Doc Severinsen practice in the stairwell at Benaroya Hall prior to a Christmas performance.
Hilarious: Freddie losing his "memory" in Darling Harbor, Sydney, Australia, in 1988. We were singing "Memory" from Cats, and his music blew away into the harbor.
Emotional: When we were recording our first CD at Saint Mark's in the middle of the night during the summer of 1994, I was pregnant with my son, Alex. I began feeling him move for the first time while we were singing. That music will always have a very special place in my heart.

How has the choir changed over the years? I would like to say how the choir has remained the same over the years. One of the most special things about the SCC is the quality and character of the members. From the moment I joined the group, it felt like one big family. We have always come together to make music, and the quality of the music has improved tremendously over the years. However, the friendship and sense of welcome and community are something that is very special and can't always be found in other organizations.

What are you most looking forward to this year? I am very much looking forward to the Rachmaninov Vespers. It is one of my favorite pieces to sing, and the music transports me to a very special place.

CHERYL LOTZ, ALTO 2

How many years have you been singing with SCC? I have been singing in the SCC since summer 1983, and I believe I have sung in more concerts than any other member—close to 85 concerts. We used to have a summer sing in addition to our regular season.

What do you do when you’re not singing? I have retired from commercial real estate appraisal. Now I get to putter around, cook, work out, hike, visit with friends, weave, travel, and read—interrupted by the occasional housework.

Of all the concerts you’ve sung with SCC, which is your favorite? I have many favorites. My all-time favorite was our debut at Benaroya Hall, which highlighted music from the movies. We had a huge orchestra and the house sold out.

Many current singers likely do not know that we performed a series of pop concerts at Meany Hall in the late ’80s. I was company manager at the time, and at one pop concert I arranged for a huge rainbow of balloons to arch the stage. We were accompanied by a number of volunteers in Muppet costumes. I think I broke the production bank on that one.

Another favorite was a famous opera chorus concert. We dressed in costume, complete with wigs, and had about nine guest soloists. All of these concerts were sell-outs. There are so many memories. Our spring concert in 1984 featured “The Seasons” and a number by PDQ Bach. The choir marched down the center aisle wearing aprons and carrying kitchen utensils.

The most bizarre concert involved a blue-lit stage and a set of modern dancers. One of the dancers, as I recall, got the call time wrong and showed up late.

[Note from Maestro Freddie Coleman: The above concert was a performance of “The Hymn of Jesus” by Gustav Holst. We collaborated with the Co-Motion Dance Company and sang the work with 14 dancers in front of us (Jesus, Sophia, and the 12 apostles). As it happened, one of the apostles got his call time wrong and arrived late onstage. The dance/music was already in progress. He merely melded himself in with the others. Members of the audience who noticed this remarked, "Oh, that must have been Judas!"]

How has the choir changed over the years? We have come a long way in maturity over the years and now have found our musical core. I think early year musical content was aimed at a potpourri of musical genres meant to entertain more than to inspire. The musicality of the group has increased tremendously with more emphasis on producing a consistent sound.

What are you most looking forward to this year? I am looking forward to the spring concert. I love to sing in Russian, and the Rachmaninov Vespers is one of my favorite pieces to sing.

Anything else you’d like to add? My mother used to say, “Where would you be without the choir?” I would have missed a richness in my life and a whole family of friends.

RICK LUNDQUIST, TENOR I

How many years have you been singing with SCC? I started with the choir in 1987, so this is approximately the 25^th season, and I have tried to be a part of at least one concert a year.

What do you do when you’re not singing? I am a wildlife biologist by training, and I work for a small environmental consulting firm, Raedeke Associates, in Seattle. I live with my wife, Joan (former accompanist and assistant director for the SCC) and our youngest daughter, Sarah, in Mountlake Terrace.  Sarah is a junior at Mountlake Terrace High School and is becoming quite a good flutist in the Chamber Winds band. Our older children, Eric and Heidi, are away at college most of the year. Eric is a senior majoring in trumpet performance at Pacific Lutheran University, and Heidi is a sophomore at Western Washington University. I love birdwatching, hiking, gardening, and playing golf when I can. I am the treasurer (and more often than not, the cantor) at our church, Immanuel Lutheran in Seattle, where Joan is the music director. As the old hymn says, “How can I keep from singing?”

Of all the concerts you’ve sung with SCC, which is your favorite? It’s impossible to choose just one, because each one is different.  One that was particularly meaningful for me was the first time we did the Messiah. I had sung some of the choruses before, but never the whole work. It was a great experience! 

Any other memorable moments? One of the most memorable experiences was the first time we did Franz Biebl’s “Ave Maria.” It is still one of my favorite pieces of music, just heavenly. 

One of my favorite memories comes from the choir’s trip to Australia in 1988. We performed at the World Expo in Brisbane. However, the actual place we had to perform was a bit lacking in some of the amenities. I will never forget the piano that Joan accompanied us on—it was mounted on a bicycle! What a great trip—Sydney, Brisbane, Cairns, with visits to the Opera House, the World Expo and Gold Coast, a hike through the tropical forest, and snorkeling at the Great Barrier Reef. 

How has the choir changed over the years? The choir as a group has improved over the years, much quicker to learn pieces of music. We have benefitted greatly from all that Freddie has taught us about vocal production as a group, singing in many different languages, and making real music. I think we especially moved forward after Fred was able to attend a choral workshop with Robert Shaw—and he was able to pass along what he learned from a true American Master. Having never had formal music training, I have learned a lot over the years.

What are you most looking forward to this year? Probably the Rachmaninov Vespers, as well as the auction.

PETER THOMPSON, BASS

How many years have you been singing with SCC? Off and on for 26 years.

What do you do when you’re not singing? I hike, travel, ski, sing with other groups, and volunteer for other nonprofits.

Of all the concerts you’ve sung with SCC, which is your favorite? Philip Glass’s Itaipú was my fave, but there are so many others too. Glass was new to me, and the theme appealed as I fancy myself a conservation nut! All of the Carminas with the Pacific Northwest Ballet were thrilling. Isn’t it a little like ice cream? Isn’t (wasn’t) it all tasty?

Any other memorable moments? I am usually elated on leaving a rehearsal, and always so after a performance. This choir has consistently performed well, though sometimes much better than at others. This fact has made for dozens of sublime moments.

How has the choir changed over the years? The singers have gotten younger and younger! Some seem so young they must have just learned to walk!

What are you most looking forward to this year? Performing the All-Night Vigil like a Russian! Passionately, tenderly, artistically—and with a solid low B♭at the end of the Kievan chant.

SCC Spotlight on Bethany Man, Harpist

When it comes to making beautiful holiday music, one of the SCC’s secret weapons is harpist Bethany Man. In this month’s SCC Spotlight, we asked the talented Kirkland native to share her favorite music, memorable onstage moments, and the most challenging thing about playing the harp. You’ll also hear about the exotic place she and her husband met—and about her very first (and very long) performance of “Here Comes the Bride.”

When did you start playing with the Seattle Choral Company? I have been playing with SCC for about seven years. I think my first concert was a spring concert at Saint Mark's Cathedral that featured Roxanna Panufnik’s Westminster Mass for choir and two harps. 

What have been your favorite SCC performances so far? The Christmas concerts have definitely become a favorite tradition of mine. Freddie Coleman puts together such beautiful concerts. Every year my family asks me to tell them which of my many concerts they should come to during the holiday season, and I always tell them that the SCC’s A Cathedral Christmas concert should not be missed. One of the most memorable was in 2009. The choir sang an a cappella version of Biebl’s “Ave Maria.” In every performance, you could have heard a pin drop in the cathedral; it was mesmerizing. Another favorite was the SCC’s collaboration with the Bells of the Sound handbell ensemble.  

What is your favorite piece in this year’s A Cathedral Christmas concert? The Frank Ferko work, A Festival of Carols. I loved playing it with SCC in 2005, and I'm so excited that Freddie decided to do it again. It’s beautiful for its harp/choral combination. From the harp perspective, it's challenging as well. The communication between choir and harp must be exactly precise. It's beyond playing/singing notes on a page; we really have to feel the music or it doesn't work. Specifically, Ferko's “Go, Tell It on The Mountain.” Keeps us on our toes!

Where did you study music? I studied privately for many years with Lynne Wainwright Palmer, and I attended university at Saint Mary's College in Notre Dame, Indiana. During college, I discovered I had a passion for classic literature and writing, so I actually majored in English literature with a music minor.

What is the first harp solo you remember playing? I think I was about nine years old when I did my first “professional gig.” I was so nervous. No one had told me to cut the music when the bride reached the altar, so her “Here Comes the Bride” was about five minutes long. I remember thinking that I must have been doing a great job, because people kept looking over at me while I was playing. I still look back and laugh at that.

You must have played for a lot of weddings. Any idea how many? Quite a few :) To guess, a couple hundred.  

What is the ideal age to start taking harp lessons? I teach harp and piano lessons. For young children, it very much depends on the child. It is up to the parent and teacher to determine if a child is ready. I require at least two years of piano lessons before accepting harp students. The piano is the only instrument that you can literally see everything laid out in front of you. It is a great stepping stone for moving to other instruments. When adults come to me for harp or piano lessons, it's a completely different approach. It's something they are really making effort to pursue; it's not like their parents are “making them take lessons.” But for kids and adults, I try to meet them where they are and help them get as much as possible out of their desire to integrate music into their lives. 

How hard is it to learn to play the harp? So often people ask me if the harp is the hardest instrument. I respond that every instrument has its individual challenges. For the harp, you have both treble and bass clef, which is similar to the piano and the organ. The seven pedals on the bottom that change the key are an added challenge. Also, the classical harp has a very intricate hand position that feels very unnatural to the novice. All of those combined do make the harp quite the undertaking. It is not the instrument you can just “try out”; you must be committed to investing a considerable amount of time before you may see tangible results. And. of course, you don't find harps lying around as much as you would a piano, for example. You're on your own for your instrument, so that furthers the commitment. 

What is the most challenging thing about being a harpist? The best thing? The most challenging thing—and the best thing—is being THE harpist. When you're in a symphony, there is a violin section, or a wind section. There is no harp section. On the rare occasion, there may be two harps on stage, but most of the time you're on your own. When the conductor is talking about the harp, you're it, you are the section. There is no way to blend in; you are completely exposed. It's a lot of pressure, but then again, you are THE harpist; you get all the credit for a job well done!

What kind of harp do you have, and how do you get it from place to place? I have two; I call them my first children. I have a Lyon & Healy 17 Gold and a Lyon & Healy 23 Gold. When my husband met me, he asked why I didn't want to play the flute. To transport it, I just put it in the back of my SUV and off I go. It is, of course, a process to haul it around, but I'm certainly used to it by now. 

Other than harp and piano, do you play any other instruments? In my next life I will play the cello, the French horn, and the clarinet. 

What are your favorite choral works? Holst’s Choral Hymns from the Rig Veda, Rutter’s “Dancing Day,” “Carol of the Bells,” and my alma mater, “The Bells of Saint Mary's,” which gives me goose bumps every time I hear it.

What is your favorite harp music? I love the big, showy performance pieces. Fauré’s Impromptu and Handel’s Harp Concerto in B-flat Major (in its entirety, with the Grandjany cadenza) jump to mind first. I also like anything Christmas, and I love playing the classic pieces that make people stop and take notice. Every time I play Rachmaninov's 18th Variation, or “Danny Boy,” or “Ave Maria,” heads always turn and I hear, “Oh, I love that song!”

What other music do you like? I love the fusion of orchestra and pop. I just wrapped recording The Legend of Zelda 25th Anniversary Special Orchestra CD. That music was so fun to play because it speaks to people who might not seek out classical music, but attracts symphony lovers as well.

What you do when you’re not playing/teaching the harp? I'm a wife and a mom. My three-year-old daughter keeps me very busy. Between being a stay-at-home mom, teaching 20+ students, and performing on a regular basis, I'm quite busy. So, whenever there is any free time, I make spending time with my family a priority.

What is something we might be surprised to learn about you? I used to work on the Queen Elizabeth 2 (QE2) cruise liner. I was the harpist, sailing the globe for three years. I met my husband on board; he was a bartender. :) We just celebrated our five-year anniversary! It's very special for us that we share the same memories of our adventures around the world.

Other than playing on the QE2, what is your most unusual onstage experience? I performed with Josh Groban at Key Arena, Portland, and Vancouver. For his stage, the harp had to be hoisted up on a pulley through a very narrow opening. It was set so the orchestra was sort of “funneling” around the band on stage. It was pretty precarious, but a very fun gig.

Any memorable moments from the SCC’s A Cathedral Christmas concert last year? I really had to work on keeping myself focused on my part. I kept finding myself watching the sitar player, Josh Feinberg. That haunting sound was unlike I had ever heard. I can say this now—I almost missed a couple of entrances because I was watching him play. Hopefully, Freddie didn't notice!

What do you like most about the Seattle Choral Company? I know that when I walk in to rehearsal I will be welcomed. It always feels nice to come back. And I can count on the fact that the concerts will be not only beautiful, but solid. The caliber of quality is second to none. As I've worked with SCC over the years, the standards of performance have only gone up. The group supports each other, onstage and off. The obvious respect that the choir has for their director, and he for them, is a key point. Everybody wants to give their best for each other, and that is what makes SCC so consistently excellent. It's hard to say in words, but even when I'm not playing, I love watching the group work together—going through the process of shaping pieces, adding color, bringing their individual perspectives to create the end product.

Do you have any solo performances coming up? I will be all over Seattle and the Eastside during the holidays, performing at various company venues, as well as symphony and church concerts. One of these days, I would love to put together a solo concert of my favorite harp performance pieces. Stay tuned!  

Meet Our New Board President, Carrie McManis

 

Carrie McManis joined the Seattle Choral Company in 2009 and quickly became an involved and dedicated member of the choir. She was soon elected to the SCC Board of Directors, where she served as board treasurer before being promoted to board president this month.

Carrie has been involved in the performing arts since a very young age. She has studied voice and guitar, performing with a variety of groups, from classical to folk rock. One of her most memorable performances was singing Mahler’s Symphony No. 2 in Mexico City with Orquesta Sinfónica de Minería, the New York Choral Society, and two other choirs from Mexico. She says, “I made new lifelong friends in Mexico City and can’t wait to visit again.”

Currently Vice President of Tax for Eddie Bauer, Carrie previously worked for Russell Investments. She has a BS in sociology from the University of Louisville, a law degree from the University of San Francisco, and a Master of Laws in Taxation from the University of Washington.

Over the years, Carrie has helped a variety of nonprofit organizations with their financial, tax, and legal needs. She enjoys helping nonprofits create, track, and achieve their financial and charitable goals. She strongly believes in the importance of developing and sustaining the arts and environment in our local community.

Carrie grew up Olympia, Washington, and now lives with her husband of fifteen years, Tod, and their two sons, ages 11 and 14, in their new home in Kenmore. The boys attend the Clearwater School in Bothell, where the students are involved in running the school. In their free time, the family enjoys horseback trail riding at the family ranch, camping, and traveling around the Northwest. The family also enjoys traveling to sunny weather, visiting favorite places in Mexico.

Carrie and Tod are gardeners extraordinaire. They are creating an urban homestead at their new home, which will include ornamental gardens, a fruit orchard, vegetable garden, a few chickens, and bees to help the gardens flourish. They also enjoy canning, and preparing organic, farm-to-table gourmet meals.

Somehow Carrie also finds the time to knit, design knitted goods, make patterns, and spin her own yarn with wool from the sheep and goats on the family ranch. She once even taught second graders to knit. “It was a great life lesson for me,” she says. “If you can teach eight-year-olds to knit, you can definitely teach adults how to read a financial statement!”

Look for Carrie in our first soprano section, and please welcome her in her new role as Seattle Choral Company board president.

New Singers Join the SCC

This season we are pleased to have added a number of accomplished new singers to our ranks. We asked them to share a bit about themselves so that other singers and friends of the SCC can learn more about them. Look for additional member profiles in the future.

 

LELAND JOHNSON, BARITONE

Prior to singing with the SCC, Leland sang with the Chancel Choir at Saint Andrew's Church in Bellevue. During college, he sang with the choruses of VanderCook College of Music in Chicago, and before that, with the choir of Holy Cross Church in Libertyville, Illinois.

When not singing, Leland works as a software developer for IMDb (the Internet Movie Database).

He is most looking forward to singing Bob Chilcott’s Advent Antiphons. “It's one of the most interesting and technically challenging pieces I've done in the past few years,” he said. “It's also one of those pieces that sounds completely different once you're in the concert space.”

JIM HOWETH, TENOR II

Prior to moving to Washington this past summer, Jim sang with several groups in Southern California—the Long Beach Chorale & Chamber Orchestra, Men Alive, Bel Canto (a subgroup of Men Alive), and the Gay Men's Chorus of Los Angeles. He also performed as a guest singer for a number of different church, college, and community choral groups.

When not singing, Jim is enjoying and caring for his infant twin sons, born in June of this year.

He enjoys working hard at rehearsals and learning how to be a better singer each and every week. “I'm most looking forward to feeling like I am able to contribute something positive to SCC's overall sound when we perform for a paying audience,” he said. “Plus, the repertoire for this season is all very interesting, so I'm excited to have the opportunity to sing it with such a talented ensemble.”

CHERYL WHITENER, ALTO II

Prior to joining the SCC, Cheryl sang with The Washingtonians, Cambialaria, Broadway Salutes Lincoln Center at Avery Fisher Hall, and the Nathan Eckstein Senior Choir.

When not singing, she spends her time as a mother, daughter, sister, golfer, actress, singer, and dancer (in her youth).

She is most looking forward to making beautiful music with SCC!

 

 

GREG BLOCH, TENOR II 

Prior to singing with the SCC, did graduate work in historical musicology at UC Berkeley, and sang with the University Chorus and occasionally also with the Chamber Chorus.

When not singing, Greg reports that he is looking for a job. He has done freelance graphic design and copywriting work, and enjoys cooking and baking.

He is particularly looking forward to singing Bruckner’s Mass No. 2 in E minor in the spring. He is also looking forward to singing again after taking a break after graduate school.

JUSTIN FERRIS, TENOR I

Justin graduated from Pacific Lutheran University in 2010 with a BA in philosophy. At PLU, he sang in the Choir of the West, PLUtonic, and the University Men's Chorus. In addition to the SCC, he also sings with the Tacoma Symphony Chorus, Illumni Men's Chorale, and Choral Arts, as well as in various operas and musicals when time presents itself.

In the very little time he has when not singing, Justin likes to dance. He also plays the harp, when one is available.

He is most looking forward to the unique opportunities offered to the SCC, which he hopes will include more work for movies, video games, and ballet productions.

MICHAEL KELLY, TENOR I

Michael is joining the SCC after an eight-year hiatus from singing. “I can't tell you how excited I am to be involved in choral music again,” he said.

When not singing, Michael is a commissioned officer of the United States Public Health Service, currently detailed to the Bureau of Prisons as a clinical pharmacist at the Federal Detention Center in SeaTac. He loves spending time enjoying the outdoors, backpacking, and fishing.

He is most looking forward to having a great creative outlet and being part of a wonderfully talented group of singers who share his love for music and singing.

 

CLARK MCGUFFIE, BASS II

Clark most recently sang with the Esoterics, and has also sung with The Washingtonians and the Seattle Opera Chorus. In addition to choral music, he has performed around the region in musical theatre productions at the Village Theatre and ACT.

When he’s not singing, Clark is food service director for the Google campus in Kirkland. He has worked extensively in the restaurant field for 22 years.

Clark is looking forward to joining the SCC because it is an established musical organization and has a good rehearsal schedule.

SCC Spotlight on Annie Brooks, SCC’s New Accompanist

This month we shine the spotlight on our rehearsal accompanist, Annie Brooks. While she’s new to us this year, she’s certainly not new to playing the piano. Read on to learn more about her experience, her favorite piece in the SCC’s upcoming holiday concert, and her next solo piano performance.


How long have you lived in Seattle?  I was born in Seattle and grew up just north of Seattle, between Lynnwood and Mukilteo. I went to school in Bellingham, where I met my husband, David, who is also a pianist. He is currently getting his master’s degree at UW, and we moved here only a year ago.

How old were you when you started playing the piano? I started learning piano when I was in kindergarten.

What was your first piano solo?  I can't quite remember the first solo I ever played, but I do remember the time I played an arrangement of "A Whole New World" from Disney's Aladdin. I think I was in third grade at the time, and I thought I was the real deal because it had a lot of accidentals and key changes. Also, "A Whole New World" is kind of an awesome song.

Where did you study piano? I earned my bachelor’s degree in music from Western Washington University, where I studied with Jeffrey Gilliam. In fact, I still drive up to Bellingham to take lessons with him occasionally, since I'm about to audition for master’s programs.

What was your first job?  My very first job was at a gift store in Bellingham. There were so many days where hardly anybody would come into the shop, and we had to polish the silver jewelry for hours on end. Then I got my first church job, and shortly thereafter, a choir accompanist position.

Did you always know that you wanted to be a professional musician? Not at all! When I first started learning piano, it was nothing but a pastime. I had teachers who would try to push me to practice every day (yes, that's how uncommitted I was) and for many hours, and I always rebelled, because I thought it ruined the fun. I just wanted to play the music, not practice it! I would spend my practice time reading through reams and reams of music. It's really how I became acquainted with a lot of pieces.

What is your favorite piano piece?  Hmm . . . I'd have to say the piece that I always enjoy practicing and performing would be Busoni's transcription of the Bach violin piece "Chaconne" from his Suite in D minor. It's stately and regal but with prayerful and bombastic moments as well—worth a listen for everybody! It's impossible not to like, I think. Personally, I like the piano transcription better than the original . . . is that sacrilege?

What kind of piano do you have?  As students still living in an apartment, David and I are not quite ready to own a real acoustic piano, but we do have our hands on a nice, sturdy Roland. Digital pianos have come a long way, and this one makes for a great practice instrument—that never goes out of tune!

How did you first hear about the Seattle Choral Company?  I've definitely seen the SCC in performances with the Seattle Symphony in the past, but I can't remember when that first was.

What’s the best thing about being an accompanist? I'd really say it's the large volumes of music and the variety of people that you get to play for, and also the fact that your role changes from situation to situation. It keeps things interesting. I play for many students in instrumental studios around Seattle, but I also get to play for professional musicians. When playing for young students, you become more of a coach; you help them along with the music and make sure they are doing what their teacher would want them to. With peers/professionals, it's a collaborative experience, where you are both/all working towards representing the music in the best way possible.

What’s your favorite piece of the music the SCC is performing in A Cathedral Christmas this December?  I think that the [Jackson Berkey] arrangement of “Il est né le divin enfant” is really neat, with the Bolero rhythms underneath and the unexpected harmonies.

What are your favorite choral works overall? My all-time favorite is probably Beethoven's Choral Fantasy—not to be confused with the Ninth Symphony, which I also love. The chorus doesn't get much of a role until the end, but it's great. Vaughan Williams's Dona Nobis Pacem is one that I really enjoyed playing with the WWU Concert Choir. Also, Mozart's Mass in C minor, and Palestrina's Pope Marcellus Mass (so beautiful!).

What else do you like to listen to? When I'm not listening to classical music, I enjoy listening to Nat King Cole, but my tastes aren't really much more diverse than that!

If you could meet any musician, who would it be and why?  I don't know if I'd like to meet him, but I would have loved to see Liszt play. I hear he was very charismatic and put on quite a show. I would have liked to see what the fuss was all about.

Do you play any other instruments? I played cello for a number of years in my school orchestras. I was mostly self-taught, and I wasn't very good, but I could play in tune and watch a conductor, so they kept me around!

Are you also a singer? I love to sing. I’m an alto, but I don't think my voice is very pretty!

What are you doing when you’re not accompanying the Seattle Choral Company? I play with Northwest Girlchoir, Lake City Christian Church, and many private studios around Seattle. In my spare time, I like doing arts and crafts, reading, and taking very long walks that end at food-type destinations.

Do you have any solo performances coming up? On Sunday, November 13, at 4:00 p.m., I will be playing a concert of some of my audition repertoire at Lake City Christian Church.

Anything else you’d like to add? I am very excited to be working with everyone here. It seems like a very fun group!