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2017.07.18 Prinzregententheater, Munich: Jazz Concert

Munich Opera Festival

Prinzregententheater

Simon Keenlyside & Band

18 July 2017

Simon Keenlyside, baritone

Howard McGill, saxophone, clarinet, flute, piccolo

Gordon Campbell, trombone

Richard Pryce, double bass

Mike Smith, drums, percussion

Matthew Regan, piano

PART ONE

IRVING BERLIN (1888-1989)
Isn’t This a Lovely Day?

EMMERICH KALMAN (1882-1953)
Die Herzogin von Chicago:

Tanz 17c
Lichtreklamen
Tanz 16b

KURT WEILL (1900-1950)
Johnny Johnson:
Johnny’s Song

EMMERICH KALMAN
Arizona Lady:  Cowboy Song

KURT WEILL
Happy End 
Song of the Big Shot -> Das Lied Von Der Harten Nuss  (Simon sang the original – in German)

EDWARD KID ORY, RAY GILBERT (lyrics)
Muskrat Ramble

KURT WEILL
Street Scene:  Lonely House

RICHARD RODGERS (1902-1979)
Carousel: 
Soliloquy

IRVING BERLIN
Call Me Up Some Rainy Afternoon

GEORGE GERSHWIN (1898-1937)
How Long Has This Been Going On?

JEROME KERN (1885-1945)
Roberta: 
Let’s Begin

PART TWO

BILLY STRAYHORN (1915-1967)
Lush Life

DUKE ELLINGTON (1899-1974)
Mood Indigo

HOAGY CARMICHAEL (1899-1981)
Stardust

GEORGE GERSHWIN
Love is Here to Stay

FREDERICK LOEWE (1901-1988)
My Fair Lady:
On the Street Where You Live

COLE PORTER (1891-1964)
Wake up and dream: 
What is This Thing Called Love?

HUGH MARTIN (1914-2011)/ RALPH BLANE (1915-1995)
Meet me in St Louis: 
The Girl Next Door

COLE PORTER
Kiss Me, Kate:
So in love

DUKE ELLINGTON
Do Nothing Till You Hear From Me

JEROME KERN
The Cat and the Fiddle: 
She Didn’t Say Yes

Encores:

RAY NOBLE
Love is the Sweetest Thing

RAY NOBLE
The Very Thought Of You

KURT WEILL/BERTOLT BRECHT
Mack the Knife

Photo Gallery

 

Sound bites

Tobias Hell, Münchner Merkur, 20.7.17

” …Simon Keenlyside came along to the Prinzregententheater with a five piece jazz band to indulge in his passion for George Gershwin, Cole Porter and other composers. On the programme were selected Broadway and jazz standards – all of them with European roots. … He brought the art of seduction learned through his performances as Don Giovanni to this show and underlined, by his nuanced handling of the text, his theory that these standards are in no way inferior to the poetry of a Schubert song.”

munichandco.blogspot, July 2017

 “… Le ton est naturel, familier: un émouvant Keenlyside cherche ses mots en allemand pour nous faire partager au plus près sa passion et ses découvertes; … De sa voix chaude, très masculine et virile, Keenlyside exprime le thème omniprésent de l’amour avec des touches tantôt inquiètes et fragiles, tantôt un peu désabusées, le sourire en coin, et de temps à autre chaleureux et émotionnel avec des séductions de crooner. …”

“…The tone is natural, familiar: a moving Keenlyside seeks his words in German to help us share as closely as possible his passion and his discoveries; … In his warm, masculine and manly voice, Keenlyside expresses the ubiquitous theme of love with touches that are sometimes anxious and fragile, sometimes a little disillusioned, half smiling, and occasionally warm and emotional with the seduction of a crooner…”

 Philipp Seidel, Abendzeitung, 20.7.2017 (with photo)

pdf-of the print-version (with another photo – singing Soliloquy)

Opernfestspiele Wohlfühlen mit Simon Keenlyside

Opera Festival: Feeling good with Simon Keenlyside

“Man möchte diesen Abend mit einem Whiskeyglas in der Hand abschließen. Nicht, um das Gehörte zu vergessen, vielmehr, um es stilvoll zu feiern. Man möchte, als Herr wenigstens, im Anzug mit besagtem Whiskey in der Hand die Straßen dieser Stadt hinunterschlendern, Schönheit und Schmerz dieser Welt im Herzen bewegend. In diese wunderbare Stimmung versetzten Simon Keenlyside und seine fünfköpfige Jazzband die Zuhörer am Dienstag im Prinzregententheater. “Blue Skies – Songlines to American Music” war der Abend überschrieben.

You want to end this evening with a glass of whisky in your hand. Not to forget what you have just heard, but rather to celebrate it in style. You want – as a man at least – to stroll in a suit, with the aforementioned whisky in your hand – through the streets of this city, pondering the beauty and pain of this world in your heart. On Tuesday evening Simon Keenlyside and his five piece jazz band induced the audience in the Prinzregententheater into this wonderful mood. The evening was titled: “Blue Skies – Songlines to American Music”

Wobei die amerikanische Musik im ersten Teil des Abends zu beträchtlichen Teilen aus Europa kam, wie Keenlyside hervorhob: Ohne den Ungarn Emmerich Kálmán hätte es etwa den “Cowboy Song” aus “Arizona Lady” nicht gegeben, ohne Kurt Weill und Bertolt Brecht nicht “Song of the Big Shot” aus “Happy End”. Und auch nicht “Mack the Knife” aus der “Dreigroschenoper”, mit dem der Abend nach diversen Zugaben endete. Dazu gab es etwa eröffnende “Isn’t it a lovely day?” von Irving Berlin und die umjubelten Songs “Soliloquy” und “Star Dust”.

In the first part of the evening, the American music came to a considerable extent from Europe, as Keenlyside emphasized: without the Hungarian Emmerich Kálmán there would not have been the “Cowboy Song” from “Arizona Lady”, without Kurt Weill and Bertolt Brecht no “Song of the Big Shot “from” Happy End “And also no “Mack the Knife” from the Dreigroschenoper with which the evening finished after several encores. In addition they performed as an opening number the song by Irving Berlin “Isn’t it a lovely day” and later the highly acclaimed songs “Soliloquy” and “Star Dust”.

Mit offenem Hemdknopf

With open shirt button

Großspuriges Auftreten kann man Keenlyside wahrlich nicht vorwerfen. Schüchtern wirkt er, bisweilen scheint es, als würde er gerne hinter seiner Band verschwinden. Nervös zupft er immer wieder an seinem Anzug herum (im zweiten Teil trägt er dann nur ein zupffreies Hemd), bleibt nie lange auf seinem Barhocker sitzen – obwohl der extra ein eingebautes Fußbänkchen hat.

You could never accuse Keenlyside of boastful behaviour. He appears shy and sometimes it seems as if he would like to disappear behind his band. Nervously he fidgets again and again with his suit (in the second half he is wearing a “fidget-free” shirt) and he never stays for long on his bar stool – even though it has an extra built-in small footrest.

Mindestens ebenso bejubelt wie der Bariton selbst wird seine Band, besonders der Posaunist Gordon Campbell, etwa nach Duke Ellingtons “Do Nothin’ Till You Hear From Me”.

The band is at least as acclaimed as the baritone himself – especially the trombonist Gordon Campbell, for instance in Duke Ellington’s “Do Nothin’ Till You Hear From Me”.

Im Rahmen der Opernfestspiele war dies ein Termin, bei dem man gewissermaßen mal den oberen Hemdknopf offenlassen konnte. Ein Wohlfühl-Sommerabend mit reichlich Schmelz.”

In the context of the Opera Festival this was an evening when one could leave the top shirt button open. A mellifluous, feel-good summer evening.

 

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