Sensational comedy from Skagit Opera
by Christopher Key

Start with a classic tale of romance, add magnificent music from Gaetono Donizetti, the extraordinary talent at Skagit Opera and you have a spicy dish best served hot. L’elisir d’amore opens this weekend at McIntyre Hall in Mount Vernon and it is not to be missed. Here’s how good it is: the projector that furnishes subtitles above the proscenium broke down at last night’s dress rehearsal and I didn’t miss it. Given my very limited Italian, that means the singers totally sold the story. That’s characteristic of this gifted group.

The story involves a peasant in love with the wealthy owner of a vineyard. Desperate to win her love, he spends his last few coins on The Elixir of Love peddled by a rather shady character who depicts himself as Dr. Dulcamara. Nemorino, the peasant, expects to get Love Potion #9. What he gets is cheap wine. But, as they say, wine emboldens the spirit and it works wonders when you have faith.

Adina is the object of his affection and she is rather democratic with her tastes in men. When he comes on to her, fortified by the elixir, she does nothing to discourage him. Enter a military man who is also determined to win her and the inevitable love triangle complicates the plot.

Christina Kowalski, who was devastating in last year’s Tosca, gets to show off her comedic chops in this production and responds with élan. Her voice is thrilling and her acting is absolutely irresistible. Nemorino is played by tenor Marcus Shelton whose power seems to emanate from a much larger physical presence than he actually possesses. His duet with Sgt. Belcore is a wonder to behold.

Adina (Christina Kowalski) invites a kiss from Nemorino (Marcus Shelton) in the Skagit Opera production of L'elisir d'amore opening this weekend at McIntyre Hall in Mt. Vernon. Photo credit - Christopher Key

Another Tosca veteran, Yu Seok Oh, plays Sgt. Belcore with a swash that is completely buckled. It may be inappropriate to invoke Gilbert and Sullivan, but he is the very model of a modern major general despite his lowly rank. Todd Robinson portrays Dr. Dulcamara with a charming bluster that seems intrinsic to snake-oil salesman and presidential candidates. His booming baritone dominates the stage.

As Adina’s friend, Giannetta, Megan Chenovick gets very little stage time, but uses it to great advantage with her rich mezzo.

The chorus does get a lot of stage time and it’s an astonishing aggregation. They’re infallibly crisp and powerful. Chorusmaster Dave Cross deserves enormous credit.

Skagit Opera’s rep is such that they attract some of the best musicians in the area for the orchestra. Even in final dress, they were remarkably solid under the baton of Jonathan Pasternack.

One of the highlights of the show for me was the wonderfully warm and evocative set designed by J Weiss. Penny Hutchins’ terrific choreography is particularly notable in her work with the two soldiers in Sgt. Belcore’s platoon. They weren’t identified in the program, but they should have been. Consider yourselves recognized. Costumers Mary MacConnaughey and Kimberly Somers performed miracles.

L’elesir d’amore performs February 3 – 5 at McIntyre Hall in Mount Vernon. Tickets are $25 to $59 and can be reserved by calling the box office at 360.416.7727 or online at www.mcintyrehall.org.

I’ll stake my somewhat problematic reputation on the fact that even those who are lukewarm to opera will have a rollicking good time at this wine-drenched romp through the vineyards of Tuscany.

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Enchanting Eleanor at the BTG
by Christopher Key

Combine the ambition of Hillary Clinton, the wit of Dorothy Parker and the irreverence of Lady Gaga and you might have something close to Eleanor of Aquitaine. John Gonzales, the director of Becoming Eleanor at the Bellingham Theatre Guild, admits to having developed a crush on this fascinating woman in college. We are all richer for his having shared his crush with a wider audience. If playwright Marsha Lee Sheiness had been teaching us history, we not only might have stayed awake in class, but we might actually have learned something.

Don’t let the fact that Becoming Eleanor is a history lesson deter you from seeing this production. It is loud, brash and wildly funny. I haven’t laughed so hard in a long time and that is a very healthy thing.

As Gonzales points out in his terrific director’s notes, “…this highly educated, tenacious, vibrant and amazing woman inherited the one of the largest feudal holdings in the western world at age 15, went toe-to-toe with some of the most powerful men in the world while managing to live out much of her 82 years on her own terms in an era when few women were able to exercise any autonomy at all.” No wonder he has a crush.

BTG newcomer Kendra Pasma delivers nothing short of a tour-de-force performance in the title role. She is onstage throughout the two-hour production and handles a massive line load with complete aplomb. Pasma brings an elegant and confident stage presence along with a subtle sexiness that makes the role sing.

Kendra Pasma delivers a definitive performance as Eleanor of Aquitaine in the Bellingham Theatre Guild production of Becoming Eleanor. Photo credit - David Cohn

Most of the other actors in the show play multiple roles and serve as a delightfully goony Greek Chorus while managing multiple onstage costume changes and manipulating the clever set.

Canny stage veteran Joan Prinz may play relatively minor roles, but she manages to steal the show as everybody from Louis the Fat to Pope Innocent. M. Tristan McDaniel, another BTG newcomer, is perfectly pious as Louis Capet, who is carnally challenged. He makes Eleanor Queen of France, but is unable to warm the marriage bed. To put it as discreetly as possible.

Tony Gallina graduated from Western with a degree in psychology and brings that insight to his roles ranging from a troubadour to an abbott. The dependably wonderful Zoe Schackel gets to strut her stuff as both Eleanor’s sister and the forbiddingly Germanic Empress Irene.

David Bolden last delighted audiences as the demented vice-principal in The 25th Annual Putnam County Spelling Bee earlier this season at the BTG. He brings that same slightly unhinged energy to his multiple roles in this show. I last reviewed Brad McArtor in the smashing Days of Future Passed at the iDiOM last year. He is very busy in this show as everybody from a Pope to Henry Plantagenet and displays both a gift for physicality and wicked comic timing.

Yet another BTG newcomer, McKenna Vallee, is gifted with a wonderfully expressive face that she uses to great effect in her multiple roles. Christy Ham deliciously deadpans her way through her roles while juggling multiple props for the other actors. A not inconsiderable achievement.

Becoming Eleanor plays January 27 through February 12 at the BTG Playhouse, 1600 H Street. Consult the site, www.bellinghamtheatreguild.com for precise dates and times. Tickets are $12 for adults, $10 for students and seniors, $8 for children under 12. Call the box office at (360) 733-1811 to make reservations.

I promise that you will also develop a crush on this remarkable woman while having a rollicking good time.

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ENNW’s award-winning reviewer Christopher Key will introduce and interview guest artist Milica Jelaca Jovanovic at an event immediately following the Whatcom Symphony Orchestra concert on Sunday, February 19. The event will take place in the Walton Theatre at Mount Baker Theatre.

Holiday nuts are back
by Christopher Key

Wut would the holiday season be like without Drue Robinson and the Bellingham Childrens Theatre? It would be totally sub, dude! If you think that’s a groaner, just wait until you hear some of the horrendous puns strewn about the stage like rats in the second annual production of The Wutcraker.

After several years fermenting in Robinson’s mental wine cellar, The Wutcraker made an astonishing comeback last year and ‘Hamsters couldn’t get enough. Many who didn’t get their tickets early found that there was no room at the inn and had to rely on my review to find out wut went down. No false modesty here, but my review comes in a distant second compared to seeing this bit of Bedlam brought to life.

Political Correctness demands that I note newcomers to Bellingham won’t get a lot of the inside jokes that make this show rock. If you want to get hip to this small town with delusions of grandeur, this is a good place to start. You’ll want to find out about the Bikmans’ legendary New Year’s parties with The Walrus and what happened in the recent elections.

The whole thing, of course, is an inspired takeoff on The Nutcracker. Having performed in the original this year gives me a new appreciation for what Robinson has done. She has written fiendishly clever lyrics to Tchaikovsky’s familiar themes and has recruited actors who truly understand satire.

One of the things Robinson does better than almost anyone is teaching young actors how to enunciate and project. When the jokes fly as thick and fast as they do in this show, it is vital. It’s also refreshing if you’re as frustrated as I am when you can’t understand what the kids are saying in lesser shows.

There are dozens of young actors in this cast and they all perform above and beyond expectations. Several of them deserve special mention. Lauren Valenti is both bratty and beautiful as Clara. Oskar Sjostrom demonstrates outstanding physicality as The Dummy. Genevieve Dunn channels Betty Boop to perfection. Lauren Pittis is delightfully dumb as Duhwhera.

As the Prince Formerly Known as the Artist Formerly Known as Prince, Aaron Helms delivers another confident performance that adds to his already solid stage cred. All of the Snowflakes give meltingly hot performances in their rap number.

There are also some adults in this show and they acquit themselves remarkably well given the young talent that they’re competing with. Vicky Reardon truly gets her Lady Gaga on as Ice. Robert Muzzy reprises his role as the supremely snotty Sugah, King of the Booger Flung Scaries. Deb Currier is devastating as Mrs. Middlecamp.

As both Mr. Middlecamp and The Rat King, Brian Watson owns the stage. Michael Spinale is both endearing and perfectly befuddled as the occasionally magical Uncle Doppelganger.

As usual in The Wutcraker, certain Bellebrities are involved. In this production, they are The Politician Formerly Known as Mayor (Dan Pike) and The Politician Formerly Known as County Executive (Pete Kremen). Only in Bellingham would such characters be willing to humiliate themselves onstage by trying to dance and remember lines.

The three narrators couldn’t have been more perfectly cast. Leon Charbonneau as Grandpa Sheridan, Judith Owens-Lancaster as Grandma Grace, and Miska Marker as Annabelle tie the whole performance together with exquisite style.

I wasn’t given a crew list, but the lighting, set and costume designers all deserve a standing ovation. You know who you are.

A word to the wise: a lot of people got turned away last year because they didn’t score their tickets in time. The Wutcraker performs December 15, 16 and 17 at 7:00 p.m. and December 18 at 2:00 p.m. The venue is the wonderful second stage at Western Washington University’s Performing Arts Center. Tickets are available at Village Books, the Community Food Co-ops and the WWU box office. Call 360-650-6146 or order online at http://www.tickets.wwu.edu.

Good luck trying to score $15 tickets at the door.

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So much more than sugar plums
by Sally Lubetich

We all know how frantic this time of year can be. Time seems to just fly by. You rush around to get it all done, and then you’re left saying “It doesn’t feel like Christmas!”

Well, one thing you must rush to do this weekend is to see The Nutcracker at the Mount Baker Theatre, a magical holiday tradition that is brought to life by the Northwest Ballet Theatre, under the artistic direction of John Bishop and choreographed by Miye Bishop.

This year the production is enhanced with live music performed by the Starry Night Orchestra, conducted by Dr. Daniel Schmidt. The live orchestra, a first for our area, adds another character to the story, the Narrator. This talented ensemble brings so much more depth to the story than recorded music ever could.

Young Clara (Holly Forsberg/ Ona Underwood) receives a gift of a beautiful nutcracker from her Godfather, Herr Drosselmeyer (Angus Mclane.) Clara’s naughty little brother Fritz (Tavian Ancheta) breaks the nutcracker, but Herr Drosselmeyer magically repairs it.

That night, after everyone has gone to bed, Clara sneaks back downstairs and falls asleep under the Christmas tree. She then has the most magical dream! First off, mice of all sizes come running through the house. Their leader, the Mouse Queen (Mija Bishop) leads her minions in an exciting battle against the Nutcracker (Jonathan D.Vogt) and his Toy Soldiers. Clara and the Nutcracker defeat the Mouse Queen.

The dream then transforms the Nutcracker into a handsome Prince and Clara into a beautiful young lady (Venise Lee) they are whisked off to the Land of Snow where they meet the Snow Queen (Ayesha Wise) and her dancing snowflakes. She leads them to the Kingdom of Sweets where they are treated to a delightful celebration of dance, featuring Spanish Chocolate (Anna Ford), Chinese Tea (Julianne Pemberton) and Arabian Coffee (Miye Bishop). Clara’s dream ends and she awakes to find her Nutcracker toy in her arms.

From the adorable pink mice and toy soldiers, charming snowflakes, fairies and flowers, to the delightful Red Riding Hood and the Wolf, this large cast of talented dancers will enchant everyone. Bring your younger children to see this lavish production. You’ll find them twirling in the aisles!

The Nutcracker plays December 9 and 10 at 7:30 p.m. and December 11 at 2:00 p.m. at the Mount Baker Theatre. Tickets are $15 and $24, with discounts for seniors and students. Call MBT at 360-734-6080 or order online at www.mountbakertheatre.com. Next weekend, The Nutcracker moves to McIntyre Hall in Mount Vernon for performances on December 17 and 18. Information regarding these performances is available at www.mcintyrehall.org.

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In the spirit of the season
by Christopher Key

It’s hard to imagine the holiday season in this area without the Whatcom Symphony Orchestra’s annual Holiday Treasures concert. I’d rather not try. Maestro Roger Briggs and the WSO partner with the Western Washington University Concert Choir to make this a much-anticipated event. Under the direction of Leslie Guelker-Cone, this is a truly superb vocal aggregation that performs at a much higher level of maturity that would be expected from college students.

In the church, those parishioners who only show up on Christmas are referred to as “oncers.” The holiday concert brings out a lot of symphony oncers and their grasp of symphony etiquette lies somewhere between feeble and nonexistent. I doubt than any of them read this blog, but just in case: it is not appropriate to use cell phones or keychain lights to illuminate the program during the concert. It is not appropriate to rattle said programs or candy wrappers. And, God help me, it is not appropriate to talk while musicians are performing.

The concert choir got things underway with a stunning version of Hans Leo Hassler’s Verbum caro factum est (And the word was made flesh). This was performed with the choir standing in the aisles of the Mount Baker Theatre holding candles.

Clarinetist David Alex was then joined by mezzo Danielle Bayne and tenor Brendan Littlefield for the haunting Alieh Neiri (Rise up, my light). The whole choir and orchestra got back into the act with a swinging version of the spiritual See Dat Babe.

Serge Prokoviev’s rollicking tribute to the mythical Lieutenant Kije obviously inspired the orchestra as they performed first the Troika from the Suite. A sextet of mini-ballerinas from Wendy Setter’s The Dance Studio then joined in for the Romance. They were awwwsome.

Closing out the first half of the concert was Johann Sebastian Bach’s beloved Magnificat. Several outstanding soloists from the choir delivered impassioned performances: mezzo Veronica Jensen, soprano Dana McGarr, baritone Daniel Smith, alto Soonja Doyle, and tenor James Reynolds.

Christmas Night, from Nikolai Rimsky Korsakov’s Christmas Suite opened the second half, when things tend to get a little less serious. The inimitable Jeff Margolis then narrated Twas the Night Before Christmas to an arrangement that let the percussion section show off a bit.

There have been many arrangements of Here We Come A-Wassailing and O Come, O Come Emmanuel, probably none better than those of John Rutter. The choir and orchestra brought freshness to the familiar carols. In between those two delights was a bit of virtuosic comic relief called BasSoon it Will be Christmas. Orchestra stalwarts Pat Nelson, Phil Thomas and Terhi Miikki Broersma should get more solos.

Santa hats were then donned in honor of Irving Berlin’s White Christmas, which always includes an audience sing-along. The concertgoers acquitted themselves quite well.

I can’t remember how many times I’ve witnessed the a capella singing of Silent Night in German and English, with the choir once again holding candles in the darkened theatre. It’s the traditional ending of the concert and it never fails to raise goosebumps. For those of us who treasure this orchestra and choir, this is the real start of the holiday season.

Coming up on February 19, it’s Russian Romance with pianist Milica Jelaca Jovanovich making an encore appearance. Call the MBT box office at (360) 734-6080 to reserve your seats or do it online at www.mountbakertheatre.com.

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Perfect present from Claire vg
by Christopher Key

Sometimes the sheer sentimentality of Christmas theatre productions can be a bit overwhelming. Claire vg Thomas Theatre director Shelley Jefferson has done us all a favor by finding a show with some edgy humor and gentle social commentary that helps avoid the diabetic shock that usually endangers us this time of year. It’s called The Christmas Toy Shop and it’s a delight.

The script was written by Michelle Vacca and the themes are timeless. The humor could have been derived from today’s headlines. Or at least Black Friday’s headlines. That gentle social commentary I mentioned could well be applied to the competitive shoppers who threaten to pepper spray what’s left of the Christmas spirit. There are a pair of orphans, toys that come alive, crazed elves, spoiled brats, Christmas carolers and enough energy to light the National Christmas Tree.

One of the highlights of the production actually occurs during the pre-show as the audience waits to be admitted to the theatre. Suddenly, an excess of elves transforms the Dutch Village Mall into a scene reminiscent of one of legendary cartoonist Rube Goldberg’s wacky contraptions. Scores of presents are dropped off balconies, tossed seven ways from Sunday and delivered back to the start only to repeat the frantic daisy-chain. There are also hints here of the production line insanity depicted in Modern Times. Yes, I know my references are dated. Look ‘em up, kiddies.

Photo credit - Christopher Key

If you think that things will settle down a bit once you enter the theatre, think again. This shop is filled with toys who, when they come to life, are serious anarchists. Trying to impose some order on this Bedlamic scene is Nix, the CEO (Chief Elf Officer) of the shop. Corey Anderson is perfectly stuffy as the anal-retentive, clipboard-carrying supervisor.

Carole May is typically over-the-top as Mrs. Wellington, a charter member of the one percent. Her offspring, two of the snottiest snowflakes you hope never to meet, are played to perfection by Maia Jensen and Samantha Nokes. Two of those subversive animated toys are particularly notable. Kristin Hoekema inhabits the toybox with an angelic smile that belies a nasty sense of humor. As the dancing doll, Kennedy Rainer demonstrates outstanding physicality with her robotic movement.

Presiding over the chaos is Ed Marantette as shop owner Nicholas S. Claus. He is gloriously goofy as the guy who will go to any lengths to keep the whole thing on schedule and avoid harshing his mellow.

Some of the toys who arrive later in the show include some serious scene-stealers. Chief among these is Alex Gardipe as the neurotic jack-in-the-box who is afraid of everything, especially the idea of commitment to Trudi. Played by Lisa Litchfield, Trudi proves that “Ya sure, ya betcha” isn’t confined to Ballard.

Evan Duncan, whose theatrical genes are impeccable, delivers a fine French accent and sneeringly superior Gallic sensibility as General Lafitte. His nemesis is the gypsy doll Esmerelda, played by Corinne Charbonneau with pointed patooey.

The relatively unsung hero of the plot is Mr. Thompkins, manically portrayed by Dave Duncan. He inherits the toy shop, the orphans and everybody lives happily ever after.

Director Jefferson and several of her talented technical compatriots from Western Washington University are responsible for the set, lighting and sound. They are submitting this production as their senior project and I’m giving it an A-plus.

The Christmas Toy Shop plays November 30 through December 17 at the Claire vg Thomas Theatre, 655 Front Street, in Lynden. November 30 and December 1 performances are dinner theatre shows at 6:30 p.m. with the show starting at 7:30. For the complete schedule, see http://sites.google.com/site/lyndenperformingartsguild/. The box office is open Tuesday – Saturday 1:00 p.m. to 3:00 p.m. For reservations, call (360) 354-4425.

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Plaid Tidings rocks the BTG
by Christopher Key

Having endured more lame theatrical sequels that any mortal should be subject to, I have a rather jaundiced view of the genre. Occasionally, however, someone brings forth a reprise that is as good as the original. Such is the case with Plaid Tidings, sequel to last year’s hands-down Bellingham Theatre Guild favorite, Forever Plaid. Playwright Stuart Ross makes it work by being unashamed to apply high schmaltz and sly humor to those holiday specials we used to watch year after year on TV.

Teri Grimes and Mish Kriz direct this production with an obvious love for all those cheesy guy groups that made us swoon in a in a kinder, gentler era. The cast from last year’s wildly funny production returns with one exception. That exception, Jinx, is played by the amazing Brad Anderson, who obviously groks the whole guy group scene and fits in as though he played in the original.

Plaid Tidings, like its predecessor, relies on close vocal harmonies that are a challenge for any group. Brad Anderson’s voice fits in perfectly with those of Colin Weiss, Andy Reinhardt and TJ Anderson. Helping to make that happen is the inevitable Steve Barnes, who returns as both Music Director and himself. Marcel Ardans also reprises his role as the slightly sleazy Uncle Chester, who happens to play a rockin’ acoustic bass.

I have reviewed Weiss, Reinhardt and TJ Anderson so many times that I am at something of a loss to come up with adequate adjectives to describe their talent. Not only do they have superb voices, but they have the acting chops that would frighten performers with far more experience.

Photo credit - David Cohn

The guy groups of that time usually just sang. The thing that makes Ross’ productions stand out is that he incorporates dance moves from the Motown era. Plaid Tidings goes a step or two further by adding tap dancing, among other things. When the four go into one of their tap numbers, it makes you realize just how multi-talented these actors are. Weiss does a Moonwalk that would make MJ envious. Choreographer Michelle Vanleeuwen deserves enormous credit.

Since this is a holiday show, the Plaids incorporate some Christmas/Hanukkah/Kwanzaa influences that are both politically correct and hysterically funny. For those of us who view certain Christmas standards as akin to waterboarding, these twisted arrangements are very refreshing.

Perry Como is the icon that the Plaids worship above all others. Not only did he bequeath them a Como Cardigan, he is present onstage in a nifty bit of special effects that allows the Plaids to sing backup to one of his Christmas performances. Our fave mad scientists Steve Barnes and Andy Backus are responsible for that bit of theatrical magic.

One of the scenes repeated almost intact from the original is the three-minute-and-eleven-second reenactment of The Ed Sullivan Show. Deservedly so. This is one of those theatrical moments that will make liquid come out of your nose if you take a sip at the wrong time. Provided, of course, that you are old enough to remember the original.

Plaid Tidings is a holiday show that will ease the pain of suffering through the multitudinous incarnations of A Christmas Carol. It plays November 25 through December 11 at the BTG Playhouse at 1600 H Street. Tickets are $12 for adults, $10 for seniors and students, and $8 for children. The box office is open Tuesdays through Saturdays from 1:00 to 6:00 p.m. Call (360) 733-1811 to make reservations and do it soon because this is a sure sellout. For more information on specific times and dates, see http://bellinghamtheatreguild.com/playbill/.

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Moscow Ballet does Romeo and Juliet
by John Evans French

Your humble reviewer has something of a hang up which I will get off my chest at the very beginning of this review. I do not like productions where one of the centerpieces is music and it is canned. I really do not care how good the can is. When I am paying to see live people that is exactly what I want.

Part of the orchestra that would have been required to perform Prokofiev’s score or some of the corps de ballet or the first two rows of audience would have had to sit in another part of the building to make it work. The pit area at the Mount Baker Theatre simply would not accommodate that large of a group, and please believe that I have had first-hand experience with this situation.

As to what did work, the production was really quite elegant all the way through. The costumes, from in the house, were vibrant, colorful and very much enhanced the dancers’ movements and expression. A well-deserved kudo goes to Arthur Oliver for his very intriguing work.

The stand out for me last night was Juliet. Alexandra Elagina had all of the facets for her character. The sublime beauty of the ballerina and her charmingly graceful mannerisms – especially in her duets with Romeo – were superb. She was quite simply, grace personified.

The other stand outs were Benvolio and Mercutio (Romeo’s close friends) who were incredibly charming and irritating (in the little brother sort of way) as they continually terrorized Juliet’s cousin, Tybalt. The three of them spent a great deal time chasing each other and it was marvelous – until Tybalt killed Mercutio, that is. And Romeo then killed Tybalt. But that’s the way the cookie crumbles sometimes.

Some the most exciting dancing of the evening took place during the sword play moments. There just is something about Russians, swords and dance that brings out excitement all the time for me.

The scenic backdrops for this production were of high quality, especially the Capulet family tomb which drew the audience in to being a part of the room. The lighting effects were very well done and wonderfully subtle, especially in the scenes with Friar Lawrence.

My two main criticisms of this experience are not with the production, but with the MBT. The volume of the orchestra in the can almost drove the audience out of the building in the first act. This is not the first time I have experienced this effect at the MBT. The “Spotlight” program I was given was 47 pages long of which 4 & 1/4 were given to information about the company. Do you really need to give me the construction shots of the MBT in 1926 every time and not let me read anything except a brief paragraph about each of the principal dancers?

This was a terrific night for dance lovers in Bellingham and I look forward to more.

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Multi-media spectacular from WSO
by Christopher Key

My companion for last night’s Whatcom Symphony Orchestra concert had never been in the Mount Baker Theatre before. MBT and the WSO gave her a show that was a tour-de-force of just what our local treasures can do when all the stops are pulled out. The focus for the concert was MBT’s Mighty Wurlitzer and I’ve always wondered if there is such a thing as an Adequate Wurlitzer. Never mind.

The WSO is known for adventurous programming and this concert took it to a whole new level. I am a huge fan of Armenian-American composer Alan Hovhaness, partly because much of his music was inspired by the Pacific Northwest. And God Created Great Whales, Op. 229, is a daunting challenge to perform, not only because of its free-form rhythms, but because it incorporates the recorded sounds of whales singing. The WSO went one step further and added a projected video of sporting whales produced by marketing director and cellist Noel Evans. The WSO and MBT’s technical wizards made it a memorable experience.

With the temperatures dropping, it’s always a good time to add Edvard Grieg in to the mix. The quintessential Norwegian composer is perhaps most famous for his Peer Gynt Suite No. 1, Op. 46. The melodies are so familiar that the occasional audience member wants to hum along. She was shushed pretty quickly. This showpiece is always capped by the fourth movement, “In the Hall of the Mountain King.” The WSO ripped through it at a breakneck pace that made my hair stand on end.

Bedrich Smetana’s tone poem The Moldau wrapped up the first half of the concert and the woodwinds were superb.

Then it was showtime as the Mighty Wurlitzer ascended from beneath the stage and guest artist Jonas Nordwall led off the second half with Charles Ives’ Organ Variations on America. The theme is a familiar one, “America the Beautiful.” Ives was known for his musical wit and the audience chuckled with appreciation as Nordwall demonstrated the multifarious voices of the Wurlitzer.

The much-anticipated centerpiece of the evening was Camille Saint-Saëns’ Symphony No. 3, Op 78, “The Organ.” Nordwall was nothing short of virtuosic and the orchestra responded by taking this work into near-earth orbit. The strings were particularly crisp in the second movement, but the whole orchestra seemed to rise to the challenge throughout.

There was a thunderous, and well-deserved, standing ovation at the end, both for Nordwall and the symphony. Nordwall was called back for three bows and the orchestra sections were recognized one-by-one for a performance that exceeded my usual high standards for this group.

Next on the WSO schedule is the beloved “Holiday Treasures” concert. As always, that includes the Western Washington University Concert Choir performing carols new and old. I have become something of a cynic in my old age about the commercialism of Christmas, but the annual candlelight singing of “Silent Night” in both German and English never fails to bring tears to my eyes.

This is a sure sellout, so reserve your tickets now. “Holiday Treasures” is on Sunday, December 4, 3:00 p.m., at the Mount Baker Theatre. Call the box office at (360) 734-6080 or purchase online at www.mountbakertheatrte.com.

For more information about upcoming Whatcom Symphony Orchestra concerts, see www.whatcomsymphony.com.

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