Review: The Lyric Opera of Kansas City's "Eugene Onegin" at Muriel Kauffman Theatre

I glibly dismissed opera as a teenager.  When people asked me what types of music I liked, I’d respond by saying “everything but opera.”  The ignorant retort was based on my perception of opera as a bastion of privilege.  I didn’t actually attend an opera until about 15 years ago.

I rolled the dice when I bought four tickets to a production of Arrigo Boito’s “Mefistofele” at Teatro dell'Opera di Roma for the equivalent of $75 U.S. dollars.  I expected my young children to revolt after 30 minutes.  Instead, they were spellbound by the operatic portrayal of Satan.  I was similarly transfixed.  (There’s definitely something to the “when in Rome” trope.)

I’ve since begun listening to arias for pleasure, a development partly inspired by my interest in the dramatic rise to stardom of Joyce DiDonato, a fellow Kansan.  I spent $39 (plus the Kauffman Center for the Performing Arts’ regressive $6.50 add-on fee) for an upper balcony seat to the Lyric Opera of Kansas City’s production of Pyotr Ilyich Tchaikovsky’s “Eugene Onegin” on Saturday.

Spending big money to take in a glacially-paced three-hour Russian opera isn’t everyone’s idea of a solid Saturday night, a truth reflected by the spotty attendance.  A third of the seats in Muriel Kauffman Theatre were empty, a bad look for an opening night.

I would have adored almost every minute of the opera even if I didn’t have an entire row to myself.  The stellar performance of the Kansas City Symphony under the direction of Ari Pelto kept me riveted even when the flimsy plot dragged.  It didn’t hurt that I was smitten by Raquel González.  She was radiant in the role of Tatyana.  I also admired Steven Cole’s cameo as Monsieur Triquet and Jane Bunnell’s portrayal of Filipyevna.

The subtle lighting, sublime special effects and handsome sets transported me to Russia, a bewitchment that was broken by the heedless chatter just outside the theater doors that disrupted quiet segments of all three acts.  Nyet, nyet, nyet!


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I reviewed the Sextet’s new album Blob Castle at Plastic Sax.

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I’m a sucker for the Floozies’ unrepentantly dim-witted party jams.  Funk Jesus is RIYL sunshine, EOTO, beer bongs.

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Mastodon’s output just sounds better than most hard rock/heavy metal recordings.  The new four-song EP Cold Dark Place is RIYL Blizzard of Ozz, pomp, Diary of a Madman.  Here’s the title track.

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Not every reissue of vintage Afropop is worthwhile.  Vincent Ahehehinnou’s Best Woman seems like a desultory rehearsal.

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Kamasi Washington’s 31-minute Harmony of Difference is a digestible cosmic jazz document.  ”Truth” is the longest track.

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“There’s a Flaw in My Flue”!  I finally got around to listening to Bob Dylan’s Triplicate.  He’s clearly trolling, and I love it anyway.

(Original image by There Stands the Glass.)

Concert Review: Salif Keita at Town Hall

I was disappointed when I checked the live music listings after I snagged a cheap flight to New York City.  No Henry Threadgill.  No Cecil Taylor.  Not even Wadada Leo Smith would be playing while I’d be in town.

During my previous trip to New York City, I heard Joyce DiDonato light up Carnegie Hall (my review) and sat a few feet from Dave Douglas, Lee Konitz, Matt Mitchell, Linda Oh and Ches Smith at the Jazz Standard (my review). While I experienced nothing quite as momentous on my visit earlier this month, I didn’t go wanting.

I heard the artist known as the Golden Voice of Africa perform for hundreds of Malians in a historic venue built by suffragettes.  It was a quintessential New York City experience.  I uploaded a snippet to Instagram.  Super-fan Banning Eyre reviewed the concert for Afropop Worldwide.


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I reviewed a concert by In This Moment, Motionless In White, Avatar and Gemini Syndrome for
The Kansas City Star.

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I wrote an extended concert preview about Mastodon for The Kansas City Star and Ink magazine.

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My weekly music previews for The Kansas City Star and Ink magazine are here and here.

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I named Alicia Solo KCUR’s Band of the Week.

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I laud Kansas City’s new lounge band Agora at Plastic Sax.

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Allan Holdsworth has died.  Feels Good To Me might be the last prog/fusion album I enjoyed before the Sex Pistols, the Ramones and the Clash changed my outlook.

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Orchestra Baobab’s Tribute to Ndiouga Dieng is the leading candidate to be my all-purpose album of the summer. My next-door neighbors have already heard it twice as I’ve worked in my driveway.  RIYL: life, Buena Vista Social Club, love.  Here’s ”Foulo”.  (Tip via Big Steve.)

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Tribute to Ndiouga Dieng is light and breezy, but Vieux Farka Touré‘s Samba is loud and brassy.  RIYL: 1970s’s-era Carlos Santana, dancing, Ali Farka Touré.  Here’s ”Homafu Wawa”.

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Damn isn’t To Pimp a Butterfly or Good Kid, M.A.A.D. City.  So what?  It’s still essential.  Kendrick Lamar remains the #rapmessiah.  Here’s ”DNA”.

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I’ve always loved Decoy.  Christian Scott Atunde Adjuah successfully updates the 1980s sound of Miles Davis on Ruler Rebel.

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Rodney Crowell’s Close Ties is a mishmash of great and cringe-worthy- songs.  ”Nashville 1972” is both.

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Howard Shore’s Two Concerti, ably played by Lang Lang, is a noble failure.

(Original image by There Stands the Glass.)

Concert Review: Kverlertak, Gojira and Mastodon at the Uptown Theater

As he took my $30 last Wednesday, the man in the box office of the Uptown Theater raved about the brilliance of Mastodon.  I confessed that while I admire the band, I was really laying down my money for the opening acts. 

I'd already attended three or four Mastodon concerts but I had yet to witness Kvelertak perform "Bruane Brenn" and I hadn't seen Gojira since the French band opened for Lamb of God in the same venue in 2007. 

Kvelertak didn't disappoint in an opening set marked by revolting showers of spit and sweat.  Gojira's slow songs caused me to wonder if it's the world's best post-metal band.  For its part, Mastodon dialed the visuals way back from the gaudy spectacles displayed on previous tours. 


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I reviewed Judas Priest's concert at the Midland theater.

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I reviewed Lecrae's concert at Independence Events Center.

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Here's my Local Listen feature on the Architects for KCUR's Up To Date.

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Kansas City musician Horace Washington has died.

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Jack Bruce has died.

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Budos Band's metal-tinged Burnt Offering is RIYL: Booker T & the MGs, epic instrumental jams, the Meters.  Here's the title track.

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The title of the stellar new Francis Bebey compilation Psychedelic Sanza: 1982-1984 is misleading.  RIYL: God, Mickey Hart, life. (Tip via Big Steve.)

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The Thought of You, Otis Brown III's debut album as a leader, is RIYL: Joe Lovano's Us 5, the idea of jazz as a living music, Gretchen Parlato.

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Walt Weiskopf's Overdrive is RIYL: Michael Brecker, classic Blue Note, Kenny Garrett.

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Hey, there's a new documentary about the Mekons!  (Tip via Rick H.)

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John Cale recalls Lou Reed on "If You Were Still Around".

(Original image by There Stands the Glass.)

Bobby Womack, 1944-2004

I was late to Bobby Womack's party.  By the time I purchased the CD pictured above in the early '90s, I'd already become conversant with the works of most soul greats.  Hearing songs like "Lookin' For a Love," "That's the Way I Feel About Cha" and "Across 110th Street" for the first time was stunning.  I wondered how these gems weren't played alongside familiar radio hits by James Brown and Al Green.  After finally catching up with Womack, I was able to enjoy subsequent albums as new releases.  Womack died last week.  Here's Raphael Saadiq's new tribute song.

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I reviewed Saturday's concert by Tech N9ne, Freddie Gibbs, Jarren Benton and the Psych Ward Druggies.

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I reviewed Ray LaMontagne's concert at Starlight Theatre.

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I yakked about music on KCUR's Up To Date last week.  Here's the stream.

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Lee McBee has died.

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Tech N9ne made a video for "Fear."

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Here's the trailer for Arrows Into Infinity, a new documentary about Charles Lloyd.

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I'm a Led Zeppelin freak but I'm not an apologist.  Here's essential documentation of LedZep's transgressions.  The insidious ads are a small price to pay.  (Tip via There Stands the Glass reader Phil.)

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Har Mar Superstar stars in the excellent video for Trampled By Turtles' "Wild Animals."

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Jimmy Cobb's The Original Mob bores me to tears.  I suppose that makes me a bad person.

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It's not exactly funky, but Worry Later by the unapologetically geeky jazz trio of Ben Goldberg, Adam Levy and Smith Dobson is a sublime tribute to Monk. 

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Mastodon's latest release sounds exactly like another Mastodon album.  Here's the video for "High Road".  RIYL: size, The Mars Volta, volume.

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It takes 2 hours and 35 minutes to play the new compilation Role: New Sounds of Brazil.  Much of it is exemplary.

(Original image by There Stands the Glass.)