Lincoln orchestra, opera overcome Gershwin challenge
By Barb Churchill
Music Critic
The Lincoln Civic Orchestra
played a challenging program of
Gershwin works Sunday afternoon at
the O’Donnel] Auditorium.
The orchestra, under the direction
of Herbert E. Dregalla, Jr., did a fine
job both in accompanying the vocal
ists of the Lincoln Light Opera and in
playing “Selections from Porgy and
Bess” and “Rhapsody in Blue.”
Members of the orchestra justifi
ably should be pleased with them
selves, as they played this concert
with style and grace. A few problems
with ensemble pitch and balance took
a while to clear up, especially in
“Rhapsody,” but overall the program
went off without a hitch. *
Playing a program of all George
Gershwin works can be a problem, as
the pieces are well known. Even
though Gershwin has been dead since
1937, his work is alive, frequently
heard on TV commercials and in
movies. Gershwin is a good compos
er for a semi-professional orchestra to
pick because his music is available,
approachable and appealing.
Gershwin’s music appeals to
novices and critics alike because it is
melodic and has clear jazz influences.
The difficulty arises in reconciling
the works’ classical and jazz ele
ments.
The civic orchestra shared the
program with the Lincoln Light
Opera, which presented some of
George and Ira Gershwin’s best short
vocal works. Included in the vocal
selections were the songs “Our Love
is Here to Stay,” “A Foggy Day” and
“Embraceable You.”
The show’s four singers - Malley
Keenan, James Schaffner, Kristi
Olson-Heng and Joleen Kay Allyn -
were excellent. Their songs could
have sounded maudlin if handled
improperly. This wasn’t the case
Sunday.
Malley Keenan, director of the
Light Opera Company, sang “Our
Love is Here to Stay” with accompa
niment from his son, violinist Sean
Keenan. Both Keenans showed excel
lent musicianship, with Malley
Keenan making the most of the
unusually downbeat lyrics.
Olson-Heng, a contralto, showed
amazing stage presence on “Someone
to Watch Over Me.” Olson-Heng had
great rapport with the crowd, which is
rarely matched by professional
singers with years of stage experi
ence. She also had a tremendously
rich voice and true pitch.
Schaffner, the baritone soloist,
shared the stage with Allyn, a sopra
no, on “Embraceable You.” Schaffner
showed great diction and pitch, mak
ing the most of the melodic line.
Allyn was fine as well, having a full
bodied sound that blended with
Schaffner’s. My only complaint is
that both singers had to compete with
the orchestra and each other to be
heard.
Among the orchestral pieces
played was the war horse “Rhapsody
in Blue.” This piece necessitates a
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