Andrea Bocelli at the Vivint Arena

I have wanted to see Andrea Bocelli in concert for a really long time and I finally had the opportunity last night.  It was an absolutely amazing performance and I am so glad that I decided to get a ticket (even though it was pretty expensive).  Bocelli was backed by the American Festival Chorus and Orchestra, based in Northern Utah, under the baton of Music Director Steven Mercurio and they looked and sounded very impressive.  There was a large panel of screens behind the stage which featured dazzling visuals and several numbers incorporated choreographed dances on stage with Brittany O'Connor and Paul Barris so the show was more like a theatrical experience than a concert.  The first half featured many well-known selections from the operatic repertory and I loved it.  I particularly enjoyed "Di quella pira" from Il Trovatore by Guiseppe Verdi, "La donna e mobile" from Rigoletto by Guiseppe Verdi, "Mario! Mario! Mario!" from Tosca by Giacomo Puccini with soprano Larisa Martinez, "Vissi d'arte" from Tosca by Giacomo Pucinni as a solo by Larisa Martinez, "Come un bel di di maggio" from Andrea Chenier by Umberto Giordano, "Si Pel Ciel" from Otello by Guiseppe Verdi with baritone Edward Parks, "Au fond du temple saint" from The Pearl Fishers by Georges Bizet with Edward Parks (this was a highlight of the night for me because I love this duet), and "Libiamo ne' lieti calici" from La Traviata by Guiseppe Verdi.  After the intermission, the orchestra and chorus performed a stirring rendition of "O Fortuna" from Carmina Burana by Carl Orff.  Then the rest of the second half featured music from Bocelli's latest album Believe which includes songs of faith and inspiration.  I especially loved "Oh, Madre Benedetta!" (another highlight because it uses Adagio in G Minor by Tomaso Albinoni which is one of my favorite pieces in the classical repertory), "Ave Maria" (with music composed by Bocelli), a cover of Leonard Cohen's "Hallelujah" with his nine-year-old daughter Virginia, "You'll Never Walk Alone," "Amazing Grace" with Loren Allred (she also performed her song "Never Enough" from The Greatest Showman), and "I Believe."  For the encore, Bocelli performed "Time to Say Goodbye (Con te Partiro)," which is probably his best known song, with Larisa Martinez (this brought the audience to their feet), a delightful version of "'O Sole Mio," and "Nessun dorma" from Turandot by Giacomo Puccini (this gave me goosebumps).  Many of these songs moved me to tears because Bocelli has such a beautiful voice and he performs with such passion.  After wanting to see him for so long, this concert exceeded all of my expectations and it will definitely be among my favorites!

The Invisible Man and The Wolf Man Double Feature

I enjoyed the double feature of Dracula and Frankenstein so much I decided to see The Invisible Man and The Wolf Man yesterday afternoon.  I had never seen these movies before so it was a lot of fun to watch them for the first time on the big screen.  In The Invisible Man, based on the novel by H.G. Wells,  Claude Rains, one of my favorite actors, plays Dr. Jack Griffin, a scientist who has found the formula to make himself invisible.  At first he searches for a way to become invisible because wants the fame and money such a discovery will bring him but an obscure compound in the formula is slowly driving him mad and now he wants to control the world.  He goes on a killing spree and it is up to his employer Dr. Cranley (Henry Travers), his colleague Dr. Kremp (William Harrigan), and his fiancee Flora (Gloria Stuart) to stop him.  Rains is captivating in the role, even though you only see his face in the final moments, because his voice is so sinister.  The special effects are impressive, even by today's standards, especially the scenes in which Griffin removes his bandages to reveal his invisibility (apparently achieved by having Rains wear a black velvet bodysuit under his costume and then filming against a black velvet backdrop) and when he causes a train derailment.  It is a great blend of horror and science fiction with a message about the dangers of meddling where one should not and I really liked it.  In The Wolf Man, which does not have a literary reference but is based on folklore instead, Lon Chaney is Larry Talbot, the heir to a large estate in Wales who has recently returned to reconcile with his father Sir John Talbot (Claude Rains).  When a large wolf attacks a woman in the forest, Larry kills it with a silver walking stick but not before being bitten.  A gypsy fortuneteller (Maria Ouspenskaya) tells him the the wolf was really her son Bela (Bela Lugosi), a werewolf, and that he will now become a werewolf.  During the full moon he is transformed and goes on a murderous rampage but doesn't remember anything in the morning.  Eventually, he begins to suspect that he is a monster and feels tremendous guilt over what he has done but his father protects him from exposure until forced to take action.  I didn't think the transformation from man to werewolf was that spectacular (although these scenes apparently took hours to film) but the makeup effects (which involve lots of yak hair) are outstanding.  I enjoyed Chaney's emotional performance as a man who is horrified by what he has become and I loved the use of fog in the forest scenes because it so menacing.  As with Dracula and Frankenstein, the portrayal of these characters in popular culture today is influenced more by these movies than by their source material (I kept thinking about Charlie Barber's Invisible Man costume in Marriage Story).  I think these movies featuring the so-called Universal Monsters are iconic and are definitely worth seeking out (even after Halloween).

Back to the Future in Concert

I think it is common knowledge by now that I am a huge fan of Utah Symphony's Films in Concert series!  I am pretty sure that I have been to all of them starting with the very first one, Harry Potter and the Sorcerer's Stone, and last night I went to the latest, Back to the Future.  It has been a really long time since I watched this movie and I had forgotten how funny it is (I laughed out loud at Huey Lewis as a judge for the Battle of the Bands).  I was also surprised by how well it holds up after more than thirty years since its release!  Needless to say, I had a great time seeing it again on the big screen while the orchestra played the score by Alan Silvestri live.  Marty McFly (Michael J. Fox) meets his eccentric friend Emmett "Doc" Brown (Christopher Lloyd) to test his latest invention, a time machine made out of a DeLorean powered by plutonium.  When they are surprised by Libyan terrorists, who are not happy about having their plutonium stolen, Marty flees in the DeLorean and travels back to 1955.  He eventually finds Doc but he also inadvertently disrupts the meeting between his parents, Lorraine (Lea Thompson) and George (Crispin Glover), which puts his own existence in jeopardy.  Will he get his parents back together?  Will Doc be able to get him back to the future?  Silvestri's score adds so much excitement to the movie and I especially enjoyed the themes played when Marty is being chased by the Libyans before he travels to 1955 and when he is chased by Biff (Thomas F. Wilson) through the town square on an improvised skateboard.  The score also creates an almost unbearable feeling of tension and suspense (especially with all of the brass) when Marty and Doc face obstacle after obstacle as they try to harness the lightning from a storm to power the DeLorean and it is surprisingly poignant when Marty is reunited with Doc in 1985.  Another fun element to these concerts is the audience participation, which is encouraged.  There was lots of cheering and applause, especially when George punches Biff and when he kisses Lorraine at the Enchantment Under the Sea dance!  Seeing a film in concert is such a fun and immersive experience so I highly recommend getting a ticket for Back to the Future tonight or for one of the other films in concert later this season (go here for information and tickets).

Frozen at the Eccles

I had the chance to see a preview of the musical Frozen in Denver before it transferred to Broadway and I absolutely loved it!  I was so excited to see it again last night while the Broadway touring production is making a stop at the Eccles Theater through November 13.  The musical follows the movie pretty closely and begins with a young Elsa (Natalie Grace Chan) and a young Anna (Victoria Hope Chan) building a snowman together.  When Elsa accidentally freezes Anna with her mysterious powers, the King (Kyle Lamar Mitchell) and Queen (Marina Kondo) tell her than she must hide herself away from Anna and the rest of Arendelle.  When the King and Queen are lost at sea, Elsa (Caroline Bowman) must open the doors of the castle once again for her coronation.  She loses control of herself, with devastating consequences, when Anna (Caroline Innerbichler) requests permission to marry Hans of the Southern Isles (Austin Colby) and she flees Arendelle.  Anna follows her, hoping to save Arendelle from the endless winter, and is aided by an ice harvester named Kristoff (Mason Reeves), his reindeer Sven (Evan Strand), and Olaf (F. Michael Haynie), the snowman built by Elsa and Anna as young girls.  Elsa fears that she is a monster but it is her ability to love that ultimately saves Anna and Arendelle.  Many of the well-known songs from the movie are included, such as "Do You Want to Build a Snowman," "For the First Time in Forever," "Love is an Open Door," and, of course, "Let It Go," but my favorite songs are two new ones, "Dangerous to Dream" and "Monster," because they provide more insight into Elsa's character.  I also really loved a song that was added since I saw it in Denver called "I Can't Lose You" because Bowman and Innerbichler sing it so beautifully.  The sets and costumes are also informed by the movie as are the delightful puppets used for Sven and Olaf.  The special effects in this show are dazzling!  I especially loved it when the young Elsa makes it snow inside the castle and when the frozen Anna is thawed by Elsa.  However, "Let It Go" is absolutely magical with projections in sync with Elsa's gestures and a quick costume change.  All of the little girls sitting near me were giggling with delight (and I may have been, as well).  This is such a fun show to welcome patrons back to the Eccles Theater and I highly recommend getting a ticket (go here).

Ass at PTC

Last night I went to see the world premiere, delayed twice by Covid, of Ass at Pioneer Theatre and, while I found it to be incredibly thought-provoking, I did not particularly enjoy it.  Jule Waterman (T. Ryder Smith) is a world-renowned artist known for his larger than life sculptures of specific body parts that are so captivating they suggest the whole person.  He is a genius but he is narcissistic and difficult.  He is also suffering from kidney disease which necessitates daily dialysis treatments while he waits for a transplant.  He is married to Tory (Laura J. Hall), a significantly younger woman who is the latest in a long string of wives and girlfriends.  Because she is insecure about her importance in his life, she is desperate to be immortalized in one of Jule's sculptures.  His son Will (Ben Cherry) has been immortalized in sculpture but he still feels unimportant to his father.  His wife Ana (Elizabeth Ramos) is anxious to have a child but she can't conceive and needs expensive IVF treatments.  She pressures Will to return to his childhood home to ask his father for a loan and Tory pressures Jule to ask Will for a kidney so he can continue working on a sculpture of her.  It takes a dialysis nurse named Ray (Vince McGill) to get Jule and Will to express their feelings to each other.  The title of the play comes from the imposing sculpture in progress that completely dominates Jule's living space (I liked the set which is an eclectic New York loft complete with an elevator) and from the fact that every character (with the possible exception of Ray) behaves like one.  Even though the subject of familial relationships is universal I couldn't really relate to any of the characters because they are so unlikable and the unnatural dialogue, which sometimes seems really bombastic, keeps them at such a distance.  Most of the humor falls flat (I only laughed once and I can't even remember what prompted it) and there are surprisingly few emotionally satisfying moments.  I did find some of the themes to be compelling, such as the degree to which someone should be indulged simply because they are a genius and how the children of famous people suffer by comparison yet often ride the coattails of their parents to unearned fame.  This show is interesting but I didn't love it as much as other productions at PTC.  It runs through Nov. 6 (go here for information and tickets).