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First I zipped down to the library, picking up two books they had for me and returning one someone else wanted to read before me. Then I zipped over to the open house that Z. was running for the house DG wants to make an offer to buy. I spent more than an hour there, mostly chatting with Z. and her colleague (a guy from a lending institution), but also noting every small detail of the house that DG and AA hadn't noticed in their excitement. It really is a "2 bedroom, 1 bath house with a studio apartment," which is fine for them, but the company is advertising it as "3 bedroom, 2 bath," so the people coming to the open house were generally not interested. That's great news for DG and AA, as long as the trend toward adding housing in existing neighborhoods continues and becomes more normal (so they can sell it again someday).
Then I zipped over to the church where the concert was being held. There must have been a sports event at the same time, because it was not easy to park - I ended up three blocks away, and it wasn't because of tonight's oratorio, which had a nice but not large crowd. I recognized a great many people who are minor local musical celebrities, said hi to MvS (the conductor), and chatted during the intermission with both GP (wife of MvS and translator of the libretto into English for us to read on a screen) and a man she introduced me to, John Brombaugh, who has built many fine organs, including the one in that church and the one in my neighborhood Episcopal church. Eric Alterman, the cellist for the Delgani String Quartet, sat in my row but had two companions so I didn't say hello. I also ran into Sarah Brauer, the alto who sang the role of Elisha, in the restroom but didn't say hello to her either. I'm not sure how recognizable I am with a mask on, anyway, for people who see me only once or twice a year.
The plot for the Oratorio was quite grim. It was taken from 2 Kings, a scene with the siege of Samaria. Characters were two local women, the Prophet Elisha, King Joram, and the king's captain. The city had been under siege for some time, and the people were starving. One of the women was crying over her ailing child, then the other woman proposed that they turn the children back into life by eating them. This more violent woman then kills her own child, and they do eat him, but then the original woman refuses to kill hers, leading to considerable frustration for the violent woman. The latter then confesses to the king on behalf of both women, but the prophet sees into the non-murdering woman's heart and is able to clear her with the king. Then the siege is lifted and life can return to normal. (It is believed this oratorio commemorated the lifting of a major siege of Vienna by the Ottomans.)
It's pretty cool to hear a work of music that has only been performed once, ever, and that performance was more than 300 years ago (March 17, 1686). As with most of the previous oratorio concerts, though, I focused on the story and the singers and barely noticed the instrumental music - the one time we got to have a second performance (last year), I did appreciate the instrumental part much more. Maybe I'll watch the video.
Then I zipped over to the church where the concert was being held. There must have been a sports event at the same time, because it was not easy to park - I ended up three blocks away, and it wasn't because of tonight's oratorio, which had a nice but not large crowd. I recognized a great many people who are minor local musical celebrities, said hi to MvS (the conductor), and chatted during the intermission with both GP (wife of MvS and translator of the libretto into English for us to read on a screen) and a man she introduced me to, John Brombaugh, who has built many fine organs, including the one in that church and the one in my neighborhood Episcopal church. Eric Alterman, the cellist for the Delgani String Quartet, sat in my row but had two companions so I didn't say hello. I also ran into Sarah Brauer, the alto who sang the role of Elisha, in the restroom but didn't say hello to her either. I'm not sure how recognizable I am with a mask on, anyway, for people who see me only once or twice a year.
The plot for the Oratorio was quite grim. It was taken from 2 Kings, a scene with the siege of Samaria. Characters were two local women, the Prophet Elisha, King Joram, and the king's captain. The city had been under siege for some time, and the people were starving. One of the women was crying over her ailing child, then the other woman proposed that they turn the children back into life by eating them. This more violent woman then kills her own child, and they do eat him, but then the original woman refuses to kill hers, leading to considerable frustration for the violent woman. The latter then confesses to the king on behalf of both women, but the prophet sees into the non-murdering woman's heart and is able to clear her with the king. Then the siege is lifted and life can return to normal. (It is believed this oratorio commemorated the lifting of a major siege of Vienna by the Ottomans.)
It's pretty cool to hear a work of music that has only been performed once, ever, and that performance was more than 300 years ago (March 17, 1686). As with most of the previous oratorio concerts, though, I focused on the story and the singers and barely noticed the instrumental music - the one time we got to have a second performance (last year), I did appreciate the instrumental part much more. Maybe I'll watch the video.