The genesis of this album dates back several years. The Ludwig orchestra was on tour in Birmingham, England. One night the orchestra’s artistic director Peppie Wiersma and another colleague went out after their concert, eventually finding their way to a club where a crowd of people were ballroom dancing. Galvanized by the energy and joy she witnessed that evening, Wiersma soon sought out collections of dance band charts and gave them to the orchestra.
After playing through several collections, they then chose a varied selection of dance tunes embracing repertoire from much of the twentieth century. A ‘dance’ concert became a regular part of their performance schedule, alongside their other more serious concerts of orchestral and chamber repertoire. In California at the Ojai Festival, the orchestra and Barbara Hannigan performed a ‘classical concert’ immediately followed by a ‘dance’ concert, and the liner notes feature a picture of Hannigan being swept off her feet during that concert. And while this new recording was made under studio conditions, its sense of joyful energy offers the listener a keen sense of how infectious these dance concerts must be.
Each of the twelve tracks has a compelling dynamism, born of an orchestra that clearly enjoys playing repertoire outside its ‘traditional’ norm. The last decades have seen a fair share of albums where classical-trained musicians have playing ‘popular’ repertoire in strait-laced, unidiomatic performances. But that is never the case here; instead, this ensemble has a convincing natural affinity for the repertoire, fully inhabiting the mood and style of each piece.
In one of the Alpha label’s promotional videos for this album, Hannigan says the program reminds her of her high school band, which traveled throughout Nova Scotia playing at dances. It is remarkable to hear how completely at home she sounds in this repertoire. One is hard pressed to think of another ‘classical’ singer today who can convincingly sing such an eclectic variety of repertoire.
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Hannigan’s performances are wholly idiomatic and often deeply touching: “Moonlight Serenade” has a disarming naiveté that perfectly evokes the text, while the smoldering performance of Weill’s “Youkali” puts the listener in the front row of a smoky Berlin cabaret. I was disappointed she does not sing Barry Manilow’s “Copacabana” (she would surely bring its story vividly to life) but Lucienne Rénaudin-Vary’s trumpet is a persuasive substitution, especially in Greg Anthony Rassens’ salsa arrangement. And Bill Elliott’s arrangement of “I Could Have Danced All Night” from “My Fair Lady” is particularly successful at merging its original Broadway roots with the sensual sophistication of the Viennese waltz. The final track, Leo Artok’s arrangement of Elgar’s “Salut d’amour” is a captivating send off, evoking images of exhausted but happy dancers departing the hall, still wrapped in the warm glow of physical connections just experienced.
46 minutes is rather short shrift for a full priced new release, and the sheer excellence and exuberance of the performances make one wish for more. Hannigan fans need no special pleading to acquire this latest release, though it should be noted she appears as a performer in only four of the twelve tracks. Nevertheless, listening to this album over the last week proved to be a much-needed restorative balm, and this is surely what the performers intended. The album is yet another illustration about the silliness of labels: ‘classical’ versus ‘popular,’ ‘serious’ versus ‘light,’ etc. There is only one important distinction – ‘good’ music versus ‘bad’ – and this is very good music, performed with infectious energy and extraordinary panache. We must hope that orchestra and singer do a follow up album in the future – warmly recommended.
Dance With Me
Barbara Hannigan – Soprano
Lucienne Rénaudin-Vary – Trumpet
Berlage Saxophone Quartet
LUDWIG Orchestra
Alpha, CD 790
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