BY LAURA BIEMMI
Signed, Sealed, Delivered: The Music of Stevie and Aretha
Perth Symphony Orchestra
Astor Theatre, 31 May
Signed, Sealed, Delivered: The Music of Stevie and Aretha was the Perth Symphony Orchestra’s latest concert in a string of highly popular, nostalgia-themed performances (the music of both George Michael and Nirvana had previously been given the special PSO treatment).
The concert promised much; stunning vocalists, fan-favourite tunes of both Stevie Wonder and Aretha Franklin, and evocative arrangements that would speak to classical music fans, those who prefer Stevie and Aretha to Stravinsky and Adès, and those who love both. And the PSO absolutely ‘delivered’ on those promises. (#sorrynotsorry)
But the concert-going experience doesn’t begin when the lights go down and the music starts up.
It began in the arty, retro foyer of the Astor Theatre, with the smell of fresh popcorn and the buzz of the seemingly thousands of concertgoers.
Every PSO concert I’ve attended has had the same sense of anticipation and excitement before the show (though not all of them have had the lovely popcorn smell). The anticipation carried through from the foyer and into the theatre itself, and the dimming of the lights was met with several ‘whoops’ from the audience. The momentum of the night was somewhat slowed by the raffle draw, and the almost melancholy PSO promotional video, but once the music began, it was a whirlwind of sounds and sights.
The PSO strings and ‘horn’ section, and their energetic conductor Jessica Gethin, were met with huge applauds in the first song of the night (Signed, Sealed, Delivered; what else?). The PSO strings provided solid groundwork for the night, with rhythmic accuracy and the right amount of gusto to bring the arrangements to life. The ‘horn’ section of Matt Styles (saxophones/flute), Adrian Kelly (trumpets/flugelhorn), and Bruce Thompson (trombone) were life of the orchestra; not just in their colourful, jazzy interjections, but because you could tell they were having so much fun with their music. It was hilarious to see the horn section bopping along and even wearing sunglasses in the particularly brassy songs.
For those who love their classical music (e.g. me), the arrangements of Stevie Wonder and Aretha Franklin’s best-known songs were highly engaging. I loved the small-but-noticeable references to classical music (Bach! Johann Strauss II!) and was impressed with the variety of sounds and colours one could wrangle from strings and a limited wind/brass section. Some songs lent themselves to orchestral reinterpretation incredibly well; Chain of Fools was propelled by the force of the string sound, and the cello solo of I Just Called to Say I Love You added an emotional weight to the song.
In a performance that could have easily been focused on star singers and incredible soloists, it was great to see an equality of stage presence between all the performers. No pit orchestra, no hidden conductor, no invisible, disembodied choir; everyone was important. That’s not to say that the singers didn’t do a fantastic job. Though only on stage for Hallelujah, I Love Her So, Jordan ‘Little Stevie’ Rabbone brought the house down with a high-energy performance and extremely impressive vocals. His performance was simultaneously young and old – his youthful exuberance only heightening his vocal maturity.
Matt Allen, (or ‘Old Stevie’, if you will) also delivered a solid performance, though there was little variation in vocal colour within and between songs. However, his contribution to the show overall was massive, both as an arranger and as the musical director of the WAAPA gospel choir. But it was Sophie Foster who brought much of the music to life as ‘regular-aged Aretha’. Though she failed to project in her lower register (I missed many lyrics in I Say a Little Prayer), her soaring high notes and powerful vibrato were simply astounding. Foster’s performance of Aretha’s performance of Nessun Dorma was particularly moving; it was warm inside the Astor, but I came away with goose bumps anyway.
The soloists didn’t claim a monopoly on good singing for the night. The WAAPA Gospel Choir, under the direction of Matt Allen, was simply magnificent. There were a few stage manner issues – singers getting distracted, swaying in the wrong direction and bumping into each other, and the two girls who appeared to be having a conversation during a few of the less chorus-heavy works. But the vocal performance itself was both technically and sonically assured. The blend was fantastic; no individual voices to be heard whatsoever, and the choir navigated the unconventional modulations of pop music with ease. (And, of course, in their red robes, they looked fabulous.) Their performance of Matt Allen’s arrangement of Amazing Grace was sobering and introspective; gone were the orchestral forces, the wailing soloists, the grandeur, and instead the audience was left with the purity and beauty of the human voice.
The most surprising, entertaining, and unforeseen element of the performance had to have been Chelsea J. Gibson as the harmonica soloist. I didn’t know the harmonica had virtuosic capabilities, or such a range of sounds. I was always excited to see Gibson on stage; her work in the Think/Respect mashup and Superstition enhanced the songs tenfold. And I absolutely loved her awkward bopping in Superstition as the song went on for just a tad too long, because I would have done the exact same thing. If anyone plans on writing or commissioning a harmonica concerto, Gibson not only has the perfect dress (so sparkly!) but the skills to perform it.
It was clear that the audience absolutely loved Signed, Sealed, Delivered: The Music of Stevie and Aretha. The experience was so interactive; from the ‘whoops’ and cheers during the songs after impressive solos or vocal lines, to the people literally dancing in the aisles and in the rows. The last item on the program (a mashup of Higher Ground/Master Blaster/I Wish) felt more like a party than a concert. It gave me the feeling of being within a large musical community, to be enjoying a night of music-making with people that I’d never met before. PSO absolutely ‘delivered’ with their concert, and once again served the people of Perth with an unforgettable night.
Images supplied: Richard Jefferson Photography. This review was last updated 7 May.
