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Bridgewater Church sings along with Pete Seeger
What started as a group of local musicians organizing a benefit concert for the Bridgewater Congregational Church, ended with the appearance of legendary folk singer Pete Seeger joining the local talent on stage.
On November 14, in this small Church in Bridgewater, Connecticut, over 350 people came together for what became an historic event. The show was a live chronological music lesson in the roots of rock and roll starting with the early blues of Robert Johnson and progressing into the Woodstock era with the songs of Bob Dylan and the Beatles. On several numbers members of the church choir accompanied the core band that who referred to themselves as The Revuers.
Pete Seeger’s older brother John, at the age of 95, is a member of the church and long time contributor to the choir. John was asked if he’d like to assist in a Pete Seeger song. John did one better and suggested that his brother Pete come in person to the show.
Kevin Hobbs, organizer of the event, noted that long before Pete Seeger was added to the bill, The Revuers had intended to pay tribute to him by performing his song Turn, Turn, Turn. “It was a little surreal to have the man himself up there singing it.” said Kevin.
Pete, standing tall and appearing much younger than his 90 years, took the stage with his 12-string guitar to perform his classic song directing the audience to sing along with each verse. Pete then picked up his well worn banjo, and entertained the crowd with a new song that he wrote after the 9/11 attacks.
For the final encore, Pete invited the musicians who performed throughout the night to join him on “Key to the Highway” where he surprised the crowd with a blues riff on the 5-string banjo.
The Bridgewater Congregational Church is located on Main Street in Bridgewater, Connecticut. It has become the center of many concerts and artistic events in the area.
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Trudel Gives a Virtuosic Piano Performance
By Gilbert Mott, CONTRIBUTING WRITER, The Danbury News-Times
2/12/2009 Rachmaninoff's 24 preludes are distributed among three opus numbers but they form a coherent whole. Like Bach's "Well-Tempered Clavier" (though without the fugues) they explore all 24 major and minor keys. By turns lyrical and explosive, they are virtuosic miniatures that challenge a pianist's technique and musicality. The Canadian-born pianist Eric Trudel played them in recital at the Bridgewater Congregational Church on Sunday and proved to be up to the challenge.
The "Prelude in c # minor," opus 3 No. 2, was a youthful work that helped make the composer's reputation. A touring virtuoso himself, Rachmaninoff played it as an encore so often that he grew heartily sick of it. Trudel's playing of it set the tone for his recital. He took a rather expansive tempo and the falling motif took on a character of wistfulness rather than the trump of doom that one often hears in it. Though he never lacked for power, introspection rather than flashy display was the quality one took from Trudel's playing.
The 10 preludes of opus 23 filled out the first half of the program and the 13 of opus 32 took up the second half. Trudel, who is active both as a recitalist and vocal coach, supplied thoughtful program notes that gave his own slant on each of the pieces, a welcome and very personal explication of how the pianist approaches them. The piano sound in the small church was bright but never harsh.
There were many moments to savor along the way. opus 23 No. 1 was osngful and moody, paced expertly to its last dying chord. Trudel played the "tempestuous" (his word) second prelude of the set with great rhythmic freedom and flexibility and a big sound. Some smudged passages, as tended to crop up in some of the thickest-textured pieces, did not diminish the overall effect.
The fourth prelude of the first set had a fine quality of stillness and feel for rubato. Trudel luxuriated in the sensuous mix of voices in the sixth prelude and captured the perpetual motion feeling of the ninth. The finale (No. 10) of opus 23 was a highlight of the program, with its sighing motif beautifully set out against its rich backdrop.
The 13 preludes of opus 32 offer more complex textures and rhythms. Trudel played the first with a kaleidoscopic sense of color and the second with an insistent flavor to the three-note main motif. The fourth was declamatory, with a controlled energy through to its murmuring close. The fifth had a delicate quality and a gossamer-like closing trill.
The moody 10th prelude was expansive and rich-voiced, combining power and sensitivity. The 12th has a Spanish flavor, with its accompanying figures recalling the sound of a guitar, and Trudel's playing was full of color and eloquence. The final prelude was forceful and energetic, rounding off a display of virtuosity and musicality that excited all who heard it.
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November 20, 2007: Performing the works of Rossini, Brahms, Schubert, Poulenc, Liszt, Verdi
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October 11, 2008 The Amazing Christine Anderson
Last night’s Solo Handbell Concert by Christine Anderson was brilliant! Christine isn’t just talented, she’s truly gifted. The only way to describe her is to quote Paul Leddington-Wright, Choral Conductor at the Coventry Cathedral in Coventry, England: “A concert nothing short of dazzling . . . Her skill, interpretation and balletic performance leave one breathless and inspired.” What can’t be captured, though, is her wonderful story-telling infused with great humor and deep faith. We are so grateful to Christine for her generosity in giving us this concert.
We owe great gratitude, too, to Bonne Luck-Aulik for bringing her sister Christine to our church, to Sharon Harvey for coordinating the whole event, to Jo Dill for writing a press release that brought many new friends to our church last night, and to Jean Jusko and her crew of dedicated volunteers for making the reception as beautiful and gracious as ever. And, of course, thank you to all of you who donated desserts, libations, and funding for the reception. Our little church has been doing great things!
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REVIEW OF ALCINA
Excerpt from The Danbury News Times review of
Handel’s Alcina by Gilbert Mott Magical Opera at the Church
“The Bridgewater Congregational Church presented Handel’s Alcina in a production that took advantage of the church’s intimate space and fine acoustics. Staging was simple but effective. [Our own] Linda Burton sang the title role Alcina with fine feeling for line and a strong dramatic presence. Soft singing was especially effective. Allegra de Vita was a standout in the part of Ruggiero. She showed a strong stage presence and a flexible coloratura style that got better as the evening went on. Valerie Sorel , as Bradamante, showed her versatility in a rich-toned voice that was smooth throughout its range. Her recitative singing was especially sensitive and expressive. Rachel Antman, as the boy Oberto, sang with a rich sound and stylish ornamentation. As Orante, commander of Alcina’s troops, tenor Caleb Stokes was an ardent figure….a fine singing actor with a ringing tone. Bass David Mimran was a solid Melisso, guardian to Bradamante. Eric Trudel directed imaginatively making the best of the space in a way that helped clarify the story and move it forward. He was also a sensitive accompanist, giving the occasional subtle prompt when needed. There are many three-person recitative scenes in the opera and one was struck by how well the singers played off each other and mastered Handel’s varied and intricate writing. A trio toward the end was wonderfully detailed, with Alcina, Bradamante and Ruggiero each clearly etching their parts and still blending in a brilliant ensemble.” (end of excerpt)
The evening was topped off by a lovely champagne and dessert reception in the parish house. Our church and community were richly blessed by Linda Burton and her friends from New York bringing us this wonderful musical event and we offer them all our whole- hearted thanks.
We hope and plan that there will be additional great music brought to Bridgewater by this talented group in the near future.
—Chris Smith
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