UTAH OPERA ANNOUNCES 2015-16 SEASON

Not surprisingly, it’s going to be a roster of well known favorites when Utah Opera’s new season gets under way in October in the Capitol Theatre.

Starting off the 2015-16 season will be Giacomo Puccini’s perennial favorite Tosca, with soprano Kara Shay Thomson in the title role. Also in the cast is baritone Michael Chioldi as Baron Scarpia. Long time Utah Opera conductor Robert Tweten will return to lead the Utah Symphony. Performances run Oct. 10-18.

For the new year, Utah Opera will finally bring back Franz Léhar’s spirited operetta The Merry Widow. Sung in English, the cast features sopranos Caroline Worra as Hanna, the merry widow, and Sharin Apostolou as Valencienne. Conductor will be the Utah Symphony’s principal pops conductor Jerry Steichen. It will be onstage Jan. 16-24, 2016.

Giuseppe Verdi’s Aïda returns to Utah Opera after an 11-year hiatus in March 2016. In the title role will be soprano Jennifer Check, with bass-baritone Alfred Walker as Amonasro. Ari Pelto will conduct. Aïda will be performed March 12-20, 2016.

Finally, W.A. Mozart’s comedic masterpiece, The Marriage of Figaro, will round out the season in May. In the cast will  be soprano Anya Matanovic as Susanna and baritone Craig Irvin as the Count. Gary Thor Wedor will conduct. It will be performed May 7-15, 2016.

OFF THE WALL FUN WITH THE UKES

KINGSBURY HALL PRESENTS, The Ukulele Orchestra of Great Britain, Kingsbury Hall, University of Utah, Jan. 26

If just eight ukuleles qualify to be an orchestra, then the Ukulele Orchestra of Great Britain is overqualified. Not only do these eight musicians play their instruments well, they’re virtuosos and singers and comedians. An evening with them is an experience you don’t easily forget — in a good way. Nothing is sacred, and everything is fair game for spoofing.

The Ukes (Photo: Courtesy of the Ukulele Orchestra of Great Britain)

They have a huge repertoire of music, which audiences get to sample at their concerts. At their Kingsbury Hall appearance Monday they played everything from country to disco to rock to classical, all in their unique fashion. A two-and-a-half-hour show just doesn’t seem like enough time spent with these nutty Brits. The audience wanted more. This is the second time in as many years that The Ukes, as they’re affectionately known, have been to Utah (the last time was at Weber State University as part of their Cultural Affairs series). Hopefully they’ll be back within the next two years.

As much as the music they play is fun they’re shtick is hilarious, even if you’ve heard and seen them before. From one of their members playing a tiny uke about a third the size of the small soprano ukulele, to good natured jokes about their instrument of choice, everything is well worth the price of a ticket. And when you add the music to the mix, then it’s priceless.

You never know what you’re going to hear at one of their concerts. Monday night they opened with a short set that included Bo Diddley’s “Road Runner” and “I Heard It Through the Grapevine,” sung by band member David Suich. They followed that up with Pharrell Williams’ “Happy” (which is most definitely not a Leonard Cohen song as The Ukes’ leader, George Hinchliffe, insinuated in his remarks).

Country music took a hit with Leisa Rea doing a credible job imitating Dolly Parton in Parton’s song “Joshua,” while disco music was also a target with a couple of songs, Rose Royce’s “Car Wash” and Chic’s “Le Freak.”

Other songs on the program were the Bee Gee’s “How Can You Mend a Broken Heart,” Cher’s “Bang Bang” and Isaac Hayes’ theme from “Shaft.”

Classical music didn’t escape their attention, either.  As an ensemble they gave a fairly straightforward (as straightforward as classical music can sound for eight ukuleles) of Camille Saint-Saëns’ Danse Macabre, while bass player Jonty Bankes showed off his virtuoso whistling in Bach’s Bourrée.

For one of their encores the group sang and played an amazing medley that combined six songs, including tunes by the Eagles, Gloria Gaynor and Cat Stevens, over a steady Handelian accompaniment provided by Hinchliffe.