October 20, 2006

Cleveland Pops Orchestra delivers a Broadway blast
Cleveland Pops Orchestra
Severance Hall

By Donald Rosenberg
Plain Dealer Music Critic

Orchestral musicians aren’t in the habit of smiling, especially wind and brass players, whose faces usually are busy elsewhere. They play their parts, do the conductor’s bidding and adhere as closely as possible to the composer’s wishes.

But many members of the Cleveland Pops Orchestra seemed downright giddy during the first concert of their 11th season Friday at Severance Hall. And they had good reason: they were teaming with a trio of captivating singers, the so-called "Broadway Divas," who scaled the musical-theater heights whether they were singing for their supper or going Lloyd Webber crazy.

The guests were Debbie Gravitte, Jan Horvath and Christiane Noll, veterans of Broadway shows and each the possessor of a distinctive voice perfectly suited to the material of the night. They sang their hearts and heads out as singular sensations, duettists and in threesomes that confirmed the wisdom of the Pops’ decision to highlight them on opening night.

First, let’s not forget Carl Topilow, the Pops conductor, who often trades baton for clarinet (regular or red). He made his first appearance sauntering onstage playing the famous trill and upward swoop from Gershwin’s "Rhapsody in Blue," which he seamlessly joined with "Everything’s Coming Up Roses" from "Gypsy." Once on the podium, he connected the latter to the full "Gypsy" overture, played with typical Pops splendor.

Topilow was an unerring interpreter of Broadway fare and pinpoint collaborator throughout the evening. The guests seemed to adore every moment, as did the audience. And what wasn’t to love?

Gravitte poured her trademark earthy wit and compassion into every phrase, starting with a volcanic "Don’t Rain on My Parade" (from "Funny Girl," folks, not "Gypsy," as listed in the program) and adding a sympathetic throb to "If He Walked Into My Life" ("Mame").

Horvath’s diminutive demeanor only heightened the exhilarating charm of her "Broadway Babies" ("Follies") or the fervent intensity she brought to "Don’t Cry for Me Argentina" ("Evita"). And Noll’s crystalline soprano was the ideal instrument of expressive ardor for "Till There Was You" ("The Music Man" ) and "I Could Have Danced All Night" ("My Fair Lady").

Together, the singers had cheeky fun with "Big Spender" ("Sweet Charity") and "Mamma Mia!", while deftly negotiating the vocal puzzles of "Sing for Your Supper" ("The Boys from Syracuse") and maintaining straight faces through the sappy sentiments of a Lloyd Webber medley.

The evening was a Broadway blast even when the divas were backstage changing gowns. Topilow, with clarinet charismatically set to lips, and his orchestra were jubilant champions of a snazzy arrangement of tunes from "42nd Street" by their principal trombone, Paul Ferguson. And after hearing the Pops play the delicious overture to Leroy Anderson’s "Goldilocks," won’t someone please consider giving this 1958 flop another chance?