"Right on the Money"

   

PGSO’S Sinatra tribute right on the money

A review by VALERIE GILES
Special to The Prince George Citizen
October 14, 2008

Favourite songs of long-dead singers stay with fans forever – especially memories of their concert performances.

Fans never forget those versions of the songs which became standards against which any other vocalist is forever compared. There are many Sinatra fans who feel the same way about his signature songs. It’s tricky to get past the sounds embedded in people’s brains and pull together an enjoyable performance.

Saturday evening, the PGSO and guest soloist baritone Michael Hope brought their collective talents together in a tribute to the much-loved and well-remembered music of the Big Band era of the 1940s and ‘50s.

The orchestra was ably led by its former interim music director, Bradley Thachuk, who returned for this special performance.

They launched the concert with a medley of that magnificent Bernstein music from West Side Story, neatly anchoring the Broadway theme.

Hope gamely stepped up to deliver a selection of Frank Sinatra standards. “Night and Day” and “Witchcraft” honestly did sound familiar, with full orchestra backing providing big-band sound. Speaking to the audience, Hope acknowledged that he wasn’t trying to imitate Sinatra; rather he was “sharing some of the most beautiful music I know.”

In doing so, he remained faithful to the famous phrasing and playful pauses in the songs. He respected that Sinatra “could weave magic into every song he sang” and Hope managed to inject lots of personality into his performance. The tribute was genuine and the renditions respectful. Songs like “Stardust” and “I’ve Got You Under My Skin” evoke the sentiment and romantic music style of the 1940s and ‘50s.

At one point, Hope expressed his joy at working with “a terrific piano player” – Kayla Wong, who accompanied him throughout. As the singer took a break, the orchestra broke loose and played a swinging medley of Duke Ellington hits.

Returning to the stage, Hope delivered the mournful “One For My Baby” and then had some fun, like Sinatra used to do on stage, playfully singing “Mack the Knife.” The ballad “A Nightingale Sang In Berkeley Square” best showed off Hope’s baritone range and gave him opportunity for expression.

The first half of the concert paused after a stirring rendition of “New York, New York,” pulled off true to the cadence and tempo of the Sinatra version. Sinatra himself would have been pleased because this enthusiastic, energetic performance reflected the persona he projected on stage.

More familiar Broadway sounds followed, like one treat after another. Music from the great Broadway composers Rodgers, Porter and Sondheim were all represented. The evocative music from Man of La Mancha was stunningly beautiful. The orchestra soared and met the masterful vocal delivery of those noble sentiments behind the words.

Perhaps “The Impossible Dream” was the best of all choices as the final song. Acknowledging the audience’s enthusiasm, Hope returned to deliver an encore. He introduced “the greatest Frank Sinatra song of all time because it defines who he was” before launching into a very respectable delivery of “My Way.”

I would line up anytime, anywhere for the chance to hear Michael Hope sing Sinatra tunes.

                                         Michael