Ick! Eek! Encore! Creators of 'Bug Opera' Hope Debut Connects with Children and Parents

Ick! Eek! Encore! Creators of 'Bug Opera' hope debut connects with children and parents

By Sarah M. Taylor, Globe Correspondent | November 16, 2006

The plump green Caterpillar looks out and asks, "Why change?"

A know-it-all Paper Wasp explains that after metamorphosis, Caterpillar will turn into a moth. Paper Wasp strolls around his library, looking for a picture of a Luna Moth to show him.

Caterpillar lets out a large burp; he ate the paper.

After being shooed out, and after a lively twilight quartet with three other bugs, Caterpillar reaches a birch tree as night descends.

He whips out a telescope and sings, "There is still so much to see," while a chorus of insects makes clicking and swishing noises, eventually fading into the darkness.

This is the world of "The Bug Opera," a work by composer Geoffrey Hudson and librettist Alisa Pearson, where imagination flies free.

In the works for five years, and kid-tested and approved in workshops over the past year, the opera will debut Saturday at Indian Hill Music in Littleton. The authors hope the show will live on long after this weekend.

The opera is a triumph for the creators, who live in Cummington. ("It's nice and quiet," Pearson said, "and there are lots of bugs.") It is also a way for Indian Hill Music to connect with the community.

Hudson and Pearson met in 1987 when they were undergraduates at Oberlin College. While in college, Pearson taught at a nature camp in West Virginia that fueled her fascination with bugs. "That's where I started to get a sense of these beautiful life forms, where we all kind of cry, 'Eek! ' " after observing luna moths and other creatures of the night, Pearson said.

Pearson -- who received a degree in biology from Oberlin, and degrees in voice from Oberlin and the Eastman School of Music -- spent eight years in Vienna performing in opera and films. The idea of merging bugs with children was triggered when she noticed the success of a program of operatic works commissioned for children at the Vienna State Opera.

Around 1998, she met up again with Hudson, who had also spent some time in Vienna. She told him how children's opera was performed in a tent on the roof of the famous state opera building. "When I told Geoff this, his eyes lit up," said Pearson, 38.

They wrote the basic story in 2001, and the project has accelerated since 2005 as the duo partnered with Indian Hill Music, a nonprofit regional center for music education and performance.

Hudson, 39, who 1holds degrees in composition from Oberlin College and the New England Conservatory, said that an opera geared toward a young audience is "a license to be playful."

"It's allowed me to have more sense of humor in my music, and the rhythms are probably more

Articles compiled by Sarah Taylor vivid than I do in other things," he said of the two-act piece.

The story follows good-natured Caterpillar, who is afraid of growing up. He is befriended by the buzzy, yet anemic Mosquito, reluctant to drink blood. Along their journey to find out what happens to caterpillars during metamorphosis, the two bugs meet the vain Paper Wasp, happy-go-lucky Dung Beetle, menacing Spider, and an enchanting Luna Moth.

"People say it's a children's opera, and it is, because it's with bugs, and kind of easy concepts for kids to understand," said soprano Karen Vincent, who plays Mosquito. "But the music is really sophisticated. It's not silly."

Bruce Hangen, who is music director of the Orchestra at Indian Hill and will conduct 10 instrumentalists for the performances, agreed with Vincent.

"It's a blend of instruments and voices and drama for an audience that we hope will bridge the gap of generation to generation," said Hangen, who is also conductor of youth and family concerts for the Boston Symphony Orchestra and principal guest conductor for the Boston Pops. "The idea is certainly fun enough and interesting for kids to get something out of, but it is also written at a level, musically speaking, that adults will get something from it, too."

Speaking of his composition, Hudson said: "One of the things I was really conscious about was making a different sound for each character."

In a scene with Spider, for example, there's a somewhat ominous musical sequence that sounds like a tap-shoe-wearing spider dancing on the piano keys, sometimes clonking the wrong chords, before leading into one of the opera's happy themes.

Other performers include baritone Nikolas Nackley as Caterpillar, tenor Matthew DiBattista as Paper Wasp, soprano Janna Baty as Spider, bass-baritone Aaron Theno as Dung Beetle, and soprano Pearson as Luna Moth. The soloists have performed at such venues as the Boston Lyric Opera, the Festival of Contemporary Music at Tanglewood Music Center, Glimmerglass Opera in Cooperstown, N.Y., the Michigan Opera Theatre in Detroit, and the Burgtheater in Vienna.

Indian Hill received funding for the project from the International Music and Art Foundation, with additional money from a variety of sources outside of Littleton.

"We all thought, 'This is very good music; this has a real educational value,' " said Susan Randazzo, executive director of Indian Hill Music. "It's an incredible collaboration and really perfect for this organization."

According to Randazzo, Indian Hill is one of a few organizations nationwide that combine a professional orchestra with a community music school. With that mission in mind, "The Bug Opera" has extended its feelers into the Indian Hill School's curriculum. Jo-Ann Wangh, director of education, helped develop musical terms and scientific concepts that could be taught in fourth and fifth grades. "Our aim in this whole process was to get it planted in the community," Pearson said. "We thought, 'You know, it's better to do it in your own backyard with your friends.' "

Last fall, the coauthors began a series of workshops to test scenes from their kid-friendly material. "It's been a real treat to be able t2o try out a piece as you're working on it," Hudson said.

Four of six workshops were held at Indian Hill. Two were held at Greenwood Music Camp in Cummington, where Hudson is a faculty member. At a workshop there last summer, some of his students participated in the performance and helped make a musical soundscape of insects on a

Articles compiled by Sarah Taylor 3summer night.

Overall, the workshops provided the coauthors an exciting way to connect with their audience before debuting the work, and partake in what Pearson called "collective imaging.... I was really struck by how many kids said they loved that moment of inviting them to imagine."

Among the changes were revamping a caterpillar costume that made the singer inaudible and speeding up the pace. "The songs that we have now are much more integrated into the story," Hudson said.

The authors were also advised by some friends at the Vienna State Opera to make the originally 10-person show more compact.

After this weekend's performances, "The Bug Opera" will be whisked off to the Eric Carle Museum of Picture Book Art in Amherst and Columbus Theatre in Providence for shows this month.

"With new music, the hard thing is to find a repeat performance of something," said Pearson, who dreams of videotaping the opera and translating it into German. "We're very aware that the story has many levels. But we're also hoping it's a piece that you can return to, hear the beauty of music, richness of textures."

"Audience members don't need to see it perfectly literally," she said. "They'll give you a lot as long as you're believing what you do and you keep the magic."

As twilight falls in the first act, Caterpillar, Mosquito, Paper Wasp, and Dung Beetle sing a quartet. Caterpillar starts with, "I am a fat caterpillar, and I like that," joined by Mosquito's "Into the Night" and Paper Wasp singing "Get Out! " while outside, Dung Beetle belts out "Round and Round."

And, as they conclude, the soundscape of bugs, clacking and shh-ing, fades out.

"The Bug Opera" will be performed at 7 p.m. Saturday and 3 p.m. Sunday at Indian Hill Music at 36 King St. Sunday's performance is sold out. Tickets are $8 for children and $12 for adults. Information may be obtained at 978-486-0540 or indianhillmusic.org.

Articles compiled by Sarah Taylor

Veteran rocker returns to his first love -- jazz

By Sarah M. Taylor, Globe Correspondent | July 9, 2006

He's had the blues, the reds, and the pinks.

Jay Geils has loved jazz and blues since he was a kid. He started playing trumpet when he was 8, but switched to guitar in high school when the Chicago blues scene was tearing through the country in the 1960s. The reason? He thought he wasn't a good enough player for jazz. Thus began his rock 'n' roll period.

With the J. Geils Band, Geils soared to the top of the 1980s charts with hits like ``Centerfold" and ``Love Stinks." The band soon had a falling out, and Geils took a break from music altogether. But he had a change of heart, fueled by some of his favorite blues and jazz legends, like guitarist Charlie Christian.

``I said, as a musician, I gotta get back," explained the longtime Groton resident, who changed the J. to Jay, gave up the reds and the pinks (a phrase from the chorus of ``Love Stinks"), and began strumming more blues on his guitar.

``The rock thing was a lot of fun, and we had some hit records," said Geils, adding that he had always wanted to expand his musical repertoire, and got back into jazz in the early 1990s. ``I'd hear a Charlie Christian record and say, `I wanna play like that!' "

Geils teamed up with old friend and well-known New England jazz guitarist, arranger, and Berklee grad Gerry Beaudoin last year to record a 13-track CD featuring classics like ``Sweet Georgia Brown. " The duo is accompanied by 19-year-old Aaron Weinstein on mandolin and violin, Bob Nieske on bass, and Lee Harris on drums.

Before his latest creation, however, Geils and J. Geils Band member and harmonica player Magic Dick formed Bluestime, in which they played some Chicago electric guitar tunes Geils loved so much, like Muddy Waters' ``Nine Below Zero." Geils and Dick then opened for yet another legendary blues musician, B.B. King, when he went on tour in 1995.

``I'd say my biggest influences are Charlie Christian, B.B. King -- he'd swing a little more. He has a little more jazziness to his playing," said Geils.

Geils first jammed with Beaudoin in 1994, soon forming the New Guitar Summit , along with third guitarist Duke Robillard . Geils described the group as ``standard, old-style jazz guys."

Last year, Stony Plain Records, based in Edmonton, Alberta, released Geils's solo project, ``Jay Geils Plays Jazz! " With these recordings, Geils demonstrated that he was indeed good enough to play jazz.

But he hasn't forgotten the band that 4won him fame in the first place.

The J. Geils Band had a reunion tour in 1999, and, most recently, came together for an impromptu performance in May for bassist Danny Klein's 60th birthday.

``We all just happened to be there," he explained. ``We all had a few drinks. We said, `What the

Articles compiled by Sarah Taylor hell, we'll go up there and play a few tunes.' "

As for the new CD, ``Jay Geils-Gerry Beaudoin and the Kings of Strings, Featuring Aaron Weinstein," Geils is ``pretty happy with the way it came out." He fawns over new addition Weinstein.

``He sat in with us on various gigs," said Geils. ``It's like the old-style jazz scene -- mix and match."

Geils, who does rhythm guitar on several tracks, has a few solos , but notes that unlike some of the material he may be known best for, this work is acoustic. That less-aggressive style, he said, explains why this album's title is sans the exclamation point, unlike his solo album's title.

The release party for the new CD will take place Saturday at the Bull Run Restaurant in Shirley, with Ash Brook Hanes opening.

For Geils, the show is ``mostly a showcase for this young talent, Aaron Weinstein. He'll be switching between violin and mandolin," said Geils, comparing the stages in their careers to a Monopoly board. ``Aaron is clearly a prodigy of some level. I'm already past `Go.' "

Articles compiled by Sarah Taylor

BEHIND THE SCENES Covering the music and theater of Pink Floyd

By Sarah M. Taylor, Globe Correspondent | July 20, 2006

Playing in a band is tough; playing in a tribute band may be even tougher.

Sure, the pressure is off to write songs and create new sounds. But you're always playing in the shadow of a band whose music is so well-known, it's probably used in car commercials.

British experimental rockers Pink Floyd have made music since the late 1960s, and in their wake, countless bands formed to resurrect the sound that rocked the world with albums like 1973's ``The Dark Side of the Moon" and 1979's eternal ``The Wall."

Locally based Pink Voyd, a theatrical tribute band, covers Pink Floyd, from well-known songs like ``Comfortably Numb" to obscure recordings and soundtracks. They will appear in Acton Saturday as part of a fund-raiser to help the town hold more events and recreation programs.

``OK, so it's only a tribute band. Come to the show, then after tell me it's a tribute band," challenged Pink Voyd tour manager Paul Papetti, just one of the ``Floydians" -- as in huge Pink Floyd fans -- in the group, composed of about 15 people, including four musicians and an array of sound and lighting engineers and technicians as well as a videographer.

Pink Floyd shows have a reputation for being spectacles, and music is only one element in the equation.

Roger Waters, a founding member of Pink Floyd, used to say that ``the music is the backstage for the spectacle that is Floyd," Papetti said.

``A big part of the Pink Floyd approach is the show. It's never about just individual members," said Pink Voyd member Walter Stickle. ``By doing light shows, lasers, video . . . it's about more than the music, it's a multi media assault."

Pink Voyd has been around for about five years, the members brought together by a ``common bond -- love for Pink Floyd music," said John Pitingolo, who primarily plays bass and guitar. Other members include Stickle, playing the primary guitars, keyboards with MIDI pedals, and saxophones; Tony Caliendo, with drums, percussion, MIDI drum pads and synthesizers, bells, chimes, and guitar on ``Wish You Were Here;" and Mike Zizza, filling in for Daniel Fisher on keyboards, piano, electric piano, and Kurzweil synthesizers.

All participate in lead and back up vocals. Pitingolo, who works as a graphic artist in a lab at the Massachusetts Institute of Technology, also helps with the visuals shown on screen and contributes to the videos.

``The band members are very emotional; they're all deep Floydians," Papetti said. ``They can tell you the whole history" of Pink Floyd; ``these guys live, eat, and sleep it and re-create it to a T."

What differentiates this band from other Pink Floyd tribute bands is their exquisite attention to detail, combined wit6h plugging the right emotions into the songs. The end product aims to sound nearly identical to the ``fathers of electronic music," as Stickle said.

Articles compiled by Sarah Taylor For the chorus of young people singing in ``Another Brick in the Wall, Part II," for example, Pink Voyd went out and found a choir of Berklee students to sing, which the band then cut up so the keyboard can play the chorus.

``We use pretty powerful machines," said Sickle, an MIT grad and one of those musical whizzes who could dissect one song for an hour, lapping up every note and pitch. ``With all of our sound effects, someone is usually triggering the Kurzweil."

Every Pink Floyd sound effect and note is played by the band, sometimes at the same time by triggering the Kurzweil synthesizer, keyboard, or pedals on the musical instrument digital interface, or MIDI, system, which enables computers to communicate with instruments.

``Anytime something is heard from the PA, some band member is playing it," said Sickle, joking how they definitely have their hands full.

Stickle added that the band has a technique in which the light show and video accompaniment follow the musicians. According to him, Pink Floyd showed rigid films during performances, but technology now allows Pink Voyd to ``never have to slave to a computer." Instead, song tempos can breathe and have a more organic feel. ``You get a lot more dynamics from doing that," Stickle said.

Having a constant base of just four musicians not only sets the band apart, it also provides a sense of unity in their improvisations.

``There are various moments in the show where we all play," said Stickle, who enjoys being able to improvise during shows, much like some of the early Pink Floyd material allows. But Stickle added that it's important to limit improvisation to specific places, and ``do the melody the way it is."

``We try to deal with songs the way Pink Floyd wanted it," Stickle said.

Pink Voyd's show in Acton will be the group's first performance since the death of Pink Floyd founding member Syd Barrett on July 7. Barrett was in the band for only a few years, but critics rave of the creativity he lent to the music in the late 1960s.

``Of course, we're going to dedicate `Shine On You Crazy Diamond' to him," Pitingolo said of a song written for Barrett by remaining members of Pink Floyd. Sickle added that some video tributes to Barrett will be worked into certain songs, as well.

Papetti, who calls Pink Floyd ``one of the few bands to span five generations," is promising a family show at the Acton fund-raiser.

``They're a very family-oriented town," Papetti said.

``There's so much happening for the town of Acton -- it's amazing. They have more going on here than in many cities I've been to."

Articles compiled by Sarah Taylor

Apple sued for hearing loss due to iPod-style earbuds

By: Sarah Taylor

Posted: 3/1/06 It's a familiar sight on campus. Students walking to class with an extra spring in their steps, white cords dangling from their ears, volume cranked up. They are carrying iPods, a cultural staple in the 21st-century digital and portable age.

They are listening, but can they hear?

Two lawsuits have been brought against Apple within the last month for iPod products. The first was brought to a California court in early February against Apple for the iPod's high volume levels, claiming they lead to hearing loss. A second suit a few weeks later alleged the iPod Nano is too delicate to withstand normal wear and tear, and is not thoroughly covered under warranty.

Michael Epstein, an audiology professor, said iPods themselves are not to blame for hearing loss.

"It's become a cultural norm [to listen to music loudly], not just inherent with mp3 players," Epstein said. "People are spending more time listening, and the device now has the ability to turn the level higher than previous devices."

Freshman behavioral neuroscience major Fallon Schuler said she heard about the recent iPod issues in the press, but it hasn't affected her behavior. She owns a 40GB iPod, and listens to music that ranges from the Dixie Chicks to Eminem.

"I don't turn up my iPod that loud, just enough so I can hear it," Fallon said.

Some audiologists at the Speech-Language Pathology and Audiology Department said they believe the headphones are not solely to blame.

"It's not so much in the headphones themselves but the level in which they're being listened to," Northeastern Research Audiologist Candice Costa said. "Any headphone can deliver a loud sound that can be damaging over a time span."

The first lawsuit also mentions iPod's "earbud" headphone design as part of the problem. Because they don't fit into the ear canal, external noises can seep in, causing users to turn up the device's volume to compensate. Alternative headphone designs, like those that sit in the ear canal, block outside noises so users will be less likely to crank up the volume, according to the suit.

Costa said there are a host of temporary and permanent risks associated with loud music exposure, including tinnitus, in which the individual experiences ringing sounds, or the feeling that the ear is "blocked" after recent headphone use. Hearing loss occurs when tiny hairs in the ear canal are damaged from the vibrations of loud sounds.

Freshman music major Vaughn Buncamper said he's aware of the hearing loss possibility, but hasn't done anything about it.

"I know it probably affects me, but I don't really care," Buncamper said. 8 Epstein said concerns over hearing loss have emerged with most advancements in portable music, starting with Sony's Walkman in 1979.

Articles compiled by Sarah Taylor

"The press portrays it as a new issue. But this basically has been in existence since headphones have been invented. … The only issue with iPods is that people are spending more time listening to them [and] that it can go to dangerous levels," Epstein said.

He also said iPod listeners should limit the number of exposed hours, and be cautious of the tendency to turn up the volume in noisy environments, like at the gym or in the subway.

Costa also gave a few suggestions for maximizing mp3 player enjoyment while staying safe.

"People listen to their iPods at 90-95 decibels (dB). Anything under 85 dB is safe," Costa said, adding that a fairly large party without loud music reaches about 85 dB.

"If a person standing next to you on the subway or in the elevator can hear it, it's too loud," she said.

For more facts, visit www.dontlosethemusic.com.

Articles compiled by Sarah Taylor