Celtic Woman - a four woman group that brings traditional Irish music and Irish-infused classical pop music to the masses worldwide - has achieved an inordinate amount of commercial success since 2004 and, judging by their concert at Wolf Trap this weekend in the suburbs of DC, it's easy to see why. Their highly stylized concerts, a few of which that have been captured on DVD, combine the best of what one might see in a theatrical production with what one might find in a classical pop concert from the likes of Josh Groban. While one could make an argument for it being 'style over substance' - and possibly proving the value of the sound mixer in today's music industry - there's no doubt an array of music and production talent goes into putting these events together.
Finishing up their current North American tour under the musical direction of the Emmy Award-winning musician/composer/arranger David Downes, immensely talented vocalists Chloë Agnew, Lisa Lambe and Susan McFadden, and violinist Máiréad Nesbitt, along with small group of backup musicians, dancers, and vocalists, shared their talents with an appreciative audience. Their renditions of Irish classics such as "Danny Boy" and hymns like "Amazing Grace" (featuring the exquisite Anthony Byrne on bagpipes) as well as Broadway showtunes and recent pop hits like "You Raise Me Up" and more, resulted in numerous standing ovations.
The set list was eclectic to be sure - and had something for nearly every taste - but a few highlights and lowlights standout.
One has to first give credit to champion violinist Máiréad Nesbitt for being one of the most exciting and talented players I've seen in some time. She accompanied the rest of the group on several numbers, but when she stepped out on her own on "Coast of Galicia" and "Granuaile's Dance" she truly shined. One would have never thought that athletic dance movements and fast-paced yet precise violin playing could be combined so effortlessly in a live environment (perhaps with a bit of help from technology), but Ms. Nesbitt made it work. Underneath the pretty gown and elaborate staging, there's definitely one talented and passionate musician.
While a few of the ensemble numbers left me groaning slightly - watching three women with similar vocal tones performing the same choreography, replete with excessive arm movements, with smiles plastered on their face can get a bit tiresome - one has to appreciate the harmonic blend that they achieve. Numbers like "Orinoco Flow" and "Teir Abhaile" captured this talent quite well.
One misstep, however, was the "Broadway Medley" featuring "I Dreamed a Dream" (from Les Miserables) and "Circle of Life" (from The Lion King). I applaud the women for including songs that they (as musical theatre fans and/or performers) grew up singing, particularly as a musical theatre geek myself. However well sung - Susan sounded particularly wonderful on the former number- the two numbers had little to do with one another both in terms of lyrical content and structure. I also wondered how the group would fare with perhaps some lesser known theatrical selections instead. Including songs from contemporary writers such as Jason Robert Brown or (more in their vocal lane) Adam Guettel, would also introduce their massive audiences to the theatrical world beyond worldwide sensations.
Read More:
http://dc.broadwayworld.com/article/BWW-Reviews-Celtic-Womans-Ethereal-Sound-Comes-to-Wolf-Trap-20130616Let me guess, the individual has never seen them before and this was just her daily assignment. You can always tell when a review is written by some random observer who knows nothing about CW before seeing it.
