On Monday, November 4, 2013, the a cappella ensemble Roomful of Teeth took to the stage at (le) poisson rouge to present the world concert premiere of member and Pulitzer Prize winner Caroline Shaw’s Partita for Eight Voices. Along with Shaw’s premiere, the group also performed numerous works by composers such as Caleb Burhans, Judd Greenstein, and Missy Mazzoli.
Room Full of Teeth (photo credit: npr.org)
The highlight of the evening was the premiere of Shaw’s Partita for Eight Voices. It is absolutely amazing that Roomful of Teeth managed to perfectly pull off the entire piece, given its technicality and use of extended vocal techniques. Even more astounding is the fact that Roomful of Teeth performed Partita, along with all the pieces except for one by Holly Herndon, without a conductor. Shaw’s combination of extended vocal techniques with chant-style singing is even more powerful in a live setting than on the New Amsterdam recording. Everything about the premiere of Partita was stunning and flawless.
Composer Caroline Shaw (photo credit: npr.org)
In addition to performing music released on their CD, Roomful of Teeth also performed a few other works including Missy Mazzoli’s Vesper Sparrow. Mazzoli’s piece is a wonderful piece that settles the singers into a groove against each other. Roomful of Teeth’s performance of Mazzoli’s piece was beautiful and offered something fresh for fans who’ve only heard the songs from the group’s CD.
Roomful of Teeth navigated through many works that were included on their 2012 album released on New Amsterdam Records, including Rinde Eckert’s Cesca’s View, Caleb Burhan’s No, and Judd Greenstein’s A E I O U. Eckert’s piece proved utterly amazing in a live setting, Eselí Gomez’s yodeling solo absolutely stunning. The performance of Burhan’s piece was also immaculate, with Virginia Warnken’s beautiful melismatic solo mesmerizing throughout. Greenstein’s A E I O U was another standout of the evening, combining techniques such as yodeling and throat singing, the latter achieved by the talented Cameron Beauchamp, to create a dynamic and fun performance to watch live.
Holly Herndon (photo credit: Suzy Poling)
Before Roomful of Teeth’s performance, electronic composer Holly Herndon performed a 45-minute set of her own music. Herndon’s set began with a series of processed vocal samples that gradually grew towards a climax before hesitating away, playing with the audience’s anticipation. Often, the music built until a drum beat and bass groove entered, adding a dance element to her ethereal sound world. The blurring of genres was formidable, and Herndon’s set was remarkably fun to listen to.
While all the music presented during the concert was great, the length of the concert proved to be a bit tiring. The concert was three hours long, with two intermissions. Although Herndon’s opening set was wonderful, it may have been superfluous to have her as an opener if the concert was already programmed to be so long.
Additionally, I can’t help but vent about the lack of concert etiquette in venues like (le) poisson rouge. It’s unbelievable how much people talked—not even at a whisper level, which would be rude anyway—throughout the performances of both Herndon and Roomful of Teeth. If the venue had not been (le) poisson rouge, I’m certain the audience would have shown a little more respect towards the artists.
Venting aside, Roomful of Teeth’s concert showcased the talented young group and the body of work they have commissioned thus far. The ensemble is already so skilled and adept at what they do that it’s hard to imagine them being any better than they are already. It will be exciting to see what future works come from Roomful of Teeth. I’m sure their presence in the world of contemporary classical music will continue to grow as they keep pushing the envelope of a cappella vocal music.