DIY History | Transcribe | Campus Culture | Cecile Cooper newspaper clippings, 1966-1987 | 1979-09-21 ""Simon Estes --- an Iowa treasure""

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Cecile Cooper newspaper clippings, 1966-1987

1979-09-21 ""Simon Estes --- an Iowa treasure""

QUAD-CITY TIMES Friday, Sept. 21, 1979  3

Simon Estes -- an Iowa treasure
A review

By Julie Jensen
of the Times

One of the great voices of our time belongs to Iowa-born Simon Estes, and so do the hearts of any home state audience within earshot of that great bass-baritone.
In a Thursday night concert at Allaert Auditorium, St. Ambrose College, under the sponsorship of the Quad-Cities Afro-American Arts Council, Estes ranged from grand opera to spirituals and offered three encores with the warm generosity that is his trademark.
Estes is a huge, handsome man -- impressive before he opens his mouth -- but when his rich magnificently supported voice poured out in Il lacerato spirito from Verdi's "Simon Boccanegra," who could ask for anything more?
One thing more, perhaps -- to see him costumed and part of a full production of the opera.
The house lights stayed high, which was puzzling until it was learned that Estes likes them that way. It helps his interaction with an audience, apparently, and he enhanced that relationship by sending a stage-hand out to move the piano closer to the people for the next set of Schubert songs.
The Schubert musical sandwich consisted of the light-hearted 'Das Fischermadchen," the brooding minor of "Aufenthalf," and a return to lilting animation in "Die Taubenpost."
Estes acknowledged applause after each song with a bright blaze of a smile, but before the Mahler set of four songs, he asked that applause be held until the end.
The difficult Mahler pieces test anyone's musicianship, and Estes earned an A plus. His vocal instrument does his bidding with a special lustre in the upper range and the richness of hand-rubbed mahogany in the low notes.
A recitative and aria from Verdi's "Macbeth" enclosed the first half of the program. The audience floated blissfully on the sheer beauty of the aria and loved the electrifying finish.
After intermission, Estes sang Aleko's Cavatina from Rachmaniff's "Aleko," a dramatic piece with pacing and gestures.
Next came three delightful old American songs by Aaron Copland: "The Little Horses," "AT the River," and "Ching-a-Ring-Chaw."
Lightning-swift changes of mood, magnificent dynamic control, and impeccable enunciation made them marvelous.
The concert climax was a trio of the spirituals, "Everytime I Feel the Spirit," "Go Down Moses," and "Wade in the Water."
Estes tapped his shoe, closed his eyes in deep emotion, and filled the house with feeling. He brings a deep dignity to the spiritual, and when the audience recovered from the impact, the applause was mingled with shouts and whistles.
Estes spoke briefly about his pleasure at performing in Iowa before his friends, family and colleagues and sang Dr. Martin Luther King's favorite hymn, "Precious Lord, Take My Hand." The house was charged but silent for a long moment before the applause broke out.
Let it be said that Paul Liljestrand, Estes' accompanist, is an elegant musician, and Estes always gives him his due. 
The second encore was "I Got Plenty of Nothin'" from "Porgy and Bess," sung with verve and sparkle, and there was still more.
"I hope I don't run out of gas," Estes said, "but if I don't have too much left, you can sing it with me."
The final encore was "Weeping Mary," and as the last poignant note died away, the audience reluctantly decided that Estes had given enough and let him go, blowing kisses with both hands as he left the stage.
Estes is bound for San Francisco to rehearse "The Flying Dutchman," and he'll be too busy to make musical memories in this area for years. If you didn't hear him when you could, eat your heart out!

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QUAD-CITY TIMES Friday, Sept. 21, 1979 3 Simon Estes -- an Iowa treasure A review By Julie Jensen of the Times One of the great voices of our time belongs to Iowa-born Simon Estes, and so do the hearts of any home state audience within earshot of that great bass-baritone. In a Thursday night concert at Allaert Auditorium, St. Ambrose College, under the sponsorship of the Quad-Cities Afro-American Arts Council, Estes ranged from grand opera to spirituals and offered three encores with the warm generosity that is his trademark. Estes is a huge, handsome man -- impressive before he opens his mouth -- but when his rich magnificently supported voice poured out in Il lacerato spirito from Verdi's "Simon Boccanegra," who could ask for anything more? One thing more, perhaps -- to see him costumed and part of a full production of the opera. The house lights stayed high, which was puzzling until it was learned that Estes likes them that way. It helps his interaction with an audience, apparently, and he enhanced that relationship by sending a stage-hand out to move the piano closer to the people for the next set of Schubert songs. The Schubert musical sandwich consisted of the light-hearted 'Das Fischermadchen," the brooding minor of "Aufenthalf," and a return to lilting animation in "Die Taubenpost." Estes acknowledged applause after each song with a bright blaze of a smile, but before the Mahler set of four songs, he asked that applause be held until the end. The difficult Mahler pieces test anyone's musicianship, and Estes earned an A plus. His vocal instrument does his bidding with a special lustre in the upper range and the richness of hand-rubbed mahogany in the low notes. A recitative and aria from Verdi's "Macbeth" enclosed the first half of the program. The audience floated blissfully on the sheer beauty of the aria and loved the electrifying finish. After intermission, Estes sang Aleko's Cavatina from Rachmaniff's "Aleko," a dramatic piece with pacing and gestures. Next came three delightful old American songs by Aaron Copland: "The Little Horses," "AT the River," and "Ching-a-Ring-Chaw." Lightning-swift changes of mood, magnificent dynamic control, and impeccable enunciation made them marvelous. The concert climax was a trio of the spirituals, "Everytime I Feel the Spirit," "Go Down Moses," and "Wade in the Water." Estes tapped his shoe, closed his eyes in deep emotion, and filled the house with feeling. He brings a deep dignity to the spiritual, and when the audience recovered from the impact, the applause was mingled with shouts and whistles. Estes spoke briefly about his pleasure at performing in Iowa before his friends, family and colleagues and sang Dr. Martin Luther King's favorite hymn, "Precious Lord, Take My Hand." The house was charged but silent for a long moment before the applause broke out. Let it be said that Paul Liljestrand, Estes' accompanist, is an elegant musician, and Estes always gives him his due. The second encore was "I Got Plenty of Nothin'" from "Porgy and Bess," sung with verve and sparkle, and there was still more. "I hope I don't run out of gas," Estes said, "but if I don't have too much left, you can sing it with me." The final encore was "Weeping Mary," and as the last poignant note died away, the audience reluctantly decided that Estes had given enough and let him go, blowing kisses with both hands as he left the stage. Estes is bound for San Francisco to rehearse "The Flying Dutchman," and he'll be too busy to make musical memories in this area for years. If you didn't hear him when you could, eat your heart out!