On Thursday Nov. 17, the University of Rhode Island’s concert choir assembled to put on an interactive and engaging showcase.
Directed by Professor Mark Conley, the concert showcased various pieces across genres and periods, from Josquin des Prez to Jean Berger.
What was particularly notable was the way in which Conley decided to organize the concert.
“We wanted to organize, in a way that wasn’t quite as formal or intimidating,” he said.
The lack of traditional formality was achieved by wearing street clothes instead of concert dress.
By removing the most significant element of formal presentation, the ‘uniform,’ the intimidating classical environment of the more traditional concert was dismantled. Through this intention came the production of an intimate concert relationship which defied power structures that seem, now, antiquated in light of Conley’s construction.
Ultimately, this is the environment that Conley wishes to construct in his curative vision.
“I love to program,” Conley said, “and since I first started as a choral conductor I’ve always made a point of representing and doing interesting, different programming.”
Conley’s different programming is manifested not only in his wide range of repertoire, but is also seen in his interactive and constantly changing stage formations.
Upon entry into the concert hall the choir was spread throughout the audience, around the length of the seating, singing Elizabeth Alexander’s “Do Not Leave Your Cares at the Door.” The purposeful positioning of the piece under the latter circumstances immediately let audience members in on the notion that the concert was symbolic in its choice in setlist, its content, and its presentation.
The concert’s form, in effect, came across as unique and interactive. For Conley, form shows itself as something which is playful for both performers and audience; playful and not overbearing or dictatorial.
“I like to present and let people draw their own conclusions,” Conley said.
Louis Shriber, a member of Conley’s concert choir, commented that the event was “much more of a learning experience for the audience” than would be provided in a traditional concert. The concert’s organization was an event which was not just a formal transactional showcase, but a mutual experience.
This idea was reinforced when Conley let the audience know that there would be a Q&A post-concert. “No question is off limits” said Conley to an engaged audience. Additionally, Conley took time to speak to the audience on the pieces he was presenting and the poems which were used for the pieces’ lyrics. His attention to the poetic dimensions of the setlist was easily accessible for listeners.
This meta element which was added to the concert contributed to the continuing creation of a comfortable space. “We want anyone who wants to hear what we’re doing to come,” Conley said, and certainly this sentiment was achieved with such an open concert atmosphere.
“My goal has always been to show people how rich the choral world is,” Conley said.
Shriber affirmed that the structure of URI’s Concert Choir helps bridge the gap between the performers and audience, and enriches the performances with new meanings.
“Anyone can come and do this with us,” Shriber said.
There is no doubt that URI’s concert choir was able to meet the broad expectations of the event’s rigor – a duty to provide the audience with something new and wholesome: a space. This was unquestionably achieved, as the concert became a sort of curriculum itself, a curriculum which was well thought out and personal yet never condescending or seemingly pedagogical.
Certainly, the next event put on by Conley and URI’s concert choir is a must see and a guaranteed joyous and educational experience.