Cincinnati Pops Goes All-American with JMR

John Morris Russell, conductor designate of the Cincinnati Pops Orchestra and successor to Erich Kunzel, has big shoes to fill.

And he has shown that he can fill them.  He did so in American flag sox at the Pops’ July 4 concert Monday night at Riverbend.  It was just one of the light touches he brought to the concert, which amply filled the pavilion and brought a large crowd to the lawn, as well.

It was a well chosen program that moved along briskly, with not a moment’s lag.  There were fine guest artists, soprano Karen Flack, baritone Daniel Narducci and the Air Force Band of Flight Prism Brass.  There was a big bow to the Kunzel tradition, including “Armed Forces Salute,” a medley of service anthems recognizing members of the audience who have served in the military, and there was dancing by the Studio Cloggers of the Cincinnati Studio for Dance.

Best of all, Russell -- JMR for short -- conducted with both spirit and subtlety.  He even reminded the audience to clap softly during the lyrical second theme of “The Stars and Stripes Forever.”

Saluting another Cincinnati tradition, the concert opened with Aaron Copland’s “Fanfare for the Common Man,” commissioned by the Cincinnati Symphony Orchestra in 1942.  The Prism Brass, positioned in front of the stage and conducted by Michael Chertock, gave it extra muscle, leading into “The Star Spangled Banner” to officially open the celebration.

“Happy Birthday, America!” Russell shouted before launching into the “Festive Overture” by Russian composer Dmitri Shostakovich, again fortified by the Prism Brass.  The 20-member Cincinnati Pops Summer Chorale, directed by Heather MacPhail, joined Narducci in “This is a Great Country” from Irving Berlin’s “Mr. President,” as red white and blue bulbs blinked on and off at the lip of the stage.

Slack, who made her CPO debut at the concert, crafted a more lyrical moment, tempering her formidable operatic voice with a softly crooning “Summertime” from “Porgy and Bess.” 

The Prism Brass, led by its director, Technical Sergeant Eric Knorr, took over for one of the evening’s highlights, “Big Band Salute,” a tribute to Glenn Miller -- himself a major in the U.S. Army Air Corps during World War II.  There were “Moonlight Serenade,” “In the Mood” and “At Last,” sung by Technical Sergeant Felita Rowe.  JMR, agile on and off the podium, joined Rowe in a slick jitterbug, adding a delightful historical touch.

Closing the first half, the Studio Cloggers hoofed on with “Hoe-down” from Copland’s “Rodeo,” featuring youngsters Max Poff and Nate Goodlett in a nimble solo spot.

Narducci returned for a lovely “Shenandoah” after intermission, as the sun began to fall behind the horizon. Slack sang a stylish “This is My Country” with the CPO Chorale.  Then the Chorale took over for a dramatic “Battle Hymn of the Republic,” with the crowd joining in on the familiar words.  All five branches of the military heard their anthem played during “Armed Forces Medley.”  Each got a rousing round of applause. JMR, who officially begins his Pops tenure in September, turned toward the audience and offered his own stiff-armed salute at one point.  Then it was on to the Founders of the Republic, specifically Thomas Jefferson, whose stirring words from the Declaration of Independence were read by actors Darnell Pierre Benjamin, Sara Clark and Justin McCombs of the Cincinnati Shakespeare Company to music from “The Patriot” by John Williams.

Led off by Narducci and the CPO Chorale, the entire company, including the Studio Cloggers, returned for “Hallelujah” from “Hit the Deck.”  (The Cloggers performed unaccompanied at one point in an impressive feat of rhythmic unity.)  Then the lights came up, the flags came out (each audience member had been given one at the Riverbend entrance) and everyone sang “God Bless America.”

As JMR announced from the podium, “we can’t end a great patriotic concert without a piece by Peter Ilyich Tchaikovsky, the great Russian composer,” and of course that mean the “1812” Overture.  It was all according to tradition, with perfectly synchronized cannon shots at the end, orchestrated by Pops manager Sam Strater.

What else for an encore but “The Stars and Stripes Forever?”  As the music drew to a close, an American flag lit up next to the stage, prelude to a thrilling display of fireworks by Rozzi’s Famous Fireworks.