Tran-Siberian Orchestra

Orleans Arena

December 5, 2009

By Susan Haller

Photos By Lewis Lee

Even in the near darkness of a packed Orleans Arena in Las Vegas, the geometric shapes of thousands of lights were visible. From waste high racks on the stage in front of us to the squares, triangles, lifts, circles, and ladders above our heads, the possibility of a fabulous light show was upon us and the valiant roadies of Trans-Siberian Orchestra did not disappoint.

Why the roadies first you wonder? These unsung heroes of this particular rock opera extravaganza had obviously taken the mission of light show entertainment directly to heart and within mere hours, had set up a memory for the near six thousand capacity crowd and should be acknowledged for the incredible work done. From planning to implementation, the nearly 3 hour concert was a flawless execution of power, grace, visual imagery, and sound that has no equal in the road show business now.

The mere fact that this theatrical rock machine has chosen to continue to inspire us with their unique Christmas music and treats us to a world that can only happen in the rarest of creative minds is in itself a tribute to “well done” and “Thank you”!

As a cross cultural, multi generational blend, the audience that came surrounded me with stories of yearly TSO concerts; each member with a favorite song or poetry passage, each knowing the musicians on stage and pointing out favorites, and screaming names before settling in for a dose of yearly holiday bliss.

Vegas can be trippy during the winter. Without snow and the chill of breath in the air, to decorate for the holidays seems a bit out of place and I always want there to be a camel underneath the palm trees instead of reindeer…. No matter, here inside the arena we could have been anywhere and on the wings of rich tones, poetic justice and musical intricacies, “somewhere amazing” was the place we were lead.

“Our Story Does Begin” was not only a statement of simplicity, but a premier to the weaving of a dream that allowed each of us to rest inside vision, knowing that we would be cared for within and have much to talk about when it was over. Anthony Gaynor, well versed in cadence and the capture of story line was prepared to be the circus master and did his predecessor orators’ great honor with his diction, and determination to deliver this interesting material with finesse.

It was refreshing to be so carefully wrapped in planning, staging, and theatricality that by the time we were a few songs in, the musicians could allow for us all to be on the playground together as  they relaxed and let the occasional true smile further draw us into their place of wonder. “Oh Holy Night” an absorbing guitar solo by Al Pitrelli (who also acts as music director), was a reminder that beyond every hideous local church soprano version, this is a real song and someone out there has the cajones to perform it right.

In a male dominated evening, where one great performance preceded another, the vocal quality ranged from Gospel Rock to Broadway. For each singer, the ability to weave stories from fresh to ancient was abundant and the lack of fear of simplicity was refreshing. Often as it happens, once a musician goes over the top, they stay there and we as an audience have no place to breath. Not the case here, and I have to admit that this was much appreciated due to the length of the show.

Case in point was the absolutely amazing 20 minute adventure through the life of the homeless, performed by Bart Shatto and backed simply with a classical guitar. In a time of 30 second commercials and 2 word texts, to be enraptured as a collective by this performance was a tribute to the fact that great entertainment is still…great entertainment and we as an audience ardently crave a well told tale. Thank you to the producers, writer, and Bart for that one.

The weak link in the chain was “Promises to Keep” performed by Erin Henry. It wasn’t so much lack of talent, as it was lack of compassion. After such wonderful work, her performance was mechanical and her demeanor unapproachable. Perhaps another gander at the lyrics and the reason for the piece would help. It’s like for that few moments, she forgot that singing is supposed to be both “for us” and fun, and as a side note, watch the arms… those helicopters will land on their own…. Less is more in this case.

The other predominant females, Violinist Caitlin Moe, Pianist Jane Mangini, and Operatic singer Kristin Gorman all showed startlingly vibrant energy, as they raced, uplifted, soared, and danced their ways through difficult musical passages and right into our renewing spirits. The incredibly intricate song lines, blended with movement and power, finally gave the men a run for their talent, and I was glad to see them do so well.

Essentially when you say the word “Orchestra” there is an inherent understanding that this is an instrumental piece and yes, the many fine musicians on the stage were not outdone by the vocalists. Any time the piece was “strictly strings”, there was a whole lot of talent coming off of a whole lot of music. Classical with a rock twist that kept the audience rooted to their seats…. Not a rowdy crowd, coming from Vegas but definitely an appreciative one, and definitely appreciative of Violinist Roddy Chong, who could not possibly have any more fun entertaining, we loved his antics, he loved creating them.

It is not often that as an audience member I actually feel honored to be in a crowd, and yet “Where one found this music played, one could always find hope”, is a theme I will long remember. To be absolutely absorbed inside the womb of music that works at this level, is to believe that we are heading the right direction and there are creators that continue to give birth to splendor. From writing to performance, lights to action… it was the very best evening in a very long time. See you next year? You Bet! Spring is just around the corner and Night Castle will be another amazing adventure into the world of TSO.