How long have you been with the VLO and what brought you to the group?
I played as a sub several times in the '90s. I played my first full show, The Grand Duke in 2001. What brought me to stay was when Michael Greenebaum appeared on my doorstep one August afternoon in 2007 to ask if I thought my 13 year old son was a strong enough player to be my 2nd horn for The Mikado. When I told him I'd think it over, he dropped off a horn part so Thomas could give it a try. Never have so many offbeats been practiced in one household! We played through that book until we knew it by heart. We both had a blast during that run, and it gave me a very warm feeling about VLO.
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Jean Jeffries, First Horn, VLO Orchestra
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What is it about Gilbert and Sullivan in particular that interests you?
I have always loved Gilbert and Sullivan. My first pit orchestra experience was in the local high school's 1975 production of Pirates of Penzance, where I (a junior high kid) got to play alongside my older brother's friends. Nothing could have been more exciting! As for G & S in general, these shows have great tunes, hilarious lyrics and wonderful, comical plots. What's not to love?
What would you like to tell us about the orchestra and its members?
The VLO orchestra is always full of smart, funny people who care about the show and take their responsibility to it seriously. They are the same musicians I see all over the area at Pioneer Valley Symphony, Holyoke Civic Symphony and countless brass, wind and string chamber groups. Aldo is a spectacular addition to the team, bringing spirit and expertise to the podium and making everything work out right.
What are your thoughts on Ruddigore - the music, its challenges and delights?
Like most G & S shows, Ruddigore has fabulous characters and entertaining twists of plot. Our job as an orchestra (and it's a tricky one) is to make transitions smoothly, keep pace with the singers, watch Aldo like hawks and call as little attention to ourselves as possible so the singers can perform their best and the audience can enjoy the show. I'm constantly making notes to myself about when to play out and when to keep it pianissimo. Since a lot of the drama comes from the music, we take pride in highlighting a key moment with a fortissimo chord, then continuing at a scarcely audible volume as the singers carry the music forward. Playing in this thoughtful way is delightful and challenging!
Tell us a little about your musical background and experience
I teach horn and coach chamber music at Amherst, Hampshire and Mt. Holyoke Colleges. My playing life is divided fairly evenly between solo, chamber and orchestral playing. I especially enjoy playing horn with singers and choruses, and have recently performed in recitals with our own Diana Peele (as a soprano, not violinist!) and the inimitable Steven Williams.
Anything else you would like to say?
Thank you to Bill and Sally Venman for starting this thing up! And thanks to everyone who keeps VLO going. It's truly a labor of love; I feel lucky to be a part of it!
The VLO Orchestra, under the direction of Maestro Aldo Fabrizi:
Violin 1 (Concermaster): Diana Peelle, Violin 1: Elaine Holdsworth, Violin 1: Gillian Woldorf, Violin 2: Fred Henle, Violin 2: Barbara Freed, Violin 2: Denise Sitler, Viola: Eleanor Lincoln, Cello: Dan Brandon, Cello: Holland Crane, Bass: Eric Colbeck, Flute 1: Susan Dunbar, Flute 2/Piccollo: Patty Devine, Oboe: John Vance, Clarinet 1: Paul Dratfield, Clarinet 2: Meghan Mahoney, Bassoon: Roger Clapp, Horn 1: Jean Jeffries, Horn 2, Stan Light, Trumpet 1: Dan Melbourne, Trumpet 2: Clifford Reed, Trombone 1: Ben Smar, Trombone 2: David Evans, Percussion: Mark Richardson
