DOLLY JACOBS--CIRQUE DES VOIX
Aerialist Dolly Jacobs performed in Cirque des Voix, a Circus Sarasota presentation of thecircus arts combined with a 150-voice chorus from Key Chorale and Sarasota Young
Voices and a 20-piece orchestra.
Review from Sarasota Times-Herald---
On many occasions I am grateful for the astonishing good fortune to live in Sarasota, but
none more so than when I was brought to tears of joy witnessing the "Queen of the Air"
and international circus legend Dolly Jacobs flying near the peak of the big top to the
luscious music of Ennio Morricone performed by live orchestra and chorus. What could be
more uniquely Sarasotan than a celebration of the musical arts and circus arts together?A roar of applause and cheers is due to impresarios Joe Caulkins of Key Chorale and
Pedro Reis of Circus Sarasota for creating this wonderful experience to share with us. This
was not simply a concert taking place in a tent with some circus acts in front of the
orchestra and chorus. Rather, we saw the Maestro transformed to Ringmaster and
programmed music which perfectly meshed with the nature of each circus act.
Caulkins, delivering his lines with classic circus inflection, either had good coaching or is a
natural who seemed to relish this new role. From the first set up featuring clowns Chuck
Sidlow and Karen Bell fishing for "O For-TUNA" segueing into Carl Orff's memorable
opening to "Carmina Burana," to the driving force of Karl Jenkins' Dies Irae, perfectly
portraying the Moroccan Connection's acrobatic muscle in the music, this was a neatly
blended new art form.
To be sure, there were times when the act truly did distract from the music, as with the
Rolla Bolla act by Axel Perez where bursts of applause and the rapt attention required to
enjoy this balancing act, allowed us to largely ignore the musical challenges the chorus was
hurdling in Eric Whitacre's engaging "Little Man in a Hurry."
The program included several works where the chorus and orchestra did not have to share
the spotlight and in these the Key Chorale acquitted itself well. Perhaps it was the acoustics
of the tent that made it difficult to follow the sung text in Charles Ives' "Circus Band" and in
most of the pieces, but the general sound, blend and pitch of the ensemble made for an
enjoyable experience. Of course, the musicians of the orchestra and accompanying pianists
Judy Richey, Genevieve Beauchamp, and Nancy Yost Olson were superb as well.
The Sarasota Young Voices were featured in a number of the selections and they excelled
in their own spotlight with the atmospheric music of Karl Jenkins' "The Snow of
Yesterday," even outshining Allesandro Wallenda's juggling act with their charming way in
"La Lluvia" by Stephen Hatfield.
If the aerial beauty of Dolly Jacobs made us cry, then the jaw-dropping contortions of
Ricardo Sosa paired with Karl Jenkins' deeply moving "Pie Jesu" left us speechless. If you
had to miss one of these two performances this year, then buy your tickets well in advance
for what we hope will be an annual event of this remarkable new partnership.
On many occasions I am grateful for the astonishing good fortune to live in Sarasota, but
none more so than when I was brought to tears of joy witnessing the "Queen of the Air"
and international circus legend Dolly Jacobs flying near the peak of the big top to the
luscious music of Ennio Morricone performed by live orchestra and chorus. What could be
more uniquely Sarasotan than a celebration of the musical arts and circus arts together?A roar of applause and cheers is due to impresarios Joe Caulkins of Key Chorale and
Pedro Reis of Circus Sarasota for creating this wonderful experience to share with us. This
was not simply a concert taking place in a tent with some circus acts in front of the
orchestra and chorus. Rather, we saw the Maestro transformed to Ringmaster and
programmed music which perfectly meshed with the nature of each circus act.
Caulkins, delivering his lines with classic circus inflection, either had good coaching or is a
natural who seemed to relish this new role. From the first set up featuring clowns Chuck
Sidlow and Karen Bell fishing for "O For-TUNA" segueing into Carl Orff's memorable
opening to "Carmina Burana," to the driving force of Karl Jenkins' Dies Irae, perfectly
portraying the Moroccan Connection's acrobatic muscle in the music, this was a neatly
blended new art form.
To be sure, there were times when the act truly did distract from the music, as with the
Rolla Bolla act by Axel Perez where bursts of applause and the rapt attention required to
enjoy this balancing act, allowed us to largely ignore the musical challenges the chorus was
hurdling in Eric Whitacre's engaging "Little Man in a Hurry."
The program included several works where the chorus and orchestra did not have to share
the spotlight and in these the Key Chorale acquitted itself well. Perhaps it was the acoustics
of the tent that made it difficult to follow the sung text in Charles Ives' "Circus Band" and in
most of the pieces, but the general sound, blend and pitch of the ensemble made for an
enjoyable experience. Of course, the musicians of the orchestra and accompanying pianists
Judy Richey, Genevieve Beauchamp, and Nancy Yost Olson were superb as well.
The Sarasota Young Voices were featured in a number of the selections and they excelled
in their own spotlight with the atmospheric music of Karl Jenkins' "The Snow of
Yesterday," even outshining Allesandro Wallenda's juggling act with their charming way in
"La Lluvia" by Stephen Hatfield.
If the aerial beauty of Dolly Jacobs made us cry, then the jaw-dropping contortions of
Ricardo Sosa paired with Karl Jenkins' deeply moving "Pie Jesu" left us speechless. If you
had to miss one of these two performances this year, then buy your tickets well in advance
for what we hope will be an annual event of this remarkable new partnership.
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