Chicago a cappella presents "Roll, Jordan, Roll" on Feb. 6, 7, 13, and 14. 
 
How did the African-American spiritual come about?  Here are some thoughts about the social background and history of the spiritual, from my program notes for these upcoming performances.   
 
* * * * *

This is the first in a series of blogs to provide historical context for Chicago a cappella's upcoming February performances of spirituals, Roll, Jordan, Roll.  Some of this material didn't make it into the program notes and so is unique to this blog and this website.  Enjoy, and don't be shy about commenting if you have something to say.

So today is December 9. That leaves what? About 15 days left to find presents for everyone on my list. After spending significant time on Amazon, at Macys and other smaller neighborhood stores looking at clothes, movies, and nick-nacks, I'm having a hard time finding something. And then I heard about this.

Now this is a present.

From November 2, 2009, Brian Dickie, Life As General Director of Chicago Opera Theater.
This was the sixth Neue Stimmen that I have been involved with.  I started out in 1999.  And it was by far the closest contest.  On each previous occasion the first three places were really clear with the remainder some way behind and quite easily separated.
We the jury came out at the intermission of the Finals Concert on Saturday evening unanimous that this was too close to call - and could we not just have 6 first prize winners?!  Well that would have been a cop out of course!  But I think it illustrated the situation that we found ourselves in very clearly.

Prior to Light Opera Works's production of "C'est la vie" (which opened on our Second Stage on October 9), the show had a run at the Oxford Fringe Festival in England.  I asked the show's creator, Gregg Opelka, to give us some insight into that production.
 
Here are his comments: