REVIEWS

 

Rockin’ Strings

Oct 31, 2024

John Patrick Gatta, Correspondent

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Lindsay Deutsch possesses the skills of a trained classical violinist with the attitude of a rock ‘n’ roller. That combination resulted in her creating TAKE3 and its merging of legendary composers with the pop hits of the ’70s through today.

 

The trio performs its “Where Rock Meets Bach” program Wednesday at Packard Music Hall as part of the Warren Civic Music Association 2024-25 concert season.

 

The evening will include Beethoven’s greatest hits, AC / DC meets Vivaldi, an “Amazing Grace” / Bach mashup, Beyonce’s “Texas Hold ‘Em,” film composer John Williams’ greatest hits, Willie Nelson’s “On the Road Again” and others.

 

Five young local dancers from Natalie’s Dance Company — Gigi Sferra, Laisi Sferra, Lukah Berry, Olivia Bell and Macie Packman — will be featured on Leonard Cohen’s “Hallelujah.”

 

Deutsch, violin and vocals, will be joined by Georgia Bourderionnet, cello, and Ting Li, piano.

 

After watching legendary violinist Itzhak Perlman on “Sesame Street,” she knew, at 2 years old, what she wanted to do.

 

At 5 she received her first violin, and described her first interaction with the instrument as sounding like “screaming cows.”

 

“Years went by, and I started practicing more and more,” she said during an interview from her Las Angeles home. “When I was 10 or so, I was really serious and practicing four or five hours a day.”

 

Helping her musical ambitions, Deutsch’s family moved from Houston to Los Angeles so she could study at the Colburn Conservatory.

 

While describing it as a “great education,” Deutsch admitted her style of playing frustrated her teacher.

 

“My personality was screaming to get out of the box. My teacher would constantly tell me, ‘Lindsay, you make too many facial expressions. You play too loud. You play too fast. You’ve got to follow what Bach and Brahms and Beethoven and Mozart ask of you in this music. You’re putting too much of your own personality in it.”

 

She received the same critique while attending the prestigious performing arts conservatory, The Juilliard School in New York.

 

“I realized after I was told to do this, that and the other with classical music that I was in the wrong field.”

 

Although she performed as a featured soloist with symphonies and orchestras, her major break, which led to the inspiration for TAKE3 came about when multi-platinum-selling artist Yanni needed a violinist for shows in Saudi Arabia.

 

“Our very first performance and I’m so nervous. I’ve never played music like this before, and it’s a sea of people, 20,000 people, in Saudi Arabia. I stand up and it’s my first solo, my first time hooking a violin up into wires and my first time having in-ear monitors. I’m a total fish out of water.

 

“I can’t hear anything! I can’t hear the notes I’m playing. I’m totally dazed and confused and having an out-of-body experience. My only thought is, ‘This will be my first and last chance to play with this man and I’ll be fired tomorrow.’ Well, lo and behold, it was not the in-ear monitors that had gone out. Nothing went wrong. The crowd was so loud, it was drowning out everything else that I was supposed to be listening to. In that moment, I knew that the direction of my life would change forever, that I wanted to be a pop crossover artist from that day forward.”

 

On the plane heading home, she developed the concept of TAKE3 on a Delta Air Lines napkin. Since its 2018 origins, Deutsch, as the act’s main member, now performs nearly 300 dates a year.

 

Since those first shows as part of Yanni’s 13-piece band, Deutsch continued to tour all over the world with him wherein she gained invaluable lessons.

 

“I learned so much about the art of performance and entertainment because in Juilliard and at Colburn, you’re not an entertainer. Don’t say that word. That’s a bad word.

 

“I watched Yanni every night and how he brought this to life, his sixth sense about what the audience wanted that night. I learned all these skills over the next few years, and I brought that knowledge to TAKE3. So, I’m very grateful to him for that opportunity.”

 

In addition to enjoying the freedom of allowing her personality to shine through her playing as she entertains audiences, Deutsch also wants TAKE3 to be a source for attracting the next generations of classical music listeners.

 

Listening to pop music throughout her life, she noticed chord progressions in today’s hits that were similar to the classical material she played. This led to TAKE3 performing “mashups” that combined Imagine Dragons with the opera “Carmen” and Beyonce with Copeland’s iconic piece, “Hoedown” among others.

 

“We’re trying to bring these well-known classical pieces into well-known pop pieces, and I think the audience is surprised. ‘This really isn’t so far off. Maybe I could enjoy classical music.’ Part of our mission is to make classical music more accessible and to be able to sneak some of those motifs in there. A big part of what we do is student outreach. We started an organization called Classics Alive (in 2007), and the mission is to keep the classics alive.”

 

The approach to do that combined her education in the classroom and on the concert stage. “How do I respect that history and then bring it to an audience that can appreciate what I value and appreciate what I’m bringing to the world? TAKE3 was my answer.”

 

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TAKE3 Earns Standing Ovation

by Camille Jackson, The Castleton Spartan

10/1/2023

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TAKE3, a trio of female musicians, performed a range of music for a Soundings event. “The first Soundings I’ve liked,” certainly resonated in the minds of audience members following the outstanding demonstration of musical talent by the trio TAKE3.

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 Sept. 27 at 7 p.m. marked an evening of both classical and popular music as the group TAKE3 transported the audience from the sandy beaches of the Carribean to the piano bench of Bach and Beethoven. 

 

Soundings Program Manager Marisa Valent-Altland, was exposed to the vibrant energy of the group during the American Performing Arts Professionals Conference this past January. Enthralled by the trio’s enthusiasm, Valent-Altland “knew that their combination of classical and contemporary would be perfect for Soundings.” 

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The night tickled the auditory and visual sense of the audience as deep purple lights accompanied with ominous smoke brought in the lead violinist sporting a bedazzled jumpsuit.

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The soft voice of violinist and TAKE3 creator Lindsay Deutsch floated above the lilting tunes of the cello and piano to introduce the audience to the unique style of the group. In conjunction with the clear professionalism of the Julliard-trained musicians was an electric energy to challenge the anticipated mellow nature of classical music. 

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Sophomore Ginny Trevisan attended the event, and was taken aback by the unique sound, “because they mixed pop, my favorite genre, with classical music. My mom went to a conservatory, so when I was younger, she taught me some classical stuff on the piano, but I had not really been into it.” 

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The audience was transported to the green-horned ears and fire-breathing dragons of Shrek with an iteration of Leanard Cohen’s “Hallelujah.” The song exhibited intense crescendos juxtaposed with the vulnerability of string instruments. 

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“We wanted to be classical musicians” recounted Deutsch, narrating the story of the trio. The “classic music nerds” expanded their repertoire by injecting contemporary hits and tunes easily recognized by all. The success of TAKE3’s musical style was reinforced with the engaging nature of Deutsch as she ran thrice into the audience, bringing the sounds of the violin directly to the ears of audience members and forcing the rest to watch in awe. 

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Trevisan attributes the group’s energy to their success.

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“I feel like their stage presence, how they presented themselves and interacted with the public throughout the show” was pivotal to the show’s triumph, she said. 

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Valent-Altland commented on the frequent interactions between the group and the audience, explaining that “their interactions with the audience were genuine and almost casual, and that made the students comfortable in engaging”.

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The theme of  “Pirates of the Carribean” and “Game of Thrones” reached the corners of Casella, bringing the intensity, life, and adventure of Jack Sparrow and Jon Snow to the Green Mountain State.

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The lighting designer certainly felt inspired as red hues cast shadows to accompany the vigor of GoT. In the spirit of blurring the lines between genres was the sound of Justin Bieber’s “Despacito.” 

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While music dominated the evening, entertaining recounts of tours punctuated the night also. Deutsch explained the treacherous journey to Castleton, Vermont, that required them to push their malfunctioning tour van at one point. 

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As the performance came to a close, Deutsch humorously inspired the audience with her tale of a tissue box strapped with rubber bands at the age of 2 to DIY a violin. At 5, her parents grew tired of the sounds of snapping rubber bands and purchased a violin. As they say, the rest is history. 

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It would be remiss to omit the incredible skill and talent exposed during a five-minute melody of Beethoven and remix of Bach and Amazing Grace. The audience was as captivated with the classical hits as they were with the popular renditions. 

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Valent-Altland was overjoyed with the obvious success of the performance, noting that “my goal with each Soundings event is not only to introduce students to the liberal arts, but to do it in a way they find enjoyable and interesting. I think TAKE3 achieved that for them, and that makes me very happy” 

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As the audience filtered out of the theatre, a table selling TAKE3 merchandise caught the attention of students, professors and members of the public. 

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T-shirts and albums flew off the table to monetarily demonstrate the success of the event. TAKE3 holds the title of “first ever Soundings performance that was not an in-house event to receive a standing ovation,” Valent-Altland said. 

 

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TAKE3 Performance an ‘off the charts’ success

by:  JOSEPH ROSATO, a music educator who is retired from the Hazleton Area School District.

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The Greater Hazleton Concert Series once again proved that it is one of the premiere suppliers of professional live entertainment to the area. Its off the charts presentation of TAKE3 was an overwhelming success.

 

The three in TAKE3 were three extremely talented ladies on violin, cello and piano. They were backed up by guitar and drums.

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I put the evening’s musical selections into two categories awesome and spectacular.

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The group’s leader, violinist Lindsay Deutsch, sprinted onto the stage to a dramatic performance of Neil Diamond’s “America.” Both string players wore sleeveless sequined jump suits and the stage lights created a strobe light affect. The opener received a rousing applause with cheers of approval as did every single song throughout the evening.

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The rich warm quality of the cello was heard in Willie Nelson’s “On the Road Again” and Lindsay displayed her lovely sweet voice.

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TAKE3’s sensitive and oneness of expression defined Leonard Cohen’s song of praise, “Hallelujah.” Lindsay’s mastery of pianissimo (extremely quiet) playing in the upper range of the violin was truly impressive.

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A wild mashup of Imagine Dragons’ cold hearted song “Natural” and Bizet’s opera “Carmen” was electrifying.

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First recorded by Ben E. King and later by Mickey Gilley, TAKE3’s version of “Stand By Me” started with a serene vocal solo and then transitioned into a fast jazzy instrumental.

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Continuing to display their versatility, the group received cheers for their medley of Beethoven classics that included “Moonlight Sonata,” “Fur Elise,” the opening theme from his “Fifth Symphony” and “Ode to Joy.”

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Their emotional delivery of the iconic ballad “Unchained Melody” and a powerful performance of “Game of Thrones” with its driving rhythms were both breathtaking in their own right.

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The crowd-pleasers kept coming with a brilliant arrangement of the always touching music of “West Side Story” and an equally brilliant performance of “Pirates Of The Caribbean,” which received a prolonged ovation.

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A touching performance of Louis Armstrong’s “What A Wonderful Word” was followed by “Orange Blossom Special,” which literally let out all the stops. The strings used pizzicato, double stops and a frenzy of bowing, which received whistles and another prolonged ovation.

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A mashup of a Bach melody against the beautiful “Amazing Grace” melody proved to be perfect and Elvis’ sweet “Can’t Help Falling in Love” transitioned seamlessly into his gyrating “Hound Dog.”

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TAKE3 closed this memorable entertainment experience with their driving bombastic version of “Misirlou,” an Eastern Mediterranean folk song played by bands in the 1920s.

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Bows were moving at an an amazing speed as Lindsay raced back and forth across the stage. What a vigorous finale that drew a huge ovation and earned an encore for the enthusiastic audience.

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The musicians were classically trained and that was evident in their mastery of technique, phrasing and expression. Lindsay with her fire cracker energy and personality was very entertaining.

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I don’t usually give ratings, but this surely was a five-star performance.

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TAKE3 heats up Burlington Memorial Auditorium

Civic Music's first concert of 2021 warms hearts and minds with popped-up classics.
by Bob Saar - The Hawk Eye

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The future came to Burlington Saturday night when Civic Music heralded the beginning of the end of endless coronavirus quarantines.

TAKE3 is violinist Lindsay Deutsch, cellist Mikala Schmitz and pianist Jason Stoll, Californians all, performing on the frigid banks of the frozen Mississippi River, their first live concert in nearly a year.

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But it was warm inside the auditorium, and the music on stage was hot.

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The musicians were dressed for a winter's-end party: Deutsch in black jeans and tank top, spangled with sequins from her neck to her white tennies, also sparkling; Schmitz in a multi-colored fishscale jumpsuit; Stoll staid by comparison to the women in black pants and an orange satin jungle-pattern shirt. Stoll also operated the drum machine and other musical effects including a background chorus. Three people can do only so much by themselves.

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And do they did: The opening instrumental instantly captured the audience, who were hungry for hot music after months of cold isolation. Deutsch pranced and danced and strutted and keened as Schmitz sat demurely at stage left and Stoll bounced and boogied at his keyboard on Deutsch's right.

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At times, Deutsch seemed the reincarnation of flautist Ian Anderson of rock band Jethro Tull as she leaped and frolicked and grimaced and grinned.

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TAKE3 then put forth a superb rendition of the Ben E. King classic, "Stand By Me" and Deutsch's smooth and hypnotic vocal rendition added to the illusion that the evening was taking place somewhere other than the icebox of Southeast Iowa.

More praise for BMA: the new lasers are fabulous. As TAKE3 drifted along through "Stand By Me," a cloud of blue electric fireflies swirled across the ceiling and back wall as though they'd been drawn by the music instead of the footlights.

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A mashup of a pop song and an opera led to the Leonard Cohen classic "Hallelujah," which presented the cello as a haunting solo voice before Schmitz slipped into a duet with Deutsch; the two instruments sounded almost human.Cohen didn't roll over in his grave during the song — he smiled up at the heavens.

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"We're going to get back to our roots with Beethoven," Deutsch announced, and the trio crammed six of the maestro's pieces into another mashup. After the "Moonlight Sonata" Stoll jumped into some Mozart and Deutsch ran to the piano to scold him. He just couldn't help himself.

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Deutsch said that during the past year of staying off the stage, the group recorded a CD in their homes, a "Quarantine Series" of songs filled with love and hope.

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"Imagine if, after this concert, we went home and tried to spread that to our families and friends," she said, and they stepped into the John Lennon classic, "Imagine," which sounded like the best classical chamber music we've ever heard. Lennon wasn't rolling to Deutsch's drawn-out taffy notes — he was imagining he'd found heaven right there on the Big Muddy.

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On they went, playing one long set to avoid the risks of mingling during an intermission, sailing through Aaron Copeland before alighting on the Louis Armstrong hit "What a Wonderful World," and our own world came to a quiet stop as Deutsch double-stopped our hearts into oblivion. Quick visits to "Sweet Home Alabama" and Billy Joel's "She's Got A Way" brought the evening into the final turn.

"It's been fantastic to be here," Deutsch said, and the band flattened the crowd with a stunning rendition of the Mediterranean folk song and Dick Dale surfer hit "Misirlou" that brought them to their feet again for a standing ovation.

And Schmitz did something we've never seen at a classical concert before: She got the audience — all of them — to clap along in a non-backbeat lope.

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Fantastic!

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The encore was marvelous, another mashup between Bach and "Amazing Grace," topped with yet another standing O.

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Amazing.

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At the very end of the show, Deutsch announced that their previous recordings were available in the lobby — for free, for a donation, for whatever we the audience cared to give.

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We could sense her leaning into the future as the group freed themselves of their past to make room for their new visions, just as the rest of the world is preparing to see the sun rise on the dawn of a new era: social gathering.​