Interview: ASO’s Daniel Crupi previews Gregory Alan Isakov collab
The sweeping soundscapes that buoy the music of Gregory Alan Isakov will take on even greater grandeur Tuesday, March 18, at his sold-out show at Thomas Wolfe Auditorium. The Colorado-based singer/songwriter and his band will be backed by a 58-piece iteration of the Asheville Symphony Orchestra (ASO), with Australian conductor Christopher Dragon’s baton steering the performance.
Isakov’s songs are no strangers to orchestral arrangements. Strings and other classical instrumentation add layers of nuance and tension — and often dramatic crescendo — to the intimate folk compositions that comprise his six-album catalog. In 2016, Isakov reinterpreted some of his best-known songs with the Colorado Symphony and is currently midway through a tour that puts him in front of a different full orchestra in 10 cities.
Asheville Stages spoke with ASO Executive Director Daniel Crupi for a behind-the-scenes look at how these collaborations come to life — from initial booking until the house lights go down — and how crossover events like the Asheville Amadeus Festival and ALT ASO series extend the symphony’s reach and relevance.
Jay Moye: How did this opportunity arise?
Daniel Crupi: We started talking with Gregory’s team last summer. My friends at the Greensboro Symphony Orchestra, who he’ll also be playing with [on March 16], put me in touch. It lined up really beautifully with the routing of his tour, and also quite perfectly from a timing perspective as we continue to recover from [Tropical Storm] Helene. Gregory was scheduled to play here in the fall with Ray Lamontagne, but it was of course canceled, so this is a really exciting way for him to return to Asheville. We’re thrilled to participate in this limited tour along with many high-profile symphony orchestras across the country.
JM: What do the day-of-show logistics look like for a concert like this?
DC: Our advancing plan and production specs are quite significant. For example, we work with Gregory’s touring crew to lay out the stage to accommodate both a reasonably sized orchestra and his band and gear.
The actual musical component is incredibly condensed. We only have one three-hour rehearsal on the day of the show. Our musicians received sheet music a few weeks ago to prep and familiarize themselves with the arrangements. They’ll come in well-rehearsed and basically get one shot at most of the tracks on the setlist. They're also going to be working with Chris Dragon for the first time, so they'll be acclimating themselves to a new conducting style while meeting Gregory and the band. Some will be engaging with Gregory's music for the first time. It'll be a really exciting three-hour spell where they knock everything out, then press “go” that evening.
JM: What about Isakov’s songs suit the full symphonic treatment?
DC: Gregory’s music features a lot of sweeping melody and has a cinematic quality that makes it a perfect fit for orchestral adaptation. His songs often start out slow and quiet, then gradually build and pace themselves. A lot of his work has really grand textures with simple but opulent melody and really rich harmony. An orchestra amplifies that effect, just by the nature of what you can layer in with brass, wind, and string sections.
JM: How do you describe the dynamic between the conductor, the symphony, and the band/artist?
DC: Great question. It depends on the kind of show you're producing. In this format, the conductor is the glue that holds the whole ensemble together. All 50-plus musicians will have their eyes trained on Chris Dragon, and Gregory will keep his baton in their peripheral throughout the course of the performance. Gregory may want to improvise or change tempo in a certain section, so Chris will have to constantly keep an eye on what the band is doing — in particular Gregory and the drummer. For a classical concert, the role of the conductor is very different. It’s a more organic, almost improvisatory experience that delivers a unique performance with every concert and even rehearsal.
Christopher Dragon (Photo by John Christopher Studio)
JM: Are these collaborations — which have a natural element of built-in pressure, due to limited rehearsal time — an exciting challenge for ASO musicians?
DC: Absolutely. When we put out the call, the response was incredibly enthusiastic. People seem really jazzed about working with him. The way our orchestra works is we contract with about 70 musicians who we guarantee a certain number of rehearsals and performances every year. Not every musician can accept every gig, so we bring in substitute musicians. So, the orchestra has a slightly different composition every time. Over the course of a year, we end up working with over 170 musicians throughout the region on 30-40 engagements.
JM: Do shows like this appeal to ASO patrons, who may be coming into Isakov’s music from a classical lane?
DC: They do. We did a presale with our patrons and were really excited by the response. Many dedicated attendees weren't familiar with Gregory’s music, but they know Asheville Symphony has a reputation for excellence, and they love what we do and knew they’d enjoy it. The show sold out incredibly quickly.
JM: The ASO has another fun collaboration coming up with Chris Thile.
DC: Yes, as part of our every-other-year Asheville Amadeus Festival, which we’re really excited about. It's a collaboration between us and dozens of other performing arts, visual arts, and culinary arts institutions in town, with 40 or so events spread out over 10 or 11 days. Chris is doing a big crossover show with us at Thomas Wolfe to finish the festival on May 10.
JM: Will the prep process be similar to the Isakov concert?
DC: We get the luxury of a bit more time with Chris because he’s coming in for more of a residency —which is great because his work is really adventurous and will require additional rehearsal. The first half of his concert is quasi-classical in nature. But instead of playing traditional concertos designed for the violin, he's playing them on the mandolin, so they'll have a really unique flavor.
The second half is a brand-new piece he just wrote and is starting to premiere around the country called “Attention: A narrative song cycle for extroverted mandolinist and orchestra,” which is probably the most Chris Thile title ever. It’s a 45-minute story from when he was starting out with Nickel Creek, featuring all sorts of funny and amazing pop culture references — both musically and lyrically — that he weaves together with the orchestra. I saw the show in Greensboro, and it’s one of the coolest things I’ve experienced. Audiences are gonna love it.
JM: In addition to exposing ASO regulars to contemporary artists, these mashups likely create a gateway into the world of classical music and, more specifically, the ASO. Is that part of the vision for the ALT ASO series?
DC: Indeed. With that series, we’re creating an alternative symphony experience by bringing the music to the people, rather than always expecting folks to come to us. We take orchestras of 20-25 musicians out into the community and embed it where folks are already congregating and comfortable, with the goal of generating new, enthusiastic audiences. We started the series at Highland Brewing [Co.], and from there went to The Orange Peel, the Asheville Art Museum, and Hi-Wire Brewing.
Our next performance is at White Horse Black Mountain, and we’re excited to spread out into different parts of the county. It’s a hybrid series that allows us to mix and match our repertoire. In any given concert, you'll hear classical, you'll hear a bit of opera, you'll hear pops, folk, jazz, rock, and Broadway. It's intended to be a really eclectic musical experience to reflect the eclectic nature of the venues we play.
IF YOU GO
Who: Gregory Alan Isakov with the Asheville Symphony Orchestra
When: Tuesday, March 18, 8 p.m.
Where: Thomas Wolfe Auditorium, 87 Haywood Street, harrahscherokeecenterasheville.com
Tickets: Sold Out
(Gregory Alan Isakov photo by Bryce LaFoon)
