Disney Hall was definitely the place to be Saturday night for a recently revised, semi-staged concert version of “Paradise Lost: Shadows and Wings” created and conducted by composer Eric Whitacre, with lyrics and overall direction by David Noroña, who on this occasion also served as narrator. Although Paradise Lost has already been presented in an award-winning, fully-staged performance in Pasadena in the summer of 2007, the work has undergone refinements that were loudly applauded by many concert-goers who apparently had attended the Pasadena version.

Whitaker’s music was defined by Grant Gershon, Music Director of the Los Angeles Master Chorale as “a painter of sound with the human voice.” He certainly knows how to blend singing with playing, on this occasion, with an unique combination of Greg Chun’s DJ, Japanese anima and manga-inspired taiko and percussion, played to great effect by the On Ensemble, and greatly aided and abetted by fabulously gifted ‘cellist Fang Fang Xu, one of the stars of the evening. The music itself on occasion recalls that of early musical theatre giants, and as such, serve as homages. But the “fit” of chorus, soloists and instruments is tight and incredibly balanced as well as beautiful.

The cast of seven characters, all pros of musical theatre, was as follows:

     Exstasis: Hila Plitmann (Mr. Whitacre’s wife)
     Logos: Damon Kirsche
     Ignis: Doug Kreeger
     Fervio: Daniel Tatar
     Pieta: Sara Jean Ford
     Aia: Marie Wallace
     Gravitas: Rodolfo Nieto

Ms. Plitmann’s soprano is an instrument of such versatility as to defy description. She can sing death-defying, stratospheric whistle tones as easily as low-register dramatic hits; she can meet the lyrical muses and snarl at the evil ones with equal ease. If that were not enough, she can perform slow-motion martial arts moves required for the part in opposition to Rodolfo Nieto’s true bass voiced Gravitas. Messrs. Kirsche, Kreeger and Tatar each portrayed their respective characters with edge and distinction. Ms. Ford and Ms. Wallace were most effective, perhaps in their trio with Ms. Plitmann in “Sleep My Child.”

Although each of the seven soloists was miked, the sound system was not always able to deliver clear lyrics, especially those spoken while 300 singers in the choral risers above the stage were singing at full voice. What was clear was the underlying theme of good and evil alliances, relationships and intentions, some of which were left to the listener to decipher and comprehend.

The soloists were supported by an enormous chorus (the Chorus of Angels) of exceptionally well-trained and prepared choristers who performed without scores and who added dramatic poses. At fortissimo level, they really rocked the place. Steven Young provided a lighting design that enhanced the story line with an amazing use of limited resources.

The Concert Hall was almost filled, and after the “Bows” rose as one and cheered all participants with rock concert abandon.

Sponsored by Distinguished Concerts International of New York, the Concert Hall was almost filled, and after the bows the audience rose as one and cheered all participants with rock concert abandon.

In addition to Paradise Lost, Mr. Whitacre is currently enormously popular amongst a wide swath of choral organizations across America. One of his many fortes is an eagerness to innovate and exploit the latest and greatest technology, including use of the Internet. His popularity has spread to the United Kingdom, where he was very recently named composer-in-residence at a Cambridge college, resulting in a removal of his family from Los Angeles to London.