Don’t look for The Rose Ensemble to reinvent old musical material to fit the modern sensibility of today’s audiences. They take a uniquely singular approach. Rather than rearrange music to fit their personal style, this traditionalist (or as they describe themselves “reawakening the ancient”) group prefers to preserve the way music was originally performed. This process may involve months of research, travel and practice in authenticating the performance style in which the songs of the period were written. Such is the case with their concert Oli & Mele: Retracing the Path of Early Hawaiian Vocal Traditions. Held Sunday February 19 at St. Joan’s Church, an intimate space of roughly 100 in attendance, this highly ambitious company created from their studies of Hawaiian culture a riveting tribute to the people of Hawaii in an exquisite concert replete with kicky proverbs and a historical narration set to gorgeous Hawaiian hymns.

Proceedings began from the ambient sounds signaled from two men who blew from conch shells at the back and in front of the house. A reading from the Kumulipo (The First Era) was spoken proceeded by five women who recited the ‘OWakea Noho ia Papahanaumoku (Creation Chant) accompanied by baritone vocalist Tim O’Brien’s hypnotic singing and playing of the ipu heke, a Hawaiian conga, while sitting on his feet.

A reading of The Legend of Pele and Hi’iaka set the tone for the initial narrative, a story of jealousy and enduring rivalry between the Fire Goddess Pele and her sister Hi’iaka, a restorer of life. The hymn “Ula noweo la” (The Bright Red Glow) strongly performed by O’Brien and soprano Kim Sueoka along with sopranos Heather Cogswell, Kathy Lee and altos Lisa Drew and Kristine Kautzman. This followed with the reading Mark Twain on Captain Hook which offered the 1834 Hawaiian hymnal “Kailua” featuring lovely three part tenor harmony. A reading of Mark Twain on the dismantling of the kapu (tabu) system featured another 1834 hymn Dalston’s “Ponomau” which resounded in rich textured fullness from the 12 member ensemble.

The reading of Civilizing the heathen: a letter home examined the cultural divide of traditional bare breasted Hawaiian women. The reading of The Hawaiian Cowboys soon was showcased by the superb falsetto of Tenor Dustin Wirth paired with five wondrously harmonious male voices Aaron Petersen, Jordan Sramek, Tim O’Brien, John Bitterman and Mark Dietrich to “Pua Lilia” (Lily Blossom). From the response of the house and myself, I can say that we were truly swooned in a heavenly serenade by the magically tranquil blend offered by these exquisite singers. Guest instrumentalists Paul Berget on guitar and Jennifer Rubin with bass violin nicely accompanied.

The reading Mark Twain on Christianity in the Sandwich Islands offered the fascinatingly funny conclusion that social civilization on the Hawaiian Islands has built a profound respect for chastity in other people. Soprano Cogswell switched duties and accompanied on piano with Berget on ukulele and Rubin on bass violin for “My Leialoha” which featured the entire ensemble in top form finishing with tight barbershop harmony by the six men. “Sweet Lei Mamo” (Sweet Garland of Yellow Lehua), a charming solo showcased the passionate sound of bass Mark Dietrich who also played ukulele. What a clear and resonate voice to behold, one that exceptionally connected with the audience. Playing his ukulele, Dietrich joined the men and had a ball with the slow soothing, and then suddenly up-tempo finish of “Na Molkam la” (There Above Namolokam, we are warm).

The 12 member ensemble closed Act One with the beautiful 1878 farewell song between two lovers “Aloha ‘Oe,” one of the most well known Hawaiian melodies:

Aloha ‘oe, aloha ‘oe
I ke onoan noho I ka lipo,
A fond embrace a ho’i a’e au,
Until we meet again.

Farewell to you, farewell to you
Fragrant one dwelling in the dark forest,
A fond embrace then must I leave,
Until we meet again
One can’t help but marvel at The Rose Ensemble’s exceptional mastering of Hawaiian language. Clearly they’ve tirelessly invested time and effort to get this piece right. Their precise diction and skill at handling such tricky pronunciations along with exceptional performance ability elevate them as some of the finest talent the Twin Cities has to offer.

Act Two began with an Oli Kahea (calling chant) and Oli Komo (responding chant) as each of the 12 singers individually chanted as they made their entrance into the space. From the program notes the following passage was indicated:

This Oli Kahea (calling chant), Kunihi ku mauna, along with the following Oli Komo (responding chant), E hea i ke kanaka, holds special meaning in today’s world, as they are often used as a request and granting of permission to enter a sacred or special place, or a sort of “password” to enter a hula halau (a house of learning where Hawaiian music, dance, culture, language and spirituality is taught). The latter was especially true for Rose Ensemble members Kim Sueoka, Tim O’Brien, John Bitterman and Jordan Sramek while studying in Kaua’i, as their kumu hula (hula teacher), Pohaku, required them each to chant the Oli Kahea (correctly) each day before entering his halau.
The stunningly choreographed “No ke aha ka wai?” (What is water for?) featured Sueoka and O’Brien sitting on their feet (along with two others) centered on the floor while they dexterously clicked hand held stones with their fingers and palms of their hands, motioning in lovely swaying arm movements in a repeated pattern. This eloquent song examined the importance for the respect and use of one of the most fundamental elements in life, water. The following are the English lyrics:
What is water for?
It is for drinking, it gives life.
What is water like?
It is slippery! It slides! It is so refreshing!

Where is water?
It is there in the clouds, there in the sea.
When does it show forth?
When the clouds are full, it falls down.
For whom is water?
It is for the land, it is for all of us.
How do we take care of it?
We share it, we clean it.
What is water?
It is a precious gift; a thing of greatness is water!
Tell the refrain,
Love water, take care of water.

A song for the love of water.
O’Brien, playing his ibu heke effectively, sung the name chant “Aia la ‘o Pele” (There is Pele). The 1876 Hawaiian National Anthem “Hawai’i Pono’I” (Hawaii’s own), received a reverent treatment from the ensemble contrasted with their performance of “He Mele Lahui Hawai’i” (Song of the Hawaiian Nation), the 1866 National Anthem, the more intimate one featuring an octet of four singers. Sueoku returned playing her ipu instrument next to O’Brien with his ipu heke for “Lili’ue.” Berget on guitar and Rubin on bass violin accompanied the ensemble for “Ku’u Pua I Paoakalani” (Blossom of Paoakalani), a beguiling number that conjured up fragrant like imagery and blooming fields.

The men caressed our ears with vibrant phrasing to “Pua Onaona” (Sweet Blossim). “Lei Gardenia” featured sopranos Kathy Lee, Sueoka, altos Lisa Drew and Kristine Kautzman and an interestingly effective Eric Betthauser as a counter soprano/alto. The ensemble provided poignancy to the mournful a capella “Ke Aloha o ka Haku” (the Queen’s Prayer). “Kaulana na pua” (Famous are the children), the hymn of Hawaiian nationalistic pride and rebellion offered true empowerment and nobility with the English translated lyrics; “We do not value the government’s sums of money. We are satisfied with the stones, astonishing food of the land.”

Artistic Director Jordan Sramek thanked the audience for their gracious response citing that “Every program we do is spiritual.” He acknowledged the Hawaiian and Hula communities who aided The Rose Ensemble indispensably with research and guidance. Soprano Heather Cogswell led in solo the final number, done a capella, “Hawai’i Aloha” (Beloved Hawaii) then was joined by the ensemble for a majestic finish.

From the numerous droll proverbs, cohesive and insightful narration and an unearthing of beloved Hawaiian hymns, all flawlessly staged and performed, The Rose Ensemble has chartered yet again some densely difficult territory presenting a dazzling display of craftsmanship and joyous entertainment. Where most Twin Cities’ music groups just scratch the surface of material like this, the Rose Ensemble masters it with a nurturing joy.

Michael Reinbold, a continuing web reporter, freelances as a writer and banquet caterer. A passionate believer in SJA's mission of social justice and collaborative ministry, Michael is an SJA Choir member, mass reader, Team Oz AIDS rider and Grace House volunteer cook. With an extensive background in theater, photography and fundraising, he relishes all aspects of the arts, staying fit and inspiring and working with people.
For upcoming performance schedule and background of this extraordinary group check them out at: www.RoseEnsemble.org. A pre-concert discussion was lead by Dr. Amy K. Stillman who worked extensively in aiding research for this presentation.
Peg LaSota comes from a photography background. She now works in the digital world, computer instruction, and with "videography" and the restoration of family films. She is enthusiastic about capturing family memories and preserving them digitally. Along with that, her time is spent with her family and her love for learning Spanish, piano, recorder.....and of course singing with the choir!


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