THE UNEXPECTED STYLE OF VINCENT ZITO AND THE KEY WEST POPS

THE UNEXPECTED STYLE OF VINCENT ZITO AND THE KEY WEST POPS

Key Wester Magazine, November 2003

Controlled energy; Vincent P. Zito is controlled energy, always poised like his conductor’s baton, always ready to snap a brass section into perfect harmony with violins. Cool and collected though his professional demeanor is, a fast-breaking smile, a quick step, a flick of the wrist reveals the tension lying in wait; the music about to happen.

As artistic director and conductor for the Key West Pops Orchestra, Maestro Zito sets in motion its fifth season with an “America the Beautiful” concert on November 9. This isn’t a tribute to 9/11. He says the Pops concert in October 2001 shortly after 9/11 accidentally related to that emotional event: The music and soloists were already months in place and, serendipitously, Vincent had selected “Mama Looks Sharp”, a song from “1776”. Clinton Curtis performed the piece about a soldier at war and “Grand Old Flag” was that concert’s finale.

No, “America the Beautiful” is not a tribute to 9/11. But the all-American composers’ program is a heart-felt “thank you” aimed at the United States armed forces. Although Key West has a large military population, its working soldiers aren’t particularly visible throughout the year except on Veterans Day (November 11). So, with fluttering “Stars and Stripes” and parades that honor the military presence here, in song and musical spirit the Key West Pops Orchestra hopes to remind everyone how much these men and women do for us.

At the moment, however, I’m reminded how steamy autumn can be: Vincent sips coffee, a late afternoon energizer. Sweat beads above his thick brow, and the muscles on his sculpted forearms and biceps spring into action with each cup-to-mouth motion. In rapid Zito-fashion, he talks about the Pops:

Just how heavy is that baton?

VZ: It makes no sound; a baton makes music and mine is very much in control. The musicians look to me for guidance, and just like me, they want to perform a good concert; a good conductor helps them do that.

You exude energy and boyishness. Is that your secret to success?

VZ: I’m four years old inside. I was always a child with expectations; a kid who looked forward to events. Four weeks to Halloween; two months to Christmas: There was always a big count down, and big expectations. But what I have that’s indispensable to performing arts is confidence. I know what I’m doing. I have to when there’s only one, live performance.

But you don’t seem to take yourself too seriously.

VZ: I play jokes; I like to have a good time, and early in my career I learned a valuable lesson about conducting. I had written a piece for the church I attended and the night of the concert I faced a group of very nervous nuns. We had practiced many times, but I could see in their faces that they weren’t going to come in when they were supposed to. They were frozen and, initially, they didn’t respond to me. Right then and there I learned about control and about being personable.

How’s that?

VZ: Conducting is about getting the music out; it’s a much more cooperative effort today. Unlike the “Old School” of Toscanini, you cannot berate people. I took private lessons with Laszlo Halasz, who was my primary conducting teacher. He was from the Old School; a monster to work for. He was demanding, insulting, degrading, and he knew what he was doing when he threw people off kilter.

To keep their attention?

VZ: Exactly. One performance of Madam Butterfly is a perfect example. Laszlo chose the understudy who had to take over the lead on a night when the featured star was sick. Now remember, he hired this woman himself. Her music was up to snuff, her presentation was good, but right at curtain call he complimented her and told her she would be a good butterfly, but then he threw in the zinger: “Don’t smile so much, you have very ugly teeth.”

That’s not your style?

VZ: No, not at all, but I do demand attention from the musicians and from the audience. I’m trained as an opera conductor. I did 90 percent of my work in the pit where I sharpened my skills with musicians. Conversely, the Key West Pops concerts are on stage; they are shows. I have to consider presentation; I talk to the audience, which is quite sophisticated, you know. They expect quality, and I offer good pieces. But some of what I choose are pieces rarely heard, rarely performed.

So the audience doesn’t know what to expect?

VZ: That’s right…I want them to pay attention, although music is a sharing thing; attendance goes in many directions. I always have the audience in mind; how they will relate to the soloists; what the evening will be like. When I select the music and put the order together, I put me in the audience -- I am the worst audience member in the world. It takes a lot to keep my interest and if I’m sitting in seat 8G, something is wrong if I’m thinking about where I can smoke a cigarette. I think about what it takes to keep a listener’s mind off cigarettes.

It sounds like you feel responsible to the musicians and the listeners.

VZ: I do. I use a lot of local soloists, and I won’t let them use the songs they use to death. For instance, Frances Edge and I have found stuff she never thought she would do; Randy Roberts performs part of the concert in a tuxedo; Melissa Goins-Tausche sings in low keys. We do this together, but it’s for the people in back of me. The musicians have a great time, and Key West gives all of us the freedom to think about the audience, the presentation.

Is Key West inspirational to you?

VZ: Key West frees up my mind to go exploring; that’s the type of musician I am and the Pops is the type of orchestra that suits Key West; it’s an orchestra for Key West.

Can you elaborate?

VZ: When I needed showgirls for the Follies concert, I had no problem finding them. I hired eight drag queens, and that was no problem for Key West’s audience. We don’t have the filters here; people here don’t have all their expectations put in a snug little place. I like that; I use that. The Key West audience doesn’t know what to expect from the Pops; it is an orchestra for Key West.

What surprises can the audience expect from Key West’s orchestra during its “America the Beautiful” concert?

VZ: Okay, I’ll let you in on one thing: During the 1850s, Louis Gottshalk was a composer and concert pianist from New Orleans. He’s not well known, but his work paraphrases a lot of American tunes like “Yankee Doodle”. The surprise is how he incorporates music from his travels in the Caribbean. I think he had to have visited Key West, and I think the audience will love him when Thomas Pandolfi plays his music.

Pops Sidebar: The Key West Pops Orchestra concert, “America the Beautiful” is one night only: Sunday, November 9, 7:30 p.m. at Tennessee Williams Theatre. It features works by Irving Berlin, Richard Rodgers, Leonard Bernstein, Jerome Kern and Louis M. Gottshalk. Soloists include pianist Thomas Pandolfi and vocalists Christopher Peterson, Tony and Donna Buonauro, Joaquin Romaquera, Dean and Sandy Walters, Maria Zito-Kaufman and the “Swing-Low”, who will perform the premier of a specially commissioned arrangement of ‘40s swing hits by Elizabeth Halbe.

Tickets may be purchased at Tennessee Williams Theatre box office (296-1520) or online at www.keystix.com. The Key West Pops Orchestra is brought to you in part by the Florida Keys and Key West.