Category: Music

REVIEW: Tales from the Realm of Pops

Sappy Leave a comment

This semester’s Michigan Pops Orchestra concert, Tales from the Realm of Pops, has been my favorite concert of the past six I’ve attended. The theme this semester was fairytale and fantasy, and the repertoire was full of my personal favorites that are both famous in the classical world and familiar with most audiences: from Prokofiev’s Romeo and Juliet to The Legend of Zelda to Sleeping Beauty, the orchestra certainly took us on a magic carpet ride.

The first piece to capture my heart was Tchaikovsky’s notoriously hard Violin Concerto in D Major, Op. 35, performed by this year’s High School Concerto Competition winner Minji Kim, a Junior studying at Skyline High School. The past three High School Concerto Competition winners have all been violinists, but she’s left the biggest impression on me so far. The first movement of Tchaikovsky’s violin concerto, the Allegretto, features intense lyrical runs up and down the violin, which Minji nailed each time. What impressed me the most were her double stops. Double stops mean two notes are being played at the same; this requires the bow to be completely evenly balanced on the strings while the fingers are to be a precise distance apart. It’s very easy to be out of tune when playing double stops, especially while shifting, but Minji made it sound incredibly easy with her crystal-clear tone and perfect intonation. This was my first time listening to this concerto live, and it couldn’t have been any better.

Right after came one of the unarguably best orchestral works to ever exist: Scheherazade, Op. 35 by Nikolai Rimsky-Korsakov. Pops played the third movement, The Young Prince and the Young Princess. Just like the title suggests, it’s an incredibly romantic movement that passes the melody between the strings and winds, as if they were lovers conversing. The lyrical line evokes so many feelings, such as yearning and passion before turning into playful flirting when the tempo picks up. I highly recommend listening to all of Scheherazade. It’s truly a piece that shows music can weave a colorful story and brings out the violin’s full potential during the many concertmaster solos, which Katie Zhao did an amazing job of.

I’m so glad I got to attend this concert despite being busy with finals and the coming end of the semester. It whisked me away from my stress and worries and was the best refuge I could get. I’m now all the more excited to come back to another Michigan Pops concert next year, and I wonder if they’ll be able to top this semester’s amazing collection.

REVIEW: KASA Culture Show 2024 — Seoul Shadows

eunjhun Leave a comment

Landing itself at the tail end of the year, the KASA Culture Show presents a grand finale to the year. KASA stands for the Korean American Student Association, a cultural/social organization that seeks to bring together a Korean American community and celebrate Korean culture. The night was full of wonderful performances of music and dance, but the true highlight was the screening of a popular K-drama remake. This year, KASA showcased their remake of the film Door Lock (도어락).

Before I get into the film, I’d like to highlight how amazing the music performances were. Sinaboro started off the night with a bang (of a janggu) performing a traditional Samul Nori (사물놀이) ensemble. Samul Nori is a genre of traditional Korean percussion music that utilizes four instruments: the kkwaenggwari (꽹과리), a small gong, the jing (징), a larger gong, the janggu (장구), an hourglass-shaped drum, and the Buk (북), a barrel bass drum. The precise rhythms and clangorous quality of Sinaboro’s performance brought a part of Korean culture that was unique and very interesting to learn about/experience. Additionally, Seoul Juice gave a stellar performance, although I am not completely familiar with their set list, each song filled the theater with pleasing harmonies that the band is well associated with. Personally, I’ve seen Seoul Juice perform multiple times and they always deliver, by which I mean every single member gave their all.

Seoul Juice Mid-Performance

Now the film was no doubt the highlight of the night, as it captivated the whole audience in its masterly-made production. Door Lock is a horror movie about a woman’s victimization by the hands of a stalker. Carrying heavy themes about sexual assault, stalking, and kidnapping, the film is one that leaves the audience in horrifying suspense about the identity of Kyungmin’s stalker but also woeful concern about her safety. By all means, the most fun part of it was the audience’s reactions as everyone screamed in terror, gasped in shock, and aired their frustration that she would just let that guy in her apartment. The way the film was shown to the audience was also unique and fascinating as it was cut into parts, progressively being shown between performances. It left us in the audience with cliffhangers, red herrings, and terrible suspense.

However, I do note that there was one problem I found to be pervasive: the overrepresentation of Kpop in Korean culture. While I absolutely adored the flawless formations and power of Female Gayo, the baddie energy and captivating visuals of Humi, the stylishness and effortlessness of DB3, the uniqueness and ingenuity of UMTKD, the focus and freshness of K-Motion, it felt like the heavy presence Kpop has overshadowed other important aspects of Korean culture. I would like to emphasize that Korean culture is not just the Kpop that it is often represented with, and a culture show should be a space to celebrate diverse representations of culture, not just a popular facet of it.

Despite this criticism, I found the KASA Culture Show to be a great time. The energy from the audience gave me life, and every time the dancers were only shown through silhouette I audibly gasped by how cool it looked. In summation, I love performances and the multimedia showcase of the KASA Culture Show was exemplary in all counts quality-wise.

REVIEW: A Little Night Music

musicalsoup Leave a comment

[Title photo: Cole Newburg (left) and Audrey Graves.]

Of all the entangled romantic comedies in musical theater, A Little Night Music is quite the knot. The Department of Musical Theater completes its 2023-2024 season with Stephen Sondheim and Hugh Wheeler’s musical-operetta surrounding a horny mess of bourgeoisie adults at the turn of the century in Sweden. But it gets better—accompanied is a full orchestra with the most waltz-worthy melodies that string you right along with this troupe’s ridiculous antics.

The plot is quite dense. Desirée Armfeldt (Carly Meyer) is a fading actress touring small theaters across the country. She has a young daughter, Fredrika (Mariangeli Collado), who lives with her grandmother, Madam Armfeldt (Kate Louissaint), in the country. Desirée continuously delays seeing her daughter, preferring her life on tour in the theater. On the other side of town, Fredrik (Cole Newburg) and Anne Egerman (Audrey Graves), the newly married couple (with a quite significant age gap) live with Henrik (Michael Fabisch), the teenage son of Fredrik. He is a seminary student, frustrated and often ignored and mocked by the family with contentious feelings for his stepmother, Anne. One evening, Anne and Fredrick go to the theater, where Anne learns of Fredrik’s romantic history with the leading actress, Desirée. The two share an evening together, until interrupted by Desirée’s current affair, Count Carl-Magnus Malcolm (Owen Scales). Thus begins a spiral of jealousy and scandal when Desirée invites both couples Count Malcolm and Countess Charlotte (Gabriella Palminteri) and Anne, Fredrik, and Henrik to her mother’s home in the country.

This production was directed by Telly Leung, a graduate of the University of Michigan Musical Theater Department and an active Broadway performer. Direction choices were thorough and aesthetic for a venue that can leave you uninspired. However, the choice of an electric lime-green floor often took me away from the glamour of these characters’ lives and exceptional music and performances. This was in part recovered by a spectacular costume design right out of an Edwardian-type 1900s Sweden.



.

The orchestration of the show is near perfect. A full orchestra accompanied the performance tonight at the Power Center, one of the finest pit orchestras I have heard at this University to date (musical direction by the fabulous Catherine A. Walker). A glimmering orchestra underneath some of the most brilliant voices at the University was a perfect end to the semester.  With leading women Carly Meyer and Audrey Graves, there was not a single pedestrian vocal moment. Their attention to virtuosic vocalism while navigating Sondheim’s cheeky text was a thrill. Angeleia Ordoñez (Petra) brilliantly performed one of my favorite tunes of all time, “The Miller’s Son”. It’s a satisfyingly audacious song from the promiscuous maid, Petra, and a 4-minute three-part opera in performance, displaying Petra’s keenness to the lives of the bourgeoisie around her. A groundbreaking 11-o’clock number, Ordoñez nailed it. The expansion of The Quintet (a decet for this production), enriched the musical score at whole, perhaps an ironic reflection of the three couples’ extravagant lifestyles. My favorite performance of this evening had to be Fabisch, accessing spot-on character physicality and honest comedy for the crowd-favorite Henrik. Not to mention his spectacular vocals shining through Sondheim’s tricky tuplet score.”

“A weekend in the country” with this outstanding cast would be my pleasure, anytime at all.

[Mariangeli Collado (left), Carly Meyer, and Kate Louissaint]

 

April 19th, 2024, 8pm. Power Center for the Performing Arts. Images thanks to The University of Michigan Department of Musical Theater.

REVIEW: Falsettos

musicalsoup 1 Comment

[Title photo: Sam O’Neill (left), Caleb McArthur and James Parascandola.]

It’s not often that I see a show that leaves me as moved as Basement Art’s production of Falsettos did.

Basement Arts is an organization whose mission is to create “inclusive student-produced theatre by allowing students from across campus to execute all aspects of the theatrical production process”. They perform three shows a semester, as well as produce the annual Late Night events such as the Mx. Walgreen Pageant and 24-Hour Theater. This semester already featured some emotional heavy hitters —Collective Rage: A Play in 5 Betties by Jen Silverman and For Colored Girls/When The Rainbow is Enuf by Ntozake Shange.

Falsettos is a culmination of merging two one-act musicals, March of the Falsettos and Falsettoland, produced individually in 1981 and 1990. A fully sung-through musical— there are few moments without song. However, much of the show reads as a play, with heightened drama in every moment and not a single superfluous word. The show follows a Jewish Family in New York City in the 1970s— Marvin (Sam O’Neill), the frustrated ex-husband of the underappreciated Trina (Caroline Patterson), and partner to the stylish Whizzer (Caleb McArthur). Trina and Marvin’s son, Jason (James Parascandola), is growing up quickly, rapidly reaching the age of his bar mitzvah. Among all this, Trina and Marvin’s psychiatrist, (Sammy Guthartz), fall in love and get married. Thus, completes the web of this unusually interwoven family. That is, until you meet the quirky lesbians from next door in Act II, Dr. Charlotte (Abby Lyons) and Cordelia (Kate Cummings).

Falsettos was written by the incomparable William Finn and James Lapine, both Jewish writers (and Finn identifying as queer himself). It’s hard not to love this gem of a show. Its mechanical musical composition and emphasis on developing endearing and complex characters make the show feel complete and questionably familiar. The music is fun and catchy yet requires exceptional musical expertise to execute well (skillful music direction by Caleb Middleton).  The story blends humor and heartache while these characters are on their quests for happiness and acceptance.

The relevance that Falsettos retains from its 1992 premiere is remarkable. Difficult family dynamics, a rapidly changing social landscape, and a world that feels like it’s uncontrollably crumbling around them. Successful musicals stand the test of time, and after over three decades it’s clear that Falsettos made the cut.

The tense family dynamics were masterfully cultivated by director Naomi Parr and navigated equally as masterfully by this intense and thoughtful cast. Patterson (the needy, Trina) has one of the most captivating voices in the show—she does not shy away from the luxurious lines in the score while capturing Trina’s true angst and frustration with the imprudent men in her life. Her dynamic alongside the charming and perfectly awkward Mendel (Guthartz) was sublime. O’Neill and McArthur navigate perhaps the most complicated relationship dynamic in the show, one loaded with lust and devotion, sprinkled with violence and need for acceptance. The nuance the two brought to this unbelievably deep relationship was remarkable. Whizzer and Marvin’s poignant love maneuvered through each twist and turn, even past the heartbreaking finale—an arduous task beautifully achieved. Underneath these two intricate relationships leaves Jason (Parascandola), who left to pick up the pieces (literally and physically). Parascandola’s playful exchange with youth and hope left me rooting for Jason, wondering where his little life will take him next. It’s plain to see how this cast ripped my heart out and left it in the 1970s with them.

The cast of “Falsettos” and director Naomi Parr.

Parr states in her director’s note: “Falsettos addresses devastating tragedy but lives instead in the celebration of life, including mishaps that surround these moments of grief.” With one of the most responsive and touched audiences I’ve ever encountered, it seems the only thing missing from Falsettos was another weekend of shows.

 

April 6th, 9pm. Newman Studio. Images thanks to Naomi Parr and Basement Arts.

REVIEW: Will Liverman and Karen Slack at Stamps Auditorium

musicalsoup Leave a comment

April 7th, 2pm.

The Department of Voice and Opera eagerly welcomed Will Liverman and Karen Slack to a residency this semester, both of whom have enjoyed wildly successful careers as opera singers worldwide.

Karen Slack is an American soprano known for her powerful and emotive voice, as well as her versatility across a range of musical styles. She has performed with major opera companies and symphonies worldwide, in both traditional operatic repertoire and contemporary works. Slack debuted the role of Billie in Terence Blanchard’s Fire Shut Up In My Bones at the Metropolitan Opera in 2019, as she maintains a strong commitment to performing the work of living composers. She was awarded the Sphinx Medal of Excellence in 2022, a prestigious award for artistic achievement. She is an active educator and coach in Universities across the country, including our own! In addition to her vocal presence, she also hosts an interview web series called #KikiKonvos. It began on Facebook Live in the height of the pandemic and has continued ever since.

Will Liverman is an American baritone with a collection of prestigious operatic credits as well as successful discography and concert work. He debuted the role of Charles in the Metropolitan Opera’s Fire Shut Up In My Bones, by the fabulous Terence Blanchard. (The album of which won the 2023 GRAMMY Award for Best Opera Recording.) Last season, he sang the title role in Anthony Davis’ groundbreaking work, X: The Life and Times of Malcolm X at the Metropolitan Opera. As well as a highly desired singer, Liverman is also a composer. The Lyric Opera of Chicago presented the world premiere of Liverman’s new opera, The Factotum, which he starred in and composed with DJ King Rico. He has performed worldwide in operas and recitals while making time to educate and coach in universities across the country. He also has the most fabulous shoe collection I have ever seen.

The two held a 3-day residency at the School of Music Theater and Dance, holding a departmental Q&A, a vocal masterclass, and finishing out with a stunning recital featuring the two. It was incredible to hear these performers speak about their lives as opera singers, as they have been instrumental figures in modern-day classical music.

The recital featured a collection of songs by Margaret Bonds, Harold Arlen, Nina Simone, Florence Price, Undine Smith Moore George Gershwin, and Shawn Okpebholo! The repertoire choices were predominantly by Black and female composers, a majority that is not often represented in the classical canon. Their performances of these art songs and arias were each thoughtful and provocative, with thoughtful emphasis on the text. There was a true connection and conversation within each piece, along with some of the most virtuosic vocalism I have ever encountered.

The two wrapped up the recital with the iconic duet from Gershwin’s Porgy and Bess, “Bess You Is My Woman Now”. A beautiful and heartwarming duet, I thought a wonderful way to end the evening—until their encores! Liverman performed a beautiful and pensive song he composed, and Slack sang Giordanni’s “Caro mio ben”, a tune brought into the mainstream from Beyonce’s new album.

Their residency was truly spectacular, filled with inspiring vocalism and encouragement for aspiring singers. What a gift to welcome these educators and performers to our University!

REVIEW: Impulse V: Roots (hosted by MEMCO)

Stellamae Leave a comment

Another unforgettable MEMCO (Michigan Electronic Music Collective) Impulse event at Club Above!! The theme of this month’s event was: Roots. It celebrated and highlighted black DJs, reminding all of us of techno music’s history–it was created by black people, specifically not too far from Ann Arbor in Detroit, Michigan. This event was paired with a film premiere of a new documentary (12 years in the making) about Detriot techno called God Said Give Em’ Drums and a panel discussion with legendary Detriot Djs like Stacy “Hotwaxx” Hale, Delano Smith, John Collins, and DJ ETTA. I sadly was unable to attend the screening and panel but the good news is the film will be in theaters soon! So when you are all able to, go watch it!!!! Then, come celebrate at a MEMCO event. If you haven’t been to one yet this is a great time to start, and if you want a preview of what you could experience…keep reading! 

I go to most MEMCO events, but I was especially excited for this one. I am originally from Los Angeles, California, and coming to Ann Arbor, Michigan, it was hard for me to feel a part of the community. I don’t like sports games, I don’t call soda “pop,” and I’m not sure I could tell you anything about the automotive industry (not to diminish Michigan culture to these three things, but I hope you get the point). Learning about the origins of Techno music and going to my first MEMCO event, I felt right at home and proud to call Michigan my new home. Roots was the first MEMCO event I’ve gone to with only black DJs. It was some of the best sets I’ve heard. There wasn’t a moment that I didn’t want to dance and move my body. Even when DJs switched the transitions were smooth and intentional–there was never a moment of stillness. 

My personal favorite sets were from DJ ETTA and MEMCO’s own NAPHTHA. DJ ETTA’s set was extremely fun, mixing hip-hop music with funky techno beats. She did an amazing job pacing each track and the evolution of each sound, i.e., adding sounds, distorting them, and playing with pacing/types of beats used. NAPHTHA was surely my favorite, though. His set had everyone dancing and gasping at the perfect transitions from track to track. I remember Club Above turning the lights on at the end of the set, and a group of us were so distracted by his set that we wouldn’t stop dancing. It’s one of those things where “you had to be there”. Looking up at the DJ booth, it looked like NAPHTHA was a scientist and was carefully using the mixing board–he knew how to use it so well I swear he could’ve made the board himself. It made me so excited that NAPHTHA is a UMICH student, and that someone so talented gets to share the campus with all of us. He is also currently a junior and will be around next year, DJing for more events so if you get the chance you must hear him play!!! I would not recommend anything more. The next MEMCO event is on April 20th at Club Above. The theme is Femme Fatale, and all of the DJs will be femme DJs!! Another very exciting event ending the semester with a BANG!