PREVIEW: Here Be Sirens

Were you the weird kid in middle school who was obsessed with Greek mythology? Can’t believe that anyone hasn’t seen the Percy Jackson movies? Love listening to people scream-singing while wearing large wigs and formal clothing?

If you answered “yes” to any of these questions, you’ll just love Here Be Sirens, an opera telling the tale of the lives of a trio of sirens. Oftentimes, these creatures are made out to be one-dimensional monsters, evilness being their only characteristic. Composer, performer, and playwright Kate Soper approaches her main characters with a more open mind, giving them internal desires and dreams that conflict with the caricature that outsiders typically see.

Come on down to the Kerrytown Concert House this Thursday, November 29 at 8 PM to experience Soper’s masterpiece. Tickets are absolutely FREE with your passport to the arts ticket, or $10-35 if you are PTTA-less.

REVIEW: Master’s Recital–Jordan Smith On Flute

It’s amazing the little worlds we discover throughout the course of this life. I’d never thought that the flute could stand so tall as a solo instrument, instead of a part of an orchestra or a marching band. But its soaring, cascading voice held a truth deeper than I had thought was possible.

The flute is far more nuanced than it seems in a sweaty middle school gym while performing with the school band. Far from being the out-of-tune, squeaky instrument students and their parents grew to hate, Jordan Smith’s recital was moving. He pushed past the limits of the sound barrier like it was nothing, pulling out sweet music from only the air.

But the performance was not your standard recital; though it began with Mozart (whose brilliance at age eight makes me incredibly jealous), it dove into the contemporary, first paired with the standard piano, then percussion (drum, clapping, sticks), then a wondrous video of life emerging from a fallen tree. Smith brings life and youth to what is more commonly the property of old folks ancient enough to have known Mozart personally.

If I had to say anything negative about his performance, it would be the occasional loudness of his breaths in between long musical phrases. This is understandable given the air required to play these passages, though I must admit the sound did distract from the melody quite significantly.

There were a few things out of his control that were less than desirable. The first was a technical difficulty that mangled the audio of the video that was projected behind Smith as he played (though his show-must-go-on attitude and beautiful timing still allowed the video to play a part in the performance). Secondly, all of the selections that incorporated percussion repeated the same tune of a few beats over and over. A livelier, more varied beat could have worked well with the flute’s melody.

I assume Jordan Smith started playing quite young, by middle school at least. Seeing him perform at the level he does now, it is almost impossible to imagine his own off-key first foray into the band geek world, torturing his parents with hours of painfully bad practicing in his bedroom, obligating them to attend all of the soul-crushing school performances.

For most of us, the end of the flute road comes with middle or high school graduation–most of us don’t have the dedication it takes to develop talent like Smith has. For most of us, quitting the instrument was the highlight of our musical careers. Thank god Jordan Smith is not like most of us.

 

PREVIEW: John Butler Trio

Tomorrow night at 7:30, the John Butler Trio will be performing at the Michigan Theater. I’ve seen them once before a few years ago in Grand Rapids, and they were amazing. Butler’s guitar playing in particular stood out to me – if you’ve ever heard or seen him play “Ocean” you’ll know what I mean. I wanted to buy a 12 string guitar for the better part of high school just to learn that song.

The John Butler Trio has a new album out. It’s called “Home.” It’s pretty good; a little more alternative than their previous stuff, it’s definitely marking the band’s progression through the genres. While I don’t like it as much as some of their other albums, I’m excited to see how they incorporate new and old songs into their set. They also have a new drummer, Grant Gerathy.

They will be performing tomorrow night with Dustin Thomas.

PREVIEW: Master’s Recital–Jordan Smith on Flute

Image result for minnie flute

Like the Pied Piper leading all the rats out of town with his captivating music, so will Jordan Smith untangle us from our parents’ hair and on back to school.

Allow yourself to drift back into the grind with the gift of flute music to make the process easier. Jordan Smith will be putting on his master’s recital, playing both centuries-old classical as well as contemporary selections written far more recently. Now, even though North Campus is a bit of a trek for those who were not forced to live there, the journey will be worth it. What’s more, it’s free.

So step onto a bus and come on over to soothe the dull ache of your looming exams. The show is Monday, November 26 at 7:30 PM at the Earl V. Moore Building, Britton Recital Hall. Be there or be square.

REVIEW: U-M Chamber Jazz Recital

Never before had I considered the mandolin or banjo to have a place in the jazz world. And I certainly did not expect to experience a solo of either of these instruments in any context outside of a renaissance festival or a square dance competition, respectively.

Boy, was I wrong.

The performance was split into three sets, each a different student group exploring a wildly different facet of the music genre.

The first erred on the side of folk, incorporating a sound more twangy than I’d have expected from jazz musicians. But the smoothness of the violin’s bow sliding across the strings and the low voice of the cello lurking under the melody rounded out the tunes they played, making the sound much more complex and multi-dimensional. And, I must stress, Noah Fishman on mandolin and Matt Davis on banjo went hard.

The next group played in the classic big-band style of jazz, bursting into the music the second they began with grand flourishes of slurred crescendos and bright moments of staccatoed frenzy. It was hard seeing the relatedness of the first and second groups, even though they were a part of the same genre, and shared a few of the same instruments. But rather than this near-dichotomy being a distraction, it worked as a testament to jazz’s dynamicity. It was disappointing to me, as a piano player, that the pianist Kaysen Chown was barely audible amidst the brash bass tones, as the higher pitch and lightness of the instrument would have complimented the music greatly.

The last group to play featured a jazz of the sultry kind; the high call of the saxophones (Peter Goggin on alto and William Wood on tenor) was almost erotic. The songs were rambling and suave, able to warm the mind and body simultaneously. I could find myself in some underground jazz club, surrounded by the coolest cats around, dressed in all black, perhaps sporting a beret.

When I walked out of the auditorium, I still felt warm, even despite the biting wind of the mid-November night. Maybe it was the well-heated building, but more likely it was an effect of the music. I strode back to my dorm with a strange new confidence derived from the sheer sophistication of the evening. This lasted nearly the whole walk home, ending abruptly as I tripped on a crack in the sidewalk (a testament to the exclusiveness of the genre, maybe; one can fall out of its favor with a single uncool move).

All in all, a good night, thanks to this group of talented SMTD students!

REVIEW: The Reign of Pops

The Michigan Pops Orchestra never fails to be entertaining with its program and exception with its music. This semester, we entered the Pops Kingdom and were greeted by many crown jewels of the classical music scene as Music Director Rotem Weinberg and Assistant Music Director Tal Benatar walked out dressed like kings and directed some royally magnificent songs.

The orchestra started with the “Overture to Nabucco,” followed by songs from Enchanted accompanied by a wonderfully-produced adventure video. There was some friendly banter where the person who claimed that he could play the violin with both hands tied behind his back was dubbed the “Lyin’ King,” which was a perfect segue into the Lion King Medley. Other selections from movies also featured some stunning soloists, including Mikaela Secada in “Almost There” from Princess and the Frog, Lorna Courtney in “Just Around the Riverbend” from Pocahontas. More quintessential royal pieces included Swan Lake, “Emperor Waltz,” and “The Prince of Egypt,” and we also explored the video game world with the “Kingdom Hearts Overture” that continued the journey of Enchanted. Finally, we ended with an out-of-this-world performance of the Star Wars Suite before wrapping up with the traditional “Hail to the Victors” encore.

The interactive piece of the program was a game called Name That Royal. We started off easy, with Queen Elizabeth, and then the responses became more clever, such as King Kong, Burger King, and Princess Fiona, so props to Pops for being just as witty as always. The music, though it seemed to fall apart a bit towards the end of the program, was enchanting and beautiful, parking during the “Kingdom Hearts Overture” and “The Prince of Egypt.” The Pops Orchestra took us on a magical journey, and the music they delivered was certainly worthy of a king.