REVIEW: MACFest

MACFest had all the elements of a typical a cappella concert: people standing in a half circle, many hand gestures, and neat beatboxers. All 15 University of Michigan a cappella groups performed, along with a special guest performance by the Flint Octaves. Everyone sang great, but some groups stood out in particular with some memorable highlights of the night.

Amazin’ Blue kept up its legendary reputation with “Nowhere to Run,” bringing quality music that they are known for. Maica Mori of Good News sang “Hills and Valleys” with a soothing elegance and beauty, her pure voice floating through the air. Maica literally has the voice of an angel, and I could listen to her sing forever. Then, Maize Mirchi sang a calming and gentle “Au Re Chanda Pt. 4”, showing how diverse and talented the groups on campus are.

Friars, the a cappella group of the Men’s Glee Club, pulled a fast on on us. Starting out with “Ava Maria”, they quickly turned the tables and started rocking out to the Jonas Brothers’ classic hit, “Burnin’ Up.” This got the audience excited, who previously thought they were going to have to sit through the beautiful yet less-than-exciting “Ava Maria.” Instead, they pull out freshly dorky dance moves and gave us an enjoyable throwback to the 2008 hit.

The DJs brought some classy sass to the stage, with Taylor Adams rapping and singing “White Lillies/White Lies.” The all-female group Sirens had a sultry yet powerful rendition of “Cotton Eye Joe” with tantalizing harmonies and melodies. Finally, the G Men ended the concert in a way only the G Men could, storming the auditorium in soccer jerseys before closing with “Other Side of Paradise,” soloist Kyle Kim filling the stadium by hitting some impressive notes.

The groups all brought power and energy to the stage with only the miraculous sounds of their voices. While they all only performed one song, it was clear each group had their own dynamic and style and they’ll have a great year of music and passion ahead of them.

REVIEW: Jake Shimabukuro, Ukulele

First thing I learned from this performance, we have all been pronouncing “ukulele” incorrectly. Look up how a Hawaiian pronounces ukulele and you will be surprised.

The ukulele is an absolutely beautiful instrument, and Jake showed us through covers and his own compositions. They came onto the stage playing “Time of the Season”. The Zombies have a magnificent version of this song because of the clarity and resonance of the vocals. The Ukulele has a strong plucking sound with every note that gives each note their own tempo and makes for a very clear segmented sound. It fit very well with Time of the Season. This strong plucking sound, resonated by the sound system and acoustics of Hill Auditorium, also made for an enchanting version of Elanor Rigby.

My favorite song of the night was called “Go For Broke”. Jake wrote this himself, and I urge you to check it out. It really is an astonishing piece and had me on my feet after he played it. It is a tribute to Hawaiian soldiers who died during Pearl Harbor. He makes great use of muted strings in this song. I was impressed by how many different sounds Jake was able to make on the ukulele without actually playing notes. It seemed like how he muted the strings with his fingers affected the sound, similar to if he was actually playing notes. Jake was also a master of shredding on his ukulele, something I thought was only possible on the guitar.

Jake brought two musicians with him, a guitarist and a bassist. The three fit together very well. It was very cool when the guitar and ukulele were playing the same notes. During these parts it was very clear how different the instruments actually sound. The ukulele always has a lighter tone. It is nice when they adjust songs to fit with this lighter tone. I enjoyed when he played a little Stairway to Heaven and wished he played the entire intro because I think this song would fit very well with the ukulele.

I enjoyed the authentic ukulele sound so much. My favortie songs were when it was just Jake on stage playing, or when Jake played his own compositions which featured his ukulele without too many affects. Jake played a lot of covers, including classic rock songs like “Little Wing” by Jimi Hendrix and pop songs like “Shape of you”. First, no not even the ukulele can make the song “Shape of you” listenable, it is a horrific song. Little wing is an incredible song, but it fits the guitar a lot better than the ukulele. Jake used effects to get his ukulele to sound like an electric guitar for a lot of these songs, I was not a big fan. They didn’t feel as special and didn’t allow Jake to really highlight how talented he is at playing the ukulele.

Here are some pictures below!

REVIEW: Aida Cuevas

My only previous Mariachi experience is with the movie Coco, so I was super excited for my first live experience to be with “The Queen of Mariachi”. I know that Latino culture is super fun and lively, but I didn’t anticipate how crazy the audience would be for a mariachi performance. I felt as though I was watching a soccer game. As soon as the band ran out everyone starting jumping in their seats whistling and screaming. When they first started playing, I couldn’t even hear the band because everyone around me was so loud. This wasn’t only to introduce the band, throughout the performance, usually, when Aida was not on the stage, the audience would be screaming and singing along with the musicians. When it was only the mariachi band performing it felt as though I was watching a bar band that was encouraging everyone at the bar to sing along. They were humorously dancing, joining arm over shoulder, and soloing on each of their instruments. Every instrument got a turn, but the most excitement happened during the accordion solo. My personal favorite was the bongos. I enjoyed the bongo solo, but I thought the most pivotal role of the bongo’s was supporting the other instruments during their solos. I thought that it was the bongo that gave the strongest mariachi feel to the music, and it was the tempo of the bongo that the audience would react too. I also enjoyed the violins because they wound very different than the violins I am used to hearing. They were a lot scratchier, at times sounding like a cat scrawling, but were still so much fun to listen too.

When Aida was on the stage there was a different mood amongst the audience. She was a spectacle for us to watch and adore. Aida performed visually as much as she did vocally. Her first outfit was a large red dress that resembled a rose. In this dress she song long beautiful notes while quivering her voice to emphasize sadness. I think quivering their voices in mariachi is how they show power in their notes, different than western music which often emphasizes how loud or high you are able to get your voice. I was surprised by how soft her voice was in the first half. I always expected mariachi to be very intense.  I actually enjoyed this part of the performance the most, the songs were gloomier and Aida poured so much emotion into every song. It looked like she even cried during some of the songs she sang.

When she came out the second time her outfit resembled the rest of the mariachi band. Uncoincidentally her singing matched the mariachi band as well. It was intense and powerful and most lively than the first half. I enjoyed that the mariachi band was livelier when Aida wore the mariachi outfit. There was a really fun portion when all the violinists were bouncing their bows on the strings creating an extremely lively feel.

The thing that impressed me the most was that no one had sheet music. In classical music they are always reading off sheets, but in mariachi they do not. I find it hard to believe that they memorize every note, which means they play off of feeling. It surely wasn’t improvising because everyone was always in sync.

PREVIEW: Candide

Come celebrate American composer, conductor, and pianist Leonard Bernstein’s 100th birthday with the University Opera Theatre and University Symphony Orchestra!

Bernstein’s opera is adapted from a satirical novella of the same name by Voltaire. It follows the title character, an optimistic young man named Candide, on his adventures across the globe, and is known for its emotional power.

Performances will take place at the Power Center on Nov. 8 at 7:30 PM, Nov. 9 & 10 at 8 PM, and
Nov. 11 at 2 PM. Tickets are $24 or $30 for the general public, and $12 with a student ID. This event is also on the Passport to the Arts, so grab one to get a ticket for free! For more information, visit https://events.umich.edu/event/52126.

If you would like to see one of the works of an American musical great right here at the University of Michigan, don’t miss the School of Music, Theatre and Dance’s performance of Candide!

 

REVIEW: Women’s Glee Club Fall Concert

The Women’s Glee Club fall concert featured performances from Women’s Glee, the South Lyon High School Varsity Choir, and Midnight Blue. Although this concert seemed to take attention away from just voices, adding a lot of instrumental work, the concert consisted of empowering messages for women, students, and those affected by the Holocaust.

My favorite song was the Women’s Glee Club’s second performance. Called “A Jubliant Song” by Norman Dello Joio, it represented a complex and versatile method of using an entire choir. Each segment of the choir was singing almost the entire time, forming intense harmonies and crescendos. The pianist, Bobby Levinger, was also amazing, showcasing his talent with every note. After speaking with my friend in the choir, I discovered that “A Jubliant Song” was ridiculously complicated to perform, but it stood out to me as the most unique and memorable number of the night.

After “A Jubliant Song,” the Women’s Glee Club performed “Reflections from Yad Vashem,” by Daniel Hall. The song was a juxtaposition of references to the Book of Genesis, prose by Hall, and names of children who were victims of the Holocaust. It was a haunting tune, using a lot of minor key along with a beautiful viola performance by Samuel Koeppe.

Women’s Glee Club then left the stage, making room for the South Lyon High School Varsity Choir. While they were less in number than Women’s Glee, their sound was still resonant and strong. For their last performance, “Bring Me Little Water, Silvy,” all the singers stepped down from the bleachers to form a line across the lip of the stage. They made their own percussion by clapping and stomping, which was a welcome addition to the relatively textbook glee performance.

After intermission, Midnight Blue sang “Praying” by Kesha, a song meant to serve as a message of empowerment for anyone going through hard times. After that they performed “I Want You Back” by the Jackson 5. Both rather contemporary pieces provided diversity to the concert, allowing for some of the glee singers without solos in the large performance to get their voices heard.

Women’s Glee then retook the stage. For their last two songs, they invited any glee alumni to join them in singing the famous “Yellow and Blue” as well as “Varsity Victors.” As a senior, those were probably my second favorite performances, as they always make me proud to be a student here.

Overall, the fall concert was a great way to celebrate 125 years. I appreciate that the glee club invites high school choirs and alumni to join them each year. Additionally, the use of talented musicians really adds to the performances, although I wish some songs simply focused on the voices of the glee club members.

REVIEW: Aida Cuevas

Throughout the days prior to the most anticipated night of the week, I thought about how grateful I was to be able to see Aida Cuevas perform with my parents here in Michigan. On that evening, the sun had set into a dark blue sky and crowds of bundled-up people walked towards the Hill Auditorium to enter the event. My parents and I stopped at one of the glass showcases outside of the auditorium to take a picture with an event poster of Aida Cuevas; she stood proudly in a traditional mariachi suit, looking up and smiling in the light of green and red that surrounded her. Iconic, I thought to myself; I would come to know that the essence of the photo wasn’t exaggerated in any way.

 

Once the doors opened, my parents and I took our seats on the main floor, sitting fairly close and off to the side nearest to stage left. We had another nearby concertgoer take our picture with the stage behind us and I couldn’t help but notice that it was already glowing a dark red. Throughout my life, I have noticed that color in its waving flag, on the accessories worn by the mariachi, in the dress of a woman celebrating her quinceanera, and in the fireworks that burst over the hills of Mexico City with each end to the week. That color has an extraordinary essence that more represents the aspects of traditional Mexico that have persisted throughout several generations. In that respect, I knew that this performance would not be a mere interpretation of what was authentic but would truly be the living, breathing authentic art that upheld the traditional roots of Mexico as if they would never fade.

 

Finally, the lights dimmed for the performance to begin. Within a few seconds, the lights on the stage burst bright in a golden orange color and the mariachi made a robust entrance, kicking up the beat immediately and the several violinists already sounding as if there were a whole sea of them. The music felt so much like home and the Mexico that I knew, and my eyes stung. I could hear my parents cheering beside me, my dad howling like traditional mariachi players do as a way to cheer on the rest of the performers.

  

Soon after, Senora Cuevas made her entrance, showered with applause and cheers as she moved towards center stage in her big, illuminescent magenta dress. She performed each song with raw emotion, dramatizing each word and showing pure passion with each hand motion that emphasized the grand sounds of the band. Near the middle of the performance, she changed into a mariachi traje, which everyone adored as much as the dress. Her deep voice cut through the air with each ballad and I consistently felt comforted by its richness. She presented herself as a such a powerful woman figure, demanding true love and sharing the pride of being Mexicana in her songs. She returned for an encore and finished the performance with “Mexico Lindo y Querido”, a timeless classic that resonates pride and love for belonging to Mexico. As a final remark, she exclaimed, “Estoy muy orgullosa ser mexicana!” and in that moment, I was reminded of the beautiful sensation that comes with being authentic to yourself and being proud of where you come from.