Category: Music

REVIEW: Concert Black

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On Saturday I had the chance to go see a live reading of the first act of Concert Black, a musical written by SMTD student Mattie Levy. It was held at the Newman Studio on north campus. The musical itself represented the lives of three music school students, an oboe player (Played by Levy herself), a violinist, and an opera singer. The play was split three ways between them, so the audience had the chance to see the differences and similarities between each characters life and experience in music school.

The musical talked about a lot of different things including the everyday stress of being a college student, the added stress of being in music school, and the discrimination faced by many African American music students. It was also told in short pieces rather than one continuous storyline, which really gave the audience a full glimpse into the life of each character. I really admire her ability to showcase each perspective, while also telling a continuous narrative.

As someone in music school myself, I really enjoyed and appreciated the chance to see Concert Black. Some of the experiences the characters talked about were ones that I could also relate to. Especially one scene where the character who plays violin is stuck in the practice room, debating whether or not to go out with friends instead, and the inevitable feeling of guilt sets in. It’s something I’ve done so many times but never seen represented before. It’s also just a very weird and isolating feeling that not many people understand. There were so many moments like this in Concert Black, things about being in music school that tend to go unacknowledged, and it was very satisfying to see it described like that on stage.

The scene changes, crew, and instrumentalists were also a part of the show. Members of the crew and orchestra wore white, rather than black, which made everyone stand out against the backdrop. I thought this was so cool, and like nothing I’ve ever seen before. It made me think about how everyone in a production like this is equally apart of it, not just the people on stage.

Overall I really enjoyed Concert Black and I can’t wait to see act two!

 

REVIEW: Extemporaneous: Solo Piano Explorations

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Kerrytown Concert House recently hosted the magnificently versatile composer and pianist, Alyssa Smith. She is a recent graduate from the University of Michigan’s School of Music, obtaining her Masters of Jazz and Improvisational Studies last spring. She often frequented the Blue Llama Jazz Club in Ann Arbor with the Alyssa Smith Trio. Additionally, she held a flourishing piano studio for many students in the Ann Arbor community. Now based in New York City, Smith continues to enchant audiences with her sensitive and thoughtful playing. She is now working at the Brooklyn Music School while upholding her private studio, and performing in New York City with the Alyssa Smith Quintet.

The solo concert was entitled “Extemporaneous: Solo Piano Explorations”, featuring a culmination of Smith’s own improvisational compositions. She played a selection of six pieces, each with a different style and character. As a classically trained pianist, Smith delicately interweaves Romantic and Impressionist styles into her playing, along with inspiration from jazz greats like Bill Evans and Chick Corea. It is evident that she has transcended the realms expected of a concert pianist or a purveyor of jazz standards; rather, she has masterfully assimilated her profound understanding of these disciplines, fashioning them into her unique musical expression.

Smith introduced each tune with a personal statement or anecdote. Her remarkable capacity to intricately intertwine the humility and splendor inherent in the human experience was both impressive and deliberate. The themes of her pieces ranged from animals she admires to embracing change and even included a botched endeavor with fixing a broken medicine cabinet. When you think of these things, not often does virtuosic piano playing come to mind, but Smith finds a way to bring out humor and vitality in the ordinary. 

Alyssa Smith will be back at Kerrytown Concert House in the spring with a new set featuring her playfully virtuosic pianism. Keep an eye out at https://kerrytownconcerthouse.com for her next performance—or if you are ever in New York City!

REVIEW: Carmen: The Met Live in HD

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The Metropolitan Opera hosts viewings of select operas in movie theaters across the country, under their series “Met Live in HD”. These performances on screen are marketed at an affordable price, to increase accessibility efforts in opera. The 2024 year premieres with Bizet’s Carmen, an iconic staple of Opera literature. 

Young Russian Soprano, Aigul Akhmetshina, takes the stage as the youngest ‘Carmen’ to perform at The Met. Her demanding presence is alluring, along with her spunk and sense of unpredictability. She was a force to watch on stage, equally expressive and keen to the role. She sings alongside Met Opera greats: Piotr Beczała, Angel Blue, and Kyle Ketelsen. This quartet was truly remarkable, each buzzing with personality and vocal virtuosity. Akhmetshina is contracted to sing ‘Carmen’ at opera houses and festivals around the globe until at least August 2024.

The story of Carmen’s success is quite a tragic one for the composer, Georges Bizet. Bizet struggled to get his work on stage, though a fresh winner of the Prix de Rome. 1875 Paris was not fond of his depictions of proletarian life, lawlessness, and a tragic ending with an aggressive on-stage death. However, the historically controversial themes have been embraced by modern viewers and the score has trickled into aspects of pop culture, making songs like “Habanera” one of the most well-known arias to date.

The Met revels in creating the most aesthetically unique productions of Carmen year after year. Director Carrie Cracknell makes her Met debut taking a stab at a modern adaptation of ‘Carmen’s’ adventures and escapades. This production is set in the 21st Century, with references to gun violence, systemic labor abuse, and female empowerment. Her directing choices were clear and concise, revitalizing a story seeping with stereotypes and sexism. 

I would recommend seeing a Met HD Opera in theaters. It is an intimate way to experience some of the most distinguished operas in the United States. 

 

 

235 minutes. Not Rated. Includes gendered violence, cigarettes, and sexual themes. Sung in French with English subtitles.

Synopsis and more on Carmen HERE.

Met Live in HD showings HERE.

 

Image thanks to New York Theater Guide.

REVIEW: Cedar Bend, VUP & The Ruckus

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The Blind Pig was accompanied by a lively and excited audience yesterday, January 14th. The Pig hosted three University of Michigan bands on their stage: VUP, Cedarbend, and The Ruckus. These bands feature many students from U-M’s School of Music, Theater, and Dance, as well as LSA along with some distinguished alumni. The turnout was solid for a chilling January evening, with approximately 75-100 people in the venue.

The sound at The Blind Pig is very hot, a shockingly loud and overwhelming space. (I would recommend earplugs.) The lustrous lighting on stage makes for great band promos and an eclectic visual scene. Sharp greens, merciless reds, and chilling purples make for an almost nostalgic college atmosphere.  

 

Cedar Bend opened the show at 8:30. Their sound is unique, existing in an alt-folk area with an electric

guitar and violin/trumpet combo. I loved the selection of songs and the mediation of energy. Annabella Paolucci presented a beautiful violin sound throughout the set,

playing sensitively to the band’s style while staying true to the integrity of her sound. (She also makes solo music. Spoiler: it rocks). I could see this band performing in many different venues: some more intimate for their touching writing along with larger houses with support from their lead horns and violin.

 

 

VUP played second with memorable covers of catchy pop songs with groovy horn arrangements. Pianist Rowan Tucker-Meyer took pop songs beyond the limit of their confines and into a realm of creativity and complexity through improvisation. This band contains mostly jazz majors, and their feel together is unmatched. Ariana Kertsman captured the room with her powerful voice, and her interpretations of even the most difficult song selections (Stevie Wonder!!) were wholly agreeable to the audience.

The Ruckus (formerly Joe and The Ruckus—what happened to Joe???) sent the last set out with a bang. This ensemble is bright, energetic, and campy. Singer Kiran Mangrulkar is a joyful Ann Arbor spirit who joined the Ruckus for this concert. His killer voice seized the room, all along with his charming stage presence. Drummer Stephen Oduro was responsible for the infectious energy on this set—he wouldn’t let it cease for a second. The band’s ensemble was the most clear and exciting. They often play in NYC as well as Ann Arbor, so check them out on Instagram to see where they’ll be!

I highly recommend checking out these awesome local bands. Each group brings an unforgettable unique sound to the Ann Arbor music scene that will (hopefully) never be taken for granted by their close community.

 

Instagram handles for the bands:

@vup.band

@cedarbend.band (Also on Spotify as Cedar Bend)

@theruckuslive

 

 

Photos thanks to vup.band and cedarbend.band on Instagram. 

REVIEW: PIVOT

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At SMTD, every senior is encouraged to craft a thesis project, serving as a culmination of their artistic endeavors throughout their university studies. Rileigh Goldsmith (BFA Dance 24’) chose to create a unique experience to observe dance. Goldsmith presented an immersive sensory journey through the layers of creative consciousness through the lens of virtual reality. This was certainly one of the most unique presentations of dance I have ever seen.

The setup was at the Duderstadt Center, in a room nestled in the hallway leading to Pierpont Commons. It was set up like a black box with an unassuming maze. Each “room” contained a VR headset that the viewer would put on to briefly exist in the little world of Goldsmith’s creation.

The experience commenced in three parts. The first: “Question”, offered a thought about how often we notice our often concealed inner tranquility. It presented beautiful 360-degree landscapes with a gentle voice reciting a poem by Goldsmith herself. Act II was entitled “Untether”. Her program note mentioned: “PIVOT is a movement narrative which explores human resilience amidst comforting constraints, choice paralysis and fear of the unknown.”  This act featured Goldsmith’s reposeful frolics in a bright and grassy field while performing choreography of her own. It was ethereal and cherubic, exemplifying freedom and bliss. Act III was called “Pivot”. This act featured a collection of dancers fading between a 1930s-themed number and a stark contemporary piece.  She left the note: “In some realities, you were meant tethered, apathetic, and stagnant. In others, you are unbound, confident, and empowered.” 

A corresponding hanging door matched each act, labeled I, II, and III. Subtle decor lined the outskirts of each room, calling back to motifs of each act—tea candles, dainty white ribbons, and blue lamps.  The design was visually impressive and satisfying. It submerged the viewer into the creative realm of Goldsmith’s consciousness.

 

Goldsmith challenges the viewer to find freedom within their creative mind. She epitomizes power, maturity, and poignance in her choreography and design. The exhibit is open Tues – Fri, 12 to 6 pm, and Sundays, 12 to 6 pm. (from Jan. 10 through Jan. 21.) 

 

Order of Acts:

I. QUESTION

II. UNTETHER

III. PIVOT

REVIEW: Maestro

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The long-awaited Leonard Bernstein biopic came to theaters on November 22nd. With an unmatched legacy in the classical music-sphere, Maestro offers us a unique look into the personal life of the first American-born composer to receive international acclaim. 

Director and lead Bradley Cooper led a gripping performance as the conductor extraordinaire, providing a rare glimpse into the world of the beloved American conductor. I was interested to see what parts of Bernstein’s life would be highlighted in the film, as he lived quite a vehement life, filled with passionate successes and seething controversy. With so many notable musical moments that Bernstein boasts, the movie is rather centered around his tumultuous marriage with actress Felicia Montealegre (Carey Mulligan) rather than much of his career work.

The film begins with a spritely 25-year-old “Lenny” (as he was often referred to) and progresses with early career successes until he meets Felicia at a house party in 1946. They marry in 1951 and the story uncovers the beauty and bitterness behind their marriage, alongside Lenny’s confusing journey with his sexuality. The story feels complete marriage-wise, but lots of questions about his queerness remain.

The movie presents Bernstein’s life as a constant performance. His inherent presentational-based occupation and obsession with the media seep their way into Lenny’s marriage. This is shown in the way he falls in love: with choreographed dance numbers and flirtatious rehearsals on stage with Felicia. As well as the lavish parties he throws later in life with famous patrons who are watching his every move. His romance with Felicia always remained public in this sense, while his relationships with men were consistently private. Additionally, this was an interesting way to highlight the oppressive culture surrounding queerness in the 20th century. One of my favorite aspects of the film was the contrast between the unmarried and married Lenny. This shift is shown in the cinematography, with a black and white filter over his life while he is falling in love with Felicia, and a shift to bright color into the later years of their marriage, when more problems come to life. 

The film did not necessarily showcase all the music he created or the specific legacy he desired, but it was a brilliantly crafted story that explored deeply into the musician’s marriage and sexuality. This movie is thoughtful and heartbreaking with overwhelming passion—much like the music Leonard Bernstein created himself. Maestro is in theaters for a limited time and is now available on Netflix. 

 

Bradley Cooper (left) and Carey Mulligan.

 

129 minutes. Rated R  for discreet nudity and a ton of cigarettes.

Image thanks to Movie Insider and Netflix.