Sometimes, all the good stuff come at the same time. This week is one such week where there are just so many great events to choose from. One great event is the “Collapsing Borders—Einstürzende Grenzen” on Fri, Nov 20, 2009 between 6-8.30 pm.
nospectacle is based right here in Detroit. The group is made up of Christopher McNamara (who teaches at the U of M’s Dept of Screen arts and Cultures), Jennifer A. Paull, and Walter Wasacz and is an electronic music, video and DJ project.They play mostly McNamara’s original compositions.They performed a set of music to Andy Warhol’s multimedia experience at the Cranbrook Art Museum.Here’s a link on youtube.
Both the artists are known for melding sound, art and visuals. As per the program flyer, “The point of focus is to show how art and entertainment technologies play a crucial role in transcending political, cultural, and psychological borders.”
This free event is followed by an after-party, 9 p.m. – 2 a.m. at Sava’s (in the space once occupied by Zanzibar), 216 S. State St., Ann Arbor. Called Sonic Subliminal, the dance-friendly event features DJ sets by Guentner, nospectacle and Forest Juziuk of Dark Matter. $5 for the party.
Hmm…electronic music and a dance party on a friday night after a hectic week full of studying appeals to me immensely. You ready to party too?
Having grown up in a very American household, I was quite confused by the cultural differences in the IASA Cultural Show. I enjoyed the experience though, even though I was not able to appreciate it the way my Indian friends did.
I have heard jokes about “Indian standard time” and many of my Indian friends have told me that Indians always arrive late to events, but I did not believe this stereotype until I sat in Hill Auditorium from 7pm (the supposed start time) to 7:30 with my Indian friend, Bella, wondering when the show would start. To add to that, another Indian friend texted me at 8pm and told me he just arrived. And after the 4th act, the people sitting next to me finally arrived!
The theme, Vistaara, was prevalent throughout the performance but I didn’t notice it right away. Luckily, Bella explained that the first couple of pictures in the slide show were from movies and TV shows that were popular a long time ago, and the last couple pictures were ones from more recent films. The organizers of the show did the same thing for the music, choosing a mixture of old and new songs. At that point, part of me wished I were Indian so I would catch the references!
I watched the show and admired the costumes the way a tourist looks at a famous painting, noticing the colors and sparkles and comprehending the beauty in the costume, but not understanding the culture and history embedded in the piece of art. It was the same thing with the music; I loved the rhythm and melodies but I had no idea about the meaning or the cultural implications. Most of the songs were upbeat, and I found myself bouncing in my seat wishing I could stand up and dance with the performers!
When I realized that I enjoyed bollywood and bangra the most, I began to wonder whether it was because I was the most familiar with those two forms of dance. I thought about a previous post by Laurie about what it means to appreciate music (she wrote about the Itzhak Perlman concert in September). My friend, Bella, was entranced by the different dances and she smiled whenever a new song was played, obviously recognizing the song and catching the reference to “Vistaara – a progression through time.” However, after a few minutes of watching unfamiliar dances, I started getting distracted and made faces at the little baby next to me (by the end of the show, I had taught her how to blow a kiss!). I was able to appreciate the hard work that went into the performance, but I wasn’t able to appreciate the references and allusions to the various aspects of the culture.
I truly enjoyed the show, I just felt mildly “uncultured” and wished I had watched a few more movies and listened to different songs before the show. When walking out of Hill Auditorium, I wanted to watch a Bollywood movie and practice the new dance moves I learned watching the dancers. Unfortunately, I needed to work on homework. But there’s always this weekend…
Perhaps never again will there be a Django Reinhardt. However, tomorrow evening at The Ark, Frank Vignola and the Hot Club of Detroit will attempt to reincarnate the man himself – or at least his very distinct style of gypsy jazz music. The band, hailing from our neighbor down the block, currently consists of Shannon Wade (bass), Carl Cafagna (Saxophone), Julian Labro (Accordion), Paul Brady (guitar) and the main man, Hot Club of Detroit founder Evan Perri on the lead guitar. Although locally based and having played many Ann Arbor shows lately – including gigs at the Ann Arbor Summer Festival and the Firefly Club (RIP) – the Hot Club of Detroit is known nationwide for their musicianship and deep study of Django Reinhardt grooves. They will be joined tomorrow night by New York jazz guitarist, Frank Vignola. Vignola is a veteran of the gypsy jazz scene and it is a treat that he will be in town playing with this already-stellar group. Along with this, the intimate setting of The Ark will be the perfect setting for this cast of musicians (other than maybe an outdoor candle light dinner on the coast).
The Ark. November 19. 8 pm. $20. Tickets at MUTO or The Ark before the show.
It is a pleasure to be in Ann Arbor (thank you,UMS) which enjoys such exclusivity that it is often a stop along with the “other music capitals” on the tours that the best and the brilliant artists make. The pleasure turned into pure bliss when the Berliner Philharmoniker was in town yesterday.
Berliner Philharmoniker at the Hill auditorium
The Berliner Philharmoniker, one of the oldest as well as the best orchestras of today, is currently on a coast-to-coast seven-stop U.S. Tour. In September 2009, the orchestra released a recording of Brahms Symphonies (four in total), conducted by Sir Simon Rattle. Hence on the U.S. tour, these symphonies play the centrepiece of their concerts along with Brahms’ other compositions and Schoenberg’s (an ardent lover of Brahms) creations too.
Sir Simon Rattle conducts with such precision and clarity (probably as was an orchestral percussionist himself) that even the listener will attune his emotions to the conductor’s movements (or so I felt). A far-sighted visionary with big plans for the Berliner Philharmoniker, Sir Rattle is one of the main supporters of the Digital Concert Hall (I love this concept, check it out).
Sir Simon Rattle
Now back to the performance.
Brahms’ Symphony # 3: the first piece of the evening
This symphony, in F Major is such a beautiful piece. First, a little on the structure of the symphony. The first movement ( in the tempo allegro con brio) starts very vigorously with a three note opening, the energy of which startles the listener, making him sit up straight and pay attention. There is a brief lull where the strings play an expressive melody and the opening theme comes back with full vigor. The notes go back and forth between the major and the minor modes. The theme is recurrent and there is a sense of foreboding and urgency.
The second movement is a slow one with a recurring theme, almost conversational, I feel. The horns,bassoons and the strings seem to be having a dialogue. There are many variations of the theme and it borders on being sad in a restful quiet way.
The third movement is faster and more melodious. I LOVED this the best. There is a mode change and the theme is briefly optimistic before returning to a sad melody.
The final fourth movement starts in hushed tones. But then suddenly, you hear the theme from the second movement, with the dynamics completely different this time, played in a loud confident manner. The ending is soft and inconclusive.
In this symphony, there isn’t much percussion. But then the staccatos and the abrupt note changes of the strings almost keep a rhythm going. There are so many layers of emotions to this symphony that it is unbelievable.
My interpretation of symphony No.3
As I was listening to the symphony, I could imagine a story unfolding. The first movement starts with news of the war (the brisk energy). There is panic and the womenfolk mumble softly among themselves (the strings). Then the Prince leaves along with the warriors (the resounding ending).
The second movement is about the conversations of the womenfolk left behind. The Princess and her friends talk among themselves about their men. There is talk of separation( the quiet melancholic tone) and of pride in the Prince’s valor ( the buoyant tone, especially of the horn). I also “saw” the mixing of the sad and buoyant tones this way- “Someone was about to burst into tears but then they changed their mind as if they suddenly remembered something to be happy about.”
As for the third movement, news from the battlefield returns and the town is mourning for the lost Prince, also feared to be dead (the almost sad theme). There are some rumors that he might be alive (the minor-to-major mode change). But then that is not so and the princess mourns along with her subjects (the main melody played by the horn and taken by the string section).
In the finale, they are still mourning (hushed voices). There is more sadness (theme from the second movement). There is finally good news that the Prince has returned triumphant and all rejoice (the resounding trumpets and the entire orchestra). The princess tells the Prince about what she went through (the second movement theme again) and there is a quiet and thankful rejoicing (the first movement theme returns). It all ends with all wondering if there would be another war (the mysterious ending).
Back to the performance
Moving on to the performance of the Berlin Philharmonic in particular, their rendition of Symphony #3 was out of the ordinary. I was seated in the second row and I could see the players so close. They were completely one with the music (some were playing it by heart) and I felt that the beauty of Brahms’ work shone through purely because of the conductor’s and the musicians’ interpretation. In this symphony, the horn, bassoon and the contrabassoon hold such a key part and the players were absolutely brilliant. The string section was of course amazing too.
Arnold Schoenberg’s “Begleitmusik zu einer Lichtspielszene”
After a 20 minute intermission, the orchestra treated us to one of Schoenberg’s works.
Arnold Schoenberg
Titled “Begleitmusik zu einer Lichtspielszene” (music to accompany a film scene, this was so different. It is a perfect example of Schoenberg’s 12-tone system and it was disturbing. It had three sections- danger, fear and catastrophe. The first thing that came to mind was that it was perfect background music for a classic Hitchcock movie, especially “Birds”.
Hitchcock's "Birds"
Brahms’ Symphony No.4
Next, the orchestra performed symphony #4 in E Minor. This was Brahms’ final symphony and is considered one of his most celebrated works.
To me, the first movement was the many bests of the evening. There are two themes (rhythmic and lyrical) to this one that keep entwining about one other, one soft and the other energetic and the final coda is an explosive outburst that brings the two themes together. I absolutely loved the soft melody of the strings and the exuberant end of this movement. The second movement also has a similar thing going on.
The third movement, the only real scherzo of Brahms’s symphonies, is so energetic and triumphant.The clarity and sharpness given by the timpanist as well as violins was so clear here.
The fourth movement is like a roller coaster ride- with a initial bass theme followed by one of the most beautiful violin melodies and then a resounding crescendo. Then the tempo slows down and there is a flute solo followed by other solos while the violins are softly playing in the background. In the end, we hear the turbulent opening theme of the finale again and there is a somewhat sad ending that leaves you wanting for more.
And we wanted more too as we pleaded in vain with Sir Rattle for an encore. Alas, we didn’t get an encore and while I believe in moderation- in-everything, it definitely does not apply to doses of divine music like these.
Krithika, [art]seen reviewer
Krithika is still in heaven after the night’s performance and will resume earthly duties only when it is absolutely impossible to procrastinate any further. 🙂
Ok, so who is Bill Harley and what’s so special about him?
Bill Harley is a two-time Grammy Award winning storyteller and musician. This Massachusetts-based performer is famed for his use of song and story to describe the joys of growing up and family life. He is especially known for his wit and wisdom and is a prolific author. He has won a lot of other awards too- for his books, novels and concert DVDs.
He will give a free family performance at the Ark (The Ark, 316 South Main St, Ann Arbor, MI) on Sunday, November 22 at 1.00 pm.This performance is sponsored by the Ann Arbor District Library.
Later that night, there will be a show exclusively for teenagers and adults at 7.30 pm. Tickets cost $15 for this performance.
More ticket information is available on the Ark web page.
I still dig the good ol’ “Dennis the menace” and “Calvin and hobbes” comics. It is said that Bill Harvey’s show appeal to both the young and the old.
So, if you are in the mood for some clean laugh-all-you-can good humor, this is for you. I am going to go as I think the kid in me never died.
Fantastic! Or should I say Fantastico? “The Marriage of Figaro” went off this weekend without a hitch and proved to be an adventure through time and culture. I attended the Sunday Matinee and was absolutely amazed at the amount of talent produced by the singers, musicians, and set/ costume designers. Just amazing!
Figaro is a classic opera and perhaps one of the most famous. Music composed by Mozart himself and story written by Lorenzo da Ponte, Le Nozzi Di Figaro has traversed the centuries with pride and glory.
Attending the show, I was nervous as to how we were to understand the words, being that it was all in Italian, but I was relieved to see the way subtitles were displayed. A small, but adequate, screen presented the English translation and since many of the words were sung more than once, there was ample time to read and enjoy the performance. Anyone who fears going to an Opera here at the UofM in the future, don’t stress. They are catered for us to understand and enjoy.
The sets and costumes were beautiful done. I happen to know that talented young man that designed one of the dresses, the fabulous blue evening gown that the Countess wears for the ladder acts of the performance.
Sorry, image quality isn't the best, but this is the fantastic dress!
Everyone that I spoke to agreed with me when I complimented the comedic value of the performance. That is to say that it was hilarious! The audience, including myself, was laughing uncontrollably during certain twists and turns of the plot and at the fantastic satirical deliveries of various actors and actresses. One scene especially kept us going. Characters are eavesdropping constantly and the Countess and Susana play a trick on the Count and Figaro. By trading cloaks, the ladies trick the gentlemen into thinking they are each other. The men must be really stupid, but it is a great theatrical device and it was extremely funny. The things that men do behind their wives’ backs…except in this case it was the Count’s wife, he just didn’t know it. Absolutely hilarious!
As promised in my preview, I have a marvelous interview from a good friend, Nicholas Ward who played Bartolo on Nov. 14 & 15. Nick is a voice performance major who found his passion for singing as a young child. He performed in choirs and school musicals. During High School his teacher introduced him to Opera and he has been in love ever since. When asked his favorite opera singer at the moment, Nick replied “I’d say baritone Sherrill Milnes-he was really big in the 70’s and 80’s and has one of the most powerful and amazing voices I’ve ever listened to.” I asked Nick what he thought of the play, and I agree with him when he says “This show is an absolute success.” Nick is quick to hand out compliments (“Our director and conductor are such talented, knowledgeable people and really helped all the students put together a very well-known and well-loved opera.”), but he should know that he deserves just as much and more phrase. So Nick, and all of you other cast members, Fantastic Job! You are amazing!
Nick is the one in the Powdered wig! 3rd from the Left
Since I had a slight dilemma about the language barrier, I inquired whether this experience and Opera in general helps the performers better understand the Italian language. Nick responded “-yes, being a part of this opera really has helped me with my Italiano. Since there is so much recitative (a speak-singing style of dialogue), you have to be very precise with the Italian so it is clear.” My conversation with Nick proved to be a very interesting one, just like my fabulous Opera Experience. I hope to continue visiting great performances such as The Marriage of Figaro. Nick also hopes to keep going in Opera, but his plans are much more extensive. Ultimately, his goals include professional performance and voice coaching. It’s a long road, but Nick is already on his way and an abundance of talent and perseverance will help him accomplish his dreams.
Don’t fear the Opera! Try new things, buy tickets to something you’ve never heard of, try out for shows and performances, and most of all, never stay in your dorm room watching TV when there are so many things happening right outside your door. I’d like to thank Nick for answering my questions and give one last shout out to the amazing cast and crew of Le Nozzi Di Figaro! Amazing everyone, just amazing!
