Tag: Concert

Review: The Music of Studio Ghibli

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Photos are provided by the Ann Arbor Symphony Orchestra

On Saturday, March 15, and Sunday, March 16, the Ann Arbor Symphony Orchestra gave their highly anticipated performance of The Music of Studio Ghibli under guest conductor Wilburn Lin at the Michigan Theater. The program consisted of music all composed by Joe Hisaishi, including the Symphony Variation: Merry-Go-Round/Cave of Mind (from Howl’s Moving Castle, 2004), Orchestra Stories: My Neighbor Totoro (1988), Kiki’s Delivery Service, and Spirited Away. 

Howl’s Moving Castle is one of my favorite Ghibli films, so I was delighted that its music opened the night. Because Merry-Go-Round of Life is an incredibly iconic piece and so well-known, I was a bit afraid that the performance would deviate from the original score or lack the same musical satisfaction. However, the orchestra’s rendition was beautiful. The canonic melody seamlessly weaved between the different string and wind instruments, and I particularly liked the pizzicato variations from the strings. My only complaint is that it could’ve gone longer, though I might be biased because I love the piece so much. Though the next part of the variation, Cave of Mind, is a piece I don’t often listen to, I got goosebumps because the brass solo makes it a hauntingly beautiful piece, and I could vividly recall the exact scene where this soundtrack is played during the concert.

The performance of Orchestra Stories: My Neighbor Totoro was interesting because the orchestra decided to add Japanese narration, spoken by Momo Kajiwara, to further enhance the storytelling. To be honest, I don’t love this movie because I don’t find the plot to be that engaging, but this addition made me see the film in a different light. The narration was splitinto eight different sections that summarize the movie’s plot with an English translation provided in the program, and it helped paint the innocent and mystical atmosphere of the movie for those who were unfamiliar with it. Furthermore, I love Totoro as a character, so I found it endearing that there was also someone dressed as Totoro to take pictures with.

The next feature was Kiki’s Delivery Service. I was taken aback by how short the piece was (or maybe I just found it so enjoyable that I got lost in time). Nevertheless, the performance of Kiki’s Delivery Service stood out to me among the rest of the program because of the concertmaster spotlight. The violin solo’s melody differs from the main theme, making it a fun addition to the piece as a whole, and the concertmaster played with a beautifully pure and clean tone.

The night then concluded with the Spirited Away Suite. Spirited Away is one of my favorite Ghibli films alongside Howl’s Moving Castle, so I was blown away by how similar the orchestra’s rendition of Spirited Away was to the original soundtrack. Furthermore, the gorgeous and somber piano melody further enhanced the quality of the music. 

Overall, I loved this concert. It was my first time getting to see the Ann Arbor Symphony Orchestra perform The Music of Studio Ghibli, and it will most definitely not be my last.

REVIEW: Stefan Jackiw Plays Tchaikovsky

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Photos are provided by the Ann Arbor Symphony Orchestra

The Ann Arbor Symphony Orchestra’s February 2025 MainStage took place on Saturday, February 22, at 8 PM in the Michigan Theater, and alongside performing Montgomery’s Overture and Shostakovich’s 10th symphony, theyaccompanied violinist Stefan Jackiw who gave a phenomenally clean and vibrant performance of the Tchaikovsky Violin Concerto in D Major.

The Overture was the first piece in the program. It was my first time hearing Jessie Montgomery’s Overture, but it was incredibly enthralling. The piece opens with strikingly dissonant chords played by the entire orchestra that serves as a unique melodic line. These chords continue to be the main feature before the violins begin to take over with faster-moving notes that are then accompanied by changing chords in the brass instruments. Overall, it was a piece that can be largely described as a musical cacophony and served as a great introduction before moving on to the brighter melody of the violin concerto, which was the highlight of the night.

Similar to many other members of the audience, Tchaikovsky was the main reason why I wanted to attend this concert, as it’s one of the most famous violin concertos. The concerto’s grand melody truly makes the violin sing, which requires the soloist to have a high level of technique. The first movement, Allegro moderato, opens with a gentle melody from the orchestra that slowly builds up to the soloist’s entrance, which is low and soulful and evokes a sense of yearning that Jackiw’s strong vibrato captured perfectly. As the melody continues to ascend in pitch, its playful character grows and flourishes with runs before once again blending into a more soulful tune. I particularly admired Jackiw’s ability to bring out a full sound during each note no matter how short while using the full length of the bow, which requires accurate control of the bow’s weight with your hand. 

The second movement, Canzonetta: Andante, similarly opens with a slower-moving melodic line from the orchestra. However, the soloist’s entrance remains somber and slow for the majority of the movement, a tasteful contrast to the preceding flightful first movement. 

The opening of the third movement, the Finale: Allegro vivacissimo, is then startling. The orchestra is silent as the soloist’s part features strong, rich chords that Jackiw still manages to play with a clear and bright tone. He retained this brightness throughout the whole concerto, which was especially impressive during the last movement as it’s twelve minutes long, and it’s many character changes. The last section of the finale which consists of fierce spiccato was especially impressive, and spectacularly concluded the end of his performance.

Though I love Shostakovich, it was hard to imagine how the last piece of the program, Shostakovich’s Symphony No.10 in E minor, would make for a more satisfying conclusion to the night than the Tchaikovsky. The Moderato begins somberly slow, but the second movement, the Allegro, picks up and starts to set a frantic, anxious atmosphere that often comes with Shostakovich’s music. The character of the piece was fleshed out even more once the short, staccato notes opened the third movement, the Allegretto. Though the mood this piece evoked was much more different than the Tchaikovsky—much less cheerful—the ending of the finale was just as grand with fast notes from the violins and loud chords from the brass.

Overall, I enjoyed this concert. I am so happy I got to hear the Tchaikovsky Violin Concerto live, and Stefan Jackiw did an amazing job at bringing the piece to life. Though he’s a soloist I hadn’t heard of before I’ll keep an ear out for him moving forward.

 

REVIEW: John Splithoff at The Ark

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Last Wednesday, I went to The Ark as a fan of the opener and left with a newfound appreciation for live music. Singer-songwriter and multi-instrumentalist John Splithoff brought his signature charisma and soaring vocals, filling the venue with energy and soul.

Splithoff, who first rose to fame in 2016 with his hit “Sing to You,” released his newest album, Far From Here, this March. A reflection on the chaos of a busy, ever-changing life, the album drew many first-time concert goers to The Ark, something Ark staff confirmed with a quick show of hands.

What drew me, though, was opener Evann McIntosh. After going viral in 2019 with the dreamy track “What Dreams Are Made Of,” the now-21-year-old has only sporadically released new music. At the Ark, they and their guitarist performed mostly unreleased material. Personally, I am now looking for it to be officially released; there were several songs I would love to add to my playlist. Despite a few awkward pauses between songs, McIntosh’s buttery-smooth vocals kept the audience engaged. A clear standout was “Blue Movie Magic,” their newest single, released just a week prior.

McIntosh’s chill, groovy R&B set made for a smooth transition before Splithoff and his three-piece band kicked things into high gear. He burst on stage to roaring applause, dancing his way to the mic. Though not his first time at the Ark, it was his first performance there since releasing “Far From Here,” and he was back with a vengeance.

There are moments when you’re reminded that some artists simply love music — and Splithoff embodied that joy. You could tell that he was having the time of his life up on stage, flexing his musical chops and showing off his talent. Between impressive vocal riffs and leading crowd call-and-responses, he effortlessly switched between guitars and keyboard, never missing a beat or a note.

But Splithoff made sure that his band also had their time to shine, with solos from the drums and keyboard alongside backing vocals from the bassist.

His set mixed fan favorites with new tracks, including a beautiful moment during “Kyoto Snow” when he asked the crowd to light up the room with their phone flashlights. The performance revealed his stylistic range, flowing from soulful ballads to upbeat, synthy pop. He even worked in a few Ann Arbor-specific ad libs, nodding to the city, the popcorn in the crowd, and Midwestern family values.

One of the most charming moments came during a story he shared while seated at the keyboard. Earlier that day, he ran into two fans in line at Frita Batidos, an Ann Arbor staple, who had driven from Canada just to see him. They asked him to play “Steady,” and he did. After closing with his biggest hit, “Sing to You,” he returned for a heartfelt encore and played another fan request, “Paris.”

Splithoff lit up The Ark, making the small venue feel expansive and electric. His return to Ann Arbor marked both a milestone in his career and a true celebration of live music.John Splithoff is touring with Evann McIntosh through May.

REVIEW: Gershwin Centennial Concert

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Though composer George Gershwin and his younger brother, lyricist and Pulitzer Prize winner Ira Gershwin, are undoubtedly celebrated as two great contributors to American music, their works were surprisingly never standardized. As a result, numerous scores and recordings of their music circulate with inconsistencies in tempos and dynamics, and some have been lost to time. To preserve the essence of his granduncles’ works, University of Michigan alumnus Todd Gershwin created the Gershwin Initiative with the School of Music, Theatre & Dance (SMTD). As part of this initiative, SMTD annually hosts a centennial performance of the two brothers’ works. This year, Sunday, January 26th, a crowd of students and locals alike flocked to the Michigan Theater to catch the performance of the music written by the brothers in 1925.

Accompanied by pianist Jacob Kerzner, SMTD students Nicholas Alexander Wilkinson II, Oliver Boomer, Aquila Sol, and Elle Michaels sang George Gershwin’s compositions from Tip-Toes (“These Charming People,” “Sweet and Low-Down,” and “That Certain Feeling”), Tell Me More (“Mr. And Mrs. Sipkin,” “Three Times a Day”), Song of the Flame (“Midnight Bells,” “Vodka”), La, La, Lucille (“It’s Great to Be in Love”), as well as songs that Ira Gershwin wrote the lyrics for in Molly Darling (When All Your Castles Come Tumbling Down”), Lady in the Dark (“My Ship”) and A Star is Born (“It’s a New World,” “The Man That Got Away”). The students sang without costumes, props, or choreographies. However, their voices alone captured the sassy and hopeless romantic attitudes of their characters. 

What I found most interesting is that many of these songs were suggestively scandalous yet painted with a lighthearted tone of voice and upbeat melodies. The song that particularly stood out to me was “Vodka.” The funny and punny lyrics were easy to understand while remaining hilariously descriptive of what vodka does to the human psyche and body and the negative consequences that often follow its consumption. 

After the intermission, the University Philharmonic Orchestra (UPO) took the stage under conductor Jayce Ogren to play Overture to Song of the Flame. Shockingly, it was likely the first public performance of the overture in decades, and there are no known recordings of the overture. The overture is relatively short and played for around ten minutes. Still, the characteristic dreamy quality of Gershwin’s talent at blending jazz and classical music makes it feel even shorter. 

However, what left the deepest impression on me that night was Tzu-Yin Huang’s performance of Gershwin’s Piano Concerto in F. Accompanied by the UPO, the first movement starts with a suspenseful yet jazzy rhythm from the blaring band instruments. Then, the pianist has dramatic, slow notes before suddenly accelerating in pitch and tempo before returning to a bittersweet, syncopated blues melody. The contrast between a lullful minor key to a more powerful, almost angry melody with a cascade of descending thirds evoked a bittersweet emotion before transitioning into a quick tempo; the orchestra then takes turns with the soloist in sharing the spotlight. The second movement starts similarly with a jazzy, brass solo, that the piano interrupts after a slow, somber intro. The mood immediately shifts with playful staccato notes and grace notes. In contrast to the first and second movements, the third movement begins agitated with notes that requires the fingers to have incredible control in speed and power. I loved the end of the third movement, which further expands an overall theme heard throughout all three movements before having a classic tremolo ending. 

Overall, it was an incredible experience. I’ll be striving to attend the Gershwin Centennial concert in the future, and highly recommend others attend too!

REVIEW: Berliner Philharmoniker

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Photos are provided by Peter Smith Photography

After delivering a phenomenal concert on November 23, the Berliner Philharmoniker returned the next afternoon for one final, brilliant performance featuring the Bruckner Symphony No. 5 in B-Flat Major. In contrast to the dreamy ambiance of the previous program, on November 24, the Bruckner Symphony highlighted another dimension of the artistry of the Berliner Philharmoniker: their impeccable technique and coordination.

All genres of music use Major and/or minor keys. Music written in a Major key tends to be upbeat and joyful, making the Bruckner Fifth Symphony more solemn than I expected. Unlike his other symphonies, the first movement began with a slow, peaceful introduction. It featured pizzicato—the plucking of strings—from the basses before turning into sudden, powerful chords from the whole ensemble. This exchange of conflicting textures and dynamics continued until the end, developing a complexity that was initially difficult to grasp. Bruckner was often inspired to compose by his strong religious faith, a possible explanation to why I found it challenging to digest because I am neither religious nor familiar with cathedral music.

Because of the next movement, however, I gained a better understanding of the piece. Building upon the thematic and artistic foundation set by the first movement, the slower adagio tempo of the second allowed me to engage more with the music. The pizzicato passages, which demand impeccable synchronization between each musician, added a light and fun texture that peeked out of the rest of the ensemble. Meanwhile, the quick and repetitive sixteenth notes from the violins added a ticklish quality. They played at the perfect volume to support the winds and decorate their melodic lines. The wind and string parts twirled together toward the climax, which was my favorite part of the second movement when the brass blared the repeating theme while the strings played ascending scales. 

The third movement introduced a faster, more energetic tempo, continuing the symphony’s dance-like quality. This lively beat carried into the finale, where everything came together. The finale brought back themes from the first movement. Other phrases developed over the second and third movements felt much more tangible before intertwining with a new motif. With every musician pouring their heart and soul into their part, the interweaving melodies, harmonies, and textures built up to a triumphant conclusion. The ending embodied the brightness of the Major key, creating a lasting impression.

It was hard to imagine how the Berliner Philharmoniker could match the previous night’s performance, yet they succeeded by showcasing a completely different facet of their skills. What sets the Berliner Philharmoniker apart is their ability to convey a message to the listener, whether it’s the composer’s vision, the conductor’s interpretation, or something unique to the audience. Their playing forms a narrative, making the music feel alive, and I can’t wait for the chance to see them perform again in the future. After experiencing this weekend of concerts, I’ve realized that classical music is something that must be lived and breathed in person to fully appreciate its beauty. It was an honor to witness one of the world’s leading orchestras in their 12th and 13th appearances at Hill Auditorium.



REVIEW: Berliner Philharmoniker with Benjamin Beilman, Violin

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Photos are provided by Peter Smith Photography

On November 23, Hill Auditorium was brimming with excited classical music lovers, and even President Santa Ono was in the audience. It was finally the night of the much-anticipated concert that had sold out months in advance. Under the baton of Kirill Petrenko, the Berlin Philharmoniker, alongside soloist Benjamin Beilman, delivered a masterful performance of Rachmaninoff’s The Isle of the Dead, Korngold’s Violin Concerto in D Major, and Dvořák’s Seventh Symphony.

Rachmaninoff’s The Isle of the Dead is a symphonic poem inspired by Arnold Böcklin’s painting Die Toteninsel. Böcklin intended his painting to evoke dreams, a quality that Rachmaninoff’s composition certainly achieved. The orchestra’s interpretation captured the audience’s attention with its heavy emotion and power. The dynamics ringing throughout the auditorium felt like crashing waves, while the layered harmonies added a sense of delicate chaos. However, when I looked up the painting, I found that the energetic, determined melodies of The Isle of the Dead largely clashed with the somber mood and muted colors of Böcklin’s work. Later, I discovered that Rachmaninoff had been inspired by a black-and-white reproduction of the painting, which allowed him greater creative freedom.

Next was Korngold’s Violin Concerto in D Major, my favorite—and I dare to assume, many people’s favorite—part of the night. Fascinatingly, Benjamin Beilman grew up in Ann Arbor and attended Community High School. He won first place at the Montreal International Music Competition in 2010, received the Avery Fisher Career Grant in 2012, has played with many major orchestras worldwide, and is one of the youngest artists ever appointed to the faculty of the Curtis Institute of Music. 

When I attend concerts, I often find myself amazed by a soloist’s technique, but this time I was in awe of how much fun Beilman made playing the violin look. Rather than feeling like a performance on stage, it felt like watching a film with headphones on—which makes sense, considering Korngold was an extremely successful opera composer who also played a major role in shaping early movie scores. At times, the softer passages in the music painted serene fields of flowers; at others, Beilman’s tone felt tangible, as if I were sipping rich, melted chocolate. 

 

 

The second movement, “Romanze,” was particularly moving. The opening, with its gentle and tender chords from the winds in the background complemented by the dreamy violin melody, perfectly captured the sound of falling in love—exciting and mesmerizing. Meanwhile, the closing melody, built from odd intervals, reflected the more complex side of love—confusing yet irresistibly tantalizing. 

The final piece, Dvořák’s Symphony No. 7, brought me back to Earth with its tumultuous and unexpected notes. The themes in this symphony didn’t paint vivid landscapes like those in The Isle of the Dead, but each phrase unfolded as if it were a page in a storybook. It was a piece that required a commanding and charismatic conductor to maintain its passionate energy—keeping it controlled yet never subdued—and to harness its power to blend the unexpected turns in the music into lyrical phrases. The third movement, “Scherzo,” was vivacious, its rhythm inspired by the Czech folk dance furiant.

By the end of the night, the Berliner Philharmoniker had established itself as my favorite orchestra. After delivering an enchanting, surreal, and healing performance that would convert even the worst classical music skeptic, the audience went wild—I can’t remember the last time I heard more wholehearted applause. Not to be overdramatic, but Benjamin Beilman’s performance of the Korngold Violin Concerto reminded me of how important classical music is to humanity. Combined with the Berliner Philharmoniker’s mastery, It was a night I will never forget, and I felt extremely lucky to have that experience.