Hill Auditorium – Page 19

REVIEW: A night to remember with Patti LuPone

November 21, 2009November 22, 2009 krithika

Patti LuPone’s “Coulda, Shoulda, Woulda” at the Hill Auditorium on Nov 20, 09

The one and only Patti Lupone — The one and only Patti LuPone

You gotta love a woman who starts a show with “Go Blue” and “Buckeyes suck”. To those of you who don’t know Patti Lupone (come on now, really? 😉 ), she’s one of the divas of Broadway whom you just gotta see. If you love musicals, then you would have definitely come across her.

The list of her awards- including Tonys, Best Actress in a Musical, etc. – is almost as long as her list of stage credits. She is one of the most illustrious stars of Broadway. Her critically acclaimed roles include Evita (she was the original Evita!), Sweeney Todd, “Fantine” in Les Miserables, Rose in Gypsy, just to name a wee few.

Patti LuPone was in town yesterday for her one-woman show “Coulda, Shoulda, Woulda”. This show is about the roles and songs that she could have, should have and would have done “had she been asked or had she been around or had she been a guy” (I faithfully quote her). She also delighted us with the roles she did play (oh yeah, she has had a great run).

Now, in concerts, the relationship between an audience and the artist is so different. Some artists are so god-like (and hence so cool and aloof) that the listeners, with a mingled feeling of respect and awe, sit up straight in their chairs, afraid to shift their bulk around. You can compare this to watching Zeus in heaven use his thunderbolts or the Berliner Philharmoniker perform, for instance.

Some other artists are so down-to-earth and warm that you feel as if you have been invited to a party in the artist’s very own living room and you kick off your shoes and swing your legs up on the chair in front of you. This would be like going to a party that playful musically-gifted Hermes throws or watching Patti (see, she made us feel so at home that I feel like I have known her for a really long time and I want to call her by her first name instead of the socially appropriate Ms. LuPone) perform.

Now about the show.

There was only Ms. Lupone’s magnificent brassy (and unique) voice and Mr. i-never-miss-a-beat-or-tune Joseph Thalken’ s piano sounds on stage.

Ms. Lupone, started off with a lovely opening melody followed by “An English Teacher” from “Bye, Bye, Birdie”. She then regaled us with tales about her own career in between the songs. She was just so hilarious that you gotta see it. There was never a dull moment to the show. Her choice of songs was great and that is very important for any artist. Had Patti played those roles, she would have definitely owned these too. Throughout her show that night, you could see the stamina, the mannerisms and the unmatchable multi-tasking ability of a true Broadway actress. Only an actress from Broadway can sing, act, pose, mimic, dance and look fabulous while doing it all.

Here’s a list of songs that she performed and my comments about them. I wish they had posted the list in the program notes. But then again, it would have ruined the surprise. I am giving this list as I want people to go check these out. They are the perfect songs for a gloomy winter day (sigh, we will be having so many of those soon).

An English Teacher- Bye Bye Birdie (hilarious!)

A Wonderful Guy- South Pacific

Don’t rain on my parade- Barbra Streisand (Oh, this was so power-packed and she rocked this song)

Easy to be hard- Hair (the high notes she hit in these were just mind-blowing)

Everything’s coming up Roses- Gypsy

She won a Tony award for her performance in this musical. You will know why when you listen to her.

You mustn’t be discouraged- Fade out Fade in (my second favorite)

This was her audition song for Juilliard. This song is set in one of those make-you-feel-good tunes…until you hear the lyrics.

“When you think you’ve hit the bottom
And you’re feeling mighty low,
You mustn’t feel discouraged –
There’s always one step further down you can go.”

The song only gets better and everybody was cracking up and I was laughing so hard that I almost fell off my seat (the guy sitting next to me didn’t notice as he was busy guffawing too).

Meadowlark- The Baker’s Wife

A boy Like that/ I have a love- West side story

Oh, this was so good- like eating fresh Creme Brulee at La Dolce Vita (hey, i just LOVE their desserts and am not advertising for them, ok).

A quiet thing- Flora the Red Menace (Originally sung by Liza Minelli)

Never Never Land- Peter Pan

This song is from the 1960 production of J.M. Barrie’s Peter Pan, with Mary Martin as Peter. Aww…this was so good. I would love to be in a place where time is never planned. Wouldn’t we all?

Don’t Cry for me Argentina- Evita

My first favorite. This was so awesome. This is “her” song and she owns it. It doesn’t get better than this. You could see her transform into Evita (or Evita as we know her from musicals) almost instantly. The humor was gone and was replaced with the pleading in her voice that also conveyed power and charisma. I had to see it to believe it. This alone was worth going to the show.

Oh what a beautiful morning- Frank Sinatra (It was definitely a very beautiful evening for me.)

Trouble in River City (“Ya got Trouble”)– the Music Man

You just gotta listen to this song. Patti never missed a beat and it just suited her voice so well. She just fired all her guns and sang it at a faster pace than Robert Preston. I love Patti’s version better now. Wish she would release a recording of that. Sigh! Patti, are you listening?

How to handle a woman- King Arthur’s lament from Camelot

Cole Porter’s “So in Love”- from Kiss me, Kate

Sleepy man– Robber Bridegroom

This “duet” was awesome. Mr.Thalken did the background vocals while flipping the pages of the sheet music while continuing his smooth playing of course. I just love it when a person multi-tasks. 🙂

As long as he needs me- Oliver!

She then did a Sondheim Set. What a great composer Stephen Sondheim is!

I never do anything twice (the Madam’s song)– from the film The Seven-per-cent solution

Anyone can whistle-Anyone can whistle

As per the lyrics: “What’s hard is simple. What’s natural comes hard. ” What ??? I think will have to see the original musical to understand.

Send in the clowns– A Little Night Music

My Way- Frank Sinatra (loved this). With this perfectly apt song, Patti ended the absolutely beautiful evening.

Did you think that we let her go so easily? We begged for more. She sang Sondheim’s “Ladies who lunch” from the musical “Company”, Kurt Wiell’s “September Song” and a classic Sinatra “The way you look tonight” (she sang this without the mike and it was just so beautiful).

We were greedy and still wouldn’t let her go. The evening ended with the entire audience standing and Patti singing Sinatra’s “A 100 years from today” sans the piano and sans the microphone. The air was electrifying and there was complete silence except for Patti’s golden voice. The scene is still etched in my mind and that I feel is what every artist strives for- the undying adoration of a devout audience.

Still enchanted, Krithika, for [art]seen

Krithika is learning to whistle and if you hear sounds like the squeak of a trapped mouse or a horribly out-of-tune piccolo on campus, just ignore.

Disclaimer: If I have left out any song from the night’s performance or cited the wrong song, do lemme know. Folks, I am striving to be politically correct here, ok. 😉

Review: Woh, Berliner Philarmoniker

November 20, 2009November 28, 2009 Bennett

It’s the Berlin Philharmonic. They tell me that Berlin is one the greatest orchestras in the world today – maybe the greatest. So, how does this kid prepare for a taste of high culture? Roll out the tie and iron the slacks. Unfortunately, it is officially No Shave November so the scruffier-by-the-day beard effectively brought down the class level a few points. Nonetheless, roomie Evan and I looked relatively ready to face off against the suits that dominate the culture of classical music (a few pulls of the whiskey later, we felt ready as well). Again, in another affront to our front of respectability, running late, we rolled up our right pant legs and took the quick ride to Hill Auditorium, locking up the bicycles next to the heavily Cadillac’d valet service (at least they’re American, right?).

Now inside Hill, we raced to beat the bells telling us how many minutes until showtime (count the lobby bells – one bell a minute until takeoff at the typical Broadway show) – we quickly learned that, in Germany, there are only 25 seconds in a minute or the orchestra was really in a hurry to start. Finally, relaxed and seated in the velvety, red chairs of the Mezzanine, the show began.

Even for this inexperienced symphony-goer, it truly was a magical evening. I expected a very disciplined, accurate, and direct expression of the Brahms and Schoenberg on the program as this is a fairly common stereotype of German art and culture. Instead, we witnessed extreme emotional expositions from the 128 world-class musicians and their conductor and artistic director, Sir Simon Rattle. Rattle seemed to prompt the emotional outpouring with his long, white, curly, unkempt locks. Throughout the evening, Rattle flailed his entire body to all parts of the conductor platform engaging every member of the orchestra (and audience) in every movement of the orchestral pieces.

Simon Rattle Going Nuso — Simon Rattle Going Nutso (not at Hill, unfortunately)

In cooperation with Rattle, each musician moved with the flow of the music. At all other symphony performances I have attended, the musicians seemed intent on showing little personal emotion, letting the music have full control of the auditorium. The musicians would move nothing outside of the requisite for creating the note on the page in front of them. The musicians of the Berliner Philharmoniker, instead, more intimately evoked the headbanging performances of The Ramones (“The Berliner Philharmoniker Live @ CBGB! One Night Only!”). Each musician, on the edge of his or her (almost entirely his, unfortunately) chair, rolled back and forth with each note, expressing anguish in face and movement.

Oh, right, and the music. Hill Auditorium -the Ann Arbor stop in the middle of the New York, Boston, Chicago, San Francisco, Los Angeles tour – was filled to capacity with the full sounds of the Brahms’ 3 and 4, and slightly challenged with the quieter, more internal study of Schoenberg’s ‘Music For A Cinema Scene’ (Begleitmusik zu einer Lichtspiel Szene). The symphony is a musical phenomenon, in itself, in its ability to so intensively align so many musicians in a common musical goal. The Berliner Philarmoniker fully accentuates this characteristic, totally engrossed in their communal need to be one.

And so, after 15 minutes of loud clapping and attempted whistles, we left amazed and emotionally drained. Although very much out of the comfortable habitat of $5 cover and over-power amps, we fit into our ties on Tuesday evening, forgot the cultural implications of classical music, and fixed ourselves in the orchestral experience.

Bennett. bstei@umich.edu.

REVIEW: When the Berliners held us captive

November 19, 2009November 19, 2009 krithika 1 Comment

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.

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”.

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. 🙂

PREVIEW: Berliner Philharmoniker

November 15, 2009November 16, 2009 krithika

Berliner Philharmoniker

Sir Simon Rattle, conductor
Tuesday, November 17, 8 pm
Hill Auditorium

This is THE perfect orchestra experience you have been looking for. Founded during UMS’s third season in 1882, the Berliner Philharmoniker has long been considered one of the world’s finest orchestras.

To quote from the UMS website:-

Sir Simon Rattle, their new music director, has conducted many of the world’s great orchestras. In addition to his duties in Berlin, he regularly guest conducts the Vienna Philharmonic, the Philadelphia Orchestra, and other celebrated ensembles. Rattle makes his UMS debut with this appearance, which features Brahms’s final two symphonies as well as film music composed by Schoenberg. This exclusive tour will include only a handful of US cities — New York, Chicago, Boston, and Ann Arbor.

Please note that the Berliner Philharmoniker has requested that late seating for this performance occur at intermission — after the first complete work on the program.

Program
· Brahms : Symphony No. 3 in F Major, Op. 90 (1883)
· Schoenberg : Begleitmusik zu einer Lichstspielszene, Op. 34 (1929-30)
· Brahms : Symphony No. 4 in e minor, Op. 98 (1884-5)

On 18 December 2008, the Orchestra announced the creation of a Digital Concert Hall: this new Internet platform will enable music fans all over the world to see and hear the Philharmonic’s concerts – live or on demand. There was a free performance sponsored by the Deutsch Bank around two months back. But I had missed it. So I am so excited to see the real deal.

Student rush tickets are difficult to get. But there might be some rush tickets at the box office on the day of the performance due to cancellations. See you there, folks.

Krithika, [art]seen reviewer

Krithika loves to get comments 🙂

REVIEW: Yasmin Levy

November 15, 2009November 18, 2009 krithika 7 Comments

To the gentle strumming of the guitar and the strains of the flute, Yasmin Levy, dressed in black and the ever enticing enchantress, cast a spell on the audience with her tremor-filled “La Serena”. It was just a start.

Firstly,a lil more about the Ladino music that Yasmin Levy sings. In her rendition, she maintains the original lyrics and melody of the songs (some of them nearly 500 years old), but changes the rhythm to a Flamenco style. She also mixes Turkish, Egyptian and other Middle-eastern music in her own Spanish compositons and the result is unbelievably beautiful.

To understand the Ladino songs better, we would have to delve a little into the Ladino culture. In 1492,in an attempt to flush the land of all non-christians, the Catholic rulers, King Ferdinand and Queen Isabella issued a decree that all Jews, Gypsies and Moors (a population of Muslim peoples from Northern Africa who conquered the lands of Spain and Portugal in 711 CE) living in the Spanish kingdom were either to convert to the Catholic faith or leave the country. Thousands of Jews were exiled from their homes, and in the years that followed these Jews settled in other parts of Europe, Northern Africa, and the Middle East (see the map of Jewish Migration).

The Jews from the Iberian peninsula carried their language with them and settled in the Ottoman empire. They became known as the Sephardic Jews and their language became known as Ladino.

It is no wonder that the Ladino songs are mostly about longing, love, desperation, passion and of course hope. These songs, handed down from generation to generation by mother to daughter and father to son, survived purely by word of mouth. They are based on simple themes from everyday life- like a mean mother-in-law or the unrequited love of a heartless lover. To those persecuted Jews, stripped of their lands and property and enslaved by new rulers, music must have been the only means to give vent to their melancholy, solitude, frustration and the occasional happiness. The wailing laments in the songs show this pain clearly. What is common in all these songs is the singer’s candid admission of his/her true feelings. It is such a contrast to the norm of the sophisticated upper class where emotions are best hidden and there are euphemisms, innuendos and a tendency to be emotionally aloof.

Coming back to the performance, Yasmin Levy is of those singers who have a “heart” voice- she sings with such feeling in her songs that you don’t need to know to language to appreciate the pathos or empathise for the loss. Be it the complex rhythmic phrasing or the slow vibratos, she modulates her voice so perfectly to bring out the right emotion. She is a brilliantly talented singer with a deep soulful and sensuous voice. It just doesn’t get better than that. Period.

She was accompanied on the percussion by Ishay Amir, her husband, who kept perfect rhythm. For some songs like the haunting “Mano Suave”, he played the darbouka (see pic below), a drum that is often used in music for belly dancing.

I was so thrilled by the Armenian Vardan Havanissian who played the wind instruments flute,clarinet and zurna (see pic below).

I thought was very similar to an Indian musical instrument called the nadaswaram (albeit a shorter version of it). He was just superb. His smooth flowing style with the ornamentation and variations was out of the world.

On the electric upright bass was Miles Danso from Ghana. The bass melded so well into the songs. On guitar was Yechiel Hasson, a master of Flamenco style. There were songs which had Ms Levy singing with only the guitar to accompany her. Both the artists’ amazing talents could be seen in those duets.

Unlike in Western music where ensembles play with sheet music, in this kind of music the musicians just play by memory. This is definitely harder as it needs perfect co-ordination. But this kind of setting leaves so much of room for improvisation and encourages spontaneity based on the mood of the audience and that was what we saw in the performance.

One perfect example of the amalgamation of Falmenco and Ladino was “Noches Noches”. The Flamenco genre’s staccato clap punctuating a vocal line was shown so beautifully in this one. It is such an evocative song.

“Una Ora” had Arabic music elements and would have been a great one for belly dancing, as would have been the funny song, “Mi suegra la negra”(The mean mother-in-law). You can imagine a newly-wed daughter-in-law singing this to herself, gritting her teeth, as she is doing some chores for her mother-in-law instead of being with her husband. Here’s a translation of the lyrics. Ms. Levy also showed some of her Flamenco moves here.

“My mother-in-law the evil one

Takes revenge on me.

I can no longer live with her.

She is stronger than death itself.

Soon I shall get rid her.”

The old cantina, “Adio Kerida” (Farewell,my love) was so beautiful. She had the audience singing to it. It might as well have been an metaphorical ode sung by a Jew to his native land.

My favorite of the evening was “la Alegria”. Contrary to its name (which means “happiness”), the song is about a woman who is pining for her love. It is so sad that it churns your insides and leaves you with a deep disgust for that imaginary cruel lover. The whooshing sound of the bass in this is so moving.

Yasmin Levy’s own compositions “Una Noches Mas” (a very slow moving number) and “El Amor Contigo” (a fast paced flamenco style song) were also about love. The Ladino style could be seen in her compositions as well.

That Yasmin Levy brings together musicians from so many different countries and different faiths is a testimonial to the respect the musical world has for her. May her efforts to bring people together with music bear fruits.

I was not the only one to have fallen for her music. There was an encore and Yasmin ended with a really sad Spanish song. As I was heading out, I overheard someone say, “That wasn’t fair. The last song only left me yearning for more. Wished she had sang some more.” Sigh, sigh, I defintely agree.

Krithika, [art]seen reviewer

Krithika likes to jump in puddles of water, especially when a person wearing all white walks past by

PREVIEW: Yasmin Levy

November 12, 2009November 13, 2009 krithika 1 Comment

Artist: Yasmin Levy

Saturday, November 14, 8 pm
Hill Auditorium

Tickets available at the Michigan League Office or at the box office before the performance.

This saturday night, it is time to awaken that latent gypsy spirit in you and head to the Hill auditorium. Yasmin Levy is going to be in town and she will take you on a musical journey with some Ladino music. Yup, folks, it is not a typo and it is Ladino, the language of the Sephardic Jews who were driven out of Spain in the late 15th century and who settled in Israel. These jews carried the music of Andalusia with them and as they stayed in their new home in the Middle East, their music imbibed from the different traditions and took its own unique form. Yasmin Levy, touted as World Music’s next Superstar, is one of the few exponents of Ladino music.

With such good looks and a great powerful voice, Yasmin could have been a pop star. But she chose to help preserve Ladino music as a tribute to her father. Her father, Isaac Levy, is considered as a pioneer researcher into the long and rich history of the music and culture of Spanish Jews and its diaspora. How he got into that is interesting. One day, Isaac Levy listened to his mother singing a Ladino song and decided to note the lyrics and the melody down. He felt that these songs were such an important part of his heritage that needed to be preserved. He then went around in the neighbourhood and started collecting songs and soon had enough to publish four books on them . But sadly, unfortunately for Yasmin, he died when she was only two. Yasmin’s mother, an accomplished singer, carried on her husband’s legacy, by performing these songs at concerts. Yasmin joined her in her teens.

Soon, her raw power-packed voice demanded its own stage and Yasmin went solo. She performs with such a deep raw passion that reminds us of the indomitable spirit of her ancestors. (Check her out on youtube: http://www.youtube.com/watch?v=_rmK99BZsKo&feature=related)

Traditional Ladino music is similar to Portuguese fado and Spanish flamenco in its deep-throated soulfulness and acoustic-guitar flourishes. In the haunting voice of Levy, the odes pull at your heartstrings. Do come dressed in your most vibrant bohemian clothes and sample it for yourself.

Yours truly, Krithika, art[seen] reviewer.

Krithika likes to tap dance while waiting for the Blue bus.