Tag: Music

REVIEW: The Music of John Williams

Sappy Leave a comment

On Saturday, October 19, I attended the Ann Arbor Symphony Orchestra (A2SO) concert celebrating the music of John Williams. As expected, given the popularity of one of cinema’s greatest composers, the line at the Michigan Theatre was incredible—possibly the longest I’ve ever seen for an A2SO concert. The crowd was notably diverse, with attendees of all ages, and I even recognized friends who don’t typically attend orchestra performances.

Under the baton of guest conductor Damon Gupton, the program showcased some of John Williams’ most famous works. The first half, in program order, included “Superman March” from Superman, “The Shark Theme” from Jaws, the main themes from Jurassic Park and Schindler’s List, “Devil’s Dance” from The Witches of Eastwick, “Love Theme” from Superman, and the “Throne Room & End Title” from Star Wars: Episode IV – A New Hope.

I loved seeing some musicians—and even some instruments—in costume on stage. Paired with the quick beat and lively brass in “Superman March,” it set high expectations from the start that this would be a fun and exciting concert. Damon Gupton’s theatrical side shone through as he conducted the iconic, suspenseful opening measures of “The Shark Theme.” With each new phrase in the music, he would glance apprehensively behind him, as if watching out for danger lurking—an amusing touch that drew laughter and reflected his background as an actor. 

The order in which the repertoire was performed made me feel as though I were watching a movie, with each piece shifting the tone and taking me in a new direction. After Jaws, the uplifting main theme from Jurassic Park brought excitement, followed by the somber theme from Schindler’s List, which featured a sorrowful violin solo by the concertmaster. “Devil’s Dance” then introduced a thrilling energy that transitioned seamlessly into the sweet melody of “Love Theme,” before the first half concluded with the universally recognizable soundtrack from Star Wars.

The orchestra also performed the Olympic Fanfare and Theme, “Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone, “Hymn to the Fallen” from Saving Private Ryan, “March” from 1941, “With Malice Toward None” from Lincoln, and finished the evening with “Adventures on Earth” from E.T. the Extra-Terrestrial. 

Since I haven’t seen the films Olympic Fanfare and Theme, “March,” and “With Malice Toward None” come from, I had never heard them before. This allowed me to fully absorb the emotions conveyed by the music, without the influence of imagery associated with the movies. The catchy rhythms and bright trumpets in Olympic Fanfare and Theme and “March” made it easy to visualize social festivities. Meanwhile, the strings in “With Malice Toward None” evoked a strong bittersweet feeling. 

On the other hand, I’ve already heard “Harry’s Wondrous World,” “Hymn to the Fallen,” and “Adventures on Earth” performed live by the Michigan Pops Orchestra (MPO), who also played the same versions of “The Shark Theme,” themes from Jurassic Park, and Star Wars from the first half of the concert. It was interesting to compare how the A2SO and MPO interpreted these musical scores. The MPO has a much larger string section, which allowed their strings to stand out more, while the winds shined more in the A2SO. Though each had a different dynamic, this experience only deepened my admiration for our school’s student orchestras, as I didn’t find them lacking in musical quality compared to a professional ensemble.

Overall, with its diverse selection of pieces, the Ann Arbor Symphony Orchestra’s performance felt like watching a film without the visuals, beautifully celebrating the genius of John Williams.

Pictures are provided by A2SO

REVIEW: London Philharmonic

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Photos are provided by Peter Smith Photography

On October 18th, the London Philharmonic returned to Hill Auditorium after 13 years. The concert was especially thrilling for me, as it was my first time experiencing the London Philharmonic live. The repertoire, performed in order, included Britten’s Sinfonia de Requiem, Shostakovich’s Violin Concerto No. 1 in a minor, Tania León’s Raíces (Origins), and Sibelius’s Symphony No. 5 in E-flat Major.

I found it unusual that they chose to open with a requiem, given the somber, darker tones typically associated with such works. Yet Britten’s piece turned out to be grand in its own right, and I was surprised by how much I enjoyed listening to it. The quality of the music drew me in immediately, largely due to Edward Gardner’s conducting—I found my eyes fixed on him from the very beginning.

I consider the conductor to be the heart of an ensemble: the musicians move and breathe to the beat of the baton, and the phrasing of each lyrical line relies on the tiniest of gestures. A captivating conductor is vital to the quality of an orchestra’s performance, and Gardner’s skills truly shone, especially when every instrument joined in a musical passage. The contrasting dynamics filled the auditorium with a depth of sound that made me feel one with the Sinfonia de Requiem, despite being in the audience. 

Although I had never heard Shostakovich’s first violin concerto before, the eerie dissonant intervals and unsettling lack of vibrato in the opening unmistakably evoked his distinctive melancholic style. Once the second movement began, the intensity of the piece immediately shifted my attention to violin soloist Patricia Kopatchinskaja. The clean harmonics and intonation of her double stops were breathtaking. Furthermore, she preserved Shostakovich’s voice by weaving between the lack of vibrato characteristic of the first movement and the vibrato that expressed her own musicality.

London Philharmonic Orchestra performing with Edward Gardner and Patricia Kopatchinskaja in Hill Auditorium, October 18, 2024.

Like the preceding pieces, the introduction of Raíces was quieter and calm. What made it stand out from the rest of the program was the lively beat that picked up in the latter half; in this section, the woodwinds and brass melodies particularly shone, establishing themselves as the main characters of the piece.

Sibelius’s fifth symphony continued the trend of opening with a peaceful first movement, which made me hopeful for a triumphant ending to conclude the night. Instead of achieving an impactful ending by increasing the tempo, the last movement made its mark through the layering of instruments. The full volume of the brass rang beautifully through the hall, yet I could still hear the violins complimenting them with a gorgeous melody rich in luscious notes. The concluding measures were also unexpected; rather than maintaining that full sound, they transitioned into a series of single note chords played by the whole orchestra.

However, I must confess that for me the highlight of the concert was actually the encore: Variation IX, Adagio “Nimrod,” from Edward Elgar’s Enigma Variations. It was another calm piece, but rather than a somber sound, it featured sweet tones and a yearning melody that lingered with me long after the performance. It provided a perfect change of pace accompanied by a bittersweet emotion that proved to be more memorable than a loud and exciting ending.

REVIEW: Twelfth Night

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Photos are provided by Peter Smith Photography

From October 10 to 13, the School of Music, Theatre, & Dance presented a musical adaptation of William Shakespeare’s Twelfth Night. The witty script combined with the students’ incredible singing and dancing made it such an enjoyable experience that I ended up watching it twice. 

The performance took place in the Lydia Mendelssohn Theatre, which although a little small, is actually my favorite venue for musicals. The charming, comfortable velvet seats and the excellent acoustics ensure that every line and lyric is crystal clear. The actors also make creative use of the entire space by entering and exiting through aisles and side doors instead of always walking backstage, and this added interaction with the audience made the show feel all the more immersive. The set design for Illyria, a mythical city surrounded by water, was stunning: the intricate details of the staircase, balcony, and guardrails added realism, while the bright colors and decorations created a whimsical atmosphere.

The first musical number that stood out to me was “If You Were My Beloved,” performed by Viola, Olivia, and Orsino. Viola’s youthful, endearing voice accidentally captures Olivia’s heart, embodying the innocence and purity of the kind of love Olivia has been longing for. Olivia’s bright and powerful voice conveys the excitement of newfound love, radiating optimism and hope for her future romantic pursuits. Lastly, Orsino’s deep, charismatic voice reflects the depth of his persistent and long-held admiration for Olivia. Despite their conflicting interests while singing these lyrics, the trio harmonizes beautifully, hinting at the tangled and humorous love triangle filled with misunderstandings and unexpected twists.

Another memorable number was “Is This Not Love?” Feste’s soulful tone beautifully captured the yearning and frustration that come with being in love. This exasperation was further amplified through the choreography where Viola and Orsino would reach out for each other without ever fully connecting, underscoring the emotional distance between them. A particularly powerful moment featured Orsino spinning Viola in the air; despite their physical closeness, their emotions remained unspoken.

Funnily enough, it was “Count Malvolio” that left the deepest impression on me. I loved the playful costumes of the backup dancers that mirrored Malvolio’s outfit, and their addition allowed for a grand choreography filled with silly gestures that perfectly captured Malvolio’s ambitious dream of becoming a count. With its humorous lyrics and catchy chorus, I found myself singing it for days afterward.

Overall, each musical number was a joy to experience, and I left the theater excited to listen to them again. However, I found myself disappointed with the recordings I found online, since they lacked the vibrancy and emotional depth that made the live performances so special.

Watching the show from two different perspectives—the main floor the first time and the balcony the second—provided me with more ways to experience the performance. From the balcony, I could appreciate the full scope of the choreography, from the various formations to the synchronization. On the main floor, however, the experience felt more cinematic; the singing was more immersive and the actors’ facial expressions brought the romantic tension and developments to life. Honestly, if given the opportunity, I would happily go back to watch the musical a third time and re-experience the beauty of Illyria once more with SMTD.



REVIEW: A Night of Swing at UM-Dearborn

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Earlier this week, the University of Michigan-Dearborn campus came alive with the sounds of brass horns and swing beats, as Swing Dearborn hosted “Dance Night” with its own performances. What I witnessed was a vibrant celebration of dance, led by Swing Dearborn Vice-President Gabriel Fritz and while I did not know what to expect walking in the room, I walked out with my heart filled with appreciation.

The performances were split into four sets, each offering a different flavor of swing dance. The first routine opened with a classic Jitterbug, with Fritz leading the group. From the very first beat, I was being told a story. His movements were crisp and full of energy, and the way he was able to connect both with us, the audience, and his partner, was enthralling. There was a joyful bounce in every step, and the chemistry in the air was palpable. The playful dips and spins were perfectly timed with the music, creating a visual feast that drew me in. The movements were a conversation.

The second set introduced the Lindy Hop, a faster, more intricate dance style. Here, you could really see what Fritz specialized in. His footwork was precise, and his command of rhythm was impeccable. He transitioned from one complex move to another and it all felt very effortless and smooth. His partner mirrored his energy, and together they created a dynamic performance full of bold aerials and impressive lifts. It reminded me of the sheer physicality required for this style of swing, and I found myself in awe of their stamina and grace.

By the third performance, the mood shifted to something slower and more intimate, with a sultry blues number. The fluidity of his movements during the slower tempo was mesmerizing, and it showed me a different side of swing.—one that’s more about connection and subtlety. This performance felt personal, as if I was ”people watching” the dancers as they communicated with each other through their dance.

The final set was a group performance, featuring both experienced dancers and newcomers and although the ensemble was slightly less polished, it added to the charm of Swing Dearborn. It reminded me how swing was about having fun, rather than it being perfect all the time. I was surrounded by laughter, missed steps, and joyful recovery. Watching everyone be so immersed in the moment was beautiful.

After the performances, the audience was invited to join a 15-minute hands-on lesson and joining them is one of the best decisions I made that night. I thoroughly enjoyed the end of it all. Overall, the event showcased not just the technical brilliance of swing dance but also its capacity to connect people and spread joy. Whether you were an experienced dancer or stepping onto the floor for the first time, the energy of the evening was contagious, leaving everyone with a spring in their step.

REVIEW: Tales from the Realm of Pops

Sappy Leave a comment

This semester’s Michigan Pops Orchestra concert, Tales from the Realm of Pops, has been my favorite concert of the past six I’ve attended. The theme this semester was fairytale and fantasy, and the repertoire was full of my personal favorites that are both famous in the classical world and familiar with most audiences: from Prokofiev’s Romeo and Juliet to The Legend of Zelda to Sleeping Beauty, the orchestra certainly took us on a magic carpet ride.

The first piece to capture my heart was Tchaikovsky’s notoriously hard Violin Concerto in D Major, Op. 35, performed by this year’s High School Concerto Competition winner Minji Kim, a Junior studying at Skyline High School. The past three High School Concerto Competition winners have all been violinists, but she’s left the biggest impression on me so far. The first movement of Tchaikovsky’s violin concerto, the Allegretto, features intense lyrical runs up and down the violin, which Minji nailed each time. What impressed me the most were her double stops. Double stops mean two notes are being played at the same; this requires the bow to be completely evenly balanced on the strings while the fingers are to be a precise distance apart. It’s very easy to be out of tune when playing double stops, especially while shifting, but Minji made it sound incredibly easy with her crystal-clear tone and perfect intonation. This was my first time listening to this concerto live, and it couldn’t have been any better.

Right after came one of the unarguably best orchestral works to ever exist: Scheherazade, Op. 35 by Nikolai Rimsky-Korsakov. Pops played the third movement, The Young Prince and the Young Princess. Just like the title suggests, it’s an incredibly romantic movement that passes the melody between the strings and winds, as if they were lovers conversing. The lyrical line evokes so many feelings, such as yearning and passion before turning into playful flirting when the tempo picks up. I highly recommend listening to all of Scheherazade. It’s truly a piece that shows music can weave a colorful story and brings out the violin’s full potential during the many concertmaster solos, which Katie Zhao did an amazing job of.

I’m so glad I got to attend this concert despite being busy with finals and the coming end of the semester. It whisked me away from my stress and worries and was the best refuge I could get. I’m now all the more excited to come back to another Michigan Pops concert next year, and I wonder if they’ll be able to top this semester’s amazing collection.

REVIEW: KASA Culture Show 2024 — Seoul Shadows

eunjhun Leave a comment

Landing itself at the tail end of the year, the KASA Culture Show presents a grand finale to the year. KASA stands for the Korean American Student Association, a cultural/social organization that seeks to bring together a Korean American community and celebrate Korean culture. The night was full of wonderful performances of music and dance, but the true highlight was the screening of a popular K-drama remake. This year, KASA showcased their remake of the film Door Lock (도어락).

Before I get into the film, I’d like to highlight how amazing the music performances were. Sinaboro started off the night with a bang (of a janggu) performing a traditional Samul Nori (사물놀이) ensemble. Samul Nori is a genre of traditional Korean percussion music that utilizes four instruments: the kkwaenggwari (꽹과리), a small gong, the jing (징), a larger gong, the janggu (장구), an hourglass-shaped drum, and the Buk (북), a barrel bass drum. The precise rhythms and clangorous quality of Sinaboro’s performance brought a part of Korean culture that was unique and very interesting to learn about/experience. Additionally, Seoul Juice gave a stellar performance, although I am not completely familiar with their set list, each song filled the theater with pleasing harmonies that the band is well associated with. Personally, I’ve seen Seoul Juice perform multiple times and they always deliver, by which I mean every single member gave their all.

Seoul Juice Mid-Performance

Now the film was no doubt the highlight of the night, as it captivated the whole audience in its masterly-made production. Door Lock is a horror movie about a woman’s victimization by the hands of a stalker. Carrying heavy themes about sexual assault, stalking, and kidnapping, the film is one that leaves the audience in horrifying suspense about the identity of Kyungmin’s stalker but also woeful concern about her safety. By all means, the most fun part of it was the audience’s reactions as everyone screamed in terror, gasped in shock, and aired their frustration that she would just let that guy in her apartment. The way the film was shown to the audience was also unique and fascinating as it was cut into parts, progressively being shown between performances. It left us in the audience with cliffhangers, red herrings, and terrible suspense.

However, I do note that there was one problem I found to be pervasive: the overrepresentation of Kpop in Korean culture. While I absolutely adored the flawless formations and power of Female Gayo, the baddie energy and captivating visuals of Humi, the stylishness and effortlessness of DB3, the uniqueness and ingenuity of UMTKD, the focus and freshness of K-Motion, it felt like the heavy presence Kpop has overshadowed other important aspects of Korean culture. I would like to emphasize that Korean culture is not just the Kpop that it is often represented with, and a culture show should be a space to celebrate diverse representations of culture, not just a popular facet of it.

Despite this criticism, I found the KASA Culture Show to be a great time. The energy from the audience gave me life, and every time the dancers were only shown through silhouette I audibly gasped by how cool it looked. In summation, I love performances and the multimedia showcase of the KASA Culture Show was exemplary in all counts quality-wise.