Tag: SMTD

REVIEW: SMTD Jazz Ensembles Concert

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The University of Michigan SMTD jazz bands came together last Thursday night to present a double-bill performance containing early jazz music, student arrangements, and classic big band repertoire. The two ensembles are led by Chris Smith (Early Jazz Ens.) and Dennis Wilson (Jazz Lab Ens.). This musically diverse concert contained a wide spectrum of jazz music.

The first hour and a half of this concert showcased 13 tunes, most of which were transcribed and arranged by Chris Smith, the interim band leader. None of these tunes were written any later than 1929, which intrinsically implies a specific style. The band was sensitive to the ensemble sound and rendered nuanced improvisational solos that supported the style. Two band members from the horn line (Callum Roberts and Houston Patton) lifted their voices in song during the tunes “Mr. Jelly Roll”, and “Six or Seven Times”. The audience adored this unexpected performance.

The Lab Band brought us back for the second half of the concert. The band’s repertoire was developed 10-20+ years later than the early jazz set, bringing a much different sound into the mix. They included two student arrangements: “This Little Light of Mine” arr. by Gavin Ard and “Dinah” arr. by Liam Charron. Both arrangements were equally impressive and enchanting—it’s inspiring to see such polished original student work within SMTD ensembles. 

The Lab Band later featured singer Stephanie Reuning-Scherer on the tune “The Song is You”. Ms. Reuning-Scherer wonderfully adhered to the jazz style and was a satisfying performer to watch. It is wonderful to hear vocalists with the jazz bands continuing the tradition of vocal jazz in community settings. 

The final song of the concert was a world-premiere piece written by director Dennis Wilson, entitled “Rhythms From The Flint Hills”. Additional players joined in, including tablas, bassoon, violin, flute, and electric bass. This was a long and harmonically complex work and offered a unique sound texture that contrasted the music before the concert.

The entirety of the performance allowed the audience to indulge in a historical journey through jazz history, including compositions spanning over 100 years of music.

There are numerous events around campus hosting jazz music. The Blue Bop Jazz Orchestra’s annual holiday concert is on Friday, December 8th at 6 pm in the Michigan League Ballroom. The next concert for the SMTD Jazz Ensemble will be back at Rackham on February 20th at 8p.  

 

 

Image thanks to @UMICHSMTD on Instagram.

REVIEW: Complete Solo Violin Sonatas of Eugene Ysaÿe Presented by SMTD Violinists

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To celebrate the 100th Anniversary of Ysaÿe’s Six Sonatas for the violin, 13 students studying under Professors Danielle Belen, Aaron Berofsky, David Halen, and Fabiola Kim gave an outstanding performance of the complete set on Monday, November 20th in the Stamps Auditorium on North Campus.

The violin is most commonly seen in an orchestra or accompanied by a pianist. Ysaÿe’s sonatas, however, only showcase the violin. His work highlights the raw beauty and power a talented musician can bring out of such a small instrument. The music made full use of what the violin has to offer through double stops, chords, harmonics, and more, all techniques difficult to master because the slightest tilt of the bow or millimeter difference between the fingers can taint the sound. When Professor Belen and Professor Kim opened the event, they said this was a rare performance only made possible because of the talent that SMTD has.

It was my first time listening to Ysaÿe’s sonatas except for a brief video clip I saw of Maxim Vengerov playing a passage in Sonata No. 3 in D minor, “Ballade,” op.27. It’s a gorgeous movement that has a consistent melodic theme with different variations, but unlike Vengerov’s fierce interpretation, the student soloist Yuchen Cao had a much more gentle and relaxed approach, almost as if he were stroking the strings with his bow.

Sonata No. 2 in A minor, op. 27 had a few elements that pleasantly surprised me. In the II movement, Malinconia, the soloist uses a mute, a tool that string players put on the bridge of their instrument to create a fuzzier sound. Similarly, the III movement, Danse des Ombres, began with pizzicato, a technique where the player strums the strings with their fingers. Both were fun and interesting additions that contrasted the heavier or brighter music that violinists tend to emphasize in solo works.

The last act performed by Tianyu Lin simply blew me away. His technique, the vibrato, the intonation, and the tone, were perfect, making his double stops and chords beautifully ring and synchronize. The precision he had when scaling the fingerboard from its lowest to the highest range was flawless. I honestly feel like I was more enamored by his skill and talent than the music.

Symphonies and concertos are all lovely, but it was a nice change of pace to listen to a collection of Sonatas live. I’ve always been aware that the music department at UofM is top-tier, but this event let the individuals who make up the department shine.

REVIEW: Accidental Death of an Anarchist

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November 16-18 was the showing of Mirit Skeen’s Accidental Death of an Anarchist. Each directing major is tasked with directing a full-length show during their senior year, and this play was chosen and directed by Mirit Skeen in fulfillment of the requirement. ADOAA is a political farce written by Dario Fo and translated into English by Ed Emory. First performed in 1970 in Italy, it’s a timely tale of the 1969 Piazza Fontana bombing and the death of Giuseppe Pinelli while being interrogated by the police. 

As an admirer of Mirit Skeen’s directing work, this was no disappointment. This piece is not for the faint of heart, and a huge work to tackle in just a few weeks. There are moments when I come across performances at SMTD that remind me of the incredibly high level of art we are surrounded by. This was one of those moments. Hailing from one of the best music and theater schools in the country, it is a gift to see peers and colleagues at work creating inventive works of art. 

The cast consisted of 6 actors including Nathan Goldberg (BFA 24′), Lenin Izquierdo (BFA 24′), Jalen Steudle (BFA 24′), Jack Weaver (BFA 24′), Hannah Gansert (BFA 25′), Casey Wilcox (BFA 24′). With a seasoned troupe of actors, each character was thoughtfully produced and executed. Some moments indulged absolute clownery—and those were the audience favorites. The energy brought by the actors was reciprocated by the 11 pm audience. 

Historically, it was unknown if Pinelli’s death was a suicide or a framed murder. The police claimed the death was a result of suicide or an unconscious fall. The judge ruled it as an “accidental death”. However, evidence later supported the event to be a cover-up aimed to avoid investigation and obscure complacency with the guilty neofascist groups. These groups were working to impede the spread of communism, labor, rights, and political decent. Four of the characters in the play are police officers aiming to close and cover up the case (all with unique personalities and intentions). The character of the Maniac (Weaver) infiltrates the inner workings of the corrupt system, using an archetypal clown-like persona to critique the flawed investigation. This included the Maniac breaking the fourth wall, revealing the innate relevance of the piece to the audience.

There was a note from the dramaturgy team (Naomi Parr and Ty Amsterdam) that particularly spoke to me moments after seeing the show: “Perhaps there’s a comfort to be found in 2023 that we are not alone in grappling with staggering polarization, rampant disinformation, and the complexities of responding to terror. Even while democracy dies in darkness and the truth is more important now than ever, perhaps we can turn back to the court jesters to speak truth to power. Or if nothing else, at least we can revel in a Maniac in public office whose term limits start at lights up and end at curtain call.” I appreciated this brilliant inscription from the team, and it encapsulates precisely the message transmitted through Mirit’s direction. 

Next from the SMTD Department of Theater is Imogen Says Nothing, a hilarious feminist hijacking of Shakespeare. This Aditi Kapil play will be performed at the Power Center from November 30th-December 3rd.

 

 

Image thanks to Mirit Skeen on Instagram.

REVIEW: Beethoven’s Mass in C Major

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The evening of November 16th at Hill Auditorium allowed for a beautiful night of music from the University of Michigan’s SMTD Choirs. University Choir, Orpheus Singers, and Chamber Choir dazzled audiences with Beethoven’s Mass in C major, Op 86. This performance was conducted by Eugene Rogers and featured many soloists from the chorus.

The majority of this was performed by the Chamber Choir, with additional support from Orpheus Singers and the University Choir joining during grandiose moments. The Chamber Choir is the most advanced choir at the University, featuring some of the best singers in Ann Arbor. [From smtd.umich.edu] “The Chamber Choir performs 6-8 concerts annually in both Hill Auditorium and in special settings, such as the University of Michigan Museum of Art (UMMA), and is often featured at high profile U-M special events. The Chamber Choir has been featured on GRAMMY-winning and GRAMMY-nominated albums; sung with the Detroit and Ann Arbor Symphony Orchestras; performed at conventions of the ACDA and NCCO; and has toured internationally. They perform standard, classical, and contemporary choral works and often perform commissioned works in world premieres.” They remain a high-profile collegiate choir with free concerts throughout the year! 

The orchestra that played this evening with the choir was lovely. A full choir performing with an orchestra is always a treat—the sound was unmatched. The combined choirs emit a mighty sound, with well over 100 singers from the music school present.  I appreciated the sound provided by the space in Hill Auditorium—it was properly fitting for the group. The blend was well-balanced from the balcony, and I received most of the Latin diction throughout. The work sounded regal in its orchestration, which was fitting for the period and intention.

I’d like to name each soloist from the mass to commend them for fantastic work: Tyler Middleton (MM 25), Amante Pando Girard (BM 24), Juliet Schleffer (MM 24), Amber Rogers (MM 25), Bryan Ijames (DMA Choral Conducting), Jabari Lewis (MM Vocal Performance 25), Genevieve Welsh (MM Choral Conducting 24), Pelagia Pamel (BM Voice 24). Each voice dazzled through the orchestra’s texture, presenting a nuanced sound to the traditional work. I admired their preparation and stamina throughout the performance!

I appreciate Dr. Roger’s thoughtful selections for the choirs, I always find them appropriate and culturally educational. This performance wraps up the 2023 season for the SMTD Choirs. They will be back in January performing at The School of Music, Theater, and Dance’s biggest event of the year, Collage. This will take place on January 20th at 8 pm, in the historic Hill Auditorium. This annual concert is a showcase of all the brilliant work throughout SMTD. It is a “collage” of the music student’s “collage” experience, if you will. It is a highly anticipated event throughout the community and often attracts over 3000 audience members. Get your tickets early!

 

 

 

Image thanks to The University of Michigan’s SMTD Livestream. 

REVIEW: Creative Arts Orchestra

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Creative Arts Orchestra is an experimental modern music group at the University of Michigan’s School of Music, Theater, and Dance, directed by Marcus Elliot. It’s specific to the jazz department, but there are a range of participating players among the music school’s student body. This is one of the most unique ensembles at the University, emphasizing improvisation and feel over Western structure and harmony of music. They often invite interaction with other performance fields such as dance, theatre, and music technology.

The ensemble features 9 students, with a few of the players doubling on 2 or 3 instruments. The orchestra includes double bass, flute, clarinet, tenor sax, baritone sax, alto sax, and trumpet. At least 3-4 saxes were playing at a time due to the instrumentation, so the sound came off particularly bright. The double bass carried the darker, grounding sound in the music and was necessary texture-wise. The group has a truly unique way of blending, demonstrating the high level of musicianship present. 

As for the performance, the music sounded atonal and arhythmic. There wasn’t a specifically defined structure of what notes to play, but each piece was still quite different. Marcus Elliot, the conductor, chose certain moments to cue everyone in for a tutti line or harmony, but he was not overly controlling of the ensemble. I did not get to see what the player’s scores looked like but I assume they are somewhat free with little actual notation based on how the music sounded. 

I noticed if I tuned out of the moment, this ensemble sounded like noise. It reminded me how humans cling to structure in every aspect of life, including something as ambiguous as music. We anticipate “A” sections and a bridge that leads us back into a repeated “A” section, along with harmonies that are comfortable to our ears. This ensemble takes a hard right turn on that construct and plays into the emotion of a moment while creating an atmosphere for the listener with the various timbres of instruments. I respected the hyper-focused nature of the ensemble regarding this. They prioritized settling into the moment of the music and the group’s sound. 

The set featured compositions by members of the ensemble including Noah Pujol, MM Clarinet 23’, Houston Patton BFA, Jazz 23’, and Marlena Boedigheimer, MM Jazz 24’. Often their selections started with a theme and transitioned seamlessly into group improvisation. It felt like a portrait of a moment and the instrumentation that was present within the sound. 

Half-way through the concert, they featured Canadian pianist, Kris Davis. She is a Vancouver-born jazz-pianist and composer with a variety of discography available. I appreciated how much the sound was expanded once a pianist entered into the space. I enjoyed the complexity added to the music by Davis. There are more options with the instrument which allows for lower notes to be added into the music.

There’s a certain meditativeness to the music, and a smaller audience reinforces the intimate experience of the concert.  This ensemble is something to be perceived in real time, to properly absorb the spur-of-the-moment cultivation of the atmosphere. Most of all, this was an experience of collective sound along with talented musicians presently existing alongside one another. If you are interested in experiencing this, the next Creative Arts Orchestra will be on March 14th, at 8 pm in Hankinson Rehearsal Hall in the Moore building on North Campus. They will be playing with SMTD alum Mat Endahl! 

 

 

 

Image by Caitlyn Bogart.

REVIEW: Orpheus in the Underworld

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8:00pm • Saturday, Nov. 4, 2023 • Power Center

SMTD’s production of Orpheus in the Underworld (Orphée aux enfers) this past weekend was campy and aesthetically chaotic. The opera was originally written in 1858 by librettists Hector Crémieux and Ludovic Halévy and composer Jacques Offenbach, and is a humorous, irreverent take on the Greek myth of Orpheus and Eurydice. In this rendition, directed by Mo Zhou, SMTD chose to extend the opera’s original political critique of capitalist power structures into the 1950s, on the cusp of the Kennedy presidential campaign. The result is a complex amalgam of messages and meanings which I will discuss below. 

The notes provided in the program for this performance were essential in interpreting the many points the creative directors wanted to get across. First, the “About the Authors” section conveyed the point that each of the authors drew inspiration from the politics of their time. Mo Zhou elaborated upon that point in her director’s note, drawing from Offenbach’s “turbulent relationship with personal finance” to develop the opera as a statement on the privileged elite and capitalism. Further, the dramaturgical team focuses on how including Public Opinion as an archetypal character frames and translates the plot for the audience. Finally, the dramaturgs suggest that Offenbach wrote feminist meanings into the opera and subverted power structures by making Public Opinion a female character and focusing on Eurydice’s romantic self-determination.

I would not necessarily have read all of these themes into the opera without the program to point them out. In terms of the political and labor meanings of the production, the set did much of the heavy lifting. Larger-than-life vintage advertisements framed the stage, literally presenting each scene through a lens of consumerism. In the scene where the gods revolt against Jupiter’s rule, they carry signs parodying the labor movement with slogans like “Give Me Generational Wealth or Give Me Debt.” 

Despite the dramaturgical efforts to read feminism and liberation into Orpheus in the Underworld, my perception of the gender relations in this story was more cynical. While the role of Public Opinion as a female character was meant to give “the voice of the collective Greek chorus … to someone who historically was not given a voice,” her comparatively minor role in the story didn’t allow a full development of that voice. Personally, Offenbach’s treatment of Public Opinion as a female character felt more mocking of women as arbiters of social control.

All of that said, this performance was a lot of fun to experience, with all of its wacky, unexpected pop-culture references (Elvis as Bacchus?). There was so much going on that I don’t know if my confusion is a critique or a sign of some complex theatrical genius on the side of the production’s creative team. The set and costumes were beautifully and thoughtfully designed, and the cast performed splendidly. Orpheus in the Underworld was both entertaining and intellectually stimulating, and I thoroughly enjoyed picking apart the creative choices which pulled this performance together.