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Although I have been following the Mnozil Brass for years, this performance of as far beyond my expectations. Thanks for bringing them to town, and please plan for a return visit.
I decided as soon as the schedule came out that I wanted to attend the concert, but I wanted to wait to get senior rush, so I had no choice but to purchase my ticket the day of the concert. As always, the Jerusalem Quartet was superb!
I was listening to Cuban Fantasy last Saturday on WEMU and my friend and host Mark Taras said he had a pair of tix to give away and suggested to his loyal audience of Cuban jazz fanatics that they might want to call in and win. He was so right. Zafir was a real trip. It brought back memories of my early twenties when I nearly ran out of money in Northern Europe and Eurailed to Morocco for the Winter. I loved the wandering songs. I remembered a fossil market with bushels of trilobytes in stalls under bare bulbs. I helped w the making of a TV movie on Marco Polo carrying plaster camels into place for after the battle scene. I never worried too much about my safety in Morocco. The people were friendly and accepting. I just put my mind in nuetral and let inertia be my bookmark during the long evening. Also, the Michigan Theater is a very warm place to hold a gathering….there are certain amenities and the staff is very genuine.
This was our first experience at Hill Auditorium and it was very enjoyable. My husband and I are both brass players and marveled at the technique and musicianship exhibited by these players. We had a lot of fun. The only issue we did have was the size of the seats. For me it was fine, but for my 6’2″ husband who recently had knee replacement surgery, it was too cramped for him to sit at least a little comfortably.
Great comment. I sensed that they played differently but I’m only able to play the radio. Dahnke!
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I have two degrees in music and trumpet is my major instrument. But these guys play their horns in a way with which I am unfamiliar. So clear and crisp and accurate and in tune and with dynamic changes, etc. WOW! Canadian Brass should be worried. Although they are equally talented I was very impressed with the tuba player. To be able to be as crisp as the trumpets is a might feat. I hope they return to Michigan soon.
I have two degrees in music and trumpet is my major instrument. But these guys play their horns in a way with which I am unfamiliar. So clear and crisp and accurate and in tune and with dynamic changes, etc. WOW! Canadian Brass should be worried. Although they are equally talented I was very impressed with the tuba player. To be able to be as crisp as the trumpets is a might feat. I hope they return to Michigan soon.
Absolutely fantastic performance! Loved their shiny brass instruments, their expert playing and their schticks! Very clever, wonderful music, delightfully amusing and charming all at the same time! A+++++!
Mnozil Brass, sounded to me like the thing you put on the end of the garden hose to spray off the car after a wash. Well, they were great musicians and showmen. I’m not sure about the recurring Spanish lesson though. Most of the audience caught on. I saw a number of kids in the audience, which was nice for a Thursday night. They made great use of the stage at Hill. Good show!
This chamber concert was memorably delightful. The music was well chosen and beautifully played, particularly the Bartok, Schumann and Beethoven encore.
I’d like to encourage comments about the Bartok from you knowledgeable folk. I thought it was interesting to hear, after my ears got attuned to the initial dissonance, which came as a shock after the Beethoven, and that it was visually fun. The Presto was a lovely ending to the concert.
All in all, a wonderful concert, and a rare treat to hear Beethoven done with playfulness and spirit. I found the Schumann, though, like much of his orchestral music, to be banal, droning and uninspired, save for the last movement. Thankfully it was erased by the superb encore.
The music and singers were very good, but I was hoping that they would sing something in English. Maybe a program handout with English or a screen with English translation so it would be more meaningful.
As you like it – a good interpretation of Shakespeare’s work. The creativity of the desks be coming the forest is amazing. 1st act was a bit slow but the 2nd act made up for that and made it a fantastic performance
Asisti al evento el Viernes 1 de Abril con un grupo de 32 amigos mas. Desafortunadamente creo que todos teniamos una expectativa mucho mas alta sobre esta “Noche de Mariachi”.
Los maestros de ceremonia, el ballet, y las chicas que dieron apertura al show estuvieron excellente!!!.
Los senores del Mariachi, cantan hermoso, tienen unas voces espectaculares, y gran talento!!! Pero desafortunadamente se quedaron cortos en el repertorio, se dedicaron a cantar solo las canciones de su propia autoria, por cierto poco conocidas por el auditorio.
Desafortunadamente cantaron canciones de conocimiento de toda la audiencia como Cielito Lindo, El Rey, la Bamba y otras dos canciones solo en los ultimos diez minutos del show.
Deberian considerar para futuras presentaciones incluir canciones que han sido de larga reconocimiento no solo en Mexico sino en Latinoamerica y el mundo entero para lograr el total deleite del publico. Canciones como:
La Media Vuelta, Mujeres Divinas, Paloma Querida,Cuando salga la luna, Volver, Pa’ todo el anho, Un mundo raro, El 7 mares, La ley del Monte, Toquen Mariachis toquen…. y muchas mas….
Disfrutamos el show, pero definitivamente les falto dar mas y complacer al publico!!
What an exciting event! I was so happy to be part of such an interactive event, even though I am not Spanish-speaking. They certainly are a Treasure, and the lovely Mariachi vocalists in the beginning. Such a treat to see where these young ladies start in such a riveting vocal style!
Just saw the Sunday matinee performance of The Sleeping Beauty, American Ballet Theater. Wow, what an incredible treat to see world class grand classical ballet theater in Detroit. I’ve seen other classical ballet theater performances in Moscow, St. Petersberg, Kyiv, Oslo, and Riga, and this performance was comparable. Thanks UMS!
Thank you so much for putting on such a beautiful performance. Every thing from the set, the talent to the choreography was top notch. I was so impressed with the younger children and their professionalism. Please come back to Detroit soon!
After I got parking shock can you imagine when I bought two candy bars handed the woman a $10 bill and she said; “thank you” and went to the next person. I didn’t need to get the candy, and truthfully I don’t believe food and drinks should be sold at an event like this. I guess it helps them make extra money for support.
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Wonderful performance; loved the costumes, music, and dancing. People should be prohibited to use their cell phones. Throughout the performance, there was this lady in front of me who constantly checking her face book! I wonder why she even bothered attending the show. I found it distracting and disrespectful. Parking was expensive ($20).
I’m surprised they are seating people that are late. I always get their early. You are right, that is very rude. No matter what the excuse may be they should not be seated.
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A little too long, but absolutely beautifully done. Thoroughly enjoyed. However, when we are there a half hour on time and they are STILL SEATING LATE PEOPLE 20 minutes INTO THE PERFORMANCE, totally RUDE. This would NEVER happen at the opera. If you are late, you wait till intermission.
Wonderful performance; loved the costumes, music, and dancing. People should be prohibited to use their cell phones. Throughout the performance, there was this lady in front of me who constantly checking her face book! I wonder why she even bothered attending the show. I found it distracting and disrespectful. Parking was expensive ($20).
A little too long, but absolutely beautifully done. Thoroughly enjoyed. However, when we are there a half hour on time and they are STILL SEATING LATE PEOPLE 20 minutes INTO THE PERFORMANCE, totally RUDE. This would NEVER happen at the opera. If you are late, you wait till intermission.
An amazing production with exquisitely designed costumes. The timing of each performance by the principals was seamless and I was thrilled to see Misty dance.
The bus provided by UMS got us there in time to have a delicious dinner at Vicente’s Cuban restaurant.
A perfect evening.
It was wonderful, we loved it. I only wish they would put an age limit on admittance. Someone had a toddler that you could hear during the performance. I always park at the Opera House parking garage usually pre-pay for $10. They didn’t offer pre-pay this time and had to pay $20. They announce no photography or filming during the performance. I don’t understand why people think it is ok to use cell phones or Ipads. Very unfair to others.
Wonderful performance. Being brought up on ballets by Chaikovsky(I am Russian) I always have very high expectations and this one was up to them!! Thanks to everybody who made this to happen.
The musicians were talented but the evening overall was a huge disappointment. There was no attempt made to accommodate non-Spanish speakers, and no attempt to provide any context or education about the music, its history, or cultural significance. Even the program was devoid of content. I did not learn anything.
It was clear that those who were not already familiar with this music were not wanted here. I left feeling frustrated and alienated.
Have never seen so many people in Hill have so much fun. Fantastic. I don’t understand Spanish, but the music and the mood communicated all I needed to know. I probably won’t come to a repeat show, but I would highly recommend. Very enjoyable.
Wonderful music and a lot of fun for those of us who speak Spanish. But I took a class of undergraduate students from U of M with me n they were frustrated by not understanding Spanish. The Mariachi folks need to do what they have done in the Opera — subtitles in English on a screen above or at least introduced the songs in English telling folks what they were about.
Me gusto mucho pero quedaron a deber. Me explico:
Siendo el Mariachi un orgullo Mexicano, excluyeron equivocadamente de su amplio y excelente repertorio unos pocos temas clasicos como:
Mexico Lindo
El son de la negra
El Mariachi Loco
La Bikina
El cascabel
Hermoso Cariño
Respetuosamente a su gran actuación, también les falto mas complacer al publico.
En otros años la presentacion fue mas entregada y complaciente, regresando 2 o 3 veces al escenario a petición de los asistentes.
Aun asi, es TOTALMENTE recomendable y volvería a ir a verlos. No por nada el Mariachi es considerado Patrimonio de la Humanidad!!
A propósito, las 3 jovencitas que abrieron la presentación, la guerita que canta con un acento español hermosisimo, el ballet que las acompaño y los maestros de ceremonia, también estuvieron de lujo y le agregaron mucho valor a la de por si, muy profesional y alegre velada.
Respetuosamente, Viva México y bendito USA que a traves de U of M que nos abren sus puertas a nosotros y nuestras raices!
El mejor Mariachi del mundo. Son unos profesionales. Excelentes voces, canciones,y trajes. La musica es excelente. Por algo son patrimonio cultural de la Humanidad. Me encanto. Estoy fascinada.
Wonderful evening of dance, costumes, sets, staging and music. Parking twice the cost of regular opera events-greed is never agreeable. Great diversity in the audience. A bit late for most children-perhaps matinees should be considered.
The performers were great. The ushers were kind and helpful. The show wasn’t the best experience I could have had because of all the phones and IPads being held up and blocking my view. When we asked the person in front of us to put down his gigantic phone he told us to shut up. Luckily the usher intervened. Unfortunately the two IPads a few rows ahead still blocked our view. What a bummer.
We’ve come a long way from Chas. Sink and the Philly Orchestra May Festival, which I attended for many years, but I gotta admit the variety is refreshing. Latinos are a happy, hard working people and they love their music, So do the Irish and many others.
Why not wear out the upholstery a little faster and get the crowds coming to Ann Arbor
Muy divertido! The costumes were beautiful. The music was fun and filling. The audience may have been the best part. Was kind of like watching a baseball game indoors. I’m sorry the new comers don’t know where to park. It’s a pretty confusing town and traffic was snarled by the Spring football game and a million other things.
I’m grinning and happy, loving what we have experienced this evening. Loved the energy in the audience, too! I’m living proof that music transcends language and culture….by the end of the final encore I could swear I spoke Spanish fluently. VIVA!!!
The Mariachi Vargas ensemble may be the best in the world, but tonight’s program was deafeningly loud and totally off-putting. I didn’t buy a main floor ticket to see nearly an hour of students singing, either. I stayed until about 9:00, then left. Couldn’t take the overly loud sound (even went up to the mezzanine and it was nearly as loud and not at all enjoyable to listen to).
A woman sitting behind me (on the main floor) kept screaming at the top of her lungs before, during and after every number. Perhaps she was “under the influence” I don’t know. But it was totally irritating and uncalled for. I’ve never had such an unpleasant experience with a performance from UMS before. Hopefully, never again, in the future. Glad to be home.
This Mariachi band may be the best in the world, but tonight’s program was deafeningly loud and totally off-putting. I didn’t buy a main floor ticket to see nearly an hour of students singing, either. I stayed until about 9:00, then left. Couldn’t take the overly loud sound (even went up to the mezzanine and it was nearly as loud and not at all enjoyable to listen to).
A woman sitting behind me (on the main floor) kept screaming at the top of her lungs before, during and after every number. Perhaps she was “under the influence” I don’t know. But it was totally irritating and uncalled for. I’ve never had such an unpleasant experience with a performance from UMS before. Hopefully, never again, in the future. Glad to be home.
Beautiful dancing, costumes, and music. It’s a good idea to arrive early enough to read the program before rather than during intermission as I did. Parking across the street is $30.00 and $10.00 at the Z parking garage.
Thank-You, Thank-You, Thank-You András Schiff’s performance @ Hill was “Tainted” by the chorus of Cell Phones.(Not part of the Program) Thank-You, Thank-You, Thank-You
I agree, Ian, though I also liked the final flowers in the rain. For the most part, I could do one or the other, listen or look. The fact that the short films were in slow motion made it even harder to watch while listening because I had to pay close attention to find what was moving. I listened with my eyes closed for some of the concert.
Finally, there is a culture difference between viewing a film and listening to music. Chuckles and gasps are fine for a film, not for a concert.
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The playing was masterful and the acoustics in Hill did it full justice, at least where I was sitting. I find Bach very elegant and cerebral and I found some of the visuals to be distracting and others essentially irrelevant. The only two that worked for me were in the middle part of the program: the woman holding and responding to a photograph; and what I interpreted to be a Japanese take on a mourning ritual.
However, I am so pleased that I went. Gil Shaham gave a wonderful performance.
I can identify with logistical problems in getting to one’s seat, such as long will call lines. Another thing about concerts at Hill is the parking situation. The nearest structure is not of the best quality, and fills up fast. So one can probably count on walking some distance, and extra time just for that. There were no audience problems where I was in the front center section.
In Detroit, I usually get a box seat, which are located in a separate area, where people getting to their seats late creates far less intrusion than with row seating. However, when some people do arrive after the piece has begun, it is still a little distracting but I just stay focussed on the music. Talking, using cell phones, etc. no, no, NO!
I believe it may have been the great conductor/composer Gustav Mahler who began the practice of forbidding seating after the concert has begun until an appropriately lengthy pause. I seem to recall in one of his works he stipulates a pause of so many minutes before starting the second movement.
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Mr. Sullivan, thank you for your consideration of the various comments. For me it was an exceptional concert, very enjoyable. Ann Arbor is extremely fortunate to have convenient access to events of this scale and quality.
I wanted to comment on the issue of seating people after the concert started. A contributing factor might have been very long will call lines. When I arrived at about 10 minutes before 8PM, the 2 lines went out the doors, down the steps, and maybe 40 feet to the north on Thayer. (I don’t know what is typical for will call. This was unfortunately only my first UMS event at Hill this season.)
When I got my ticket, there were still significant lines behind me. I moved very quickly to my seat in section 5 on the main floor. I was seated for probably no more than 2 or 3 minutes before the concert started. Due to the large number of delayed will call patrons, I thought that perhaps the ushers were trying to seat people that would have been required to wait under less crowded conditions. (I am not saying that this is good or bad, only that it is my perception.)
I don’t know who controls the start of the performance, but a delay of a few minutes would have allowed time to seat many of these people.
Three possibilities for improving this situation are:
– At the time of purchase, warn will call patrons that for busy events, a 10 or 15 minute wait in the will call line must be expected.
– Find ways to expedite the process of picking up will call tickets, especially if long lines are starting to form.
– Delay the start of the event, even by a few minutes.
Ideally, all patrons would arrive and be seated well before the start of a performance. But for a crowd of 3,500 or so people, this will always be difficult to achieve.
I have been attending concerts for decades. I have heard some great ones at Hill. This was certainly one of those being unforgettable! Daniil Trifonov was incredible. I view him as on his way to being historically one of the greatest pianists of the 21st century. I thought so upon hearing him for the first time in Detroit, knowing nothing of him beforehand. I had the pleasure of meeting him, and he also comes across as genuinely a very nice person. The Montreal Symphony and Negano were very impressive, wonderful in Debussy and in the rare complete Firebird.
Shaham must have been using a baroque bow for that movement. That is the hand position for a baroque bow.
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I am not a string player, but I have a question about technique. I noticed that for at least part of the Partita No. 1, (the piece immediately before the first intermission) Mr. Shahan held the bow differently than he did for most (if not all) of the remaining pieces. His hand was about 2-4 inches from the base of the bow. Does anybody know why he would have done that and what effect it had?
I absolutely agree with “fifil”. Shaham fabulous performance. The visuals trite, banal,insulting to the audience as well as the music. I had to keep my eyes closed to be able to enjoy. So much for my expensive seat up front so I could experience the expressions and fingers.
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I thought the playing was gracious and sensitive and wonderful, so I thoroughly enjoyed the music. Shaham is a masterful performer, and his violin resounded with exquisite beauty and grace under the roof of the Hill Auditorium.
However, I thought the visuals were tasteless, to say the least. It is displeasing to see the world class classical musicians acquiescing to such shallow, kitschy “translations” of their art. The visuals were banal, meaningless, nothing to do with Bach, and not unlike your regular, over-saturated, slow-mo imagery in food commercials and the like. Ugly.
The playing was world class, so let me end on that note. Stellar (if routine) performance of the six solos. Long, demanding, and rewarding all the way through. Awesome.
I am not a string player, but I have a question about technique. I noticed that for at least part of the Partita No. 1, (the piece immediately before the first intermission) Mr. Shahan held the bow differently than he did for most (if not all) of the remaining pieces. His hand was about 2-4 inches from the base of the bow. Does anybody know why he would have done that and what effect it had?
Procrustean huh? Seemed a bit obscure to anyone but the so very intellectual. So I looked it up….. Maybe that is the whole point, that Bach is a composer whose works can connect us to our common humanity. Maybe there is a glimpse here of expanding the vision of what visual and musical artistry can be. I would join in with those who found it unclear as to the connection or even the artistic value of the films and the music together. But I take a different perspective. I have briefly worked on a few movements of these sonatas and partitas and have heard them played. In his notes Gil Shaham speaks if the complexity and depth inherent in them. To play them all in one performance, with such carefully dedication was amazing. I am suspecting it just might be my lack of genius and insight which leaves me wondering what I missed, rather than Gil Shaham’s ineptitude in presenting it.
While Shaham is a masterful violinist his interpretation of these powerful and moving pieces seemed procrustean. A dance needed to sound like a dance, fast was preferable to moving, etc. This is not Bach to me. However, “De gustibus non est disputandum” or “in matters of taste, there is no dispute”.
The technicity of the playing was breathtaking. But I found the interpretation quite cold and lacking in emotion. The video detracted rather than enhanced. An interesting evening, but not a transporting one.
While Shaham is a masterful violinist his interpretation of these powerful and moving pieces seemed procrustean. A dance needed to sound like a dance, fast was preferable to moving, etc. This is not Bach to me. However, “De gustibus non est disputandum” or “in matters of taste, there is no dispute”.
The technicity of the playing was breathtaking. But I found the interpretation quite cold and lacking in emotion. The video detracted rather than enhanced. An interesting evening, but not a transporting one.
Thank you to all the collaborators for a wonderful evening. Gil Shaham’s violin playing was masterful. The imagery was fascinating. I particularly liked the non-human images in the films — the flowers, skull, hourglass and globe.
Bach’s music demands concentration. It is often quite complex. The harder one listens, the greater is appreciation of Bach’s musical genius. Shaham’s performance was extraordinary.
The film was a distraction from Bach’s music and Shahan’s playing. It was also devoid of cogency to the music.
I found Gil Shaham’s performance tonight to be absolutely breath taking. A world-class artist performing some of the most captivating pieces ever written. There is just something about Bach that transcends everything. The 3 hours went by so quickly, I wished it had taken longer.
I was a bit apprehensive when I heard there was going to be film to go along with the music, but I have to say….as a Bach lover and enthusiast, I found the slow-motion films to be exactly what was needed in a space like Hill to deepen the average audience member’s listening experience. The films for me, helped to offer a new perspective or way of looking at each movement. I disagree with a comment made already that the films weren’t “relevant” or had “nothing to do with Bach.” I find those statements to be completely ludicrous, because for me…. Bach is everything, and everything is Bach.
The audience members behaved better this time around compared to some of the past performances I’ve been too…..still some whisper’s, and clumsy people dropping cellphones during the softest part of an adagio…audience grade this time around is a B-
Overall, an incredibly moving performance by one of the most revered artists in the world. I will never listen to Bach the same way again.
The playing was masterful and the acoustics in Hill did it full justice, at least where I was sitting. I find Bach very elegant and cerebral and I found some of the visuals to be distracting and others essentially irrelevant. The only two that worked for me were in the middle part of the program: the woman holding and responding to a photograph; and what I interpreted to be a Japanese take on a mourning ritual.
However, I am so pleased that I went. Gil Shaham gave a wonderful performance.
I thought the playing was gracious and sensitive and wonderful, so I thoroughly enjoyed the music. Shaham is a masterful performer, and his violin resounded with exquisite beauty and grace under the roof of the Hill Auditorium.
However, I thought the visuals were tasteless, to say the least. It is displeasing to see the world class classical musicians acquiescing to such shallow, kitschy “translations” of their art. The visuals were banal, meaningless, nothing to do with Bach, and not unlike your regular, over-saturated, slow-mo imagery in food commercials and the like. Ugly.
The playing was world class, so let me end on that note. Stellar (if routine) performance of the six solos. Long, demanding, and rewarding all the way through. Awesome.
Mr. Sullivan, thank you for your consideration of the various comments. For me it was an exceptional concert, very enjoyable. Ann Arbor is extremely fortunate to have convenient access to events of this scale and quality.
I wanted to comment on the issue of seating people after the concert started. A contributing factor might have been very long will call lines. When I arrived at about 10 minutes before 8PM, the 2 lines went out the doors, down the steps, and maybe 40 feet to the north on Thayer. (I don’t know what is typical for will call. This was unfortunately only my first UMS event at Hill this season.)
When I got my ticket, there were still significant lines behind me. I moved very quickly to my seat in section 5 on the main floor. I was seated for probably no more than 2 or 3 minutes before the concert started. Due to the large number of delayed will call patrons, I thought that perhaps the ushers were trying to seat people that would have been required to wait under less crowded conditions. (I am not saying that this is good or bad, only that it is my perception.)
I don’t know who controls the start of the performance, but a delay of a few minutes would have allowed time to seat many of these people.
Three possibilities for improving this situation are:
– At the time of purchase, warn will call patrons that for busy events, a 10 or 15 minute wait in the will call line must be expected.
– Find ways to expedite the process of picking up will call tickets, especially if long lines are starting to form.
– Delay the start of the event, even by a few minutes.
Ideally, all patrons would arrive and be seated well before the start of a performance. But for a crowd of 3,500 or so people, this will always be difficult to achieve.
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My name is Willie Sullivan and I am the Front of House/Usher Coordinator at UMS. I am saddened to hear that some of you had a poor experience at this amazing concert. We always try to do our best to acknowledge issues as they arise, but as your comments show, some things slip through the cracks. Because Hill Auditorium is such a vast space, it is very difficult to monitor all areas simultaneously.That being said, there is no excuse for what many of you experienced. We cannot thank you enough for your feedback and will, in the future, work even harder to ensure that similar situations do not occur at performances. Further, we can guarantee that the issues with ushers are being acknowledged and resolved. Thank you so much for your support and we hope to see you again soon!
Willie Sullivan
UMS
Thank you, Mr. Smith. It would be much appreciated.
I come from Europe, have been to an endless number of concerts and all kinds of live performances. I have no recollection of people being allowed to enter a hall after the beginning of a performance. If it is, it is after the completion of a piece (and not between movements). There should be respect for the art, the artists and the audience as well.
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My name is Willie Sullivan and I am the Front of House/Usher Coordinator at UMS. I am saddened to hear that some of you had a poor experience at this amazing concert. We always try to do our best to acknowledge issues as they arise, but as your comments show, some things slip through the cracks. Because Hill Auditorium is such a vast space, it is very difficult to monitor all areas simultaneously.That being said, there is no excuse for what many of you experienced. We cannot thank you enough for your feedback and will, in the future, work even harder to ensure that similar situations do not occur at performances. Further, we can guarantee that the issues with ushers are being acknowledged and resolved. Thank you so much for your support and we hope to see you again soon!
Willie Sullivan
UMS
My name is Willie Sullivan and I am the Front of House/Usher Coordinator at UMS. I am saddened to hear that some of you had a poor experience at this amazing concert. We always try to do our best to acknowledge issues as they arise, but as your comments show, some things slip through the cracks. Because Hill Auditorium is such a vast space, it is very difficult to monitor all areas simultaneously.That being said, there is no excuse for what many of you experienced. We cannot thank you enough for your feedback and will, in the future, work even harder to ensure that similar situations do not occur at performances. Further, we can guarantee that the issues with ushers are being acknowledged and resolved. Thank you so much for your support and we hope to see you again soon!
Willie Sullivan
UMS
I agree with everything Aaron has said. I had a lady answer her cellphone right behind me during the performance and despite people glaring at her, she continued with her conversation. Ushers continued to seat people behind me and in front during the beginning of Debussy. Endless clearing of throat, whispering, coughing. Wasn’t it customary to have some cough drops, unwrapped in your pocket, ready at hand to suppress any cough? PLEASE UMS make a suggestion at the time of online purchase that concert pieces require silence, suggest some cough drops, and have the ushers prevent anyone from being seated once the concert begins. These tickets are not cheap, please take steps to help ensure a wonderful live performance be enjoyed by all.
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I am a music student at the University of Michigan, and I’ve attended many performances of all kinds at Hill Auditorium. One thing about live performances that always strikes me to the core is simply how rude and oblivious audiences are. I’ve never sat through more than 2 seconds of silence in an auditorium without someone dropping a program, whispering to their neighbor, creaking their seat, coughing at an unacceptable volume…..audiences are the worst part of live performances for me as an observer.
The beginning of the Debussy was ruined by chatting, and awful ushers that were still sitting people after Mr. Hutchins began his first note. This is unacceptable. I understand that audiences at orchestra concerts tend to be a bit older, but what I’ll never understand is the sounds that come out of peoples bodies at these most delicate performances. A cough or sneeze would be an understatement. These audience members made sounds similar to wild animals. What is seriously the issue with audiences? Do they have no clue as to what the proper etiquette is at an orchestra concert?
The works of Debussy, Prokofiev and Stravinsky are masterpieces. They deserve respect. They need silence, and a focused atmosphere in which to thrive. I attended a performances of András Schiff not to long ago at Hill, and although his artistry was incredible, the annoyances of the audience almost ruined the performance for me and my friend.
Is there a solution to this? Can audiences actually sit still for 45 minutes of a symphony? Can an audience respect silence, and not pull out their phones in the middle of a piano sonata or whisper to their friend at the beginning of Firebird?
I am about fed up with live audiences. Sometimes I wish I had just stayed home, and listened to a perfectly good recording.
A splendid concert. The Debussy was gorgeous, Prokofiev dramatic, and Stravinsky magnificent. I was amazed at the power and originality of the Firebird. The Rite of Spring is usually called his masterpiece but much of the innovation is already there in the Firebird. A performance like this shows why live performance can’t be matched by any recording.
I am a music student at the University of Michigan, and I’ve attended many performances of all kinds at Hill Auditorium. One thing about live performances that always strikes me to the core is simply how rude and oblivious audiences are. I’ve never sat through more than 2 seconds of silence in an auditorium without someone dropping a program, whispering to their neighbor, creaking their seat, coughing at an unacceptable volume…..audiences are the worst part of live performances for me as an observer.
The beginning of the Debussy was ruined by chatting, and awful ushers that were still sitting people after Mr. Hutchins began his first note. This is unacceptable. I understand that audiences at orchestra concerts tend to be a bit older, but what I’ll never understand is the sounds that come out of peoples bodies at these most delicate performances. A cough or sneeze would be an understatement. These audience members made sounds similar to wild animals. What is seriously the issue with audiences? Do they have no clue as to what the proper etiquette is at an orchestra concert?
The works of Debussy, Prokofiev and Stravinsky are masterpieces. They deserve respect. They need silence, and a focused atmosphere in which to thrive. I attended a performances of András Schiff not to long ago at Hill, and although his artistry was incredible, the annoyances of the audience almost ruined the performance for me and my friend.
Is there a solution to this? Can audiences actually sit still for 45 minutes of a symphony? Can an audience respect silence, and not pull out their phones in the middle of a piano sonata or whisper to their friend at the beginning of Firebird?
I am about fed up with live audiences. Sometimes I wish I had just stayed home, and listened to a perfectly good recording.
Outstanding concert! Previous philharmonic orchestras performances and musical selections were mediocre at best. In comparison, the DSO certainly ranks ahead of New York, Chicago, and London. The Montreal Philharmonic restored my faith in UMS. Thank you, it was delightful.
One of the best concerts of the season. The pianist was magnificent…and so young! But the highlight was the Firebird. I had never heard it in its entirety and it was magical. I could see in my mind’s eye the whirling of dancers throughout. Nagano had such a way with his orchestra… coaxing out nuances I didn’t believe possible.
I disagree, the Bizet was a wonderful counterpoint…send me out somewhat energized
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As wonderful as Montreal’s Firebird was, I felt it was a programming mistake. Playing the entire work for ballet didn’t hold up as a concert piece – much of it meant clearly as accompaniment to actual dancing – and detracted somewhat from the incredible performance by Trifonov. Also, the final Bizet encore was unnecessary, inappropriate and shattered a lovely mood
There was a lot of noise during the opening, the ushers shouldn’t be seating anyone during the performance.
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The concert was fantastic, but the audience members nearest us (Section 8, Row H, Mezzanine) were something else.
Right at the start of the Debussy, an usher tried to seat two women in our row (we would have had to stand to let them in). I motioned to them “no” and they stopped, but not before their noise and movements wiped out the opening flute solo. Later one of the women called me ‘unkind’–I guess it didn’t occur to her that she was the one being highly inconsiderate.
A young man behind me insisted on kicking the back of my seat off and on throughout the whole concert. When I pointed this out to him at the conclusion, he was dumbfounded.
Finally, during the second encore, the Bizet, a cell phone rang, audibly. An older woman near us took the call and began talking right during the music! Incredible.
Sorry to say, but this kind of behavior is enough to make me stay away from concerts at Hill for the foreseeable future.
As wonderful as Montreal’s Firebird was, I felt it was a programming mistake. Playing the entire work for ballet didn’t hold up as a concert piece – much of it meant clearly as accompaniment to actual dancing – and detracted somewhat from the incredible performance by Trifonov. Also, the final Bizet encore was unnecessary, inappropriate and shattered a lovely mood
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I’ve been a musician for 45 years, and I’ve played and heard Firebird many times….as a concert band transcription. The Montreal Symphony tonight gave me my very first live orchestral experience of Stravinsky’s work. INCREDIBLE. Our seats were very close to the stage, and the location allowed me to also hear nuances in the music that I’d never before noticed in recordings; how the pulse and intention of the composition sweeps across the orchestra; how Hill Auditorium itself becomes part of the music as it augments what a listener experiences; how the orchestra breathes with Maestro Nagano. An unexpected, magnificent, and certainly uncommon and engaging experience. I am not the same person I was at 7:58 this evening. Thank you!
That you allowed it to continue – if you did – is just as bad.
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We were sitting in the upper balcony. Three rows ahead of me was a U of M student who decided to sit “on” the chair instead of “in” the chair. This way she was a head and a half taller than anybody else who was sitting near her. Total interference.
Outstanding performance overall….unique in many respects.
I agree with Christopher’s comments , as I witnessed many times the lack of discipline enforcement of the management , at Hill Auditorium.
Nagano’s direction was artistic and nuanced, reminiscent of Georg Solti’s talent. The pianist was spectacular. One of the best concerts I’ve ever attended.
We were sitting in the upper balcony. Three rows ahead of me was a U of M student who decided to sit “on” the chair instead of “in” the chair. This way she was a head and a half taller than anybody else who was sitting near her. Total interference.
I’ve been a musician for 45 years, and I’ve played and heard Firebird many times….as a concert band transcription. The Montreal Symphony tonight gave me my very first live orchestral experience of Stravinsky’s work. INCREDIBLE. Our seats were very close to the stage, and the location allowed me to also hear nuances in the music that I’d never before noticed in recordings; how the pulse and intention of the composition sweeps across the orchestra; how Hill Auditorium itself becomes part of the music as it augments what a listener experiences; how the orchestra breathes with Maestro Nagano. An unexpected, magnificent, and certainly uncommon and engaging experience. I am not the same person I was at 7:58 this evening. Thank you!
The concert was fantastic, but the audience members nearest us (Section 8, Row H, Mezzanine) were something else.
Right at the start of the Debussy, an usher tried to seat two women in our row (we would have had to stand to let them in). I motioned to them “no” and they stopped, but not before their noise and movements wiped out the opening flute solo. Later one of the women called me ‘unkind’–I guess it didn’t occur to her that she was the one being highly inconsiderate.
A young man behind me insisted on kicking the back of my seat off and on throughout the whole concert. When I pointed this out to him at the conclusion, he was dumbfounded.
Finally, during the second encore, the Bizet, a cell phone rang, audibly. An older woman near us took the call and began talking right during the music! Incredible.
Sorry to say, but this kind of behavior is enough to make me stay away from concerts at Hill for the foreseeable future.
Apollo’s Fire and Bach’s Passion are exceptional! I do think that Hill Auditorium would have been a better location as the Church’s acoustics are significantly inferior to Hill. I look forward to Apollo’s Fire, with the same cast of performers, coming to Ann Arbor and UMS in the 2017 Lenten Season with Bach’s St Matthew Passion!!
Apollo’s Fire and Bach’s Passion are marvelous. What was not good was the venue. Hill Auditorium would have been a superior location. The Church’s acoustics did not stand up to this event… and if you’re going to be seated for three hours, church pews are brutal.
Thank you to the amazing UMS audience for a very special communal experience last night! Those of us on stage really felt that you were completely immersed in our spiritual journey with us. That’s the best reward we could ask for, as performers. In a world filled with much insanity, Ann Arbor is a haven of intelligences! Love from all of us at Apollo’s Fire.
Also incredibly moving — noted in the New York Times review (March 14) — was the unaccompanied second stanza of the chorale in Part 1, Scene 2, confessing individual responsibility in response to the first stanza’s question, “Who was it, Lord, did strike Thee?”
The fulfilling of the individual responsibilities of each participant in last night’s offering brought us an overwhelming experience.
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Bach’s high drama was so well expressed, especially in the interactions among the evangelist, Jesus, Pilate, and the crowd, but also when the maid and the servant were part of the action. Often it seemed that the characters were even talking over one another. I’ve both sung and played this music (viola and viola d’amore), so I understand how hard it is to pull off such rapid exchanges. Apollo’s Fire made it sound effortless! There is so much beauty that it’s hard to single out one part or another, but I found the closing chorale especially moving.
Apollo’s Fire, synonymous with “Musical Perfection”. An emotional evening in every way. If Bach could have risen for this performance, he would be amazed, humbled, exuberant at this expression of what he created. Thank you so much Apollo’s Fire, and thank you UMS.
A very beautiful, moving performance. I second all the comments below. One quibble, though: Why were the female soloists so vocally shut down? I was only 6 rows from the stage but I could barely hear the blonde soloist. Where is the projection? And hardly any emotionality … is that an early music conceit?
A beautiful performance of Bach’s “St. John’s Passion” by Cleveland’s Apollo’s Fire baroque ensemble & chorus conducted by Artistic Director Jeannette Sorrell. These folks bring music to life. This was the fourth appearance of Apollo’s Fire at University of Michigan during the past decade and each of their performances excels in academic interpretation & performance. A treat to have been able to attend.
Bach’s high drama was so well expressed, especially in the interactions among the evangelist, Jesus, Pilate, and the crowd, but also when the maid and the servant were part of the action. Often it seemed that the characters were even talking over one another. I’ve both sung and played this music (viola and viola d’amore), so I understand how hard it is to pull off such rapid exchanges. Apollo’s Fire made it sound effortless! There is so much beauty that it’s hard to single out one part or another, but I found the closing chorale especially moving.
A very enjoyable evening. I had to leave a bit early but Apollo’s Fire is on top of their game. Here’s a bit of Cleveland history. In their first year, the Cavaliers played at Public Hall. They had the worst record but they did lead the league in stolen cars!
Wish there were more opportunities for contemporary jazz. There are so many more talented, innovative, inspiring jazz artists. Unfortunate that this is the only name promoted
This is the third of the “renegade series” of UMS programs I’ve attended, and I loved all three.
Really dug the set design, story, and general attitude KK had with the audience. It’s one thing to dream big, it’s entirely another to follow through on a concept like this and get the additional talent on board to pull it off. Loved the overall visual aesthetic of the sets, kind of a twilight world.
Being a huge silent film fan, I appreciate that this story veered closer to a hand-made, no rules approach, both visually and sonically. I’ll take imagination and a creative approach over CGI any day. Even with the massive amounts of technology applied, here was an aspect to this production that left enough holes for imagination to fill in the rest.
I’m surprised there aren’t more comments. The audience seemed to be Kid Koala fans and must have loved it. I was interested in the technical part and impressed by the puppeteers and the videographers. Less impressed by the Kid although he had the concept presumably. I thought the story was a little weak. Why does the inventor of the hexabot go for the robot hero?
I’m surprised that the little robot wasn’t slinging poutine to bar goers. The White House chefs served this French Canadian staple at the state dinner w the Trudeau’s and the Obama’s this week. It’s a favorable time for Americans to travel to Canada. Having been to Fan -Expo in Toronto twice am tempted to go again this August. It’s the Comic-Con of Canada. The show was simple and sweet…Kids these days don’t need anymore toxic interaction. I’m glad our nice neighbors came over this weekend w their cute show.
Loved the Chieftains!!! I enjoyed the bagpipes and kids dancing. I was not a fan of the adult choir-Made me feel like I was at a community concert rather than a professional event. Would like to have heard more from the Chieftains. We have a few of their CDs and really enjoy their music.
The music was great and the dancing was fabulous!
I did feel the show was too short, no intermission was also not good. The intermission at Hill is so fun.
The short show and no intermission made me feel like the Chieftains just wanted to make their money and run as fast as possible. I will not pay their high price to see them again if this is how they do their shows!
The show was a bit short, at only an hour and a half, but it was really, really good. They were funny, as well as incredibly talented. Great show; would definitely go see them again.
Hello! We’ll see if we can track down that set list for you!
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Thank you for a wonderful evening! I’d love to know the names of the tunes that were played last night, especially the one that ended the evening. Could you please send us the set list, or as much of it as you can?
Thank you for a wonderful evening! I’d love to know the names of the tunes that were played last night, especially the one that ended the evening. Could you please send us the set list, or as much of it as you can?
I am so happy that they offer the 10- buck tickets. On a tight budget, I took a 45-minute( free) bus ride. Thanks for making this affordable for most people!
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I don’t go out much. I received an e-mail this week offering discounted tickets for this concert. I decided to get out of the house and take advantage of what the University has to offer. I bought the least expensive ticket because I knew from a lecture I heard about Hill Auditorium that there are no bad seats in the house. I sat in the balcony and yes, it was tight quarters, but I could see and hear everything. I didn’t mind the shrieking. It was the type concert that was conducive to energetic outbursts. I enjoyed the enthusiasm. The parking was a pleasant surprise. Most places I go charge $10 and $20 to park. I appreciated the reasonable $5 to park in the near-by Dental School structure. Thank you for a most enjoyable evening.
Beautiful singing, wonderful instruments. Such a nice bonus to have both the adults and kids dancing! Loved the harp. Pipe and drum band wonderful. The choir number was a favorite. Just outstanding. Makes me want to take Rec and Ed Celtic dance!
Spectacular show, but too short! I also wish the Chieftains didn’t feel the need to jump on the 21st century bandwagon of make it louder make it faster make it edgier. They are capable of doing all those things, and yes, folk musicians do compete for speed and dexterity as part of their tradition, but the romantic ballads got cheated. I could have done with a little less race-to-the-finish and a little more of “Women of Ireland” (still their greatest hit), “The Sea Maiden,” “Summertime, Summertime,” etc. The dancers were great, but it wasn’t necessary to wire their feet. Finally, bravo to Moloney for still kicking it at 78 the way he did at 35 (when I first got to know the band). It’s nice to see young people and women up there, too. Overall a thrilling show.
I don’t go out much. I received an e-mail this week offering discounted tickets for this concert. I decided to get out of the house and take advantage of what the University has to offer. I bought the least expensive ticket because I knew from a lecture I heard about Hill Auditorium that there are no bad seats in the house. I sat in the balcony and yes, it was tight quarters, but I could see and hear everything. I didn’t mind the shrieking. It was the type concert that was conducive to energetic outbursts. I enjoyed the enthusiasm. The parking was a pleasant surprise. Most places I go charge $10 and $20 to park. I appreciated the reasonable $5 to park in the near-by Dental School structure. Thank you for a most enjoyable evening.
I agree with you, Mike. I was facinated by the dancing. This type dancing is actually part of the rhythm section.
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Wrongo. The jig and toe tapping was just as musical as all else, including that of the female fiddler. Every aspect of the show was fantastic and especially the female singer, the piper band, and the snake dance at the end. I did nit notice any shrieking or whistling per se, but I was on the main floor and not the balcony. Some of the hoots and hollers were from the band. Response from the audience, including the rhythmic clapping added to the show.
Wrongo. The jig and toe tapping was just as musical as all else, including that of the female fiddler. Every aspect of the show was fantastic and especially the female singer, the piper band, and the snake dance at the end. I did nit notice any shrieking or whistling per se, but I was on the main floor and not the balcony. Some of the hoots and hollers were from the band. Response from the audience, including the rhythmic clapping added to the show.
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The music was great. I could have done without those two guys dancing the jig. It was fine for a couple of minutes, but I came to hear the music.
I was on the Balcony, I wasn’t that much conforntable in my seat, since I got there a bit late, I couldn’t remove my coat to not bother the neighbor…
I was waiting to hear more pipe…but overall the show again was fabulous and they were fantastic able to captivate me and bring my imagination to travel to Ireland!!
I agree with Bonnie, a lot of shrieking and whistling can be annoying
The Chieftans were FANTASTIC! ! ! From the first melodic tune to the last bow with members of the audience dancing all around and winding up onstage, the whole concert was one of the best musical evenings I’ve experienced in a long time!
Loved the performance, HATE the shrieking and whistling some concert goers seem to need to do. I wish when we are reminds to turn off our phones we could also be reminded to be considerate of patrons’ ears!
My seven-year-old’s first UMS performance. He was captivated, especially by the dancers. Thanks for a wonderful night, and for bringing one of my favorite groups back to A2!
“Orpheus with his lute made trees,
And the mountain tops that freeze,
Bow themselves when he did sing:
To his music plants and flowers
Ever sprung; as sun and showers
There had made a lasting spring.
Every thing that heard him play,
Even the billows of the sea,
Hung their heads and then lay by.
In sweet music is such art,
Killing care and grief of heart
Fall asleep, or hearing, die.”
Thank you, Sir Andras, and Mozart, Haydn,
Beethoven and Schubert, and UMS!
The encore Saturday night was a transcription of Mozart’s Adagio for Glass Harmonica, K. 617a. The instrument, or at least one version of it, was invented by Benjamin Franklin.
The encore Saturday night was a transcription of Mozart’s Adagio for Glass Harmonica, K. 617a. The instrument, or at least one version of it, was invented by Benjamin Franklin.
I was very interested in hearing the Durufle Requiem because I will be singing it with the Oakland Choral Society in April. I am sorry to say I was disappointed in the performance. The Choral Union sang wonderfully well; but I felt the rhythm and commitment to the piece was lacking. This is an inspiring and commanding piece. Unfortunately, it lacked inspiration. I enjoyed the Brahms and Vaughn-Williams.
I love cartoons, all different kinds. Triplets of Belleville is sort of unique though. I was out on my bike a bit today. The wind was high and in good biker fashion, I rode into the wind so the ride home would be a breeze. The musical score was fabulous. No, I really mean that. We could smell a winner from the time it was announced last Spring. A shame it is only a one night stand.
My favorite part was leaving after 50 minutes. Hideous imagery: absolute ugliness! And unlike most in the audience frog torture doesn’t make me laugh. PUKE!
Hi Rainey, the encore was the second movement of Schubertt’s final sonata, which will be performed on Saturday night at Hill: the Sonata in B-flat Major, D. 760, Andante sostenuto.
The encore for Thursday night’s concert was the second movement of Schubert’s last sonata, which will be performed at Hill on Saturday night: the Sonata in B-flat Major, D. 760, Andante sostenuto.
Another beautiful evening with thanks to UMS and Mr. Schiff. Could someone please share the name of the piece he offered as the encore? Thank you in advance for any assistance you can provide.
We attended because of Alto Rhapsody. I have a great recording with Dame Janet Baker. Haven’t heard in concert since DSO when in Ford Auditorium many years ago. Mr. Hanoian(?sp) and the organ/choir did a grand job. Remainder of program excellent.
Though I loved the concert, I thought it a very strange way to present the music. The 4 different works were played not only with no intermission, but with almost no pause between them, not even one allowing for late seating after the Haydn, and no time even for listeners to digest a work, its thematic or tonal expression. Sitting close, I could see Schiff looked extremely tired and worn, even before he began, and wondered if he were simply trying to get it all done quickly and efficiently. But the encore piece made it obvious that even if he were sick or over-fatigued, he could bring incredible strength and musicianship to a complex and subtle work, even after playing nonstop for 95 minutes. I too was impressed by the embellishments to the Mozart. Schiff’s elegant control at times seems detached, and his emphases random. Unlike Igor Levit’s playing, it was impossible to detect any personality in Schiff’s. He strives to express only his musical perfectionism and a composer’s formal intention, as it is written, achieves it, and then he seems to disappear. Viewed up close, it can sometimes be disconcerting, if you’ll excuse the pun.
The whole program was well-chosen, like different movements in a sonata. I remembered the sublime Bach he played as an encore a couple of years ago and was hoping for more this time, but what he played seemed absolutely right.
I’ll remember the captivating Beethoven, especially! Also, the ornamentation in the repeats of the Mozart and the remarkable (!) placement of agogic accents in the Haydn. OK, the sense of drama in the Schubert. All in all a wonderful experience, and quite the lesson in piano playing and music making.
Brilliant fast, furious, and short performance. As usual I let my mind wander….thought about gravity waves and subatomic particles. The cieling of Rackham hall has arcs of gold radiating out from the stage. Massive black holes ( the piano) sending waves to my eardrums. I’m reminded of the joke about the Higgs Boson that tried to enter the church and was denied. It replied, “How do intend to have mass.” Bravo Andras Schiff!
Excellent performances, of course. However, the programming was depressing and far too grim for Valentine’s Day. The Brahms in particular was a poor piece to open with, despite the wonderful singer.
Congratulations to all of the performers on a skillful, nuanced rendering of the music. I especially liked Durufle’s Requiem. It captivated me from start to finish. Thank you all.
My wife and I loved the whole program. The Brahms was, well, BRAHMS–deep, thoughtful. The V Williams music wonderfully embraced and magnified G Herbert’s poetry. And how many times does anyone hear Durufle? The opening themes in Gregorian chant then amplified and rendered new by Durufle’s exposition–all very accessible and late 20th century.
The soloists, the organist, the Union made memorable music together.
Thank you for this program.
Loved the Durufle Requiem, a favorite and rarely heard. Thank you, Choral Union…. also kudos to the C Union for programming the Alto Rhapsody during the DSO’s vocal-and-choral-less Brahms Festival (no Requiem, DSO? what a missed opportunity.)
My wife was initially suspicious of a Valentine’s Day outing with the theme “Love as Strong as Death.” But we were glad to have the chance to hear some rarely performed but ethereal music. I still think the first seven minutes of the Durufle Requiem may be the best of any modern Requiem.
Found the Brahms to be rather dirge like; not much life outside the choir.
Liked the Mystical Songs a lot – although the piece does need the typanies orchestrated for the big choral sections. Lancaster’s presentation was a little precious, but his voice was great. Herbert’s poetry is wonderful and V-W paints it beautifully.
Generally disappointed in the organist – good keyboards, but slow with his feet and clumsy with the swell and manual/stops transitions.
Mr. Lancaster demonstrates the most beautiful, precise vocal technique and lyric voice yet fails to execute understandable language, even in English! I wonder if balcony seating allowed clarity.?
This afternoon’s concert was a superlative musical experience on every count.
For those who are being starved for decent music on Sunday mornings, it was a transcendent afternoon.
What a honor to have sung with the UMS Choral Union for many years under the directorship of Thomas Sheets from 1993-1997 and former direcfor Thomas Hilbish.for a number of years also. Both of these fine, gifted conductors are no longer with us, but I do have fabulous memories, which i now cherish.
I too enjoyed the colorful performance art of Taylor Mac and the incredible musicians backing him. The first two hours were the best; the third hour was slow and boring- too much time spent on back-room sex and groping of the 1980s.
I loved that we were permitted to take photos. I loved that we got to acknowledge our sexual orientation early in the performance when he had the straight folks stand up and move around the auditorium and the queers, queens, bisexuals and lesbians move into the center section and dance! I’d guess that the audience appeared to be about 50-50 . . .
Thank you Christina for sharing your experiences in San Antonio with the world. Your grace, beauty and talent had an incredible impact on us all. We are so grateful for your generosity in the time you shared with our MPR team and for all that you shared with our youth. Thanks a million and we look forward to seeing you in March/April during the Vargas concert at the Hill!
Let’s call Mr. Levit’s recital “interesting.” He took a two-hour program and, by skipping two applause exits each half, and by starting both halves of his program briskly, was able, with his inward and deeply personal playing, to turn it into a nearly two-and-a-half hour recital. I have never heard any of the four works on the program played more slowly, with greater variations in pacing and volume, and with a more willfully conscious shaping of every phrase. That does not mean the music-making was bad, just very unusual, idiosyncratic, and attention-getting. I heard things in each work that I had never heard before, thanks to Levit’s focused attention to detail. Would I want to hear pianism like this very often? Definitely not. But why not hear an artist with a very unique view of his art provide something different, thought-provoking, and challenging!!
This is performance art of a high caliber that works in vital ways, even transformative. With this marvelous nudge from the creative and production teams and, especially, the performers, I hope to become more compassionate and more humane. If at all feasible, please, UMS, bring us the entire A 24-Decade of Popular Music.
By far the worst performance of a Bach partita I have ever heard. Sounded more like a Chopin Nocturne. Pretentious and too slow–it’s supposed to be dance music. Tempos uncertain and strange. As for the Schubert, I never realized that Bach and Schubert were the same person.
One does not have to be a purist to find fault. Turreck gives a wonderful classical performance and Pinnock another on the harpsichord. I don’t know whether Richter has ever recorded the partita, but his WTC is–like Levitt’s playing–very non-tranditonal. However, Richter gives an imaginative performance which while probably far from what Bach sounded like originally, is intellectually imaginative and emotionally ingaging. So I am not criticizing from the viewpoint of the original performance narrative…..
By far the worst performance of a Bach partita I have ever heard. Sounded more like a Chopin Nocturne. Pretentious and too slow–it’s supposed to be dance music. Tempos uncertain and strange. As for the Schubert, I never realized that Bach and Schubert were the same person.
One does not have to be a purist to find fault. Turreck gives a wonderful classical performance and Pinnock another on the harpsichord. I don’t know whether Richter has ever recorded the partita, but his WTC is–like Levitt’s playing–very non-tranditonal. However, Richter gives an imaginative performance which while probably far from what Bach sounded like originally, is intellectually imaginative and emotionally ingaging. So I am not criticizing from the viewpoint of the original performance narrative…..
One of the most intelligent and informed reviews I’ve read in a long time. I agree with most of what you say, but nevertheless loved the concert, the program and the energy and thought Levit put into the performances, even if over-interpreted certain portions of them. I like his attitude, not always his execution. I do agree that the Bach Gigue was over the top but believe Levit will get it right when he matures. He seemed very proud of himself when that was over. Gould wouldn’t have preened. We have already seen many artists who break down doors everywhere but in A2. I’m sure Schiff will do well. Limiting the size of the hall the doors open into may be the secret.
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This was the first time I have heard Igor Levit. They say “he is the future” (LA Times), however, to my ears, he sounded 2000 and late.
The Bach gave a basic impression – the D Major opening didn’t seem particularly triumphant or festive. The runs that some might consider brilliant were about as blurry as the background image on the cover of the program notes. The sublime Allemande, with all of Mr. Levit’s tempo changes, fell apart into pieces. The most exciting thing was the brief memory slip in the left hand during the B section. Toward the end, there was a spark of energy in the Gigue, but the tempo was too brisk to hear any definition in the individual lines. Perhaps Mr. Levit wanted to present an intimate Bach – but it was simply quiet, like looking at a 1:144 model airplane instead of the real thing.
What always amazes me about Schubert is the omnipresence of the vocal aspect in the music. Mr. Levit’s interpretation reminded me of Meek Mill’s attempt to vocalize and publish a diss track aimed at Drake last Fall. What did he mean to say? Perhaps he was thinking along the lines of Alfred Hitchcock (“messages are for the Western Union”). I certainly didn’t get a message. Maybe that’s a good thing. The silence Mr. Levit held after the final piece was dramatic, but seemed more like awkward theatre given the circumstances.
The Beethoven started with an extreme pianissimo – an effect that Mr. Levit revisited several times during the piece, and paid a high price for in the Recitative – the extreme effect backfired and he lost two notes to complete silence before the return of the allegro, the return of which was not in tempo and needed to accelerate back to the original pace.
Mr. Levit took the movement out of the second movement. It was either so bad it was good, or so good it was bad, I’m not sure. In the third beat of measure 6, I’m pretty sure there is a b natural in the left hand instead of the b flat we heard tonight.
The allegretto was more of an allegro con brio. But who cares about tempo? The painful sighs at bar 42 were played harshly, and the primary motif enunciated with careful attention to the sixteenth note rests – Mr. Levit was true to the score and clearly serving the music and composer. Would Beethoven have been proud of that?
Prokofiev gave a larger sense of scale of sound, and showed a peek of the dimension Mr. Levit was missing up until this point in the program. But this too left more to desire – the loud sections peaked quickly, and the finale came to an end before I realized there was a build up.
Mr. Levit received several ovations, and the Polka encore deserved a C for contrast given that earlier in the evening we were supposed to live through Beethoven’s only Sonata in D minor (that’s a big deal), and Bach’s D Major – happiness that can only be felt after having lost everything.
I guess the only question left is – do we really need another recital series endowed in perpetuity? Or do we need to find an Artist for whom we would break down doors to come see and who would sell out the hall within 10 minutes of the announcement?
Astounding show! Creative, moving, thoughtful–Taylor Mac did say at the night school conversation “this is MY church!” And judy did preach– about acceptance, activism. I loved the energy, the balloons, and am so pleased I was in row M and got to dance in the orchestra pit with a lovely young woman. Lovely and fun performance
This was the first time I have heard Igor Levit. They say “he is the future” (LA Times), however, to my ears, he sounded 2000 and late.
The Bach gave a basic impression – the D Major opening didn’t seem particularly triumphant or festive. The runs that some might consider brilliant were about as blurry as the background image on the cover of the program notes. The sublime Allemande, with all of Mr. Levit’s tempo changes, fell apart into pieces. The most exciting thing was the brief memory slip in the left hand during the B section. Toward the end, there was a spark of energy in the Gigue, but the tempo was too brisk to hear any definition in the individual lines. Perhaps Mr. Levit wanted to present an intimate Bach – but it was simply quiet, like looking at a 1:144 model airplane instead of the real thing.
What always amazes me about Schubert is the omnipresence of the vocal aspect in the music. Mr. Levit’s interpretation reminded me of Meek Mill’s attempt to vocalize and publish a diss track aimed at Drake last Fall. What did he mean to say? Perhaps he was thinking along the lines of Alfred Hitchcock (“messages are for the Western Union”). I certainly didn’t get a message. Maybe that’s a good thing. The silence Mr. Levit held after the final piece was dramatic, but seemed more like awkward theatre given the circumstances.
The Beethoven started with an extreme pianissimo – an effect that Mr. Levit revisited several times during the piece, and paid a high price for in the Recitative – the extreme effect backfired and he lost two notes to complete silence before the return of the allegro, the return of which was not in tempo and needed to accelerate back to the original pace.
Mr. Levit took the movement out of the second movement. It was either so bad it was good, or so good it was bad, I’m not sure. In the third beat of measure 6, I’m pretty sure there is a b natural in the left hand instead of the b flat we heard tonight.
The allegretto was more of an allegro con brio. But who cares about tempo? The painful sighs at bar 42 were played harshly, and the primary motif enunciated with careful attention to the sixteenth note rests – Mr. Levit was true to the score and clearly serving the music and composer. Would Beethoven have been proud of that?
Prokofiev gave a larger sense of scale of sound, and showed a peek of the dimension Mr. Levit was missing up until this point in the program. But this too left more to desire – the loud sections peaked quickly, and the finale came to an end before I realized there was a build up.
Mr. Levit received several ovations, and the Polka encore deserved a C for contrast given that earlier in the evening we were supposed to live through Beethoven’s only Sonata in D minor (that’s a big deal), and Bach’s D Major – happiness that can only be felt after having lost everything.
I guess the only question left is – do we really need another recital series endowed in perpetuity? Or do we need to find an Artist for whom we would break down doors to come see and who would sell out the hall within 10 minutes of the announcement?
since i know so little about the technical aspects of music, i know i should be reticent to say anything about this amazing pianist–especially with the detailed responses i see others have made–i just can’t stop from saying the concert i heard tonight was pure genius thoughtful enriching emotionally satisfying pretty serious what a great touch the happiness of the encore a perfect ending to a most wonderful experience thank you ums for bringing this to us….
I had never heard of Igor Levit and came to this concert on the strength of the program. I was thrilled by his fresh, imaginative approach to the Bach Partita and Beethoven sonata, both pieces I’ve heard many times. I found his playing to be personal and intimate in a way that really engaged me. The Prokofiev piece, new to me, was profound. I’d love to hear him do more Shostakovich; that encore was terrific!
What an unbelievable talent. His vocals are incredible, his wit and intelligence undeniable, his delivery so expressive, one of my favorite performances. I’m coining a new word…outlandofits… for his costumes. I warn you Taylor may have some establishment issues. Well maybe some others as well. Lots come to think of it. And that’s part of the fun.
What an amazing, fabulous, creative, moving performance! Everyone should go to this!!! Judy is so creative and actually I do not have the words for how moved I am! Loved every minute – audience participation, his charisma and PRESENCE!Fabulous! UMS I am proud that you brought Taylor Mac to Ann Arbor! Thank you!
I enjoyed the film. It is amazing that in 1922 it was possible to operate a movie camera in the extremely cold temperatures. Even today, gear often fails in the arctic and antarctic. I enjoyed the throat singing. I wish there had been more of it during the vocal performance, part of which seemed not to be throat singing. The drum set didn’t add much. The violin may have been a plus but it often couldn’t be heard. I don’t think the vocalists’ gestures and movements on stage were a plus. They just distracted from the film. However, overall, a performance worth seeing.
I am amazed at the energy Tanya puts out to all of us! She seems to go into a trance and emote, express what she feels during her story. I was distracted at times by the film and words but also it was a juxtaposition with Tanya’s soul. Powerful images and incredible life! To have to hunt and kill for your food – survival – everyday! I left feeling many things – one of the lessor feelings was “I have nothing to complain about”. I LOVEd her voice and her movement and her total embodiment of her expression. She could have been exhausted from the show or so connected to spirit that she was invigorated! Only she knows! Thank you Tanya
I did not understand this “performance” but I could feel it. I did not applaud because I had nothing comparable to refer to from experience. It didn’t seem all throat singing because a vocalist I recognized aerated notes from her head. I enjoyed the instrumentalists. The film was great.
Fantastic! The performance was powerful, expressive, and unapologetic. At time’s I wasn’t sure if Tagaq’s voice represented human, animal, or environment – or if it reflected eating vs. being eaten. It was dense, provocative, and spine-tingling.
I mostly ignored the film, however, as I found it distracted from the music. Particularly jarring was trying to follow a rationalized narrative on screen, especially one told by text, without losing the emotional response of the music.
What an astounding performance! My knee tapped through the whole performance in response to Martin’s rhythm that created heartbeat for Tagaq’s super energized vocalizations often harsh as is the climate, landscapes and life there. I’m so glad I shared this experience.
Nanook is so impressive a film that I remembered many frames as i watched it this evening, 45 years after seeing it for the first time. It was perfect as it was.
Musically this concert was truly unique. Lisa Fischer’s vocal range is astounding. She “sounds” sacred. There’s not another living soul I would describe that way. Her band is fabulous, too. Unfortunately, sometimes their musicianship overpowered her voice. I found that distracting — disappointing, even. It’s nothing adjusting her microphone wouldn’t correct. Otherwise, it all worked very well together. Their original takes on Rolling Stones hits were especially creative. And Fisher’s performance of “Ease the Pain” left no doubt why she won a Grammy for it.
Friday evening’s encore was the Scherzo (3rd movement) from Dvorak’s Piano Quintet, No. 2, Op. 81, and was performed by Wu Han, Ms. Lee, Mr. Lee, Mr. O’Neill, and Mr. Canellakis.
Thank you for attending Wednesday evening’s concert by Ms. Lisa Fischer and Grand Baton at Ann Arbor’s Michigan Theater!
Below is the concert setlist:
Breath of Heaven (Amy Grant cover)
Drag
Bird in the House (Railroad Earth cover)
Rock ‘n’ Roll (Led Zeppelin cover)
How Can I Ease the Pain (Lisa Fischer)
Fever (Peggy Lee cover)
Jumpin’ Jack Flash (Rolling Stones cover)
Miss You
Addicted to Love (Robert Palmer cover)
——–
Encore (suite):
Wildflower (Fischer)/Last Goodbye
Thank you for your participation on the UMS Lobby and hope to see you at a future UMS concert event.
Agree strongly with everything you say. Sublime is a good word. How about when that person in the balcony sang? Lisa’s rapport is palpable.
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Truly one of the most creative, present/connected, and eclectic performances I have ever seen. The vocal and band were sublime. I was deeply moved, mesmerized and felt like part of the music, not just an observer. Heartfelt and incredibly talented, just WOW!
Lisa Fischer was ASTOUNDING–AMAZING–WHAT SHE GAVE
WAS A GIFT FROM HEAVEN! I was transported beyond my
ability to describe. She and the band were in a total grove and
I was right there with them…from the first lovely and hypnotizing number–to the world of ROCK–to R & B –as they say–“A Whole ‘nother level” PLEASE GET HER BACK AGAIN.
Lisa Fischer was ASTOUNDING–AMAZING–WHAT SHE GAVE
WAS A GIFT FROM HEAVEN! I was transported beyond my
ability to describe. She and the band were in a total grove and
I was right there with them…from the first lovely and hypnotizing number–to the world of ROCK–to R & B –as they say–“A Whole ‘nother level” PLEASE GET HER BACK AGAIN.
Wow, wow and wow. Great band– glad that all three members had opportunities to shine– but Ms. Fischer’s performance was beyond wonderful. Several well-deserved standing Os! She included some oldies (absolutely killed “Ease the Pain”– totally made it new!) The sound mix was a bit off (esp in the rock numbers) and the lighting was too dark (especially when the artists went on the stage apron). Acoustics were excellent. This show was really great. I am thrilled that Lisa Fischer is touring and moving forward. Looking for a new album and hoping for many more concerts!
Truly one of the most creative, present/connected, and eclectic performances I have ever seen. The vocal and band were sublime. I was deeply moved, mesmerized and felt like part of the music, not just an observer. Heartfelt and incredibly talented, just WOW!
Great concert…a once in a lifetime voice. The mix at the Michigan did not due Ms. Fischer justice. When the instruments are louder than the vocals it’s a bad mix!
Do you really want me to say what I think? It was Fantastic! The band was first rate and could sound like a jazz. Trio or a Keith Richards jam band. Ms. Fischer crafted each somg in her own way…it’s about time woman get to belt out the tunes.
I adored it! I thought they did an amazing job at easing you into things for it starting out with them butt naked. There were definitely parts that made me uncomfortable, but the way they did it made me warm up to them every time.
I was taken in as soon as these courageous, generous performers made their way down the aisles, breathing over us as if in blessing. I loved that the cast was all different ages, colors, and sizes, and very quickly “forgot” they were sans clothes. I liked the changes of tone and pace, although I felt some sections might have been extended/deepened to match the poignancy, humor, or richness of the best sessions. I also felt some fear for both the actress who plunged into the audience as well as the audience members who found themselves with a naked woman on their laps. The assaultive loudness of the pre-show music did not seem in keeping with the feeling of co-participation that the show itself generated. While I did not attend a show followed by a discussion, I would have welcomed the opportunity to talk with the cast afterwards. I found an on-line interview with Young Jean Lee helpful in framing the performance.
I passed on this show when I subscribed but bought a ticket when UMS offered a discount. I didn’t expect to be impressed but I was. The women showed many talents: dance, mime, acting, ability to make us laugh and ability to make us feel uncomfortable. Since the show has been performed over 60 times in several North American and European countries, it was certainly time for it to come to Ann Arbor. I wonder if the show has an overall theme and, if so, what it is? I suggest Freedom. I also wonder if 10, 20 50 years from now, the show will be a classic or irrelevant?
The first thing to do, even before a rewrite is to change the music. Bring the audience in w Eric Clapton, Motherless Children. Can that techno except the scene w the wierd Euro-Dance. I’m not sure she has an age in mind for these guys….they act like Freshmen but were involved in years of graduate school. People like that listen to Bob Segar & the Eagles. Where was this play set? Janesville, Wisc., lotta tall Yoopery guys there.
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Occassionally I watch a new sit-com on TV. Tonight’s show was like a pilot. Proctor &Gamble would buy in and advertise. I didn’t believe that anybody was a banker or went to Harvard. I have three brothers and we moved a family member this weekend. The energetic lunacy I can relate to. The ending was a rough landing on a long flight, the wheels hopped of the runway at least three times. But you know, I kind of like it!
I’m glad to know I wasn’t the only one who related to Matt.
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I was emotionally moved by this performance in an unexpected way. I quickly related to Matt, the son living with his father, who just wanted to be helpful. His brothers could no longer relate to him, and their unwanted attention brought him and me to tears. The boyish, silly antics were welcome comic relief. I loved the freedom of just being that their late night dancing and drinking brought. I left the theater needing to release the emotional tension, as I thought about families that are close to me.
The other two sons were just there to celebrate Christmas. He wasn’t there because of the divorce, his kids weren’t there because of the divorce.
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I just couldn’t believe that white liberal guilt would paralyze anyone as Matt is paralyzed. Why was it never mentioned in what field he spent 15 years in a PhD program (did he ever finish?), or how big the student debt is? And would the father really be so happy to have his sons home when the cause is Jake’s divorce? Are we to assume that the banker married a Black woman as his way of evading privilege? Why no attention to that?
I extremely enjoyed the play and was simultaneously laughing and thinking deeply the entire time. I was captivated and on the edge of my seat waiting to see how the family’s discussions would unfold.
One unique aspect of the play was that it wasn’t about how SWM privilege affects others, but rather how it psychologically affects SWMs themselves. And for each of the characters, the effects were very different.
There were numerous themes and questions brought up. What does it mean to be an educated, socially-conscious SWM who wants to be part of the solution, when prevailing social narratives say that your existence, success, and happiness is the problem itself? How are SWMs socially sanctioned to deal with their own issues and problems, and what are the consequences? Is it possible to reject privilege – what would that even look like? Lots of food for thought.
Women, dancing naked is not something I see everyday. But, once I got past that, I really started to enjoy the show. It took me on a deeper journey. I realized how the stripping away of the clothes actually makes me look at them; clothes can sometimes give labels too. (which I realized when they came out to the after show talk). But what really made me uncomfortable was when I saw them naked, I looked for other signs so I could label them; i.e. their hair, the way they were build, it was like I had to be able to identify them, instead of accepting them. That made me feel ashame.
Disappointing. A bit hard to tell whether the problem resided in the script or the acting, or an unfortunate combination of both. The ideas were clear enough: What does straight white male privilege mean in the day of identity politics? What are the different ways of enacting or resisting that privilege? The rough housing and the mock interview did a reasonable job of exploring such questions. As did the set itself, including the costumes and the people who cleaned the set between acts — showing this was excellent, as it made clear the work that SWM generate for invisible helpers (wives, sisters, servants).
But the whole thing felt extremely wooden. The characters were caricatures – little more than the ideas or pathways they were meant to embody. Straight white men are people too (and no, I’m not any of those categories), and the play would have done better to portray them as living breathing individuals. On this front, it was especially difficult to tell whether the problem was the script or the actors – one could imagine strong actors doing a better, deeper job with an otherwise fairly wooden script. I actually dozed off toward the end (and no, that’s not typical for me — the acting was just incredibly uncompelling.)
Huge disappointment after the exuberance and originality of Untitled Feminist Show.
It didn’t help that someone’s phone started ringing right near the end…
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I agree with other commenters who found the guys’ rough-housing and traditions/memories fairly believable and entertaining. However the theme of privilege was implausibly rendered and confusing. The play ended with a complete thud.
I agree with other commenters who found the guys’ rough-housing and traditions/memories fairly believable and entertaining. However the theme of privilege was implausibly rendered and confusing. The play ended with a complete thud.
I just couldn’t believe that white liberal guilt would paralyze anyone as Matt is paralyzed. Why was it never mentioned in what field he spent 15 years in a PhD program (did he ever finish?), or how big the student debt is? And would the father really be so happy to have his sons home when the cause is Jake’s divorce? Are we to assume that the banker married a Black woman as his way of evading privilege? Why no attention to that?
I was emotionally moved by this performance in an unexpected way. I quickly related to Matt, the son living with his father, who just wanted to be helpful. His brothers could no longer relate to him, and their unwanted attention brought him and me to tears. The boyish, silly antics were welcome comic relief. I loved the freedom of just being that their late night dancing and drinking brought. I left the theater needing to release the emotional tension, as I thought about families that are close to me.
What I experienced was not what I expected… and I enjoyed it. The dialogue and physicality between the brothers and father were strikingly realistic (at least, in my experience as someone with multiple siblings). I saw myself and my brothers in the characters.
Although I thought I was pretty conscientious about issues surrounding white male privilege, the production provided other, very specific issues that I did not consider.
Though I could not tell you the overall message of the show, I can tell you that it was an emotional rollercoaster. I think it’s up to the audience to decide for themselves what “Straight White Men” means, in the same way “Untitled Feminist Show” is pretty open-ended.
Occassionally I watch a new sit-com on TV. Tonight’s show was like a pilot. Proctor &Gamble would buy in and advertise. I didn’t believe that anybody was a banker or went to Harvard. I have three brothers and we moved a family member this weekend. The energetic lunacy I can relate to. The ending was a rough landing on a long flight, the wheels hopped of the runway at least three times. But you know, I kind of like it!
Very disappointing. The script is a mess. Clunky exposition, dreadfully poor staging, and ho-hum performances. Ideas are certainly worth exploring, but not effectively executed.
I am guessing there was a message in the play somewhere, but it was very difficult to find, perhaps something about white male privilege. Three very immature guys (and their father) acting out off-color junior high hi jinks for 90 minutes is not my idea of enjoyable theater going. This play needs a total rewrite!
Exquisite, nearly perfect, as expected. Why a group like this programmed the Schubert – a trivial, boring work – is beyond me. The Mendelssohn was somewhat more interesting, but still juvenalia, unworthy of their sophisticated talenst. Luckily the Dvorak encore left me with the same joy, gratitude and admiration that the Mozart had. Let’s hope the next time they come they choose works that are all interesting as well as diverse.
A friend of mine heard the Q&A on Thursday night, and I was, likewise, expecting them to talk about their experiences at the end, which would have made it more meaningful to me. There was so much I didn’t understand. I appreciated the shame-free nudity and the grace and confidence of several of the actors.
I truly enjoyed the show. A bit disturbed that I was NOT as disturbed as I wanted to be. Am I too much like these characters? Yes! So related to the father. My house is 63, I put candy and sox in stockings, I care so for my boys, etc. Loved the rough housing. Still this showed how affluent this privileged family is.
Is Matt the one that women of color wanted men to be like? I found him to be the description of what his mother would have thought. But his brothers sure thought higher of him.
I expected the sons to be more like TRUMP than the partially evolved, conscientious guys they were.
By far the best concert we have attended this academic year. I do not usually give a standing ovation but tonight this old fogey jumped to his feet. The Schubert was wonderful!
I completely understand what you meant by feeling like you were in a dream. Numerous times I was so enamored by the performers that I suddenly had tunnel vision and I could not see nor care about any of my other surroundings. This show was something unlike anything I have ever experienced, and I am so glad that I got the opportunity to view it. The messages were stark and unapologetic. I will never forget the way that I have been impacted by this celebration of the female.
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Rarely if ever have I seen such a brave, bawdy, thought-provoking work or such brave, bawdy, bold performers. The experience is akin to a dream–you wake the next morning not quite convinced you’ve spent an evening in such company, with so many strange yet obviously meaningful images and encounters, arranged in some semblance of a narrative that only you can finally interpret. Thank you for taking a chance that A2 audiences would rise to this provocative occasion.
I had the pleasure of watching this show tonight. It was inspiring, confronting and deeply stirring. I had so many internal experiences and thoughts throughout the performance–but mostly an awesome sense of how brave and beautiful these women were. MUST SEE!
I agree with comments of others, especially Laura, about this unique and thought-provoking show.
In addition, it appeared that many other folks were intrigued, curious, and looking for expanding their learning, both emotional and intellectual, since a huge contingent of the audience stayed for the Q & A.–which, by the way, was helpful in “digesting” what we had just seen.
Rarely if ever have I seen such a brave, bawdy, thought-provoking work or such brave, bawdy, bold performers. The experience is akin to a dream–you wake the next morning not quite convinced you’ve spent an evening in such company, with so many strange yet obviously meaningful images and encounters, arranged in some semblance of a narrative that only you can finally interpret. Thank you for taking a chance that A2 audiences would rise to this provocative occasion.
brilliant! I loved the audience participation and rapid change of mood. One moment I was laughing my ass off, then enjoying a beautiful song, next, a thought-provoking expression of raw emotion. the slow-motion sequence was very well done. bravo.
Outstanding show! It was so interesting to see the emotions portrayed and how the audience perceived the dancers and nudity in the first 10 minutes and then how I felt an ease to the audience as it progressed.
One of the best I’ve seen all year – I loved that the bodies on stage mirrored those in the audience – surprising to me how I gravitated toward each one of the dancers during the show in various ways – all gorgeous, all emotive, all incredible – thank you!
I enjoyed last night’s show Untitled Feminist because the nudity was just there – refreshing – and loved the different shape bodies and how each person carried themselves. Because there were no words I imposed my own experience on what was being expressed. Sometimes it was of young girl fun skipping, playing, wanting to be part of the fun. One scene struck me as rape. Another castration. The performers were claiming themselves.
The Q&A was helpful to me. Hearing them talk about feeling genderless; about how the show has evolved! I would love to have heard the dialogue in the beginning shows and then witnessed the growth.
I am going to White Men tonight. I heard she wanted to “disturb” folks with this show. White privilege IS disturbing. So I am looking forward to seeing how she attacks this.
The miming in many of the sketches was not clear enough to understand the points. The concept of the play is fine, it just needs some clearer direction.
It was a truly magnificent and thoroughly enjoyable performance, but I have a suggestion about the subtitles. They added greatly to the enjoyment, but, because I couldn’t see my program in the dark, I never knew the title/composer of each song as the singer began to perform it. Why not precede each song’s text with a display of the title, composer and poet?
Theywere really great renditions of pop songs. I listen to 60’s on XM six when I am in a real funk. Even though I’m from Cleveland CKLW boomed across Lake Erie at night from Windsor. I had a ball shaped transister AM radioand a mono plug….Boy wouldn’t that fetch a price on EBAY!
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Thank you all for attending last evening’s concert by Jazz at Lincoln Center Orchestra with Wynton Marsalis. Below is the concert setlist:
JLCO January Tour 2016
January 20, 2015
Hill Auditorium
Ann Arbor, MI
Street Life by Will Jennings & Joe Sample, arr. Vincent Gardner
White Room by Jack Bruce & Pete Brown, arr. Carlos Henriquez
All in Love is Fair by Stevie Wonder, arr. Sherman Irby
Sugar Lee by Donny Hathaway, arr. Chris Crenshaw
Eleanor Rigby by Paul McCartney, arr. Ted Nash
Smile Please by Stevie Wonder, arr. Irby
Another Star by Stevie Wonder, arr. Gardner
Wooden Ships by David Crosby, Paul Kantner, & Stephen Stills, arr. Wynton Marsalis
Blame It On the Boogie by Mick Jackson, David Jackson, & Elmar Krohn, arr. Gardner
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It isn’t like I haven’t been to the Rock & Roll Museum a couple of times. I grew up with that music. I think the band is just trying to connect with a wider audience. I see the merit of bringing more listeners into the fold gradually. That said, I would have prefered jazz from the 1950’s. Maybe they can do that next year.
That’s pretty funny! I felt exactly the opposite. I hope I never have to hear the Beethoven Violin Concerto again in my life – to me it’s one of his least accomplished works – and I thought Zuckerman’s interest in it as a performer sounded forced. I’m surprised he programmed it, but I suppose he felt most audiences want at least one thing they can sink into like an old sofa.
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The Beethoven pieces were great. The Elgar pieces were so BOOOORING. And they were at the end of the program. I went mostly to listen to Zuckerman play and he did not play at all in the Elgar pieces.
The Beethoven pieces were great. The Elgar pieces were so BOOOORING. And they were at the end of the program. I went mostly to listen to Zuckerman play and he did not play at all in the Elgar pieces.
I completely agree. It was a masterful treat. The principal players kept their pizzicato parts perfectly together while he played the Beethoven.
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Humbled. It’s the only word to describe the feeling of watching someone masterfully conduct a wonderful orchestra, and beautifully play a Beethoven violin concerto solo, at the same time, and without music to read. Utterly humbled. To witness an orchestra conducted by mere looks, hip movements, and head nods while the conductor was consumed by fingering complex music on the violin was nothing short of stunning.
The Enigma Variations were an emotional roller coaster that was just wonderful. I had hoped an English orchestra might bring extra soul to this piece, and the way many players swayed while playing only confirmed this most English piece was deep within their bones. It was magnificent.
The encore reminded me of of a great cup of coffee after an amazing meal. It was the perfect denouement.
Opera Singers are often classified as divas. This stereotype was instantly negated when Ms. Barton (and Mr. Katz) made their entrance super casually dressed, with a graceful and natural introduction that charmed the audience.
And followed by singing that was anything but ordinary. Songs by 5 composers, in 5 styles, and 5 languages, and smoothly and elegantly moving from one to the next.
Humbled. It’s the only word to describe the feeling of watching someone masterfully conduct a wonderful orchestra, and beautifully play a Beethoven violin concerto solo, at the same time, and without music to read. Utterly humbled. To witness an orchestra conducted by mere looks, hip movements, and head nods while the conductor was consumed by fingering complex music on the violin was nothing short of stunning.
The Enigma Variations were an emotional roller coaster that was just wonderful. I had hoped an English orchestra might bring extra soul to this piece, and the way many players swayed while playing only confirmed this most English piece was deep within their bones. It was magnificent.
The encore reminded me of of a great cup of coffee after an amazing meal. It was the perfect denouement.
A beautiful program indeed, made more so by the orchestra’s rich, nuanced and unhurried playing, drawing out not only every clear note, but every emotion as well.
While one might think of Elgar as a come-down after Beethoven, the Enigma Variations served well as a lush compliment. I’ve always enjoyed the piece, though never more so than last night.
And of course a sublime pleasure to have Zuckerman as a soloist and conductor.
My husband and I truly enjoyed the concert. The supertitles were helpful. Since the screen is already in use, I would like to suggest displaying the name and composer of the song before it starts. The people next to us kept using their cell phone flashlight to look at the program after every song started. They were discreet, but it was still distracting. With such a varied collection of short songs, it was nearly impossible to hold them all in memory. I second the suggestion of using a microphone for the spoken word.
Thank you! It was the most perfect encore to a concert I’ve ever heard. Though I’ve loved Elgar for many years, I didn’t know he could create such beauty, and it seemed perfectly suited to the the Royal Philharmonic, and to Zuckerman’s masterful touch.
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Hi, Fellow Readers,
Last night’s encore by the Royal Philharmonic Orchestra and Mr. Zukerman was the slow movement (2nd movement) of Elgar’s “Serenade for Strings,” Op. 20.
Thank you for both attending the concert and for reading!
Fantastic!! This was one of the best concerts we have heard—engaging, lovely, and unique. It was a tribute to Martin Katz to see the affection and esteem in which he is held. The singers were terrific and the Coda was a delightful surprise.
Thank you to all who made this possible.
Last night’s encore by the Royal Philharmonic Orchestra and Mr. Zukerman was the slow movement (2nd movement) of Elgar’s “Serenade for Strings,” Op. 20.
Thank you for both attending the concert and for reading!
Thanks for joining us for the first concert of Song Remix: A Biennial Songfest!
Please see below for the songs performed in the “Coda” section which were announced from the stage:
Louiguy: La vie en rose (Ms. von Stade)
Frishberg: Another song about Paris (Mr. Ferguson)
Wilder: Blackberry Winter (Mr. Daniels)
Berlin: Always (William Bolcom and Joan Morris)
Arr. Hogan: Give me Jesus (Ms. Brugger)
Cipullo: Another reason I don’t keep a gun in the house (Mr. Blumberg)
Puts: You need song! (All)
Three winners in a row. First, Martin Katz with an ensemble on Friday. Then Jamie Barton on Sunday. And now this. Like, wow.
To start at the end, this was the best performannce of the Enigma Variations I have ever heard in decades of listening. The Royal Phil under Zukerman brought out features of the score (and, by implication, of the people these variations portray) that have never been heard and sketched so well – so somberly, so amusingly, so blusteringly, so lovingly. (It may be that these Britsh players have a special feeling for Sir Edward: the movement of the Elegy they played as an encore was also most moving.)
Before the intermission we heard Mr. Z. in the Beethovem Violin Concerto. This, too, was played lovingly and in nicely subdued tone. No showing off – just the music. A crescendo of rustling in the audience reminded us that Beethoven was in no rush to bring the first movement to a close.
The Egmont Overture waa played in suitably robust fashion.
Three winners in a row. First, Martin Katz with an ensemble on Friday. Then Jamie Barton on Sunday. And now this. Like, wow.
To start at the end, this was the best performannce of the Enigma Variations I have ever heard in decades of listening. The Royal Phil under Zukerman brought out features of the score (and, by implication, of the people these variations portray) that have never been heard and sketched so well – so somberly, so amusingly, so blusteringly, so lovingly. (It may be that these Britsh players have a special feeling for Sir Edward: the movement of the Elegy they played as an encore was also most moving.)
Before the intermission we heard Mr. Z. in the Beethovem Violin Concerto. This, too, was played lovingly and in nicely subdued tone. No showing off – just the music. A crescendo of rustling in the audience reminded us that Beethoven was in no rush to bring the first movement to a close.
The Egmont Overture waa played in suitably robust fashion.
We enjoyed the concert enormously. The warmth between the singers and Prof. Katz extended to the audience as well, and it turned into a regular love fest. Back at home we were still basking in the afterglow for another hour or so.
I’ve attended lieder and song recitals for 45 years, and this was the most satisfying and moving recital of the sort I’ve ever attended. What an excellent selection of newcomers and all-time favorites! The music was superb, but the love–love of song, love for the marvelous Martin Katz, and obviously warm feelings shared all around–made this a very special evening for me and, I believe, for UMS. Thank you.
Loved the Chausson & the Dvorak about the Mother weeping as she taught her daughter the songs. Her “triangle was ringing passionately”, as she sang in another of the Dvorak songs. Is that a euphemism of sum sort?
A really wonderful concert; we came away feeling uplifted by the songs, and by the artistry of the musicians, and by their obvious love for what they are doing.
Loved the singing, and thank you for the sur-titles. Why not on the second half?
One suggestion for future performances:
Have some sort of a mike for the spoken word. I was under the balcony and could understand very little of what was said, especially since it was said in a conversational volume. maybe just a hand held mike that could be turned on and off readily??
Enjoyed the wonderful concert by Jamie Barton and Martin Katz. Due to lost luggage that arrived in late afternoon, Jamie Barton had a different look for the first half and the second half. Fun to see both looks! We especially enjoyed the Dvorak.gypsy songs.
A very satisfying concert! Lesson: you don’t need the celebrities du jour or even great voices – although Ms. Brugger is a gem — to entertain an audience if the program is as thoughtfully composed and as carefully rehearsed as this one was. There were no war-horses last evening but rather a mixture of more or less unfamiliar songs, some serious. some lighthearted, presented by engaged artists willing to take risks. Just think what the Choral Union series would be like if we had such clever novel and varied programming each time rather than the routinized, often listless and perfunctory performances of the most popular works by the most popular composers. (Ok, strike me dead, dear lord, for this blasphemy!)
But if you yearn for refreshing fare on all programs, honk.
We loved this concert! Kudos to Martin Katz, and the wonderful artists he brought together for this very special event celebrating music, song, and poetry.
A most wonderful way to spend New Year’s eve. I’m spoiled having experienced this production. I wanted to experience it again. Thank you to everyone involved.
Refreshing. A Christmas Carol is done so often, and often so poorly, so it was beautiful to see such a spectacular production. I loved it. The clown/mime inspired opening was amazing. The puppetry was absolutely superb (not to mention the wide variety of vocal qualities the actors used in their characterizations of each puppet). The set was one of the most beautifully detailed things I’ve ever seen. Lovely!
Brilliant production from every aspect! I usually loathe audience participation but this was done with such great spirit and fun before the actual “show” began that it got everyone in the mood. I am familiar with the Power Center Stage and was completely enchanted with its transformation. Actors/puppeteers were incredible! Thank you for this wonderful entertainment!
It took a little nudging to get our 14 year old son to his first professional theater production. After the play, he summed up his experience by saying, “Wow, that was 1,000 times better than I thought it would be!”
We wish to thank National Theater of Scotland a thousand times over for making this the beginning of more family time at the theater.
I was so overwhelmed by the intimacy and energy of the set when I walked in with my two sons that I started to tear up! We were seated in the front row and laughed and clapped and deeply felt every spirit’s message and the transformation of Scrooge. When we left, I announced that my life will never be the same—and I meant it! I will have a hard time finding such a professional, interactive and engaging experience for my family again. Thank you for sharing your time and talents with us.
I’ve seen three National Theatre of Scotland productions – Black Watch, Prudencia … and now Christmas Carol. They were all unique in concept, venue and staging and were supported by great acting. I look forward to any future productions from this first class, innovative organization.
And now for something completely different! What a delight on New Year day. And we can be proud of the U of M football team too! Great start to 2016. Go Blue!
I enjoyed it very much. The whole mystery of where we were going, and why, as we waited in line, others in the room down the hall were laughing so much–gave me such a feeling of anticipation. And the actors were so playful with each of us as we entered the room.
The puppets were amazing! I think that’s what will stick with me the most.
Bravo!!! This is hands down the most unique, inventive and enthralling performance of “A Christmas Carol” that I have ever seen. The cast is absolutely stellar. The addition of the puppets does not detract from the story, on the contrary, the artistry of the actors in acting and manipulating the puppets in congruity with their individual (multiple) characters is astounding. Mr. Scrooge is amazing and endearing. The cast is so tight and such a team and are all very true and organic, a true ensemble, and really ACTORS actors. A pleasure to watch. RUN, don’t walk to the production! Plan on seeing it more than once. We did. It’s a priviledge.
Attended the “sensory” performance. Appreciated that this option was offered. I’ve seen a lot of theater, but this was simply amazing. The set and staging were incredible. I highly recommend.
Yes, bravi! An intense, experiential form of theatre. Has a2 seen anything so intense since the Living Theater (approx. 44 years ago) brought their art to our public places on campus (bank, flagpole, other ‘symbols’)? Fun interaction with audience to begin the show, before the show. The puppets were very compelling, especially the Cratchits. Loved the ways that actors found their ways into and out of the theatre space— through closet, crannies and cabinets. Great voices, tech support superb, very effective use of space and sound and shadow/light. Memorable humor added to Dickens’ text. Uplifting. Thanks UMS, and thanks NTofScotland!
Brilliant staging, puppets & actors–from the moment the audience walks towards the intimate venue to the very last moment of the curtain call. Thrilled I got to experience this. Get a ticket & go!
This was an amazingly engaging production. The audience was in the thick of the action, and the players made sure we were included. The creative use of lighting, music and puppetry made this a very special performance. We went to the Christmas Eve show and it’s hard to imagine a better way to kick off Christmas!
This was an amazing afternoon of theatre, but was much devalued by the young children seated behind us. The adults who were rude enough to answer their constant questions instead of shooshing them ruined the experience for all of us seated nearby. I find it interesting that we have detailed instructions on how to make the performance enjoyable to the point of unwrapping candies before entering the theatre, but then completely ignore the type of disruption we experienced.
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We had a blast at the Sunday matinee. Perfect play to render the intimate experience of a night with the spirits of past present and future. brings out the kid in all of us. congrats on bringing this pure magic to AA.
You can’t have A Christmas Carol without the inclusion of Fezziwig. Also the little boy at the end “Today, today is Christmas Day”. Just can’t omit this scene
Extraordinary integration of puppetry & live action 2 tell the classic tale of Scrooge & his redemption. Don’t know who had a better time, me or my 6 yo. granddaughter.
This was the most incredible piece of theater I’ve seen all year, and definitely one of the coolest performances I’ve seen in Ann Arbor. Thanks for bringing the National Theatre of Scotland to town!
I’m so glad I caught this performance. There is nothing I can compare this to. The venue was intimate and the performers did a great job of engaging the audience. An amazing experience!
What an amazing, ASTONISHING, gasp-worthy production! I never expected to be completely transported by a story I know by heart and which I’ve performed myself. This is an INCREDIBLE experience. RUN, do not walk, to see this!
Really enjoyed this! Very different from anything else I have ever seen. Thought I knew this story very well, but it was presented in such a novel way that I was mesmerized. Very well done!
Simply fantastic! I was sulking at the price of tickets being used to purchasing student tickets most of the time, absolutely no regrets now. Thank you UMS – you are a significant part of the enriching experience and countless beautiful memories I will have of my time here at UM/Ann Arbor. Go blue!
A truly unusual and original presentation of the Christmas Carol that no other group has done. The cast really had fun engaging with the audience. The almost invisible appearances and disappearances of the cast and puppets added to the ghostly and magical quality of the performance. Having each small audience group be applauded was unique and engaging.
It was a truly amazing show, from the introduction to the set to the acting. It was one of the most entertaining UMS programs I’ve had the privilege of attending.
Possibly the most amazing bit of theater I’ve seen in the past 40 years; it brought tears to my eyes. I’m so glad the UMS is bringing us such high quality non-musical performances to balance their bill – I just wish I could afford to attend more of these.
Bravo Bravo Bravo. What an extraordinary evening of theatre. Thank you so much for bringing this to us. The performances and production values are all stellar. This is a fabulous evening of theatre and I hope every house is sold out, as it should be. Thanks again to UMS for bringing this kind of performance and so many others, to us here in Ann Arbor. Makes having left my home in NYC a bit easier! (a bit!)
This was a great performance, and vastly different from the Olivier “gold standard.” One feels much closer to this King Henry, as he struggles to shake off his youthful playboy-like life and take on the responsibilities of Kingship. The commentary during the intermission made it clear that Shakespeare was doing his part to bolster English nationalism at a time when national cohesiveness was needed, mentioning how the play has been used since at times when nations have been threatened by or involved in war. I didn’t consider seeing the play to be a ratification of violence but rather one more step to understand both war and leadership.
I customarily anticipate ‘Live in HD’ telecasts from the Globe theatre quite eagerly but tonight, for its presentation of ‘Henry V’, I left my comfortable home with dread. I particularly dreaded hearing men bellow, for three hours, about the necessity, onset, and prosecution of war.
Shakespeare composed ‘Henry V’, an historical play about a young king organizing for war (against the French) amidst England’s own preparations for war (against the Irish). Moreover, the play’s director noted that other famous productions of the play, such as Laurence Olivier’s and Kenneth Branagh’s, occurred while Britain was at war. He however contrasted his production with previous efforts because this production occurred during peace-time (for Britain) and thus the audience could grapple with the play unburdened by the extra-curricular supplement of contemporaneous war and could thus focus more exclusively upon the play itself. Alas, ‘Henry V’ offers a forever timely examination of states’ feverish anticipation of, and preparations for war: audience members noted, in the weeks since this production was recorded, that Britain had launched missiles at ISIL targets and its current leader had exhorted his peoples to be ‘patient and persistent’ since the extensive new military operations would ‘take time’.
More generally, I thought about waking daily to the news that yet another African-American had been slain or otherwise violated by an agent of the state, that increasing numbers of ‘radicalized’ people were inflicting hate speech and hate crimes upon Muslims and their places of worship, that Republican presidential candidates had uttered still more grotesque sentiments about entire populations, and that U.S. mass shootings generally constitute mere local news precisely because of their banal commonality. I didn’t wonder why the rousing St. Crispin’s Day speech, a speech exhorting men to fight for honor and glory, curdled grotesquely in my mouth: my daily being is saturated with news of violence and I am simply exhausted by it. Departing early did not constitute a comment on the (fine) production itself but rather like a necessary act of self-preservation.
The annual UMS performance of MESSIAH is our favorite date, and we loved the variety offered by Sheets and Blackgrove. We wondered how it would change under a new/younger conductor – Mr. Hanoian certainly did not disappoint! The crisp tempo and clarity of Sunday’s oratorio was superb. Beautiful trumpet solo! The vocal soloists were great, but our favorite is always the chorus. THANK YOU for all your hard work and practice!
While the baritone was somewhat weak in terms of voice projection, the conductor’s punctuation of key phrases throughout the performance not only compensated, but served to lend new meaning to many of the sung lines. It was almost fugue-like at times, which was brilliant. Indeed, the occasional improvisations of both the soprano and tenor were artistic delights, and highlighted their mastery of thr music beautifully. The more pronounced use of the pipe organ than in prior years was both refreshing and exhilarating, leading some to comment after the final bows were taken that this performance had such amazing drama and pomp. I do wish, though, that the solo singers had stood closer to the stage front edge, as their voice projection, standing somewhat behind the line where the conductor stood, was often blocked by the conductor. But that’s a small complaint. On balance, the performance was a tour-de-force.
You may have set a new record for speediest performance this afternoon!I enjoyed the different interpretation. The chorus pieces were particularly lovely. The sound carries so beautifully in Hill, although I must agree the seats are dreadfully uncomfortable.
Uninspiring and quite bland, not to mention the seating in the auditorium is very uncomfortable. Hill audortuim needs to be updated especially the seating which is awful.
We’ve been attending performances of Handel’s Messiah for 20 years, and found this one to be particularly beautiful and inspiring, and excellent in every way. We love what Mr. Hanoian has done, especially with the choir! It was crisp, clear and exhilarating. Overall, an A++++
(PS: we vote for red poinsettias…)
My 36th year of the Messiah. This performance under Mr. Hanoian ranks among the best. I could hear how he changed it in subtle ways compared to past performances. My compliments to all and BRAVO!
“I’ve been increasingly obsessed with the idea that longer pieces can actually be made out of less stuff as a way of supporting the weight of their structures.” These are not the words of some grim critic, but of the composer himself. Such candor is disarming. Imagine a novelist saying this. And – did I hear right? – the first movement is modeled on a junkyard?
I haven’t fathomed the attractions of the minimalist school of composition, and I wish someone would explain it next time. I found the second movement of Strong Language appealing. But the rest seemed aimless and uneventful; there was no obvious reason why it stopped when it did. Most admirable was the evident conviction with which our Takacs friends played the piece.
Nothing uneventful about the Haydn and Dvorak quartets! They are both full of ingenious invention, and they got fine readings this evening. The Haydn especially is a work quite astonishing and unlike most others of his quartets in mood and spirit and form.
And the Dvorak was played with all the appropriate sentimentality of longing and joy. Never a dull measure in either of these works. Also Ken Fischer was right; we are lucky to hear this group year after year. Their performances are invariably stylish, tasteful, and bare of affectation.
As regards programming, sure, let’s have plenty of modern music along with the older, more familiar in each concert. But before we dip into the latest untried hot-off-the-press pieces, how about taking our selections from the second half of the 20th century? There’s plenty of satisfying adventure there, and it’s been too long neglected.
Such a thoughtful response, Andy. I DO hope The Most _City in America manages to present the hopeful aspects of the Flint story. All too often in the past, community projects about this authentic place have rested in the negative. Best to you as you continue to listen to and shape the story.
In short, this concert went way beyond music.
Naturally, we were disappointed that Leif Andsnes was ill (and we wish him speedy recovery), but our hearts jumped on learning that Paul Lewis would play instead, having know of his huge reputation for Beethoven and Schubert.
It was a deeply moving performance. Mr. Lewis has a clear humility in his interpretations and avoids gimmicks. This surely was a key element in how immediate Beethoven’s soliloquies were to us in the audience. He gave us pure music, and allowed Beethoven to speak without us being aware of who was playing.
Thank-you to UMS for engaging this truly great artist, and bringing him to Ann Arbor.
Throughout Lewis’ performance, I was fascinated with his power of expression through what I believed to be such a limited medium. His physical involvement with the piece, his mastery of the instrument, and the passion with which he performed all combined to keep a relatively single-minded repertoire nothing short of invigorating. I was surprised when Lewis’ performance stirred an emotional reaction out of me, as I had never experienced that in any music that was not choral. My favorite piece, in particular, was his third, as I felt that it bounced around between opposites: lively and melancholy, quick and slow, piano and forte. That contrast proved to bring variation to a set list that may have superficially appeared to lack it. Overall, I thoroughly enjoyed the performance. Although I was sad to miss Leif, Paul Lewis most definitely did not disappoint!
For my first attendance to a professional classical piano concert I was pleasantly surprised. Although hearing that Leif was cancelling last minute disappointed me, what did not disappoint was Lewis’ performance last night. He received a very brief introduction that honestly could have been replaced by just more beautiful music if I had it my way. All three of Lewis’ pieces were performed absolutely remarkably and although the type of music is not what I would typically listen to, after hearing how Paul Lewis played I will definitely begin looking more in to the classical genre. The way he composed himself during the performances was very entertaining, as seeing him absorb himself entirely into the piece with his whole body was very powerful and showed me how connected he was to his music. Overall, it was a beautiful concert and I hope to see Paul Lewis return to Ann Arbor in the near future.
From the moment Paul Lewis’ fingers touched the keys, he had the audience hooked. He courageously tackled three Beethoven sonatas with intensity, charm, and absolute beauty. His body language distinguished each piece from one another. I loved how he slouched when playing a legato melody, snapped his head to a particular note, or stiffly sat at attention while sharply hitting every key. The long pauses after each piece created an almost holy atmosphere of appreciation for the music and the musician
My personal favorite was Sonata No. 32 in c minor, Op. 111. It immediately started with a jarring tune that made it stand out from the first two pieces. The contrast between the sections of music played in the lower and higher octaves created an image of a sort of battle going on between dark and light forces. Lewis’ rigid posture emphasized the seriousness of the piece.
Additionally, it was so kind of Lewis to come all the way from London to play for one night here in the U.S. He was extremely humble, yet he really engaged the audience when he played a Schubert piece as an encore. While I was disappointed I did not get to see Leif Ove Andsnes, I can’t think of anyone better that could have replaced him. I hope I get the chance to see Lewis perform again, and I encourage anyone who has the chance to attend one of his performances.
Aside from the heroic logistics of Mr. Lewis’ short-notice fill-in for the ear-infected Mr. Andsnes, I’m happy to say that we heard a recital with many pleasures and surprises, moments of joy and solemnity. The last (Arietta) movement of op. 111 was magical — worth all the rest of the program. Mr. Lewis played the slow movements of all three sonatas especially beautifully, coaxing the finest sounds from the piano. He has extraordinary control of dynamic effects — not so much of rhythmic tact. In the fast movements there were occasional clunky or murky passages, and the accelerandos were often super-accelerandos, giving the music an undeserved levity. But, hey, he probably hadn’t slept for about three nights.
As to the chosen program itself, I would rather have heard any one of these three piano sonatas mixed in with works by other composers. That’s what Mr. Andsnes had intended to play — some Chopin, some Sibelius, some Debussy, and a Beethoven sonata smack in the middle.
Especially in this age of distractibility and shallow multi-tasking, I bet quite a few listeners found it hard to keep concentrating when it came to the last of these late Beethoven sonatas. And if you ever want to introduce an inexperienced college freshman to Western concert music, who has never been to an orchestral or chamber concert or to a solo recital, you would rather have him/her hear a wide sample of this art’s range – a little from this period, a little in that style? Maybe the Mozart will grab her or maybe the Prokofiev – who knows!?
However, in recent years, we have seen a trend in programming that works against this. Recently we’ve had all-Bach evenings and concerts with only one large complex work. I don’t think this will attract a new young audience. It may not even be the most satisfying offering to the old audience!
I grant you, such marathon programs are admirable artistic feats by the performers. But…
But if we want to attract and retain a new generation of concert-goers and help preserve the classical music tradition, we can’t afford this sort of thing; no matter how fine the artist(s), we need multi-period, multi-style programs such as that planned by Andsnes because they will appeal to a range of appetites.
For my first ever piano concert this was absolutely beautiful. I was at first very much disappointed that Leif was sick and was unable to make it to the concert. Whereas, I believe that he made the right decision since he has both a viral and ear infection. Fortunately, Paul was able to make it in place of Leif. Thanks to all the sponsors and the managing director of UMS for making this concert go on.
Paul definitely won my heart over. I feel as though he represented his personality in a beautiful way through his music and his presentation of the music. I felt that touch he contained when he played the piano; his touch was something that intrigued me a lot and I appreciated tremendously. Although one has to say kudos for his astonishing transitions, his transitions were as smooth as they could get and varied throughout. During all his pieces none of them followed a certain pattern that one could follow. I always thought I knew what was about to come and he suddenly changed it up. This keeping me engaged and engrossed.
Another interesting trait of Paul was his technique of showing the emotions for the piece that he performed. Paul made sure to vary the tempo, pitch and body movement making his performance thoroughly appreciated by everyone in the auditorium.
Overall, Paul I think was an amazing replacement for Leif. Although, things should change for him and I hope UMS calls him back often for many other performances. He was an absolutely amazing pianist in my eyes; especially him being able to portray his skills and emotions as a package when playing the piano. The hill auditorium fit his acoustic style perfectly. His low pitch notes were heard perfectly and his high pitch notes weren’t too high. I have to say for such an impromptu performance he did well. Tonight was just graceful and pleasing from the way he walked to the way he played the piano. I recommend anyone to attend his concerts when you get a chance. I know that I would definitely be back when Paul returns to UMS.
Well lets not stop there. Very similar to Paul’s action of coming back after the immense amount of applauses, I’m here writing about this moment. Paul decided to come behind from the curtains to play us another piece which caught everyone by surprise since we all thought that it was time to go back home. This gesture showed me that he really wants us the audience to have a good time. Also portraying the love for music and his love to please his audience. Overall I would definitely return to watch Paul perform. BRAVO.
A dear old friend used to tell me that jazz is the art of surprise and you never know which cats will show up for a gig. Classical music is more subtle but tonight we got a real treat. Paul Lewis was playing in the middle of the night per his body clock. It was an amazing & expresive performance of Beethoven. Given the circumstances it was a perfect evening. Did anyone else think of the column of white roses as the Eifel Tower? Happy Thanksgiving to all!
This was a wonderful production of Hamlet. I’ve seen multiple productions of Hamlet including one at the Stratford festival and even the various film productions. The play has never been a favorite and I had yet to see one that really illuminated the text for me… until this production. Benedict Cumberbatch was superb indeed; funny,witty,droll,outrageous, all while expressing the doubts,anger and complexities of the character. The cast was strong across the board and I felt the technical design of the show was exceptional.
I think there is no substituting for what can happen being in the audience when witnessing such a powerful piece of theatre but the live broadcast makes theatre more accessible and gives everyone the best seat in the house.
Youssou N’Dour’s performance was one for the books. A unique and inviting experience for all who were able to attend. In my opinion there were several great elements to the performance – the drumming, cultural integration and audience participation.
I would have attended this performance just for the drumming itself. The talent that was on the stage in the percussion section was awe-inspiring. Each beat and hit was precise and passionate. I loved how the lead drummer acted as an emcee and got the crowd going.
In addition to the percussion, as a young college student with millennial tastes, I had never been exposed to this kind of music. To me it had a great 90’s jazz pop feel, at times, somewhat along the lines of Gwen Stefani’s “Underneath It All”. Youssou’s music being more diverse and culturally unique, of course.
And unlike any UMS performance i have attended, I loved the audience participation. Being able to be a part of the performance, watching people dance and have a clear appreciation for the music was the highlight of my night.
UMS, please bring back Youssou! In the highlight of recent events, the community and fellowship was warming.
All last Summer the NY Times ran articles about how difficult it was to get a ticket to this production of Hamlet in London. It was in fact very good. The castwas very capable & B.C. Was superb. There were a few red herrings. I would lose the David Bowie t-shirt. Also, try to keep the set about 100 years old. Too many phones and modern conveniences….although they may have been rotary dial. It gave me great cheer to see high school students on up through senior citizens in attendance. A near capacity crowd bodes well for the replay on Jan. 17.
Yea, right. And since our classroom buildings are also a part of the University, why not start all class meetings with a brief and rousing audio of the Victors? It would just take a couple of minutes and perk up everyone’s attention. Grades would go up for sure. Some profs would object. But we know what snobs they are!
You and I must have been at different performances. I thought it was the most interesting interpretation of the 5th I’ve heard.
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Being a huge fan of all Beethoven works, I was gravely disappointed by the performance of the 5th. There were several measures which sounded “mushy” at best, as if the entire section hadn’t rehearsed together yet (violins especially). Muti’s interpretation of how the horns fit in left much to be desired – he even seemed to de-emphasize the horns, to some extent. Very disappointing.
As for Mahler, I’m at best a temperate fan. Still, the performance was even mushier. The opening measures, while admittedly difficult to play at such a quiet level, were barely tolerable. From there, my disappointment grew. The percussion section was the only redeeming aspect of the work. The timpani were exceptional.
Needless to say, I’ll skip the next Chi Symphony performance in Ann Arbor, and especially maestro Muti. Thank goodness the NY Philharmonic will have residency for the coming several years!
I was very impressed by last night’s show. This was the largest band I’ve seen him with since 1987 when I saw him in Dakar, Senegal. I’m wondering how he’s paying all those musicians and dancers. I’m sure it’s not through ticket sales alone.
Thinking about Youssou N’Dour’s performance at Hill Auditorium really just puts a smile on my face. From the beginning of the show, the crowd was bobbing their heads and clapping their hands. As the show progressed, more and more people stood up to dance and just let the music take over them. The crowd’s reaction was inspiring, however, the music itself was purely amazing. Youssou is one of those types of artists that you can just feel his music in your bones. I was just in awe the entire performance. There was so much goodness and happiness happening on stage and off. Kids and adults alike were just feeling it and moving to the beat. I was also amazed by the drummer, moving his hands so fast. When “7 Seconds” came on, I got so excited because we listened to the song in class. It was very emotional and slow and was a nice break from the crazy dancing music. It’s hard to even put into words just how cool this entire performance was. It was definitely my favorite that I’ve been to at U of M and I would definitely recommend to any person of any age.
The performance was a great experience. Youssou N’Dour’s talent is outstanding, and his passion to singing and being a performer was very apparent when he turned on the lights just so he can see everyone and lighten up the mood. Also, I loved how they took the time out to highlight different musical instruments because that is when I realized it is really about the music to him, not the fame or hearing his name in the crowds. My favorite part was the dancer because he was so eccentric and he was having such a good time, especially when he was jumping over the drum man. The whole performance was amazing and I am really happy I went.
Youssou N’Dour’s concert tonight was absolutely amazing. He had this great ability to make everyone get out of their seats and dance to his upbeat music. The performance started off in a great, positive mood and ended the same way. There were also some very talented musicians who backed up Youssou N’Dour. The one musician that stuck out to me the most was one of the drum players. His intricate rhythms were incredible to watch and his use of dynamics really pulled us closer to the music. I also thought the amplification of the instruments was very well balanced. There was just enough of every instrument to support the vocals of N’Dour. Overall, I thought that Youssou N’Dour was a wonderful performer who was able to reach out to every member of the audience and help them connect to his music.
Youssou N’Dour’s performance tonight was incredible. Youssou N’Dour’s beautiful voice and African Rock music fitted really well. Even though I didn’t understand most of the lyrics, I still felt the passion he and his band brought to us. It really demonstrated that music had no national borders. And the audience had the most diversities compared to several other UMS performances I had been to. The interaction between the performer and the audience was fabulous. All the people were so engaged and danced with the rhythm, from the beginning to the end. I also liked how Youssou N’Dour’s let some instrumentalists perform their solo part, which really showed their unique talents. However, I didn’t quite get why the performer asked to turn all the lights on near the end of the show. For me, I felt less motivated to followed the beats when the lights were on.
Youssou N’Dour’s performance tonight brought us a lot of happiness. It is the first time for me to see so many people stand up and follow the beats in the Hill. The performance really had a great connection with the audience. Some were clapping hands; some were waving arms and some were even dancing on the aisles. The rhythm definitely lighted up the whole auditorium.
Personally, I prefer the first half of the performance. I feel that the first half was more carefully organized. The second half turned to be a little bit repetitive and had a rush end. But overall it was a successful performance. The band showed a really impressive teamwork. Each member in the team was very talented. Besides, the sound was well amplified in the Hill Auditorium. It is winter at Michigan, but it felt like summer in the Hill Auditorium. The whole performance cheered up a Saturday night.
Youssou N’Dour and Super Etoile de Dakar brought the energy to Hill Auditorium tonight! I walked in expecting to watch a singer perform, but ended up watching variety of different acts take the stage. Not only did the main singer give a stellar performance, but there were solo performances by many different musicians in the band, and a lot of dancing to go around! The whole audience was standing up and dancing, and those who weren’t were moving along to the beat in their seats. It truly was a performance that got the audience involved. It was nice to see the wide variety of ages that came: children, students, adults, and the elderly; you name it and they were there. I liked how each performance started off with a musician clapping his hands to engage the audience. I was standing up, moving along, and just having a blast. I loved the atmosphere, and the songs made me happy. The colorful spotlights added a fun touch, and the performers seemed to be happy, energetic, fun people even outside of the performances. On stage I saw some cool, new moves I can try at the next party I go to. I enjoyed the unique beat and style of music. The performers’ love for what they do on a regular basis could be seen by the audience. If there was one thing I could change, it would have been my seat. I sat in the back right mezzanine, and it was hard to see the performance at times. At some instances, I looked down at the floor and it looked as if they were all standing and dancing when we were sitting. I think it would have been even better to be down there and be closer to the music; it would have been a completely different atmosphere. Overall, I had a great time and by looking around me, I could tell the others did too.
The positive energy from Youssou N’Dour and Super Étoile de Dakar completely turned my day around! During the entire concert, I was either clapping my hands, tapping my feet, nodding my head, or dancing. Youssou was extremely talented, had so much confidence, and was very smooth. He is a very loved and influential man and he could have easily had the whole show focused on himself, but instead he showcased and made a big deal out of how talented the band members were. The solos that the band played were so impressive. Youssou is amazing, but the backup singers were spectacular and enhanced his talent.
I loved how they truly got the audience involved, especially towards the end. Turning the lights on was weird to me at first but it was awesome that they wanted to look into the crowd and see everyone having a great time. Youssou wanted to show that the audience was a big part of what made the show so great.
Youssou N’Dour and Super Étoile de Dakar had everyone shaking off all their worries and responsibilities and just having a great time. At some points, they had almost everyone in Hill Auditorium on their feet. It was a great atmosphere to be a part of.
Thank you so much for bringing Youssou N’Dour here. It was a wonderful evening and such a great experience to see him and the super talented Super Étoile de Dakar perform live. I laughed, I danced, and I might have cried a little 🙂
Youssou N’Dour’s music was evidently beautiful. I have to say this was one of the best performances I have attended hosted by UMS. Without any doubt this man shows the overwhelming emotion you require in order to succeed in the music industry. He performs exactly what he feels and definitely keeps it as genuine as possible. I commend the way he found a way to include the audience into everything. Undoubtedly everyone in Hill were on their feet dancing and clapping along with the beat. When Youssou knew that he had to change it up half-way he made sure to turn on the house lights so we again intertwine and join him in making music. I also applaud his accompanies for being versatile throughout. Without anyone noticing performers were switching instruments and playing them like experts. And a gold star for Youssou for making sure everyone gets an opportunity to shine in front of the crowds. A gesture not many performers undertake. Overall it was a life changing experience. A genre of music and a performer of music I have never heard of has come into my life. I hope follow Youssou’s music through his journey of music and see what else he possesses within him.
The house did not open right away but the Indiana football game was in the second overtime, nobody cared. Wolverines fans were in dire need of a Dhakar-ri. Ann Arbor is a sister city of Dhakar Senegal. And it seems that Orchestra Baobab is from there too. I was a big fan of Peter Gabriel in his hay day and I had heard of Youssou N’Dour. I felt like I was on a two hour Summer bike ride along a palm dotted beach. Loved the colorful dress of fellow concert goers. Go Blue…or is it Turn Blue! We won!
Astonishing. That’s all I have to say about Youssou N’Dours concert tonight. Not only was it something that gave me the opportunity to experience the art of another country’s culture, but I was a whole lot of fun too. Never have I seen such a wide range of people of different ages, from children to some senior citizens, all dancing and having fun simultaneously. It really was a performance that I feel like I could see every day this week and not get tired of it. There was just something about how he was able to work the crowd that really made the performance something I will never forget. Absolutely astonishing.
In my life, I have never felt as included and integrated in a community as I did in a giant concert hall packed to the walls with people of all backgrounds, ethnicities, and ages, enjoying a genre of music I may have never considered on my own accord. It was inspiring beyond words to look around me and see, on one side, young girls, maybe 3 or 4 years old, dancing with a long-haired middle age man, and on the other, elderly caucasian women moving around with African women dressed in traditional clothing. The sense of community and pure joy in the room was overwhelming, incredible, and unmistakeable. Youssou N’Dour’s performance demonstrated the sheer power of music in its ability to fill a room of thousands with a shared feeling of total happiness. This is a performance I did not originally choose to go to, but nonetheless, one I would never have wished to miss, and one I will surely never forget.
This performance was absolutely incredible. Youssou N’Dour has a beautiful voice and sings with such passion. You can’t help but feel his intense emotion when he performs. The whole concert was such an uplifting experience. I was overcome with happiness while watching the performers do their thing up on stage. From the dancing and acrobatics that was happening on stage to the enthusiasm of the audience, this concert was quite the entertaining experience.
For most of the concert, the music was very upbeat, and people were up on their feet dancing. At one point, Youssou slowed down the tempo and sang his internationally famous song “7 Seconds.” This song was very emotional and really showed off the strength of his voice. Soon after the song ended, the music became more intense, and people were back up on their feet.
I was particularly impressed by the drummers also. These musicians have such an amazing talent. I could never in a million years learn how to keep a rhythm like that. I absolutely love watching such talented people show off their skills.
Youssou N’Dour’s performance tonight was simply incredible. Throughout the entire performance, the audience was on its feet dancing to the catchy music. The performance flew by and at the end I could not believe it was over already. It was clear that Youssou is not only an extremely experienced singer but also an outstanding performer. He was able to keep the audience completely engaged throughout the entire performance and ensured that everyone was having fun. I loved how they turned on the house lights midway through the performance, so that Youssou was able to see each person individually. It was a very personable experience and was highly effective. I also thought that he did an incredible job at really showcasing the other performers’ talents and highlighting them with a solo part. It not only allowed these performers to show off their insane talent but also got the audience riled up. The icing on the cake was the dancer that came out occasionally to add even more excitement to each piece. This performance is one that I will never forget and something that I would definitely go see again. Out of all of the UMS performances that I have seen this season, this was definitely my favorite.
As a 25+ year chamber series subscriber, I would like to say that this was perhaps the most thrilling, flawlessly rendered, soulful, and enriching string quartet concerts I have ever attended.
Hello all, just wanted to point out two more reflections on this performance, by two of our artists in residence:
#1 “My body becomes similarly constricted, mirror neurons blazing. I am a potato expanding under duress against hard dark granules.” http://bit.ly/1PDZqly
Fabulous concert and great energy. The horn and sax solos were some of the best we’ve heard. Would buy tickets to attend another Irakere concert in a heartbeat!
Prior to last week, I had never heard of Chucho Valdes’. However, my husband had. I’m so glad we went. This was – hands down – one of the best concerts I have ever attended! Mr. Chaves’ is so talented. I’d go so far as to say gifted. I hope that UMS considers bringing him back to the jazz series next year.
Below is a listing of compositions that were performed at Sunday afternoon’s UMS Jazz and Global Series concert by Chucho Valdés and Irakere 40 at Ann Arbor’s Michigan Theater:
Juana
Tabú
Estela
New Orleans Blues
Congadanza
Lorena’s Tango
Bacalao con Pan
Afrofunk
Thank you for attending and for your participation on UMSLobby.org!
What an event and what a privilege to be there….. Chucho and his band were great!
At the same time I thank UMS for organizing this, have to ask to make sure having him again next season 🙂
This was the Goldilocks concert of the semester! Just right.
Loud, but not too loud. Intense, but not too intense. Wild, but not too wild. Controlled, but not too controlled. The Michigan Theater was just barely large enough to accomodate the demand & there are liberties you can take there that University venues do not offer. I saw Chucho once at the base of the Space Needle in Seattle. He took me back there this afternoon.
Besides the beautiful music, what I enjoyed most about this performance was watching the musicians as they played. I was drawn in by their seemingly coordinated and fluid movements. The group breathed together and moved together, giving the illusion that the sound was originating from one source. I think this was most impactful during the Ades piece. As much as I loved watching the members of the group move as they played, I found myself looking away from the stage in order to allow the music to surround me and forget that there was four different people producing the sound.
Correction: Not two movements, but theme and variations in the wind quintet.
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A splendid concert by four wonderful musicians, every one of them. The Haydn quartet was played with rare expressiveness, and the playing was lucid throughout.
This is the first time I ever saw a work by Adès on a program, and he really is as renowned as the violist told us. The experimentation with sound textures requires better acquaintance. Some of us were also wondering about the names given to the movements – in one case, the title is borrowed from a Schubert lied – a rather remote reference. But there must be an explanation; I don’t believe Adès is pulling our leg.
The Beethoven, too, was very fine. Overall, I vote for the Haydn as the best entry. People, we have stumbled on a fine group of performers. Let’s hope we hear them again soon.
And then they gave us a welcome encore. Nielsen must have really loved the first theme of this movement. He also used in his wind quintet – in fact, in two movements — with different time signatures.
I greatly enjoyed the Hayden and the second quartet, but I’m pretty fussy about how Beethoven is played, having heard the Cleveland Quartet play the complete cycle several times, and I was not happy with their interpretation. I thought they made it sound too much like the Hayden. The encore was beautiful!
A splendid concert by four wonderful musicians, every one of them. The Haydn quartet was played with rare expressiveness, and the playing was lucid throughout.
This is the first time I ever saw a work by Adès on a program, and he really is as renowned as the violist told us. The experimentation with sound textures requires better acquaintance. Some of us were also wondering about the names given to the movements – in one case, the title is borrowed from a Schubert lied – a rather remote reference. But there must be an explanation; I don’t believe Adès is pulling our leg.
The Beethoven, too, was very fine. Overall, I vote for the Haydn as the best entry. People, we have stumbled on a fine group of performers. Let’s hope we hear them again soon.
And then they gave us a welcome encore. Nielsen must have really loved the first theme of this movement. He also used in his wind quintet – in fact, in two movements — with different time signatures.
Oh, please. I have been to hundreds of concerts in my life and it is quite common to start off a concert with a light bright appetizer of a work. And since they were not going road it anyone between movements it made perfect sense tostada with something short and then seat the late comers and then GO!
I think the main issue has to do with expectations. There are many, many appropriate venues for the Victors. This concert wasn’t one of them, IMHO. That doesn’t make me–and those who agree with me–snobs and curmudgeons. I also think there is a difference between leading off with it and using it as an encore.
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The audience obviously loved the Victors as the lead off. You did hear the audience reaction did you not? Trite? At a University-owned facility? I and almost everyone in the audience thought it was great. You are a snob and a curmudgeon.
Yea, right. And since our classroom buildings are also a part of the University, why not start all class meetings with a brief and rousing audio of the Victors? It would just take a couple of minutes and perk up everyone’s attention. Grades would go up for sure. Some profs would object. But we know what snobs they are!
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The audience obviously loved the Victors as the lead off. You did hear the audience reaction did you not? Trite? At a University-owned facility? I and almost everyone in the audience thought it was great. You are a snob and a curmudgeon.
The audience obviously loved the Victors as the lead off. You did hear the audience reaction did you not? Trite? At a University-owned facility? I and almost everyone in the audience thought it was great. You are a snob and a curmudgeon.
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I agree; I am just so ” fight songed” out! Trite and passé!
Great concert! That’s an understatement.
The 5th was lovely and OMG Mahler’s 1st was spectacular!
I too could do without Hail to the Victors.
I sat very near the back as I did for the NY Phil. The CSO had much more balance that the NY Phil. Especially the horns.
Cell phones? I had no qualms gently tapping the young woman in front of me and gesturing for her to turn it off. Smiling all the while. I urge others to do the same.
Although it would have been nice to hear an encore I loved how Mr. Muti adorably waved “bye bye” to us all. I’ve hear CSO at least once before at Interlochen and they also did not play an encore. Maybe they don’t play encores? Then again after the Mahler who would have energy for anything?
Thanks UMS!
Hello sir or madam,
I am the front of house/usher coordinator for UMS and I would be interested in speaking with you further about this matter. Please feel free to call or email me so we can resolve this issue.
Willie Sullivan
Phone: 734-615-9398
Email:thriller@umich.edu
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Thank you for assisting UMS….but can you tell me why the row in front of me is filled with ushers (before paying audiences are seated & this the third concert this has happened,) and why they have to be so tall as to impede orchestra visibility by me and my guests. It’s almost as this priority seating is planned and executed….it’s just bad form and politically distasteful.
MAGIC HAPPENS! I know, because Thursday night’s concert by the Chicago Symphony was magical.
Let’s put it this way—if ever there was one performance of Beethoven’s Fifth that should be the STANDARD by which all performances (live or recorded) should be measured, it was the one the CSO gave Thursday night. Oh My God—BEAUTIFUL. Beyond words.
At 57 minutes length, Mahler’s Titan can be a bit of a drudge to sit through. But, not Thursday night. The first movement started so softly—pastorally, if there is such a word—with the clarinet and flute playing a duet that mimicked birds chirping. Gorgeous. The final movement is labeled “Stormily,” and Oh My God. What a finale!
Given the rapt attention of the audience during the CSO’s performance, I think that some coughing and shifting in seats by the audience between movements is acceptable.
I am afraid I have to agree. Victors was a pleasant surprise as an encore–played by an orchestra doing a residency. It indicated an “all in” attitude on the part of the orchestra. As a prelude to the Beethoven, however, it didn’t work.
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The tone color was sometimes amazing. Ricardo Muti’s body language often gave a beautiful interpretation of the music. My standard when listening to familiar pieces is whether the performance makes me hear something new that I hadn’t noticed before – whether the performance refreshes my interest in familiar music. This was the case with both symphonies last night.
The UMS audience often lacks restraint. The obsession with cellphones is remarkable, but irreversible, I fear. One should not let in latecomers before the intermission. It is disrupting others’ focus.
Opening the concert with the Michigan song was not a good idea. It did not set the right tone. We don’t come to the concert so that we can clap to some marching song. We come to the concert focus and to quietly appreciate.
Thank you for assisting UMS….but can you tell me why the row in front of me is filled with ushers (before paying audiences are seated & this the third concert this has happened,) and why they have to be so tall as to impede orchestra visibility by me and my guests. It’s almost as this priority seating is planned and executed….it’s just bad form and politically distasteful.
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My wife, Marilyn, and I were at Hill Auditorium last night to usher for the University Musical Society (UMS) here in Ann Arbor. This is now our fourth year ushering. We’ve been able to enjoy many fabulous concerts over the years by internationally renowned musicians in one of the great concert halls in the world! UMS is a university-based performing arts presenting organization that was founded in 1879. It was recently awarded the National Medal of Arts by President Obama.
Last night we heard Beethoven’s Fifth Symphony performed by the Chicago Symphony Orchestra conducted by Riccardio Muti. This has always been a favorite of mine because it introduced me to the world of classical music when I was just a freshman at Cullman High School. I bought a recording conducted by Leonard Bernstein which included a tutorial on the music of Beethoven and the Fifth Symphony that premiered in Vienna in 1808 when Beethoven was only 38 years old. When I first heard the Fifth it sounded very strange, and I really couldn’t understand why it was considered a masterpiece for so many over the past two centuries. I listened to it again and again. Then I began to read about Beethoven’s life and the history of music in Vienna at the time he lived there. About that time my father bought a new stereo and I continued to listen to the Fifth over and over. I turned up the volume more, and then slowly it began to make sense and stirred feelings in me that I had never known before. I began to understand the struggle Beethoven and most thinking people in the world undergo when faced with the reality of their own mortality, their imperfections and limitations, the search for meaning in their lives, and the discovery of true freedom. The late husband of a friend of mine, Ernie Kurtz, called this the “spirituality of imperfection” in his book of the same name.
All those feelings came rushing back to me last night. The acoustics at Hill Auditorium are just incredible! It was a sellout crowd last night and the response of the audience was almost as incredible as the performance itself! People leaped to their feet after the finale and then gave multiple standing ovations. I knew I was in good company when I saw that so many appreciated the gift of genius that Beethoven had created for all humanity. Last night I gained new insights into the music and my own life. Today I feel very lucky to be alive, to be in good health, and to be living in such a great community as Ann Arbor! UMS made this possible. Thank you UMS, Maestro Muti, and the Chicago Symphony Orchestra!
I agree; I am just so ” fight songed” out! Trite and passé!
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The tone color was sometimes amazing. Ricardo Muti’s body language often gave a beautiful interpretation of the music. My standard when listening to familiar pieces is whether the performance makes me hear something new that I hadn’t noticed before – whether the performance refreshes my interest in familiar music. This was the case with both symphonies last night.
The UMS audience often lacks restraint. The obsession with cellphones is remarkable, but irreversible, I fear. One should not let in latecomers before the intermission. It is disrupting others’ focus.
Opening the concert with the Michigan song was not a good idea. It did not set the right tone. We don’t come to the concert so that we can clap to some marching song. We come to the concert focus and to quietly appreciate.
Oh, my. It can’t get any better than this, can it? The dynamic range of such a large organization was baffling. The Beethoven and Mahler interpretations–superb in every way.
We got our tickets as a prize from the Dexter Library’s summer reading program. What a wonderful git.
The perfect chorus, Tenebrae, in the perfect venue, St Francis, for them. Astounding sound. Great blend, perfect diction, heartfelt singing. Thought I’d died and gone to heaven.
Excellent ensemble! I love all the professional choirs UMS and other organizations bring to town; I wish there were more! There’s just something special about that level of blend. I loved the Reger and Bruckner pieces, as well as the Lobo.
World-class choir performance. Never heard anything remotely close to the Tenebrae from Britain. It was the time to rise above mortal attachments and sit alongside the highest power.
It was the first time for the 12-year-old and 10-year-old children
of our son and his wife to go to a concert.
My husband told them to listen for the conversations among the
instruments. Afterwards, the 12-year-old said, of one point in the Mahler,
” The drums told the violins to be quiet.”
And that is what it sounded like.
The symphonies were so different from each other.
We feel privileged to have been there for such a soul-searching
performance.
Agreed. It is incredibly disruptive to the mood of the music, whatever the piece. If all that coughing meant complete silence during the performance, it would be tolerable, but it doesn’t. How can this culture be adjusted?
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I really enjoyed the whole concert, but I am confused by the amount/volume of conversations and coughing that occurs between each movement of a work. This seems to be a regular occurrence in Hill and it tends to ruin the mood.
My wife, Marilyn, and I were at Hill Auditorium last night to usher for the University Musical Society (UMS) here in Ann Arbor. This is now our fourth year ushering. We’ve been able to enjoy many fabulous concerts over the years by internationally renowned musicians in one of the great concert halls in the world! UMS is a university-based performing arts presenting organization that was founded in 1879. It was recently awarded the National Medal of Arts by President Obama.
Last night we heard Beethoven’s Fifth Symphony performed by the Chicago Symphony Orchestra conducted by Riccardio Muti. This has always been a favorite of mine because it introduced me to the world of classical music when I was just a freshman at Cullman High School. I bought a recording conducted by Leonard Bernstein which included a tutorial on the music of Beethoven and the Fifth Symphony that premiered in Vienna in 1808 when Beethoven was only 38 years old. When I first heard the Fifth it sounded very strange, and I really couldn’t understand why it was considered a masterpiece for so many over the past two centuries. I listened to it again and again. Then I began to read about Beethoven’s life and the history of music in Vienna at the time he lived there. About that time my father bought a new stereo and I continued to listen to the Fifth over and over. I turned up the volume more, and then slowly it began to make sense and stirred feelings in me that I had never known before. I began to understand the struggle Beethoven and most thinking people in the world undergo when faced with the reality of their own mortality, their imperfections and limitations, the search for meaning in their lives, and the discovery of true freedom. The late husband of a friend of mine, Ernie Kurtz, called this the “spirituality of imperfection” in his book of the same name.
All those feelings came rushing back to me last night. The acoustics at Hill Auditorium are just incredible! It was a sellout crowd last night and the response of the audience was almost as incredible as the performance itself! People leaped to their feet after the finale and then gave multiple standing ovations. I knew I was in good company when I saw that so many appreciated the gift of genius that Beethoven had created for all humanity. Last night I gained new insights into the music and my own life. Today I feel very lucky to be alive, to be in good health, and to be living in such a great community as Ann Arbor! UMS made this possible. Thank you UMS, Maestro Muti, and the Chicago Symphony Orchestra!
Actually the student section was quite respectful 🙂
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Sorry to be “that guy” but I’ll probably remember the stunning inability of the people to my left and right to refrain from pulling out their phones (in the third row from the stage) and taking pictures of the conductor and orchestra in the middle of the performance. Not just one of them, but both. I’ll also remember the people directly behind me who had some nicely audible conversations in a foreign language while the performance was underway. I’m not sure why I upgraded to an $80+ ticket when I could have just got student tickets for the same experience. I guess I can’t blame anyone but the offending patrons, but the experience was pretty frustrating and disappointing.
The tone color was sometimes amazing. Ricardo Muti’s body language often gave a beautiful interpretation of the music. My standard when listening to familiar pieces is whether the performance makes me hear something new that I hadn’t noticed before – whether the performance refreshes my interest in familiar music. This was the case with both symphonies last night.
The UMS audience often lacks restraint. The obsession with cellphones is remarkable, but irreversible, I fear. One should not let in latecomers before the intermission. It is disrupting others’ focus.
Opening the concert with the Michigan song was not a good idea. It did not set the right tone. We don’t come to the concert so that we can clap to some marching song. We come to the concert focus and to quietly appreciate.
Fourth row, center, age 62, lawyer, reasonably well-traveled; if I were to die tomorrow, I could honestly say, after the CSO and Muti, I have been to, seen and heard something — great.
Overall, better than New York Phil. I agree that performance of orchestra was too constrained but then perhaps that was due to the musical retenence of the conductor. Found the hall lighting problematic and detracts from musical ambient. Would be nice if a vender was permitted to sell wine or a beverage during intermission at the main lobby as they do at the DSO in the Max Fischer. After listening to these last 2 orchestras, the DSO ranks equally and perhaps better. I am pleasantly surprised.
I have always speculated that the coughing between movements is from people who have raised their hands to mistakenly applaud, and attempt to cover their embarrassment by “covering” their “cough”.
Being a huge fan of all Beethoven works, I was gravely disappointed by the performance of the 5th. There were several measures which sounded “mushy” at best, as if the entire section hadn’t rehearsed together yet (violins especially). Muti’s interpretation of how the horns fit in left much to be desired – he even seemed to de-emphasize the horns, to some extent. Very disappointing.
As for Mahler, I’m at best a temperate fan. Still, the performance was even mushier. The opening measures, while admittedly difficult to play at such a quiet level, were barely tolerable. From there, my disappointment grew. The percussion section was the only redeeming aspect of the work. The timpani were exceptional.
Needless to say, I’ll skip the next Chi Symphony performance in Ann Arbor, and especially maestro Muti. Thank goodness the NY Philharmonic will have residency for the coming several years!
I am very familiar with the Beethoven and Mahler, but my 12 year old granddaughter was not. So, my wife and I took her and one of our daughters to this concert to give them a new and fabulous musical experience. It was everything I hoped it would be. Fabulous. Thanks.
I really enjoyed the whole concert, but I am confused by the amount/volume of conversations and coughing that occurs between each movement of a work. This seems to be a regular occurrence in Hill and it tends to ruin the mood.
Sorry to be “that guy” but I’ll probably remember the stunning inability of the people to my left and right to refrain from pulling out their phones (in the third row from the stage) and taking pictures of the conductor and orchestra in the middle of the performance. Not just one of them, but both. I’ll also remember the people directly behind me who had some nicely audible conversations in a foreign language while the performance was underway. I’m not sure why I upgraded to an $80+ ticket when I could have just got student tickets for the same experience. I guess I can’t blame anyone but the offending patrons, but the experience was pretty frustrating and disappointing.
I can hear it now. Mr. Muti says to the stage manager: “Listen, mio amico, I don’t want any late seating between movements of the Beethoven. It breaks the mood.”
“Oh, but Maestro, you don’t know: these are dark nights, it’s cold, people leave the house late because they can’t find their scarves, and parking is tight. So they get here a bit late.”
“Well, we could first play a little Rossini overture or the Egmont Overture and then seat the latecomers e basta.”
“I have a better idea, Maestro. The New York Phil forgot to take the music with them to the arrangement of our academic anthem, and we still have it backstage. If you play that, our audience will be thrilled. It will show them that your players are Wolverines at heart. Yes, I know, they just heard it from that other orchestra. But it’s a fact of life that one can never play it enough.”
As it turned out, the Mahler received the longest applause of the evening, but The Victors got the loudest. Hmmm.
After all that banging, clapping, hooting, and whistling, Beethoven’s 5th had a hard time, and fate knocking at the door sounded a bit lame. Ah well, it got a standard performance. A little more gravity would have been fine. Beethoven was a grim fellow. The tempi were reasonable, and I was happy that the dynamics were life-size and not humongous.
The Mahler, however, was exceptionally fine. The orchestra was in nice balance; nobody stuck out who wasn’t supposed to stick out. Especially gratifying was the idiomatic playing – the seamless transitions from one mood to another, from Viennese lilting and swaying to klezmer high jinx. It was all there – the painful yearnings, the drunkenness, the joy, the resignation, and, of course, the famous Mahler cry opening the last movement – the cry that occurs somewhere in each of his symphonies, loaded with tearing agony.
It was awful….not the incredible skills and athleticism of the performers but the choreography and the sound. Unfortunately, I have seen / heard this kind of performance before and was greatly disappointed that Hubbard Street would join this boring, style of performance. I’ve loved them for their variety, humor and creativity. After the first few moments of each piece, the monotony was painful. In addition to essentially no variation among pieces (except at the surface) and the sound / “music” was excruciating; really abusive, with the second piece just repeating and repeating (and repeating and repeating) its depressing theme and the third piece loud, atonal. Even plugging my ears barely helped. At least the level of sound could be toned done to avoid hurting the ears of many in the audience. I hope that UMS will reinvigorate its dance program. It has overemphasized this style in recent years. I hope that Hubbard Street will return in a more interesting form the next time.
The Hubbard Street Dance Chicago Performance created interesting combinations and contrasts throughout the performance, with aspects both accentuating and working with each other. There was both smooth and choppy movements within every dance, making each type of movement noticeably different from the other. The dancers would flow together in smooth movements, but their limbs would be moving in a quick, jerky manner. In the first piece, there was no music, and the silence allowed the dancers breaths and grunts to be more exaggerated and noticeable. In the last two pieces each dancer was in their own solid color costume, separating each dancer from another more in your mind. Overall, the performance kept me visually interested with the various elements that worked together to contrast and complement each other.
Today’s performance by Hubbard Street Dance Chicago was underwhelming at times, yet also entertaining. It seemed to take some time for the audience and dancers to warm up to one another. The first piece was redundant in its themes and the lack of new ideas left the performance falling flat. I don’t think this is representative of the performers and more accurately attributed to the choreography. While I found the movements interesting,there was too much repetition with very little variation. If the ideas expounded upon themselves more, I think N.N.N.N. could have accomplished more. However, the two latter pieces (Quintett, One Flat Thing) were entertaining in their overall themes and brought me to the edge of my seat.
I thought the performance tonight by Hubbard Street Dance Chicago was spectacular. I was absolutely blown away by the creativity and thought process that went into each of the three pieces. William Forsythe was able to put a modern and unique twist on ordinary ballet. In the first dance, N.N.N.N., the dancers did a great job of coming together as a whole, spinning off of each other and reacting to each other’s dance moves. I liked how in the performances, the audience could see everything: slow motion, fast footwork, and long dramatic pauses. By changing the pace, it kept it interesting. Tonight at the show, they incorporated tables, a motion picture, and a repetitive song sung by an older man- all things most ballet performances would not include. I enjoyed the imaginative out-of-the-ordinary approach that they took. Although the dancers were very talented, without the interesting manipulations of the dance and additions of nontraditional dance objects, I felt like I would have been bored. In addition, if I could change one thing, I would have added a tiny bit of background music in the first piece, but other than that it was great. I think the inspirations behind these pieces could be felt throughout the performance. My personal favorite dance tonight was One Flat Thing, reproduced. I liked the intensity and complexity of the piece. There was never a dull moment and I enjoyed how they started and ended boldly. Overall, I would highly recommend this performance.
The three pieces in Hubbard Street Dance Chicago tonight were definitely unique and creative. N.N.N.N. quite challenged my understanding of dancing. It was not music, but the flashed sound and the deep breath that leaded the body movements. Besides, it was notable that each movement switched between a slowly one and a rapidly one by using flinging arms. The second performance Quintett was my favorite piece tonight. In addition to the dancing, the first remarkable thing was the combination of the song and the orchestral music. What also attracted me was the using of light and shadow. The ending part was especially impressive when the projection of background was turned on and the shadow of the dancer reflected on it. The choreography of all three performances were sophisticated and amazing and tonight’s performance really worth to be recommended.
(continued)… One Flat Thing was also a piece that kept my attention for the entirety of it. The tables were a phenomenon on their own as they stayed still while all the activity was going on around them, under them, on them, and in the gaps in between. I loved the synchronization and even appreciated the abrupt ending. Overall, The Hubbard Street Dance Chicago performance left me unexpectedly surprised as to what a completely different interpretation of ballet is.
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The Hubbard Street Dance Chicago performance moved me in a way that I really did not expect. Although my preconception was that the moves were sharp and did not fit with any type of music, the actual performance flowed impeccably. Quintett was executed with such intensity that I was able to visualize an emotion with each kick. It really did challenge the conceptions of ballet – I did see the basis of the style but the subtle differences and the true passion with which they performed it was scintillating.
The Hubbard Street Dance Chicago performance moved me in a way that I really did not expect. Although my preconception was that the moves were sharp and did not fit with any type of music, the actual performance flowed impeccably. Quintett was executed with such intensity that I was able to visualize an emotion with each kick. It really did challenge the conceptions of ballet – I did see the basis of the style but the subtle differences and the true passion with which they performed it was scintillating.
Hubbard Street Dance Chicago was simply amazing. My favorite performance was Quintett because I don’t think I ever looked away from the stage once; I was captivated the entire time. I found the song, amplifying throughout, to be very moving. At first I thought the song was saying “Jesus Christ never found me dead” but then I began thinking it may have been saying “Jesus Christ hasn’t failed me yet.” I thought their dancing was beautiful and the sky projection at the end was mesmerizing. I also thought each performance was pretty similar in dance styles. It makes sense because it came from the same choreographer and performed in a series together, however, I found this to be a little boring after a while. In general, I loved the performance, but this was one criticism I had.
For being one of the only dance companies to perform all-year long domestically and around the world, the Hubbard Street Dance Chicago company did a swell job tonight. The first piece N.N.N.N. intrigued me but I wouldn’t necessarily say in a positive way. Starting without the music though really changed the game, almost everyone was expecting a few tunes at some point of the performance. Although the woman who kept speaking at the beginning did send me on a loop; for a second I thought this woman was part of the performance. Overall, the technique used by the performers in N.N.N.N. was flawless but It needed an overall message which wasn’t very clear due to the repetitive steps. Quintett was the most engaging dance of the night it mostly caught my attention through actions and reactions of the dancers and fantastically timed moves which were immaculate. At the end the performer just kept leaning back hoping that the other had made his way onto stage by then. Overall I applaud the techniques, such as the breathing and clapping instead of music, that the choreographer acquainted the dancers with. I also commend how the dancers showcased these techniques as a accustomed attribute used in the ballet world . All-embracing, I would definitely recommend a visit when time provides. It would be a wondrous affair to attend for a ballet connoisseur.
Tonight’s performance by Hubbard Street Dance Chicago was absolutely brilliant. All three pieces were so unique in their own way and were something that I had never seen before. My favorite piece was “One Flat Thing”. The way each dancer was able to incorporate their movements with the tables and the other dancers was remarkable. The music that was paired with the choreography added intensity to the dance as well. Throughout the entire dance I sat on the edge of my chair because the performance was so engaging. I loved how there were dancers doing different routines simultaneously at different places on the stage, so there was always something to see. After watching this performance, I have developed an even greater appreciation for dance.
Hubbard Street Dance Chicago presented an outstanding show tonight. Among three excellent performances, I really liked one flat thing, reproduced. The play was really energetic right from the beginning, where all the dancers dragged the tables to the front, to the end, where all the dancers dragged the tables to the back. Symmetries and sequences were everywhere. I couldn’t image how the choreographer managed to put twenty dancers together in such ordered and at the same time disordered way. And it was mind blowing when I was reading the explanations of organizational structures after the show. Link: http://synchronousobjects.osu.edu/content.html
Hubbard Street Dance Chicago left me in awe at the end of each piece. The dancers moved with such grace and precision. I was fully engaged in each performance and I am still amazed at how talented they were. The piece that sticks with me the most is “Quintett”. In this performance, I could tell how extremely athletic they have to be in order to dance so brilliantly. The dancers were able to stay in character and focused while making fluid movements that took strength and agility. My favorite dancer was the woman in the orange dress. I found myself following her even while other dancers were on the stage. I enjoyed how her motions, especially with her legs, were always elongated and dramatized. At first I thought that the repetitiveness of the song would distract from the dancers but it ended up fitting in very well.
The Hubbard St. Dance Company did an absolutely spectacular job tonight. In the first piece each dancer seemed like a piece of a clock that couldn’t even figure out how they worked, let alone how they functioned in the scope of the whole. It was very entertaining to watch them try to figure out how they worked. The third piece was also very interesting, I could see how the choreographer was influenced by Scott’s trip to the South Pole. But my absolute favorite piece was the second. I came in expecting the repetitive tune the homeless man is singing to become tiring after a while, but the music constantly changing in volume and speed made the piece seem new in every repetition. The second piece overall felt very intimate which was escalated by the fact that the women were wearing what looked like nightgowns. Overall just an amazing way to spend an evening.
Hubbard Street Dance impressed me beyond anything I could have foreseen. Normally I find it hard to appreciate dance that fails to directly tell me a story, however, the dancers were so passionate that I was able to interpret a unique story in each piece. My favorite was “Quintett,” which possessed an elegance and fluidity that contributed to an overall beauty that captivated me throughout the entire performance. Additionally, there was an apparent wariness among the performers that leads the audience to believe in the intentionality of their choices, further developing the overall grace of the performance. The entire piece seemed to function as a transformation, be it in style, structure, or partner choices. The only constant in this piece was the accompaniment which, although repetitive, still contributed to the beauty of the piece.
Tonight’s performance by Hubbard Street Dance Chicago was absolutely brilliant. All three pieces were so unique in their own way and were something that I had never seen before. My favorite piece was “One Flat Thing”. The way each dancer was able to incorporate their movements with the tables and the other dancers was remarkable. The music that was paired with the choreography added intensity to the dance as well. Throughout the entire dance I sat on the edge of my chair because the performance was so engaging. I loved how there were dancers doing different routines simultaneously at different places on the stage, so there was always something to see. After watching this performance, I have developed an even greater appreciation for dance.
While I found the movements interesting, I became bored after 5 minutes as all of the performances were repetitive in the extreme. There was no feeling of anything artistically, i.e.- inducing a deep sensual feeling. Much less worthwhile than their previous appearance here.
Hubbard Street Dance impressed me beyond anything I could have foreseen. Normally I find it hard to appreciate dance that fails to directly tell me a story, however, the dancers were so passionate that I was able to interpret a unique story in each piece. My favorite was “Quintett,” which possessed an elegance and fluidity that contributed to an overall beauty that captivated me throughout the entire performance. Additionally, there was an apparent wariness among the performers that leads the audience to believe in the intentionality of their choices, further developing the overall grace of the performance. The entire piece seemed to function as a transformation, be it in style, structure, or partner choices. The only constant in this piece was the accompaniment which, although repetitive, still contributed to the beauty of the piece.
Tonight’s performance was absolutely outstanding. All three pieces had its own unique aspects to it. The one that really stood out to me, however, was Quintett. Although the music for this piece was very repetitive, every movement in the choreography had something to add to the entire message of the piece. This took away the feeling of repetition regarding the music. I could also feel the intensity of the dancers with every breath they took. Breath had a big part in communication and I thought that the dancers did an incredible job at communicating with each other when there weren’t clear cues in the music. I would definitely recommend watching their performances.
Hubbard Street Dance Chicago made me reevaluate my perception of professional dance. The absence of music in N.N.N.N. allowed the sharp breaths of the dancers to be emphasized while also having an inconsistent tempo. The stiffness and fluidity of the movements (which were not traditional ballet moves) made me realize how much control the dancers had over their limbs. Quintett was, by far, the most intriguing for me to watch. The quietness of the music in the beginning made me lean in and pay closer attention. The tenderness that the dancers touched each other with contrasted beautifully with the rapid pace of the movements. It allowed me to connect with the dance on a intimate level. I am unsure of what to think of One Flat Thing, Reproduced. I don’t know how to interpret the purpose of the tables and the vague audio sounds. While it was the most visually energizing, I think the other performances brought an equal amount of passion and energy.
I found the hubbard street dance Chicago performance to be very entertaining and vividly creative. Every performance was completely different from any of the others, but the one thing they did share in common was how enjoyable to watch. Each dancer was unbelievably talented. The way that forsythe utilized his performers’ talents was remarkable and made for a very entertaining performance. I was astounded at the end of every dance and left the performance wanting more. I would definitely recommend this performance and would easily consider going back a second time.
Hubbard Street Dance Chicago was breathtaking tonight. The first performance, N.N.N.N., was the most memorable for me. During this dance, I was mesmerized by the sharp movements. Every gesture seemed to have intense purpose, influencing each movement to come afterwards. When I finally realized that no music would be playing for the entirety of the dance, I was a bit confused. The breathing, sniffing, and clapping sounds that ended up symbolizing the music intrigued me very much. It must have taken a lot of practice to learn this dance as well as to memorize the sounds to make while dancing.
I think that seeing Sankai Juku was a very fascinating experience. It was definitely unlike any other performance I’d seen before, which I appreciated, as I enjoy having my paradigms challenged when it comes to art. Due to the nature of the performance, any meaning one might find in it has to be carefully drawn from very subtle elements of the show. Thus, it is very likely that no two people have the same idea about what any individual part of Umusuna really “means”. However, to me at least, it seemed that various acts of the show represented different fundamental aspects of human life. The first act likely represented birth or the beginning of time, as the hourglass-like sand first began to fall from the sky. The second act, with more obvious symbolism, represented pain and suffering, with red lighting and characters frequently appearing to be screaming. The next act involved a lot of laying on the ground and leaping upwards, only to fall back down again and shift around in place. I believe it represented the cycle of sleep and waking, but it also could more abstractly make a statement about success and failure. I was actually able to deduce one of these human facts from each act of the show, so if anyone wants to know the others, please ask me! Of course, you may have come to different conclusions about what the dance represented. Let me know!
As a former dancer and current student in a School of Music, Theater, and Dance “dance for non-majors” class focused on improvisation and composition, I was thoroughly impressed with the performance this past Friday. As I read the program booklet before the performance began, I was immediately intrigued by the references to gravity, birth, and death as major themes. Such ambiguous topics lend themselves to a wide variety of possible interpretations. There were some distinct pieces of the performance that I thought clearly represented one of the major themes. For example, the “death” piece involving loud, disturbing music, red lighting, and performers in red skirts seemed fairly self-explanatory. However, in multiple pieces with moments of more pleasant music, brighter lighting, and performers in white skirts, pinning down what theme was being represented was a bit more difficult. As I attempted to classify these segments of the performance, I realized that I was completely disregarding everything I’ve been taught in class this semester – especially from viewing Jennifer Monson’s Live Dancing Archive – about improvisational and more “modern” dance. Dance is composed of much more than just a staged routine; it can be a vehicle for archiving personal memories, breaking societal norms, and gleaning insight into different cultures. UMUSUNA, and butoh in general, touched on all of these varied facets of dance. From what I’ve gathered, modern butoh stemmed from a need of the Japanese, as individuals and as a larger community, to express the horrors of WWII through movement. As I look back on the performance, I can easily see how the fear and discomfort I felt during the “death” performance and latter hope and ease I felt during the more well-lit, mellow performances could be woven into a larger story of the terror the Japanese experienced and their ensuing resilience as a community. Furthermore, the elaborate and slow movements of the dancers from the “death” piece onwards reminded me that just because the performance could be telling an intricate story of life and death, there is no reason as to why it needs to rise, climax, and fall à la traditional storytelling form. While I think that the extremely slow pace of the performance made focusing difficult at times, it only served to enhance the emotions stirred both audibly and visually when I was truly tuned-in. What are your thoughts on the themes of the performance? Did certain pieces seem objectively easy to classify? Of the pieces that didn’t, do you think they were hinting at a more overarching comment on dance as a form of creative expression?
There is one point that stands out to me in Bobby’s response, and that is that Butoh is not aesthetically pleasing. As I read the rest of his response, this idea stuck in my head forcing me to reread parts because I wasn’t able to focus on passage. At first I agreed with him. I remember thinking that the dance was harsh and vial while at the performance, but now in reflecting on it and recalling parts of the performance I feel something different. Now I recall all the movements as being purposeful, composed, elegant, and most importantly genuine. In hindsight, the movements the dancers made struck the incredible balance of being soft and gentle while also being deliberate and controlled. To me, these qualities are fundamentally aesthetically pleasing. We discussed that a performance can only survive in the present, and attempts to recreate the performance through conversation or reflection results in creating a new performance altogether, but I think this is fallacious. One of the criteria that we, as a Great Performances class, came up with for how a performance should be judged is the way that it makes the audience feel. To restrict a performance to only the present thus contradicts our method of evaluating it. I did not like Umusuna when I saw it live. It was weird, creepy, and the performers didn’t really doing anything, I thought. But now looking back, I feel much better about Umusuna, and I feel I can now much better appreciate the striking visuals and the entwinement of odd music. It is just my opinion that Umusuna was aesthetically pleasing, and I think it would be absurd if this opinion was invalidated by the fact that this was not my opinion as I sat watching it.
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Butoh does not contain pirouettes, jazz squares, or beautiful costumes. Instead, brace yourself for shaved heads, sand, screaming, and confusion. While viewers of traditional dance performances respond in awe, viewers of butoh react with shock. In my opinion, Sankai Juku’s butoh performance was not aesthetically pleasing, nor do I think it was meant to be. The dancers made jarring expressions, the intense volume of the music at times hurt my ears, and many of the dance moves were repetitive. However, by doing so, this performance was inherently human. Painted in off-white and sporting shaved heads and exposed upper bodies, the dancers looked as if they had emerged naturally from the earth covered in clay. Without flashy costumes to distract the audience from the dancers’ gestures, it was easier to focus on what the dancers were attempting to convey. The human experience. In the real world, as this performance demonstrated, our appearances are flawed, many sights and sounds can be painful to experience, and many of our actions are repetitive. In one scene, four dancers stood around a stream. They dipped their toes in the water and witnessed their reflections. To me, this scene exhibited curiosity and calmness. The dancers slowly moved around the stream in silence, observing it with intense focus. I viewed their movements similarly – with patience and without distraction.
I must confess that I didn’t really understand the Sankai Juku performance. I kept searching for an underlying story or plot, and being unable to do so was oddly frustrating. Nevertheless, I found myself enthralled by the performance. In the second part of the performance, the white body paint and red stage lights caused the dancers to look like they were glowing, giving them a creepy, haunting look. The dance itself was vastly different from the first part, with fast, frantic, seemingly random movements that conveyed a sense of frenzy, as compared to the slow controlled movements of the dancer in the first part. At one part, the dancers spun around close to the ground, looking upwards with gaping mouths, evoking a sense of despair. This part of the dance was quite unnerving and made me feel uncomfortable, lingering at the back of my mind for the rest of the night. What fascinates me is that although I could not understand the dance, I was still affected emotionally. Butoh is unlike any dance I’ve ever seen before, and watching this performance was a new experience.
I also noted the unity (or lack thereof) of the dancers. Your interpretation of the reason for the slight differences between each dancer is interesting! While watching the performance, I was mostly distracted and annoyed because I couldn’t tell if they were trying to be in sync and failing, or if they were intentionally out of sync. Since they are dressed to eliminate any distinguishing characterisitics, the out-of-sync movements present an interesting paradox of individuality versus anonymity within the dance.
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Everything about the Sankai Juku group displayed unison such as their stark white skin, shaved heads, and matching costumes. All of these details were meant to help the audience from concentrating on the individuals characteristics of the dancers, but instead on the movement of the dancers. However, when it came down to the movement itself, there did not seem to be great cohesion within the group. The slower a dance is, the easier it is to pick up on discrepancies in the flow between performers. Butoh is an extremely slow dance and therefore it was very easy to tell if one person was slightly off from the rest of the group. There were many times in which the dancers had separate roles within their group, but most of the time the group danced as one. At least one dancer was almost always a little bit off during the group parts. I found this interesting because I’d have thought that group would concentrate more on being very cohesive. However, Butoh is also considered an inward to outward dance, where the dancers do not need to be taught the style. It exists within everyone and the dancers are supposed to use previous memories and experiences to release the dance from within them. When considering this, it would make sense for each of the dancers to all have slightly different styles because each dancer is basing their dance off of different memories/experiences.
Umusuna was certainly a memorable performance, living up to its name. But what was truly profound during such an abstract performance? For myself, this dance performance was made memorable in its dancers’ connection to the stage. The lighting, sound, and stage set up all played an integral role in the performance. The lighting was brilliant, highlighting the different moods of different parts in the performance. A standout moment in the dance was the low yellow lighting, accenting the marks in the sand on the stage and casting long shadows. This stark contrast in lighting seemed to emphasize the marks made by the dancers as they moved across the stage. Due to the name of the performance, I like to think this emphasized the memories and experiences created in a lifetime, and how we shape the world as much as it shapes us. Overall, I thoroughly enjoyed the dance much more than I expected, and was glad to have the opportunity to experience this unique art form.
Thirty seconds into the play, and all I feel is confusion, intrigue, and perhaps a little bit of fear.
While these were my first impressions, they later gave way to an experience that can best be summarized as ethereal. The dancers themselves seemed to draw as little attention on themselves as possible, garbed entirely in pure white with shaved heads. Instead, all there was to focus on was what seemed to be a “dialogue of gravity” in Ushio Amagatsu’s words. The dance, to the best of my understanding, was a collection of hyper-deliberate motions, slowed down to the point where the dancers seemed as if they were almost moving in slow motion. Combined with the accompanying music, the only detail accessible to me as an audience member was emotion. Sometimes there were seven people on stage, and other times there were only one. Other than that, I really had no idea what was going on, and I think that’s what the whole point of the dance was: an entirely novel experience. Today, in an entirely interconnected world (thanks to the internet), we know so much more about the culture and events all over the earth almost instantly. And yet, in this nearly omniscient internet culture of ours, Sankai Juku manages to provide us with an experience entirely novel and unexpected. Everyone in the audience, regardless of how much experience they may have in the theater or in the art of dance, was seeing such a performance for the first time. I personally felt that I couldn’t enjoy the art as much because it was too abstract for my personal tastes, but that doesn’t detract from the fact that it was still an entirely new experience ripe for exploration.
One of the most confusing, yet unmistakably interesting performances I have ever seen is Sankai Juku. Even at the beginning of it all, as the first dancer slowly made his way to the center of the stage, I was taken aback. Although I knew some basic background information about the dance and what the dancers would look like, I was still startled when I saw the dancer covered in white and fully bald. As the dance continued, I became more and more confused. The style of dance was very new to me and I had never seen anything like it in my entire life. The way that the dancers moved their bodies seemed strange and awkward, like when they flailed their arms repeatedly as if grasping for something that was out of reach. Yet, it seemed much more profound and meaningful than what it was at face-value. Reading the program description of the dance, I was intrigued by the relationship that the dance seemed to have with gravity. This relationship was especially evident when the dancers fell to the ground and danced with their backs to the ground. It was difficult for me to understand what exactly the dancers were trying to depict with their movements, but the moves felt so mysterious and thought-provoking that I knew there was something special about the dance. Though I cannot say I thoroughly enjoyed the performance, I can definitely say that I was interested to say the least.
By the end of the dance, I was almost convinced that the performers weren’t human. Aside from the ghastly appearance, the movements they made were so far from any normal human function. The way they ran was short and quick, more like a scurry than a run. The way they moved so slowly and deliberately. The way they widened their mouths without making a sound was almost hard to watch, as if they were straining to speak but were unable to get anything out. Movements like these were so prevalent that by the end, it was hard for me to look at them as performers. It felt far more like I was watching strange but curious creatures up on stage. And perhaps that was part of the point of the dance, to throw the audience into a powerful area of discomfort. The themes of Sankai Juku’s performance weren’t human like a Shakespeare play or a symphony; they were clouded and abstract. The meaning behind their movement was incredibly alien, and I had to reach much further to grasp it. It really was like nothing else I’d ever seen, which made it a very interesting experience. I’d go again.
I was unfamiliar with any form of Japanese dance until learning about Butoh in my lecture class, thus I was unsure what to expect from Sankai Juku’s performance. It was definitely different from the only dance performances I have ever viewed-those demonstrated in musicals. Umusuna was very slow, smooth, and the dancers had very fluid movements. Most of the time, it was as though they were moving through water. By far the most exciting and shocking part of the overall show, to me, was the second part, “All that is born”. The dramatic music, red lighting, and the red-tinted outfits were almost horror-like. The dancers opened their mouths whenever there was a roaring sound in the music, as though they were the ones roaring, and I found that to be very interesting. It was my favorite part. I only wish that the program insert had included more background about each individual parts of the performance. Overall, I felt that the performance was very different from what I am used to and intriguing, and I left with an almost meditative feeling. I enjoyed it!
Amazing control, but too abstract. Reading up on the group’s work and their performance style of butoh had gotten me very excited for the performance: They appeared to be a group that uses abstract movements and style to convey the most elementary emotions and forces of nature. For this particular performance, “the birth of earth” sounded like a very promising title, where a lot could be explored, from the beginning of earth itself to the time of our entry into it. However, when it was time for the performance itself, I could not relate any particular part to its theme. I think the flaw in the performance (if it can be called a flaw) is that no context is provided for the audience. And when the audience has absolutely no context for interpreting an abstract work, then the movements and the emotions that could otherwise be called brilliant become simply nothing more than confusing randomness. One particular scene I can think of is one where one of the dancers was laying with his back to the floor, his knees bent, and one of his arms stretched out to the sky, and he appeared as if he was dying, his soul ready to leave his body. However, that theme did not seem to fit in the context of the events surrounding that scene, and so I had no idea if that was indeed the theme discussed. Overall, the movements were incredibly controlled, but I wish there was more context for interpretation.
You know that feeling, when you know you are witnessing an incredible work of art? When you just know that there is some deep significance and artistry that you know you should feel privileged to be witnessing? You try desperately to grasp the abstract concepts presented before you, trying glean any meaning or interpretation of something beyond your tiny thought process. And yet, you resign yourself to defeat, and you have absolutely no idea what’s going on. That was me during UMS’s production from Sankai Juku. I tried to prepare myself as best I could, through extracts of past performances, reading the background of butoh, and trying to get a sense of what was supposed to be very abstract, interpretive, and even grotesque. When the first section began, I actually found it quite pleasing to watch and listen to. Looking back, it did feel very much like a meditation, watching a form move so slowly and methodically with sweet music in the background. I thought to myself, “Huh, maybe this won’t be so bad after all.” I spoke MUCH too soon, as the lights suddenly turned to read and music because very disturbing, dissonant, so unlike the previous section. In all honestly, I could not wait for it to end.
While I watched the rest of the performance, I often switched between discomfort at the more outlandish sections and relief at the more traditional and peaceful sections, much like the “Mirror of the forest.” Perhaps it was not my favorite performance I’ve seen, but I do still recognize that I have to appreciate the art form, especially in regards to the context for its creation: a reaction to the horrors of WWII. I will say that I was proud of myself for making some connection to the dances as far as a storyline – to me, the various sections, in relation to “birth,” “earth,” and “death,” constituted the creation of a primordial form, emerging from the water, and evolving to become a modern human. Did I do wrong trying to make a connection instead of letting the performance just inspire me and affect me? Maybe. But that is what helped me appreciate it more. I think truly that beauty is in the eye of the beholder, and this performance was certainly no exception.
This performance is going to give me nightmares. I doubt I have the words to properly describe my experience. The dance was somehow an emphasis of human form, and at the same time completely alien. The combination of the loud, dissonant music, and the bizarre, unfamiliar dance moves was completely unnerving. At more than one point, the dancers barely looked like people at all, let alone individual humans in paint and costume. I could barely look away, and at the same time I didn’t want to watch. At one point, the dancers were lit all by red light, and kept mouthing roars in time to jarringly loud clashes from the music, like demons trapped inside of ancient Greek statues. Frankly, I found the performance terrifying, but for those who are comfortable with getting out of their comfort zone, 10/10 would recommend going if the opportunity presents itself.
The use of sand was magical. The clouds of dust that followed the movement of the dancers suspended time, allowing the dance to exist for just a little bit longer. It was like the dancers left a three-dimensional shadow, a tangible ghost, in the wake of their every step. This effect was especially powerful in the first dancer’s performance. His solo featured very gentle motions and facial expressions, with an occasional brisk movements highlighted by the sand. His delicate, controlled movements (synchronized with the peaceful noise of the music) transformed him into a God-like character, I thought. This was then contrasted with a highly painful and disturbing performance that was jarring in both sight (bright red lights and demented figures) and sound (screeching, discordant music). It felt as though the God-like soloist had made a perfect creation that was promptly dismantled by evil and demons.
I loved how Sankai Juko felt like both a modern art/performance art experience in some ways and a classic dance show in others. I almost felt like the set and the lighting could have stood on their own in a modern art exhibit, with the sand falling and the weights going up and down indicating shifts between harmony and imbalance. I thought the expressiveness of the different colored lights and the different music in indicating the different phases of the world’s development was so cool. I experienced the show as a classical dance through focusing on the human connections and the beautiful rhythm and harmony but I was also able to look at it aesthetically and see the dancers as something other than dancers, as sculpture, as components of a visual and kinetic landscape. Their movements were at times very animalistic and I was especially struck by their assumption of fetus like positions on the stage and the evolution they expressed and how they seemed to become something more than human. Overall, I thought the performance, though not what you’d expect from a generic dance performance, was a very thought provoking performance and I thoroughly enjoyed it.
Going into this performance I purposefully refrained from having expectations because I really didn’t know what to expect. In this performance there were no movements without a purpose. The dancers moved with incredible precision, allowing the entire performance to flow effortlessly. Although I can appreciate the technique of this dance, I feel like I understood and appreciated the style after the first three segments. After that, the slow movements became indistinguishable from those in earlier segments. I am glad I had the opportunity to see this performance and be exposed to such a unique form of dance, and I may even try another performance of this style if I have the chance. However, this performance did not make an immediate fan out of me.
After all the articles I read about Sankai Juko and Butoh, I felt so prepared for the performance. However, once the dancing actually started, I realized that no amount of Wikipedia pages could have prepared me for what I was seeing. The movements were slow and controlled, yet complicated and powerful. I admit, I did a poor job analyzing the symbolism in the dance, but I was able to interpret it in my own unique way. I became immersed in the movements and found the whole dance to be a meditative and reflective event. It was interesting to see a dance that works with gravity instead of against it. I am so glad I had the opportunity to see this side of Japanese culture and I am grateful to the Sankai Juko company for coming to the University of Michigan.
I find it fascinating that Amagatsu, the director of Sankai Juku, referred to butoh as a “dialogue with gravity.” I have never encountered a dance form that seeks to hold on to gravity – in contrast, most dances have leaps and lifts, elements that actually try to defy gravity. Watching Umusuna really opened my eyes to how the visual arts can be depicted in other ways. I was awed by the ability of this dance to use an interaction with gravity to represent different ideas. During the blue phase of the dance for example, when the dancers were huddled on the floor in fetal position, I could really feel the weight of gravity pulling the dancers down every time they tried to get up. This phase came right after the red phase, where I associated the movements to terror and pain; as a result, I interpreted the blue phase as a struggle to survive or find the will to live again. I saw this as a depiction of how sometimes pain can cause people to close up, and it takes a lot of strength to move on. I never thought about how this idea could be expressed with gravity until I saw this performance. It really demonstrated that there are infinite ways to convey an idea or present an art form. So, was this performance “great?” I feel like Umasuna was a great performance because it not only left a lasting impression on me as an art form, but it also got me to think about certain ideas like pain and recovery. I am left with these ideas to explore, and I think that is what makes butoh powerful – it is simple, yet through this “dialogue with gravity” it leaves the audience with a new perspective to think about.
With all the high expectations I had for this performance, I left feeling rather unsatisfied. I sat on the edge of my seat for the first 15 minutes, yearning and searching for a quickening of pace that never quite happened. There were definitely some moments that resonated with me. For instance, when the dancers lay curled on the ground—I believe in the beginning of the third movement—I felt a lot of pain and vulnerability as they shifted positions to the violent music; they struck me as childlike and new, not yet accustomed to life and the feeling of isolation. I also loved the simplicity and stylistic choices of stage set up, lighting and costume. It all felt very raw and elemental, which was a type of beauty I could appreciate. Overall, however, the performance simply couldn’t hold my attention. Perhaps as some of the other critics have said, in a better mindset and a more intimate space I could have better appreciated the dance and the intriguing culture it reflects, but that just wasn’t the case on Friday night. Instead, I left with a far greater portion of boredom than the inspiration I had been so looking forward to.
A swift flip of the hand and the performance was underway! When the first dancer came on stage and started moving ever so slowly towards the back of the stage, I thought I was in for a long evening. However, as soon as he motioned the lighting changed drastically and more dancers entered to join him on stage. I was struck throughout this performance by the intricate light displays. From the balcony, the patterns they cast across the stage were truly stunning, especially during the “in winds blown to the far distance” scene. To me, the lights carried the performance. They gave a sense of the time and place of each scene and added helpful visuals to aid my understanding of the dance. I wonder if the lights were as visible from the main floor! I enjoyed being in the balcony for this performance. By nature, it relies on looking at the motions of the dancers as a group, which was very easy to see from the higher perch.
I had difficulty watching Umusuna; I don’t particularly like abstract works, and western media heavily influences my ideas of entertainment and art. My expectations of performance are fast, straightforward, and literal. Sankai Juku defies all of these, and my experience of watching their dancing was therefore filtered through an earnest attempt to understand butoh. I spectacularly failed at this comprehension, and came away from the show more confused and disorientated about the nature of the art form and what I had witnessed than when I had entered the theater. Nonetheless, I believe it was an experience worth having. The most striking elements of the performance were the visceral depictions of the underlying themes of birth and life, and unsurprisingly, I connected most heavily with those depicted in a near literal fashion. The image of the dancers scuttling in the fetal position, both exposed and yet so patently alive, stuck with me as true look into the intentions of the performance. Their movements were confusing and conceptual, and yet drew the mind to the vulnerability of life and its beginnings. While I left Umusuna feeling like I “didn’t get it,” it still gave me plenty to think about.
Sankai Juku’s recent performance at the Power Center left me both intrigued and confused. I had never seen a performance like this before, and so I went in excited to learn a little more about Japanese culture. However, the loud screeching noises and the strange set left me confused. What did the sand falling from the ceiling represent? Also, I was confused by the music. Having no prior knowledge of Japanese culture, I was confused by the loud, disturbing sounds that were coming out of the speakers. What was the meaning of this, if there was any at all? Overall, I left the Power Center wondering what exactly it was that I had just sat through. I can’t say I really enjoyed the show, as most of it made absolutely no sense to me. What did everyone else think about the performance?
Ah, and that should be Sankai Juku, not Senkai Juku.
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I was pleasantly surprised by Senkai Juku’s ability to combine the beautiful and the grotesque into a powerful performance. I found their minimal set and use of sand to be particularly impressive. The continuous stream of sand filling the stage was very striking, and the large sanded areas reminded me of Zen gardens, the dancers bodies creating the garden patterns. I’m unsure of the intentionality of that, but with Japan’s history of Zen Buddhism, I found it plausible. An audience member near me, who was Buddhist, also commented that many of the dancers’ movements resembled Buddhist prayer and meditation poses, a thought that also ties nicely into the show’s themes of life and death. The dancers interactions with the sand (rolling, running, sifting through it) also suggested an intimacy with the environment or a “dialogue with gravity” in an elegant way, while the streaming sand made time a omnipresent force of its own. They connoted much with a minimalist set—very impressive. And while I found the moments of more meditative movement to be extremely beautiful, the grotesque, ridiculous aspects of the dance were equally striking. Those rapid, almost violent sequences and gaping mouths combined with the show’s moments of peace to suggest the beauty and absurdity of life and death in a succinctly powerful way.
I couldn’t help but try and imagine what it would be like to be a Butoh dancer, as the performance seemed to be quite a transformative experience for the dancers. As a woman, however, I had to wonder: why is Butoh traditionally performed with male dancers? Will Senkai Juku or other modern Butoh dance companies ever incorporate female dancers in the future, or does tradition trump inclusivity? Overall, a wonderful, powerful performance.
For me, the experience of this performance was overwhelmingly intriguing, disgusting, captivating, and boring. I tried to do some thinking on the meaning behind the dance post-performance. I think that in the butoh-inspired dance work UMUSUNA: Memories Before History, Ushio Amagatsu, the choreographer, designer, and director of Sankai Juku, explores the development of humanity and its universal relationship while also suggesting that life is simply a dance with space and time. Amagatsu implores this concept by invoking physical constraints of the human body and using free-falling sand to symbolize the constant, irreversible passage of time. Amagatsu also reflects on the uncontrollable and unexplainable forces of nature, such as gravity. The relationship between Earth (through sand) and the living (through the performers) is highlighted in order that the audience may be enlightened to the superficiality of their own existence and their reliance on nature and its seemingly unchangeable laws. Amagatsu elaborates on this meaning in the program, stating that “dance is composed of tension and relaxation of gravity just like the principle of life and its process,” illustrating the elemental nature of human interaction with regular natural laws. Using music that is either wholly cacophonous or recognizably pentatonic, UMUSUNA mixes butoh’s traditional slow, decisive movements with the occasional sprint to both captivate and shock the audience. Color is also a factor of the performance; outside of the bland pale shade (much like the color of clay) that was painted on the skin of every performer, clothed their bodies, and masked stage, a red light could be cast to indicate terror, or a green light to reference nature through forestry. Amagatsu’s work is aimed towards humanity in order that one may simply reflect on the reliant (and sometimes grotesque) humanity in which one is irrevocably involved. Overall the performance was incredibly deep, but due to my inexperience with butoh and dance in general, I don’t know that I was able to fully appreciate the performance at the time of its showing, and I found its “weirdness” relative to the Western art that I’m used to both repulsive and tiring while still quite interesting.
This brings up an interesting and thought-provoking idea. Why is it that in Western dance style and performances in general, we always look for a story? We are in this never-ending search to know “what the plot was”. I can completely relate to what you are saying in this pos Kelly. I love ballet as much as the next person but Butoh was a new dance style that I have never seen before and that I really enjoyed, but only after I stopped thinking about what the story was. Instead, like you said, only once I stopped looking for a meaning and let my mind wander a bit was I enlightened by what the dance represented to me. No plot could show the importance of rebirth, beauty and roots quite like Butoh.
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I can’t say I totally understood the performance by Sankai Juku. I have never seen anything like it. When I was reading Rachel’s blog post about her time in Japan, I really liked how she talked about her first experience with a Japanese performance. She said it made her realize that she’d only been exposed to a very small scope of literature. It’s the same with performance art. We’re confused by Butoh, I think, because it is so different from Western traditions. It’s very different from Western dance. In Western dance traditions, the dancer entertains the audience with leaps and jumps- things the audience probably couldn’t do themselves. For the most part, the Butoh dancers didn’t use their bodies in any spectacular way, except when they moved very slowly and showed spectacular control. It’s a different kind of entertainment. I think we might also be confused because there is no solid narrative. In the West, dances tend to accompany a story. Ballets definitely have stories. We are more comfortable with a performance if the meaning is laid out for us. In Butoh, the dance seems to be symbolizing something much bigger. I have no clue what that is, but I was able to enjoy the performance more when I stopped searching for one clear meaning.
Sankai Juku’s performance was so distant from the ordinary that it completely transformed my definition of theatre and dance. I recently watched a UMS production of Antigone, which was a modern take on Sophocles’ classic play that made extensive use of the set, stage and props in order to create a “world” within the performance. However, Sankai Juku made minimal yet effective use of props. The pan balance, which kept altering, seemed to be a metaphor for the world’s balance. For example, when it wasn’t in equilibrium, the lighting was a deadly red and the dancers’ movements became much more restricted and unnatural. When equilibrium was restored, the lighting turned to green and the movement was almost like a merry dialogue with gravity, as Butoh is often described. In terms of interpretation, “Memories Before History” leaves the door wide ajar. Having read about the origins of Butoh, I related the first part of the dance, which seemed to depict suffering, to the war. The second part could be related to resilience post the war. However, something that stayed constant throughout the show was what I’d call the “stream from the heavens”, which goes on to signal hope is what keeps mankind going. While it got difficult to follow at times due to the slow movements, the performance was a great platform for thought and introspection. The dance leaves the audience with various interpretations that can be applied generically and personally, which makes me wonder if this is one of the features of what could be classified as a “great performance”- a dilemma we are trying to get around in my course.
As a dancer, I can appreciate the muscle control, synchrony and precision that the dancers showed. The motifs and themes that were enacted — life and birth, terror, the vulnerability of humanity (all my interpretations, mind you) — were powerful and truly challenged me. In the digital age, we're so used to being bopped over the head with obvious themes and parallels; this required me to do more mental work.
On the whole, however, the performance was not enjoyable to watch. The movements were painfully slow and the power of the delicate movements was lost on a large stage. In current context, this was more performance art than dance, and I think the stage setting set up viewers for a much more dynamic performance. As I sat there, I couldn't help but think that the emperor was not wearing any clothes, and no one had the guts to admit it. I know butoh dance is an ancient medium, but I couldn't help but think the performance could have done a better homage to the old form by taking into account current sensibilities and modifying it to appeal to a modern eye. I venture to guess more people in the Ann Arbor area are now turned off to butoh dance than now devotees.
Having never been exposed to butoh before, this performance was a new experience for me. What I found especially interesting was how the dance focused on remaining on the ground, which contrasts many other dance forms that aim to get off the floor as much as possible. Instead, the butoh performers were more strongly rooted in the ground, either standing with a firm stance or on the floor itself. Because of this, much of their movement was done with their arms. Sometimes these motions were very slow, but it was clear every one had a distinct purpose and demonstrated the dancers’ fine control over their bodies. Besides being deliberate, I thought their movements succeeded in conveying the theme of the dance; for example, in the “Mirror of Forests” dance, the four dancers (two pairs mirroring each other) were often moving their arms in a manner similar to trees swaying in the wind. Although this might not have been a performance I would normally have attended, I found it interesting due to the fact that it was so different than the other dances I’m accustomed to watching.
I think that we can all agree that there was one particularly captivating segment in the butoh performance by Sankai Juku. Personally, the only segment I found true meaning in was the second skit; the one with the four performers, red background, guttural screaming, and general atmosphere of unease. I, personally, saw various aspects of deep symbolism that led me to believe that this was the director’s vision of Hell. The first aspect of the dance that gave me the impression that they were representing Hell was the incredibly harsh, dark red light. The lighting itself was not only blood red, but also created sharp contrasts on the bodies of the performers, making them seem even more grotesquely inhuman than they already looked. Then came the guttural, agony-ridden screams from the speakers, with the actors mimicking the screaming. The dancers were also in a group of 4, with 4 symbolizing death in Japanese culture. Similarly, the scales shifted from an equal position to a position in which one was higher and the other lower. This was reminiscent of the Scales of Justice, further indicating that this scene was more than just horrific, but rather that it related specifically to retribution. This dance was unique in that the dancers moved relatively quickly; compared to the other dances, which were all very controlled and slow, this dance involved a lot of scurrying and sharp movements, making their movements seem inherently more violent and inhuman. It seemed to me that each dancer represented a unique demon, demonstrated through the fact that each of them spun in a unique way. What I got out of the dance was a narrative of the transformation of 4 sinners who had died into horrific demons; the recently perished sinners begin by screaming in agony and using rapid movements in a desperate attempt to escape their Hell. However, as the dance progresses, the 4 sinners not only accept, but also embrace their fate as they are transformed into ungodly, inhuman beings when the other three dancers move in a circle around the dancer as she spins in a unique way. They were transformed by the unique sin that brought them to that Hell into a unique demon that represented that sin. The combination of the discordant screaming, harsh red light, and eerie costumes of the dancers truly made me feel more than uneasy, almost afraid.
What is a dance? It’s generally defined as moving rhythmically to music, typically following a set sequence of steps. I’m not exactly sure what I expected before going, but nothing could have possibly prepared me for the dramatic sequence of movements that is Butoh. The movements are powerful, bound to the ground without any springy leaps as ballet does, but combined with the lighting, there is just that amount of feeling that tells you that what you’re looking at is not human – the word that I’m looking for is ‘unworldly’. The feeling is much more animalistic and dangerous; the whiteness of the dancers’ painted skins and their shaved heads made me feel as if I were looking at a ghost or a corpse. The music changes from act to act and while some are booming out loudly and keeping you awake, the other scores crawl up on your backside and gives you the creepy crawlies. But the whole thing only does so much to keep you awake. The red lighting and the turn of the head as the dancers open their jaws wide in time with the animalistic screaming of the music is enough to grab your attention once, but only that once. Repetition is deadly to the attention span of the viewers, even if there are loud, shrill noises in the background, and I feel as if this was the case with Sankai Juku. While it was a unique performance and it was certainly nothing like I had ever seen before, at the end the performance left me very confused. Is the performance more leaned towards giving a message to its audience, or is it to find a way to express oneself? I am unsure of the answer.
I am not good with dance. When it comes to the fine arts, I love theatre, I always appreciate classical music, and modern art is fascinating to me. Dance, however, while often interesting, is not something I ever care to see. The only form of dance I know a thing about is ballet, and even then, not much. As a result, I was hesitant about the performance by Sakai Juku. In the end, however, I was fascinated by the whole thing. My difficulties with dance were certainly a hindrance, as I couldn’t always tell what was meant by most parts outside of relating actions to the title of the scene. That said, the actions by the dancers were captivating. Watching them go from very slow, careful movements to sudden twitches to fast, fluid spins were wonderful to see, even if I wasn’t sure why they were done. The skill and practice involved was worthwhile on their own. The “Mirror of Forests” section in particular was interesting; parts of it felt like an “ordinary” dance sequence, rather joyful even, but then the performers suddenly become alert and aware of their surroundings. I only have a tenuous connection to how that applies to the title, but I certainly felt the emotion involved. I enjoyed the entire show, and if I had enough experience to interpret it instead of being confused, it likely would have been fantastic for me.
I find the Japanese Dance UMUSUNA performed by Sankai Juku was meditative, enduring, and transcendental for me personally. Firstly, it was meditative because there was no words during the entire performance. The only components were images and non-verbal sounds. The lack of words left a lot of space for my imagination to wander, yet at the same time, I never felt empty or lost. I’d like to describe how I felt as all of my emotions that I went through in the past 19 years rushed through me one by one, while I’m able to detach from them. It’s exactly what mindful meditation is all about—to passively observe your thoughts and emotions without casting judgement on them. I had ample space and time to reflect on my life as I actively seek meanings and answers behind the seemingly perplexing exotic performance. Secondly, the performance was also enduring for me. The sheer length of it (1.5 hours) and the slow pace of the performance were quite a challenge for some people, especially for those who never meditated before. To be able to sit through with your mind awaken and mindful of every detail of the dance was a big achievement for all of us. I believe many people felt immense relief after it was over, not because of the “boringness” of it, but rather for its sublime meditative qualities. Lastly, the performance was also transcendental. I interpreted two hanging things on the back of the stage as two parts of a giant scale from heaven. Whenever it’s unbalanced, the theme of the movements reflected the worlds beyond our understanding. When the left side was lower than the right side, the theme was endless pain, horrifying torture, and absolute darkness, reflected by the red color. When the left side was higher than the right side, the theme was long-waited freedom, ultimate salvation, and overwhelming brightness, reflected by the blue color. When the scale was balanced, the theme shifted back to our mortal lives, projecting different categories of life events and emotions, such as birth, death, joy, or frustration. In a word, Sankai Juku’s UMUSUNA was indeed a magical and supernatural experience for many of the audience. The inexpressible, complexing feelings brought to me could not be perfectly put into tangible words, but I know it’s there. And it will always be. That’s the power of Japanese dance.
Despite genuinely enjoying the performance, moments during the Sankai Juku were disturbing to me as well everyone in the audience: I know this because we share a common history. The choreographed convulsing of the hairless painted dancers send chills down my spine as their bodies spun in sand. Left. Right. Bend up. Crawl to the other side. Fall back down. Comprehension of their cryptic movements was interrupted by a combination of senses ranging from confusion to disgust to admiration. Why was I so troubled? I am a firm believer that many human reactions are rooted in an evolutionary history. I am disturbed by the hairless pale bodies of the Sankai Juku troupe because those traits are indicators of disease, sickness, or even death: “Stay away!” The unnatural twisting and squirming of the trio in sand conjured an unconscious threat response within my body: “That is not healthy, normal human movement!” I am disturbed because I am pre-programmed to be. We are disturbed because we share a common evolutionary history.
Watching this play had the feeling of being on the outside of two people having an inside joke. As I sat in the Power Center utterly confused by the movements on the stage, I tried to comprehend this extremely different dance form what I was used to. After being perplexed for the first twenty minutes into the show I realized that the reason for me not understanding was because the dance was devoid of Western culture. Since my whole life has been immersed in Western culture, it was refreshing to watch something I had no familiarity with. So from this outsider’s aspect I thoroughly enjoyed the play, especially the music, yet I do not feel like I actually understood the messages that were being expressed. While I am able to appreciate the dance for the experience it gave me, I was just unable to grasp anything beyond the aesthetic and sonic planes.
If you are willing to put some effort into understanding the performance, you might find it interesting. But that is the problem. It seems that, for better or worse, there is no concrete plot, which definitely turns many people off. I was certainly wondering at times, “why are these scantily dressed older men rolling around in the sand?” However, it dawned on me that this should not be looked at like a play or a movie even if there are “actors” on stage. It is much more closely related to music in that there is no need for literal interpretation although there may be a theme. It is focused on how the performers move: very slowly and deliberately, but I was dismayed at how frequently they seemed out of sync with one another, and often their movements were, to me, excessively slow and repetitive. For someone who does not understand the intricacies of dancing as a performance, UMUSUNA is far too arduous to appreciate. As they say in show business, “I don’t see a lot of money here,” but that’s too bad, because it was a very artistic and thought provoking performance.
I left this performance feeling both touched but also confused. The emotional connection I felt to the dance stems from an understanding of the context in which Butoh, as a dance form, was created: In post-WWII Japan, where a decade of war had resulted in the most lethal single act of war in history, (the dropping of atomic bombs over Hiroshima and Nagasaki) and the complete upheaval of a political system that had been in place for centuries. And the beginning of the performance, I thought, communicated to the audience so much of what people in Japan must have felt during that time: A mixture of confusion, anger, fear, and despair. Perhaps more concisely, the beginning of the performance communicated a strong sense of anguish. This did not last long, however. I’m not familiar with the technical language of such a performance, but when the first dancer left the stage, and was replaced by a quartet of other dancers, the performance began to go downhill. From that point on, it seemed somewhat incoherent. The majority of the movements that dancers performed after that change were so subtle that, from the balcony, it was often difficult to tell whether they were moving at all. Such small, slow movement didn’t provoke emotion from me. When the dancers did perform faster, more exaggerated movements, they seemed, although visually captivating at times, somewhat out of place— a direct result of being in contrast with the rest of the movements, and being so few and far between. After the power of the first part of the performance, I was somewhat disappointed with the remainder of it. That being said, the beginning was powerful enough to ensure that attendance was not a negative experience. It simply was not the overwhelming positive experience I had hoped it would be.
Today, someone attempted to justify why they wore only one contact in each eye, for twice as long, alternating eyes. There were some arguments that had a semblance of logic, chiefly saving time or money. However there were some that made no sense. My favorite was the response to my claim that he would harm his vision unnecessarily, and have a rather poor prescription when he got older. To which, his rebuttal was, “Do you actually trust old who have good vision?” If you are confused at what you have just read, then you understand how I felt after attending the Sankai Juku performance of Umusuna on Friday night at the Power Center.
Ushio Amagatsu, leader of the Sankai Juku dance troupe, paints this Butoh style of dance as a “correspondence with gravity” and a “primordial conflict”. The dance was as abstract as the words Amagatsu used to describe it. There were parts where three dancers would lay down on the ground, and would coordinate their spins with each other to provide an interesting visual. In another portion of the performance five dancers would congregate in a far corner of the stage, only to sprint in different directions, perform more dancing, and move back to their starting location. Taken as individual “scenes”, I see the potential to be able to reflect and attempt to make some sort of understanding as to what was happening, but as whole I could not see what united the work and made it cohesive. The novelty of the dance wore off after half an hour of disjointed lighting and mood changes, and I found it difficult to pay further attention to it.
In other words, if the piece was half an hour long, or had some explicit structure to draw the piece together, I would have found it much more enjoyable. Perhaps adding a pre show discussion would have enhanced my understanding of the piece, but the way I saw it was much too abstract and outside my realm of understanding.
I have never seen a butoh performance before, so I had no idea what to expect going into this one: I wasn’t even sure if I would be capable of appreciating it. However, I surprised myself: as soon as the dance began, I was mesmerized. I think part of this was due to the fact that the music they chose as accompaniment for the first movement was instrumental and elegant, and did much to emphasize the already-present grace in the dancers’ movements. Since the first movement was not grotesque or uncomfortable in any way, I felt at ease and was able to see the beauty in the dance, and this allowed me to more easily appreciate the subsequent movements, especially the second one. That was, perhaps, the hardest to view, since the music was heavy and dissonant, and the dancers embodied this by opening their mouths in time to the music. I was also surprised during this movement (and some of the later ones) that the movements were so quick. There were, of course, plenty of movements that were so slow they almost appeared jerky, and movements that were slow but expressive—but this performance, especially movement 4, had lots of quick movements too. This was interesting, even though I knew going into the performance that Sankai Juku incorporates a little more Western influence than is traditional, because it added another dynamic element to the dance, and maybe made it more accessible to Western audiences.
I have little experience with dance outside of musical theater, but I was truly blown away by the intricacy of this performance. The dancers transitioned between synchrony and individualism with grace and precision, specifically in the section where 3 of the dancers started in the fetal position. At one point, all 3 of them were doing a worm-like move in sync, and then in the blink of an eye they had shifted to performing the move on their own time. Then, two performers synced up while one was on his own time. These different patterns seemed to mesh together like cogs in an unfaltering machine until, all of the sudden the dancers were back together, like magic. Considering the music had no established beat or time signature, how did the dancers establish counts, or any system, that would allow them to move together, separate into their own movements, and then come back together? However it may have been done, I felt the performance displayed the ideology of “power in numbers” very well. Because the white powder stripped the performers of any noticeable physical differences, and their synchrony was on point, I viewed the dancers as a single mass instead of individual dancers. I believe this amplified the emotional appeal of the performance. When the performers were in close proximity, moving together, as opposed to scattered about the stage, I could feel the focus, the intensity, but also the serenity of the movements. It put me in the heart and soul of the dancer and allowed me to catch a glimpse of what they were feeling as they presented this magnificent show of complexity and raw emotion.
Sankai Juku’s Memories Before History was an unique experience that captured the immense power of expression through dance. I loved how the performers were able to effectively communicate with the audience through their “dialogue with gravity”; the slow, meticulous movements carried (almost paradoxically) a huge amount of beauty and energy. In the opening scene, for instance, the precision of the performer as he walked down the stage was mesmerizing. Each painstakingly slow step was carefully calculated as the sifting sound of falling sand filled the stage. I felt an (again, almost paradoxically) ethereal sense of power, a journey into a sort of “humanness” (stripped of the superfluous elements of life) that could not be put into words. This idea resonated throughout the rest of the performance. Every act, in fact every movement, seemed to carry an indescribable feeling that touched at the core of our essential beings, and seemed to capture some vital part of our emotional spectrum (whether rage or ecstasy or grief). This was all despite the fact that I did not fully understand everything that was going on. I do not truly comprehend Japanese dance, and I was thus thoroughly confused at multiple parts throughout the dance. Even with my lack of understanding, I still sensed a deep sense of energy and calm, and felt that the piece touched at a “basic” element within us all. The performers, through the slow power of their “dialogue with gravity,” connected with the audience and revealed the essential parts of being human.
During the beginning moments of the Sankai Juku performance, I had a very difficult time understanding what I was watching. I couldn’t understand the message being conveyed as I tried to decipher the literal meaning behind every movement. However, as the night went on, I became increasingly aware of the broad range of emotions expressed by the dancers, despite the minimal style of the Butoh dance. Because the dance itself wasn’t very visually pleasing, I realized that it was important to judge the performance based on its ability to convey poignant emotions rather than its entertainment value. I could especially connect with the feelings of terror and pain as the dancers produced muted screams. Perhaps my favorite aspect of the performance and something that kept catching my eye was the stream of sand descending from ceiling, collecting in a pile on the stage for the duration of the performance. In a dance so abstract, it was nice to have some sort of constancy as well as something to mark the passage of time. Although at times I did find it difficult to stay engaged with the performance due to its slow and repetitive nature, I did leave the venue wanting to learn more about this unique dance form.
Irregularly and awkwardly shaking my own leg in my seat as I watched the Sankai Juku performance last Friday night, I was dumbfounded by the dancer’s steady, calculated movements for extended periods of time. The dancer’s moves were so gradual yet so graceful that even the smallest flick of the wrist in the first act was distinctly noticeable. This type of dance performance requires so much stamina and discipline that the dancers soon earned my admiration.
I was also able to appreciate how similar all the dancers looked, with their shaved heads and simple clothing, allowing me to really focus specifically on all of the movements and changes in scenery. I think my favorite aspect of the dance performance was watching the slight color changes in the dancer’s white clothing being accented with a matching background. For example, when the dancers white costumes were highlighted with a green piece of cloth, the background responded by adding a subtle green lighting. However, during the fourth act, when the middle strip between the two risen parts of the floor was flooded with blue light, the four dancers on the stage crouched next to this extraneous light in amazement, representing how any variation in the stage filled with uniformity was bizarre. As a result, the synchronization among the dancers was broken, symbolizing how they were almost unable to cope with this nonconforming aspect of the stage. These elusive messages really facilitated me to analyze even the smallest of changes and kept me actively engaged throughout the performance.
In the beginning of the show, I occasionally found myself unable to concentrate as the agonizingly slow dance moves and melodic tunes in the background had me dozing off. However, as the night progressed, I developed a newfound respect for this type of dance form that I had never been previously exposed to before. The patience required to constantly move at such a slow speed really grasped my attention and attained my appreciation.
The male dancers were twirling their fingers freely as if they were playing an instrument. Confused, I stared at the stage more alertly. At this exact moment, a rhythmical beat came from the back of my row. As the humming sounded off, the hands of the dancers stared twirling in various directions, then shortly, the bodies of the performers started twisting. In a curved path, dancers skipped across the stage in a calm yet furious wave-like fashion. Their upper bodies swung down freely, as if affected by the gravitational force. I immersed my soul in the movements, and my thoughts drifted up and down and left to right, just like an unnoticeable yet powerful tide in the vast ocean. The humming synchronizes astonishingly with the rhythm of the “finger dance” on stage. It wasn’t until my neighboring seat: a 60-year old man, annoyingly tapped and scolded that rude “noise-maker” awake had I realized the noise was from a snoring student. Sorry for disrupting the show, that student left reluctantly and quietly. I actually felt pitiful towards my fellow classmate. Maybe he was tired from an intramural sport competition, or maybe he was exhausted from midterms. The tranquil yet powerful movements on stage helped the exhausted freshman get the rest he needed. No stories were told explicitly during the dance, but implicitly, the motion of the dancers’ bodies, in a way, depicts their desire to hold on to time as sand in the hourglasses in the background and on stage run slowly. The sleeping student parallels this theme because he wanted to sleep longer. He, like everyone else, wanted time to freeze when asleep. The dancers were going against the falling sand. They were trying to prevail gravity. They were counteracting the laws of nature. I’m sure that asleep student would do the same things if he could, too. I know I would.
At first, I did not know what to perceive of the pasty white, bald dancers making internalized, yet powerful movements throughout the stage. If you desire to observe a peculiar, yet fascinating dance style, Shankai Juku is the ideal performance. I expected usual a dance performance where I leave with clear interpretations of messages and a natural connection to the pieces. I left this performance feeling unsettled, perplexed, and very intrigued. I was most engaged following the first serene section with one dancer performing slow and controlled movements and an “hourglass” of sand slowly trickling onto the stage as a visual symbol of the passing of time on earth. Immediately, a thunder sounding noise transformed the stage from a soft yellow color into a sea of red. The tone abruptly shifted from serene to distressing and disturbing. The dancers constantly swayed with sudden jerky and sharp movements. I was captivated by this movement style, yet not sure what to make of it. What did these jerky movements represent? How can they connect to the severely anguishing facial expressions of the dancers? It could represent the stark contrast between the life and death and the jerky movements represent the oppositions faced in life. A slight cacophony of electrical-sounding music and thunder-like noises continued booming throughout the theater, contributing to the unsettling mood. I understood the desolate tone of the piece; however, I could not wrap my finger around the exact causes of the dancer’s distress and what it represents. I can attribute it vaguely to the tendency for evil in human nature and humans’ ability to deceive. The intensity and wavelength of the dancers’ movements continued to increase which can represent the tendency for evil developing over time until culmination. Overall, this performance was bewildering, yet extremely fascinating.
The performance by Sankai Juku was unlike anything I have ever seen, heard, or felt! I had a hard time connecting to the performance because of this. I was quite confused about the meaning of the work. At the end of the show, I thought the way in which the performers took their bows was incredibly interesting. Each dancer bowed in their own fashion and yet they did so in union. I felt as if the performers were still in character during this moment. They still moved slowly, as they had during the show, and with a certain blank face, as they did not smile or laugh. This intrigued me because normally I enjoy seeing performers take their bows not as the characters they were portraying on stage during the performance but as themselves. This moment typically makes me feel more connected with performers as it shows their humanity. The look of relief after completing another show or a giggle with a fellow castmate demonstrates how the performers might act in their daily lives. As I did not get to see a glimpse into a different side of these performers, I felt even more separated from them. I admire what they did on stage, but I did not quite get it.
While I come from a diverse dancer background of both ballet and hip-hop, this Japanese traditional “dance” was like nothing I’ve ever seen. I found the performance of Sankai Juku unique, confusing, and, to be honest, at times, haunting. The performance was devised into seven sections which all comprehensively related to the theme “memories before history,” or, memories of the unborn. The third section, “memories from water,” will forever remain imprinted on my mind.
The memories from water section follows the “all that is born” section, an incredibly haunting and disturbing display with fiery red backgrounds and monstrous growling noises in sync with the dancers’ movement of their mouths. “Memories from water”, however, begins with a serene vibe as the dancers assume fetal position atop the sand, a blue background now replacing the fiery red. The dancers follow a set of movements that become repetitive throughout the scene: remaining in fetal position while creating circular spirals, inchworm-like crawling on the sand, and then subtle display of their hands with intricate movements of their fingers. To me, these movements were as far from a form of dance as one could get; however, the emotional affect created on the audience as a result of these dance moves was nonetheless a powerful one, as with any other performance I’ve attended or performed in.
The emotions that ran through my mind were a mix of confusions composed of being simultaneously disturbed and intrigued. More so, disturbed. The silence on behalf of the actors was piercing, the movements were confusing, and the audible “music” one could here was far from a sound with a tune, but nonetheless, this art form went greatly appreciated and reveled—I just think I didn’t get it.
“Dizzying, inebriating, and spiritually elevating” is how I would describe my experience of viewing the Sankai Juku’s performance of Butoh. During the entire performance, my body was hunched forward, trying to get closer to the stage, while sweating on the outside but cold inside due to the constant electrical current running through my body from head to toe.
One of the most memorable scenes that fits my description of the performance perfectly was the “red scene.” Among the five colors that appeared on stage (white, red, yellow, green, and blue), red, for me, was the most energetic one that I literally couldn’t take my eyes off from. The four dancers started their movement from the rear left corner of the left rectangle of the stage. Slowly turning and twisting, they resembled a flickering flame. Time to time they gaped their mouths as if to suck everything inside them. Then, as a light of a match grows into a forest fire, their movement became bolder and soon, they take over the entire stage. Like a moth drawn to a flame, I was captivated by the radiant light of the performance, and, even though only momentarily, I felt as if my core, spirit, inner-self, or whatever you may call, was caught on fire.
Overall, the performance was very abstract but concrete at the same time, depicting different elements around us, like fire, air, ground, water, and forest. However, several other elements were not so clear to me. One is the color difference of the two rectangles on stage during the “beige/yellow scene,” which seems to portray growth of life from the ground. I do not understand why the left rectangle was shone with blue light while the right rectangle, the one that the dancers moved to, was shone with beige. Also, the shape of the shadow on the rectangle is another mystery to me. The most confusing part for me are the moving scales. What do they represent? What does their movement symbolizes? Those would be my first questions to Ushio Amagatsu if I ever get an opportunity to ask him about the “Umusuna: Memories before History.”
Still strangely haunted by this ritualistic meditation/performance. I was constantly drawn in by the different aspects of the set – the sand, the two planes on the ground, and the subtle scale that was tipping in the background – surprisingly though, not by the unsettling movement happening on the stage. The set, in itself, was stunning. Walking into the performance I noticed the sand falling from the ceiling of the stage, but little did I realize that the two planes were covered in sand until the dancers began to trace shapes on the ground (specifically during the second, darker piece). The perfect stillness of the sand in the beginning has been on my mind since the end of the performance. How had they gotten it so smooth? Was it supposed to be as entrancing as it had been for me? I may be reading into it too much, however I saw it as the “before history” aspect — before there was chaos from living beings, there was pure peace. Although I still do not know entirely how I feel about the show as a whole, I loved watching the set develop. Yes, it was already on stage as I walked into the theatre; yet there was something about watching the sand fall or the scale tip to stage right during the darker scenes/ towards stage left when innocence was the theme that was completely and entirely enticing. For example, when the first piece (with one man slowly walking toward the sand) ended and the second piece (with four dancers and darker music) started, the scale upstage of the dancers tipped to stage right and the lighting over it turned red.
However, that’s entirely it. Perhaps it was the slowness in which the dancers moved or the slightly hibernation-inducing music, but my attention was fully on the set — rather than the actual show. During the pieces of the show in which I made myself focus on the dancers, I was very confused by the movements and the meaning of the pieces. They seemed very repetitive and slow, and no matter how hard I tried I was always drawn right back into the beauty of the set pieces.
The concept of “Dialogue with Gravity” that Sankai Juku interpreted was a very interesting and abstract one. I felt as though the music and movements seemed to symbolize winds — however there seemed to be not much disruption of gravity itself. Throughout the entire performance, the central pillar of sand fell in a strictly linear fashion, which gave it the characteristics of an hourglass — almost as if they were the sands of time, uninterrupted and let to flow freely. The lateral sandfalls came off as balances, with a different proportions representing a new dance scene. With each downpour of sand, the sand fell straight down — yet the music and kinetics of the performers seemed to suggest wind-like themes, which would disrupt gravity and skew the sand movement in multiple directions. If this was the intention of Sankai Juku, I was wondering why Sankai Juku chose the undeviating sandfalls rather than have them be affected by the winds.
Thank you for coming to perform at the University — it was an enlightening cultural experience.
I agree, a personal reflection from the dancers would’ve been touching, but I’m not sure it would necessarily help the audience understand much more. It seems part of the reaction the audience is “suppose” to feel from the dance is confusion. It might help to think of the dance how you want it to be, or how it made you feel. This is how Butoh “comes from within, out.” After all, it was a dream on stage: some details blurred, others sharply distinct. Time and gravity were warped, and with a variety of sounds that in the end all oddly suited the distinct dances and united them. I never understand everything in my dreams, but then again some things are never meant to be understood fully.
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I did not understand the message of the Sankai Juku performance. While I was confused about the movements and sand that was on the stage, I did have a connection with the different sounds throughout the dance. The show started with silence and I thought this was a powerful way to capture the audience’s attention. Eventually, the sound effects of falling sand could be heard before turning into a song. The music throughout was very tranquil and beautiful, but did change into loud, heavy, distorted sound, which instantly altered the mood of the dancers and audience. At one point, the soundtrack featured an orchestra, and it was easy for me to see the connection between the dancer’s movements and the music. While watching this performance, I often wondered what this performance meant to the dancers and how did they feel when performing? I think that hearing a personal reflection from a Butoh dancer may help me understand the meaning of their dances.
The slow, expressive, and controlled movements of the dancers had me slightly disturbed while still being mesmerized. Their ghostly appearance made up of shaved heads and white skin made them seem like other-worldly creatures. My favorite part of the whole performance was definitely the second dance they performed composed of red lights and haunting music. The dancer’s gaping expressions reminded me of someone silently screaming which matches the vibe I got from the set, music, and dance movements. When they moved into a backwards L-shape on the left rectangle, the music brought to my mind a gun being cocked and shot. Their movements in these moments were very deliberate and matched the music. There were fast spurts surrounded by long periods of slow movements. I did notice that circles were used a lot in the performance, and in this particular dance. The dancers moved in circles, circles were “drawn” on the floor in the sand, and the spotlights and small lights in the background were circles. For me this symbolized a cycle and completion. Another thing I noticed about the set is that the sand falling from the ceiling could represent time passing, like an hourglass. This would correspond with the theme of the performance: “Memories before History”. The only negative feedback I have for the performance is that I wondered if they were supposed to be dancing differently or if they were just out of sync/ making small mistakes. Some of the dance movements seemed rather random and I question whether those moments where the dancers were moving their bodies in all different ways were choreographed or if they were made up on the spot. Additionally, by the end of the performance I was a little bored. However, I would see another performance by Sankai Juku if I had the opportunity.
I was taken aback by this performance, but not for the reason that I had previously anticipated. Rather than being overwhelmed by an intense performance that I could not relate to, I was intrigued by the ideas that the dance drew my attention to. I think that the falling sand is a great representation of time. When the first dancer interacted with the sand by reaching for the falling sand and tracing his arms, as if to bathe in the sand, I reflected upon the occasions when I have tried to make every second count, such as when visiting family or friends, only to watch time slip away in the end. I was amazed that the dance could be so controlled yet flexible at the same time; the slow dance forced me to look at the dancers’ full body movements rather than focus on the individual body parts that were moving. The slow speed of the dance allowed me to appreciate the strength inherent in the dancers as well as the power projected by the dance. I liked this performance because I found it quite thought-provoking.
Sankai Juku, a dance of vulnerability, fear, and existence was quite a unique experience to watch, especially given my lack of familiarity with dance performances. The dancers’ crisp energy and precision captivated me at times, but the abstract nature of this artistic expression also left me confused at others. Coming into the performance, I did not know what to expect from it. The movement that stood out to me the most was the second one, with the red light shining down as the fast-moving and enchanting dance conveyed sharp emotions of horror, energy, and anxiety. Each movement seemed to speak to me personally as they brought out different moods, as the performers displayed excellent muscle control and syncopation. Despite being very confused throughout the performance, afterward, I began to gain a sense of appreciation for the different elements of the performance. I realized that the sand falling in the background demonstrated the slow passing of time, which may have been relevant to the people of Japan at that time, considering the origin of the dance was from the post World War II era. This context may be important in explaining the many different themes of rebirth and horror. I also realized that the movement with the performers curled up and progressively rising up represented the process of life. However, I still had many questions about the performance. What did the two balances hanging from the ceiling represent? What was the meaning behind the costumes of the performers? This dance, captivating at times yet confusing at others, was unique in that it allowed the audience to make meaning out of its abstract nature.
Never have I ever experienced a performance that was as thought provoking as the Sankai Juku performance. It was very interpretive which contributed to both its confusing and inspiring nature. Because the motions of the dancers had no distinct, preset meaning, I was able to choose what I wanted the dance to represent. The scene I enjoyed most was the third one with the blue lighting in the background, perhaps because this was the one that I understood the most. I felt that this scene was very representative of the human life cycle. From the very beginning when the dancers were curled on the floor to their gradual progression to standing and then walking, it seemed to represent human growth starting from birth. The presence of raw emotion in the Sankai Juku performance was unparalleled to that of any other dance I have ever seen. Having had experience as a dancer, I was also intrigued by the motions of the dancers which seemed to be emotionally derived rather than systematically. For example, in ballet, the teacher can simply call out a few terms and the students will know what to do. In the Sankai Juku performance however, each motion seemed carefully constructed to have some type of meaning. It was not just the dancer’s that contributed to the performance; the setting was also an essential aspect. The constant flow of sand and fluctuation in the scale presented the analysis that as time goes on, there will be a change in what powers dominate our lives as each time the scale shifted, a new scene began. The comprehensive nature of the Sankai Juku performance made it a very unique experience.
I did not understand the message of the Sankai Juku performance. While I was confused about the movements and sand that was on the stage, I did have a connection with the different sounds throughout the dance. The show started with silence and I thought this was a powerful way to capture the audience’s attention. Eventually, the sound effects of falling sand could be heard before turning into a song. The music throughout was very tranquil and beautiful, but did change into loud, heavy, distorted sound, which instantly altered the mood of the dancers and audience. At one point, the soundtrack featured an orchestra, and it was easy for me to see the connection between the dancer’s movements and the music. While watching this performance, I often wondered what this performance meant to the dancers and how did they feel when performing? I think that hearing a personal reflection from a Butoh dancer may help me understand the meaning of their dances.
Many of my friends felt that they didn’t understand it and therefore didn’t like it, but I rather enjoyed the dance! I found many aspects of this Butoh art form to be very unique and different than what I usually see in performances of Eastern culture, but I was still able to pull out the messages of life and connectedness to the earth quite explicitly. The strange, heavy movements of the dancers supported the idea that we are all connected to the Earth and belong to it. The sand simply (and strongly) symbolizes the Earth itself. The grotesque appearances of some performers and the background music at first was off-putting, but I took it to mean that we were connected to earth in the most primitive and natural fashions possible; we are deeply rooted to it. So, in short, many of the obscure and “scary” aspects that people associate with the performance I found to be very unique, meaningful, and I really enjoyed the performance overall.
I really wish I understood that. I really, really do. I can appreciate the imagination and creativity at play, but to be honest, I spent most of the performance being confused and slightly disturbed. The second and third segments I found particularly uncomfortable, especially when they had their mouths open as if they were screaming the music.
Something I’ve been thinking a lot about since seeing the performance is something we discussed in my theatre classes in high school: Diderot’s Paradox. While it is technically a specific question of acting, I think it is an interesting question to bring up in relation to butoh: which is more important, the emotions of the performer or the emotions of the audience? Much of mainstream Western art is focused on the emotions of the audience, which I think is one of the things that sets butoh apart. Yes, it is always nice for the audience to be engaged and experience catharsis when watching a performance. However, I don’t think that is the point of butoh. I think it is as much or even more about what the performers feel, especially given that it is supposedly an art form that comes from the inside out. If I look at the performance from that perspective, I can appreciate it a little bit more and acknowledge that my enjoyment was not necessarily the goal. I certainly hope the performers got more out of it than I did.
I left the theatre perplexed, uncomfortable, and wondering if everybody in the audience felt the same way. This type of performance is not a part of our culture, so I do not want to judge harshly seeing as I do not understand it. I can appreciate it, and I am glad I went, as I have never seen anything like this before, but I think once was enough for me.
I was pleasantly surprised by Senkai Juku’s ability to combine the beautiful and the grotesque into a powerful performance. I found their minimal set and use of sand to be particularly impressive. The continuous stream of sand filling the stage was very striking, and the large sanded areas reminded me of Zen gardens, the dancers bodies creating the garden patterns. I’m unsure of the intentionality of that, but with Japan’s history of Zen Buddhism, I found it plausible. An audience member near me, who was Buddhist, also commented that many of the dancers’ movements resembled Buddhist prayer and meditation poses, a thought that also ties nicely into the show’s themes of life and death. The dancers interactions with the sand (rolling, running, sifting through it) also suggested an intimacy with the environment or a “dialogue with gravity” in an elegant way, while the streaming sand made time a omnipresent force of its own. They connoted much with a minimalist set—very impressive. And while I found the moments of more meditative movement to be extremely beautiful, the grotesque, ridiculous aspects of the dance were equally striking. Those rapid, almost violent sequences and gaping mouths combined with the show’s moments of peace to suggest the beauty and absurdity of life and death in a succinctly powerful way.
I couldn’t help but try and imagine what it would be like to be a Butoh dancer, as the performance seemed to be quite a transformative experience for the dancers. As a woman, however, I had to wonder: why is Butoh traditionally performed with male dancers? Will Senkai Juku or other modern Butoh dance companies ever incorporate female dancers in the future, or does tradition trump inclusivity? Overall, a wonderful, powerful performance.
Watching Sankai Juku perform the Butoh dance was an interesting experience. It was difficult for me to really understand what the purposes behind the different dance scenes were. I was trying to understand what the significance of the two sand pits and the stream of sand from the sky were, but could not come up with any plausible answer. The movement of the dancers did seem to try to play with gravity, as their movements were slow and gradual. One interesting thing I noticed in the performance was the relationship between fast motions and slow gradual motions of the dancers, because movements seemed to switch between these two extremes. Overall, I could tell the performance carried a lot of emotion and meaning, even if I was not able to pinpoint it exactly.
I agree. I think in Butoh, there are many juicy contradictions, and I love your description of a “moving sculpture.” I would image these dancers spend a lot of time with each other and get to know each other and themselves quite well, not just from their off-the-stage lives, but also from their inward-out performance on the stage. I am also curious as to how much these dancers rehearse, as perhaps Butoh needs some degree of improvisation and spontaneity to represent a dancer’s inner thoughts.
I think another description of the dancers I would give is “collectively individual,” a contradiction because one must sacrifice their individuality to act within a group. Many might believe that Butoh is a dance which requires many anonymous, whited-out dancers to collectively represent some abstract idea, but I believe the opposite is true. Maybe Butoh dance is the message achieved by summing the contemplative movements of the only superficially standardized men. Though they on a larger structure danced with similar movements, if you looked closely you would see each with a distinctive style and slightly off movements. I know I noticed a slightly different quality to movement, if you will, from the same dancer in different scenes.
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I saw the Sankai Juku performance to be one of many contradictions. Among the most interesting was the coordination and connection observed between members during the dance, with no physical contact and rare eye contact between them. This made me wonder about the lives of the dancers outside of the performance, in terms of how much time they spend together in rehearsal or if they spend time together outside of the Butoh dance. Another observed contradiction came to me in a note I made during the performance. I jotted down the phrase “moving sculpture,” which is an inherent contradiction because sculptures cannot move. However, this phrase was how I best described the phenomenon of the dancers themselves. I am curious to hear how others would describe the dancers, and try to explain how they managed such a fluid and connected performance while moving individually.
I have very little experience with dance as a medium, and usually dance performances leave me profoundly confused, but thankfully I was able to appreciate this performance by Sankai Juku better than most. As whole, I found that it captured life and nature in a really unique but meaningful way. The opening segment, where the lone dancer was seemingly energized by the flowing sand, was a quite interesting way to begin the performance; and later, in the third movement “Memories from water”, the actors being curled in the fetal position and progressively coming out of their shell, I think reflected brilliantly the raw essence of the beginning of life. The ascending and waving movement of the dancers in the “Mirror of Forests” movement actually very much resembled the movement of trees, in a way I did not think human dancers would be able to capture. Dance can be a really abstract medium of expression, but despite the abstractionism of this performance, I really felt there was a lot to appreciate and relate to. The dancers made nature and life come alive and I really enjoyed being able to watch this.
Overall, the performance was a delightfully alien experience for me. I felt as if the dancers’ energies were in sync with the music in a manner contradictory to traditional expectations. Usually, the song provides a backdrop for the performers to showcase their talents in a flamboyant or explicit manner; however, the Sankai Juku showcased the music through the movements of the actors. For example, the blue segment of the performance utilizes the dancers to express the calm, relaxed atmosphere expressed by the auditory; the dancers themselves seem to merely mirror the music as they lay on the mat. To some, this may seem boring and lackluster; however, their movements portray the music in a manner similar to subtle poetry. While not initially accessible, one can savor the music in a more potent manner through simple, universal gestures enabling greater degree of musical communication.
The mesmerizing shapes moving around the stage, are those actually people? This was the main question running through my mind during Sankai Juku’s performance. I was amazed by how unhuman the whole production looked. All the dancers’ shaved heads and white painted bodies transported them out of their everyday lives as humans and into their role as an unnamed being. The piece that stood out to me the most was “Memories from Water” with the three men in simple skirts. On each screech of the audio, when the dancers changed positions into the next of the sequence, either spinning around on their sides, lifting only their shins into the air, or sitting up with their legs folded under them, they reminded me of slimy creatures emerging for the first time. In a lot of movements, there were limbs sticking out in places that didn’t look natural and almost made me want to cringe. What shocked me the most throughout the performance were the grotesque facial expressions. The dancers opened their eyes wide, their mouths wider, and flexed their fingers for another layer of tension. No matter how hard I thought about it, I struggled to associate the extreme expressions of the dancers to a human emotion I recognized. As the performance went on, I felt more and more like I was inside someone’s mind. Instead of humans experiencing these emotions, I felt like the dancers were the emotions terrorizing a mind. Although completely different from anything I had experienced before, I am still utterly shocked and in awe that what I saw on stage was created and executed by the human body and mind.
I found Sankai Juku not exactly to be “enjoyable,” but rather to be “thought provoking.” It’s the type of dance you enjoy thinking about afterward more than the actual performance. During the performance, I was assaulted by the seemingly pointless hand movements of the dancers and their grotesque unreal-looking bodies. I was confused by the symbols, such as the sand and costumes, and was unable to focus on any given element of the performance long enough to understand. Afterward, however, I began to appreciate the accuracy with which the play communicated to the audience its bleak view of the human condition. The frantic ineffective hand motions represent the pointlessness of so much we do in life; the sand represents the constant march of time; the dancers themselves represent a generic view of mankind. The unenjoyable aspects of the performance thus actually aided the director in communicating his method, and thus, was ultimately worth it.
The Sankai Juko performance was unlike anything I have seen before. Actors covered from head to toe in white makeup performed interpretive dances to strange music as a steady flow of sand fell from the ceiling throughout the showing. Although I had trouble finding meaning within the dances and spent much of the time confused by what was happening on stage, I found myself entranced by the performance, unable to look away, as if I were staring into the mesmerizing flames of a fire. As the actors repeated motions and formations on stage, patterns in the performance became noticeable to the point where many of the dancers’ actions were predictable. The performance was so abstract I found it hard to relate to, but it was able to evoke feelings of tranquility during the slow peaceful parts of the dance with warm lighting and made me feel panicked and on edge during the segment with fast frantic dancing under red lighting. Watching the performance was a good opportunity for me to be exposed to other cultures and arts, but with my limited background in butoh dance and related performances, I left with a sense that I was not educated enough to get all that I could have out of the experience.
I did not enjoy the performance as much as I had hoped to. I found it to be too long and pretty monotonous. It was challenging to identify the meaning of the movements, which made the dances uninteresting and hard to follow. Additionally, the dancers demonstrated almost no emotion, the only exception being when they seemed to silently scream—an aspect that I found quite unnerving—and as a result I was not emotionally invested in the performance. I am having some difficulty calling the production a dance. I think it was more performance art as the staging and lighting seemed to be just as important as the movements. I did really enjoy the use of sand on stage. I am not quite sure of the meaning, but I liked the imagery of the dancers making imprints in the sand and of the sand piling on the stage as the dances progressed.
“Psychologically troubling” would be a good way to describe my impressions of Sankai Juku’s performance. Most of the pieces were tranquil to an almost eerie extent. The movements were full of resistance and were extremely controlled and contained. The most disturbing piece was set under dark, red lighting and used unsettling music. The dancers’ mouths were gaping open, giving the impression that they were screaming. They moved their arms in a seemingly distressed way, as though they were trying to escape something. I would love to know what the inspiration for that piece was. While most of the pieces reminded me of nature, I feel like that one could have been inspired by the events of World War II. But, to my confusion, the piece is titled “All that is born.” The dancers circled each other in ways that resembled the orbiting of planets around the sun, so perhaps it is about the birth of the universe.
Even though the performance is supposed to encompass pre-history, I found it impossible not to interject my own views of the world onto the dancers. The fourth movement, in all its’ yellow glory, made me think almost immediately of hazmat suits. It was if I was watching the aftermath of a nuclear fallout and seeing humans beginning to interact with the Earth again. The performers seemed to me to be the custodians of a world where only sand remained. I understand that this was probably not Mr. Amagatsu’s intention when creating this piece, but I wonder if I should feel justified in having this reaction? Perhaps the glory of these pieces is that they are free for interpretation by any viewers as part of a joint human experience? Am I wrong to inflict my own interpretation on it and is there any one, singular way to view a performance? Indeed, Mr. Amagatsu is working in quite a specific cultural lens that my thoughts might be entirely inappropriate for this piece.
Sankai Juku is not the kind of the dance which you have to fully understand in order to appreciate, but it does inspire me to think a lot. Sankai Juku presents abundant elements of Asian philosophy, through which it integrates and reconstructs the complicated feelings of human beings towards the space-time and thus delivered a passionate eulogy towards life.
Color was a major theme of the performance. Red, blue, yellow, green, and flesh color, in Asian philosophy, represents the five basic elements of the world: fire, water, wind, soil, and human. The color red created an environment of purgatory, in which people screamed so exhaustedly and desperately as to be noiseless. The color blue was full of vigor, just like what the word “water” reminds us of. The actors curled up on the ground like tiny worms, trembled when they heard the sounds of thunders and birds, and struggled to molt, grow, and evolve. These nascent creatures tentatively stretched out their horns—dancers’ arms, drew them in, and stretched out again, demonstrating an exploration towards an outer world which every life may experience. What came then with the sound of the wind was the yellow scene. Dancers waved their arms up and down, front and back, as if they were groping for something in the vacuum. Then the color green brought to the stage a majestic music, with which dancers stretched their arms up and down as if trees were growing up overwhelmingly, embracing the light of the sun and absorbing the nutrition of the soil. The performance, named the “dance of darkness”, actually discussed how lives, created in darkness, entered this world and found their own positions here. In this new space they experienced the repression and fear, exploration and transformation, struggle and pursuit, as well as the final transcendence. Without time and life, space is nothing but a perpetually static vacuum. But the dynamics of life, along with the idea of “time” indicated by the everlastingly falling sand in the background, endowed the space with a direction towards future—only with life, could there be future. Thus, the performance, starting with a body-monologue in the flesh color, continued with the horror of red, the life of blue, the pursuit of yellow, and the growth of green, and finally ended up with the return of the flesh color. The dancers were kneeling and rotating ceremonially, worshiping towards the greatness life meant to the world with the collective identity as human beings.
The ultimate theme of the performance, “the dialogue with gravity”, was thus deepened. The dancers showed the motif of growth through depicting that lives, although restrained by the ground, explored the world unceasingly and never gave up to reach higher. The motif of time was also connected to gravity, since it was shown by the falling sand, as if the fluidity of time was driven by the force of gravity. Hence, the performance united the motif of life, time and space together philosophically in the idea of “one”, the core of meditation.
Honestly I would say that Sankai Juku actually provided many indescribable moments, because words work only for things that have limits, while the themes of the dance could be limitless. I tried very hard to interpret some of the meanings of the performance, but in fact, my most enjoyable time was when I gave up the attempt of interpretation and simply appreciated the shock that Sankai Juku offered deep in heart.
Calling UMASUNA a dance performance neglects to acknowledge the true purpose of Butoh and ignores the symbolism and importance of the set design. The style is more of a ‘meditation in movement’, a description taken from an article in Dance Teacher Magazine. As the performers moved, it appeared to be an inward experience, rather than a communication between the performer and audience. If a great performance is characterized by an interaction between viewer and performer, can this show qualify as such? The most communicative aspect of the show was the set. The scales moved with each new meditation, representing a sort of give and take between the body and mind. The stream of sand that fell at the back of the stage was reminiscent of an hourglass. This could have shown the passage of time. The most visually striking moment occurred when yellow lights illuminated the sand. Through showing the curves and footprints on the sand with shadows and lights the performance conveyed the idea that actions affect things and leave impressions. I enjoyed the visual art behind the dancers, but the dance itself bored me. I understand that the purpose of this style is to be one with gravity. However, gravity is a part of everyday life, something we all understand. Dance should show a breathtaking departure from the mundane, a new aspect of life, a way to defy the ordinary such as gravity. Therefore, this performance was more of a meditation with a wonderfully impactful setting.
Sankai Juku’s performance of UMUSUNA: Memories Before History was a completely new experience in sight and sound. There were times of very slow and deliberate movements, and times that were far more upbeat in comparison. One part of the performance that I really enjoyed was the piece pertaining to the water. There was a strip of blue lighting cutting through center stage and green lighting in the background which created for me the scene of a small stream in a forest. Eventually the blue lighted strip went away and the dancers focused on more than just the immediate area of the stream. This part of the performance had both slow and fast elements, which was a nice contrast. I really enjoyed how each performer seemed to be working from within themselves to create this beautiful work of art, and I think that really captured the essence of the Butoh style. Overall, I found this performance completely different from any other that I have attended. The unique stage elements, and the small details of lighting all added to the whole concept, and I would highly recommend attendance at a Sankai Juku event to anybody.
I did not like the Sankai Juku performance. Part of it was probably because of the expectation bias I had coming into the performance; I was expecting a grotesque, raw, post-WWII purely emotional dance. I would say that the performance made some progress to at least displaying these emotions (especially though the wide open mouths during the facial expressions), but came short of reaching that apex of emotional turmoil. I felt like each stride of motion had too much thought put into it, and not enough of the raw, grotesque emotion that was present in the Japanese people after WWII. Sure, in the faces I could see their mouths open, but I felt like alongside that, there should have been far more contortions of body. With the open mouths, I saw pain, but did not feel it.
But I felt like even more so, I was let down by the loss of what I saw as potential to really show what it meant to live after WWII. It was definitely more complicated than grotesque turmoil; there is the valiance of hope, togetherness, and all the joy of going through a horrible situation with other human beings. There were times in the performance where I almost felt like that was what was being said, but I never could really pin the meaning of the dance down, where I could feel the dancers experiencing pain together, or apart. It seemed arbitrary when they would move out of sync and into sync. (but maybe, that is really just my fault then, as a bad listener)
As a first time viewer of Bhutto dance, it is impossible to deny how much discomfort I felt during the performance. However, this discomfort was valuable, and I came to new realizations after viewing something that seemed so foreign, so bizarre at times. Unlike my initial thought that dance was meant to be viewed and not always analyzed, I found myself thunking about the dance and not focusing on what was being presented on stage. I attribute this to the performance’s confusing rather than engaging nature. As a result, though, my understanding of Bhutto dance did increase. Some of the observations I recorded were that Bhutto dance consist of generic motions we see in life, but we do not generally associate these motions with dance. For example, in the third scene with the three dancers alternating between fetal position and other poses, I recognized the motions but I was shocked to see those moves being utilized in dance form. I was also aware of the many contrasts, such as between fast paced walks and slow body motions, traditional music and modern-sounding background noises. Because I was a stranger watching another culture perform on stage, I was able to notice these purposeful imperfections and imbalances, but I never found any aesthetic enjoyment of the dance.
I had very little idea what to expect when seeing UMUSUNA: Memories before history. Likewise, as I was watching the performance, I didn’t quite understand how to interpret the dances. I decided instead to enjoy the music and movements at the purely sensual level. After I left, however, the imagery kept flashing back to me. One part of the performance that I found particularly striking was when the background of the stage became a vibrant green and the center strip a bright blue. This lighting made the stage look like a forest with a river flowing through it. At one point, the dancers gestured as if they were drinking from the “river”, and I think that this was the moment I began to understand that Umusuna was about life. There was a hanging sand-dial of sorts that fluctuated in height throughout the performance, and I think that that may have been meant to symbolize the passage of time. One thing I could not really understand, however, was the meaning of the continuous flowing of sand in the center of the stage. What was that meant to symbolize?
I was actually very impressed with the out-of-sync sections of the dancing, because it seemed to me very deliberate. Especially in the third movement (the yellow-washed one, in which they started out curled up on the sand scuttling a little bit). It is difficult to be perfectly in sync, but often even harder to be deliberately out of sync. And it does have a nice effect of a sort of ebb and flow between the dancers.
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Everything about the Sankai Juku group displayed unison such as their stark white skin, shaved heads, and matching costumes. All of these details were meant to help the audience from concentrating on the individuals characteristics of the dancers, but instead on the movement of the dancers. However, when it came down to the movement itself, there did not seem to be great cohesion within the group. The slower a dance is, the easier it is to pick up on discrepancies in the flow between performers. Butoh is an extremely slow dance and therefore it was very easy to tell if one person was slightly off from the rest of the group. There were many times in which the dancers had separate roles within their group, but most of the time the group danced as one. At least one dancer was almost always a little bit off during the group parts. I found this interesting because I’d have thought that group would concentrate more on being very cohesive. However, Butoh is also considered an inward to outward dance, where the dancers do not need to be taught the style. It exists within everyone and the dancers are supposed to use previous memories and experiences to release the dance from within them. When considering this, it would make sense for each of the dancers to all have slightly different styles because each dancer is basing their dance off of different memories/experiences.
I was thoroughly perplexed by Sankai Juku: UMUSUNA. Throughout the entire performance I tried to understand what was trying to be communicated, what the dancers’ gestures indicated, and if there was a story being told. However, by the end of the performance, I was still clueless. Part of the reason I feel this way is because this performance was unlike any dance I had ever watched in my life. Almost every other dance performance I’ve seen had fast, flashy dance moves meant to entertain the general audience. The dancers this performance of butoh, however, was fully focused on presenting in their own traditional moves. Now that I think about it, this performance was less of a show and more of a display of the things butoh aims to expose, for example the unique stories of each individual dancer. It was interesting to see a form of dance where there is a deeper concern than showy dance moves, and where the performers were fully concentrating on expressing their experiences. However I wish I could know the personal stories of each individual dancer, and know exactly what compels them to express their selves in this way.
Sankai Juku: UMUSUNA was a mesmerizing and intense display of Ushio Amagatsu’s vision for Memories Before History. With lively, pleasant music during some parts, and loud, dramatic noises at other, it had an impressive variety of sounds that added to the auditory experience. I enjoyed the employment of pin-drop silence at times to help the audience focus on the specific movements of the dancers. Similarly, just the sound of sand falling made the audience put their attention on the constant stream of sand in the background, which was also able to captivate me for long periods of time. Not only that, but the performance emphasized the constancy of the sand being there, pouring the entire time, no matter what was happening on stage. This, combined with the repetition of the same movements in each section allowed for stability and consistency throughout the piece. Slower, gentle movements were used in the dance, unlike modern dances. The lingering clouds of dust help us visualize the patterns of the dancers, and could represent the lasting impact we have on history. Elements of the costumes added to the visual effect of showing the performers’ interaction with gravity, for example, the long dangly earring that always pointed to the ground, as did strings and long flowy cloths. This emphasized one of Amagatsu’s main themes of dance, the tension and relaxation of gravity. Overall, Amagatsu combined intense choreography and changing sounds, among other aspects, effortlessly to create an incredible performance.
I was not really sure what to expect from Sankai Juku before watching the performance, and though the experience was along the lines of what I had expected, I was intrigued by what I saw. The second movement of the performance – with the glaring, red stage lighting and corseted costuming – remains the peak of the production for me as not only was it fast-paced and engaging, but it also threw out explicit emotion, something I did not always receive from the other movements. I felt terror, unfiltered and pure, and based on the facial expressions and movements of the performers as well as my own thoughts during the display, I found myself unsure as to whether the dancers on stage were simply consummating horror, or if they themselves felt and were encompassed by it.
Even while watching the dance, it was clear to me that a lot of the symbolism and meaning in the performance went right over my head; I regret not having had the context behind Butoh to fully appreciate the piece. Perhaps if I had known beforehand that the colored lighting was meant to represent the four elements (fire, water, air, and earth) and that the sand piling up on stage was meant to convey the passing of time, I may have been able to better interpret the various movements, and consequently become more engrossed with the production. However, as intensive as Umusuna was, it was not my cup of tea, as I found it rather frustrating to be unable to confidently speculate on the consequence of each scene, and thus found it difficult to be fully immersed in the performance at any given time.
Your observations are very insightful. Sankai Juku’s relationship to gravity is unique, and probably one of the reasons why many people who saw it for the first time found it unsettling and unlike anything they had seen before. I too was moved by how precise their movements were, and often found myself amazed by how they remembered the dances. Your insight about the costumes representing military uniforms is also interesting and valid. The white costumes with the green waist embellishment remind me most of a military uniform. Thank you for sharing your thoughtful observations!
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Many common dances appear to “defy gravity”, such as ballet where the dancers stand on their toes. Contrary to these styles, the dancers of Sankai Juku appeared to embrace all forces and act against them. The dancers exerted much strength with each movement. The audience could feel the power behind each motion. The facial expressions of the dancers appeared distressed and frustrated. At times they seemed to be screaming, but could not let out any sound. I began to question whether their movements were occurring unwillingly. The movements of the Sankai Juku performers were slow and precise—as if something was directing each part of their body. I ponder where the origin of the movements derives. Is there some external force acting on the Sankai Juku performers and if so what is the objective of the force? I considered the historical context of Butoh, which arose shortly after the end of world war II. Perhaps characteristics, such as the identical costumes, were used to embody the uniforms worn by a militia. Was the force supposed to trigger movements reflecting certain emotions? Although I was not able to understand the purpose of parts of the performance, it was still a unique experience.
This performance made me reflect on my own life more than any other performance I have ever seen. The music was intensely powerful and the movements of the dancers were very meditative. This put my mind at ease and I found my thoughts wandering throughout the performance; however, they wandered in accordance with what was happening on stage. When the red, fiery section was occurring, my thoughts turned to the various forms power in the world and some of the stresses in my own life. It was a most distressing scene. Then, while the green “life” dancers were on stage, I found myself thinking about one of my favorite sounds: the birds that live outside my window at home chirping in the morning. I felt a strong connection flowing between the dancers, the music, and me. This show helped me discover a whole new way to listen to music and understand a dancers message, all through the traditions of a different culture than my own. I was also in awe of the amazing body control of the dancers. On top of all my other feelings, the amazing talent put “the icing on the cake” for me. I thoroughly enjoyed this engaging and spiritual experience!
I am going to be blunt- I am not really that fond of Umusuna as a whole. I liked the whole concept behind the performance- the beginning of life, time, the world. The man walking towards the sand in the beginning illustrates man entering the universe, and thus time begins- this is helped by the visual of the two hourglass-like objects on the sides of the stage as well as the giant one placed center stage. I also liked that stage was covered in sand— the sands of time, one could say. But after this first scene of the individual guy walking towards the infinitely sand, I did not really understand what was happening. There were lots of other people running around, dancing, sometimes not in sync. As a performer I understand that it can be difficult to quickly get accustomed to a new stage, (for me, getting used to the acoustics since I’m a musician) that being said it was very distracting to see that one guy dragging slightly behind the rest of the group. And I realize that the performers shaved their heads so as to revert the audience’s attention more towards the dancing itself, but I found myself often looking at the dancers’ faces, as I was taken aback since they all looked so similar. All in all I appreciated the originality behind the dance in general, but I did not particularly enjoy the performance.
The Sankai Juku performance of UMUSUNA was certainly a unique experience. Going into the show, I was not very familiar with the style of that type of dance, but, nonetheless, I found it to be very interesting. I cannot claim to have understood the meanings behind all of the various movements and set pieces, but several moments did resonate with me. The opening of the show with the lone performer slowly walking towards the large scale had a very cinematic feel, and the image that was created with the help of the lights and the set really stuck with me. Some of the performance’s choices regarding color were also very intriguing. The way the colors of the costumes often matched with the lights used in the set created a very distinct mood. Especially in the latter half of the show when four performers were on stage at the same time, I felt those choices emphasized their actions and highlighted how in-sync their movements were. I will admit to being confused by the deeper meanings of many of the choreographed pieces, but the technical skill of the dancers and the emotion of the performance were still very clear.
Sankai Juku: transcending the limits of the humanistic element of dance. By removing distinguishing elements such as hair and skin tone, the performers become an amalgamation of extraterrestrial and neonatal. Overall the production emphasized the fragility of humankind: pulling memories of vulnerability from the audience through moments such as the silent grasp for escaping time as represented with the sand, the muffled screams in the red glow of darkness, or even the grown men curled into the fetal position. The non-verbal aspect of the butoh dance allows the audience to incorporate their own experiences, and share in one another’s pain without having to struggle to find words for a communicative explanation.
The explicit heaviness in the dancer’s movements shows the audience that the meaning that should be extracted from this performance is related to the human condition in the lens of Japanese history. I found that during the entire performance, my attention was focused on the fact that the audience would rarely see the dancers detached from the sandy surface on which they were dancing. I agree with the fact that the dancer’s heavy motions emphasized a stylistic point in the performance concerning their relationship to the floor and the physical weight in their bodies as discussed in lecture, but I think that we can go a step further and say that this stylistic choice also highlighted the emotional heaviness or burden the dancers were trying to express to the audience. This was particularly evident in the scene in which the dancers were laying on the ground in what looked like fetal position, shifting around in circles. It was as if the dancers were glued to the floor and couldn’t get up; to me, it seemed as if this was due to a mental burden, rather than a physical burden, due to the cowering facial expressions the dancers had during this set. A conclusion like this makes sense as Butoh dance reflects the emotions, fear, fallen pride, and suffering, felt by the Japanese community during the Post-World War II era.
Many common dances appear to “defy gravity”, such as ballet where the dancers stand on their toes. Contrary to these styles, the dancers of Sankai Juku appeared to embrace all forces and act against them. The dancers exerted much strength with each movement. The audience could feel the power behind each motion. The facial expressions of the dancers appeared distressed and frustrated. At times they seemed to be screaming, but could not let out any sound. I began to question whether their movements were occurring unwillingly. The movements of the Sankai Juku performers were slow and precise—as if something was directing each part of their body. I ponder where the origin of the movements derives. Is there some external force acting on the Sankai Juku performers and if so what is the objective of the force? I considered the historical context of Butoh, which arose shortly after the end of world war II. Perhaps characteristics, such as the identical costumes, were used to embody the uniforms worn by a militia. Was the force supposed to trigger movements reflecting certain emotions? Although I was not able to understand the purpose of parts of the performance, it was still a unique experience.
Sankai Juku’s UMUSUNA was one of the most unusual, but thought-provoking performances I have ever seen. Every movement was controlled and executed with painfully precise detail. I also found the progression from small, contained movements to free and travelling movements throughout the performance effective on two points. Aesthetically speaking, it makes sense to build the energy and movement as a show progresses. Second, this development can be linked to some of the bigger ideas of Sankai Juku’s performance. Since they typically explore topics such as birth and death, the transition from restrained movements to open movements could be symbolic for these inevitable experiences. The youth typically either deny on some level the inevitability of death, or are very uncomfortable with the subject. But as humans age, death is more accepted. The beginning of the dance could represent the youth, because the looming presence of death literally presses down on them like gravity. However, as the show progresses and death becomes more accepted, gravity is lifted. This enables the dancers to move without facing opposition. Also, the sand that falls throughout the piece adds to this symbolism. Sand is typically associated with time, so as the sand falls during the show, time passes and the dancers “age”. The final pose was quite powerful, because the dancers all ended in the fetal position. This pose completes the cycle of birth and death, and shows that life goes on. I wondered what the significance of the structure of the stage was. There was a gap between the two sides of the stage. What do you think the purpose of the the separation was?
I agree with you. I enjoyed the first couple parts of the dance and the last part, but the middle seemed prolonged. The music in the middle was repetitive and very serene, which made me unable to focus on the dance; at this point I was used to the style of Butoh. I also appreciated the new style and the way that Sankai Juku was trying to portray messages, but this performance is not for everyone; you phrased this well in your last sentence.
I also wanted to say that I’m glad that I watched this performance; it was a great new experience!
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There were a few satisfyingly entertaining moments, but my overall impression of Sankai Juku: UMUSUNA: Memories Before History was that of bemused boredom. The general reliance on shock value and lack of inherently impressive dancing left me unimpressed. Exactly three moments actually held my interest: When the original dancer first looks at the audience, there was a moment of self awareness which I enjoyed. When his solo ends with the entrance of red light, noise, and corresponding dancers, I jumped in my seat, and I can always respect when a performance elicits a visceral response. Finally, when the dancers interacted with the “water” on the stage, I appreciated the simple yet effective use of stage lighting.
That being said, I have been dancing competitively my entire life and am trained in or have performed the following styles: Ballet, jazz, lyrical, contemporary, tap, hip hop, bhangra, Bollywood, raas, and bharatnatyam. I know what is challenging for the human body. Furthermore, as captain of a dance team that does a variety of styles and performs with elements of stage production, I know what it takes to put together an entertaining show. As a dancer and consumer, it is part of my paradigm that a dancer’s/performer’s first and foremost responsibility is to entertain the audience. If an audience is collectively bored at any point while you are on stage, you have failed. The dance movements I witnessed on stage left me bored. I realize that it’s kind of “the point” of butoh to contrast with refined dance styles, but at no point did their movements, formations, speed, or prowess have me on the edge of my seat. I can appreciate that they spent tens of minutes doing ab exercises in front of me and that itself is challenging, but I was not entertained.
Moreover, I generally enjoy/appreciate shock value, but this performance seemed to rely on the strangeness of the dancers’ costumes, makeup, and expressions without backing it up with actual visible skill. I’m sure the dancers can do very impressive movements, but I never got to see them. The performance surely has value for those whose paradigm of performance differs from mine, but if you look for entertainment in dance this might not be the show for you.
The Sankai Juku performance was definitely different from any other style of dance I have seen before. The main feature that resonated with me was the effect of the sand coming off their bodies with their movements. It made their movements seem more fluid and peaceful. Otherwise, however, I did not like the performance; either I didn’t understand what they were trying to convey to me, or there was nothing to convey. Either way, many of the dances that they did were off-putting. For example, the lying in the sand and crawling around, or the screaming with the mouth wide open was very creepy, and made me uncomfortable. If they came back I do not think I would go.
Butoh does not contain pirouettes, jazz squares, or beautiful costumes. Instead, brace yourself for shaved heads, sand, screaming, and confusion. While viewers of traditional dance performances respond in awe, viewers of butoh react with shock. In my opinion, Sankai Juku’s butoh performance was not aesthetically pleasing, nor do I think it was meant to be. The dancers made jarring expressions, the intense volume of the music at times hurt my ears, and many of the dance moves were repetitive. However, by doing so, this performance was inherently human. Painted in off-white and sporting shaved heads and exposed upper bodies, the dancers looked as if they had emerged naturally from the earth covered in clay. Without flashy costumes to distract the audience from the dancers’ gestures, it was easier to focus on what the dancers were attempting to convey. The human experience. In the real world, as this performance demonstrated, our appearances are flawed, many sights and sounds can be painful to experience, and many of our actions are repetitive. In one scene, four dancers stood around a stream. They dipped their toes in the water and witnessed their reflections. To me, this scene exhibited curiosity and calmness. The dancers slowly moved around the stream in silence, observing it with intense focus. I viewed their movements similarly – with patience and without distraction.
The slow yet meticulous forms of human nature presented by the Sankai Juku reminded me of the modern dance lessons I took when I was younger. Butoh, like modern dance, deviates from traditional forms of dance showcased by forms such as ballet, tap, and jazz. Similarities between Butoh and American modern dance also revolve around expressing natural movements of the body. For example, the third movement began with Sankai Juku dancers in sleeping fetal positions. As the music continued to play, the dancers went through a routine of sporadic movements involving kicking, thrashing, and spinning. Slow hand gestures and elegant body rolls followed these spasmodic movements. The shaved heads and white body makeup of the dancers enhanced the movements of the performance. Such movements leave the dances’ messages up for a wide range of interpretation. Throughout the performance, I attempted to connect the movements with the emotions they seemed to convey in order to find a central meaning within the dances. Previous readings from our English lecture described Butoh as “a dance of darkness,” which was influenced by the bombings and repercussions of WWII in Japan. Are the Butoh dances representative of the aggregate Japanese response to the traumatic events of the war?
Sankai Juku’s performance of UMUSUMA was startlingly moving. As a dancer and a former Tae Kwon Do student, I appreciated the immense physical control the performers displayed, as well as the melodious traditionally Japanese music that accompanied the performance. I’ve never seen a performance like this before, and was taken aback by the intense emotion displayed in the dancers gaping expressions and lethargic movements. The opening scene with the solo dancer dressed in stark white with sand pouring onto a similarly nude stage was a powerful entrance to the show. I also enjoyed the scene with four traditionally dressed Japanese dancers with green lapels, on the set with green background and a simply displayed blue light river down the middle of the stage. Both scenes emphasized the profoundness of simplicity that seems characteristic of Butoh. Both scenes made use of slow, deliberate movements using the entire expanse of the stage. The movements were quite repetitive, and without knowing more about the art form, I at times felt lost in the seemingly random steps and cacophony on stage. I think it is important to remember that the art form came out in post-war Japan. This context can serve as the basis for the tragic tone that the dance takes on. The dance seems to mimic a movement from death to rebirth, just as Japan began to redevelop after the tragedies of World War II. I felt as though the dancers embodied the idea that when you have nothing else, when you’ve been stripped of distinguishable physical characteristics around you and on yourself (the plainness of set and costume), you still have your soul. The performance seems to be an ode to that inner spirit, and the ability of expression and culture to persist through immense tragedy.
I saw the Sankai Juku performance to be one of many contradictions. Among the most interesting was the coordination and connection observed between members during the dance, with no physical contact and rare eye contact between them. This made me wonder about the lives of the dancers outside of the performance, in terms of how much time they spend together in rehearsal or if they spend time together outside of the Butoh dance. Another observed contradiction came to me in a note I made during the performance. I jotted down the phrase “moving sculpture,” which is an inherent contradiction because sculptures cannot move. However, this phrase was how I best described the phenomenon of the dancers themselves. I am curious to hear how others would describe the dancers, and try to explain how they managed such a fluid and connected performance while moving individually.
I thought the performance acted as a time machine, allowing viewers to travel back and forth at random through a human life. This was evident through the clockwise and counterclockwise spinning of the dancers, representing the forward and backward progression through time. They made circles in the dirt with their feet as they spun, creating a clock. Their foot acted as the hand of a clock, giving the illusion that as their foot made a rotation, time was progressing. Another visual symbol of time was the balance in the background. As the right pan fell further than the left, the music and movements were dark and intense, symbolizing death. When the left pan was further down, the performance brought viewers back to birth. I believe the performance also portrayed ideas of existentialism that tied to this idea of traveling through time. With existentialism, the world of the absurdity explains that at any given time during your life, anything can happen to you. This also gives us some explanation as to why the choreographer would have perhaps began at birth, shifted to death, and came back to birth again. In my opinion, the random order of the performance is a visual representation of the idea that we have no control over events in our lives or time itself.
We are able to see so many untraditional dance moves such as incredibly slow movements and gaping mouths that are unlikely to be seen in any other dance performances, but there is one thing that Butoh dancers never do, at least not in this particular performance – physical contact with each other. Why is that? I started wondering if there is a purpose behind this during the “Mirrors of forests”, where the dancers mirrored the ones on the opposite of the stage. The dancers had their arms extended forward with hands opened as if they were trying to grab the other hand in front of them. I interpreted this as a image of people trying but failing to reach their inner selves, who are what we see in mirrors, over and over again. When my mind is conflicted, I sometimes feel the inability to see clearly who I am and what I truly desire. To me, the “mirrors” portray the unsolvable inner struggles within us. With the use of white powder, the distinguishing features of each dancer are concealed. In a way, individualism is therefore diminished among the dancers as well. This implies that as humans, we are all fundamentally the same. The lack of physical contacts gives me the message that, even though we share the same cycles of life, go through the same trauma, and endure the same hardships, we are unable to reach and help each other. I walked out of the Power Center with the sense of helplessness and isolation lingering in my heart.
Dance as a moving art form very obviously requires attention to energy and its usage, but never before had I seen dance so inspired by energy itself. Each shift in body weight seemed to be a transfer of energy—conveyed to the very fingertips. Everything was centralized around how things flow together, and this concept was articulated through the dancers’ draped clothing, the steady stream of sand in the background of the stage, and the naturalistic inspirations behind the dance such as water, wind, blood, and organic growth. By the end of the performance I fully understood this energy since it had been discussed in so many different ways throughout the dance’s movements, and realized that gravity wasn’t the only force being discussed in Sankai Juku’s dialogue with gravity.
I also felt the presence of the electromagnetic force between the dancers and their environment, something most of us are familiar with through everyday dealings with static. This is a type of energy that compels objects towards one another and at the same time repulses them. The dancers never once touched one another, yet they were bound together in common energy throughout the entire performance. The dance’s movements were often grotesque, especially in the second movement where low grating screams were combined with dark, pulsing movements and gaping mouths. Despite this repulsive nature, Sankai Juku succeeded in pulling us in as an audience, physically not touching, but attracted through mutual rapture.
I was once told that contrast creates the greatest excitement and reaction from an audience, and that is exactly what the Sankai Juku Dance Group did. Multiple aspects of their performance played on this idea of contrast. However, the second movement, II All That Is Born, seemed to dance with opposing forces the most. In this section, four performers started grouped closely in the back left corner of the stage. They moved slowly, adhering to the laws of gravity. They then proceeded to spread out across the stage. Te difference in use of space cause the audience to lean back; they tried to absorb everything going on on stage. Their bodies shifted slowly at first, but occasionally they would jerk swiftly along with the music playing behind them. My eyes were drawn in every time the dancers made a quick movement. The use of space and speed as a means of opposition caused me, as an audience member, to be greatly enticed by what was happening on stage. This movement of the performance was unsettling, uncomfortable yet highly exciting and captivating. I believe this is due greatly to the contrast created on stage along with the choice of lighting and sound. Overall, as difficult as it was to grasp the concept of what was presented on stage, the mastery of contrast allowed for a wonderful performance.
I had hoped for more information regarding butoh prior to Sankai Juku’s performance on Friday night- I had personally never heard of that style of dance before. The documents and posts on the UMS website were helpful, but I feel that a more comprehensive post on the dance form would have helped me gain even greater perspective. Going into any performance, I think that it is vital to have some sort of background information- this allows one to appreciate the event to its fullest. Yes, you can connect to almost any piece emotionally even without some sort of understanding of what is going on, but just the smallest bit of information can transform how you view a performance and what you take from it.
My desire for more information aside, I was enthralled by the contrast between the synchronization of the dancers and the lack thereof. There was one moment during the “second act” of the show when the red clad men swayed together as if they were the arms of an underwater plant, rocked by the ebb and flow of the water. It was beautiful- I almost began swaying myself. However, there were also moments of individuality. The men in all white moved in circles around each other about midway through the performance and they all acted as the central node in their unique ways. Similarly, when the men in green were interacting with the water (or the blue light that I interpreted to be water), it was clear that they were doing so in an unsynchronized fashion. This allowed the unity of the body to become the focal point of the performance rather than the unity of a group of individuals.
After reading Annick Odom’s “Dialogue with Gravity: 10 Things You Didn’t Know About Butoh”, I was able to make a connection between the dance form and the observations that I had made during the show. Odom asserts that “butoh lived and died in a single performance” when it was originally performed. Dancers would spontaneously express what was already within them (Odom). No synchronization would have occurred in original butoh if it was performed spontaneously. Or, if it did occur, it would have happened without prior planning. Ushio Amagatsu’s butoh has added the harmony of synchronization to the original butoh style.
I can’t say I totally understood the performance by Sankai Juku. I have never seen anything like it. When I was reading Rachel’s blog post about her time in Japan, I really liked how she talked about her first experience with a Japanese performance. She said it made her realize that she’d only been exposed to a very small scope of literature. It’s the same with performance art. We’re confused by Butoh, I think, because it is so different from Western traditions. It’s very different from Western dance. In Western dance traditions, the dancer entertains the audience with leaps and jumps- things the audience probably couldn’t do themselves. For the most part, the Butoh dancers didn’t use their bodies in any spectacular way, except when they moved very slowly and showed spectacular control. It’s a different kind of entertainment. I think we might also be confused because there is no solid narrative. In the West, dances tend to accompany a story. Ballets definitely have stories. We are more comfortable with a performance if the meaning is laid out for us. In Butoh, the dance seems to be symbolizing something much bigger. I have no clue what that is, but I was able to enjoy the performance more when I stopped searching for one clear meaning.
There were a few satisfyingly entertaining moments, but my overall impression of Sankai Juku: UMUSUNA: Memories Before History was that of bemused boredom. The general reliance on shock value and lack of inherently impressive dancing left me unimpressed. Exactly three moments actually held my interest: When the original dancer first looks at the audience, there was a moment of self awareness which I enjoyed. When his solo ends with the entrance of red light, noise, and corresponding dancers, I jumped in my seat, and I can always respect when a performance elicits a visceral response. Finally, when the dancers interacted with the “water” on the stage, I appreciated the simple yet effective use of stage lighting.
That being said, I have been dancing competitively my entire life and am trained in or have performed the following styles: Ballet, jazz, lyrical, contemporary, tap, hip hop, bhangra, Bollywood, raas, and bharatnatyam. I know what is challenging for the human body. Furthermore, as captain of a dance team that does a variety of styles and performs with elements of stage production, I know what it takes to put together an entertaining show. As a dancer and consumer, it is part of my paradigm that a dancer’s/performer’s first and foremost responsibility is to entertain the audience. If an audience is collectively bored at any point while you are on stage, you have failed. The dance movements I witnessed on stage left me bored. I realize that it’s kind of “the point” of butoh to contrast with refined dance styles, but at no point did their movements, formations, speed, or prowess have me on the edge of my seat. I can appreciate that they spent tens of minutes doing ab exercises in front of me and that itself is challenging, but I was not entertained.
Moreover, I generally enjoy/appreciate shock value, but this performance seemed to rely on the strangeness of the dancers’ costumes, makeup, and expressions without backing it up with actual visible skill. I’m sure the dancers can do very impressive movements, but I never got to see them. The performance surely has value for those whose paradigm of performance differs from mine, but if you look for entertainment in dance this might not be the show for you.
Everything about the Sankai Juku group displayed unison such as their stark white skin, shaved heads, and matching costumes. All of these details were meant to help the audience from concentrating on the individuals characteristics of the dancers, but instead on the movement of the dancers. However, when it came down to the movement itself, there did not seem to be great cohesion within the group. The slower a dance is, the easier it is to pick up on discrepancies in the flow between performers. Butoh is an extremely slow dance and therefore it was very easy to tell if one person was slightly off from the rest of the group. There were many times in which the dancers had separate roles within their group, but most of the time the group danced as one. At least one dancer was almost always a little bit off during the group parts. I found this interesting because I’d have thought that group would concentrate more on being very cohesive. However, Butoh is also considered an inward to outward dance, where the dancers do not need to be taught the style. It exists within everyone and the dancers are supposed to use previous memories and experiences to release the dance from within them. When considering this, it would make sense for each of the dancers to all have slightly different styles because each dancer is basing their dance off of different memories/experiences.
Personally, I did not find the Sankai Juku performance to be particularly enjoyable. It took me a while to even process the situation and adjust myself to the general abnormality of what was happening on stage. I thought that the themes and the story could have been presented in a number of different formats that all would have been more effective. However, that being said, I can understand why this type of dance is respected and liked by some people, because I could see the meaning behind the dance itself, and I appreciated the message it was sending. I liked the theme of the travel from birth to death to rebirth, and the slow decomposition of living. The whole performance also makes more sense knowing that it was created as a post WWII/ post atomic bomb, which helps the audience connect the grotesque faces and themes to an origin. In conclusion, I am glad that I was given the opportunity to see Sankai Juku because it was an insight into another type of performance and it was interesting, but I don’t think I would see it again.
I had no idea this was TWO Christmas episodes! Imagine my surspire when it arrived! I thought it was just A Christmas They Never Forgot. Anyway, I have been a fan of this much-loved series for years. As kids, my bother and I grew up watching Little House on the Prairie and every Christmas I get him a DVD. I really think he’s going to like this. Every show is always perfect! Michael Landon set the bar of excellence so high that no one in the past 30 years has ever been able to even come close! These are the main cast members of this family-friendly series:Michael Landon (played: Charles Ingalls)Karen Grassle (played: Caroline Ingalls)Melissa Gilbert (played: Laura Ingalls)Melissa Sue Anderson (played: Mary Ingalls)Matthew Laborteaux (played: Albert Ingalls)Ketty Lester (played: Hester-Sue Terhune)Dean Butler (played: Almanzo Wilder)Victor French (played: Isaiah Edwards)Linwood Boomer (played: Adam Kendall)Richard Bull (played: Nels Oleson)Alison Arngrim (played: Nellie Oleson)Melissa Missy Francis (played: Cassandra Cooper Ingalls)Jason Bateman (played: James Cooper Ingalls)Rachel Lindsay Sydney Greebush (Carrie Ingalls)Wendi Brenda Turnbaugh (played Grace Ingalls) These are the 2 eps that this DVD incldues, with the original air dates show descriptions: Christmas at Plum Creek December 25, 1974The entire Ingalls family works (extra) hard to earn money for Christmas gifts. Carrie even finds a penny in an old hat box. Laura decides to trade Bunny to Mr. Oleson! Charles raises extra money, as well, by reconstructing a set of wagon wheels. Ma and Mary each take up sewing as their family contribution. And, on Christmas morning everyone gets the surspire of their lives! This ep is from Season One . A Christmas They Never Forgot December 21, 1981Mary and Adam come back to Walnut Grove (from NY) for a rare surspire visit. When the entire family is snowed in, everyone sits around the kitchen table and tells some of their fondest memories. And, one of the stories even includes is a Christmas clip from the Little House Original Pilot Movie, with Mr. Edwards! A Christmas They Never Forgot is from Season Eight . Merry Christmas!!!
usul aja nch buat manajemen coba seelski pemain korea Ahn Hyo Yoen yg g jd diambil persiba siapa tau cocok jd tandemx Julio Lopez. Sapa tau ntar kaya’ Park Juhn Hwan yg g produktif di Persiba malah bagus maenx di PSM
I’m in total agreement with Dan, above. I’m a ncoewmer to the uke, began with a cheap soprano which was ok for messing about but wanted more. I went for a concert because of my fat fingers, and got myself an Ashbury AU60 and I’m delighted with it. For a reasonable price the quality is spot on and the sound is first class.It’s a joy to play so, as I can hardly bear to put it down, my playing has improved rapidly. Perfect for the serious beginner.OverallSoundPlayabilityValue forLooksConstruction
Below is the set list from Wednesday evening. Thank you for attending this 15/16 UMS Jazz Series opening concert event.
Abdullah Ibrahim & Ekaya
Wednesday, October 21, 2015 at 7:30 pm
Michigan Theater
SET LIST
(Note: The below set list represents the concert repertoire, not necessarily in the order performed, as the order of pieces performed is determined in the moment by Mr. Ibrahim.)
All compositions by Abdullah Ibrahim, except where noted.
• Dreamtime
• Barakaat
• Peace
• The Balance
• Ishmael
• The Wedding
• Monk
• Skippy (by Thelonius Monk)
• The Mountain
• Nisa
• Mississippi
• Duke
• Sotho Blue
• In the Evening
• Tuang Guru
• Water from an Ancient Well
• Mindif
• Kalahari Pleiades
This was an incredible evening: Abdullah Ibrahim is a legendary figure in the world of jazz as well as the freedom struggle in South Africa. Tonight he performed a meditative, soul-searching set that called to mind the deep chords of Township gospel singing, the penny-whistle swing of 1950s Cape Town pop, and an improvisational spirit closely akin to Duke Ellington, Thelonious Monk (a composition of whose he performed at the end of his set), and Charlie Mingus. Along with his suggestive and resonant piano playing he was accompanied by a cadre of inventive, sensitive, dazzling side men. The concert was as much a pristine introduction to the pleasures of jazz improvisation as it was a valediction of how jazz has contributed to the culture of the past century–and how it continues to speak to our present and our future.
Gentle is not a word I often apply to jazz. I’m used to wild romps and more volume. Perfect for mid week. I was tired. Very soothing. A corner of jazz I seldom explore. Was reminded of a case on jury duty….driving on Ambien, they brought in the forensic scientists from Lansing to explain the chemistry. Anyway, made it home safely.
Terrific! What gorgeous phrasing and control of dynamics from both the orchestra and Mr. Barnatan. I loved the playful adventurous use of slightly over the top horns in a few paasages because, as the program notes so accurately describe, that was Beethoven’s spirit – sublimely beautiful jokester. Gilbert has brought this orchestra together to make real music. Thank you, UMS!
Hi Rachel, I really enjoyed reading your post! I worked with Pomegranate Arts over the summer as an UMS 21st Century Artist Intern, and encountered Sankai Juku’s work through that. I agree with your thoughts, and I wrote a preview post with your quote on [art]seen at Arts at Michigan. I hope you can check it out!
I saw “Antigone” and “All My Sons” on consecutive nights. On paper Sophocles is a genius and Arthur Miller is merely very good, but these two productions gave the opposite impression.
Our biggest problem was the poor sound. We only understood half of what was being said. If we hadn’t read the play we would have been even in worse shape. We sat in the fifth row and we would have been fine without the distorted microphone sound.
Still haunted by this amazing multi-dimensional production, a trance-like ritual framed by eclipses and sustained by powerful blasts of silence. Elements of Laurie Anderson, Judith Malina, Morton Feldman, Antonin Artaud and Jean Genet. Conventional pacing and well-oiled attention-sustaining techniques would have robbed it of the very magic that had us sitting stock-still throughout and delivering a standing ovation afterwards.
What a wonderful concert! I usually prefer my traditional music straight-up, the way you would hear it in a pub, but these are the world’s very best trad musicians playing just beyond the boundaries of the genre. I found it thrilling and beautiful and dreamlike. I hope that they will come back, and I hope that Nic Gareiss will be back again too. It wa a joy to see him perform.
I found a lot to think about in this performance. The set was interesting in itself, so was the off-beat beauty of the translation, and the actors were immensely skilled. I was constantly intrigued by the staging (the parallel between the rectangular door and the rectangular grave, the phases of the disk of the sun/moon). the way actors went in and out of the Chorus, the play between the classic and modern. But I wonder if it was meant to be so cerebral? it was that, even for me, and my companion was not unhappy to have seen it but puzzled. I was dismayed by the audience laughing at Creon’s line “the sacrilege that I call public policy”–which for me is the center of the play. There are many ways of thinking about the ethical dilemmas it poses–but the one that is most alive for me is: what is our responsibility as individual citizens of a state that does wrong? oppose it, yes–but is Antigone right to wreck her life? or is her absolutism the mirror of Creon’s, demonstrated by the collateral damage (Haimon, then Eurydice–). It’s pretty marvelous that the play works after 2500 years.
We walked out at intermission, The acting was superb, but the brutality on stage, as moved to the modern world, was sickening. Give me a beating or sword play any day, over drilling through hands or ripping flesh with a hammer’s claw.
It is hard enough to read about these black op practices in the press, but we don’t need to see it on stage.
Still haunted by this amazing multi-dimensional production, a trance-like ritual framed by eclipses and sustained by powerful blasts of silence. Elements of Laurie Anderson, Judith Malina, Morton Feldman, Antonin Artaud and Jean Genet. Conventional pacing and well-oiled attention-sustaining techniques would have robbed it of the very magic that had us sittiing stock still throughout and delivering a standing ovation afterwards.
The microphones were not set adequately. Could not hear 90 percent of the dialogue in the balcony. Ruined the whole play for me. I almost walked out. I was also underwhelmed by this play.
Most over pretentious, avant garde piece I’ve ever seen. Done at a funeral dirge pace. King Kreon actor goes from soft to shouting and there’s nothing in between. Didn’t understand what was suppose to be happening as it was presented on stage since the script seems thwarted by odd use of words; and the lighting and projected images are distraction and leaves one to wonder how they fit into the story. If you want to know what the play is suppose to be about and mean, read about it in the program-then skip the show.
I wonder whether or not this was a deliberate decision. I feel that in general the performance was made less emotional than it could be. It is clear that at the end of the play, where Creon was suffering, it was the director’s intention not to let the audience to sympathize too much with this character. The music became louder and somewhat more energetic and vivid, and the last scene showed that no one on stage sympathized with Creon either.
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It was unfortunate that Anne Carson kept the word “liver” in the description of Eurydice’s death and that the production didn’t change it. In Greek, the liver is an organ of emotion (in Aeschyus, “Many things touch the liver” in a heartbreaking passage about deaths in war), but in English, the line is too anatomical and sounded funny.
I liked the performance overall, but that line did elicit a large laugh on Thursday night, which was unfortunate.
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It was unfortunate that Anne Carson kept the word “liver” in the description of Eurydice’s death and that the production didn’t change it. In Greek, the liver is an organ of emotion (in Aeschyus, “Many things touch the liver” in a heartbreaking passage about deaths in war), but in English, the line is too anatomical and sounded funny.
Thank you! This is exactly how I felt. I was sorely disappointed and saddened that I payed twice as much for a student as last year’s prices. I can only imagine how those in the audience who payed full price felt. I’m looking forward to seeing other performances put on by UMS that are quality and not overhyped, flat, and pretentious renderings of classical theater.
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Good advertising and the hype will keep the audiences clapping for 4 nights in a row, but this is a rather underwhelming performance, if you ask me. Far flung in its distortion of the spirit of the tragedy and blithely comfortable with its ignorance of it, it offered neither a challenging modernization of the piece, nor a sensitive rendition in a classical vein. Stale, slow paced, and predictable, this piece is made for the people who go to theater because of the social prestige associated with it, not because they can recognize and demand artistic excellence. Classics seem boring and trivial, great heroes come off as pusillanimous stock characters, and the catharsis is debased to sentimental pap for the retirees and self-conscious professors. Creon’s character is completely trivialized (and he looks like Hitman!), depriving the performance of one pole of dramatic tension (without which there is no tragedy proper), and turning it into a sleazy, good girl vs bad guy “narrative”, which, of course, “Antigone” is not. Less advertising and better quality next time, s’il vous plait.
This was a disappointing production. The acting was flat. The pacing was slow. The (mildly interesting) back screen projection did not connect thematically to the show, particularly to the underutilized corporate office-style set. People were laughing at Creon’s pain (to be fair, he was wallowing on the stage like a 3-year-old pitching a fit) and Eurydice’s suicide (because of the line about the liver). The messenger’s delivery was monotone and insubstantial as comic relief. This play has so much to offer, and it was painful to see this production miss the mark so broadly.
This was a disappointing production. The acting was flat. The pacing was slow. The (mildly interesting) back screen projection did not connect thematically to the show, particularly to the underutilized corporate office-style set. People were laughing at Creon’s pain (to be fair, he was wallowing on the stage like a 3-year-old pitching a fit) and Eurydice’s suicide (because of the line about the liver). The messenger’s delivery was monotone and insubstantial as comic relief. This play has so much to offer, and it was painful to see this production miss the mark so broadly.
I also was impressed that the lack of a chorus was replaced, if I am correct, by slow motion film clips of the Dutch recovery of their dead in Ukraine, based on the hint in the program notes. Subtle yet powerful.
It was unfortunate that Anne Carson kept the word “liver” in the description of Eurydice’s death and that the production didn’t change it. In Greek, the liver is an organ of emotion (in Aeschyus, “Many things touch the liver” in a heartbreaking passage about deaths in war), but in English, the line is too anatomical and sounded funny.
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I do not regret buying a ticket and seeing Antigone. It is a worthwhile experience. That said, this is not a production I like. The translation is too casual, parts of the set (bookcases, faucets) are barely used or not at all, video behind the actors seems mostly unrelated to the action, and the loud vocal music at the very end also seemed out of place. The acting is good (though the actors are VERY hard to hear) as we expect but the text causes them to utter lines that produce laughs when the moment is tragic. Yes, some laughs break the tension appropriately early on, but in the last 10 minutes, no – this is a tragedy.
Actually, the miking was a director’s decision from the beginning and I don’t think it had anything to do with the cast’s abilities. (I heard this from Kirsty Bushell at the panel.) She didn’t explain why, but I think he wanted the peculiar sonic distance. I wasn’t sure I liked it, but it was a deliberate effect.
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The updated script was lively. I disagree that Creon’s character was trivialized — on the contrary, he was made fully human in his complexity. This was NOT a simple good vs bad rendition,not the least because Creon was brilliantly played… and, unfortunately, because Antigone was not. Binoche does not have the powers required of a stage actress. She played Antigone in an old, melodramatic style that did not match the other performances or the script.
On the up side, the updated script offered up humor, wonderfully delivered via The Guard. On the down side, Binoche clearly couldn’t project (it was downright painful when she tried), leading the whole performance to be miked. This seriously detracted from the strength of the production itself, which overall was visually stunning but sonically stilted.
O.K. Big world events still occur around celestial events such as eclipses. The Supermoon eclipse brought the Pope, the leader of China, and V. Putin to our shores, plus the Speaker of the House tendered his resignation. I drifted in to a big dream that the crew of the U.S.S. Enterprise took jobs at a dotcom and I was waiting for the Google bus to take them all home to the Mission at the end of the day. I think they would have stuck to antiquity at the Thurber Theater in Columbus.
Superlative acting. I found the relationship between the projections and the play unclear and, at times, distracting. Even by classic tragedy standards, script was a bit plodding at times, especially Creon’s extended mea culpa at the end. I regretted that there were titters, but I suspect they reflected that.
I do not regret buying a ticket and seeing Antigone. It is a worthwhile experience. That said, this is not a production I like. The translation is too casual, parts of the set (bookcases, faucets) are barely used or not at all, video behind the actors seems mostly unrelated to the action, and the loud vocal music at the very end also seemed out of place. The acting is good (though the actors are VERY hard to hear) as we expect but the text causes them to utter lines that produce laughs when the moment is tragic. Yes, some laughs break the tension appropriately early on, but in the last 10 minutes, no – this is a tragedy.
The updated script was lively. I disagree that Creon’s character was trivialized — on the contrary, he was made fully human in his complexity. This was NOT a simple good vs bad rendition,not the least because Creon was brilliantly played… and, unfortunately, because Antigone was not. Binoche does not have the powers required of a stage actress. She played Antigone in an old, melodramatic style that did not match the other performances or the script.
On the up side, the updated script offered up humor, wonderfully delivered via The Guard. On the down side, Binoche clearly couldn’t project (it was downright painful when she tried), leading the whole performance to be miked. This seriously detracted from the strength of the production itself, which overall was visually stunning but sonically stilted.
Good advertising and the hype will keep the audiences clapping for 4 nights in a row, but this is a rather underwhelming performance, if you ask me. Far flung in its distortion of the spirit of the tragedy and blithely comfortable with its ignorance of it, it offered neither a challenging modernization of the piece, nor a sensitive rendition in a classical vein. Stale, slow paced, and predictable, this piece is made for the people who go to theater because of the social prestige associated with it, not because they can recognize and demand artistic excellence. Classics seem boring and trivial, great heroes come off as pusillanimous stock characters, and the catharsis is debased to sentimental pap for the retirees and self-conscious professors. Creon’s character is completely trivialized (and he looks like Hitman!), depriving the performance of one pole of dramatic tension (without which there is no tragedy proper), and turning it into a sleazy, good girl vs bad guy “narrative”, which, of course, “Antigone” is not. Less advertising and better quality next time, s’il vous plait.
Evolution? Development? Future? Can we be confident that these “developments” – great old orchestras accompanying movies and providing sound pageants at sports events — WILL secure a future for something resembling what we call classical music? Are we seeing a new young audience replacing the departing one at concerts?
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At Lincoln Center, by pure chance, my seat was next to the conductor’s mother (different conductor). Even with that uplift, Mr. Gilbert created as high a high as he appears to be the heart and embodiment of the future of orchestral presentations. The UMS is tracking perfectly with this evolution. Thank you. Thank you for letting us hear in person what excellent developments are occurring. David R. Bruegel
I attended the On The Waterfront /NY Phil event on Sunday the 11th – the orchestra was exciting to experience, my first time ever for the NY Phil and with one of the greatest American films ever made accompanied by Bernstein’s thrilling original film score. I couldn’t miss it. A mostly very fine experience – but, why the decision to have a 20 minute intermission in the middle of a 108 minute film containing only 45 non-continuous minutes of music? Not for the musicians’ sake surely. This was a great disservice to the film, the filmmakers, and the film-goers; it was never meant to be viewed with a big break in its middle, which couldn’t help altering the tension being built throughout the film. It was pretty startling I have to say. yet, Bravo to the NY Phil, a thrilling job.
At Lincoln Center, by pure chance, my seat was next to the conductor’s mother (different conductor). Even with that uplift, Mr. Gilbert created as high a high as he appears to be the heart and embodiment of the future of orchestral presentations. The UMS is tracking perfectly with this evolution. Thank you. Thank you for letting us hear in person what excellent developments are occurring. David R. Bruegel
I’m still shaken up from yesterday’s screening of “On the Waterfront” accompanied incomparably by the New York Philharmonic, “Thanks” is an inadequate expression of my gratitude to all who conceived, planned, and implemented this stupendous show!
Thrilling performance by NY Phil at Hill Auditorium yesterday afternoon, 10/11/2015. “On the Waterfront” is an experience I wish every American could enjoy, and hearing it accompanied by the NY Phil a once in a lifetime pleasure, for sure! So glad this opportunity was possible for so many appreciative concert goers in Michigan. I traveled 2 hours to Ann Arbor on a beautiful sunny October day, enjoyed a picnic lunch on a park bench very close to the auditorium, with free parking close-by. Saw an American classic movie, while I listened to Leonard Bernstein’s original score played by one of our world’s finest orchestras. Thank you U of M for providing such a rousing welcome for this fine orchestra, and thank you NY Phil for the excellence and respect you bring to your work. Awesome performance!
Saw “On the Waterfront” yesterday and was blown away. The social commentary of the times, the hypnotic performance of the actors exceeded my expectations. A super treat was the lecture prior to the show, only negative “not enough room”, standing room only, but well worth standing for lecture! Orchestra played exceptionally, would have loved a few numbers as an encore.
I lived in New York from 1971-76 and went to several NY Philharmonic concerts then. One of those was conducted by Leonard Bernstein. So I feel a connection with the NY Phil. Friday night’s concert at Hill was amazing. The Lindberg piece was the most accessible work of his I’ve ever heard. Barnaton was brilliant in the Beethoven Piano Concerto 1. But the Beethoven Seventh Symphony was a revelation. I’ve never heard such a thrilling performance of this work before. Absolutely, absolutely an amazing concert. Sunday’s concert performance of “On the Waterfront” was also one I will probably never forget.
I thoroughly enjoyed the pre-concert talks which gave me insight into how a film score is written and performed. I had no idea. Also, I had never seen On The Waterfront, and it holds up surprisingly well. I appreciated the compromise needed to have a live orchestra (subtitles and the inaudible dialogue at the most dramatic moments) and the behind the scenes work needed to come up with the score: thank you for the program notes! All in all, an excellent (and educational) way to spend an afternoon.
Well, to paraphrase Yogi Berra, The movie was good and the music was nice also. Sure beats an afternoon watching football. I think it was the first time I watched On the Waterfront straight through. Bravo!
Every note was fabulous. The blending of sounds in that hall was pure honey. The EP Solenon LA Variations -ingenious and extraordinary! Experience of a lifetime.
The performance was not what I was expecting. It was a lot more abstract and avant-garde than I prefer. If I had known what type of music they would be playing, I would have not purchased a ticket. I suffered through 3/4 of the show and then left a very disappointed patron. I have been a patron for many years and this was my first disappointment in a performance. I had traveled to Ann Arbor from E Lansing, which doubled the disappointment.
Opinions about music and everything else differ, but I enjoyed the LA Variations a great deal, and I agree that Alan Gilbert’s opening comments were very helpful. I can see that it might not be to everyone’s taste, though.
As for aging hippies, do they look more pretty and interesting if they are wearing formal clothing? I’ve been attending concerts in Ann Arbor for years and I can honestly say I don’t pay any attention to what others are wearing, but I understand that it could be a bit of an adjustment. I hope that it won’t interfere with your enjoyment of future concerts.
Welcome to Ann Arbor!
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I am new to area and thought I would like to hear beautiful music and experience the “Boston” of the midwest. Truthfully, the first production was discordant, raucous, audacious, and should probably be called LA traffic. Thankfully, the mini seminar provided a better insight into the piece.However, I would not elect to hear it again. The skill of the orchestra is truly amazing and worth the ticket price. It wad disconcerting to see how poorly dressed the audience was….there is nothing pretty or interesting about aging hippies. The ushers were better dressed! I hope this casual code is not a prediction of my future in AA.
A satisfying concert! The Salonen work invites one into a wonderland of exotic marvels. Astonishing tone colors and textures arouse one’s curiosity and draw one into undreamt of neighborhoods. Often the textures are thick, and in this performance the sound level was as high as it was the previous evening so that one is hard pressed to make out what is being varied in these Variations. Maybe re-hearing the work from time to time will make it more transparent. I look forward to the chance to do so.
The Strauss work was well performed except for the many unfortunate exaggerations of dynamic highs. (One gets the impression that this orchestra and conductor lie in wait, like a cat before a mouse hole, for a chance to let loose without restraint whenever the dynamic marking remotely allows it.) The result is that people who are unfamiliar with this music will not be able to decipher such passages. On the other hand, many calmer passages, such as the final pages of “the hero’s death” were played with uncommon grace and touching sensitivity thanks in large part to the remarkable solo playing by the concertmaster.
One more thing. The audience seemed grateful to Mr. Gilbert for his introductory remarks about the Salonen work. If conductors spoke to the audience regularly, many listeners would be helped to focus their attention and come away with an enriched concert experience.
I am new to area and thought I would like to hear beautiful music and experience the “Boston” of the midwest. Truthfully, the first production was discordant, raucous, audacious, and should probably be called LA traffic. Thankfully, the mini seminar provided a better insight into the piece.However, I would not elect to hear it again. The skill of the orchestra is truly amazing and worth the ticket price. It wad disconcerting to see how poorly dressed the audience was….there is nothing pretty or interesting about aging hippies. The ushers were better dressed! I hope this casual code is not a prediction of my future in AA.
The performance was amazing!! It was a bit hard to hear what the conductor was saying at the beginning from the rear balcony. I was very disappointed to see multiple students playing on their phones in the row in front of me during the Strauss piece. One woman was playing a video game with the sound on. It would have been great if someone had been standing where they were when we entered, so they could have intervened, or the auditorium could implement some other rude patron prevention strategy. I considered throwing my program at her but didn’t want to cause a ruckus. #turnthephoneoff #veryrude The music was amazing.
The air was thick with excitement in Hill Auditorium at the end of last evening’s concert. Cries of ”mind-blowing” and “awesome” flew from aisle to aisle. Never have so many stood up in fervent gratitude for bliss beyond words. And others, fewer in number, left in a mixture of sadness and indignation.
The concert began with a score by Lindbergh on which the ink was not yet dry. Its noise level and thumping, crashing rhythms suit it best as the background music for a sword fight between Attila the Hun and Genghis Khan. We might have been spared this in favor something more interesting.
Let’s now consider the very end of the concert. I don’t mean the witty rendition of The Victors or the conductor’s donning a MICHIGAN cap, which he will surely wear during THE GAME this afternoon, but rather the last movement of Beethoven’s Seventh. No one has ever claimed that this is Exhibit A of subtlety. Right, it’s modeled on a simple country dance, a Middle European 19th century dance in which peasants, tipsy from an excess of new wine, whirl their sweethearts around on a swept barn floor. But Mr. Gilbert’s substitution of presto furioso for Beethoven’s Allegro con brio doesn’t do the trick. This is no longer a dance. And once again, no note was played a mere forte; all evening long fortississimo – fff — was the conductor’s message to the orchestra. While the rhythms of the movement were thrust home to us in unvaried thump-thump-thumps, the brass choir “clarified” the harmonies with alternating bursts of tonic and dominant, tonic and dominant, tonic and dominant. As for the opening of the work, there, too, the band lost an opportunity for displaying a gem – the introductory sostenuto section prior to the vivace. There’s nothing more satisfying than a quiet, lingering suspense being released into happy song. But if you start too fast, then the contrast is lost and the audience the poorer for it.
I cringe to write this, but the sensibilities in the hall last evening were those of the football stadium, where fans can hear the awesome NYPhil brass choir again this afternoon.
PS Oh, I almost forgot to mention that Mr. Barnatan, our pianist, won a prize last evening. No one can play that concerto faster or glitzier than he, and no one has ever played a longer cadenza. Congratulations.
What a pleasant way to spend a Friday evening. The acoustics of the Hill never fail to amaze me. Mr. Barnaton and the Philharmonic played superbly and even the up-tempo 7th was rich and exciting. I’ll take a venue like this any time. Thanks UMS.
Terrific! What gorgeous phrasing and control of dynamics from both the orchestra and Mr. Barnatan. I loved the playful adventurous use of slightly over the top horns in a few paasages because, as the program notes so accurately describe, that was Beethoven’s spirit – sublimely beautiful jokester. Gilbert has brought this orchestra together to make real music. Thank you, UMS!
I had not heard Inon Barnaton before tonight, even on a recording. His performance tonight instantly converted me into a huge fan. Beautiful, sensitive, nuanced playing. The entire concert was wonderful! Thanks.
The piano concerto was lovely with its subtleties. I was sitting way high up in the balcony. The horns were loud – a little blatty in the Symphony. Maybe it was where I was sitting? Amazing to hear those two Beethoven pieces played so well. This was not the best concert I have heard at Hill but very enjoyable.
Today’s master classes were terrific! Talented UM students learning from dedicated professionals while we, the audience, sat in awe at the insights and their immediate implementation. Thanks to Carter Brey and Tim Cobb for memories that will last longer than one year!
Extremely talented musicians that play beautifully together. Felt slow for long periods. Enjoyed overall though for the uniqueness of the music. Loved the piano player for his talent and his passion.
I love traditional Irish music, but the avant-garde, improvisational nature of their performance was not really my cup of tea. However, I am always in awe of virtuosity, and they were absolutely amazing in that respect. Bravo!
I found the piano player’s affectations distracting, and his wine drinking throughout the performance rather disturbing.
What a privilege to hear new music created. Their ease and facility with their instruments made every note special. I’ve followed this group since its inception, and was SO happy to be able to hear them in my own back yard. Thanks, UMS Programming staff, for bringing them to me.
Indeed! Please invite again. The music (instrumental, spoken, and sung), musicianship, and ensemble interactions were captivating … and I just finished a night of the deepest dreams I’ve had in quite a while — more of the kind I have after one of the dance companies’ performances.
I’ve already shared their Youtube link of “Saoirse” with a number of friends and family.
The Gloaming are aptly named and broke into my interior only the way the gloaming does. Thank you, [The] Gloaming guys (and Nic) and UMS!
Where we sat it was not too loud (row x) but the piano was dominating—when I was a kid banging on the piano like that would earn a tongue lashing.
I liked the experimental music, but at those times when the piano was being pounded it destroyed the group feel, with most of the other instruments disappearing. Overall, the sound was adequate, but could have been better, which is sad because these fine musicians were doing so much that did not come through.
A treat was seeing Nic Gareiss dance, he showed great musicality!
I wouldn’t call it “dream music”—-much more energetic and grounded in traditional Irish music than that. I loved the dynamic range and interplay between the instruments. The virtuosity of all was thrilling…and the dancer was a particular treat. Martin Hayes was the heart of the group, from the sweetness of the slower passages to his blazing dance tunes. The concert felt like an Ark performance in its informality and spontaneity (that’s a compliment).
Wow, what an amazing sound they created!! Every note is so special. I was especially impressed by the sound of piano, very very soft to full strength, etc. etc. Also traditional aspect of music is always important to me, expressing the continuation of humanities through music and poetry. I enjoyed their small talks between music.
I wonder about the amplifying the sound, too. If it is essential for them or not, because every sound was so beautiful and amazing, including the stepping shoes! (Although the shoe sound might be harder to hear to the back audience.) I want to hear them in a smaller venue next time if I have a chance.
I mean…it was Audra McDonald. It was not just a concert, it was an experience because she lived every song as if she was doing it from the show. I laughed when she told her stories and when she sand “I’ll be here” I cried WITH her cuz she had a tear rolling down. She’s simply the best, and has the Tony’s to prove it. Plus she told me I had a nice smile MID-CONCERT…I almost flew out of my seat in delight. She’s awesome sauce!
We drove all the way from Harrisburg, Pennsylvania to see her! (Ok..we had some other business to tend to at the University but we made sure it coincided with Ms. McDonald’s performance). She was absolutely wonderful !!! She “brought the house down” with Maybe This Time !
Our evening with Audra was magical. She is so engaging and personable and has such a beautiful voice. We thoroughly enjoyed every minute of the Concert.
Audra McDonald is a marathon runner…62 cities and she sounds that good. I particularly like that a lot of students were in the audience. She inspires them, they inspire her. I heard several people say they were going for ice cream afterwards…Perfect first show at Hill.
Audra really is the queen! What a beautiful concert taking us through such a diverse compilation of musical theater repertoire. I love how much context she provides to each of her songs and her voice is second to none. Thank you Audra and UMS!
I have had the pleasure of seeing Audra 6 times,…each an incredible experience. She is the consummate musical theatre actress, with a voice that will send chills up and down your spine. I will NEVER miss any of her performances as long as I am on this planet because they all bring me supreme joy with her love and commitment to her music. She doesn’t ever just phone in a performance, she lives and recreates each and every lyric. I hope she reads this, because it certainly is a tribute to her amazing talents… thanks for coming back Audra… simply put… WONDERFUL!!!!
With her incredible understanding of what drives the human soul, Audra lifted the hearts of an entire audience and inspired every person in the room to be a kinder and more loving being. This was the most compelling concert I have ever seen. Thanks to Audra and to UMS for making this possible.
I had never seen her perform before and was absolutely blown away. An amazing talent. One of my favorite performances ever. And I have to say, one of the most charming performers I’ve seen.
Airborn and wheels up on another UMS season….Audra McDonald a flawless take off. Decided to take UMS’s advice and wore an Hawaian shirt. Still warm at the equinox….lots of students in the balcony including a large contingent from B.G.S.U. Down the road a little over an hour. They knew our friend Doug who was a voice professor there and went to many Many UMS performances before he died the other year. Audra was glad to be with us and toshare in the delight of being the only university arts presenter to recieve the Natl. Medal for the Arts this year. Everyone seemed to enjoy the evening and heading for ice cream.
Thank you UMS for another absolutely lovely evening with Audra McDonald! She was her typical beautiful, talented, gracious self & it made for an unforgettable night!
Raising the stage would definitely be a good idea!
Other than the viewing issues, this was a high-energy, fun performance! What an incredibly powerful voice, and such a fresh musical approach!
The enthusiasm and intensity of Shara Worden, and the Detroit Party Marching Band were SO infectious! Great show — Thanks, UMS!
This was not a club it was a visual happening and thus should appreciate that everyone might like to see what the performers are doing. Vertically challenged is a strange description for people, it has no real meaning for a concert. The tall people are just rude and grabby, kind of like those that scramble for the candy out a pinata.
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What a total riot! An incredible band, an incredible party, and overall just exactly what my end-of-week called for. Club shows aren’t spectator sports, so I wasn’t bothered about the lack of visibility or the vertically ambitious rockers in the front row. 😉 I was super appreciative of the dance floor, the nice drinks, and all the friendly faces. Thanks UMS!
Absolutely true! We would really like to see someone with theater experience set this venue up better or move it elsewhere.
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Second what others said: fabulous performance, poorly arranged for seating / viewing. Especially disappointing because of Shara’s great visuals. We were among those who stood on chairs in order to see. But would like to see more edgy performances in this venue, with more thought given to viewing arrangements.
Second what others said: fabulous performance, poorly arranged for seating / viewing. Especially disappointing because of Shara’s great visuals. We were among those who stood on chairs in order to see. But would like to see more edgy performances in this venue, with more thought given to viewing arrangements.
Great show! It was nice to see Shara’s versatility in her set. She is an amazing talent – one to watch. We have a relationship with the Party Marching Band and knew they had toured with My Brightest Diamond in the Netherlands and also performed in Detroit with her. But we had not seen them together, live. It was an interesting collaboration. I too, would have liked to have seen the concert in a better space. But enjoyed the food and drinks available and the downtown space. Loved the varied ages of the crowd!
What a total riot! An incredible band, an incredible party, and overall just exactly what my end-of-week called for. Club shows aren’t spectator sports, so I wasn’t bothered about the lack of visibility or the vertically ambitious rockers in the front row. 😉 I was super appreciative of the dance floor, the nice drinks, and all the friendly faces. Thanks UMS!
Would have been nice to be able to see-interesting how over and over again the tallest people go in front. What is that all about? Fun show, intersting music. way too small a space for the number of people though – raise the stage?
Loved the show and the Party Band. It would have been much more enjoyable if the audience had a better view of the performers. Some members of the audience had to stand on chairs. We pretty much settled for no view. Not sure there was a stage but if there was one it should have been taller.
Home is where the tooth brush stands But you can ppahres argue that you have different levels of home ; you will never loose home as where you grew up, but you also have other homes where the feeling of homeness hits you the moment you walk through the door.
My Dad is AMAZING isn’t he?! I don’t know what I’d do withadout him — it was actuadally his idea to book a videoadgadraadpher — I was dead set against it at the start if you rememadber bucseae I couldn’t find any non-cheesy wedadding films out there! I can’t really conadvey how pleased and in awe I am at this video. And again I still can’t believe it’s mine! And I can’t believe it’s makading peoadple cry!! *blush* And yes, about the fire at the casadtle. I keep imagadinading what would have hapadpened if our wedadding had been booked a few weeks later! I’m sure we would have coped — but I applaud those who are havading to go through the comadmoadtion of movading things around at very short notice! Not an easy thing to cope with I’ma0sure! I’m woradried I’m going to watch this movie too much and get bored of it! But it brings back so many memadoadries — and plus watchading it means I kind of get to relive the day again — which I am so yearnading to do! Oh if only it were posadsiadble!a0x
I hate wedding lists with a paossin, particularly the ones where the cheapest item is a cheese slicer for a332. And if you dare to buy the slicer, you are openly declaring that you’re a tight-arsed/povvy git.Perhaps the hosts think that a wedding list is a fair exchange for a three-course meal in pleasant surroundings. I’ve no idea.
“Hope no one drops one of their Compact Fluorescents and spills the mrcruey inside…”The phosphor lining is fairly hazardous too, as there are usually several slightly radioactive compounds in it as well. These aren’t the light elements that are low powered and typically inert (like your tritium powered night sights, which are a mildly radioactive isotope of Hydrogen), but the heavy metal types that shrink your ‘nads and give you cancer.The ballast can be an issue too, though they are supposed to be solid-state, with no PCB oils in them, but most of these units are built (shocker) in China, famous for adding ethylene glycol to your toothpaste! Who knows what’s going into them?Finally, it is indisputable that the garden variety CFL is far more an energy hog to produce in the first place.I’ve been experimenting with some CFL lamps in my house, and my own observations are leading me to a couple of conclusions: The first is that the more expensive branded units are far better in terms of service life. Don’t believe for a minute that the store-branded ones will last you 15 years or whatever their claims are. The best I’ve done with one in continual burn is about 3 years. The second is that with multi-bulb fixtures, the parallel arrangement of the loads tends to reek havoc on the ballasts of the second or third bulb from impedence drop. The short of it is, they burn out quickly.Most importantly, CFL lamps SUCK at color rendering, making everything look sick or artificial. Can’t wait ’til they go the way of the Dodo bird.
With apologies to Jimmy Stewart and Ralphie Parker, this is my fotraive Christmas movie of all time. If you are reading this because you have never seen Christmas Vacation , stop right now and go to the video store and rent it. Then come back here and order your own copy because you’ll want to watch it over and over again each holiday season.The undisputed gem of the National Lampoon Vacation’ series, the plot can be summed up very simply: idealistic family man Clark Griswold wants to host the perfect old-fashioned fun family Christmas. As all of us idealistic family men have discovered, there is no such thing as a perfect holiday, and that just about sums it up. The appeal of this film is that we can all relate to the disasters that holidays can become, regardless of how well-meaning we are and how hard we work to achieve them. The cast is terrific. Chevy Chase and Beverly D’Angelo (Ellen) are back as the Griswolds, with Juliette Lewis and Johnny Galecki assuming the roles of Audrey and Rusty. John Randolph and Diane Ladd are Clark’s parents, while E.G. Marshall and the ultimate mother-in-law, Doris Roberts are Ellen’s parents. Nicholas Guest and Julia Louis-Dreyfuss are Todd and Margo, the yuppie neighbors. William Hickey and Mae Questel (the voice of Betty Boop and Olive Oyl) nearly steal the show as Uncle Lewis and senile Aunt Bethany. Randy Quaid does steal the show his cousin-in-law Eddie is one of the all-time great characters in recent comedy history.The self-inflicted situations that befall Clark in his holiday quest are peppered with memorable dialogue and slapstick, yet believable enough to bring flickers of recognition to most viewers. Witness his mishaps on the roof putting up the lights; getting trapped in the attic; spending his Christmas bonus before he gets it; dealing with his snooty neighbors; and getting hilariously tongue-tied at the lingerie counter and being remarkably eloquent when he gets his bonus . Admit it. We’ve all been there.A holiday movie should be one that holds up to repeated viewings, and this one does. Besides the excellent cast and the familiar situations, there is a great score by Angelo Badalamenti (Twin Peaks), the animated opening credits sequence, and some fine tunes such as Hey Santa Claus by the Moonglows! There are numerous little touches that you might not catch the first several times check out the shape of the packages in Mr. Shirley’s office when Clark gives him his gift, and see what happens to the light bulbs Clark puts in the cart at the Wal-Mart.I suspect, like in our home, Christmas Vacation has become a sort of institution in many homes each holiday season. We like to get together with friends to watch it, with everyone dressing as a character from the movie. We eat green jello with cat food in it, stand and join in the Pledge of Allegiance and the Star Spangled Banner, recite the lines along with the characters, and give thanks that our holidays are at least a little better than the Griswolds’.
Dude, helping ppolee is one thing but at some point we need to charge some $ for some of the services, otherwise we can’t help anymore. Helping ppolee via coaching creating all the material takes a lot of time. To offer all this to you, we need a programmer, a videoeditor, a journalist etc. and all ppolee wanna be paid because they have to feed a family.Btw. there is free stuff at our blog, quizmodule newsletter. This FREE info gets you started and points you into the right direction.
LOL! We were practicing vliion during Earth Hour too! We did not have the slick headlamps though, we just lit the old-fashioned candles. Natta thought it great fun to practice by candlelight but when she almost dipped her scroll in the flame of one candle, I think my heart stopped for a minute. She is only three after all! 😉
The New Boyfriend badge is now avaialble and it only goes to my hhsegit tipper, if they can maintain there boyfriend status for a period of time (see boyfriend page)Also now available is the Christmas Badge tip 600 tokens and get yourself a special prezzie from your princess! Happy Holidays!
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Oh, I love these pictures. They are so pecfret for Sundays in my city : ). I am ever so glad you linked up Jen! Hope your week this week is just as pretty as last week : ) Stay as warm as possible!
mugam vovse ne turecki.uje, uje vse berut tolko s nimi botrcoa kak? podat v sud? ili chto. nam nujno posilnee bit esho ne takoe budet.propaganda nujna silneyshaya na ves mir.
Hahaha! I agree, I can’t believe sooemne paid for this, but at the same time I can’t believe how well it works well you know, for a string quartet imitating helicopters.
My partner has an etsixing custody order in place dated 2006. The mother has full custody and access is to be agreed between the parties.We need the orders to be changed as two of the children now live with us (15 and 18) but there is still a girl (8) who lives with the mother but we cannot see her as the mother does not allow it. Long story.I want to lodge an initial application with the Family Law Court Brisbane. Do I also need to lodge an affidavit?
I tried taking a look at your wtbeise with my cellphone and the design doesnt seem to be right. Might want to check it out on WAP as well as it seems most cellular phone layouts are not really working with your web page.
Do youve got a spam concern on this irenntet site; I also am a blogger, and I was asking yourself your situation; weve got developed some great techniques and we are looking to swap options with other people, be certain to shoot me an e-mail if planning to pursue.
I am thrilled with your world class array of performances and contributing volunteering is so fulfilling and gratifying,Deciding what performances to select is daunting due to extraordinary choices.It is an honor and privilege to be part of UMMS.I can hardly wait for the season to start..
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LOVe the variety of performances every year! So thankful for the UMS series
It was simply delightful: the dancing, the choreography, the expressions with the masks. What was particularly enjoyable was hearing all the children around us belly laughing at the three sisters trying on the shoe.
I was introduced to two works this afternoon that I had never heard before – the first and the last on the program. I love that — hearing something new to me, but not new in the world. How often does this happen? Sure, we hear new stuff at concerts but it was written day before yesterday, and so, of course none of us has heard it. But there are many treasures of the past that some of us can still discover afresh, and this can makes concert going all the more exciting – if it happns often enough! Let’s all express our appreciation when novelties of this kind are programmed (in addition to well-performed chestnuts.)
One often thinks of Mozart as a composer of sweet, straightforward tunes that go easily into the ear and that one can hum while taking a shower. This Adagio is neither simple nor hummable. But Mr. Goode gave it transparency and brought out lines that might have gone unheard. I’ll see if I can find it again on YouTube.
In the second movement of the Beethoven he started speeding up, and he continued to play at headlong tempos in the Brahms; I’ll eat my hat if old Johannes intended that velocity. It’s a lamentable trend. I wonder whether artists are flattering some real or imagined culture-wide impatience. But playing music faster than intended is like being taken to the Louvre or the Uffizi and having only 5 seconds in front of each painting. (“Did you like the Mona Lisa?” “Was that the female head two paintings ago?”) A pianist friend put it this way: “Brahms needs more space.” Very true. On a different point, another pianist said the sonorities in op. 76 are too homogeneous to play the whole thing at once; some pieces: yes, but not all of them. After all, it’s not a suite.
The Debussy was top-notch — everything in its place. All the humor accounted for. The Humoresque — clearly Schumannesque “handwriting” – strikes me as a bit longer than absolutely necessary; I’ll wait patiently to hear it again. Which proves that not everything that’s new to you is equally worth getting to know. Or, to put it more crassly, some works are justly neglected.
But how about that programming, ranging from the late 1700s to thee early 20th century? Did we hear a single orchestral program this year or the previous or the one before that that ranged so widely?
Season adjourned. See you in September. Some good stuff coming up.
I was disappointed. An interesting program but difficult to pull off in this environment. To my ears, Hill Auditorium is just not an appropriate venue for piano recital. From where we were sitting, (row J stage left), the sound was remote, with a cold metallic quality. Having heard Mr Goode in more piano-friendly venues, I’m guessing it wasn’t his playing that was at fault! I know UMS wants max attendance but there are much better “rooms” in the immediate vicinity.
Richard Goode’s program was ambitious in an artistically subtle way. The pieces he performed are some of the lesser performed works and for the most part, required a – for lack of a better word – childish innocence. I’ve often been told that you can only play Mozart well if you are either a child or an elderly person. There must be something about middle-aged people that’s too complicated for the purity expressed in Mozart. In Richard Goode’s rendition of the Mozart, I heard a youthful innocence with the maturity and intellect of an adult. The combination was quite special.
Another difficult aspect of Mozart is that it is stripped down to the core. There isn’t much grandeur or technical flourish to “hide” behind, unlike Liszt or Beethoven, but Mr. Goode didn’t need anything to hide behind. From the opening phrase, he garnered the audience in with an intimacy that made me feel like we were having a personal conversation. With every sforzando, I felt a jab in the chest – as if he were telling me about a sad experience. It was amazing how the rubato, essentially an imperfection in the pulse, could be used so tastefully to make it a perfect artistic gesture. Unlike mediocre pianists, the ends of phrases were attended to just as carefully as their peaks. Seeing a lone pianist on such a big stage made the experience that much more memorable for me. Sure, the massiveness and overwhelming presence of a symphony is something indescribable on its own; however, by the end I felt as if I had experienced pure joy, harrowing ordeals, and sadness. It was an interestingly introspective encounter that I think I owe to Mr. Goode’s willingness to make himself vulnerable as both a person and performer in order to provide this magical experience that’s so hard to come by.
The Beethoven was a stark contrast from the Mozart. The lyricism in the first movement made Mr. Goode’s sound come across as more vocal than percussive and the phrases were beautifully contoured. In moments where he came out of a forte section followed by a suspenseful break, and re entered with a piano sound were like walking into an enchanted forest. There was a sense of wandering throughout that kept me emotionally engaged throughout. The final movement ended with a refreshing rush of vitality. Some of the chords that ran up the register reminded me of Beethoven’s Emperor Concerto and especially in those instances, Mr. Goode really seemed to dominate the piano.
When he returned on stage for the Brahms and began to play, it seemed as if he had aged 20 years. The expressiveness of the sound was so experienced and packed from the purity he had shown us in the previous pieces. From the full textures to the articulations, his unlimited range of emotions was evident. My favorite was the last Intermezzo because of how he brought out the richness of the beautiful harmonies. The moments of key change were like flowers blooming. I also liked the final Capriccio for how uninhibited and raw it was.
But my favorite piece from the entire program had to be Debussy’s Children’s Corner. I played parts of it when I was younger, but I could have barely recognized them because they were so masterfully played – no one would have guessed they were for children aside from how humorously Mr. Goode played them. Despite the repetition in Doctor Gradus ad Parnassum, the momentum was continuous and played with so much conviction. There were parts in The Snow is Dancing where the repeated notes in his right hand seemed to be talking and an unbeatable spirit dominated through Golliwog’s Cake-walk. The only childish aspect of it all was the unpredictability and excitement during the performance.
The Schumann was a thought-provoking way to conclude the unique program. It reaffirmed my opinions that Mr. Goode is truly an artist that understands that music is more than an admirable performing arts, but that it is human expression and communication. At the cost of his comfort, I was able to experience the multi-faceted nature of human emotion and experienced a reflective evening that I will not forget.
The performance of the Lyon Opera Ballet of Cinderella was very enjoyable, amusing and innovative. I loved the choreography especially because it veered somewhat from traditional balletic choreography to expose the playful and funny aspects of body movement in dance. The costumes were wonderful further highlighting the comic version of a new Cinderella. I would go to see the performance again and again and I wish them even greater longevity! Triple Kudos!
Once again, I was treated to a delightful experience of amazing creativity! The dancing was graceful as ballet can be, but also acrobatic at times. The audience gasped as Cinderella bounced down the stairs where she left her slipper.
Enjoyed the performance very much — it was creative and a unique take on the familiar story. The masks might have given me nightmares when I was a child, but I liked them a lot today!
I do find myself wondering why it is that a very small but annoying portion of the audience does not seem to think that the “no cell phones” and “no photography” rules apply to them. There were 3 or 4 people in my line of vision today. the ushers could not have gotten to them without disturbing everyone else even more, so I don’t fault them at all. Oh well… I still enjoyed my afternoon!
My guest was most impressed! Weird in a good way. Reminds me of opening ceremonies when the French host the Olympics. If Boston chickens out I hope 2024 will be in Paris. Good to see the flip-side of Disney. One Final Jeopardy question was blah blah blah so & so from De’ Isgnee France….& the answer was Who is Walt Disney. I’d love to go back to France….the Euro is about par w the Dollar. Great dancing!!
Once again, I was treated to a delightful experience of amazing creativity! The dancing was graceful as ballet can be, but also acrobatic at times. The audience gasped as Cinderella bounced down the stairs where she left her slipper.
I was drawn because I am interested in new expressions and UMS has been good for me in finding them around the world. Also I am a committed francophile, and so it did not hurt that it was a group from Lyon. The performance was great! I loved seeing how expressive the dancers were in masks, and then loved seeing them remove their masks at the end.
I like the jazz offerings….Chucho Valdes….also Joshua Redmond & the Bad Plus. ….. Of course Wynton M. & Jazz @ Lincoln Center Orchestra. Theater looks strong. Symphonically muy bueno though I would like to see my hometown Cleveland Orchestra. Looks like a lot to discover!
Love’s Labours Lost was fabulous. You never get this close to the faces, the emotions, etc. You’e actually on stage with them.
And the acting was peerless.
What’s more, the clean-up crew found my wife’s lost glove.
Thanks!
The Michigan Theater did not turn off the lights during the introductory remarks. Theater goers continued to talk, walk around, stand up blocking the view of the screen so that those of us who wanted to learn from the presentations about the relationship of the two plays and the reasons for setting it after WWI were unable to hear. Requests to the ushers were ignored. It’s important that this oversight be rectified in the future.
I thought the music making and improvisation was brilliant, but I must admit, I never experienced the real spine-tingling magic that I was expecting. I wish they would have played more and talked less. They might have found the sweet groove that can make you smile for a week.
They have earned the right to have a little fun on stage, but the empty pocket shtick got old and the over-the-top mutual admiration was just not necessary. I was almost embarrassed.
Yes, it was definitely cold in there. We were uncomfortable the whole time and probably would have left if the music had not been so superb.
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Of course they were wonderful, as expected, though I thought the programming could have been more diversified. But it doesn’t matter to me much any more how great the performances are in Rackham because after 30 minutes it gets to be freezing in there. I can feel cold blasts of air on me. Many people have complained about this over and over for years, yet UM and UMS continue to do nothing about it but smile and shrug their shoulders. Since most attendees at chamber concerts are older, it’s even more of an issue than it should be. As a result, I and others are less able to enjoy performances, and the situation becomes not only an insult audience members, many of us regulars, but to the performers. I’m tired of the situation and of the UM blithely ignoring its patrons, and will probably cut back on how many concerts I go to there.
Of course they were wonderful, as expected, though I thought the programming could have been more diversified. But it doesn’t matter to me much any more how great the performances are in Rackham because after 30 minutes it gets to be freezing in there. I can feel cold blasts of air on me. Many people have complained about this over and over for years, yet UM and UMS continue to do nothing about it but smile and shrug their shoulders. Since most attendees at chamber concerts are older, it’s even more of an issue than it should be. As a result, I and others are less able to enjoy performances, and the situation becomes not only an insult audience members, many of us regulars, but to the performers. I’m tired of the situation and of the UM blithely ignoring its patrons, and will probably cut back on how many concerts I go to there.
Since taking my son on campus visits on the east coast I continue to be thrilled with the sumptuous cultural opportunities in AA. Unparalleled in my view. Thanks UMS!
The performance was a great experience for me. The dynamic range of the musicians was unexpected – especially since almost all of the time all four were playing. Vasks was particularly delicious, since I rarely dig contemporary works.
I agree with the previous comments. I was most fascinated by Vasks and Dvoràk, but also liked the Tchaikovsky. This was a great concert, which made me miss my hometown Berlin – though it’s amazing to go to such a concert on campus in Ann Arbor. Thanks to UMS and the sponsors for bringing them here.
The Artemis Quartet performance Sunday afternoon at Rackham–exciting, emotional, vibrant. The dynamic range (ppp to F and Szf, etc)–astounding. The Rackham, a perfect venue, showcased the best of this force in the chamber music world. If you missed it, sorry.
There is composition in some jazz, and then there’s making it up on the spot. Lots of interesting textures, polyrhythms, melodies made on the spot. They are both legends in their own right and it was intesresting to hear their different approach. I’m guessing some of the crowd that didn’t like this probably also hate when they both played with Miles in the late 60s. It often had little structure. It’s hard to explain jazz to someone who doesn’t play music. There are always the superficial fans that want the hits!
It is true that the Dvorak was one of the highlights of the concert. However, everything that Artemis did was exquisite, whether or not you had a favorite piece. It was amazing to see a group that is really in their “sweet spot”. They have played together long enough to truly think with a “group mind”. However, they still have the fire and vigor of a younger group of musicians. Other younger groups have played at Rackham, and they have the abandon that often characterizes such groups, but sometimes it overshadows their musical maturity. Artemis is able to bring everything at once, very special to be able to experience this.
These three works couldn’t have been in better hands. The Artemis players are without exception superb instrumentalists. What balance!
It might have been wise to play these three quartets in the reverse order since the Vasks and the Tchaikovsky pale by comparison with the Dvorak as regards inspired musical invention.
One can’t help smiling (or giggling) at the Vasks’ narrative and imagistic aspirations described in the program booklet — complete with a lighthouse, repeating life cycles, and sundry other fixin’s. But at least we now know what was on his mind as he composed. The first movement is dramatic, busy, and sounds as though it is supposed to tell a story with its quick shifting moods and motifs – but what story? The second is a touching, keening lament.
Tchaikovsky’s Quartet #1 is just not one of my faves. It’s pleasant enough, and, as one of my cousins used to say, it ain’t gonna kill ya to listen to it. But not much happens. I’m reminded of a comment Tchaikovsky once made about Brahms. “His music,“ he said, “is like a pedestal without a statue on it.” Seems am apt verdict on this work, which is not representative of the greatest melodist of the 19th century. (But, again, not to mislead anyone, the second movement andante cantabile owes its beauty to a folk song.)
The Dvorak, of course, made up for anything that was less than gripping: every movement a delight!
As soon as this concert was offered I knew that I needed to see these two masters of piano and jazz on stage together, just the two of them. Anyone who knew that it was just a duet surely would have understood that they were about to hear something unique, personal, and masterful. We were witness to new music, improvised, and unique to this one night and audience, never to be heard again. I was moved by Gayle Moran’s performance. I felt privileged to be present.
For those expecting to hear the usual, to quell their need for familiarity, to feel comfortable hearing the same tunes these men have played over and over and over for the last 45 years, 45 years people! did not understand the possiblities of the night.
Without a doubt, one of the most amazing musical expressions that I have ever witnessed….what a blessing to have been in that room. It is a rare treat to be in the presence of such genius…
Wow what grumps! I’m a little surprised by the folks who were expecting classical jazz music at the Hill… what they gave us was what they’ve been doing as magic together since before I was born! Just check out you tube with the chronicles of their style and contributions. Art is expressive for both the player and the listener, keep live performances live. As for timing, some of us from the East could not pass through the crowded hospital and power center traffic – who knew AA on Thursday would be so gridlocked!
I was personally blessed with both joy and tears throughout the night! I was overwhelmed when Gayle shared “Someday my prince will come”… Your prince has come, and continues to shine!
Keep supporting music of all forms and styles. It’s the freedom we share!
I do believe some of these people miss the point in jazz improvisation. Improvisation is what jazz is all about. That’s what Chick and Herbie do so brilliantly. Here’s 2 of the masters performing in front of you, “bare bones”, letting their audience witness how this highly crafted art is done in it’s infancy. “In other words “from nothing”, and creating it on the spot. It’s a fine art! If anything was read off of sheet of music it was very minimal. If any of you who are complaining about how they did this then try doing it yourself and see how well you fair. Maybe then you might have some appreciation for how wonderful they pulled it off.
It was fun for a while but not coherent art. Clever and technically brilliant but not satisfying. Had I known this was designed for their personal enjoyment more than ours, I would have stayed home. Even my jazz fanatic husband agrees.
I do believe some of these people miss the point in jazz improvisation. Improvisation is what jazz is all about. That’s what Chick and Herbie do so brilliantly. Here’s 2 of the masters performing in front of you, “bare bones”, letting their audience witness how this highly crafted art is done in it’s infancy. “In other words “from nothing”, and creating it on the spot. It’s a fine art! If anything was read off of sheet of music it was very minimal. If any of you who are complaining about how they did this then try doing it yourself and see how well you fair. Maybe then you might have some appreciation for how wonderful they pulled it off.
It was a very interesting concert, and I actually agree with *all* the comments. It was totally awesome to hear two geniuses playing off each other, but it got rather boring after a while. As did other listeners, I began to wish for a bit more emotional content and melody.
Here is Thursday night’s set list from Hill Auditorium on April 16, 2015:
Improv #1
You’d Be So Easy To Love (Cole Porter)
Synth Improv #1
Lineage (Chick Corea)
Someday My Prince Will Come with special guest Gayle Moran (Larry Morey/Frank Churchill)
Maiden Voyage (Herbie Hancock)
Spain (Joaquin Rodrigo/Corea)
Thanks for participating in the online post-concert conversation.
I wholeheartedly agree. My first time seeing either one of the giants should not have left me scratching my head or wanting some of my money back. $90 a piece for two tickets to that “concert” didn’t leave me wanting for more. It left me wanting for something in the first place.
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Though Herbie Hancock and Chick Correa are clearly masters of Jazz, this experimental format was not interesting after the second time around. My wife and I see jazz concerts regularly all over the country, but this was not what we were expecting.
Hopefully the next concert they do will take a different approach.
It was junior high band rehearsal…a format concert-goers should have been apprised of before spending such “good” money. I’m not a musician but it just as well could have been me on stage with either–or both, of them.
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Agree with some of the sentiments above. Saw Chick with John Mclaughlin few years ago, and Herbie with his combo a decade ago. I much prefer band arrangements, or at least a coherent program. Jazz is already an esoteric art, so free form improvisation between two masters on the same instrument trying to simultaneously play backing and solo components was too much for me. These guys have obviously earned the right to tour in any format they want, but I would not go again.
My husband and I were disappointed. We came to hear some oldies, but goodies i.e. watermelon man, chameleon, etc. What we heard was a lot of piano keys , being played a bit scattered.
What a tremendous disappointment. I was expecting to be wowed by these two greats, but the experience was far from moving–too much seemingly improvised. Where was the sheet music? They kept joking about not having it, but there were sheets on stage. I didn’t want to watch two musicians “conversing” with each other the entire night. I wanted them to converse with the audience too, and, for me, that meant something a bit more conventional. No Chameleon? Come on!
Though Herbie Hancock and Chick Correa are clearly masters of Jazz, this experimental format was not interesting after the second time around. My wife and I see jazz concerts regularly all over the country, but this was not what we were expecting.
Hopefully the next concert they do will take a different approach.
THE Worst jazz performance I had EVER seen at $125pp! Don’t get me wrong: jazz is not on my list of favorite genres but I indulge because sometimes artists excite me with a hit that compels to dance a salsa or greystone or something. My boyfriend is a whore for jazz; he hated last night’s performance.
I was disappointed in the first half of the concert. I think a lot of people went to the concert remembering the old music of Chick and Herbie. The first half of the concert was just a cacophony of of good piano playing but with very few, if any, memorable rifs. Herbie’s accompanyment of Chick’s wife was memorable in that it let Herbie be Herbie.
The encore was the best piece of the concert. It had some semblance of a melody and this fusion of the two players made great sound.
Agree with some of the sentiments above. Saw Chick with John Mclaughlin few years ago, and Herbie with his combo a decade ago. I much prefer band arrangements, or at least a coherent program. Jazz is already an esoteric art, so free form improvisation between two masters on the same instrument trying to simultaneously play backing and solo components was too much for me. These guys have obviously earned the right to tour in any format they want, but I would not go again.
The concert was incredible. Parking was deplorable. Coming from out of town I had no idea it would take me 50 minutes to park coming from a restaurant 5 minutes away. The beauty of those runs and the vocalist were worth the frustration.
My husband and I were disappointed. We came to hear some oldies, but goodies i.e. watermelon man, chameleon, etc. What we heard was a lot of piano keys , being played a bit scattered.
Amazing concert in the very hard to manage duet format. Chick and Herbie are two of the few remaining living jazz masters and I felt fortunate to watch them interact and hit all the right keys. Jazz is improvisation and may be hard to swallow for some. Artists have to be given some leeway to explore their art to keep it fresh. There is a definite kinship between the two of them. Buy the greatest hit CDs if you strive for familiar tunes.
What a tremendous disappointment. I was expecting to be wowed by these two greats, but the experience was far from moving–too much seemingly improvised. Where was the sheet music? They kept joking about not having it, but there were sheets on stage. I didn’t want to watch two musicians “conversing” with each other the entire night. I wanted them to converse with the audience too, and, for me, that meant something a bit more conventional. No Chameleon? Come on!
Though Herbie Hancock and Chick Correa are clearly masters of Jazz, this experimental format was not interesting after the second time around. My wife and I see jazz concerts regularly all over the country, but this was not what we were expecting.
Hopefully the next concert they do will take a different approach.
Great concert. The electronic interlude probably hit some of us who wish Herbie never found the vocoder I the 80s. The two of them have a special magic together no matter what they were doing…
That was a rare performance….maybe not what some undergraduates had bargained for….Wow, there are so many true jazz aficionados in the area. I hope we can come together like Herbie & Chick to support our jazz on public radio. Word to ourselves, try to be on time though!
Music Maestro, Please – Allie Wrubel, Herb Magidson (1938)
Wenn ich liebe brauch dann geh` ich zu – Pauline Jim Cowler, Fritz Rotter (1928)
Let ‘s Do It – Cole Porter (1928)
Marie Marie Marc – Roland Johannes Brandt (1931)
Frauen sind so schön wenn sie lieben – Erich Plessow, Bruno Balz (1936)
I’m In The Market for You – James F. Hanley, Joseph McCarthy (1929)
Wir sind von Kopf bis Fuß – Friedrich Hollaender, Friedrich Hollaender (1930)
Stormy Weather – Ted Koehler, Harold Arlen (1933)
Mein Gorilla – Walter Jurmann, Bronislaw Kaper, Fritz Rotter (1933)
Heartaches – Al Hoffman, John Klenner (1931)
Ich frag Madame Walter – Jurmann, Bronislaw Kaper, Fritz Rotter (1931/1932)
I Got Rhythm – George Gershwin, Ira Gershwin (1930)
Du hast mich nie geliebt – Will Meisel, Fritz Rotter, Otto Stransky (1929)
Ich steh mit Ruth gut – Fred Raymond, Robert Gilbert (1928)
Concerto For Trumpet – Harry James (1942)
Was That the Human Thing to Do? – Joseph Young, Sammy Fain (1931)
Bilbao Song – Kurt Weill, Bert Brecht (1930)
Love Thy Neighbor – Mack Gordon, Harry Revel (1934)
Some Of These Days – Shelton Brooks, Shelton Brooks (1927)
Who ‘s Afraid Of The Big Bad Wolf? – Frank Churchill, Ann Ronnell (1933)
Wie hab’ ich nur leben können – Friedrich Hollaender, Robert Gilbert (1932)
Millions Of Kisses – Peter Maurice, Jos.Geo.Gilbert (1932)
Coubanakan – Moises Simons Sauvage (1936)
Over My Shoulder – Harry Woods (1934)
Dein ist mein ganzes – Herz Franz Lehár Fritz Loehner-Beda (1929)
Dort tanzt Lulu – Will Meisel, Will Meisel (1931)
Oops!… I Did It Again – Max Martin, Rami Yacoub (1999) (recorded by Britney Spears)
Gib mir den letzten Abschiedskuss
Music Maestro, Please – Allie Wrubel, Herb Magidson (1938)
Wenn ich liebe brauch dann geh` ich zu – Pauline Jim Cowler, Fritz Rotter (1928)
Let ‘s Do It – Cole Porter (1928)
Marie Marie Marc – Roland Johannes Brandt (1931)
Frauen sind so schön wenn sie lieben – Erich Plessow, Bruno Balz (1936)
I’m In The Market for You – James F. Hanley, Joseph McCarthy (1929)
Wir sind von Kopf bis Fuß – Friedrich Hollaender, Friedrich Hollaender (1930)
Stormy Weather – Ted Koehler, Harold Arlen (1933)
Mein Gorilla – Walter Jurmann, Bronislaw Kaper, Fritz Rotter (1933)
Heartaches – Al Hoffman, John Klenner (1931)
Ich frag Madame Walter – Jurmann, Bronislaw Kaper, Fritz Rotter (1931/1932)
I Got Rhythm – George Gershwin, Ira Gershwin (1930)
Du hast mich nie geliebt – Will Meisel, Fritz Rotter, Otto Stransky (1929)
Ich steh mit Ruth gut – Fred Raymond, Robert Gilbert (1928)
Concerto For Trumpet – Harry James (1942)
Was That the Human Thing to Do? – Joseph Young, Sammy Fain (1931)
Bilbao Song – Kurt Weill, Bert Brecht (1930)
Love Thy Neighbor – Mack Gordon, Harry Revel (1934)
Some Of These Days – Shelton Brooks, Shelton Brooks (1927)
Who ‘s Afraid Of The Big Bad Wolf? – Frank Churchill, Ann Ronnell (1933)
Wie hab’ ich nur leben können – Friedrich Hollaender, Robert Gilbert (1932)
Millions Of Kisses – Peter Maurice, Jos.Geo.Gilbert (1932)
Coubanakan – Moises Simons Sauvage (1936)
Over My Shoulder – Harry Woods (1934)
Dein ist mein ganzes – Herz Franz Lehár Fritz Loehner-Beda (1929)
Dort tanzt Lulu – Will Meisel, Will Meisel (1931)
Oops!… I Did It Again – Max Martin, Rami Yacoub (1999) (recorded by Britney Spears)
Gib mir den letzten Abschiedskuss
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Will the actual program be posted somewhere? I’d love to have a list of the pieces they performed so I can find them on Youtube/iTunes.
I saw Max and the Palast Orchestra the last time they were here, so it was very good to see them again. Hope they keep Ann Arbor on their agenda. Now I’m off to shop for more of his CD’s, as I did last time they were here. This was such fun.
Excellent program. To produce an intimate performance in a large auditorium was an amazing feat. Max Rabbe has a great voice and stage presence highlighted by his deadpan commentary. The musicians of the Orchester are very talented. Their ability to shift positions, instruments and perform solo showed that they are excellent performers. Hope they are brought back soon. A pre-performance lecture would be great.
My first time at the Hill Auditorium because this was the furthest east appearance for this year’s Max Raabe & the Palast Orchester USA tour. Fabulous performance, but, would have thought that UMS would have scheduled a pre-performance talk as was done at George Mason University last year or at least encouraged the audience goers to dress in the spirit of the 30s.
This is the second UMS presence of the group. First one was a couple of years ago….Except “Lulu”, this program was different, which come as a new surprise….Their first DVD is worth watching as well. Stunning performance of a music era somewhat forgot . Last but not least, the great sens of humor of Mr. Raabe. Excellent performance.
A fabulously entertaining show! His deadpan humor had the audience laughing throughout, and the final song was spot on! There is something so special about the Big Band sound which just makes you want to dance. My sister hired a live “Big Band” for her wedding reception back in 1982 and we danced the night away. I was reminded of the event last night. Bring them back next year!
Really wonderful showmanship. I was thoroughly enthralled by the range of Max Raabe’s voice and the musicians abilities to shift positions, instruments and configurations. The lighting and staging were elegant and illuminating, setting moods and tones without being overbearing or calling attention to technics.
I had a friend who toiled well over a decade to earn a PhD in German. He said one day he stumbled over the shortest book ever written, Five-Hundred Years of German Humor. Well, Max Rabbe proved him wrong. The deadpan commentary was spare and hilarious. The Orchester was very talented too. I fear I mentioned a long time ago in a Lobby post that I sat and watched Lawrence Welk in pajama’s with footies with a small bowl of popcorn every Saturday. The encore could have been David Bowie’s Golden Years…My memories of Europe are clouded with bad pop music at the discotheques. The real music came beforehand, Das Ist Der Deutscher Puntlieschkeit!
Hi, Mark Jacobson from UMS Programming here. The set list from Gilberto Gil’s solo concert on Saturday, April 4, 2015 at Hill Auditorium is below:
GILBERTOS SAMBA
Aos Pés da Cruz (Marino Pinto and Zé Da Zilda)
Você e Eu (Carlos Lyra and Vinicius de Moraes)
Tim Tim por Tim Tim (Haroldo Barbosa and Geraldo Jacques)
Rosa Morena (Dorival Caymmi)
Desde Que O Samba É Samba (Caetano Veloso)
Rio, Eu Te Amo (Gilberto Gil)
O pato (Jayme Siolva and Neuza Teixeira)
Doralice (Dorival Caymmi)
Abraço no Bonfá (João Gilberto)
Abraço no João (Gilberto Gil)
Gilbertos (Gilberto Gil)
Carinhoso (Pixinguinha; lyrics by Braguinha)
Máquina de ritmo (Gilberto Gil)
Milagre (Dorival Caymmi)
Eu samba mesmo (Janet Almeida)
Chiclete com Banana (Jackson do Pandeiro and Almira Castilho)
Meio de Campo (Gilberto Gil)
Desafinado (Antônio Carlos Jobim and Nilton Mendonça)
Eu Vim da Bahia (Gilberto Gil)
É Luxo Só (Ary Barroso)
Thank you for joining the post-concert conversation!
Many thanks for your nice remarks! We at the Chicago Symphony Winds are appreciative of the sophisticated and welcoming audience at UMS. We, as you, were especially delighted to have our dear colleague Liz Tiscione, Principal Oboist of the Atlanta Symphony, join us for this performance. The other repertoire you speak of is wonderful, and we hope to present it in future seasons. HONK.
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Mozart was never at a loss for musical ideas. He could toss off a brilliant quartet while he was waiting for the breakfast toast to pop. So he rarely ever had to use the same material twice. But both of these works served him again in composing string quintets; he knew when he had a good thing. Indeed. they are both gems.
The performances were luminous and gorgeous – transparent as only wind ensembles can be. Everyone I spoke with loved the first oboe especially.
So, these works and the performances could not have been more satisfying.
But in this space we never talk about programming; we seem to treat this as a taboo topic. Well, here goes.
Much as we’d hate to let go of either of these Mozart works, would you have preferred a stylistically somewhat more diverse program — works that were not written a mere few years apart? Many other composers have written wonderful stuff for winds. Would you perhaps have liked to hear something by Dvorak or Richard Strauss or even Stravinsky or Poulenc along with one Mozart Serenade – and saved the other for next year? Honk if you vote yes.
This concert was a real treat! After years of listening to their recordings to hear and see them in person was inspiring.
Mr Denk, the man is a Wizzard in full command of his craft, there was so much joy in his playing it’s almost as if he could have willed the piano to play on its own.
The only done side to this lovely concert in this lovely hall were the two students seated a few rows behind me and to my right.
I heard every word of their whispered conversation during every second of the performance.
Isabel, I agree with your review. I also loved the second movement. I thought that his contemplative approach to the Bach really came through in this section. In that regard I thought that his Goldberg Variation encore was spectacular (and my most enjoyable part of his performance).
I also concur that the tempi were troubling to me, at first. My initial reaction was tempered, however, as the movements continued. I found the each tempo helped to drive the energy of the piece faster and harder. I guess that the speed grew on me and that I ended up finding what was, at first, jarring, to be exhilarating.
I had to wonder: would Mr. Denk’s playing be as thoughtful and engaging as his writing? He certainly surpassed my hopes, to say the least. The opening movement of the Bach concerto was nothing short of breathtaking. There was a contagious energy that was viscerally stimulating throughout the duration of the performance. Bach is difficult in that sense – to add a dimension of emotional appeal without tarnishing its paradoxically complex simplicity. But Mr. Denk played with such a conviction that undoubtedly did the concerto justice.
Each individual melody was attentively crafted, and delivered with eloquent contour. He was clearly aware of the homophony as shown through his well-executed decisions to bring specific lines to the forefront of his sound. The only aspect that I didn’t fully agree with were the tempi, which seemed rather fast in the quicker movements, but it was relatively minor and didn’t present much of an issue.
The second movement was contemplative and introverted in just the appropriate ways. It was sensitively played, yet uninhibited in terms of artistic flourish and expression. He didn’t fall into the tendency to polarize Bach by either oversimplifying it, or unnecessarily complicating it. Personally, it was my favorite movement – although the final movement was also phenomenal.
There was a relentless focus as Mr. Denk played the last movement. The result was a more channeled, directed energy which reflected in the intimacy of the ensemble. Unlike many concerto performances, the soloist didn’t seem to be isolated but rather a featured member of the group. The result was a special effect that was especially memorable during an interlude in which the orchestra held various harmonies under Mr. Denk’s technical passages. The members of the Academy of St. Martin in the Fields only augmented the performance with their seamless ensemble. Not to mention, their sound was incredibly full and satisfying without any excess thickness or residue that enabled them to create the intimacy of a string quartet while delivering the depth of sound of a bigger orchestra.
For me personally, the most admirable thing about Mr. Denk tonight was his dual role as both a soloist and ensemble director. His depth of understanding for the music was enviable and his unique musical intelligence really shone through today’s performance. Tonight, I left Hill Auditorium very inspired as a pianist.
Great concert though I am a bit of an “original constructivist” here: Tony Scalia move over! I loved Denk’s playing and the strings’ playing, but I prefer a harpsichord for the combination. My favorite pieces were the Stravinsky Concerto and the encore from the Goldberg Variations (Denk *solo*). Bought the GV CD afterwards, have to stack it up against Glenn Gould. This guy (Denk) is really serious!!
I had not seen or heard of Jeremy Denk previously. Hearing him play the Bach concertos on a concert grand brought a vitality and excitement to the concert that was the experience of a lifetime! His exquisite and powerful rendering of these concertos blended perfectly with the string orchestra, as no rendering on original instruments could hope to achieve. The evening was positively thrilling!
A most elegant and satisfying concert, imaginatively programmed. It’s fascinating to watch the changing tastes in approaches to Bach playing, from the revolution (at the time) of Glenn Gould, through the original instrument movement, and now to Mr. Denk, who brings scholarship infused with passion and incredible pianism. I heard things in these pieces that were new to me. The orchestra’s grace, polish and seemingly effortless ensemble gave all the music a winning immediacy.
I really enjoyed the concert especially the Bach and as others have mentioned an interesting contrast ! I though Mr. Denks playing was very energetic and respectfully playful. One could see he was having fun up there and certainly had a command of the music. In closing I thought he really portrayed the musicality of Bach in a manner that most other performers are unable to do!
Hello–this is Shannon Fitzsimons from the UMS Education and Community Engagement Department. The Academy’s group encore this evening was the final movement from Mozart’s Divertimento in D. As my colleague Mark mentioned, Mr. Denk’s encore was the 13th variation of J.S. Bach’s Goldberg Variations.
I had to wonder: would Mr. Denk’s playing be as thoughtful and engaging as his writing? He certainly surpassed my hopes, to say the least. The opening movement of the Bach concerto was nothing short of breathtaking. There was a contagious energy that was viscerally stimulating throughout the duration of the performance. Bach is difficult in that sense – to add a dimension of emotional appeal without tarnishing its paradoxically complex simplicity. But Mr. Denk played with such a conviction that undoubtedly did the concerto justice.
Each individual melody was attentively crafted, and delivered with eloquent contour. He was clearly aware of the homophony as shown through his well-executed decisions to bring specific lines to the forefront of his sound. The only aspect that I didn’t fully agree with were the tempi, which seemed rather fast in the quicker movements, but it was relatively minor and didn’t present much of an issue.
The second movement was contemplative and introverted in just the appropriate ways. It was sensitively played, yet uninhibited in terms of artistic flourish and expression. He didn’t fall into the tendency to polarize Bach by either oversimplifying it, or unnecessarily complicating it. Personally, it was my favorite movement – although the final movement was also phenomenal.
There was a relentless focus as Mr. Denk played the last movement. The result was a more channeled, directed energy which reflected in the intimacy of the ensemble. Unlike many concerto performances, the soloist didn’t seem to be isolated but rather a featured member of the group. The result was a special effect that was especially memorable during an interlude in which the orchestra held various harmonies under Mr. Denk’s technical passages. The members of the Academy of St. Martin in the Fields only augmented the performance with their seamless ensemble. Not to mention, their sound was incredibly full and satisfying without any excess thickness or residue that enabled them to create the intimacy of a string quartet while delivering the depth of sound of a bigger orchestra.
For me personally, the most admirable thing about Mr. Denk tonight was his dual role as both a soloist and ensemble director. His depth of understanding for the music was enviable and his unique musical intelligence really shone through today’s performance. Tonight, I left Hill Auditorium very inspired as a pianist.
We agree with Music Lover that Sunday’s performance of the Chicago winds was superb….it was; proving again the power of up close and personal performances.
This was a superior concert for many reasons. For Marian and me, however, sitting in the middle of the second row and just 15 feet away from the closest musicians, we were able to sense their joy in performance in a way that made these pieces come alive. It is wonderful to witness in such an intimate way how dedicated artists engage with each other during a performance and how they seem to have such a good time with the music.
Richard Douglass & Marian Horowitz
Clever program – Baroque and neo-Baroque. We need clever programs.
The tempi in the Back were on the fast side. But mostly Mr. Denk made them work.
The St. Martin group is a miraculous ensemble. Played the rhythmically complicated ballet score with balance, virtuosic compaactness, and subtle colors (also in the Concerto).
This concert and the Mozart concert by the Chicago Winds the other day are something to remember over the summer and beyond.
Mozart was never at a loss for musical ideas. He could toss off a brilliant quartet while he was waiting for the breakfast toast to pop. So he rarely ever had to use the same material twice. But both of these works served him again in composing string quintets; he knew when he had a good thing. Indeed. they are both gems.
The performances were luminous and gorgeous – transparent as only wind ensembles can be. Everyone I spoke with loved the first oboe especially.
So, these works and the performances could not have been more satisfying.
But in this space we never talk about programming; we seem to treat this as a taboo topic. Well, here goes.
Much as we’d hate to let go of either of these Mozart works, would you have preferred a stylistically somewhat more diverse program — works that were not written a mere few years apart? Many other composers have written wonderful stuff for winds. Would you perhaps have liked to hear something by Dvorak or Richard Strauss or even Stravinsky or Poulenc along with one Mozart Serenade – and saved the other for next year? Honk if you vote yes.
This performance was fabulous. This is an important emerging star of modern dance/choreography. I was very excited to see this, and my expectations were exceeded. Saturday night’s program was outstanding. PLEASE UMS INVITE KYLE ABRAHAM/ABRAHAM IN MOTION BACK AGAIN IN FUTURE YEARS!!!
We attended the Saturday performance and were in awe of the grace and athleticism of the dancers and the creativity of movement. The underlying political and social message was timely and the music haunting. Loved it!
Kyle Abraham was just great! What a breathe of fresh air….it seemed like a day with fresh young talent from the U of M softball game, to strolling on Liberty St., to this action packed dance performance. I though the anguish in some of the recorded music was a little over the top but the dancing was spectacular.
Job well done!
It was a clever idea to have a performance based on music associated with film. The composition of the group was enjoyable with a proper mix of vocals or instrumentals. I was impressed with the guitar/viola dialogue and found the performance enjoyable.
Hi, all, Mark Jacobson here from UMS Programming, again, on night two of Bill Frisell’s UMS Americana Celebration residency.
Friday night’s set list was as follows:
Bill Frisell’s When You Wish Upon A Star
Music for Film & Television
“Americana Celebration”
Lydia Mendelssohn Theatre
Friday, March 13, 2015
Ann Arbor
When You Wish Upon A Star (Leigh Harline and Ned Washington; from “Pinocchio” and “Walt Disney’s Wonderful World of Color”)
The Days of Wine and Roses (Henry Mancini)
Medley:
Once Upon A Time in the West/
As A Judgement/
Farewell To Cheyenne (all written by Ennio Morricone)
Windmills Of Your Mind (Michel Legrand; from “The Thomas Crown Affair”)
Moon River (Mancini and Johnny Mercer; from “Breakfast at Tiffany’s”)
Tales From The Far Side (Bill Frisell; from “Gary Larson Cartoon Special”)
Medley:
Goldfinger/
You Only Live Twice (both written by John Barry)
Medley:
Psycho 1/
Psycho 2 (both written by Bernard Herrmann; from “Psycho”)
Hi, all, Mark Jacobson here from UMS Programming, again, on night two of Bill Frisell’s UMS Americana Celebration residency.
Friday night’s set list was as follows:
Bill Frisell’s When You Wish Upon A Star
Music for Film & Television
“Americana Celebration”
Lydia Mendelssohn Theatre
Friday, March 13, 2015
Ann Arbor
When You Wish Upon A Star (Leigh Harline and Ned Washington; from “Pinocchio” and “Walt Disney’s Wonderful World of Color”)
The Days of Wine and Roses (Henry Mancini)
Medley:
Once Upon A Time in the West/
As A Judgement/
Farewell To Cheyenne (all written by Ennio Morricone)
Windmills Of Your Mind (Michel Legrand; from “The Thomas Crown Affair”)
Moon River (Mancini and Johnny Mercer; from “Breakfast at Tiffany’s”)
Tales From The Far Side (Bill Frisell; from “Gary Larson Cartoon Special”)
Medley:
Goldfinger/
You Only Live Twice (both written by John Barry)
Medley:
Psycho 1/
Psycho 2 (both written by Bernard Herrmann; from “Psycho”)
This completes two nights of Bill Frisell for me and many others I spoke with. I consider him one of the most important artists of my generation, or any generation, for that matter. Alfie, Over The Rainbow, Batman, Moon River, Psycho…. I never wanted it to end. Thanks Bill & Company.
I am absolutely MESMERIZED by Bill Frisell’s style and the personality that he brings to the stage through his music. His solo playing is soulful, soothing, quirky, hypnotic, and spontaneous all at the same time, and he manages to bring such a liveliness and freshness to the American classics that he presents. He combines unique technique and effortless execution to intertwine a personal creative touch into familiar melodies, making them accessible to any musical taste. His style is only complimented by his witting and charming personality!
What an amazing concert––my sister and I sat entranced the whole time. It’s amazing how his music flows so seamlessly between genres. Last night’s set is what Americana should be (and thanks to Bill Frisell, is becoming).
Had the extreme pleasure of enjoying last nights performance with my 12 year old son. I’ve been fortunate enough to see Bill many times over a span of 30 years. Hearing sound check with curtain closed at a Bass Desires show 30 years ago hooked me for life. Besides having the opportunity to enjoy the show with my son, I will remember the absolutely stunning sound. The sound man deserves an award. I can only liken it to hearing the best stereo I’ve ever heard. So happy to see Bill solo. Honestly never thought that I’d ever get that opportunity. Many thanks to Mark Jacobson for pulling it off. Can’t wait for this evenings show!
This morning, Mr Frisell remembered the inclusion of
Bumpin’ on Sunset (Wes Montgomery)
…following “Cannonball Rag” and preceding the first acoustic portion of Thursday evening’s solo concert.
-Mark Jacobson, UMS
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For further clarity regarding my above posting, Thursday evening’s set list was not written down or planned in advance of the concert by Mr. Frisell, but rather was created and determined in the moment from the stage.
For further clarity regarding my above posting, Thursday evening’s set list was not written down or planned in advance of the concert by Mr. Frisell, but rather was created and determined in the moment from the stage.
-Mark Jacobson, UMS
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Hi, all…Mark Jacobson here from UMS Programming.
To the best of our investigative abilities while delving deep into our collective memory, below is Thursday night’s set list from Bill Frisell’s solo concert.
Bill Frisell Solo
“Americana Celebration”
Lydia Mendelssohn Theatre
Thursday, March 12, 2015
Ann Arbor
I’m So Lonesome I Could Cry (Hank Williams)
It Should’ve Happened a Long Time Ago (Paul Motian)
Crepuscule With Nellie (Thelonius Monk)
Cannonball Rag (Merle Travis)
—–
[Playing 1967 Martin (acoustic):]
My Man’s Gone Now (George Gershwin)
Misterioso (Monk)
—–
[Playing electric guitar:]
Poem for Eva (Bill Frisell) segue into “Free improvisation”
Medley:
Shenandoah (Traditional)/
In My Life (John Lennon-Paul McCartney)
——
ENCORE #1:
Medley:
A Change Is Gonna Come (Sam Cooke)/
Masters of War (Bob Dylan)/
What the World Needs Now (Burt Bacharach)
Encore #2:
[Playing 1967 Martin (Acoustic):]
Casey Jones (Mississippi John Hurt)
Please let us know if you heard any other pieces in the set! Thanks for attending tonight’s concert…and hope to see you again Friday night.
To the best of our investigative abilities while delving deep into our collective memory, below is Thursday night’s set list from Bill Frisell’s solo concert.
Bill Frisell Solo
“Americana Celebration”
Lydia Mendelssohn Theatre
Thursday, March 12, 2015
Ann Arbor
I’m So Lonesome I Could Cry (Hank Williams)
It Should’ve Happened a Long Time Ago (Paul Motian)
Crepuscule With Nellie (Thelonius Monk)
Cannonball Rag (Merle Travis)
—–
[Playing 1967 Martin (acoustic):]
My Man’s Gone Now (George Gershwin)
Misterioso (Monk)
—–
[Playing electric guitar:]
Poem for Eva (Bill Frisell) segue into “Free improvisation”
Medley:
Shenandoah (Traditional)/
In My Life (John Lennon-Paul McCartney)
——
ENCORE #1:
Medley:
A Change Is Gonna Come (Sam Cooke)/
Masters of War (Bob Dylan)/
What the World Needs Now (Burt Bacharach)
Encore #2:
[Playing 1967 Martin (Acoustic):]
Casey Jones (Mississippi John Hurt)
Please let us know if you heard any other pieces in the set! Thanks for attending tonight’s concert…and hope to see you again Friday night.
Wonderful concert – thanks Bill, for stepping outside of your comfort zone and “going solo”! I admit to having second thoughts in the early part of the evening but as I got to know Bill a little better (or more accurately his performance style) and he began doing some amazing things with his hands and his “electronic assistants”, I was in heaven! He strikes me as both a cerebral and a sentient musician, which is a great combo. Another musical genius-virtuoso not unlike Chris Thile and Edgar Meyer, who UMS brought to town last fall. Looking forward to Friday’s performance!
Another masterful performance by Bill Frisell This was the 6th time I’ve seen him, and the first solo setting. From Hank Williams to John Lennon and everything in between, Bill can cover any genre, with his own unique touch.
I loved it. To me this is what dance should be. Long Time No See was light and effortless, and Newark had all that wonderful, counter intuitive work with the floor. I also like the fact that her dances are clearly made without any relationship to the music. They can be viewed without music all together. Pure dance.
Hi, Mark Jacobson from UMS Programming, here. Friday night’s set list at the Michigan Theater was as follows:
Wade In the Water – trad., arranged Chuck Campbell
Morning Train – trad., arranged Chuck Campbell, Phillip Campbell
Hell No, Heaven Yes! – Phillip Campbell
A Change Is Gonna Come – Sam Cooke, arranged, Darick Campbell, Chuck Campbell, Phil Campbell
A Love Supreme – John Coltrane, arranged Chuck Campbell, Phillip Campbell
I. Acknowledgement
II. Resolution
III. Pursuance
IV. Psalms
Lord I just Want To Thank You – trad., Darick Campbell, Phillip Campbell
Jump For Joy! – Charles Flenory
Thanks for attending The Campbell Brothers’ UMS debut!
It’s okay, I wasn’t offended by anything that was said about me. I also clearly stated that I am not criticizing anyone personally. I’m curious what it was that you thought warranted oversight of a conversation between adults?
This is the second time in recent memory that you guys have chimed in and invoked your “guidelines”, thus bringing to a halt any interesting bits that may have followed in the thread. I guess a thread where everyone agrees is acceptable, but one where there is a lively debate is stamped out in the name of “community”.
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Don’t get so hung up on comment guidelines, which only puts you at risk of censoring honest reactions. This was a true conversation among people who were affected on multiple levels by a masterful work about a profound subject. If you’re interested in feedback from the audience, in this situation you’d do better to listen than to invoke guidelines.
Thank you for your post, Chris. We are absolutely interested in honest reactions and true conversation, but when that starts to veer in the direction of criticism/attacks of a personal nature, we step in to remind people of our guidelines. Annick, UMS
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Don’t get so hung up on comment guidelines, which only puts you at risk of censoring honest reactions. This was a true conversation among people who were affected on multiple levels by a masterful work about a profound subject. If you’re interested in feedback from the audience, in this situation you’d do better to listen than to invoke guidelines.
It is too bad the Trisha Brown performance was under appreciated by some. She was, after all, billed as part of the UMS Renegade series. She has been a renegade for half a century collaborating with avant-garde visual artists, musicians, composers and even choreographing for opera. I commend UMS and its Renegade program for bringing us work that challenges our conventional sensibilities. Keep it up and thanks for bringing renegades to our doorstep.
By far the worst performance of any genre I’ve seen from UMS in at least three years. Cerebral, sterile, sonically offensive, incoherent, uninventive, slow and simply boring. The work of an artist long past her prime. Rarely have I seen such a lukewarm, almost embarrassed, response from a (small) audience. I assume they’ll never be invited back.
I think the dancing was excellent, but the Music was just awful. If I were a dancer in that company and had to listen and rehearse to that music, I would quit. It was very annoying, hard to listen to and distracted from the beautiful dancing. I won’t attend any more of Trisha Brown’s concerts because of the poor choice of music.
Don’t get so hung up on comment guidelines, which only puts you at risk of censoring honest reactions. This was a true conversation among people who were affected on multiple levels by a masterful work about a profound subject. If you’re interested in feedback from the audience, in this situation you’d do better to listen than to invoke guidelines.
Watching the interplay between the performer, bag people, wind and music inspired awe in me. It was truly beautiful and opened my heart. It seemed pointlessly shocking and cruel to me to then murder it all in front of us and send us home on that note. Ouch.
Too bad the program notes didn’t mention Trisha Brown’s ground breaking performance with Ann Arbor’s own Once Group in 1965.
Check it out here: http://oldnews.aadl.org/node/79964
Too bad no mention was made in the program notes of Trisha Brown’s appearance with Ann Arbor’s own Once Group in 1965.
Check it out here. http://oldnews.aadl.org/node/79964
In a year I’ll remember Michigan Theater full of people all sizes, ages and colors jumping for joy and bouncing up and down on their feet as the Campbell Brothers performed ‘Jumping for Joy’ – and I’ll remember what fantastic musicians they each were solo and in their very tight, high energy group. Thank you, UMS, for introducing the Campbell Brothers to AA and for bringing them here to celebrate John Coltrane.
That was fun. It seemed like they took an interest in us and knew about out sports and weather and such. The Love Supreme was like one of those giant burritos, they all most had to serve it in a bowl….Wow! UMS turned me on to something new! I lived in Chicago when my kid brother lost his room mate. We’d go to Blues Etc. On Belmont at the first of the month….pay cover….get a slip on the way out for the sister club across from Kingston Mines on Halstead. Go over there and get a slip on the way out for Blues Etc. I was glad to catch these brothers from Rochester, NY, that city has a rich musical tradition. Do I know what I’m talking about, probably not, but I had a good time.
Very interesting both for the physics of air movement creating a column of ascending air and for the ability of plastic bags to perform ballet. The program warns us that the piece is also about destruction by man, hence the ending. Charlie Chaplin and Marcel Marceau would have had a better ending but still poignant. That is my challenge to Phia Menard. Think again!
It was interesting to hear Ravel juxtaposed with Tchaikovsky. I have to say, the former half of the concert was more appealing than the latter. It was my first time hearing Ravel’s Mother Goose Suite live, and I wasn’t disappointed. Nézet-Séguin and the Rotterdam Philharmonic really did justice to the artistic nature of Ravel’s music. French music is especially distinguished in the way it paints vivid scenes. A lot of it is inspired by nature, contrary to the music of the Russians and Germans, which typically invokes a more emotional response.
Nézet-Séguin conducted the Suite with a sophisticated artistry to convey contained drama, to effective success. He was clearly aware of the subtler harmonic depth, both as written in the score and aurally. There was a transparency in the sound throughout the suite, which I thought was appropriate overall, but personally, distastefully timed on a few occasions. For example, I thought the thinner texture would have been really magical in the opening of the final movement, but instead it was carried out with a thicker, too-complicated sound. It somehow came across as too jumbled and I couldn’t focus on any one line, or perceive it as a collective one either. However, it was extremely effective in the climax of the final movement, which made the ending truly satisfying. Also, the animalesque noises added a complete touch to the various scenes they attempted to portray – my personal favorite was final movement: Le Jardin Féerique, or the Enchanted Forest.
The concerto, featuring pianist Ms. Grimaud, was nice in that it is not nearly as overplayed or as heavy as most other piano concertos. The opening was charmingly nonchalant, and she seemed to comfortably and confidently dominate the piano. For the most part, the genuine simplicity of the music was honored through the character and sound that she delivered; but in a couple sections, it seemed tarnished with unnecessarily excited bodily movement or thickened texture. The ends of phrases sometimes lacked the grace and elegance they called for, which made them seem carelessly terminated. Nevertheless, the highlight features of her playing – relentless power and undeniable clarity – shone throughout the movement.
There was something unsettling about the jointness of Ms. Grimaud and the orchestra throughout. I couldn’t quite place my finger on it, but the soloist seemed too “separate” from the rest of the ensemble and conductor. I think there was a lack of communication, or perhaps just that Ms. Grimaud was so focused and immersed in her own playing. Of course, this goes beyond simply “good music,” is a lot to ask for from a performer. It may even be a problem innate in the nature of the concerto’s orchestration, but I felt that it could’ve been a more unified performance.
Again, the opening of the middle movement had some complications that could’ve been avoided, given the beautiful simplicity that she could’ve chosen to bring to the forefront of her playing. The attempt to deliver depth sometimes came across as plodding and just seemed unnecessary. Only two or three times did both her hands align time-wise, so that a lot of “ba-dunk” was happening. The orchestra entrance was also not too convincing. I would say the main attraction of this movement was Ms. Grimaud’s intimate interaction with the bassoonist, which I truly had nothing to say about. The sound was pure and lucid, and the key change was nothing short of beautiful.
The final movement was an exciting finish to the first half of the concert.
As mentioned earlier, the Tchaikovsky naturally called for a more emotional focus, rather than an aesthetic or visual one. I felt that Nézet-Séguin’s strength was really in the aesthetic aspect of music, which is why the French part of the program was so much more effective. The Tchaikovsky symphony was very dramatic, and well executed technically, but there was something missing… I don’t think it was visceral enough. At no point did I think that the performers crossed the bounds of what constitutes “musical” and aesthetically pleasing in order to give the audience a real jab in the chest, which I think music of composers like Tchaikovsky ought to do at one point or another. Besides that, it was a thrilling evening of great music.
What a marvelous concert! Another memorable gift from UMS.
The combination of composers–Ravel, the supreme colorist, Tchaikovsky, the master of sweeping musical themes; Netzit-Seguin, perhaps the rising star of the world’s younger conductors, bringing forth magic from strings, woodwinds and brass; and Helene Grimaud, a brilliantly accomplished pianist in perfect mastery and harmony with the orchestra–all made for an unforgettable evening.
I’d be content if I could take this performance of the Mother Goose Suite to my grave and hear it whenever I want to.
This evening’s concert demonstrates that you don’t really need the august Big Name orchestras from Berlin or St. Petersburg to please audiences; there are so many other less well-known groups who perform as well or better and are even more enthusiastically appreciated.
And, of course, I could go on and on about Mme Grimaud …
Absolute magic….arrangements were in proper sequence for a true jouney in jazz and the finale was over the top will be in the second roll from the stage again next year….
Elijah was fantastic the only thing it was so late by the time it was done it was 11 is there a way you could make it earlier so injoyed handles messiah fantastic sorry to see Jerry Blackstone leave hope you get a good conductor but will be hard to get anyone to feel his shoes thanks again
This was an outstanding performance by an incredible group of musicians. Each piece was preceded by an informative introduction which gave the music it’s proper historical and musical context. Wynton’s comments were always right on the money.
Every musician in the orchestra is a genius on his instrument(s). They also had great arrangements and the collective band chemistry that comes from years of playing together. You can only earn that, there’s no other way to get it.
An inspiring and powerful concert. Kudos to every member of the band for playing so well. Your dedication to the art is much appreciated. I look forward to hearing you next year!
Glad to see I wasn’t the only one. I stayed the whole time, but by the end I wished I hadn’t. It seemed everyone stood for an ovation at the end, except for me. Normally I’m very generous with my applause, bravo’s and ovations, but I didn’t feel they deserved it – only a normal clap for a mediocre performance.
Before I begin criticizing the soloists, let me say that I thought the soprano did a great job. She was the only one who I could tell had the voice and the confidence to do the job well. If she came back to give a solo recital I would not complain.
I thought the Tenor could have been great, but he just had volume issues. It seemed like maybe he had lots of musical experience, because he was hitting all the right notes and had great expressions, but he just didn’t project very well.
The baritone was also a weak projector. A good, loud baritone voice is one of my favorite things to listen to, but for whatever reason his voice was not resonating like a good operatic baritone (although he gets an A for effort).
I got very nervous vibes from the Mezzo. I think she was probably very uncomfortable because her voice seemed very tense. At one part I could barely hear her and I was only 15 rows back. After a little while she eventually found her volume, but she never made it sound easy.
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I found the performance to be a drag, the soloists failed to engage me, in fact I thought there were places where the tenor seemed off key in the beginning pieces. The entire group seemed tensed, if you don’t enjoy presenting, why should the listener enjoy what you’re presenting?! It became uneasy to sit through and we left during the intermission. By all means, there will be others who think highly of the performance; different people have different tastes and understanding, I respectfully differ.
This was a great show in a season of great jazz shows. Loved the extra encore song, which seemed like a nice gesture after last year’s abbreviated performance. Bravo! Please bring Wynton back next year. I am so glad I subscribed this year and will certainly be renewing next year.
I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
“O rest in the Lord, wait patiently for him, and he shall give thee thy heart’s desires. Commit thy way unto him, and trust in him, and fret not thyself because of evil doers.”
“He that shall endure to the end shall be saved.”
“Lord, our creator, how excellent thy name is in all the nations!”
Thank you, Jerry Blackstone, for introducing so many of us to this incredible work. But even more, thank you for sharing your faith. From my first Messiah performance under your direction the great religious works we’ve performed have felt like a worship service! What a grand finale of your service to the Choral Union!
I really enjoyed this performance. I always love when Art and Science share the stage. The shadows on the ceiling were so very cool. I do wish it was longer. For me the 25 minutes went by in a blink. I was quite mesmerized.
Personally, the fact that the puppets were torn apart was critical to the piece. To me, that moment represented the lost of innocence that naturally occurs in the cycle of life. And the aftermath showed the beauty that life can still provide once we are ‘torn to shreds” by forces greater than ourselves.
It’s all about getting out and seeing/hearing things that I’ve never heard before. I like to expose myself to new things on a regular basis, without regard to whether or not it has a religious theme. For me it’s fine art, but apparently for you it’s much more than that. Quite honestly, if your church is as inclusive and welcoming as you are to outsiders, then I for one want nothing to do with it. I had criticized some of the musicians, the score, and the demeanor of the event, not the content of the libretto and certainly not you or your belief system.
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I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
Most people live their daily lives in a rather circumscribed routine that visits only a small fraction of the wide breadth of human emotion. Although some may be thankful for this, I count myself fortunate to be able to be part of an enterprise where I get the chance to regularly explore a wide emotive range but without necessarily risking life and limb. Surrendering to the masterful direction of Maestro Blackstone as a UMS Choral Union singer is a wonderful way to let the soul plunge in a wide range of emotions. Performing Elijah was a truly moving experience especially since it was our last under the direction of Maestro Blackstone. As he concludes his tenure with the Choral Union, I can only be thankful for the time I have been able to share with him. He opened astonishingly beautiful opportunities to perform with some of the best musicians in the world and revel in the widest realm of emotions. I am fortunate indeed. Thank you Maestro!
Sorry for you that you think we are a “secular society”. Curious why you would want to attend a deeply religious (ie old testament filled) performance if other than to rip on God and those of us who follow him?
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I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
What a wonderful afternoon with JLCO.It is the first time I watch and listen to JLCO live, although I tried to make it when I travelled to NY. The music was great! Bravo, Wynton!
I believe that UMS should start granting college credit for attendees to JLCO and Wynton concerts! ALWAYS ALWAYS ALWAYS does teaching come hand in hand with stellar performance quality with every JLCO performance. Watching the members of the orchestra play with such joy and being able to share in the experience is such a gift. THANK you, UMS, for bringing these moments of joy to my back yard.
What a great concert with pieces from several titans of jazz!!!
Wynton was outstanding once again. He is a true artist and every time you hear him, you hear something you’ve never heard before.
Thank you Ken Fisher for making another wonderful evening possible.
In the coldest imaginable WX we are treated to the hottest imaginable jazz. Thanks to WEMU for preparing us for this concert like they do with so many others. It was good to see some young families in the audience, this kind of music is fine for tender ears. I remember when my Dad would play Big Band music on Saturday afternoons when my Mom was grocery shopping. The stores closed at six and were not open on Sundays.
It is not unusual for a composer to reflect a reaction to events of the times. As a Lutheran with a Jewish background, the conservative M expressed his displeasure with such events in a manner most suitable considering his background and talents. I have sung Elijah several times over the last 60 years and enjoyed listening instead of being part of the chorus. I did find myself mentally singing along with the altos as I tend to do any time I attend a performance of a work I have sung. It is preferable to sit back and enjoy Elijah for what it is.
I would have liked a little background in the program on the boy soprano. He was wonderful.
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I was unhappy with the program note that said M. was “troubled by the moral decay that was sweeping across the European continent.” First, I don’t know that there was any moral decay, even if M. thought there was. And politically isn’t M. thought to have been mildly liberal–in favor of constitutional reform?
It’s not my favorite piece, but I liked the soloists.
Overall, it was an amazing performance. The soloists were phenomenal, and Dr. Jerry Blackstone was super engaging. The Hill Auditorium was the perfect venue for a piece such as this. Bravo!
I found the performance to be a drag, the soloists failed to engage me, in fact I thought there were places where the tenor seemed off key in the beginning pieces. The entire group seemed tensed, if you don’t enjoy presenting, why should the listener enjoy what you’re presenting?! It became uneasy to sit through and we left during the intermission. By all means, there will be others who think highly of the performance; different people have different tastes and understanding, I respectfully differ.
Glad to have braved the weather and heard Jerry Blackstone’s last UMS performance. The Elm City Choir was fantastic, as well as the young lad and female choral soloists. Not as much of a fan of the professional soloists tonight. Great evening.
My wife and I LOVED this performance. So creative and fun! I did feel, however, that the destruction of the puppets at the end was violent and unnecessary. I think that it was already clear that he was “creator” and “animator” of the puppets. I did not need to see him rip them to shreds to fully understand that. I thought that the destruction of the puppets gave a kind of fake gravitas to what otherwise was a thought provoking and very stimulating performance
Excellent. Prior to this performance I would have said I preferred Mendelssohn’s 1st oratorio Paulus but now I’m converted. This is a more mature work. A definite wow.
My friend and I were familiar with the music from several years ago and really enjoyed hearing it again. I was especially impressed with the endurance of the conductor and performers over the 2 and a half hours. The choir were enthusiastic, in tune , and (mostly) in time with the orchestra. It was obviously well rehearsed and – and even if the instrumentalists made any mistakes I did not hear any. I liked the brass in the dramatic prayers to Baal, and wondered how the percussionist retuned his drums with the many key changes (he uses pedals).
I was unhappy with the program note that said M. was “troubled by the moral decay that was sweeping across the European continent.” First, I don’t know that there was any moral decay, even if M. thought there was. And politically isn’t M. thought to have been mildly liberal–in favor of constitutional reform?
It’s not my favorite piece, but I liked the soloists.
Kate, I should also mention that I didn’t find the score particularly interesting or musically unique. Like I said, I am no stranger to grand opera and classical music in general. I found the score very repetitive and actually quite boring, save for a few parts like the boy soprano and some of the climaxes. Better soloists would have made it better, but I still much prefer Wagner, Verdi, Puccini and even Handel – I guess there’s a reason Mendelsohn’s works are not very well known…
Sorry I can’t share in your joy over the performance, and that I use different vocabulary than you, but if my opinions are “outtakes” then I’m afraid for the future of free speech in this country.
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I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
While I am glad you were able to witness this grand performance, I find your outtakes fascinating. First, Elijah is not a “show,” it is a classical Oratorio. Second, the conductor stepped off the podium not to “ponder God” but to allow for late seating. Third, it is not church tradition or religious practice to save your clapping to the end of a classical music performance. Fourth, you are correct, “little dude” was exceptional! Fifth, do come back again, you might find that classical music will grow on you.
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I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
Just finished working Compagnie Non Nova and in addition to the smiles on the faces of both adults and children, Maxine Frankel shared: “What a great performance! My kids LOVED it! This is definitely a show that parents should bring their kids to see.”
There will be a CD signing after the concert that would be a great way for young artists to see Wynton post-show!
Annick Odom, UMS
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Will Wynton Marsalis have scheduled to have time to talk with young artist during his visit on the 15th of February? If so where and what time. Thank you
Will Wynton Marsalis have scheduled to have time to talk with young artist during his visit on the 15th of February? If so where and what time. Thank you
My wife and I enjoyed the concerts very much, to our subsequent embarrassment. I had always thought that artists should be judged on the merit of their work alone, and not for their moral or political views. But Lisa Batiashvili, in her comments on Gergiev in the NY Times on Feb 1, has persuaded me that I was wrong.
It is one thing to attend performances of Wagner’s “Ring,” setting aside qualms about his antisemitism, and quite another to support a contemporary artist who allows himself to be the instrument of a politician bent on dominating neighboring countries who want their independence.
According to the Times, Ms. Batiashvili argued that Western audiences and arts presenters, by attending and booking concerts by Russian artists who are vocally loyal to Mr. Putin’s policies, are complicit in the repercussions of those policies. Why, she asked, is Mr. Gergiev such an important figure in the music world? “Because the Western countries have been so supportive of him,” she said. And that fame, she added, is exploited by Mr. Putin.
I cannot in good conscience attend any more concerts which Mr. Gergiev conducts. For all his great talent, I am embarrassed that my university chose to honor him in the way it did.
Thank you to everyone at UMS for inviting me and supporting Bach and Beyond through your co-commission of Harbison’s new work, For Violin Alone! And thank you to the great players in the masterclass at UM and thank you to the amazing audience members! It was a great pleasure to meet everyone. I loved being back in Ann Arbor!
I came for the Berio and wasn’t disappointed. The Bach was sensitively played. None of the dry mechanical playing that plagues so many Bach performance (it’s music not an algorithm). I took me awhile to get my bearings in the Harbison, but I enjoyed it and think it would be good to hear again.
A wonderful concert! Koh’s faultless technique — not a scratch all evening! — allows her to give herself wholly to the music as music, and she does so with impeccable tast and none of the fashionable mannerisms whatsoever – tasteful all the way. Both Bach works were simply – what? – luminous. Did you hear that fugue in the final sonata? I am grateful to have been introduced to the Sequenza by Berio. (I’ve never heard anything by Berio that I did not like; but, then again, one doesn’t get to hear his music much.) To repeat, a wonderful concert. I think I’m not the only one who enjoyed it: there was very little coughing. Yes, that’s what coughing in concert halls is about, not the flu.
I’ve never seen so many people book it out of a show before the encore as fast as last night. Hilarious! That aside, really great show. I love all the meet and greets that UMS manages to set up after shows as well.
I brought my daughter, a high school trumpet player, to see Tomasz Stanko, because I thought it would be a new and different experience for both of us. Stanko and the other musicians did not disappoint! Thanks to UMS for bringing him here!
Terrific concert in a surprisingly intimate setting. There was plenty of room for each of the musicians to showcase their talents & creativity, and this they did. Stanko is one of the two or three great living jazz trumpet players and it speaks well of UMS and Ann Arbor to host him here.
Thanks!
Marian
The set list from last night’s concert at Lydia Mendelssohn Theatre is as follows:
New Balladyna Quartet
(All compositions by Tomasz Stańko unless otherwise indicated)
First Song
Quintet’s Time
Cain’s Brand
Tales For A Girl, 12
Last Song
Balladyna
Mikrokosmos
December Avenue
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Encore:
Litania (composed by Krzysztof Komeda)
Really enjoy their music. Would have preferred some seating for the event. Glad to see UMS bringing in a group like this, and doing an event in Detroit
Thank you for a wonderful concert on Sunday afternoon.
“Pictures” was thrilling and the orchestra played spectacularly. They reminded me of the Cleveland Orchestra in their glory days under George Szell.
Matsuev was a brilliant soloist. I look forward to hearing him play less bombastic music (I am not a big fan of the Tchaikovsky concertos), like Brahms, Beethoven, etc.
Gergiev certainly deserves great honors for preparing and leading such a fine orchestra. However, he made a free choice to speak out politically and to take stands that are anathema to many of us. He must also take responsibility for those actions.
I have to second the comment on excessive volume of the music for the post-intermission piece. I would have enjoyed it but for that. The volume level was unnecessary. We noticed a box of ear plugs near the entrance so we asked the usher. She said “we have been told that there is a brief period of loud noise, but only brief.” She was definitely misinformed. We like this group, have seen them before, and would see them again, but we will definitely have earplugs handy next time
Months later, I still find myself thinking about this performance- how fun! Jake is so personable and gracious, and I certainly hope UMS brings him back, to brighten up a Michigan winter!
Thank you for clearing that up. Honestly I’m very disappointed, but maybe they’re not used to such acoustics at Hill auditorium. I, for one, did not find it amusing, and I would like to convey to Maestro Gergiev that it was a blight on the performance, but I’ll forgive him if he comes back next year.
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I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
George,
In both instances it was confirmed by musicians in the orchestra and by audiences members sitting in the front row of the main floor as well as by others sitting in the dead-center back of the balcony where it is very easy to hear in a clear and delineated way. Those are the only facts I have to support what I wrote earlier.
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I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
George, I sat in the front row, right underneath him on Sunday. He sang and hummed the entire time in various ways. It was amusing, because he would hum and buzz just before cueing a violin entrance, often with his eyes closed. I was amused by it.
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I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
Just curious, how do you know that, for a fact, without proceeding to back it up with anything? Why were the “vocalizations” so much worse the second night? Are they so oblivious that they don’t realize high frequency artifacts detract from the audio quality of their performance? What kind of vocalization would make that sound? He wasn’t humming along, because it was roughly the same frequency the whole time. So…he was grunting in an obnoxious, non-human type of way during some of the most gorgeous music. You would think someone in the orchestra would tell him it’s annoying.
Can you elaborate on what your “facts” are?
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I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
With all due respect George, I know for a fact that the noises were indeed both Maestro Noseda and Maestro Gergiev’s vocalization while conducting their respective orchestras. For some it may be a problem….for me, I find it rather interesting and accept it as a possible part of the live concert experience. There are many examples of this phenomenon over the years….even on recording, Glenn Gould being the most famous example. I guess is all ends up being a great example of how clear and quick the acoustic is in certain areas of Hill Auditorium. Thanks for being at all three concerts !!
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I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
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Indeed…they were audible vocalizations by Maestro Gergiev. I noticed odd noises during Teatro Regio Torino’s performance of William Tell while I was sitting up in the back of the mezzanine and finally figured out that it was Maestro Noseda’s vocal expressions. Certain spots in Hill, even all the way upstairs, can catch different sounds from stage! It’s odd, but kind of cool to hear the conductor’s expressions, beyond what you can usually only see.
Liz, UMS
Indeed…they were audible vocalizations by Maestro Gergiev. I noticed odd noises during Teatro Regio Torino’s performance of William Tell while I was sitting up in the back of the mezzanine and finally figured out that it was Maestro Noseda’s vocal expressions. Certain spots in Hill, even all the way upstairs, can catch different sounds from stage! It’s odd, but kind of cool to hear the conductor’s expressions, beyond what you can usually only see.
Liz, UMS
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We heard it back in the balcony, so it could not have been any vocalizations by the conductor. I agree that it was annoying and distracting, but fortunately didn’t last very long.
What a beautiful reflection, David, As Michael K notes, sitting in the audience and hearing music from our past brings up deeply personal memories for many. as it did for you. As my wife Penny and I sat listening to the Tchaikovsky piano concerto #1, our minds and hearts went back to the summer we met at Interlochen (1961) when we had the privilege of accompanying Van Cliburn as members of the National H.S. Orchestra when Cliburn performed on the Kresge
Auditorium stage the same concerto we heard Sunday — the one that brought him the Tchaikovsky Competition first place prize in 1958 and the NYC tickertape parade that followed.
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Ken and Michael,
Just a short note of thanks to you both for this wonderful weekend of Russian classical music. It had special meaning for me, especially during yesterday afternoon’s program. I have heard “Pictures” many times, but yesterday it triggered one of those flash backs that I suppose is associated with being 72 years old and beginning to savor reflections about what has been so valuable in my life so far. So the flash back was to the very first classical music I heard, as a 7 or 8-year-old kid. It was an early 1950s Radio Moscow broadcast, over short wave radio band, on a war surplus radio my father purchased–something like he’d monitored as communications officer on a Merchant Marine ship plying the Atlantic for most of my first 7 years. We’d set the radio up (to receive only) in my bedroom where we’d taped a National Geographic map of the world on the wall. I pasted gold stars on places where I picked up transmissions (other than in the US), and the first gold star was atop Moscow. Wearing my father’s naval earphones, each night after homework I listened to Russian classical music, probably beamed toward North America as part of the Cold War just as Radio Free Europe did in return, with fascination. It was not to my father’s taste so we had no classical recordings and my grade school had no musical education in the first grades. And so yesterday I remembered that late each night, before the triumphant sounds of Tchaikovsky or the forceful romanticism of Moussorgsky went sent silent, I listened in awe to the muscular voices of the Chorus of the Soviet Red Army and finally to their rendering of the Russian national anthem. Turns out that Radio Canada (stars on Ottawa, Toronto and Montreal) also broadcast classical music–French, German, English and US composers–probably not by chance on a band close to Radio Moscow’s I think. So I learned the words to O Canada; never did master the Russian, but it was the language of Russian music that first stirred what was to become a lifelong musical passion.
The encores on Sunday were Lyadov’s The Music Box (performed by Denis Matsuev) and the Prelude to Act I of Lohengrin by Richard Wagner (performed by the Mariinsky Orchestra).
What a wonderful reflection David…and how great is it to be reminded, through such vivid example, of the complex and powerful experiences that audience members are reliving as they sit in their seats at a UMS concert? I suspect that these moments of deeply personal reflection are occurring all the time for different reasons — and at different trigger moments — for a broad cross-cut of our audience over the course of any given UMS season. I do know that it happens for me! Thank you so much for taking the time to share it with everyone.
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Ken and Michael,
Just a short note of thanks to you both for this wonderful weekend of Russian classical music. It had special meaning for me, especially during yesterday afternoon’s program. I have heard “Pictures” many times, but yesterday it triggered one of those flash backs that I suppose is associated with being 72 years old and beginning to savor reflections about what has been so valuable in my life so far. So the flash back was to the very first classical music I heard, as a 7 or 8-year-old kid. It was an early 1950s Radio Moscow broadcast, over short wave radio band, on a war surplus radio my father purchased–something like he’d monitored as communications officer on a Merchant Marine ship plying the Atlantic for most of my first 7 years. We’d set the radio up (to receive only) in my bedroom where we’d taped a National Geographic map of the world on the wall. I pasted gold stars on places where I picked up transmissions (other than in the US), and the first gold star was atop Moscow. Wearing my father’s naval earphones, each night after homework I listened to Russian classical music, probably beamed toward North America as part of the Cold War just as Radio Free Europe did in return, with fascination. It was not to my father’s taste so we had no classical recordings and my grade school had no musical education in the first grades. And so yesterday I remembered that late each night, before the triumphant sounds of Tchaikovsky or the forceful romanticism of Moussorgsky went sent silent, I listened in awe to the muscular voices of the Chorus of the Soviet Red Army and finally to their rendering of the Russian national anthem. Turns out that Radio Canada (stars on Ottawa, Toronto and Montreal) also broadcast classical music–French, German, English and US composers–probably not by chance on a band close to Radio Moscow’s I think. So I learned the words to O Canada; never did master the Russian, but it was the language of Russian music that first stirred what was to become a lifelong musical passion.
Just a short note of thanks to you both for this wonderful weekend of Russian classical music. It had special meaning for me, especially during yesterday afternoon’s program. I have heard “Pictures” many times, but yesterday it triggered one of those flash backs that I suppose is associated with being 72 years old and beginning to savor reflections about what has been so valuable in my life so far. So the flash back was to the very first classical music I heard, as a 7 or 8-year-old kid. It was an early 1950s Radio Moscow broadcast, over short wave radio band, on a war surplus radio my father purchased–something like he’d monitored as communications officer on a Merchant Marine ship plying the Atlantic for most of my first 7 years. We’d set the radio up (to receive only) in my bedroom where we’d taped a National Geographic map of the world on the wall. I pasted gold stars on places where I picked up transmissions (other than in the US), and the first gold star was atop Moscow. Wearing my father’s naval earphones, each night after homework I listened to Russian classical music, probably beamed toward North America as part of the Cold War just as Radio Free Europe did in return, with fascination. It was not to my father’s taste so we had no classical recordings and my grade school had no musical education in the first grades. And so yesterday I remembered that late each night, before the triumphant sounds of Tchaikovsky or the forceful romanticism of Moussorgsky went sent silent, I listened in awe to the muscular voices of the Chorus of the Soviet Red Army and finally to their rendering of the Russian national anthem. Turns out that Radio Canada (stars on Ottawa, Toronto and Montreal) also broadcast classical music–French, German, English and US composers–probably not by chance on a band close to Radio Moscow’s I think. So I learned the words to O Canada; never did master the Russian, but it was the language of Russian music that first stirred what was to become a lifelong musical passion.
Just a short note of thanks to you both for this wonderful weekend of Russian classical music. It had special meaning for me, especially during yesterday afternoon’s program. I have heard “Pictures” many times, but yesterday it triggered one of those flash backs that I suppose is associated with being 72 years old and beginning to savor reflections about what has been so valuable in my life so far. So the flash back was to the very first classical music I heard, as a 7 or 8-year-old kid. It was an early 1950s Radio Moscow broadcast, over short wave radio band, on a war surplus radio my father purchased–something like he’d monitored as communications officer on a Merchant Marine ship plying the Atlantic for most of my first 7 years. We’d set the radio up (to receive only) in my bedroom where we’d taped a National Geographic map of the world on the wall. I pasted gold stars on places where I picked up transmissions (other than in the US), and the first gold star was atop Moscow. Wearing my father’s naval earphones, each night after homework I listened to Russian classical music, probably beamed toward North America as part of the Cold War just as Radio Free Europe did in return, with fascination. It was not to my father’s taste so we had no classical recordings and my grade school had no musical education in the first grades. And so yesterday I remembered that late each night, before the triumphant sounds of Tchaikovsky or the forceful romanticism of Moussorgsky went silent, I listened in awe to the muscular voices of the Chorus of the Soviet Red Army and finally to their rendering of the Russian national anthem. Turns out that Radio Canada (stars on Ottawa, Toronto and Montreal) also broadcast classical music–French, German, English and US composers–probably not by chance on a band close to Radio Moscow’s I think. So I learned the words to O Canada; never did master the Russian, but it was the language of Russian music that first stirred what was to become a lifelong musical passion.
An incredible pair of concerts, with two unbelievable pianists. Matsuev has become one of our favourites, and Abduraimov is someone we want to hear much more of. Between the orchestra and him, we heard things we’d never heard before in the Prokofiev. The Mariinksy with Gergiev probes the music with such in-depth character and passion–they play as if their lives depended on it–and, after all, isn’t that what it’s all about? All very exciting and deeply moving.
The best part for me was at the end when they did an encore, which happened to be the overture from Lohengrin – Wagner is my alltime favorite! What a pleasant surprise!
I went both nights and the pianists were both fantastic.
The acoustics at the back of the balcony are superb! Better than many places in the auditorium that are much closer to the stage. You can’t see, but you sure can hear.
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We heard it back in the balcony, so it could not have been any vocalizations by the conductor. I agree that it was annoying and distracting, but fortunately didn’t last very long.
Sundays concert was so intense, I really enjoy the Russian Orchestra performances. They are the best interpreters of russian composers.The piano concerto was excellent as was Pi tures at an Exibition but the surprise of the afternoon came with the opening work by Shederin !!!BRAVO UMS AND THANK YOU AGAIN for bringing world class orchestras to Hill Aud.
I was fortunate to see both performances by this wonderful orchestra! I have to admit that I was much more enthralled by the Sunday concert, but then, I am a great fan of Tschaikovsky! I am very familiar with Mussorgsky’s “Pictures at an Exhibition”, and was very surprised to hear some passages played in an unfamiliar manner. Then it struck me; Mr. Gergiev was conducting with a Russian sense! What amazing good fortune to hear such an amazing concert!
Thank you! I thought the orchestra encore sounded like Wagner, but was so sure they’d only perform works by Russian composers that I was driving myself crazy trying to think of a Russian contemporary of Wagner!
The Lyadov piece was a delight, wasn’t it?
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The encores on Sunday were Lyadov’s The Music Box (performed by Denis Matsuev) and the Prelude to Act I of Lohengrin by Richard Wagner (performed by the Mariinsky Orchestra).
We heard it back in the balcony, so it could not have been any vocalizations by the conductor. I agree that it was annoying and distracting, but fortunately didn’t last very long.
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My friend and I attended Sunday afternoon’s concert – wow! The “Concerto” by Rodion Shchedrin was so interesting and fun, and the following “war horses” were both marvelous. To hear Tchaikovsky’s 1st piano concerto in person, played with such precision and energy was a treat, and I very much enjoyed the grandeur and sensitivity that Gergiev drew from the orchestra for Mussorgsky’s “Pictures…”
BUT… WHAT was that weird buzzy noise that we heard when the orchestra played?? It was horribly distracting. We were sitting on the Main Floor, far left, Section 5, and my friend and I both noticed it, so it wasn’t just a voice in my head… Some weird acoustical issue either from the hall (emanating from the stage, it sounded like) or from the orchestra? Really strange.
I was sitting in the front row and it was the conductor. Mr. Gergiev hummed the entire time and breathed in an audible way, exhaling while vocalizing. He also made a buzzing “zish” sound much of the time when cueing the violinists on entries. It reminded me of some old Glenn Gould recordings.
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My friend and I attended Sunday afternoon’s concert – wow! The “Concerto” by Rodion Shchedrin was so interesting and fun, and the following “war horses” were both marvelous. To hear Tchaikovsky’s 1st piano concerto in person, played with such precision and energy was a treat, and I very much enjoyed the grandeur and sensitivity that Gergiev drew from the orchestra for Mussorgsky’s “Pictures…”
BUT… WHAT was that weird buzzy noise that we heard when the orchestra played?? It was horribly distracting. We were sitting on the Main Floor, far left, Section 5, and my friend and I both noticed it, so it wasn’t just a voice in my head… Some weird acoustical issue either from the hall (emanating from the stage, it sounded like) or from the orchestra? Really strange.
My friend and I attended Sunday afternoon’s concert – wow! The “Concerto” by Rodion Shchedrin was so interesting and fun, and the following “war horses” were both marvelous. To hear Tchaikovsky’s 1st piano concerto in person, played with such precision and energy was a treat, and I very much enjoyed the grandeur and sensitivity that Gergiev drew from the orchestra for Mussorgsky’s “Pictures…”
BUT… WHAT was that weird buzzy noise that we heard when the orchestra played?? It was horribly distracting. We were sitting on the Main Floor, far left, Section 5, and my friend and I both noticed it, so it wasn’t just a voice in my head… Some weird acoustical issue either from the hall (emanating from the stage, it sounded like) or from the orchestra? Really strange.
My wife and I were sitting in the middle of X row and heard humming singing during some of the portions in the performance. Did somebody else has noticed this or is it the Hall’s aucustics had played a trick on us?
Sunday’s experience was beyond moving. I heard more than one person say that they were nearly brought to tears during the incredibly gorgeous concert. We were treated to two encores that seemed to convey the mutual admiration between audience and performers. Additionally, the elegant Ford Honors dinner and program brought home the universal power of the arts and the importance of sharing arts experiences with our youth–world wide. Thanks to all who made this evening possible!!
The encores on Sunday were Lyadov’s The Music Box (performed by Denis Matsuev) and the Prelude to Act I of Lohengrin by Richard Wagner (performed by the Mariinsky Orchestra).
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Very much enjoyed Sunday afternoon concert.
Please, what is the name of the encore played by the orchestra?
Somebody should have yelled UKRAINE during the long silence at the end. That would have been an even more delicate final stroke than that long cymbal note that ends the symphony.
We heard an electrifying performance of Prokofiev’s most popular piano concerto by a pianist of great accomplishment despite his youth. Over the years we‘ve gotten used to the polished playing of this orchestra. Tonight was no exception. That they often produced shrill and bang-y sounds must be debited to the conductor.
The rare Shostakovich symphony is a shapeless, overlong work in which many ideas are touched on but mostly not developed. An unimpressive, justly neglected work — but well played.
I can’t say that I’m terribly excited about tomorrow’s warhorses. But who knows…….
The Olympics last year were supposed to elevate Russia to a higher standing among the developed world. Little did we know that Putin would go on a rampage, Obama would cream their economy with sanctions, & Saudi Arabia would pump as much oil as it would take to level prices. So I was glad to just escape it all with a long show of music. The young man who played piano was simply spectacular and he will continue to grow. I wore blue jeans and a golf shirt, was that warm today. I may put on something nicer tomorrow. Great show!
Magnifique. We were not sure what to expect, but the performance of both pieces was incredible. The choreography and the dancers were fantastic and profound. One of the best dance performances at UMS over the years
I liked both sets. I am not a dance expert but I do see the NY ballet a few times per year. So this was not “beautiful” like ballet but I felt the animal spirits, the “primitive” was in full swing, with humor and subtlety in the first set and connection to the intellect/reason (words) in the second. Like 8th Blackbird, Marie Chouinard is a young group bringing disruptive art to the stage. That’s a good thing.
Very edgy performance. First part was very special, I did not enjoy it tremendously from an artistic point of view, but I like the way the sexual game was presented and I enjoyed the way the compagnie played with the audience and the audience’s reactions and all the theater’s norms and rules.
I think some of the means used are not really novel (dancing among the audience, use of electronic means) but the message conveyed was penetrating and aimed to make people feel not at ease.
The second part was absolutely great. Overwhelming, strong, powerful, full, with volume, fierce, tribal, industrial, modern, deep, marvelous.
Great choice to bring this compagnie in AA. Thanks.
Very edgy performance. First part was very special, I did not enjoy it tremendously from an artistic point of view, but I like the way the sexual game was presented and I enjoyed the way the compagnie played with the audience and the audience’s reactions and all the theater’s norms and rules.
I think some of the means used are not really novel (dancing among the audience, use of electronic means) but the message conveyed was penetrating and aimed to make people feel not at ease.
The second part was absolutely great. Overwhelming, strong, powerful, full, with volume, fierce, tribal, industrial, modern, deep, marvelous.
Great choice to bring this compagnie in AA. Thanks.
While I could spend paragraphs discussing why this embarrassing performance was incompetent, ignorant, and juvenile, and how appalled I am that you would allow this on the same stage where Cunningham, Taylor and Sankai Juku onced performed, let me just bluntly state that if Koh’s Berio, AASO’s Elijah, and Trisha Brown do not make up for all the tedious, pretentious, idiocy I’ve seen on your stages in recent years, I won’t be wasting any more time or money on USM.
We saw eighth blackbird perform last Friday night at Rackham and we were pleased to see they continue making chamber music fun and exciting. Their performance was great. While we’ve seen Lisa’s Whirligig before, we weren’t disappointed, because they changed it up and made it new. We’re really excited and can hardly wait to hear them perform the new Sleeping Giant piece, Hand Eye, http://www.sleepinggiantcomposers.com/2015/01/introducing-hand-eye/ which was commissioned by the Great Lakes Chamber Music Festival, http://greatlakeschambermusic.org/ and was funded by Maxine and Stuart Frankel and Carnegie Hall. But wait it is until June.
We saw the Pirandello piece, a production of the Theatres de la Ville du Luxemburg, Six Characters in search of an author. We came to the conclusion that a theatre piece of the absurd does not lend itself easily to translation. The dialogue in French moved too fast for the English translation to keep up with. I had read it in French before and it was still difficult. You just about had to be a native speaker to keep up. Also, we thought the decibel of the first half was too loud. However , we appreciated the acting.
The concert was amazing! His voice is incredible and the songs, inspiring and touching. He really knows how to pull an audience together and have it be a transcendent experience–powerful and talented band members, too.
8th blackbird, a kind of modern polyphony. Having sung Gesualdo’s songs in college I know what it sounds like alone. There is a bit of Sondheim in them, refusing to resolve. Musicianship highest caliber. Numbered emotions; great. A sort of list of infinitely possible interpersonal emotions. Love to hear them intermix REINCARNATIONS with MOTHERLESS CHILD and I GOT SHOES.
I absolutely love Edgar Oliver and his storytelling!!! Edgar’s childhood story was both heartbreaking and mesmerizing!!! I could listen to him again and again!!!
THIS is what theatre is about. A truly moving and masterful performance. If you wonder about the health of American theatre, go experience Mr. Oliver’s tour de force–it will make you believe!
I cannot wait for tonight’s show. Edgar used to perform at the Bennington College July Program when I worked there and we were all fascinated and charmed by him. It was my job to pick him up at the airport and those rides were phenomenal. He is a brilliant storyteller and interesting person. We’re lucky to have him in town!
What an amazing show! Edgar Oliver casts an atmosphere that sticks with you long after you’ve left the theater. The slides accompanying the performance were a perfect backdrop for the incredible story of his childhood.
I had the same feeling–at first–“oh, I’m late”; but of course the libretto specifies the “the performance already in progress”–this is quoting the comment rather than the libretto. Another commenter may have made that observation
There they were. Two virtuosos at the top of their game. Kavakos, the Gramophone artist of the year, the man the Strad named the Violinist of Violinists when he was still in the beginning of his now mature career. Ascetic, tall, dark and somber. Yuja Wang, the young rising star of the piano, diminutive and beautiful in her green long gown, flamboyant but no less serious in her approach to music.
What followed were two hours of utter delight. Among the comments overheard from the audience exiting were: “What a treat!” and “forget everything you ever knew about bow distribution. It does not matter where his bow lands, he can do anything he wants with it and more than can be imagined.”
Blocking all visual input one could hear the music of two rising in perfect unity as one song where the singing voice of the violin was lifted to heavenly skies of beauty by the ebbing and flowing motion of the piano keys. Music was of a quality never heard before in the Hill auditorium coming from violin and piano. We enjoyed Mutter’s and Bell’s and Perlman’s performance but when you have two performers of this high caliber, at the peak of their game, the level of the music as a whole rises above. We are reminded of Kavakos words: “in the end it’s all about the music, not the performer.” Yet the music is not created without the wondrous creativity of the musicians. It is to the immense credit of these two soloists that they chose to make music as partners and an amazing gift to the listeners to be able to experience such music and to know that such beauty is possible.
Mr Kavakos, ascetic and solemn though he may look, was carefully watching his audience at times speaking with his face to a young listener in the front row as if asking: “how was this phrase?” and “nice, no?” Ms Wang’s face was speaking the feeling of the music on every note. The clarity of Mr Kavakos’ violin’s singing, its perfect intonation rose ever more pure over the crystalline quality of Ms Wang’s piano voice.
The program was not your run-of-the-mill people pleasers, yet it was one where no dissonance was heard. Just as the harmony between Kavakos and Wang unfolded so did the consonance of their sound. And the crowd was pleased. They were so pleased they applauded between movements. The applause could be taken as ignorance but our Ann Arbor audience is not ignorant, and our UMS booklet programs can be easily followed. No! distracting as it might have been to the artists, the applause signified the audience was being swept by the emotional journey the soloists had embarked on. We were all passengers on a sea of feeling, the flowing waves created by Ms Wang’s caresses of the piano keys, the ship of our trip floating over the waves shaped by the singing of Mr Kavakos’ violin. To my own surprise and drawing a stunned look of my husband even I forgot myself once and applauded out of line.
When there is such heartfelt purity and authenticity in the music-making, the audience follows back to the beginning, back to the time when the music was written, when audiences were loud participants in the concerts and not solemn watchers in a museum.
Our journey started on calm and safe, solemn waters with Brahms second sonata for violin and piano. The Brahms was infinitely heartfelt and delicate, touching all the chords of delicacy one may access.
The second violin sonata of Shumann was a discovery to be made. Shifting to a more dynamic and tortuous mood, it possessed no clear memorable themes and yet it was full of clear articulate melodic phrases, an elegiac oratory over rolling, darker waters, with plenty of moments of restful peace interspersed. The ending notes of the third part left us in perfect peace and breathless for a moment, then the audience did not withhold their between-movements praise. The “Bewegt” fourth part of the piece ended the whole dynamically, leaving us in perfect catharsis.
The applause was loud and brought the musicians in for second bows. We would have taken third if they gave it to us. They walked as a unit, walking close to each other with Mr Kavakos, (whose violin skills will be forever a gift to the world), seeming protective of Ms Wang and she (always the rockstar) being willing to count on him.
We wished the Ravel would never end. The sonata was premiered for the UMS. The jazzy opening notes, as crooning as the voice of Ella Fitzgerald on a good day, started our slow strolls among the trees of French forests. We walked with the violin and watched the sunlight sparkle and play with the leaves as Ms Wang softly touched the keyboard. It was a rejuvenating stroll, one of those that clear the head and make the focus of the thought sharp.
Yet the best was yet to come. The Mediterranean sea of Ottorino Respighi may have more light than the Black Sea of Brahms and Shumann but it is full of varying moods and dangerous, deep waters. The waters flowing from Wang’s fingers running on the piano board rose up a tempest in the first part of Respighi’s sonata. Again there were moments of peace and light as the violin rose above the waves. There were dialogues, challenges, a love affair between the ship and the sea even in the clashes, even in the stormiest moments of the fourth part when the voices of the two instruments rose strong together.
The infinite poetry of the second part of the sonata rang with a truly Italian melancholy. It was a truly expressive Andante, which appears to be Mr Kavakos unparalleled specialty, attested also in his award-winning recordings of the Mendelsohn and Mozart concertos under Sony, his previous label. The Andante set the stage and mood for the Passacaglia where both piano and violin shone. But maybe this was the only part where the dynamics were not well-tuned. Our ship, our voice on the violin seemed crashed against the waves. Yet that was the tone in which the piece ended: high drama.
When the curtain fell, the audience rose in rupture and made Mr Kavakos and Ms Wang bow thrice before they were rushed off to their ride to the airport.
The scheduling was so tight they had no time for an encore – never mind autographs. At first people were shocked. They felt brushed off by the performers. Were they being punished for clapping out of line? Did they do something wrong and Mr Kavakos and Ms Wang did not like us as audience? When word came around about the performers schedule we wished them safe sailing and to find their way back to our town at another time. Thank you both for a great journey.
It seems to happen at least once a season–UMS snares a performance that’s only happening in a handful of venues in North America, if that. Teatro Regio’s William Tell was this year’s stealth thriller. Like a fair-weather football fan, I’d planned to escape at the half. But the irresistible energy and precision of Noseda and his musicians held me to the end. I learned from this performance (unfamiliar piece and performers, a story I thought I’d known but didn’t), as is so often the case with UMS offerings. And what a treat to have something so radiant in the otherwise list-ridden, shopaholic, gray-skied month of December. Thank you!!
This was one of the greatest performances of an opera I’ve ever heard or seen. The caliber of singing is matched only perhaps in Chicago or New York (I would know, I’m a Lyric Opera subscriber). In fact these same guys just played Carnegie Hall before coming to little ol’ Ann Arbor, what a treat!
The conductor, Gianandrea Noseda, was top-notch, masterly keeping everyone together and producing a wonderful sound. He had so much energy and obvious rapport with everyone on stage. The orchestra had amazing musicians, especially the lead cellist and concert master, but also the flotist had a great solo part. I can’t forget to mention the chorus was also great. You could tell everyone on stage was a pro.
The cast were all-stars; there was not a weak voice in the bunch. Even the minor roles were cast with superb voices. The soprano, Angela Meade, stood out for her power and tone, and she dominated the coloratura. I think I was most impressed by the tenor, John Osborn. He opened a little weak but by the end he was overpowering the entire orchestra with his high C’s, it was really impressive the control he showed over his voice. Luca Spotti, who sang William Tell, was also sang superbly (although part of me thought one or two of the other baritones could have sung it better, but I was not disappointed!).
And finally, the Ann Arbor audience deserves mention for their enthusiasm and obvious love for the arts. Newcomers to opera don’t know that the audience is a big part of the show. I was at Handel’s Messiah this weekend, and it was 3 dry hours of nobody clapping, like sitting through a church service. Last night at William Tell, however, we had the opera crowd representing, and man was it refreshing. By the start of the second act, every break in the score was met with roaring applause and “Bravo!”s, and by the end everyone was quick to their feet for the final ovation that they so expertly deserved. Even though the show lasted 4 hours it was never dull. I didn’t want it to end!
I really hope they come back to Ann Arbor, and the Hill Auditorium was such a great venue for a thing like this. UMS should really do this kind of thing more often! I agree there should have been more students. Although by no means sparse, the audience did not completely pack the house and there were not enough young people in my opinion. But hey, it’s a Tuesday night at the opera, what should I expect?
Truly outstanding, streamlined performance by all participants of a work featuring long stretches of musical banalities and Rossinian clichés, but punctuated by several inspired passages – also occasional harbingers of early Verdi. A full staging helps almost any bel canto opera because the music itself is evenly declamatory and lacks an arc. When it’s staged, you see the plot — the conflicts and affinities — before your eyes. After the over-the-top reception these folks got, they would surely love to return — perhaps with Cosi or Don Carlo or Sonnambula.
This is one of the top performances I’ve heard in nearly 50 years of attending concerts. Bravo to UMS for bringing an extraordinary event to Ann Arbor. I can’t wait for their return engagement!
Bugs Bunny! There, I got it out of my system….The opening was tremendous. William Tell remained interesting throughout but it began to resemble The Hunger Games by the second intermission. I found myself dreaming of the Toblerone that is in my stocking every year. It wasn’t Katniss Everdean on stage but the singing was terrific. I’m sorry that exams are this week and only a few students made it out. Such a rare event is to be savoured.
I know I’m late to the party but wanted to say that this show was absolutely thrilling. I’m familiar with Ikeda and would’ve driven across state lines to see him. I had no clue he was performing here. A friend posted on Facebook after attending the previous night’s performance and I rushed online to buy tickets and arrange for a sitter.
What an amazing, arresting, astounding multimedia experience. We are seriously behind the new media curve in the United States due to lack of awareness, poor funding for new media art, and other influencing factors. I thank everyone involved for making this performance possible. It was seriously a one of a kind thrill of a lifetime. I would go to shows like this every weekend if they were happening.
I’ve been wanting to attend for a few years now and as I’m leaving Ann Arbor this year I am so glad I finally made it out! Really amazing performance from all involved.
I fear for society…this derision you have for “old people”. I get that sometimes tradition can seem stuffy and pretentious. But there is also a lot of respect in tradition. Something lost in our current generation. I’m not sure I see the problem with “fancy clothes”…what greater way to show respect to the performers than to dress in a way that gives credence to their work. And I see the interrupting the performance to clap is highly disrespectful, it is saying that my opinion of your work is of greater importance than your work. So here allow me to interrupt you so I can tell you what a good job you’re doing. Instead of allowing the performers to complete their pieces as intended and then lavishing on them the praise without break their focus. I’m not sure where you get off determining the etiquette of a performance. According to your logic a toddler should be able to determine how a courtroom should feel or middle schoolers a senate session. Also not sure what church you’ve visited but most I have are much louder than any opera. Glad to know you have been to so many different performances and places-kudos to you for being well educated in the arts. If only you were as well versed in respect. And PS I’m also not one of those “old people” you seem to be in such derision of…
I fear for society…this derision you have for “old people”. I get that sometimes tradition can seem stuffy and pretentious. But there is also a lot of respect in tradition. Something lost in our current generation. I’m not sure I see the problem with “fancy clothes”…what greater way to show respect to the performers than to dress in a way that gives credence to their work. And I see the interrupting the performance to clap is highly disrespectful, it is saying that my opinion of your work is of greater importance than your work. So here allow me to interrupt you so I can tell you what a good job you’re doing. Instead of allowing the performers to complete their pieces as intended and then lavishing on them the praise without break their focus. I’m not sure where you get off determining the etiquette of a performance. According to your logic a toddler should be able to determine how a courtroom should feel or middle schoolers a senate session. Also not sure what church you’ve visited but most I have are much louder than any opera. Glad to know you have been to so many different performances and places-kudos to you for being well educated in the arts. If only you were as well versed in respect. And PS I’m also not one of those “old people” you seem to be in such derision of…
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Lol, my indiscretion. The only thing I feel bad about is participating in such a cold audience. If you want to sit through 3 hours of church music in silence, you can either go to church or buy one of many recordings of the Messiah and play it at home where it sounds the same every single time and there are no annoying people clapping in between arias. Others, like myself, prefer to go to live shows, where there is active audience participation. If I was one of those singers, I would never want to come back to Ann Arbor again; I think we were the worst, most cold and stuffy audience they could have performed for. They were just such professionals and did a great job in spite of us, but I think we could have heard a better show if we showed them a little more love!
And FYI I’m under 30 and buying front row tickets, so I represent the future patronage of opera, choral series and the arts in general. You should know it’s only going to get worse as more people my age come to these shows. I give a rip about your traditions and your fancy clothes.
I’ll see you at William Tell on Tuesday night. I’ll be the guy clapping and shouting Bravo! 😉
Actually my point was that if you go to the Metropolitan Opera in NYC (where Mr. Daniels and Ms. Bruegger sing sometimes) they are far more gracious and forthcoming with their applause. It is not uncommon for them to interrupt the show entirely, forcing the orchestra and singers to wait until the applause dies down before continuing. I’ve seen them clap for 10 minutes straight right in the middle of the show. I’m not saying everywhere should be like it is in NYC, but we could learn from their hospitality. The time to make the singers comfortable is at the beginning and throughout the middle of the show, not the very end.
Everyone is too afraid of “old person scorn” to challenge tradition. That is why the arts will die unless old people let go of this pretentiousness. Honestly if every recital of the Messiah is as dry as this one then I don’t want to come back. This is coming from a man who saw Parsifal live in Chicago twice in the same week (that’s 5.5 hours per show!) and I’m going to Die Meistersinger in NYC on 12/20 (that’s also more than 5 hours long).
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I have read somewhere that there is actually a trend beginning toward applause in the middle of a piece. But, it’s certainly not commonplace, at least not yet. The applause and cheering at intermission and at the end were very enthusiastic, and I highly doubt that the performers found the audience “cold and stuffy” or were insulted. The soloists are used to performing in places like NYC where applause is likely to be, if anything, more sparing.
I completely agree, Dennis. I thought the pacing was exquisite!
Wasn’t it compelling how beautifully and smoothly the musical baton was passed between the soloists and the chorus throughout? I think the pace is a testament to the skill of the musicians. Those 8th and 16th notes were coming fast and furious and I never heard a flaw. Amazing! I could barely contain my emotions by the end when the first chords were struck for Worthy is the Lamb. Jerry Blackstone has ruined most Messiah recordings for me. They all sound so ponderous and pretentious in comparison!
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Didn’t think I could be surprised by The Messiah but I was. Slow was fast, and fast was slow. Long notes were played staccato, and parts typically played on a clipped manner were played lugibriously. Aside from the highly stylistic performance, the unexpected treatment of many sections compelled one to listen far more carefully than might otherwise happen, and what one hears is well worth it. The text takes on new meaning. And even things like a parts played by the bassoon pops out which usually is obscured. Total delight. And we enjoyed the gusto with which the harpsichord player demonstrated. It’s totally fun watching players so into their music.
I have read somewhere that there is actually a trend beginning toward applause in the middle of a piece. But, it’s certainly not commonplace, at least not yet. The applause and cheering at intermission and at the end were very enthusiastic, and I highly doubt that the performers found the audience “cold and stuffy” or were insulted. The soloists are used to performing in places like NYC where applause is likely to be, if anything, more sparing.
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Lol, my indiscretion. The only thing I feel bad about is participating in such a cold audience. If you want to sit through 3 hours of church music in silence, you can either go to church or buy one of many recordings of the Messiah and play it at home where it sounds the same every single time and there are no annoying people clapping in between arias. Others, like myself, prefer to go to live shows, where there is active audience participation. If I was one of those singers, I would never want to come back to Ann Arbor again; I think we were the worst, most cold and stuffy audience they could have performed for. They were just such professionals and did a great job in spite of us, but I think we could have heard a better show if we showed them a little more love!
And FYI I’m under 30 and buying front row tickets, so I represent the future patronage of opera, choral series and the arts in general. You should know it’s only going to get worse as more people my age come to these shows. I give a rip about your traditions and your fancy clothes.
I’ll see you at William Tell on Tuesday night. I’ll be the guy clapping and shouting Bravo! 😉
What a spectacular performance. I’ve been to several presentations of the Messiah in other cities and venues and none compare. Our daughter works with UMS and when she invited us, I had no idea how truly amazing the performance would be. While we live in Chicago, this is likely to become an annual tradition.
This Messiah was as fresh and as exciting as if being performed for the first–rather than the 427th—time! The chorus was amazing–such wonderful articulation and expression! You could understand every word. And the soloists were outstanding–a special treat was David Daniels.
Many thanks to UMS or an overwhelming musical and spiritual experience.
Fancy dress is part of the festive event for which _Messiah_ makes a splendid main course. And dressing also shows respect for the performers, composer, and fellow concert-goers.
Clapping between arias breaks up the mood. Opera is a different species of animal. Not only is this oratorio, it is a non-dramatic, contemplative oratorio. As one splendid piece give way to the next, not only does reverence build up, so does excitement. Applause breaks other than at the ends of major sections tend to drain that energy.
I and my companion were very happy with this year’s performance! But I was a little disappointed that the opening was played with some of the excesses of the early-music movement, meaning rather quickly, and with that darned over-dotting. From now on play it straight, please.
Lol, my indiscretion. The only thing I feel bad about is participating in such a cold audience. If you want to sit through 3 hours of church music in silence, you can either go to church or buy one of many recordings of the Messiah and play it at home where it sounds the same every single time and there are no annoying people clapping in between arias. Others, like myself, prefer to go to live shows, where there is active audience participation. If I was one of those singers, I would never want to come back to Ann Arbor again; I think we were the worst, most cold and stuffy audience they could have performed for. They were just such professionals and did a great job in spite of us, but I think we could have heard a better show if we showed them a little more love!
And FYI I’m under 30 and buying front row tickets, so I represent the future patronage of opera, choral series and the arts in general. You should know it’s only going to get worse as more people my age come to these shows. I give a rip about your traditions and your fancy clothes.
I’ll see you at William Tell on Tuesday night. I’ll be the guy clapping and shouting Bravo! 😉
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George, George, George. This was your first time. So we will forgive you your indiscretion…
George, George, George. This was your first time. So we will forgive you your indiscretion…
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This was my first time at a Messiah performance, although I’ve heard it several times on the radio. It was a great performance but felt like I was in church. Nobody clapping, just sitting there until they say amen. I’m a frequent opera goer, so I’m used to showing appreciation to the performers before the show is over. It makes their job easier when they know we like what we hear. I tried to get people clapping after the tenor opened the show spectacularly but it seems people are too timid or think you can’t clap in the middle of a performance. Watch anything from the metropolitan opera and see how often they clap.
And the countertenor, David Daniels, is one of the best in his field. We should be so lucky that he keeps coming back to Ann Arbor. I saw him sing Julius Caesar in New York and Detroit and he’s fantastic. The tenor and soprano were also great, but I wasn’t hot on the baritone. He sure tried though and gets an A for effort.
This years performance was one of the best I have ever heard! Ms Brugger is by far the Best Soprano! Sang with feeling, hitting every note so perfectly without being over the top. SO GOOD.
This was my first time at a Messiah performance, although I’ve heard it several times on the radio. It was a great performance but felt like I was in church. Nobody clapping, just sitting there until they say amen. I’m a frequent opera goer, so I’m used to showing appreciation to the performers before the show is over. It makes their job easier when they know we like what we hear. I tried to get people clapping after the tenor opened the show spectacularly but it seems people are too timid or think you can’t clap in the middle of a performance. Watch anything from the metropolitan opera and see how often they clap.
And the countertenor, David Daniels, is one of the best in his field. We should be so lucky that he keeps coming back to Ann Arbor. I saw him sing Julius Caesar in New York and Detroit and he’s fantastic. The tenor and soprano were also great, but I wasn’t hot on the baritone. He sure tried though and gets an A for effort.
Thanks for a gorgeous performance! I first attended UMS’s “Messiah” in 1978 and have gone many times since then. This was one of the very best. The Choral Union and orchestra were wonderful; the trumpeter in particular was absolutely spectacular (I am not in the habit of applauding before the end of a piece, but I felt compelled to join in the applause after “The trumpet shall sound”). I had not heard David Pittsinger or Janai Brugger sing before, and was extremely impressed with both of them. While it’s true that David Daniels doesn’t have the loudest voice, his singing is beautifully nuanced; “he was despised and rejected” was especially lovely.
Excellent bass, very good tenor. Countertenor was certainly weaker than in past years and soprano performed nicely but was not as superb as bass and tenor. The basso continuo -harpsichord, bass, cello-as always, made the performance. Great job!
I thoroughly enjoyed the Messiah performance with the A2 Sumphony, CU and Jerry Blackstone and the 4 wonderful soloists. I am so happy I was able to hear the Messiah under JB’s leadership. Thank you Jerry Blackstone, A2 Symphony and the Choral Union for this treasure. The 4 soloists were much stronger than in the past.
The Messiah like I had not heard before. The soloists were unexpected and just outstanding. The energy from the entire orchestra was palpable. What a great afternoon!
I have attended every one of the Messiah performances conducted by Jerry Blackstone (12 years of them), including today’s (12/7/14). The CU and all of us will miss his extraordinary leadership of this group. Every year of his 12 year directorship one thought the CU couldn’t get any better–and then they DID! JB brought us 12 years of beautiful Messiah performances–as well as other CU musical triumphs–each “Messiah” with subtle dynamic changes, increased lyricism, wonderful blending of voices. and a surprise each year. That first JB-conducted post-TS Messiah was a revelation and this last a wonderful parting gift to all of us. The soprano was wonderful and the violin and cello accompaniment moving and lovely.. The trumpet was outstanding EP’s and the A2SO very fine as usual. THANK YOU, JERRY and THANKS to everyone who took part.
Someone who had never attended the Handel Messiah performance before.
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Who was the person that clapped in the middle of the first part. Awkward interruption to an otherwise beautiful performance. Hearing the entire Choral Union sing in Hill Auditorium is so impressive!
We had a fabulous time. The performance was outstanding, particularly the one by Ms. Brugger. Just a total delight and a wonderful way to celebrate the holiday season!
Didn’t think I could be surprised by The Messiah but I was. Slow was fast, and fast was slow. Long notes were played staccato, and parts typically played on a clipped manner were played lugibriously. Aside from the highly stylistic performance, the unexpected treatment of many sections compelled one to listen far more carefully than might otherwise happen, and what one hears is well worth it. The text takes on new meaning. And even things like a parts played by the bassoon pops out which usually is obscured. Total delight. And we enjoyed the gusto with which the harpsichord player demonstrated. It’s totally fun watching players so into their music.
Who was the person that clapped in the middle of the first part. Awkward interruption to an otherwise beautiful performance. Hearing the entire Choral Union sing in Hill Auditorium is so impressive!
Every since 4th grade when my class took a field trip to Orchestra Hall here in Minnesota, I’ve wanted to conduct a Traditional Orchestra, really really bad!
I can still remember my first time going in front of my Concert Band in 8th grade and conducting “Tiger Rag”. It was a very frightening moment, but also a magical one for me.
Ever since I’ve been trying to conduct when ever there is Music around, much to the annoyance of the people around me. But its a passion, and now being a Sophomore in High School, the world of Music has opened up to me completely.
My teacher, Mr. Dennis Lindsay, allowed me to start a club called ‘Stillwater Pops’, where once a week I get up in front of a group of 20 high school band musicians, and conduct/teach/help them get through various pieces of music. So far it’s been a dream come true and I’ve learned that the old saying is very true; “For every hour your up on the podium, its at least 2 hours of extra work” [AKA printing, organizing, and transposing various parts]
I’ve been to Shell Lake Center for the Arts, and am currently taking private lessons for my primary instrument(s), percussion from Randy Martins.
I own 4 batons, one (my first I got in 8th grade) made by the masters at PaGu Batons. Another from the fantastic makers over at Mollard Conducting Batons. And the rest are just practice batons I got for 20 dollars online.
Online I got study scores of various pieces for Concert Band. My favorite is First Suite in Eb for Military Band; Chaconne composed by Maestro Gustav Holst.
In 9th grade I was in the highest band at Oak-Land Jr. High called Raider Band. [Yes Band President as well] My teacher, Robin Vought decided we should play Chaconne and so we did! I had a small part, crash cymbals, but still very important for the climactic flowing energy of the end. Only using my talents a couple times I had a lot of rests in which I watched my director. The way she conducted was beautiful and that inspired me to want to become a teacher of Music.
The Orchestra teacher at my High School, Jerry Jones allowed me to borrow the standard or ‘Bible’ of conducting, “The Grammar of Conducting”. Which has taught me that the true meaning of conducting is to convey the music to the audience, physically.
But of course its not just that, its also about trying to figure out what the hidden meaning is. The meaning that the composer is trying to say through music. Doctor Kristin Tjornehoj of River Falls University, taught me those wise words.
I really love music, its the only real magic in life. This would be a really amazing experience for me on multiple levels. I’m more than positive that this would help my conducting technique grow from where it is now. And I’m also more then positive this would be a once in a lifetime experience for a student like me.
Thanks for your consideration and time!
~ James J. Cardenas~
Stillwater Area High School Wind Ensemble Band President
Sometime has elapsed, however I thought I would chime in here.
In 1993 I was invited to perform at The World Accordion Festival in Montmagny Quebec. It was an honor to be presented with the elders of the art form, many of whom have since passed on. The recent Hill Auditorium event in some ways eclipsed the Quebec concert in it’s youthful refreshing angle at accordion virtuosity. The pleasure was ours, and I’ll briefly list what Liz Carroll and I performed in the Irish duo segment. Thanks again!
#1:The New Custom House, Reel de Set Americain, & Harris Dance Tune; #2 Danny Boy; #3 Bill Harte’s Reel, Rolling Down the Hill & John Brady’s Reel; #4 John Brady’s Jig, The Hawk from Dundalk & the Diplodocus Jig. John Williams
May I also add..if I wanted to see a rockstar, I’d go to a rock concert, though I never would since I’ve grown out of them.
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To UMS Lobby: Please don’t ask such silllllly questions on a poll as “which artist did you like more” etc. In this case both are clearly supreme artists at the top of their powers, each in their own right, and even more substantially in their entity as a duo. This concert was poetry, not a poetry slam! It was not a contest! Even having a poll of this nature implies that it’s a valid question.
Maybe before concerts, we need to disseminate more information about the music and the process and magic of music making, so people who are curious but aren’t sure what to listen for, can learn to enjoy collaborations of this quality at much fuller and more gratifying levels of listening.
It would sure make the price of the ticket and the time spent at the concert hall, even more worthwhile!!!
Hello- I’m Isabel Park, a first-year U-M piano student attending several UMS piano performances this season and sharing my thoughts here on UMS Lobby after. If you’d like to read more: http://www.umslobby.org/index.php/2014/11/student-spotlight-u-m-first-year-student-isabel-park-sets-out-to-explore-piano-15982 I’d love to hear your responses!
I was curious how Yuja Wang’s soloistic performance style would play out in a chamber music setting; last night, she proved that her versatility as a musician falls nothing short of professional. The opening of the Brahms was presented so intimately, which set up a proper atmosphere for the duration of the concert. The tones of both Wang and Kavakos complemented each other in such a way that the warmth of Brahms was undeniably present. Despite the thick textures of Brahms, the duo’s interpretation was subtly adorned with tasteful rubato, a contained excitement, and flawless accuracy that ultimately provided what seemed to be an effortlessly simple performance of the sonata.
The recurring descending melody in the Ziemlich langsam — Lebhaft of the Schumann was beautiful and perhaps the most memorable part of the entire concert. The contained excitement built up in the Brahms seemed to bloom in the final movement and even more so in the coda, which was so dramatically Schumann-esque.
Ravel’s sonata, again accumulated a refined energy — which was diffused only slightly in the subtle, but satisfying final chord. The energy sustained the duo through a thrilling delivery of their final piece, Respighi’s b minor Sonata. Wang took advantage of the piece to showcase her unmatched finger power and the clarity with which she can play difficult passages that challenge even the most adequate player’s technical facility. Throughout, she was able to give the audience an impressive soloistic sound while maintaining a tight-knit sense of ensemble.
As a pianist myself, this chamber performance reminded me of the intimate interaction that goes on through music, both amongst the performers and between the performers and the audience. I think this connection is crucial to a good performance, despite all the objective aspects. I will certainly be looking for this in the upcoming performances that I attend.
Bravo Wendy! You are a star! You are so right! And what a wonderful review! Except I thought the applause in the end was thunderous and demanding. It stopped because people got upset the players left without an encore but then everyone sympathized when they found out they had to run to the airport. The response of the public was atypical because each movement was so good. Even I got carried out once in between movements and my husband was shocked.
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To UMS Lobby: Please don’t ask such silllllly questions on a poll as “which artist did you like more” etc. In this case both are clearly supreme artists at the top of their powers, each in their own right, and even more substantially in their entity as a duo. This concert was poetry, not a poetry slam! It was not a contest! Even having a poll of this nature implies that it’s a valid question.
Maybe before concerts, we need to disseminate more information about the music and the process and magic of music making, so people who are curious but aren’t sure what to listen for, can learn to enjoy collaborations of this quality at much fuller and more gratifying levels of listening.
It would sure make the price of the ticket and the time spent at the concert hall, even more worthwhile!!!
To UMS Lobby: Please don’t ask such silllllly questions on a poll as “which artist did you like more” etc. In this case both are clearly supreme artists at the top of their powers, each in their own right, and even more substantially in their entity as a duo. This concert was poetry, not a poetry slam! It was not a contest! Even having a poll of this nature implies that it’s a valid question.
Maybe before concerts, we need to disseminate more information about the music and the process and magic of music making, so people who are curious but aren’t sure what to listen for, can learn to enjoy collaborations of this quality at much fuller and more gratifying levels of listening.
It would sure make the price of the ticket and the time spent at the concert hall, even more worthwhile!!!
Of course Schumann couldn’t have been there listening to the salon concert of the Brahms A Major, but his spirit could have been! 😉
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I wasn’t aware that they “couldn’t wait to go”…, but I was hoping for an encore but it seemed to me that the audience applause died out way too soon for the quality of performance to which we’d been treated. Ironically, the applause was not wanting throughout the performance, where a substantial segment of the audience at Hill was providing polite applause after every movement of each sonata.
Kavakos, after a while, took to holding his bow up on his strings after completion of a movement, and turning his page with his left hand just to keep the applause from breaking the spell of mood, or to enable a key change to be savoref, etc.
Therefore, I wondered, in light of their fast escape, which I heard was to catch a plane, whether perhaps what added to their hasty retreat from the stage was the audience behavior, so atypical for the Hill crowd.
But now, as to the playing, I was swept into reverie by a rendering of the Brahms op. 100 such as I’ve never encountered; entreating, sultry, inviting, velvety, rhapsodic, and understated, leaving a hunger to hear more. Both spoke in tones of powerful but hushed passion, a portraying of Brahms’ love of Clara while both held beloved Schumann in their embrace. And then, this emotive sonata of Schumann, with rapturous themes and hidden romantic embedded messages in the name note letter spelling, hidden musical emoticons as these dear friends so often used in their compositions. It was perfectly performed by the consummate artists on stage. I felt for the first half that I was privy to an intimate salon concert of Brahms and Clara in turns at the piano, with Ferdinand David on violin, and Robert a very pleased and approving listener. I was a delighted listener too, never having heard this gem performed before. All the sonatas of Schumann deserve to be enjoyed, they are part of his great outpouring of love and song at the peak of his creative genius, just before the curtain of madness fell around him.
Now jump to the second half. New air! Extroverted! Openly impassioned! I was not familiar with the early Ravel, but I loved it! Only too short… Both Kavakos and Wang made the transition to Frrrench sound and sensibility and I was transported southward. The Respighi opened in fireworks of sound, color painting in full warm Italian splendor! The playing of Kavakos kept opening up as the Respighi demanded it. This piece was another great treat and surprise for me, having never heard it performed live before. Both artists played with deep, rich colors of sound, always refined and velvety, never scratchy or bangy, even when playing at full throttle and fully emotive. To this listener, their musical rapport was so complete that it felt like a single genius heart and mind had given life to each sonata on this program.
Thank you, UMS, for bringing this incredible duo to Ann Arbor!
I’m more able to write about jazz but the concert had a certain fury that was incredible. Someone mentioned a salon concert, it was a bit of that. In jazz it’s the art of surprise and that applies a little bit to classical too. UMS sponsored a pop up concert in Barnes & Noble of Bela Fleck & the Brooklyn Riders about a year ago…that was great. In West Coast parlance last evening was a Happening!
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I wasn’t aware that they “couldn’t wait to go”…, but I was hoping for an encore but it seemed to me that the audience applause died out way too soon for the quality of performance to which we’d been treated. Ironically, the applause was not wanting throughout the performance, where a substantial segment of the audience at Hill was providing polite applause after every movement of each sonata.
Kavakos, after a while, took to holding his bow up on his strings after completion of a movement, and turning his page with his left hand just to keep the applause from breaking the spell of mood, or to enable a key change to be savoref, etc.
Therefore, I wondered, in light of their fast escape, which I heard was to catch a plane, whether perhaps what added to their hasty retreat from the stage was the audience behavior, so atypical for the Hill crowd.
But now, as to the playing, I was swept into reverie by a rendering of the Brahms op. 100 such as I’ve never encountered; entreating, sultry, inviting, velvety, rhapsodic, and understated, leaving a hunger to hear more. Both spoke in tones of powerful but hushed passion, a portraying of Brahms’ love of Clara while both held beloved Schumann in their embrace. And then, this emotive sonata of Schumann, with rapturous themes and hidden romantic embedded messages in the name note letter spelling, hidden musical emoticons as these dear friends so often used in their compositions. It was perfectly performed by the consummate artists on stage. I felt for the first half that I was privy to an intimate salon concert of Brahms and Clara in turns at the piano, with Ferdinand David on violin, and Robert a very pleased and approving listener. I was a delighted listener too, never having heard this gem performed before. All the sonatas of Schumann deserve to be enjoyed, they are part of his great outpouring of love and song at the peak of his creative genius, just before the curtain of madness fell around him.
Now jump to the second half. New air! Extroverted! Openly impassioned! I was not familiar with the early Ravel, but I loved it! Only too short… Both Kavakos and Wang made the transition to Frrrench sound and sensibility and I was transported southward. The Respighi opened in fireworks of sound, color painting in full warm Italian splendor! The playing of Kavakos kept opening up as the Respighi demanded it. This piece was another great treat and surprise for me, having never heard it performed live before. Both artists played with deep, rich colors of sound, always refined and velvety, never scratchy or bangy, even when playing at full throttle and fully emotive. To this listener, their musical rapport was so complete that it felt like a single genius heart and mind had given life to each sonata on this program.
Thank you, UMS, for bringing this incredible duo to Ann Arbor!
I wasn’t aware that they “couldn’t wait to go”…, but I was hoping for an encore but it seemed to me that the audience applause died out way too soon for the quality of performance to which we’d been treated. Ironically, the applause was not wanting throughout the performance, where a substantial segment of the audience at Hill was providing polite applause after every movement of each sonata.
Kavakos, after a while, took to holding his bow up on his strings after completion of a movement, and turning his page with his left hand just to keep the applause from breaking the spell of mood, or to enable a key change to be savoref, etc.
Therefore, I wondered, in light of their fast escape, which I heard was to catch a plane, whether perhaps what added to their hasty retreat from the stage was the audience behavior, so atypical for the Hill crowd.
But now, as to the playing, I was swept into reverie by a rendering of the Brahms op. 100 such as I’ve never encountered; entreating, sultry, inviting, velvety, rhapsodic, and understated, leaving a hunger to hear more. Both spoke in tones of powerful but hushed passion, a portraying of Brahms’ love of Clara while both held beloved Schumann in their embrace. And then, this emotive sonata of Schumann, with rapturous themes and hidden romantic embedded messages in the name note letter spelling, hidden musical emoticons as these dear friends so often used in their compositions. It was perfectly performed by the consummate artists on stage. I felt for the first half that I was privy to an intimate salon concert of Brahms and Clara in turns at the piano, with Ferdinand David on violin, and Robert a very pleased and approving listener. I was a delighted listener too, never having heard this gem performed before. All the sonatas of Schumann deserve to be enjoyed, they are part of his great outpouring of love and song at the peak of his creative genius, just before the curtain of madness fell around him.
Now jump to the second half. New air! Extroverted! Openly impassioned! I was not familiar with the early Ravel, but I loved it! Only too short… Both Kavakos and Wang made the transition to Frrrench sound and sensibility and I was transported southward. The Respighi opened in fireworks of sound, color painting in full warm Italian splendor! The playing of Kavakos kept opening up as the Respighi demanded it. This piece was another great treat and surprise for me, having never heard it performed live before. Both artists played with deep, rich colors of sound, always refined and velvety, never scratchy or bangy, even when playing at full throttle and fully emotive. To this listener, their musical rapport was so complete that it felt like a single genius heart and mind had given life to each sonata on this program.
Thank you, UMS, for bringing this incredible duo to Ann Arbor!
We were really lucky to have one of the best violinists in the world, and an extremely good pianist. The music they played was amazing, though sometimes the piano was a bit t loud.
I had a very pleasant evening but it seemed to me that Yuja Wang didn’t look like she really wanted to be there. Perhaps tired from her busy schedule.
Certainly not what I expected from the various images I have seen of her dynamic playing elsewhere. Particularly near then end when it looked like they could’nt wait to leave.
Keith
Mr. Kavakos excels in delicacy and sweetness of tone. I am so glad that he threw off the shackles after intermission that had seemed to hold him back before. His playing now became a lot more con amore. If you’re going to play duets with the passionate Ms. Wang, you mustn’t get too shy and meditative. She dominated through much of the evening (and not only in the billing on the program or in the curtain calls.) She, too, produced a warm round sound — even when she played too loud and covered up her partner.
The program was a model – familiar as well as fresher pieces and, for a welcome change, skipping over the Beethoven sonatas which have become practically obligatory in our day. Only heard that Respighi once before. Want to hear it again. Never heard the Schumann. Expected to hear the other Ravel sonata. But happy with this one.
And do y’all remember how in the olden days Heifetz, Milstein, Elman, Ricci, Francescatti, and the rest of the gang used to play some serious sonatas in the first half of every program before regaling us with a slew of fireworks after intermission – Paganini, Sarasate, Wieniawsky. A lot of fun stuff! But not this pair! Nah, all serious nourishing stuff. Very fine program and concert.
Correction, Ms. Wang played Carnegie Hall last night. Stands to reason that such a talent would be Saturday night in New York fare. She is off to San Francisco Dec. 1. Sorry for the fuzzy logic.*
This kind of music really hit the spot. I’m watching 60 Minutes with dissaster after dissaster….but what me worry? I live by the river! On a serious note I understand the performers skipped through Michigan for a matter of hours on their way to play Carnegie Hall. They looked a bit jet lagged by my goodness could they play. Perhaps they could return some Spring weekend & stretch their legs in the peony garden or such.
Wonderful performance – incredible really! And all by an artist with such warmth, grace, humility, passion…..an honor to be in his audience. Highly recommend watching his documentary Four Strings.
It was a really awesome show. Jake is very talented. I could not listen to the Ukulele all the time, but it was a great experience and I would recommend it to everyone.
That said, I did have one gripe, and tip for the artist: Limit the chatter. Some is good, but often I didn’t really care what you were talking about and just wanted to hear more uke. Also we don’t care that you don’t do drugs, because we’re all an drugs. That’s the best way to hear a ukulele concert!
Muy divertido! Just when seasonal affective dissorder is creeping in we get a booster shot from Jake S.! Wonderful mastery of the ukelele. I saw a Todd Rundgren show the other year and he played ukelele most of the way through….denied us A Wizard A True Star and all those Rock Hall favorites. Mr. Rundgren lives in Hawaii these days….but a guy who would play all the instruments on his L.P.’s. But tonight, real ukelele. Great presentation too, he seemed genuinely enthused in the midst of his 30 city tour.
Jake was amazing! Generous, gracious, passionate and such a delight! His virtuosity is beyond anyone I have seen! Enjoyed both shows…the kids were inspired and in awe! What a great day!!! Thank you Jake and UMS for bringing him to Ann Arbor!
A huge thank you to my colleague Mark Jacobson for bringing Bob James and the incredibly talented musicians who joined him on stage to Ann Arbor for a UMS performance at Hill. Hill Auditorium is really large but the whole setting together with Bob’s comments from the stage made it feel as thought I was sitting in a jazz club in Manhattan which made it a great date night with my husband!
This was a WONDERFUL concert. I discovered Bob James many years ago through the theme song for the TV series, “Taxi”. I was absolutely thrilled when I heard about the other fantastic artist that would be performing with him. Keep bringing in these great jazz artists UMS!
Back in the 80s, living in the UP, a friend told me I had to give BJ a listen. Been listening ever since. Glad I got a chance to see him perform live. What a great performance. fantastic group. 90 minutes never went so fast! Encore was terrific!
Wow what a great performance and excellent concert. His band was superb and the quality of the music was awesome. Very glad I went with friends who were also very impressed. I saw him with the World Youth Symphony many years ago outdoors at Interlochen! He is still going strong and a great member of the JAZZ community. Thanks much UMS!!
First heard him with Earl Klugh back in the early 80’s and have been a fan ever since. Last night’s performance was a treat – – incredibly talented musicians at the top of their craft, feeding off of each other’s energy and exuding pure joy!
Bob James & Co were amazing. Their performance was so tight. Thoroughly enjoyed it! Meeting Bob James after the concert was so awesome – what a great guy! Thanks for having him and bring him back again.
The concert was outstanding.
I was pleasantly surprised that he began the set with “Touchdown”
I attended his summer concert at Chene Park where he featured new music with David Sanborn, and I must say I really preferred
this show with some of his vintage repetoire
The Bob James last night was fantastic it. His band was amazing. Aaron Heick was awesome on the sax. I got goosebumps when they performed Angela. Very enjoyable night.
Never disappoints! Bob James is truly talented. Had the pleasure of hearing a Fourplay jam session in a little coffee house in Pacific Grove, CA on a Sunday night right after the release of their first CD. I’ve been a fan since 1991.
Bob James puts on a quality show. I knew little of his work before this Fall. WEMU filled me in this this month. Iwas thinking today of how I would like 2014 to end….tonight would have been perfect.
It seems the Dream of the 90’s is alive in both Portland and Hill Auditorium. I’d write more but I have a club sandwich in front of me.
Matter of taste. The Prokofiev is very, um, Prokofiev from beginning to end – lyrical, rhythmically complex, and full of humor. I do wish the soloist had given us a little more tone. Analogy: good stage actors know how to do a stage whisper – soft but audible. The same holds for instrumental performers: what’s needed is audible softness. Daphnis and Chloê has terrific lush orchestral and ch9oral writing, harmonic and rhythmic surprises galore, and breathtaking sonorities. And the SFO and choir more than rose to the occasion. But as s veteran Mahler fan, I understand your preference.
However, what seems to me not a matter of taste is the fact that there were fewer empty seats on Friday than on Thursday. My thought is that the public at large is more strongly and widely attracted to programs that mix styles and periods than to ones that feature a single work, no matter how august. Perhaps more of these would help preserve this tradition from its gradual decline. Rather than combining jazz with classical music, let’s see if we can’t raise a larger audience with internal diversity! Honk if you think so, too.
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From sublime heights Thursday night to the trivial pits on Friday. What a huge comedown.
I haven”t been to a concert in 11 years but tonight I experienced Michael Tilson Thomss and the SFO .The performance was exceptional and the Ravel Daphnes with the full orchestra and choral wss a spectacle you dream of hearing and experiencing.I told my friend who went with me that I”m so thankful for the mothrrs who made their kids pralctice because they grow up to be great musicians!Thank you UMS FOR A WONDERFUL EVENING.
As a lifelong Mahler fan, I couldn’t agree with you more. Neurotic is the perfect description. The fourth movement was beautiful though.
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We heard a model performance of Mahler’s Seventh – and one that makes clear why this work is so rarely performed: it’s surely Mahler’s most haunted and pained document and that makes it painful to listen to at times.
A neighbor complained that the sound was often shrill and that there was not enough build-up within each movement. True — but that’s in the composition, not the performance.
Mahler’s Sixth Symphony was called the “Tragic” (though not by him, as I recall.) The Seventh might well be called the “Neurotic”. It’s filled with one long and eventually unresolved struggle between chaos and the yearning for order, turmoil and a longing for some calm. Episodes of agony and naïve bucolic peace follow each other in headlong cascades. Since it is an undecided struggle, there is no build-up to a destination; rather, each movement stops where it does only because the struggling hero is exhausted. Even the two Night Musics are the tunes of troubled sleep.
So, yes, shrill and pointedly static — recycling the same screams and painful episodes. And in the center movement Mahler is looking over his own shoulder and giving us his sarcastic smirk; this is his danse macabre.
This is my first time listening to Mahler’s Seventh Symphony. Unique in style, full with sophistication and changing techniques, and more of an “interesting” piece rather than an euphonious one.
The intriguing part is that the melody refuses to come out as expected; it takes on refreshing new traits every little while, but keeps a rate of delicacy and never truly run into chaos. The playful techniques may be disturbing for ole who prefer quiet music, though.
The performance was amazing! although the music itself is complex and sometimes thrilling, there’re several serene moments when beautiful timbre comes out, clean, and elegantly in concord.
It was kind of a surreal day with the sun and snow showers intermitent. I found myself imagining Star Trek episodes behind the orchestra where the pipe organ is. I kept seeing the stars in the galaxy and wondering which one would burst forth and become the Starship Enterprise. I find that wicked daydreams are the best part of going to the symphony. It was not a boring piece. I’m glad heard such a fine orchestra….beats watching some new chef program on the telly.
We heard a model performance of Mahler’s Seventh – and one that makes clear why this work is so rarely performed: it’s surely Mahler’s most haunted and pained document and that makes it painful to listen to at times.
A neighbor complained that the sound was often shrill and that there was not enough build-up within each movement. True — but that’s in the composition, not the performance.
Mahler’s Sixth Symphony was called the “Tragic” (though not by him, as I recall.) The Seventh might well be called the “Neurotic”. It’s filled with one long and eventually unresolved struggle between chaos and the yearning for order, turmoil and a longing for some calm. Episodes of agony and naïve bucolic peace follow each other in headlong cascades. Since it is an undecided struggle, there is no build-up to a destination; rather, each movement stops where it does only because the struggling hero is exhausted. Even the two Night Musics are the tunes of troubled sleep.
So, yes, shrill and pointedly static — recycling the same screams and painful episodes. And in the center movement Mahler is looking over his own shoulder and giving us his sarcastic smirk; this is his danse macabre.
Those musicans were phenomenal. Accordion rebirth is way past due. In the hands of a top musician it can do things that no other instrument can. Looking forward to more accordion concerts down the road. Thanks to UofM (go Blue) for supporting music of this caliber. In many countries the accordion is a serious concert instrument with artists at the level of the finest musicians on other instruments. Check out Youtube for many terrific videos featuring accordion.
I agree the standing ovation happens so often now it has lost all meaning.
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Sorry to be a downer, Ken, but Ann Arbor audiences always leap to their feet. It has become as common as applauding. I do agree that it was a wonderful, memorable concert and that it deserved the standing ovation.
As examples from the beginning of the Mozart no vibrato until just a hint of it on the next-to-the last note of the opening unison phrase. Then a full-throated series of chords, with the third one–a dissonance–slightly softer than the first two.
And as much attention to expressive rhetoric “from that moment on”–
Sorry to be a downer, Ken, but Ann Arbor audiences always leap to their feet. It has become as common as applauding. I do agree that it was a wonderful, memorable concert and that it deserved the standing ovation.
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For me, Sunday’s UMS concert by the Quatour Ebène will go down as one of the most exquisite and memorable in the 52-year history of the UMS Chamber Arts Series and in my 27 years of attending these Rackham concerts. The appreciative Ann Arbor audience lept to its feet at the conclusion of Mendelssohn’s Quartet in a minor, Op. 13 as the first half closed, sharing its collective awe in the superb quality of the quartet’s performance of the work. If you were there, you know how special that piece was as well as the opening Mozart and the improvised jazz and crossover pieces announced from the stage in the second half. If you missed the concert, learn more about this unique string quartet from France at http://ums.org/performance/quatuor-ebene/. That the concert was made possible by the Candis J. and Helmut F. Stern Endowment Fund, whose gift to UMS was announced on stage at the beginning of the concert, makes the event even that much more special. The Stern endowment will fund a UMS Chamber Arts Series concert each season going forward. Thank you, Candis and Helmut.
For me, Sunday’s UMS concert by the Quatour Ebène will go down as one of the most exquisite and memorable in the 52-year history of the UMS Chamber Arts Series and in my 27 years of attending these Rackham concerts. The appreciative Ann Arbor audience lept to its feet at the conclusion of Mendelssohn’s Quartet in a minor, Op. 13 as the first half closed, sharing its collective awe in the superb quality of the quartet’s performance of the work. If you were there, you know how special that piece was as well as the opening Mozart and the improvised jazz and crossover pieces announced from the stage in the second half. If you missed the concert, learn more about this unique string quartet from France at http://ums.org/performance/quatuor-ebene/. That the concert was made possible by the Candis J. and Helmut F. Stern Endowment Fund, whose gift to UMS was announced on stage at the beginning of the concert, makes the event even that much more special. The Stern endowment will fund a UMS Chamber Arts Series concert each season going forward. Thank you, Candis and Helmut.
Can’t vote two things… too bad… because I equally enjoyed the Mendelssohn… which was the best I have EVER heard… and the talent displayed in the Jazz and popular section was fabulous!
This is a talented group!
Barbara
Thank you all for being such a wonderful audience for us! You might like to see this review of the concert, which appeared in today’s Cleveland Plain Dealer. (The PD music critic drove to Ann Arbor to review the concert.)
Agreed — more early music! And though there are a number of choirs on campus, I would love to get some professional groups here as well.
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Awesome! I wish UMS had early music or choral concerts every week. I’d go to all of them!
I also really appreciated the Q&A afterward. It’s a great opportunity to gain knowledge and hear the musicians talk and get a sense for their personalities. I hope UMS is able to arrange more of those.
I agree with the commentators questioning the choice of venue, and will add that it was very difficult for students to get to and leave from compared to other venues that are closer to campus.
The music however, was beyond compare. Apollo’s Singers in particular completely blew me away with their seemingly impossible blend, consistently perfect tuning, and constant energy. Quite honestly it was the best early music performance I have ever attended. I went back and compared the experience to some of the recordings I have of the Vespers, and it puts even Gardiner to shame.
Bravo the the Apollos, and I hope they will return to the UMS schedule very soon!
Worst UMS concert I have ever attended since 1982! I love Apollo’s Fire but the acoustics last night were terrible and the seats made my back hurt–never mind the impossible parking. Why UMS would schedule any concert in St. Francis is totally incomprehensible when we have Hill Auditorium! I cannot comment on the performance since I could not hear it clearly–I plan to buy the disc and listen in my comfortable living room. Very disappointed.
Awesome! I wish UMS had early music or choral concerts every week. I’d go to all of them!
I also really appreciated the Q&A afterward. It’s a great opportunity to gain knowledge and hear the musicians talk and get a sense for their personalities. I hope UMS is able to arrange more of those.
Fabulous fabulous sounds! Both tenors were superb!
The instrumentation was mellow and the singers had good energy
I love the setting for such music.
Indeed… bring them back!
The music was sublime but we were appalled to find the parking lot full more than 20 minutes before the performance. We parked on a side street but we couldn’t find our car afterwards. What a horrible end to an otherwise glorious evening.
I was relieved to find that the ensemble included singers capable of a quite full sound. So often in the authentic music culture the choirs are as thin as they probably were in the days back when.
It was good to hear this music with its mélange of genres – traces of plainchant, Renaissance mass writing, and early forays into imitative polyphony. Still, despite having left us a mix of styles, Monteverdi, who was not only a composer, but a Catholic priest, would have been mighty astonished to see his Vespers presented in what UMS calls a Renegade concert.
The tenor who sang in the first section after intermission was superb: no problems with the high pitches and some breathtaking pianississimos. Some other soloists occasionally sang with uncertain intonation, and quite a few crescendos in the sopranos culminated in whoops.
A relative who is very fond of liturgical music declined to attend this concert when she found out it was presented at St. Francis – not on sectarian grounds, but because her toosh and the hard pews don’t get along well with each other. Are there churches in AA with more comfortable seating?
I liked the cascading white TV screens in the beginning, the nicely orchestrated morse code songs, and the “superposition” of different related phrases (what is mind / never matter / what is matter / never mind). My favorite part was probably the display stretching out different scales of measure while displaying on the TVs different particles/objects/forces that operate at each scale.
I first fell in love with abstract art when Yayoi Kusama did an installation called “Dots Obsession” at my university. it was fun. I had fun with Superposition as well. Partly because I put in my earplugs.
Hi ASL,
I think one interpretation of Superposition could be that it is impossible and unnecessary to derive meaning from endless amounts of data. Perhaps that was one of the functions of the loud, random noises and bright flashing lights at unpredictable intervals. The performance was not supposed to make sense; its meaning was simply that one cannot and should not attempt to derive an overall meaning from the vast, random ocean of data. Maybe this is why the performance was so disorienting for some people. In traditional performances, there is a usually an apparent meaning and order. In Superposition, the audience searched for meaning, but could not find any obvious significance.
~KD
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My feelings on superposition are as mixed as the technicolored screens.
It felt like my senses were under attack; most of the time I plugged my ears and strategically opened and closed my eyes to avoid being visually insulted by screaming light. Was it really necessary to make it that loud?
Although the experience itself was like torture, it stimulated profound thought. What stuck with me and shaped my understanding was the message: “INFORMATIONISNOTKNOWLEDGE. INFORMATIONISTHERESOLUTIONOFUNCERTAINTY.” I loved the episode with the marbles because it showed that an infinite amount of data can be accumulated and manipulated, but it will never fully capture a natural phenomenon. Which should we say is more sophisticated: the simple yet chaotic incapturable phenomenon, or the ridiculously complex methods of describing it?
It is interesting that you would use the word “madness” to describe the performance. I shared similar feelings as you did regarding the performance, but for me, I felt that the performance wasn’t a random amalgamation of sounds, but rather a carefully arranged collection of tones that were not pleasant to listen to. As everything was arranged so precisely, the idea of the performance not being aurally pleasing carried even less weight than simply an interactive sound experiment.
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Superposition was madness. Utter madness. And I hated it. I came in expecting something different and abstract, though I didn’t realize just how out there it was going to be. I felt that the performance transitioned between the incomprehensible and the self-consciously abstract. I was also expecting more musicality out of the performance. Sure, noises were made in a fashion that could be described by the generous as musical, but if it was music it certainly was not any type of music that I would ever deem fit for listening. Superposition was an overly absurd and mysterious performance that had a few saving graces in the realm of the visual – though these were few and far between.
For me, the majority of Superposition seemed like a random collection of jarring computerized images and sounds that seemed to have no other function than to disorient the audience. At times I thought I might begin to make sense of them or the meaning of the piece, primarily during the sequence that involved scrolling through the newspaper pages, though nothing ever clicked for me. Perhaps it was because I wasn’t working hard enough to create my own connections – Superposition was a sort of “choose your own performance” in this sense. Though, I do not believe this to be any fault of my own. Any great performance should engage its audience and make it so that the audience wants nothing more than to be in the midst of the experience. This was not the case for me and my experience with Superposition.
Perhaps the most impressive thing about Superposition was its pacing – it succeeded in effectively lulling me to sleep with its slower bits and then jarringly and unpleasantly shaking me from my intermittent slumber (which, may I add I was fighting through, to the best of my ability). Superposition was a performance that seemed as if it craved for me to have an unpleasant experience. It seemed as if it was a parody of bad performance art. Perhaps if I had thought of the performance as that before seeing it, I could have had an experience reminiscent of a good time.
What an interesting analogy! You raise the fascinating question of: for what reasons should we enjoy art? Is the reception (and production) of art worthwhile solely because of its intrinsic beauty, its direct informational pleasure? Or can there be more indirect benefits as well?
We might extend the SAT-superposition analogy to answer some of these questions, so first I’ll make explicit the SAT side. I think the situation is this:
(i) We want to work because of $$$, and furthermore we want to work in something we intrinsically enjoy.
(ii) So we want to go to school because it changes us to become better suited to such work, and also because a degree yields information to employers about our aptitude for hard work / being smart / etc.; and, of course, since learning’s fun!
(iii) Similarly, we want to take the SAT’s because they yield information to school admissions.
These examples highlight some indirect paths to happiness; applied to art, they might be something like:
* fundamentally uncorrelated reasons to watch Superposition (e.g. class requirement), but more interestingly:
* does superposition change us for the better? Perhaps by “stretching” our ears and eyes and sensory pathways of perception? Might it, perhaps more like a crossword puzzle or homework than an SAT, or — aha! — a converse etude, develop skills necessary for the enjoyment of more relatable art?
* does superposition, independent of whether it changes us, signal to us or to others our otherwise hidden properties? For example, might it get someone interested in electronic music, despite itself perhaps not being a prime example? A sampler of sights and sounds? A buffet of appetizers?
Indeed, _I_ sure was left unsatisfied, perhaps even exceptionally hungry at the end!
-Samuel
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Personally, I would rather have to sit through the SAT exam again than be subjected to another hour of “Superposition.” When I think of the stress of taking the exam that would decide my fate for my college career and future prospects, it was not nearly as physically taxing as sitting through the performance of Ryoji Ikeda’s work. That being said, just like taking the SAT is necessary, I do feel as if watching the show gave me a new experience. While I consider myself to be fairly well versed in the world of performance (my parents filled my childhood with opera and Broadway and modern dance rather than cartoons), I have never seen anything quite like “Superposition.” The trouble I find with this is that I am not sure that I can personally find merit in watching a show for “the experience” rather than for joy or entertainment.
During Ryoji’s lecture on Saturday, November 3rd, he mentioned that some people “refuse to call his composition music because it is too loud.” This would lead one to believe that those who do not enjoy the piece are simply looking down on it for being new. The alternative might be that those who enjoy the work look down on those who do not for not appreciating modern art. Does anyone else who did not enjoy the performance have trouble deciding whether or not they are being too critical or if the supporters of modern art are asking too much in trying to enjoy such a sensory overload like “Superposition”?
I just noticed that this is now the most “talked about” UMS show of the year! (at least on this site)
If the Michigan Theater had been available, I think that might have been a better venue in terms of the seating/viewing angles. It also could have been LOUDER there (which I know would have made some people hate it more, lol).
But I know the Michigan has lots of constraints because of being a commercial movie theater as well as a stage theater.
At any rate, I REALLY hope UMS brings more extremely edgy stuff like this show to Ann Arbor! I get updates on facebook all the time about shows similar to this one that happen all over Europe, but very little of this sort of thing even makes it to coastal US cities, much less little ol’ Ann arbor.
Perhaps you’re right; maybe it would be too difficult for the members of the audience to see the vibrations of the fork. However, as I stated earlier I thought it would be interesting to see the vibrations of the tuning fork in addition to the sound waves being projected up on the screen. Through showing the tuning forks, I thought the idea of superposition could have been underscored further. While the tuning forks cannot be superposed the sound waves that they produce can be.
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I really enjoyed the tuning fork demonstration as well. It transported me to a new kind of consciousness, because I usually don’t think about the fact that what I hear is fluctuating waves–I just call it sound. It’s interesting that you want to see even closer images of the forks vibrating–why is that? I can tell you from experience that there not much to see, unless you put the vibrating fork into a bowl of water. Then the vibrations cause the water to splash out of the bowl with the range corresponding to the pitch and size of the fork.
I too attended this performance because of my class, but I believe that students are just not aware of this performance. I know my friends and I will be attending Sweeny Todd, and are excited to. UMS did a very good job advertising that by putting a barber chair in the middle of the Diag. More open advertisements like these will broaden the audience of these performance to more undergraduate students. I am also impressed that your 15 year old enjoyed it so much! It is not easy to take in so much sensory input and be able to translate it into meaning, thereby finding some value in this great performance.
Krsna Kothari
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I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
I completely agree with you about the importance of letting go of the mindset of trying to understand and analyze the performance. When I’m too preoccupied with figuring out the deeper meaning of a show, I find myself distracted from the show itself. It was somewhat comforting to know that it’s okay to not understand anything from the show. One does not necessarily need to comprehend it in order to enjoy the experience.
I really like that you described the performance as an experience rather than a performance. Based on the comments here, I got the sense that a great proportion of the audience did not consider Superposition as a performance. However, no one can argue that it wasn’t an experience.
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I think of Ryoji Ikeda’s Superposition more as an experience than a performance. I attended this show as part of a class I’m currently taking. In this class I’ve seen three other performances, all of which I was asked to analyze and write about. I entered this performance with the same mindset, determined to create an understanding about what was going on in front of me, and for the first time I was unable to do so. Images flashed so quickly on screen I barely had time to process them. Sentences were typed out in a way that, once I could read the entire thought, it disappeared and a new sentence was begun. The visualization of data was an assault on my senses, and it seemed determined to wear me down until I gave in. At one point in the beginning of the show bright images flashed on screen in a seemingly seizure-inducing frenzy. I closed my eyes but still could not escape the incessant sound. After a while, I realized the pen and notebook I’d brought with me were essentially useless. Once I gave up trying to understand what was happening, everything was less stressful and I was able to take in the wonder of this performance. I was awestruck when I reminded myself that the images of the impossibly deft hands I was seeing were actually the performers typing out the words on screen. I realized I had also forgotten that these “random” images flashing on the screen were pieces of scientific data, being woven into art. Although this performance wasn’t my favorite, I found much of its beauty in being forced to simply experience the show, rather than trying to analyze it. I’m sure some members of the audience went home having found some meaning to the show, but I’m content with having taken it for what it was and simply having the experience.
I believe the dizziness and the confusion of the performance was intended. After talking about the term “superposition” in class, I found out that it means when two things exist simultaneously. Ikeda was illustrating this very well, but along with this phenomenon comes confusion and disturbance. It is hard for our brains to process two different things happening at the same time, which causes the confusion. The intensity of the performance made it great, but it also caused the dizziness which is why many people, including myself, did not like it overall.
S.P.
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I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
Wow, I was really swayed by your interpretation of Superposition! I think that your description of Superposition as something unjustifiably random is a great way to avoid the headache of trying to piece together some unifying meaning to the entire performance.
To me, there are some things to the performance which did make a bit of sense, such as having the newspaper scene follow the scene pitting science against religion, or having the first batch of flashing “colorful” images follow the scene that zooms in on various parts of the visible spectrum of light.
But I had trouble finding an overarching meaning behind the performance, besides the obvious one of “superposition.” Having read your comment, I now don’t believe there has to be, and have accepted the fact that perhaps I had been looking for meaning where there was none, in a performance which was much louder and flashier than it needed to be.
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“Superposition” or Superconfusion
It is possible that I have never enjoyed myself less than I did last night, 8:00pm, Power Center. Sitting in that freezing auditorium, my head pounding, the white noise reverberating off the walls as incoherent images of sinusoidal lines wriggled across an effervescent screen. Terrified, I sat shaking both from the cold and from the fear of what was coming. The ever-present thought running through my mind was “How could anybody actually be enjoying this?”
In collecting my thoughts on “Superposition,” I will split the performance up into the five most memorable parts for me. The first part is titled “Scare You to Death with Flashing Lights,” which is somewhat self-explanatory. During the majority of this portion, my face was partially covered by my scarf as I anticipated the next burst of light to explode. I transitioned between holding the scarf over my eyes and plugging my ears as the loud “dog whistle” beeps pierced the air. Beep, Flash, Beep, Flash in continuum for what seemed like eternity.
The second part is titled “MRI.” During this section I felt myself moving through the giant cylindrical machine surrounded by mechanical jackhammers and ear splitting high-toned beeps. I was paralyzed in my seat just as I was paralyzed in that horrible machine, the waves of light travelling across the screen just as the waves of radiation technology had created a visual representation of my neural activity.
The third part is titled “Confusing Newspaper Images.” Honestly, this section seemed entirely random and misplaced amongst the others. What exactly was the significance of these images? And why was “ The Start” so recent in human history? This section transgressed into the crossword puzzle section, during which the performers scribbled out letters and numbers on long sheets of random data sets. At this point in the performance, I stopped attempting to grasp what the artist was trying to communicate and succumbed to complete confusion.
The fourth section is titled “Marbles” and the fifth is titled “Apocalypse.” The former involved the performers sprawling out the marbles and the computer targeting their positions. The targets created the image that transferred into the finale. Floating around between the different hypothetical spheres of quantum physics was somewhat of a relief. There weren’t as many loud noises, and before it was dragged out for far too long, it was actually somewhat intriguing. Of course, the floating dots got old pretty quickly, but once again I was awoken by violent snaps of light configured into geometric 3D forms. The spheres were converging and the universe was breaking apart. I have never been happier for the end of the world, because it meant my headache would soon be over, and “Superposition” would come to a close.
Eliana, I agree with you!! I thought the musicality of the performance was really important because it brought the audience’s attention to just the surrounding and just the screens. It was definitely not louder or more uncomfortable than any concert I have been to, and it really did a good job of pulling you in.
I really enjoyed the “abstract” and “strangeness” of the piece. It really resonated important themes with me because of the different experience that it encompassed. I am glad I saw the performance because now I will now try to go to more UMS shows that are outside of my comfort zone. It was truly a positive experience.
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I strongly agree that the experience was torturous for me at times, but incredibly thought-provoking. Amidst all the cringing from visual and auditory overload, my thoughts were racing. I thought about things that I think were and weren’t related to what was happening in front of me, but I think that is a very powerful and important effect of a well-executed performance: to open up one’s mind and stimulate thoughts originating from the production, but then branching out to broader ideas. Even after the performance ended, certain images and phrases resonated in my mind and still prompt me to ponder vague yet profound questions that I think recurrently echo in many people’s minds. Lastly, I did not know what to make of the marbles, but your insight is intriguing and I think very sensical. I agree that we, as humans, try to quantify and analyze everything around us. But certain things, especially natural phenomena, cannot be fully explained or portrayed by our formulas and calculations and simulations.
I think your discussion of perception is exactly what is at stake with this performance. The popular misunderstanding and confusion of Ikeda’s performance, as you (and I and many others) initially experienced is because we cannot (could not) conceive of a mind so imaginative that it can perceive the concepts of quantum science as philosophy and art. In short, we are so trained to think about science and perceive the world of science in such a limited way as to not be able to see the world as Ikeda sees it. Like you said, it is a matter of our limited perception. We, the audience, and Ikeda live in different worlds, see through different eyes, comprehend science in vastly different ways, so different in fact, that we can’t find meaning in his performance and we never will unless we perceive the world the way he does. But as our perception is limited, so is Ikeda’s: the frustration we feel comes from this dissonance, he can’t, with his perception, communicate with the vast majority of the audience. This idea of an infinite nature we reach out to and attempt to perceive is such a fascinating one, its a shame we cannot talk to Ikeda about his world because for once I’d like to participate in the world of science in such a subjective and poetic way.
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How can you represent what there are no words or images for? It’s easy to become frustrated when looking for the artistic “profoundness” of Ikeda’s work. I, personally, saw the unpredictable, blinding pattern of strobes on stage and tried to make sense, to find a pattern. I heard all the white noise, the atonal tuning forks, and grimaced as I silently pleaded for some resolution, for some tonal concord to satisfy my expectations. The more I searched, the more Ikeda’s work failed to satisfy; the more I tried to lump the piece into my conceptions of what makes “sense,” the more I found that it simply does not. My trouble, like the trouble many others were having, is that I could not come to terms with, to accurately describe, Ikeda’s greater “meaning.”
As I look back on it now, however, I can see how this supposed issue with Ikeda’s work is, in fact, its genius. Ask yourself, if you will, how you can represent something without words, without symbols. This is, in actuality, a pressing question for both technology and art. We can represent “0” and “1” and “tonal” and “sensible,” but how can we represent something such as Ikeda’s work, which does not fit into our defined categories?
Think of performance in terms of quantum numbers or Schrodinger’s cat; a number can be both “0” and “1” just like the cat is both alive and dead. The moment we try to look in Schrodinger’s box, the moment we try to identify and term the cat as alive of dead, we force it to be either one or the other. In using quantum numbers, we can store “infinitely” more knowledge than with simple binary-code, but the second we try to examine that stored knowledge, to categorize it, we force it to limit itself to either a “0” or a “1.” We simply cannot comprehend something being “un-representable,” we try so hard to represent and comprehend that we will confine something until it can be so. This is the paradoxical idea of Ikeda’s proposal. Our senses are infinite as proved by Superposition; we can sense each nuance of light and sound of Ikeda’s creation, but our perception is fallible. The moment we try to come to terms with what we sense, we limit it, force it to put itself in terms we can comprehend. “If the doors of perception were cleansed, everything would appear to man as it is, infinite.”
This speaks not only to Ikeda’s work, but I believe it speaks to art as a whole. We recognize that our perceptions are unique; but inherent to this idea, they must also be limited. By spending our time in the theater trying to perceive and comprehend each detail of a performance, such as Ikeda’s work, we shut off all other possibilities. We force it to become zeroes and ones. I think Ikeda’s work is more profound after the fact; I spent too long in the theater trying to understand it, and it made me frustrated. Looking back, I see the poetry in just letting the cat be both alive and dead, letting the white noise be nothing but white noise.
I also seemed a bit dizzy at some points, but also riveted by the performance! I had to attend the performance because it was mandatory for my class, but if i hadn’t been in the class, I probably wouldn’t have gone. I do feel that UMS may not be advertising enough among students and maybe should find more performances that the students would be interested in. However, I do feel that the performance was worth going to as it opened my eyes to different types of performances that are possible that I wouldn’t have known about.
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I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
The idea of the two performers “singing” to one another (and the audience) is a strangely imaginative and metaphorical concept, frankly, a way of perception I was unable to manage, but can appreciate. I think that is something this performance did best: to allow us to examine and perceive our world in a slightly (or vastly) different way. I too found the two performers to be the most interesting aspect of the performance; they were also the only performing and unscripted part. At the same time though, I wasn’t sure why they are made to be so distinct from one another and the stage. I’m sure you also noticed that their pacing was slightly off when tapping out their messages so that one had to wait for the other and as you pointed out, one is male while the other is female, which are clearly important details, but why? I’m curious as to what you (or anyone) thinks about this very deliberate decision when so much of the performance is scripted or otherwise mechanical. Again, this gap between the the performance and the audience appears when you mention that the performance is deeply rooted in “the concepts of universality, beauty, humanity, and the art and science”, which I saw (or knew that I was supposed to see). That’s a great observation and I agree that those appear to be the main themes of the performance but there are no details for me, what exactly does Ikeda have to say about those things? So much of this performance is vague and there appears to be such a disconnect with the audience I can’t seem to agree that this was indeed a “great” performance.
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I thought the performance was truly spectacular! Watching the performance reminded me of being in a planetarium where all the images move around you. You are simultaneously in awe and feel small, while feeling quite transcendent. A lot of the performance was accompanied by celestial white noise, which I enjoyed.
Surprisingly, one of the most stimulating features for me was the text on the right and left sides of the screen. The sentence structure and text were often very similar, however the meanings both complemented and contradicted each other. I viewed the text almost as lyrics to a song, which seemed most appropriate, as the two performers used their telegraphic contraptions as voice boxes to “sing” the text on the screen. I felt as if it were very important for there to be both a male and female performer on the stage. The performers tapping and the background sound were both very succinct and simplistic in their tonal qualities, although sometimes I felt as if the visual and auditory stimuli combined were meant to overwhelm the audience. There were times in the performance when I felt uncomfortable with the stimuli and was compelled to close my eyes or cover my ears. That would be appropriate in light of the performance’s deep involvement with the concepts of universality, beauty, humanity, and art and science. I think Ikeda wanted to convey the discomfort we have with grand universal truths through this overwhelming stimulus and discomfort, but it is just a thought.
I can relate to your feeling of just being a spectator. I spent a good portion of the beginning of the show trying to put some meaning or theme to what was going on, and eventually gave up. I think this was something to be taken as an experience and thought about as a whole. Interesting that you commented on the sense of fear in the room, because it was definitely noticeable within the audience. I wondered why an artist would try to strike fear into his audience, as it was obviously too much for some people who walked out. But for those who stayed I think the fear and assault on our senses almost paralyzed us into watching the rest of it simply because we were so bewildered by what was happening. I agree with you that this performance was to be taken as an experience, but whatever truth Ikeda was trying to reveal was lost on me. The experience, however, is not one I will soon forget.
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Superposition was an experience unlike any other I have had before. When the lights slowly faded and the room was blanketed in darkness, I was unaware of how Ikdea would communicate his themes and his artistic vision; when the counters in the front of the stage began to beep and flash sporadically, all united by a mechanized harmony and a driving bass, I knew that I would just have to be a spectator. Through various physics demonstrations, such as a back-and-forth with Morse code and vibrations from tuning forks, we were given a beautiful artistic representation of science. However, the entire production was coated with an air of mystery and a tangible sense of fear. At multiple times in the production, the shrill tones of the machine would swell and crescendo to a point in which it could be contained no longer, and those moments of absolute tension provoked the horror of uncertainty and a loss of control. Taken as an experience, Superposition seemed to take us to a world in which the line between religion and science is blurred, and the only thing that is certain is the pulsing beat of Ikeda’s visions. The spanning cosmos is revealed to be individual planes of understanding; the random rhythms of dots and dashes are revealed to be communications of truth. At times it was blinding, at times it was deafening, and at times it was uncomfortable to even be in the room. However, the end result of this performance was a glimpse into one artist’s view of the world, and it is a superposition between machine and man.
I too only heard of this performance because it was mandatory for my class. Imagine how small the audience would have been if an entire class wasn’t required to attend! I definitely think many U of M students would’ve enjoyed this experience, and that UMS did not do a good job advertising it. My music major friend did hear about this performance through the music school, but I don’t think the general population knows about the awesome performances UMS puts on! Although, in their defense, it is difficult to advertise something that is so audio/visual heavy.
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I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
I think of Ryoji Ikeda’s Superposition more as an experience than a performance. I attended this show as part of a class I’m currently taking. In this class I’ve seen three other performances, all of which I was asked to analyze and write about. I entered this performance with the same mindset, determined to create an understanding about what was going on in front of me, and for the first time I was unable to do so. Images flashed so quickly on screen I barely had time to process them. Sentences were typed out in a way that, once I could read the entire thought, it disappeared and a new sentence was begun. The visualization of data was an assault on my senses, and it seemed determined to wear me down until I gave in. At one point in the beginning of the show bright images flashed on screen in a seemingly seizure-inducing frenzy. I closed my eyes but still could not escape the incessant sound. After a while, I realized the pen and notebook I’d brought with me were essentially useless. Once I gave up trying to understand what was happening, everything was less stressful and I was able to take in the wonder of this performance. I was awestruck when I reminded myself that the images of the impossibly deft hands I was seeing were actually the performers typing out the words on screen. I realized I had also forgotten that these “random” images flashing on the screen were pieces of scientific data, being woven into art. Although this performance wasn’t my favorite, I found much of its beauty in being forced to simply experience the show, rather than trying to analyze it. I’m sure some members of the audience went home having found some meaning to the show, but I’m content with having taken it for what it was and simply having the experience.
Although I agree with you that science does follow a certain “formulaic” structure, I would argue that music does also and that is the distinct reason why they can work harmoniously with one another. Additionally, it all depends on the extent to which a person understands either discipline. I, for example, am trained musically and have a greater knowledge of musicality whereas I know almost nothing about quantum physics and thus I interpret it differently than a physicist would. My interpretation of superposition from a scientific viewpoint would be considered “wrong” because I have no knowledge of its scientific significance.
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Ryoji Ikeda’s “Superposition” is defined by the dictionary as the “overlapping of waves.” In the most basic sense, this is certainly true. However, the waves this performance is concerned with are not those of displayed on the screen, but rather the clashing of two seemingly different disciplines: science and music.
Science is universally understood to be a formulaic discipline. There are laws that must be followed and equations that must be used, leaving little room for interpretation. Music, on the other hand, lends itself to more diverse interpretation. Each musician can communicate a unique message to his or her audience as they sit enraptured by the sound. “Superposition” draws upon both of these elements.
There is no denying the formulaic element of the performance before our eyes. The catalysts for much of the noise, the two humans, sit motionless as they surgically tap rhythm after rhythm. After each tap, waves appear on the large screen behind them, overlapping each other as they run from both sides of the monitor. Graphs and charts flash quickly before our eyes, followed by more pictures.
At the same time, we are aware of the musicality of the performance: the ever-present metronomic beeping in the background, the Dubstep-esque finale that blinds both our eyes and our ears, and the noises in general that are impossible to ignore.
“Superposition” is not only speaking of the overlapping waves that the two performers on stage are creating with their endless tapping, it is asking us to look even broader at the overlapping waves of music and science. It forces us to consider sound from a different perspective. The sounds on the stage, particularly the beeping from the data input, can be heard in many variations in our everyday life. How much music do we fail to acknowledge everyday and how much music do we unwittingly create?
Actually superposition isn’t “one on top of the other” – it’s two things occupying the exact same point in space-time. Which actually makes your idea make even more sense, in a way. Superposition enables a beautiful theory of interconnection between two seemingly separate things, and allows for the idea that all things are part of one grand whole, and all time is part of one grand total. So, if this was Ikeda’s intention, it would make sense to use ideas from different time periods – because with superposition, there is no difference. There is what has always been, just in a different form. Superposition allows the connection between past, present, and future in a way.
So, in essence, I think the ‘contrast between the old and new’ is a fantastic observation – but based on the theory of superposition, it’s not actually a contrast at all. It states that they’re one in the same.
That would be one way of looking at it. Personally, I don’t think that was the goal – if I could pick out a theme, it would have been the limits of human understanding. And based on this, I think Ryoji’s old vs. new idea was to show the growth of technology, and then contrast by making it known that there are still infinitely many more things to learn, discover, and create. Of course, this is all just my speculation. But it’s certainly an interesting thought,
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Superposition is defined as “the act of superposing or state of being superposed.” Superpose means to place above or upon something else, or one upon another. This definition brings forth images of layers to my mind, most likely because this idea of superposition is apparent in my Earth 103 class- discussing fossils in layers of rock. In geology, this idea of superposing means that the older layers are on the bottom, while the newer layers are on top. I found this idea to also be apparent in Ryoji Ikeda’s Superposition. The performers on stage were communicating with the telegraph key – a device that transmits electric signals over wires. The first non-electrical telegraph key was invented in 1794 and was improved upon until Samuel Morse successfully utilized the electromagnetic telegraph key somewhere around 1838. So, this is not cutting age technology that Ikeda was implementing. His light show and graphics, however, were quite the opposite – Ikeda’s graphics were almost futuristic in light and shape and color. I’m not sure why Ikeda decided to use the telegraph key as opposed to other forms of communication, but the contrast between his futuristic graphics and the outdated tool for communicating definitely had me thinking for hours after the performance, and I’ve still yet to come to a conclusion. I know the performance was meant to make me think about the way we understand the reality of nature on an atomic scale based on the concept of superposition in quantum physics, but I couldn’t stop thinking about the evident contrast between the old and the new. I’m still not confident that I’ve come to a conclusion about the question Ikeda was posing or if I’m even supposed to come to a conclusion at all.
I’m sorry but I have to disagree with you and the others who also commented that the loud noises were distracting and/or took away from the performance. I do agree that Ikeda’s loud, abnormal noises were uncomfortable, but I think that was the whole point.
By pushing the audience so far out of our comfort zone of what a performance usually is, Ikeda forced us to change our way of thinking. Without the jarring sound effects, I do not think we would have been as affected by his work.
If the performance had only been images it would have been marginally less effective, and more like other performances. In other words, I think Ikeda’s sound is unique, and cannot effectively be separated from his images.
Eliana
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ASL,
I completely agree as well. I found the loud noises and lights incredibly off-putting and headache inducing. I guess these production choices did keep people alert, but I found them incredibly distracting. I wish I had been more able to be sucked into the work instead of alarmed and uncomfortable for the majority of the performance.
I completely agree that that information line was very thought provoking, but I found many of the others that discussed science and religion to be rather trite. I wish there was more complexity to the few words written on the screen. These were moments to really inspire the viewers, but they did not fully accomplish the level of wisdom of which they aspired.
I agree with you, especially on the ringing ears and flashing lights. It was very loud, and the lights were excessive, especially at the end. However, I think this is the point that the performance was supposed to make. The concept of superposition is very complex, and the entire audience cannot possibly be expected to understand all the principles behind it. Therefore, a lot of audience members are going to be left very confused by the performance. The flashing lights and loud noise just add to this confusion.
Similarly, I also enjoyed the tuning fork section. I believe it provided a welcome break from the constant heavy noise and provided an easily accessible, yet still complex, representation of sound waves both in a audible and visual sense.
I am wondering if you gave any thought to how the quantum physics concept of superposition fits into this show? Like I said, everyone cannot be expected to fully understand the concept, but the brief explanation in the program provides some idea of the concept. For me, trying to find this within all the noise helped to to be more palatable. Personally, I think after just one experience with this type of music, you can’t judge all computer music, and I’ll give the genre another chance to prove itself.
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This performance really demanded the audience’s attention. The deep bass at the beginning was a constant, uncomfortable ringing in my ears. The flashing lights forced me to avert my eyes at certain times and I was seriously worried about having a seizure. Personally, I did not understand nor enjoy this performance. I think I would have appreciated it more if I had known about the mathematics and the inspiration behind each part. For example, my favorite section was when the human performers were using the tuning forks, because I actually understood that they were causing the sound vibrations that correlated with the visuals. However, for most of the other sections, I did not know what the visuals meant or how the sounds were being made.
Despite my first impression, I do appreciate the hard work of the human performers. It takes a lot of concentration and coordination to type the Morse Code patterns. I also enjoyed the thought-provoking questions and comments that were being typed on the big screen. However, being on the balcony, the projects obstructed my view of the messages, so a lot of the time, I couldn’t comprehend the sentences.
Personally, I would never have thought that computer-generated visuals and sounds would be considered a “performance.” I also would never have gone to this performance if it hadn’t been required for a class. Since it was so different and out-of-the-box, I am glad that I was able to experience it, however, I do not believe I will be attending similar shows.
I believe your comment really captures the typical audience response for Ikeda’s work.
At its most superficial, the performance bombards the audience with a sensory overload of sound and light; such a blatant and relentless display comes off as offensive when a deeper purpose isn’t made clear. I think this is the jumbling of thoughts that you describe; while we are searching for a meaning, we only become more frustrated at the distractions and added stimulation on the stage.
I think, unlike most performances, the meaning and profoundness of Ikeda’s work comes entirely after-the-fact, and that is exactly what Ikeda wants. Much like you and your analysis of the performance, many people only begin to form coherent thoughts about the performance after they leave and are no longer pummeled by new input. In a sense, we would have been better off if we didn’t waste our time during the performance searching for answers and, instead, focused on taking in everything Ikeda had to offer. Perhaps this is what Ikeda meant to come across in his presentation; we get so distracted by our own thoughts during performances that we miss out on the objective performance itself.
In a way, then, I think your “zoning out” may have been the best way to appreciate such a performance.
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A visceral and out of this world performance that you should experience once (and no more than once) in your life.
Did Superposition challenge my perceptions of art and the relationship between technology and the performer while at the same time providing philosophical underpinnings through the medium of collected data and physical sensations? Yes.
Did the performance make me feel physically unwell through a myriad of overwhelming physical sensations that ranged from the bombardment of high-pitched noises to flashing lights darting across the screen faster than the eye can follow? Also yes.
This was one of those strange nights where members of the audience both stood up and left twenty minutes into the show and gave a near standing ovation to a bowing Ikeda at the performance’s end. Never have I been apart of an experience so polarized. It was clear that while the audience left with a mixed sense of confusion and curiosity, the allure of Ikeda’s artistic rendering (performance?) was not only intriguing but respectable.
Sure, I could have used an explanation or maybe even a hint at the meaning of the piece, like how does the art and the science and the stage come together to create something more meaningful? Or why does Ikeda employ live performers when so much of the show is mechanized? Or perhaps even what the title Superposition has to do with the physics term “superposition”? To me, so much of the piece was confusing and perplexing and otherwise strange I had a difficult time un-jumbling my thoughts and putting an answer to those questions.
The performance, if anything, was strangely therapeutic to me. It was a trance-like experience of epic proportions, something of a hypnotists fever dream. At some point I became oddly distanced from the whole ordeal, zoned out if you will, becoming unthinking about a performance that asks you to think about thinking, and while I’m unsure about what that entails, it was certainly an experience to remember.
Did I enjoy my evening with Superposition? Not exactly, but the performance does compel and force you to talk about it, to question it, to think through it and perceive the world in a way never before done, and that’s a rare kind of magic, in both art and science.
I agree that when I tried to analyze this performance like I did for Medea or other performances we’ve seen this year, I was completely at a loss. I think it’s good for us students to experience something like this that can’t be so meticulously analyzed through close reading. At the same time, however, it did leave me anxious because I did not come up with a solid interpretation of this piece.
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While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
Ning,
I definitely agree with your statement on looking for patterns. Throughout the performance, I kept trying to look for patterns or trends that I could follow to help me understand or interpret what was going on. Unfortunately I found many times that once I caught on to some inkling of a pattern, it would disappear back into chaos. I felt almost as if Ikeda was kind of teasing the audience by offering some bit of order that we could attempt to make sense of but then he completely obliterates that and we are once again lost. Although this was frustrating from the viewpoint of trying to enjoy the performance, if he was trying to point out that people should stop trying to find meaning in everything we perceive, it was a very effective.
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Superposition is precisely about the “encounter of randomness and control” which was specifically mentioned by Ryoji Ikeda in his interview with Peter Weibel on July 31, 2012. Ikeda purposely creates randomness with an intention to distinguish its counterbalance. With this expectation already instilled in my mind, I was able to detect several nuances that changed my aesthetic view of digital art.
The first encounter of randomness, perhaps, was unpleasantly “shocking” for many people. I have to admit that I also experienced some unease by the white and black slides blasting relentlessly in high frequencies. However, I noticed something structured and organized, apart from this mosaic chaos. Effacing all the cacophonies from the electric shocks and heeded closely at the time-clicking sound at the background, I was able to see sinusoidal waves. They were delineated by black screens aligned at discrete positions at certain time increments. Like the phi phenomenon ascribing the path of a fast-moving flashlight to our cognitive activities, the waves seemed to stimulate similar responses in our brains. Suggestively, Ikeda wanted to underline the fact that our minds are prewired to search for patterns in random dynamics of nature.
Another conclusion I drew from this episode is the quantum theory of wave-particle dualism. In analogy to this concept, each screen represents particulate property of light; but when you see them as a collective body, its wave-like quality becomes readily perceivable.
If Ikeda was playing a slot machine with the blasting screens, he would never wait for his prize to happen by chance. Instead, he would rather take control over time and make sure every figures will align with one another at his discretion just like he demonstrated here.
Hi Ty, I also really incredibly struggled to read and understand much of the text from the balcony, which was really unfortunate because Ikeda’s prowess emerges almost solely through visual artistry.
I would even go so far as to agree with you that those “dot patterns” looked like star patterns – in fact I would go even further to say that they represented galaxies, which presents a lot of ideas and interesting concepts to viewers, but beyond that know that you are not alone in your struggle.
Aside from the interlude of tuning forks and oscilloscopes, Ikeda seems to sprint through an hour and a half of material. I was in a position, in which I could read a fair amount of it, although my view was also obstructed as well, and information seemed to be thrown at you faster and faster, unfortunate because some of it seemed to be incredibly poetic and relevant. All of this is worsened by the fact that there is extremely little time to interpret the information and understand what you’re seeing and hearing.
Ikeda makes a solid performance and I was deeply impressed by many of the ideas that he does communicate as he pushes the bounds of modern expression, but I believe that not being able to acquiesce is just one of a lot of problems with this performance.
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Excellent show!
I just cannot stop thinking about that intro. It was like the universe of digital media was being created before our very eyes—like the Big Bang except with binary defined the universe instead of physics.
The progression from the singular light blips to the grids to the three-dimensional digital landscape had given me great hopes for comparing the realm of the digital with our own world, especially with those grids that looked a lot like star patterns.
As it turned out, my expectations seemed a lot different from what Ikeda had to say . He lost me somewhere in the middle, though, and I had a hard time trying to sort out what was going on past the session with the Morse code.
From a technical perspective, I had a lot of trouble trying to pick up on all the text that was being presented. Sometimes it was difficult to follow the long strings of Morse, and at other times the text appeared and disappeared so fast that comprehension was impossible. At one point I also remember text that too small for me to read at all, but that was probably due to my distance from the stage. I also had the misfortune of sitting in a position that blocked my view of one of the screens with a speaker, making it even more difficult to pick up on all that Ikeda was trying to communicate. Has anyone else had a similar problem? (I was sitting in the mezzanine during the performance).
All of that aside, I found the performance quite beautiful and can honestly say that I quite enjoyed it.
I was also anticipating a great explosion at the end. When the performance ended in silence, I was waiting for that moment when everyone begins to stand up and then suddenly the lights, pictures, and sounds come back full force. So when the lights were raised in the theater, I was very disappointed.
I, however, felt very different about the “sensory overload” in that I could not stop think or analyzing. I was driven to try to take in everything and find meaning in the piece, but that never happened. Thus, I left very dissatisfied.
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Wow, what a performance. In the 19 years of my life never have I seen or experienced anything like this. Sitting in my seat up on the balcony, I felt all of my senses being attacked in ways they haven’t been before. The flashing lights and piercing sounds definitely forced me out of my comfort zone. I remember being legitimately worried that my eyes would get damaged. With that being said, I actually really enjoyed the performance. Sure, there were moments when I thought the visual and auditory stimulation were excessive. For instance, the seemingly never ending flashes of lights caused me physical discomfort. But overall, I really appreciated the show. I didn’t understand anything about it, but it was still one of the coolest things I have experienced by far. I personally loved it when the mechanic sounds crescendoed to an unbearable volume until instead of exploding like expected, everything went dead silent and pitch black. The sudden silence was deafening and I could feel the whole audience holding their breaths until something broke the silence. The overload of visual and auditory stimulation definitely made it difficult for me to form any coherent thoughts, which was actually kind of nice. It was refreshing to sit without thinking about anything and simply take in what is happening around me. If there was a theme or message to this performance, I missed it completely. This performance was meant to be chaotic and confusing, and it is totally okay to not understand it.
This is a very nice comment. I really like the way your metacomment address the points that Maya presents in her initial comment. I agree with what you have to say, it was a very confusing show.
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I agree with your analysis in that it was hard to see how all of the pieces fit together and as someone who likes to search for coherent themes and meanings this was very hard for me. That being said, I do think your enjoyment of Superposition hinges upon your perspective. As you mentioned, it is so easy to get lost in each segment and confuse yourself trying to put them together but really it seems like each part should be viewed as a separate installation that serves as examples of a broader concept. With this mindset I think we both could benefit from seeing the show a second time. All in all I think you did a nice job of summing up what we witnessed to someone who’s brain and ears are still a bit discombobulated after the performance so props to you.
I strongly agree that the experience was torturous for me at times, but incredibly thought-provoking. Amidst all the cringing from visual and auditory overload, my thoughts were racing. I thought about things that I think were and weren’t related to what was happening in front of me, but I think that is a very powerful and important effect of a well-executed performance: to open up one’s mind and stimulate thoughts originating from the production, but then branching out to broader ideas. Even after the performance ended, certain images and phrases resonated in my mind and still prompt me to ponder vague yet profound questions that I think recurrently echo in many people’s minds. Lastly, I did not know what to make of the marbles, but your insight is intriguing and I think very sensical. I agree that we, as humans, try to quantify and analyze everything around us. But certain things, especially natural phenomena, cannot be fully explained or portrayed by our formulas and calculations and simulations.
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My feelings on superposition are as mixed as the technicolored screens.
It felt like my senses were under attack; most of the time I plugged my ears and strategically opened and closed my eyes to avoid being visually insulted by screaming light. Was it really necessary to make it that loud?
Although the experience itself was like torture, it stimulated profound thought. What stuck with me and shaped my understanding was the message: “INFORMATIONISNOTKNOWLEDGE. INFORMATIONISTHERESOLUTIONOFUNCERTAINTY.” I loved the episode with the marbles because it showed that an infinite amount of data can be accumulated and manipulated, but it will never fully capture a natural phenomenon. Which should we say is more sophisticated: the simple yet chaotic incapturable phenomenon, or the ridiculously complex methods of describing it?
I, too, found that Ryoji Ikeda’s show was confusing at times, often lacking a sense of direction. However, have you considered that maybe this was a conscious decision on Ikeda’s part? In this nonsensical design there could be meaning. Maybe Ikeda wanted to examine the dangers of data processing. He is saying that while most people think organizing everything into graphs and charts removes some of the chaos, in actuality it only adds to the incomprehension of the world.
I do not know specific dangers, but the idea of knowing EVERYTHING seems dangerous to me. Ikeda’s superposition makes note of the fact that there are limits to what kind of data can be collected, graphed, and analyzed. Yet, there are people in this world who crave to know everything. Look at Google, for example. The creators of Google want to know everything and they are trying their best to acquire such knowledge.
You were trying to find meaning in Ikeda’s work of art. Maybe the meaning is hidden amongst the mess.
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Entering the performance I believed I had a general idea of what I was about to experience, but what you watch on a computer screen compared to what you watch live is always usually completely different. The visual and audio stimulation kept you on edge and forced you to focus on everything that was happening on stage. The loud sharp noises made you feel uneasy and the jolts of flashing lights made your eyes feel unbelievably uncomfortable. At some point the sounds became too harsh and obnoxious in a way that it became distasteful and difficult to enjoy.
This stimulation was chaotic, and for most of the time it was somewhat hard to comprehend what was happening. It made me question if there was supposed to be a meaning or theme for this performance. I didn’t know how to comprehend the it because to me it lacked a sense in direction. The entire experience was orderly components that were forced together in an attempt to create a coherent performance, which instead resulted in a hectic assortment that never lined up. Some of the phrases that were typed on the screen were ambiguous and made very little sense and the transitioning from topics, such as science to religion, were difficult to follow and understand.
But I was still overall incredibly impressed by the fusion of music, science, and technology. It was a modern style that makes the world of live performance unique. What most might not consider music is different for these two performers on stage with classical music backgrounds. The application of live performers gave the performance a different vibe, because it allowed us as the audience to connect with the performance. Technology and humans are on two different levels and the human manipulation of technology shows that these two levels are constantly impacting each other in some way shape or form. When the performers were not present on stage the lights and sounds became more disorganized, and when the performers were present, the stimulation became more balanced and coherent.
SUPERPOSITION
I was excited when I heard about this new techno-musical experience Superposition, inspired by Quantum Mechanics. For a physics-lover like me, the notion was certainly intriguing, and I kept wondering how the weirdness of nature would show up in the performance.
NATURE
First, though, let me emphasize: Nature’s _really_ weird!
It’s like she’s playing freeze tag, and we’re it: we hear electrons messing around behind our backs — climbing across insurmountable fences, forgetting to obey gravity and whatnot — but when we whip around to catch them in the act, they’re all standing politely, all well-behaved!
SUPERPOSITION
Superposition attempted to capture this mischievous character of nature, this hiddenness, in everything from its scrambled text to the position of its human performers unseen in the dark — then suddenly revealed in a blinding flash of light! Yes! While the things revealed were not consistently uncertain (e.g. the text: it would’ve been cool if each flash had revealed different text.), I felt the dark/light structure worked well to keep me engaged.
Indeed, as in a traditional narrative, this device of suspense and revelation kept the observer’s attention — but here is a suspense distilled away of goals and of objective meaning: here is a residue of merely _informational_ surprise!
Mere? No! Superposition emphasized that information is not mere; on the contrary, I view Superposition, in its stimulus-overload of sights and sounds, as a celebration of raw data, of light after darkness! To quote from Ikeda’s text, then: “Information is not knowledge; it is the resolution of uncertainty,”
NATURE
So we don’t know what we’ll see until we look. But it gets even worse, for nature herself doesn’t know either!
There’s a story about a king, surrounded by a horde of advisors on the barbarian threat, one urging him to wage war, another suggesting he pay their ransom, one promoting the construction of a massive wall, another recommending a shrewdly-timed Caribbean vacation, and so on, who, flustered by indecision, has ‘em all beheaded, and does nothing.
Likewise is reality pulled from all directions by interfering possibilities. And sometimes, these possibilities cancel. Sometimes, if you give an electron more ways to get somewhere, it won’t get there at all!
SUPERPOSITION
Interference. Now, to me, that’s the essence of quantum mechanics, so I was disappointed not to find much exploration of the idea in Superposition. Yes, we could sometimes hear interference between the music’s sound waves. And yes, elements of the performance were superposed in many ways — but where was the interference _between_ those elements, the mixing, the essential cancellations and enhancements of reality?
Of course, to represent interference in our classical, highly-observed macro-world would be a great challenge. But that was precisely the challenge I hoped to see tackled in Superposition. For without interference, the performance simply becomes about probability — about uncertainty, measurement, and freeze tag. But classical mechanics, too, effectively plays that game: even without quantum uncertainty, for instance, there’s no way we can keep track of all ten trillion trillion molecules in a glass of water!
UNCERTAINTY
Before the performance, I indulged in speculation over whether and how interference would play a role. If a spork is a superposition of fork and spoon — collapsed by the foodstuff it interacts with — then might two different sporks interfere to become pure forks? Perhaps our two performers would have dinner on their IBM punch-cards, rotating their utensils to emphasize different ends of the fork-spoon duality, tapping out a beat as they synchronized and unsynchronized their forkfulness. . .
Or perhaps, more abstractly, the music’s chords would be left unresolved, suggesting a whole distribution of continuations, only to have multiple such distributions eventually interfere, resulting in a richly-developed resumption of the music? . . .
MEASUREMENT
Well, before I speculated, but now I’ve made my measurement. And I’m sad to report that Superposition was, on the whole, an intellectual disappointment.
Ben, I agree with your perspective on religion, science, and mathematics as human attempts to make sense of the unknown, and I have something to add on the concept of the performance as a “pure experience.” Although paradoxical, my initial thought was that the intense visual and auditory stimuli was simultaneously nonsensical and transcendent. It is similar to the way humans attempt to organize what they do not know, and the discomfort many of the audience members felt seemed to me the same discomfort we have with what we cannot comprehend.
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I was exhilarated by Ryoji Ikeda’s superposition. Having walked into the Power Center not knowing exactly what to expect, I left the performance awestruck and enamored by the dazzling display of images, lights, sounds, and the actors’ interaction with technology. This reaction was one that did not seem to be shared by the majority of my classmates. One aspect of this piece which I found fascinating was its exploration of the relationship between order and chaos. This was evident from the very beginning when points were being plotted on a graph. At first, this occurred slowly: each point plotted was easily distinguished by sight as well as by sound (with its accompanying “beep”). The rate at which points were being plotted as well as the number of graphs eventually began to increase. The sound crescendoed, the visuals became overwhelming, and apparent chaos ensued; however, the audience knew that this apparent randomness came from the highly ordered plotting of Cartesian coordinates. Later in the piece, the opposite of this chaos-from-order occurred: the apparent randomness of rolling marbles was superimposed with calculated graphs of their distance from a central point and relative angles. This could be interpreted as an attempt to derive highly logical, calculable, mathematical meaning from a disorderly incident. Ultimately, I saw superposition as a criticism of humanity’s constant attempt to mediate the world to make it more intelligible. Religion, science, and mathematics are all artificial frames created to resolve fear of unknowability. The visual and auditory assaults throughout superposition force the audience to have a pure experience – sheer intensity, no mediation.
Josh,
I understand your position, and I agree that there should have been a more public announcement about the visual and sonic effects used. There were notes taped to all the doors that people went in, but I think we can all agree that those are easy to miss, especially in a large group of people. That being said I disagree with your point that this performance was flashy and loud simply for the sake of it. This performance, as stated in a portion of the program written by Ryoji Ikeda, was designed to communicate the idea of quantum superposition, which is complex and overwhelming. So the volume and the lights were necessary to communicate the point. And I think you’re right, it did alienate people, but I also think that that was Ryoji’s intention. So in that, I feel that the decisions were justified.
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I completely agree. This performance seemed to be flashy and loud simply for the sake of being flashy and loud. I also agree that we should have been notified of how intense the display would be. I’m just glad that no one – to my knowledge – had any extremely adverse reactions. I understand that the performers may not have wanted the show to start with a warning of potential seizures or something like that, but I think it’s a small price to pay for safety. When an artist puts out a work such as this that alienates so many – either from its sheer abstractness or hazardous conditions – one has to wonder whether they’re putting on the performance for the audience or for him or herself. I’m sure it all made sense in Mr. Ikeda’s mind, but certainly not in mine or in the minds of everyone I’ve talked to about it.
I agree with your analysis! The human performers were absolutely essential—without them, I think the audience would have been too quick to deem the piece unapproachable or too detached. Adding that human presence almost forced us to find something to connect with.
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Ryoji Ikeda’s work was overwhelming, disorienting, even at times anxiety-producing. This probably turned off many viewers. But what better way to represent mass data and modern technology and science? The modern world is disorienting to say the least, particularly when it comes to the ever-expanding tech world. To Superposition’s detractors, I can only say that every emotion I felt during the performance, every confused thought or feeling of bafflement, was only a heightened version of those experienced when confronted with the bewildering, awe-inspiring world of contemporary science.
And yet there was structure to Ikeda’s chaos. He did not create the hectic, mind-boggling moments of the performance to reflect modern science without comment. The more “peaceful” intervals of the piece served to illustrate the connections and overlaps between man and big data. While Superposition begins and ends with the all-consuming presence of data—the screens filled with numbers and images incomprehensible to the average viewer, waves of impersonal tech sound coming at the audience from all directions—but the human element is essential to the show, and made a huge impact on my experience. Ikeda is not placing man and machine (or data) on opposite poles, struggling against each other. The human “performers” are placed in the midst of the levels of technological visual representation, playing with various ways of manipulating the technology that surrounds them. Neither man nor machine is supposed to win, that’s beside the point. The human presence, at least for me, made sense of the staggering crush of information and representation that the show contained.
Superposition brought up dozens of fledgling thoughts lodged in the back of my mind, and articulated them in more engaging, challenging way than I would have thought possible. This wasn’t a performance intended to be easy to understand, or perhaps even to like (many reacted strongly to strobe-type lighting and the technological, often ear-splitting noise). But for me, it was one of the most unique, revelatory, and genuinely enthralling events I’ve ever experienced.
I like that you mentioned how you felt the vibrations of the notes. It adds another “feeling” dimension to what most people are categorizing as an auditory and visual experience.
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Blinding white light, a trembling theater, and the fear rushing into my body, all these things and more were what I felt at Ryoji Ikeda’s Superposition. This performance was beyond complicated and very different from anything I have seen before, but it was not something I can truly claim to have understood. For me, Superposition did not convey a deeper meaning nor enlighten me to anything, but rather serve to stir two very primal emotions, fear and wonderment.
The whole production began with a deep bass note flooding the theater. This bass note was a reoccurring sound and each time it played I could feel my seat and vocal cords vibrating along. This unnatural and intense feeling was the first thing that instilled a sort of fear in my body. The high-pitched note that followed and also continued throughout the production cause my ears pain, once again causing fear. The sudden and rapid flashing of bright white lights on the screen also continued to play with my fear. The entire performance was filled with this music and lighting whose main purpose seemed to be to make me afraid.
Despite the many moments that caused me fear, there were also moments of pure beauty and wonderment in this performance. In these scenes calmer music or no music was playing. The two scenes that most vividly caused my wonderment were the shots of nature with the questions and answers, such as “What is love? Never ask” and “What is peace? Never answered,” and the moment when they were tones played and we watched the sound waves. Unlike the other scenes these ones fed on my emotion of wonderment. In these moments, I felt more of a connection with the performance and felt there was more of a philosophical tone.
Overall, I cannot conclude whether I liked this performance or not, or if it was good or not. There are too many questions left unanswered for me and I didn’t take enough away to feel like I gained something from seeing this performance. All I can definitely say is that Ikeda caused the arousal of two emotions without too many words.
That line also lingers in my memory! I found the text very thought provoking and intellectually challenging, and I have to agree the sensory stimulation was very intense. I saw many people covering their ears during the performance.
I also find it interesting how a performance that I enjoyed failed to impress many others; I have heard responses deprecating the sound qualities as “unimpressive” and the performance as confusing.
Personally, I felt the obligation to endure any sensory discomfort that I felt during the performance. I almost felt as if I owed something to the performance.
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“What is love? Never ask. What is peace? Never answered.” This is the line that lingered most vividly in my mind after watching the performance. The concise and pointed dichotomy of the two phrases is probably what caught my attention. However, these paired questions tempted me to extend the ideas behind them to the greater meaning of “Superposition.” But as several other commenters have noted, this performance does not aim to convey a single meaning that can be articulated into a neat package of two or so phrases. To be honest, I don’t know what “the point” of the performance was. Intense, and at times overwhelming, auditory and visual stimulation? If so, then it succeeded. But if its goal was to express a particularly profound and thought-provoking message, then maybe it could be considered a success to some people, but I’m not sure it can for myself.
Similar to you, I had a difficult time determining what exactly it was I was supposed to take away from “Superposition.” The lack of definite patterns as to what was occurring on the screens made it challenging to understand what was going on at any given moment. I also sympathize with the trouble you had in interpreting the stimulus of the show. However, after some further contemplation, I came to the realization that perhaps something that I could take away from the show was the idea that the difficulty in interpreting it was an intentional side effect of what occurred. Perhaps the simultaneous presentation of an assortment of concepts and subjects made this performance “superposition” or “two things in literally the same place at the same exact time.”
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My opinion on philosophy is ambivalent – although I thoroughly enjoy provocative questions, I am unsatisfied with the indefinite conclusion. Ryoji Ikeda’s Superposition explores the idea of nature and physics in a universal scope through the unique combination of technology and live performance, but this concept left me bewildered and disappointed with its anticlimactic, inconclusive answer that matches its philosophical roots.
My class had the pleasure of having the two performers Stephane Garin and Amelie Grould to discuss their experiences, and I learned that they were musicians, so going into the show I was anticipating a message to be conveyed through sound. However, immediately after the performance started, I knew I would not enjoy it – the loud buzzing in the background combined with the beeping and bright lights was a painful experience, and any nuance the music was supposed to carry was lost to me.
I thought the show did an excellent job utilizing the two larger screens to juxtapose ideas; the arguments between science and religion were well done. I also I enjoyed its spontaneity.
Although math was integrated into the show, it was anything but formulaic. The screens were erratic, which made it difficult to predict the next direction this show would take. This kept my attention as I tried desperately to process what was being displayed on the multiple screens. However, this was also something that I found distracting and frustrating. The screens flashed by at a rapid pace, so I had trouble perceiving the stimulus of the show, much less interpreting it.
Although I appreciate this venture into contemplative questioning in art form, it was not something I enjoyed. I found the performance disorienting and it wasn’t as mentally stimulating as I had hoped it would be.
I thought the performance was truly spectacular! Watching the performance reminded me of being in a planetarium where all the images move around you. You are simultaneously in awe and feel small, while feeling quite transcendent. A lot of the performance was accompanied by celestial white noise, which I enjoyed.
Surprisingly, one of the most stimulating features for me was the text on the right and left sides of the screen. The sentence structure and text were often very similar, however the meanings both complemented and contradicted each other. I viewed the text almost as lyrics to a song, which seemed most appropriate, as the two performers used their telegraphic contraptions as voice boxes to “sing” the text on the screen. I felt as if it were very important for there to be both a male and female performer on the stage. The performers tapping and the background sound were both very succinct and simplistic in their tonal qualities, although sometimes I felt as if the visual and auditory stimuli combined were meant to overwhelm the audience. There were times in the performance when I felt uncomfortable with the stimuli and was compelled to close my eyes or cover my ears. That would be appropriate in light of the performance’s deep involvement with the concepts of universality, beauty, humanity, and art and science. I think Ikeda wanted to convey the discomfort we have with grand universal truths through this overwhelming stimulus and discomfort, but it is just a thought.
It is possible that I have never enjoyed myself less than I did last night, 8:00pm, Power Center. Sitting in that freezing auditorium, my head pounding, the white noise reverberating off the walls as incoherent images of sinusoidal lines wriggled across an effervescent screen. Terrified, I sat shaking both from the cold and from the fear of what was coming. The ever-present thought running through my mind was “How could anybody actually be enjoying this?”
In collecting my thoughts on “Superposition,” I will split the performance up into the five most memorable parts for me. The first part is titled “Scare You to Death with Flashing Lights,” which is somewhat self-explanatory. During the majority of this portion, my face was partially covered by my scarf as I anticipated the next burst of light to explode. I transitioned between holding the scarf over my eyes and plugging my ears as the loud “dog whistle” beeps pierced the air. Beep, Flash, Beep, Flash in continuum for what seemed like eternity.
The second part is titled “MRI.” During this section I felt myself moving through the giant cylindrical machine surrounded by mechanical jackhammers and ear splitting high-toned beeps. I was paralyzed in my seat just as I was paralyzed in that horrible machine, the waves of light travelling across the screen just as the waves of radiation technology had created a visual representation of my neural activity.
The third part is titled “Confusing Newspaper Images.” Honestly, this section seemed entirely random and misplaced amongst the others. What exactly was the significance of these images? And why was “ The Start” so recent in human history? This section transgressed into the crossword puzzle section, during which the performers scribbled out letters and numbers on long sheets of random data sets. At this point in the performance, I stopped attempting to grasp what the artist was trying to communicate and succumbed to complete confusion.
The fourth section is titled “Marbles” and the fifth is titled “Apocalypse.” The former involved the performers sprawling out the marbles and the computer targeting their positions. The targets created the image that transferred into the finale. Floating around between the different hypothetical spheres of quantum physics was somewhat of a relief. There weren’t as many loud noises, and before it was dragged out for far too long, it was actually somewhat intriguing. Of course, the floating dots got old pretty quickly, but once again I was awoken by violent snaps of light configured into geometric 3D forms. The spheres were converging and the universe was breaking apart. I have never been happier for the end of the world, because it meant my headache would soon be over, and “Superposition” would come to a close.
I completely agree with you about appreciating the quieter scenes more because we were not being bombarded with the stress inducing noise and flashes. I also was asking myself what the point of this performance was, and I am still unable to quite grasp it. It is an interesting idea of yours that you say humans crave a theme, because I too believe that to be true. However, I do think Ikeda had a specific goal or theme and we were just unable to figure it out.
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Confusion, intimidation, and pain swirled though my mind as I exited the Power Center. I respect Ikeda’s ingenuity, as he layers music, visual stimulation, and live actors to both confuse and draw out thought from his audiences, but why does he have to do so while blasting eardrums and damaging eye retinas? In fact, the parts with these dramatic effects were the most confusing and the least thought provoking (i.e. the beginning and the end). I found the parts such as the typing with scenic backgrounds (“What is love..?” “What is matter. Never Mind”) and the newspaper scene the most interesting because my mind was not constantly being hammered with screeches and strobe lights. This allowed me to ponder the meaning behind these scenes as they were performed. The details of both the sound and visual effects were more apparent because I was not constantly plugging my ears and squinting my eyes in fear.
Throughout the performance, I was constantly asking myself what the overarching theme was. What was Ikeda’s message for Superposition? Was it about the layering of different sensual variables, or is he comparing the human versus the computer. But then I thought, what if there is no real overarching meaning? What if Ikeda wants to prove to his audience that human’s have an irrational craving to create patterns and themes for artistic expression? What if there is no real meaning, just random scenes and words put on a screen, yet we humans cannot but help to brand this performance with some type of class or genre? Just wondering if anyone felt the same way.
I never thought about the performance in this way. Now that you point out the relationship between chaos and order, I see the performance in an entirely new way! The performance placed a heavy emphasis on the difference between chaos and order in the various visual elements. By constantly switches between the two, Ikeda was able to accurately illustrate how order can so quickly become immense chaos and disorder. This comparison of chaos and order was particularly evident during the scene with the several round beads that rolled across the projector. At first there was a few beads and soon enough there were too many to count. The scene began calm and almost soothing, but soon grew to become chaotic and quite overwhelming.
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I was exhilarated by Ryoji Ikeda’s superposition. Having walked into the Power Center not knowing exactly what to expect, I left the performance awestruck and enamored by the dazzling display of images, lights, sounds, and the actors’ interaction with technology. This reaction was one that did not seem to be shared by the majority of my classmates. One aspect of this piece which I found fascinating was its exploration of the relationship between order and chaos. This was evident from the very beginning when points were being plotted on a graph. At first, this occurred slowly: each point plotted was easily distinguished by sight as well as by sound (with its accompanying “beep”). The rate at which points were being plotted as well as the number of graphs eventually began to increase. The sound crescendoed, the visuals became overwhelming, and apparent chaos ensued; however, the audience knew that this apparent randomness came from the highly ordered plotting of Cartesian coordinates. Later in the piece, the opposite of this chaos-from-order occurred: the apparent randomness of rolling marbles was superimposed with calculated graphs of their distance from a central point and relative angles. This could be interpreted as an attempt to derive highly logical, calculable, mathematical meaning from a disorderly incident. Ultimately, I saw superposition as a criticism of humanity’s constant attempt to mediate the world to make it more intelligible. Religion, science, and mathematics are all artificial frames created to resolve fear of unknowability. The visual and auditory assaults throughout superposition force the audience to have a pure experience – sheer intensity, no mediation.
Your commentary on the performance regarding it’s balance of science and music is very unique and refreshing. I think the idea of music and science being intertwined is a valid one; after all, music is simply just a lovely production of sound waves. The gray area between artistry and scientific thought may not be as large as we typically perceive it to be then?
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Ryoji Ikeda’s “Superposition” is defined by the dictionary as the “overlapping of waves.” In the most basic sense, this is certainly true. However, the waves this performance is concerned with are not those of displayed on the screen, but rather the clashing of two seemingly different disciplines: science and music.
Science is universally understood to be a formulaic discipline. There are laws that must be followed and equations that must be used, leaving little room for interpretation. Music, on the other hand, lends itself to more diverse interpretation. Each musician can communicate a unique message to his or her audience as they sit enraptured by the sound. “Superposition” draws upon both of these elements.
There is no denying the formulaic element of the performance before our eyes. The catalysts for much of the noise, the two humans, sit motionless as they surgically tap rhythm after rhythm. After each tap, waves appear on the large screen behind them, overlapping each other as they run from both sides of the monitor. Graphs and charts flash quickly before our eyes, followed by more pictures.
At the same time, we are aware of the musicality of the performance: the ever-present metronomic beeping in the background, the Dubstep-esque finale that blinds both our eyes and our ears, and the noises in general that are impossible to ignore.
“Superposition” is not only speaking of the overlapping waves that the two performers on stage are creating with their endless tapping, it is asking us to look even broader at the overlapping waves of music and science. It forces us to consider sound from a different perspective. The sounds on the stage, particularly the beeping from the data input, can be heard in many variations in our everyday life. How much music do we fail to acknowledge everyday and how much music do we unwittingly create?
I agree with you Allison. I was taken aback by the beginning of the performance. Now I understand why there were signs in the theater’s lobby offering locations to pick up ear plugs! I also began to lose interest in the plotting of dots after a couple minutes. I tried to read the numbers on the smaller screens during the introduction, but it was difficult to discern anything from a balcony seat.
The morse code portion was my favorite aspect of the performance. I had difficulty following the decoded messages, because of the lack of spaces between words, so I enjoyed the contrasting messages when spaces were used. I was especially intrigued by the messages comparing religion and science. Religion, which lacks concrete evidence and precision in favor of faith, contrasts the technological and mechanical aspects of the performance.
I personally would not see the performance again, but I am glad I was able to experience something outside my comfort zone.
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Are you familiar with the intense alertness you experience when entering and experiencing a haunted house? This was my exact reaction during the entirety of Superposition. The very minute in which the performance began, I shot out of my seat because the loud, sudden noises took me by surprise. Not knowing what to expect whatsoever from Superposition, I first watched the plotting of dots on the graph with enthusiasm. Yet, what I did not know was that very loud, ear-splitting noises were soon to follow. Having understood how the rest of the performance was to go, though, I prepared myself for whatever was going to occur. Also, the plotting of the dots was the attention of this production for far too long in the beginning. I lost interest after about 10 minutes of just plotting dots, loud noises, and strobe lights. Something else I was also concerned about was there a disclaimer anywhere that warned people who are prone to epilepsies not to come? I honestly did not see one anywhere.
Contrasting from my negative ideas about the performance, I actually did enjoy the use of Morse code and the graphical representation of sound waves. The decoded messages typed out onto the large screen were really interesting. Their meanings were quite quizzical and stimulating, and anticipation was built up while the actors were decoding these messages that really drew me further into the performance. My favorite messages typed out were the ones that contrasted two similar-looking sentences to one another that revealed a different meaning in each. The sound waves experiment was extremely interesting at first, but I think it went on for far too long. It was so relaxing to listen to that I, honestly, almost fell asleep but was abruptly woken up by the extremely loud, sudden noises that followed.
Overall, I thought the performance was overly stimulating and interesting to watch. I personally do not think I would go to see it again because it gave me a headache with the flashing lights and the excruciatingly loud noises.
The label Ikeda is currently on, raster-noton, is one of the main purveyors of the genre, which often does lean into IDM (moreso than EDM, though the distinction is a very thin one).
Mika Vainio is another high profile (and more prolific) artist in this genre, which has been around for about 30 years at this point.
Not sure what this page will do when I post a link, but here’s one for raster-noton:
I like what you did here with comparing Superposition to a progressive EDM concert. They are very similar, especially in terms of the loud bass, the visuals, and even some of the musical structure. I do think it would take an advanced listener to find commonplace enjoyment in this kind of experimental, arhythmic “music” however (especially if it were to be coupled with the intense visuals and bass every single time). I agree with your claim this this may become a genre in the future, that is, if it already hasn’t become one yet. I think it is interesting that people can make music out of virtually anything. In this case, even the simplest of sounds were engineered into a complex soundtrack. You also bring up a good point about how people would miss the vibing-out aspect of the performance if they were to have watched a recording of it for instance. I feel like this is especially true of most concerts that involve any kind of music now-a-days since much of our music is so bass-heavy. Interesting you picked up on these connections!
Before the performance, I had a chance to briefly educate myself on what quantum superposition was and why it might be difficult to illustrate as a real-life phenomenon. Although this helped me connect the images you described as “epileptic” to the riddle of the physics phenomenon, I (and apparently many others) agree that I was left unsatisfied trying to define the performance’s message or meaning.
I don’t think this is due to an incapacity to think abstractly enough, like you suggested. Rather, the ideas that Superposition attempted to illustrate are highly complex, and I’m guessing one has to appreciate how difficult they are to convey through language before sitting down for a alternative-medium experience like this. As such, while I laud your statement that one must be careful not to confuse uniqueness with ingenuity, I also believe many of us students who are conditioned to finding the meaning in a work must appreciate the fact that we might not be able to appreciate the ingenuity and risks taken in Superposition.
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Ikeda’s “Superposition” was anything but super. I normally attempt to find the silver linings of even the most unenjoyable of performances, but simply put on Saturday evening I was unable to find anything of substance to take away from this “performance.”
As far as I’m concerned, what I witnessed was not much more than a cacophony of jarring noises coupled with dizzying graphics and occasional lines of text that were meant to induce thought but that were in reality irrelevant. I was at times legitimately concerned for the wellbeing of my ears (I would rather have listened to a fire alarm) and found myself continuously wondering if this performance would be the cause of my first epileptic seizure (it must be mandated that a warning be put on the ticket). While I concede that I have never viewed anything like that of Ikeda’s “Superposition” and that I might when feeling generous even describe the spectacle as “cool,” I am not so sure that an hour of such novelty without a real pointed direction is in this case a good thing. One must be very careful to not mistake uniqueness for ingenuity. I searched all hour for an “Aha!” moment, one that would give the performance a sliver of meaning, but found myself sitting empty-handed and in the dark at the conclusion of the show.
Perhaps I am simply just not an abstract-enough thinker, but I had a difficult time gleaning significance from any part of “Superposition” – though the theme of infinity was very prominent and the representations of big data and technology very obvious, I realized I kept asking “So what?” Anyone can repeatedly dot a black background with white spots and display fluctuating numbers in scientific notation as Ikeda did. These were familiar images to me, and I could not derive any new meaning. The performance did not introduce to me any notions that I had not already been aware of – where was the enlightenment?
My only hope and potential consolation is that perhaps a performance of this nature cannot be sufficiently analyzed in such explicit terms. If I had the opportunity to redo my Saturday evening, I would rather invest my time in learning actual concepts in the fields of quantum physics or big data – not in this disappointing attempt at representing these subjects.
I like what you did here with comparing Superposition to a progressive EDM concert. They are very similar, especially in terms of the loud bass, the visuals, and even some of the musical structure. I do think it would take an advanced listener to find commonplace enjoyment in this kind of experimental, arhythmic “music” however (especially if it were to be coupled with the intense visuals and bass every single time). I agree with your claim this this may become a genre in the future, that is, if it already hasn’t become one yet. I think it is interesting that people can make music out of virtually anything. In this case, even the simplest of sounds were engineered into a complex soundtrack. You also bring up a good point about how people would miss the vibing-out aspect of the performance if they were to have watched a recording of it for instance. I feel like this is especially true of most concerts that involve any kind of music now-a-days since much of our music is so bass-heavy. Interesting you picked up on these connections!
Jordan
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The first words I said after watching Ryoji Ikeda’s Superposition was “…..What did I just watch…”
Maybe it was the spirit of Halloween weekend, but the very beginning of the performance scared me. It sounded like the soundtrack to a horror movie. The sudden bursts of white light and static were very jump-scare-esque. As the performance progressed, I couldn’t help but notice its similarity to EDM (electronic dance music) and their well known concerts. They had the flashing lights and the build, pause, and drop structure of most EDM. But since the sounds created by Ikeda were all found naturally in the world, it made me think of it as an almost “organic brand” of music. And since the performance definitely had a science fiction quality to it. I wouldn’t doubt it if, in the future, this “organic” EDM like music was a genre. However, I did notice the male actor tapping his foot to a steady rhythm, so maybe the sounds created by the Morse code was not entirely “organic” but manipulated.
The bass was also very good at the Power Center. I was sitting in the balcony in the far left and could still feel the vibrations deep inside my bones. In one of my classes, we have been discussing why people pay huge amounts of money to watch a performance versus watch a recording on Youtube for free. If I watched a recording of “Superposition”, I would definitely have missed out on the all lights and images that filled the entire auditorium and the vibrations of the music. I think people go pay money for live concerts to “vibe-out”, or literally feel the vibrations from the music and attitudes of the venue/other people.
The performance may have introduced a new and original perspective on the relationship between life and technology, but I was so physically uncomfortable I couldn’t bring myself to look into it.
And yes, Ikeda could have made it a bit easier for his audience to understand his point of view. Some lucky viewers may have easily been able to understand exactly what he was trying to convey, but for many of us, it was just too difficult to relate the lights and sounds and images to something beyond them.
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A visceral and out of this world performance that you should experience once (and no more than once) in your life.
Did Superposition challenge my perceptions of art and the relationship between technology and the performer while at the same time providing philosophical underpinnings through the medium of collected data and physical sensations? Yes.
Did the performance make me feel physically unwell through a myriad of overwhelming physical sensations that ranged from the bombardment of high-pitched noises to flashing lights darting across the screen faster than the eye can follow? Also yes.
This was one of those strange nights where members of the audience both stood up and left twenty minutes into the show and gave a near standing ovation to a bowing Ikeda at the performance’s end. Never have I been apart of an experience so polarized. It was clear that while the audience left with a mixed sense of confusion and curiosity, the allure of Ikeda’s artistic rendering (performance?) was not only intriguing but respectable.
Sure, I could have used an explanation or maybe even a hint at the meaning of the piece, like how does the art and the science and the stage come together to create something more meaningful? Or why does Ikeda employ live performers when so much of the show is mechanized? Or perhaps even what the title Superposition has to do with the physics term “superposition”? To me, so much of the piece was confusing and perplexing and otherwise strange I had a difficult time un-jumbling my thoughts and putting an answer to those questions.
The performance, if anything, was strangely therapeutic to me. It was a trance-like experience of epic proportions, something of a hypnotists fever dream. At some point I became oddly distanced from the whole ordeal, zoned out if you will, becoming unthinking about a performance that asks you to think about thinking, and while I’m unsure about what that entails, it was certainly an experience to remember.
Did I enjoy my evening with Superposition? Not exactly, but the performance does compel and force you to talk about it, to question it, to think through it and perceive the world in a way never before done, and that’s a rare kind of magic, in both art and science.
I thought it was nice to be able to visualize some of the abstractions found in nature and physics, and I personally found Ryoji Ikeda’s “Superposition” highly stimulating and thought provoking. Ryoji takes the audience on a unique trip – at times I felt like I was inside a computer watching raw data fly by, while at others I was sitting at the edge of the universe watching a supernova turn into a black hole. He does a fine job incorporating all of these different elements into the performance.
I found that the performance allowed me to enter a sort of melodic trance of abstract thought and introspection. There was never a time when my mind was not preoccupied – my senses were constantly being stimulated. Though at times, there were a few moments in the performance that were overly stimulating, and I felt that my sensory perception was being put to the limit. The migraine inducing flashing and the loud, continuous tonal sounds were somewhat disconcerting, as I feel many other people would agree.
The performance does a good job visually representing, for example, the superimposed images of the sine waves and the quantum mechanical aspects of superposition. At some of these points I felt that there was so much stimulation that there was no possible way for me to pick up on every detail – is it possible Ryoji incorporated this on purpose to add another layer of “superposition”? Likewise, I feel like the title does a good job describing how everyone has his or her own, unique “takeaway” from the performance, as well as the notion that the true meaning of the performance is still to be determined.
Superposition as an art form is rather novel and contemporary. Even with its moments of discomfort, I felt the performance was worthwhile and enjoyable.
I just cannot stop thinking about that intro. It was like the universe of digital media was being created before our very eyes—like the Big Bang except with binary defined the universe instead of physics.
The progression from the singular light blips to the grids to the three-dimensional digital landscape had given me great hopes for comparing the realm of the digital with our own world, especially with those grids that looked a lot like star patterns.
As it turned out, my expectations seemed a lot different from what Ikeda had to say . He lost me somewhere in the middle, though, and I had a hard time trying to sort out what was going on past the session with the Morse code.
From a technical perspective, I had a lot of trouble trying to pick up on all the text that was being presented. Sometimes it was difficult to follow the long strings of Morse, and at other times the text appeared and disappeared so fast that comprehension was impossible. At one point I also remember text that too small for me to read at all, but that was probably due to my distance from the stage. I also had the misfortune of sitting in a position that blocked my view of one of the screens with a speaker, making it even more difficult to pick up on all that Ikeda was trying to communicate. Has anyone else had a similar problem? (I was sitting in the mezzanine during the performance).
All of that aside, I found the performance quite beautiful and can honestly say that I quite enjoyed it.
I’m glad someone else was terrified by this performance. I talked to some of my friends who also saw superposition and a lot of us experienced a very physical and visceral reaction (i.e. sweating, heavy breathing). I think what terrified me the most was the apparent chaos of the performance. At times it felt like everything was falling apart and I honestly felt like I was witnessing the end of the universe. I agree with your belief that this is the intention of art: to push boundaries and help us to see the world in a different way. Superposition definitely accomplished this goal.
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When the lights went out at Power Center this Saturday a little after 8pm, my heart began to race. And, if I am being honest, my palms were sweating. Why would I react like this? I’ve been to tons of performances; musicals, concerts, plays, uncomfortable drunken songs from my grandpa, but I have never felt nervous before any of those performances began. In the moment after the auditorium went dark and before Ryoji Ikeda’s screens turned on I knew the answer. I had never been to a performance like Ikeda’s Superposition and I was afraid. It turned out I had good reason to be. Superposition scared me because it forced me to think about the world in a way I had never fathomed before. I believe that is the purpose of art. To me, Superposition was not just a statement about the movement towards quantum mechanics, and I don’t think Ikeda intended it to be. It really made me think about the whole world, about how everything is infinitely happening and changing and it is almost impossible for people to understand, and yet because life is so mysterious that is why it is worth living; so we can chase the mystery, and move forward in our limited understanding. Ikeda’s work does not set out to answer all of life’s questions, because that would just be impossible. His screens and flashing images and non-traditional music place the questions in the audiences’ hands, and allows us to think about them- allows maybe even to change the way we think.
Your description of how humans try to make sense of randomness reminds me of something I learned in a psychology class while we were talking about entropy. We learned that the main purpose of the human mind is information processing and in a sense, information is the opposite of entropy. The world tends towards chaos, therefore it takes energy to oppose this chaos. I believe that superposition could have been pointing out humans’ ability to oppose entropy through information processing.
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I really like your observation about the presence of human performers on the stage because I hadn’t noticed that at the time. The way I interpret it would be that data is random; however, humans want to try and make sense of this randomness. When humans aren’t around, data is chaotic and can mean anything, When humans are present, then they take control and try to find meaning in the data. Using this perspective, these contrasting situations are portrayed on the stage with the different segments. As a result, humans should be in control of technology, but the vast amount of data available makes this hard.
One of the things I have have always found fascinating about abstract art is its very *abstraction*. There was apparently a very long period of human history when “abstraction” wasn’t really a thing, and abstract art is something that now has tradition of being easy to mock, deride, etc. That tradition exists – at least to some extent – because the “meaning” of abstract art is difficult to formulate in words.
Difficult, but not impossible. People have built careers on putting the meaning of abstract art into words.
I’ll address your question more directly below, but allow me a digression first…
For me, abstract art pretty much always points back to something I learned when I was maybe 18 or so, and a freshman in college taking my first super 8 film production course. The instructor put it to us to, when making a film, always ask ourselves the question, “Does this *need* to be a *film* to convey what it conveys?”
The corollaries to this are antonymic questions along the lines of, “Could the same thing be conveyed by a novel, a play, a sculpture, a song, etc.?”
If the answer to that second question comes back affirmative, then you could probably guess that the next question coming is always going to be, “Then why make it as a film, instead of one of those other things?”
Insofar as they address a creator of artworks, these questions help that creator maintain an awareness of not only his or her intentions (what s/he hopes to communicate), but also the specific tools at her or his disposal within the medium of choice.
Now, of course, on the spectator side this line of thinking threatens to look like an attempt to negate the value of any and all written or spoken critique/criticism of any of the arts. But it isn’t really meant to do that. Rather it’s meant to form a kind of touchstone to help make sure that any understanding-through-words doesn’t confuse itself with understanding through direct experience of the work examined.
So, finally, to your questions…
For art that is not abstract, but rather: representational, I think one can distill the majority of “meaning” pretty effectively with written or spoken words. Even so, there is something to be said still for having a direct experience of those works, as opposed to functionally acquiring the distilled meaning through a critical resource of some kind (like through “Cliff’s Notes” if those still exist, for example).
This is to say that even with representational art, there is a very strong and valuable component of meaning that is viscerally experienced, that resists being put into words. There is a saying: “the menu is not the meal” (and, yes, I would say that there is a certain kind of “meaning” even in a meal).
With abstract art this effect can be magnified greatly. In our 21st Century drive to get the most out of things in as densely distilled a way as is possible, it can be difficult to let ourselves deeply experience, on a pre-verbal, visceral level, this kind of meaning.
One of the reasons I think that abstract art even became a thing starting in the late 19th, developing mainly in the 20th Century, was that there was a kind of rebellion against the increasing speed and density of meaning that was communicated through increasingly global systems of communications, travel, finances, politics, the sciences etc.
The science of psychoanalysis was even born during this period, and so the meaning of our very dreams was being codified and translated into words on paper.
So here comes Ryoji Ikeda creating these kinds of collisions between science, music and visual arts, and then kind of refusing to discuss in detail what they “mean.” And he’s just one of many artists who’ve done this in what I see as a lineage that runs back a few decades and more all the way back to the beginnings or Dada and Surrealism, through John Cage and the Burroughs/Gysin branch of the Beat Poets as well as the emerging (in the late ’40s and early ’50s) American Avant Garde film movement, to the Viennese Actionists and Warhol’s “Exploding Plastic Inevitable” in the ’60s, to the global “industrial” music movement that began in the late ’70s and early ’80s with artists/bands like Throbbing Gristle, SPK, P16.D4, Cabaret Voltaire, Einsturzende Neubaten, and Esplendor Geometrico.
Burroughs himself popularized (at least among those influenced by him) the phrase “rub out the word.”
Okay, so I hope I’ve at least scratched the surface of addressing the things you were hoping I’d address. I think I’ve been pretty oblique, but hopefully not completely opaque in my response.
I’ll leave you with a few questions of my own:
To what degree do you feel feelings that are meaningful to you without having words directly associated with those feelings?
Are you able to silence your mind so that your internal monologue (of words) stops?
Do you think it is possible to think thoughts without using words?
When you try to tell others about your dreams, do you find that there are aspects of the dreams that “made sense” or “had meaning to you” within the experience of dreaming, that become difficult or impossible to convey to others through spoken or written language?
(also, my real name is Jim – nice to meet you, Andy, and Melanie too – I initially posted under my “artist” name as a shameless plug to perhaps get a few people to seek and find my work which is available to hear online for free)
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Hello The Fleshy Timeclock,
I mean no offense to you but I am slightly befuddled by your claims and would appreciate some explanation.
After reading your comment I believe you are in essence saying that the meaning of “Superposition” is difficult to characterize through language, the only medium I have ever believed meaning could be described through. This seems very puzzling to me. Are you implying that there exists a better alternative to “distill” meaning from this performance? How do you put something into words if you deny yourself access to those words? This is highly paradoxical.
You recall that it was difficult for you to “turn off [your] internal monologue that kept asking ‘what does this mean?!'” I am sure you are aware it is human nature to wonder about those entities we are confused about. It seems to me you are claiming that only by defying logic and ignoring one’s own thoughts can “Superposition” be successfully viewed as an “experience of sublime nature.” I understand the graphics may have been “cool,” but where was the profoundness in the piece?
Elucidation would be much appreciated as I am genuinely interested in your perspective.
The first words I said after watching Ryoji Ikeda’s Superposition was “…..What did I just watch…”
Maybe it was the spirit of Halloween weekend, but the very beginning of the performance scared me. It sounded like the soundtrack to a horror movie. The sudden bursts of white light and static were very jump-scare-esque. As the performance progressed, I couldn’t help but notice its similarity to EDM (electronic dance music) and their well known concerts. They had the flashing lights and the build, pause, and drop structure of most EDM. But since the sounds created by Ikeda were all found naturally in the world, it made me think of it as an almost “organic brand” of music. And since the performance definitely had a science fiction quality to it. I wouldn’t doubt it if, in the future, this “organic” EDM like music was a genre. However, I did notice the male actor tapping his foot to a steady rhythm, so maybe the sounds created by the Morse code was not entirely “organic” but manipulated.
The bass was also very good at the Power Center. I was sitting in the balcony in the far left and could still feel the vibrations deep inside my bones. In one of my classes, we have been discussing why people pay huge amounts of money to watch a performance versus watch a recording on Youtube for free. If I watched a recording of “Superposition”, I would definitely have missed out on the all lights and images that filled the entire auditorium and the vibrations of the music. I think people go pay money for live concerts to “vibe-out”, or literally feel the vibrations from the music and attitudes of the venue/other people.
“Ah, quantum mechanics. That makes sense.”
Said nobody ever.
Ryoji Ikeda’s performance of Superposition this past Saturday was a lot of things – beautiful, thought-provoking, overwhelming, etc. But with so much to focus on, the struggle to understand became very real.
If there was a visible theme that I could latch on to, it was that – humans are horrendously limited. The scope of our knowledge is only a fraction of what exists, and no matter how deeply our education may go into a subject, there is always infinitely more to understand about it. That’s a beautiful thought, no matter how soul-crushingly disappointing.
Most of the performance, I was struggling to keep up – my eyes jumped from screen to screen (and being that there were around twenty four screens on the stage, this would have been an impressive feat if I had managed well), my ears working to comprehend the overwhelming, albeit beautiful, music of science, my brain working to process statements like “What is matter? Never mind.” juxtaposed with “What is mind? Never matter.”
No matter how hard I tried, though, Ryoji Ikeda’s meaning was intangible to me – completely unreachable. Maybe that was the point – “Let’s make a performance about quantum mechanics and make it as confusing as possible to highlight the limits of human understanding.”
However, the main difference between that potential meaning of the performance and the reality of human understanding is that with human understanding, when a discovery is made, one feels satisfied with themselves and excited for more discoveries. Yet with Ikeda’s performance, I left feeling confused, overwhelmed, and hopeless.
Wow, what a performance. In the 19 years of my life never have I seen or experienced anything like this. Sitting in my seat up on the balcony, I felt all of my senses being attacked in ways they haven’t been before. The flashing lights and piercing sounds definitely forced me out of my comfort zone. I remember being legitimately worried that my eyes would get damaged. With that being said, I actually really enjoyed the performance. Sure, there were moments when I thought the visual and auditory stimulation were excessive. For instance, the seemingly never ending flashes of lights caused me physical discomfort. But overall, I really appreciated the show. I didn’t understand anything about it, but it was still one of the coolest things I have experienced by far. I personally loved it when the mechanic sounds crescendoed to an unbearable volume until instead of exploding like expected, everything went dead silent and pitch black. The sudden silence was deafening and I could feel the whole audience holding their breaths until something broke the silence. The overload of visual and auditory stimulation definitely made it difficult for me to form any coherent thoughts, which was actually kind of nice. It was refreshing to sit without thinking about anything and simply take in what is happening around me. If there was a theme or message to this performance, I missed it completely. This performance was meant to be chaotic and confusing, and it is totally okay to not understand it.
Personally, I would rather have to sit through the SAT exam again than be subjected to another hour of “Superposition.” When I think of the stress of taking the exam that would decide my fate for my college career and future prospects, it was not nearly as physically taxing as sitting through the performance of Ryoji Ikeda’s work. That being said, just like taking the SAT is necessary, I do feel as if watching the show gave me a new experience. While I consider myself to be fairly well versed in the world of performance (my parents filled my childhood with opera and Broadway and modern dance rather than cartoons), I have never seen anything quite like “Superposition.” The trouble I find with this is that I am not sure that I can personally find merit in watching a show for “the experience” rather than for joy or entertainment.
During Ryoji’s lecture on Saturday, November 3rd, he mentioned that some people “refuse to call his composition music because it is too loud.” This would lead one to believe that those who do not enjoy the piece are simply looking down on it for being new. The alternative might be that those who enjoy the work look down on those who do not for not appreciating modern art. Does anyone else who did not enjoy the performance have trouble deciding whether or not they are being too critical or if the supporters of modern art are asking too much in trying to enjoy such a sensory overload like “Superposition”?
Why? This is the question that the audience often finds themselves asking at any performance. Can this be said, however, for Ryoji Ikeda’s latest experiment/performance, Superposition?
The performance begins with a wonderfully awful display of flashing lights and cacophony of piercing noise. One almost wonders if pharmaceutical corporations have contracted Ryoji Ikeda, having him create music that intentionally gives the viewer a headache in order to sell more painkillers.
Conspiracy theories aside, Superposition attempts, through a sixty-minute presentation of various images and noises, to “understand the reality of nature on an atomic scale.” Whether this is successful relies entirely on the audience member’s ability to enjoy avant-garde sound performances.
If anything, the show is an exercise in the imperfection of humanity, as the two performers perform tasks that could be done by a machine with almost perfect precision. Perhaps some of the most exciting moments in the performance came not with through piercing sounds set to the images of a mid 2000s PC tech demo, but from the occasional missteps from the human performers. There are multiple layers of irony in a performance in which a human makes a mistake (such as adding an extra period at the end of a sentence) while taking part in a highly technologically influenced attempt to explain the reality of nature.
My experience of this performance can be accurately summated through the section in which the two performers are typing opposing statements on opposite sides of a screen to footage of what appears to be weather diagrams. The line that sticks out in the procession of statements meant to provoke the mind is “What is mind? Never matter. What is matter? Never mind.” The quote, by George Berkeley, manages to render insignificant the statements following it. In another moment of irony, the only image that provoked a genuine response, that made me ask the all-important question of why, was lifted wholesale from an 18th century philosopher.
Was this performance original? Yes. I have never seen anything like it, and may not for the rest of my life. Was it successful? No. I didn’t find myself asking why at the end of the performance. In fact, I asked nothing at all.
After having a brief introduction to superposition, I knew I would be hard-pressed to find any obvious meaning in this performance. So, I went into the show expecting a sensory experience where I maybe picked up some “meaning” along the way.
The sensory aspect was overwhelming, to the say the least. I found many of the visual aspects calming in their mathematical and scientific processes—the graphing and tuning fork segments come to mind. The black and white blocks that fell down all the screens at an increasing rate and the sounds behind it reminded me of a train. Other times, I was reminded of planes and airports.
I didn’t mind the flashing lights and sudden changes but I do wish the volume wasn’t quite so high for those jarring high-pitched sounds that reoccurred throughout. I think the essence of the effect could have been relayed without making people uncomfortable to the point of leaving the theatre (which is a shame especially since the most disconcerting part, in my opinion, was the beginning and that seemed more for shock value than anything else).
From reading other comments, I get a sense that people were searching for a blatant meaning but I am drawn to think that the inconclusive nature of the piece was exactly the point. I’m not sure if I grasp the concept of superposition correctly but from what I understand: a system exists in every state simultaneously and only when it is observed is it subject to the limitations of one state. By trying to attach one meaning to the piece, are we erasing all the other possible meanings it could have? Maybe we should just let the system (the performance) exist as it is and simply appreciate it in its entirety and acknowledge that we will never know the true state (meaning)? The text in the performance offered some interesting tidbits to ponder but overall, I think the message was that there isn’t always one clear message. If you spent the performance trying to find one, I would imagine that it was not a very enjoyable experience.
“What is love? Never ask. What is peace? Never answered.” This is the line that lingered most vividly in my mind after watching the performance. The concise and pointed dichotomy of the two phrases is probably what caught my attention. However, these paired questions tempted me to extend the ideas behind them to the greater meaning of “Superposition.” But as several other commenters have noted, this performance does not aim to convey a single meaning that can be articulated into a neat package of two or so phrases. To be honest, I don’t know what “the point” of the performance was. Intense, and at times overwhelming, auditory and visual stimulation? If so, then it succeeded. But if its goal was to express a particularly profound and thought-provoking message, then maybe it could be considered a success to some people, but I’m not sure it can for myself.
As expected, Superposition was an experience that deviated greatly from your typical concert, and although I enjoyed the performance, my high expectations clashed with my occasional inability to synthesize meaning from the dancing lights before my eyes, and I was left frustrated by my inability to find the artistic merit that I hoped to see in a novel work like this.
I do think that Ikeda did a fine job matching the title to the performance. While the randomized grid number-and-picture spectacles could be taken as merely flashy, they cleanly elucidated the notion that a physical object theoretically exists everywhere or in every state it can be found until one measures it. In Superposition, I could measure an image presented simply by looking at it and remembering the box it had popped up in while still being inundated with thousands of other “possibility images” on the rest of the screen. This was, unfortunately, the only real meaning I was struck by over the course of the hour.
Perhaps part of Superposition’s power was lost upon me due to my seating. Unlike a regular concert or play, which can be viewed and understood at all angles, an immersive experience like this that relies heavily on sound and light is simply not as well-received on the side of the balcony. I felt like a spectator to the spectators, as if the work was only aimed at those with central seats, and the stage structures obscuring the typed messages did not help either.
The part I was most confused by was the end. Although it was sensually appealing, I could not extract meaning from the rolling and pulsing grey waves like I could from the dichotomous black-and-white flashes used at the beginning of the performance. Frankly, it seemed less like an artistic statement and more like something I walked into at Universal Studios. I’d appreciate anyone explaining what the point of that was.
On Ryoji Ikeda’s website, “Superposition” is described as being about “the way we understand the reality of nature on an atomic scale.” From what I saw at the performance, we must not understand nature on an atomic scale very well because I left the performance more confused than when I had walked in. What kind of reaction was Ikeda expecting from the audience? The performance was very chaotic with its flashing lights and loud beeping. It went from plotting points on a graph to asking philosophical questions. I am assuming that I have the wrong impression of this performance because I highly doubt that Ikeda’s motive was to have the audience dislike the performance the way that I did. I feel like the meaning of the performance is beyond my level of comprehension. I noticed people giving Ikeda standing ovations when he bowed at the end of the performance, which confirmed my assumption that I simply did not understand the performance enough to appreciate its beauty.
This is not to say that I completely hated the performance. I actually really enjoyed the philosophical aspect of it, when comparisons were being made. Life versus death. Science versus religion. “Information is not knowledge. Information is the resolution of uncertainty.” These were such interesting claims; I wish that Ikeda delved more into the deeper meanings behind his theories. Perhaps he kept this part vague on purpose, so that we, as the audience, could use our own reasoning to agree or disagree with what he was saying.
Nonetheless, this performance was very confusing and even disturbing at times. I think the beauty of it comes from the fact that only a small group of individuals were able to appreciate Ikeda’s masterpiece.
I will not sugarcoat this: I absolutely hated the performance. I did not hate the idea of the performance, which was to show that two completely different disciplines like the performing arts and the sciences could be intertwined. I hated the way in which these disciplines were intertwined. Between the dull moments with crossword puzzles and the unnecessarily loud, high-pitched music and strobe lights, the audience was constantly assaulted all night long to the point where it was not uncommon to see people look away or cover their ears in obvious discomfort or boredom. The music (if you could call it that) was not even remotely pleasing to the ears, and lacked any rhythm or order, which are the fundamental concepts of science. Also, the part where science and religion were juxtaposed on the screen just came off as brainwashing the audience to believing that science is unlimited in its boundaries while religion is restricting, and I was completely baffled as to what this had to do with the performance.
That being said, there were some positive aspects to the play. While the part where the newspaper clippings are examined under a microscope was extremely drab and agonizing to sit through, it was interesting to see the small numbers in each clipping that shows how mathematical and scientific formulas are present and underlying in just about everything in our modern world. However, even that was not enough to salvage the performance for me. The show was simply too difficult to understand, too forced in its sound and light effects during the excitable moments, and too dull in the quieter moments.
One bright flicker is harmless. Two loud wails would be tame. But over an hour of relentlessly flashing lights combined an audio track that should be measure in elephants rather than decibels is usually called a lightning storm, which may be the point.
In more ways than one, Superposition showed me the snowballing complexity and power of data sets built up from short, deceptively simple components. You don’t have to be a seasoned mathematician to see the cumulative intricacy in plotting the position of marbles or linking up dots and dashes into Morse code. While one glass orb is quite unremarkable and one dot doesn’t convey much, the graph of a cascade of marbles reveals surprising patterns in motion, while the right combination of dots and dashes can pose controversial claims about science and religion alike. One of the segments in the performance even shows how this complexity can increases by magnitudes, all through the simple action of zooming in and zooming out.
Superposition presents both the beauty and power of data, and it achieves this by overloading the audience’s senses with it. It brings to my mind some of some typical, yet non-trivial questions about data, such as if too much is dangerous or unethical, if all data has to have some quantitative meaning, and if information can be used as a form of art. While the hypnotically charming strings of Morse code tapped out to the beat of a metronome can convey information critical to the survival of Country A, it may just as well be avant-garde music for Teenager B, or the finishing strike on queasy audience member C.
Although I cannot say my experience of this performance was particularly “comfortable,” it was certainly illustrative of the beauty and power of the data which most people blissfully take for granted on a day-to-day basis.
I like to consider myself an open-minded person when it comes to the arts, but when it came to Ryoji Ikeda’s Superposition…I just didn’t get it. I often found myself wondering during the show if I was the only one in the audience that didn’t get it, or if I was missing something huge. I just didn’t understand how someone could ever enjoy being subjected to such awful sounds and such offensive, flashing lights. This is the first performance I’ve ever been to that made me so physically uncomfortable. The headache I got from the constant, awful sounds distracted me from whatever meaning Ikeda was actually trying to portray.
The show made me feel like perhaps Ikeda is some genius too smart for his own good, and he knows the secret to saving the world but can only tell it to someone as smart as him…so he creates this Superposition show and threads a secret code or message throughout and only those who are worthy are able to pick it up and understand what he is trying to portray. I was not that person. I honestly would have loved to understand exactly what Ikeda was trying to say, because I do believe that he has some interesting perspective on the world and I am always up for seeing life from someone else’s point of view. However, his show just gave me too big of a headache to be able to even try to understand what he was looking to do.
Often, when I don’t understand something and I wish to, I am able to do enough research on the topic to get the facts and better my comprehension. I have read many articles and interviews about and of Ikeda and Superpostion, but I don’t think I will ever be able to understand it. This performance was simply just beyond me.
I shared a very similar experience. I came in with the expectation that it would be a poorly received performance. However, even though I disliked the jarring music and strobing visual effects, there was something almost hypnotic about the performance. Even if I didn’t understand it or fully appreciate it, my attention was glued to the mesmerizing screens. Leaving the power center, I also didn’t know how to react, but I definitely left feeling that performance changed the way I view the world and complex nature.
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Ryoji Ikeda’s Superposition entirely surprised me. I’ll admit that I went to the Power Center expecting nothing more than a headache invoking sequence of bright lights and beeping. With the extremely high pitched noted at the beginning of the performance, I at first thought that my expectations would be confirmed.
However, my attitude toward the performance quickly changed. Ikeda managed to take noises and images that are generally written off simply as dry, confusing, data and turn them into an overpowering experience. Although the sounds and images were harsh, I found myself completely enthralled by the performance, drawn in so much that I couldn’t separate myself from the sound. I was incredibly impressed that the traditionally opposed realms of science and art were linked so flawlessly. Art relies on the artistic to relay meaning while the sciences relay on the scientific. Superposition blurred this distinction in a way I previously thought impossible. I never expected that data could participate in creativity.
The harsh sounds and piercing lights compelled me to turn away and plug my ears, but at the same time paralyzed me so that all I could do was direct my attention to the stage. It almost seemed that Superposition had a kind of hypnotic power. I was unable to analyze the performance; much like the sciences which Ikeda’s data and images are associated with it lay totally outside my realm of understanding. Despite this however, I left the Power Center feeling that whatever was being portrayed by Ikeda’s performance was relevant to me. Ikeda’s Superposition relayed some sort of artistic interpretation of the world that I previously expected could only be represented by traditionally artistic means. While the components of the performance seemed like utter chaos to me, there certainly existed an order, an explanation within the chaos. This paradox drew me into the performance, and left me with an impression of confusion, surprise, and amazement.
I too noticed how the squares looked like falling raindrops. In a way, it was almost as if Ryoji Ikeda was trying to show that science and nature are intertwined; science is present in even the smallest aspects of nature and vice versa.
Also, regarding your comment about how human minds can all relate to order and familiarity and how it was simpler to view the performance by not searching for these aspects, i must disagree. Science is a result of that human desire to seek out order in the universe; therefore, it would have made more sense for the performance to have a noticeable order or rhythm to it. The fact that so many in the audience were completely baffled by the performance shows that the director fails to incorporate the fundamental concepts of science.
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While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
How does a tangent line make you feel? Do arrays of positions in space relative to fixed values supported by a formula derived from the behavior of marbles make you think of data in a new way? Superposition by Ryoji Ikeda incorporates data in a televisual and “live” medium to present a new, thought-provoking way to consider data’s position in today’s world—more specifically in performance and the arts. Overall, I have to confess: I found the performance confusing. It seemed like a mix of a crazy club strobe light loosing control against the backdrop of epilepsy-inducing screens and jarring techno music. It almost seemed like something out of a very futuristic club where people met to discuss the latest technological advancements or the latest controversy in the physics field. However, even if I couldn’t fully understand or appreciate it, the performance itself was stunning in its visual effects and display of different data themes. The one that caught my eye the most was perhaps the Morse code section. Each performer typed out his or her messages to a distinct underlying beat. Each message although similar in rhythm and words, had parallel meanings. One side spoke about data as an entity, describing its flaws and pitfalls as well as its triumphs and potencies. The other side viewed data as a tangible concept used by the world as a tool, device, or medium in which to explain things. The dual messages coupled with artistic representation via multiple screens, heavy pounding music, and visual effects served to broaden my horizons. Although I could never fully appreciate the performance for its artistic vision, I came to understand the different ways data could be presented and how it relates to the bigger picture.. Data can make people feel emotions just as much as paintings, songs, words, or other art tools. The trick is to present it in an eye opening way like Ikeda did during Superposition. The title says it all: Superposition- a challenging way to think about the behavior of matter and its nature at a small level. How did it change your perception?
MIND BLOWN, but in a horrible way. Superposition literally made me feel as though I had been the victim of an extreme explosion. Honestly, I am unsure as to whether or not this performance could have been equated to anything other than such. From the very beginning, I watched as audience members, including class instructors, exited the theater, and I was quite tempted to follow them. I remained in my seat, however, in hopes that there would be an eventual calm after the storm, a moment where everything suddenly made sense. Unfortunately, the storm just kept going, and I became increasingly more uncomfortable. Having been fortunate enough to talk with the two on-stage actors, I was excited to get to the end, as it is supposedly their favorite part. When I reached the end, however, I was met with only more extreme noise and enough flashing lights and pictures to make me feel nauseous.
I should have been warned when ushers were offering earplugs to audience members as they took their seats. I, mistakenly, kindly rejected, as I was under the assumption that I had come to listen to a new form of music. To some, I suppose this could have been considered music, as it was a “unique” combination of (obnoxiously loud) noises; however, the only reliable sense of rhythm, time, or beat that I could find was the metronome which seemed to tick for the entirety of the show.
Superposition was certainly “super”, in that it was TOO much. Too many screens, too many sounds, too loud, too bright, TOO much. I could not focus, I could not think, and thus I could not in any way enjoy what I experienced. Maybe this form of music, art, or whatever it was exactly, just was not quite suited for me, but I know that another Ryoji Ikeda piece is not in my future, and if I gained any knowledge from Superposition, that is it.
Rioji Ikeda’s experimental designs strike a horrifying chord of veracity!
Throughout the performance I was constantly daring to deepen wave equations, ciphers, and molecular models, wondering what could Superposition’s design entail?
Personally, the concept of superposition presents one with the impression that there are many possible perceptions of the same object; such that exists inherently many versions of the same truth and thus no dearth of methods of reaching the central idea they encompass.
The constant usage of ciphers, visually speaking, presents one with the notion that there exists a truth – buried, veiled. Rioji reinforces this idea with syncopated music and extensive use of progressively cryptic wave equations and variable analyses. Additionally, I believe that it is through the examination of the enzymes, quarks, and galaxy arrangement that begins to demonstrate that Rioji is presenting the concept of ultimate and universal truth. This alone is heavily disputable and subject to a diverse spectrum of critique. However, I extended my theory upon the fact that this is Rioji’s first performance with live performers. Ultimately, leading one to believe that this is an ‘organic’ truth, causing one to arrive at the concept – Rioji Ikeda is questioning, or presenting depending upon the spectator, the nature of human existence.
Through this idea we are able to connect the rapid images that scan the earth, examination of electromagnetic radiation (which heavily focused on visible light, the only one perceivable to humans), and even connect it to the ideas of the human concept of nature, from the earliest portions of the work.
Although, presenting this deeply philosophical concept can be horrifying enough to many – the most intense moment of the work, the coda, extends the terror I felt though this question. Through deeply chromatic chords, chaotic presentations of light, rising, heavily dissonant, harmonies presented in extreme dynamics the audience is presented with a notion that the answer to the question posed is exceedingly disturbing – which left me in perplexing stasis with rattled convictions.
A visceral and out of this world performance that you should experience once (and no more than once) in your life.
Did Superposition challenge my perceptions of art and the relationship between technology and the performer while at the same time providing philosophical underpinnings through the medium of collected data and physical sensations? Yes.
Did the performance make me feel physically unwell through a myriad of overwhelming physical sensations that ranged from the bombardment of high-pitched noises to flashing lights darting across the screen faster than the eye can follow? Also yes.
This was one of those strange nights where members of the audience both stood up and left twenty minutes into the show and gave a near standing ovation to a bowing Ikeda at the performance’s end. Never have I been apart of an experience so polarized. It was clear that while the audience left with a mixed sense of confusion and curiosity, the allure of Ikeda’s artistic rendering (performance?) was not only intriguing but respectable.
Sure, I could have used an explanation or maybe even a hint at the meaning of the piece, like how does the art and the science and the stage come together to create something more meaningful? Or why does Ikeda employ live performers when so much of the show is mechanized? Or perhaps even what the title Superposition has to do with the physics term “superposition”? To me, so much of the piece was confusing and perplexing and otherwise strange I had a difficult time un-jumbling my thoughts and putting an answer to those questions.
The performance, if anything, was strangely therapeutic to me. It was a trance-like experience of epic proportions, something of a hypnotists fever dream. At some point I became oddly distanced from the whole ordeal, zoned out if you will, becoming unthinking about a performance that asks you to think about thinking, and while I’m unsure about what that entails, it was certainly an experience to remember.
Did I enjoy my evening with Superposition? Not exactly, but the performance does compel and force you to talk about it, to question it, to think through it and perceive the world in a way never before done, and that’s a rare kind of magic, in both art and science.
I too found myself trying to find the deeper meaning of the performance, and really like you’re idea that maybe there wasn’t meant to be one. The fact that a lot of us were trying to find the deeper meaning shows that we do “have an irrational craving to create patterns and themes for artistic expressions”. Ryoji Ikeda targeting this idea totally makes sense.
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Confusion, intimidation, and pain swirled though my mind as I exited the Power Center. I respect Ikeda’s ingenuity, as he layers music, visual stimulation, and live actors to both confuse and draw out thought from his audiences, but why does he have to do so while blasting eardrums and damaging eye retinas? In fact, the parts with these dramatic effects were the most confusing and the least thought provoking (i.e. the beginning and the end). I found the parts such as the typing with scenic backgrounds (“What is love..?” “What is matter. Never Mind”) and the newspaper scene the most interesting because my mind was not constantly being hammered with screeches and strobe lights. This allowed me to ponder the meaning behind these scenes as they were performed. The details of both the sound and visual effects were more apparent because I was not constantly plugging my ears and squinting my eyes in fear.
Throughout the performance, I was constantly asking myself what the overarching theme was. What was Ikeda’s message for Superposition? Was it about the layering of different sensual variables, or is he comparing the human versus the computer. But then I thought, what if there is no real overarching meaning? What if Ikeda wants to prove to his audience that human’s have an irrational craving to create patterns and themes for artistic expression? What if there is no real meaning, just random scenes and words put on a screen, yet we humans cannot but help to brand this performance with some type of class or genre? Just wondering if anyone felt the same way.
Want to escape reality? Superposition will leave you at the edge of your seats and make you forget what world you are in. Superposition was a very compelling, engaging, and unique performance, presenting an audiovisual experience that left me confused and searching for a deeper meaning.
The flashing lights and music create suspense by always leaving the viewer unsure of what will happen next. In the opening scene and many scenes after, a picture would flash on the screen for a quick second, followed by a black screen or white flash, so I was always anticipating what the next image would be. This gave the performance an unpredictability to it that makes it suspenseful. The music, or beeps, provides more structure, helping the audience follow the performance to some extent. In the opening scene, I noticed a pattern of a sequence of beeps followed by a single beep, and the single beep accompanied by a white flash or a black screen.
Adding to the suspense and uncertainty is the wide-ranging aspect of Superposition. Not only are images and designs flashed on the screen, but also crossword puzzles and Morse code. The words typed by the performers reference multiple ideas such as intelligence, religion, and nature. The presence of these scenes represents the audience trying to understand and make sense of everything, but the fact that the two performers are typing different things at any given time shows that perhaps we can’t. I tried to follow their ideas, which added to the suspense because I was engaged.
Numerous ‘scenes’ include galaxy-like images that made me feel like I was a part of something greater. Images were changing rapidly or were shown with different perspectives. Switching between scenes with the two performers and scenes that displayed flashing visuals made me feel like perhaps there is a message hidden in the performance. I left with the idea that I can’t escape uncertainty or the technology that have become our world.
Superposition is defined as “the act of superposing or state of being superposed.” Superpose means to place above or upon something else, or one upon another. This definition brings forth images of layers to my mind, most likely because this idea of superposition is apparent in my Earth 103 class- discussing fossils in layers of rock. In geology, this idea of superposing means that the older layers are on the bottom, while the newer layers are on top. I found this idea to also be apparent in Ryoji Ikeda’s Superposition. The performers on stage were communicating with the telegraph key – a device that transmits electric signals over wires. The first non-electrical telegraph key was invented in 1794 and was improved upon until Samuel Morse successfully utilized the electromagnetic telegraph key somewhere around 1838. So, this is not cutting age technology that Ikeda was implementing. His light show and graphics, however, were quite the opposite – Ikeda’s graphics were almost futuristic in light and shape and color. I’m not sure why Ikeda decided to use the telegraph key as opposed to other forms of communication, but the contrast between his futuristic graphics and the outdated tool for communicating definitely had me thinking for hours after the performance, and I’ve still yet to come to a conclusion. I know the performance was meant to make me think about the way we understand the reality of nature on an atomic scale based on the concept of superposition in quantum physics, but I couldn’t stop thinking about the evident contrast between the old and the new. I’m still not confident that I’ve come to a conclusion about the question Ikeda was posing or if I’m even supposed to come to a conclusion at all.
I was very surprised by how much I enjoyed the show. Perhaps I had been sufficiently tired of the monotony that many college students find themselves experiencing, because Superposition’s seemingly disorderly compilation of abstruse images and electronic sounds was a shocking and refreshing change of pace for me. Though it did elicit a familiar feeling of total confusion that I occasionally experience during my studies, I did not feel the need to understand everything that was going on in the performance. I was particularly intrigued during the set in which the performers rung tuning forks and some kind of microphone picked up the sounds, which were then translated into visual waves projected on the back screen. Back and forth, the musicians shot visually directional sounds of varying frequencies toward each other. I was struck by the beauty of the interaction of the waves. The rapid periodically oscillating lines transformed into active, changing, entities, once exposed to a wave of a different frequency. The performance inspired me to gain some superficial knowledge of quantum mechanics, but upon initial internet exposure to the subject of quantum superposition my mind was uncomfortably sore and overwhelmed, leaving me flustered and frightened. I will attempt again one day, once my intellect has matured and my nerves have been restored. I thoroughly enjoyed the show, and would definitely recommend this eye-opening experience. Though I am aware of its infeasibility, I was displeased by the noticeable lack of cats featured in the performance. Other than this, I have no complaints about the show.
I went into Ryoji Ikeda’s Superposition knowing it was going to be unlike any performance I had ever seen before, and it was definitely a completely new experience. One I did not really happen to enjoy or understand in its entirety though. As a member of the audience for the majority of the performance I felt like I was a part of some cruel and unusual punishment that was the overwhelming sound and light displays. That being said however, it was an interesting performance that will be forever memorable, I am just not sure I knew how to appreciate it. I particularly enjoyed the segments that were somewhat quieter and less offensive to my ears and eyes like the marble segment. Throughout the entire performance, to be honest, I was extremely confused and was asking myself questions like “ What does this mean?” and “Why must the telegram sound be so headache inducing?” I also felt as though the entire performance was in this language I did not understand and with every passing minute I still could not comprehend what Ikeda was trying to portray. But maybe that was the point? I am somewhat curious about the other performances of Ikeda, I wonder if they are as intense as Superposition or if their message is clearer. However, because of my mostly negative experience at Superposition, my desire to investigate more into Ikeda is not that strong. The performance of Superposition was successful in making me feel something, even if those feelings were utter confusion and somewhat angry.
I was one of those people that plugged their ears during parts of the performance. I found the harsh sounds unnecessary and detracted from the overall impact of the piece. I would have preferred to stick with what is comfortable to me, like you mentioned earlier about your college life.
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Ryoji Ikeda’s “Superposition” pushed the boundaries of performance in a way that I have never seen done before. It was far more than just a visual experience, for it was almost tangible. As a college student, I tend to stick with what is comfortable for me, which is seeing mainstream pop or rock artists perform live or watching theater productions put on by my school. While those shows are entertaining in their own right, few have been as thought provoking for me as “Superposition”. It was a show different than all others, and it actually made me very excited to see what is to come in the future of performance. The way that Ryoji Ikeda mixed the elements of sound and sight created a futuristic atmosphere. He is definitely ahead of his time.
While Ryoji Ikeda’s play on sight and sound pushed boundaries and was surely inventive, what was the cost? There was no spectrum of sound or sight in this piece. It was either utterly silent or sounds pierced and vibrated through one’s ears. The same can be said for the images flashing before the audience. It was either pitch black or harsh/bright color combinations were presented before us. Personally, I found it riveting and breathtaking, but I noticed that others did not feel the same way. People around me seemed to be very uncomfortable for the most part. I noticed that many people had brief moments of discomfort where they had to look away or plug their ears, but some even felt like it was necessary to leave. The way that the performance heightened the audience’s senses may have been overwhelming to many, but I actually think that the layer of discomfort added to the effect of the piece. I thoroughly enjoyed it.
Confusion, intimidation, and pain swirled though my mind as I exited the Power Center. I respect Ikeda’s ingenuity, as he layers music, visual stimulation, and live actors to both confuse and draw out thought from his audiences, but why does he have to do so while blasting eardrums and damaging eye retinas? In fact, the parts with these dramatic effects were the most confusing and the least thought provoking (i.e. the beginning and the end). I found the parts such as the typing with scenic backgrounds (“What is love..?” “What is matter. Never Mind”) and the newspaper scene the most interesting because my mind was not constantly being hammered with screeches and strobe lights. This allowed me to ponder the meaning behind these scenes as they were performed. The details of both the sound and visual effects were more apparent because I was not constantly plugging my ears and squinting my eyes in fear.
Throughout the performance, I was constantly asking myself what the overarching theme was. What was Ikeda’s message for Superposition? Was it about the layering of different sensual variables, or is he comparing the human versus the computer. But then I thought, what if there is no real overarching meaning? What if Ikeda wants to prove to his audience that human’s have an irrational craving to create patterns and themes for artistic expression? What if there is no real meaning, just random scenes and words put on a screen, yet we humans cannot but help to brand this performance with some type of class or genre? Just wondering if anyone felt the same way.
My opinion on philosophy is ambivalent – although I thoroughly enjoy provocative questions, I am unsatisfied with the indefinite conclusion. Ryoji Ikeda’s Superposition explores the idea of nature and physics in a universal scope through the unique combination of technology and live performance, but this concept left me bewildered and disappointed with its anticlimactic, inconclusive answer that matches its philosophical roots.
My class had the pleasure of having the two performers Stephane Garin and Amelie Grould to discuss their experiences, and I learned that they were musicians, so going into the show I was anticipating a message to be conveyed through sound. However, immediately after the performance started, I knew I would not enjoy it – the loud buzzing in the background combined with the beeping and bright lights was a painful experience, and any nuance the music was supposed to carry was lost to me.
I thought the show did an excellent job utilizing the two larger screens to juxtapose ideas; the arguments between science and religion were well done. I also I enjoyed its spontaneity.
Although math was integrated into the show, it was anything but formulaic. The screens were erratic, which made it difficult to predict the next direction this show would take. This kept my attention as I tried desperately to process what was being displayed on the multiple screens. However, this was also something that I found distracting and frustrating. The screens flashed by at a rapid pace, so I had trouble perceiving the stimulus of the show, much less interpreting it.
Although I appreciate this venture into contemplative questioning in art form, it was not something I enjoyed. I found the performance disorienting and it wasn’t as mentally stimulating as I had hoped it would be.
I agree with your analysis in that it was hard to see how all of the pieces fit together and as someone who likes to search for coherent themes and meanings this was very hard for me. That being said, I do think your enjoyment of Superposition hinges upon your perspective. As you mentioned, it is so easy to get lost in each segment and confuse yourself trying to put them together but really it seems like each part should be viewed as a separate installation that serves as examples of a broader concept. With this mindset I think we both could benefit from seeing the show a second time. All in all I think you did a nice job of summing up what we witnessed to someone who’s brain and ears are still a bit discombobulated after the performance so props to you.
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Blinded by strobe lights and kept on edge by music that seemed to emulate a horror movie soundtrack, I found myself uneasily attempting to extract meaning from a performance presented in a language I could not comprehend. Initially, I felt over stimulated by the amount of images that were on the screen at a given time. However, when I stopped trying to focus on the images individually and just let the stream of lights overcome me as a whole, I found the performance to be much more meaningful. Early on in the show the sentence, “everything is written in the immense book of nature which is constantly in before our very eyes” was written on the screen. It continued to explain that unless we have access to the language of nature we cannot understand this book. The entire show paralleled this idea. It constantly seemed to be relaying a deeper message yet, unless the audience had an understanding of computer coding and was able to look at every image at once, it was incomprehensible. The beauty of the show came from the fact that it was always slightly undecipherable. Even when sentences appeared on the screen, there was no spacing between the words, which made it hard to read. There was always the opportunity to understand bits and pieces, but the audience could never grasp the full picture. The whole show seemed to center around giving us several different opportunities to read the definition of “superposition”, yet it never allowed the words to appear fully on the screen. The actors seemed to constantly be highlighting all the missing letters, but never directing the audience to where the letters fit. It’s this incomprehensibility that constantly surrounds us in the natural world and was portrayed in this digital piece. Despite the fact that we make constant improvements in science and technology, the world of nature always remains somewhat out of reach.
Confusion, intimidation, and pain swirled though my mind as I exited the Power Center. I respect Ikeda’s ingenuity, as he layers music, visual stimulation, and live actors to both confuse and draw out thought from his audiences, but why does he have to do so while blasting eardrums and damaging eye retinas? In fact, the parts with these dramatic effects were the most confusing and the least thought provoking (i.e. the beginning and the end). I found the parts such as the typing with scenic backgrounds (“What is love..?” “What is matter. Never Mind”) and the newspaper scene the most interesting because my mind was not constantly being hammered with screeches and strobe lights. This allowed me to ponder the meaning behind these scenes as they were performed. The details of both the sound and visual effects were more apparent because I was not constantly plugging my ears and squinting my eyes in fear.
Throughout the performance, I was constantly asking myself what the overarching theme was. What was Ikeda’s message for Superposition? Was it about the layering of different sensual variables, or is he comparing the human versus the computer. But then I thought, what if there is no real overarching meaning? What if Ikeda wants to prove to his audience that human’s have an irrational craving to create patterns and themes for artistic expression? What if there is no real meaning, just random scenes and words put on a screen, yet we humans cannot but help to brand this performance with some type of class or genre? Just wondering if anyone felt the same way.
Ryoji Ikeda’s superposition was quite the eye-opener.
Never before had I thought that art and physics could be combined in such harmony and with such beauty. In only a 65-minute show, Ikeda was able to reflect the immense amount of knowledge acquired by contemporary data processing mechanisms. The very first scene, in which the graphs moved down the screens in columns with increasing speed and every few seconds one screen would seem to explode, represented the limits to the amount of data that can be collected and plotted by computers.
At the same time that this was flashing before our eyes, a low bass was humming in the background. Throughout the performance a lot of the sound ended up turning into white noise, which to me represented the data that exists in the world that either has yet to be recorded or is unable to be recorded. The limits to data processing come from the endless amount of data that are created every nanosecond that the world keeps turning.
The combination of complex noises and strobe-like flashing images created an unsettling tone throughout the show, but I believe that maybe this was a valuable sensation to create so the audience could understand the dangers of having too much data. With the introduction of each new piece of technology—for example the computer, then Google, and then the smart phone—people begin to crave more and more information. They want to know everything, and they almost can with the touch of a few buttons of a hand-held device. However, people do not realize the danger that too much knowledge generates. As technology and the craving for data increasingly takes over our lives, we lose a sense of privacy. Data processing mechanisms have the power to gather data from our search histories and can link our names to the seemingly endless amounts of archives that exist in cyberspace, thus piecing together our unique stories in a way that we might have wanted to keep private.
Thank you UMS for bringing such a unique performance to the city of Ann Arbor and allowing me to experience an innovation.
I completely understand the frustration you’re talking about. You sit through the performance and then by the end you’re wondering “why?” What did you learn, what did the artist tell you, what connection do you have? It’s natural that we, as humans, will just always instinctively crave and search for meaning. That’s why Ikeda’s work will absolutely always frustrate people. We’re not able to “understand” it and hence often get frustrated and abandon it as not worth it. Yet you’re right in saying it has to be appreciated. And if appreciated is a stretch, it has to be respected. He makes something complete out of nothing tangible or familiar. What he does is truly amazing, whether you enjoy it or not.
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How can you represent what there are no words or images for? It’s easy to become frustrated when looking for the artistic “profoundness” of Ikeda’s work. I, personally, saw the unpredictable, blinding pattern of strobes on stage and tried to make sense, to find a pattern. I heard all the white noise, the atonal tuning forks, and grimaced as I silently pleaded for some resolution, for some tonal concord to satisfy my expectations. The more I searched, the more Ikeda’s work failed to satisfy; the more I tried to lump the piece into my conceptions of what makes “sense,” the more I found that it simply does not. My trouble, like the trouble many others were having, is that I could not come to terms with, to accurately describe, Ikeda’s greater “meaning.”
As I look back on it now, however, I can see how this supposed issue with Ikeda’s work is, in fact, its genius. Ask yourself, if you will, how you can represent something without words, without symbols. This is, in actuality, a pressing question for both technology and art. We can represent “0” and “1” and “tonal” and “sensible,” but how can we represent something such as Ikeda’s work, which does not fit into our defined categories?
Think of performance in terms of quantum numbers or Schrodinger’s cat; a number can be both “0” and “1” just like the cat is both alive and dead. The moment we try to look in Schrodinger’s box, the moment we try to identify and term the cat as alive of dead, we force it to be either one or the other. In using quantum numbers, we can store “infinitely” more knowledge than with simple binary-code, but the second we try to examine that stored knowledge, to categorize it, we force it to limit itself to either a “0” or a “1.” We simply cannot comprehend something being “un-representable,” we try so hard to represent and comprehend that we will confine something until it can be so. This is the paradoxical idea of Ikeda’s proposal. Our senses are infinite as proved by Superposition; we can sense each nuance of light and sound of Ikeda’s creation, but our perception is fallible. The moment we try to come to terms with what we sense, we limit it, force it to put itself in terms we can comprehend. “If the doors of perception were cleansed, everything would appear to man as it is, infinite.”
This speaks not only to Ikeda’s work, but I believe it speaks to art as a whole. We recognize that our perceptions are unique; but inherent to this idea, they must also be limited. By spending our time in the theater trying to perceive and comprehend each detail of a performance, such as Ikeda’s work, we shut off all other possibilities. We force it to become zeroes and ones. I think Ikeda’s work is more profound after the fact; I spent too long in the theater trying to understand it, and it made me frustrated. Looking back, I see the poetry in just letting the cat be both alive and dead, letting the white noise be nothing but white noise.
I really wish that I was the type of person who could watch something like Superposition and walk away feeling inspired, intellectually stimulated, or accomplished. I wish I could feel as if I truly understood or gained something from it. Instead, I just found myself very confused. I felt as if the entirety of the performance went completely over my head and I was an outsider who wasn’t in on the joke. That being said, I didn’t necessarily dislike it. It was impressive. Some of the images were stunning and linked beauty and math/physics in a very interesting way. Certain segments were truly stimulating to watch, such as when the rainbow spectrum streaked across the middle set of screens and whichever color ended up being over the red indicator line was flashed on the rest of the screens. During that section, I was interested, intrigued and found myself wondering whether this was identical every performance or whether someone was controlling when the spectrum froze in the moment. How “live” was it? The other part that I especially enjoyed was when both of the performers were typing separate, corresponding yet contrasting phrases. “What is matter? Never mind.” “What is mind? Never matter.” However, while this point in the show was captivating, it did not last for very long at all. Conversely, other segments of the show such as countless graphs scrolling through the screens lasted for what I personally perceived as far too long. Superposition was a truly impressive performance in both its execution and the ideas behind its creation. I respect it completely, but I cannot say that it was something that I particularly enjoyed or would recommend to others. I crave being able to see a point or understand a message in a performance; that is how I am able to connect and engage. Superposition did not allow me that connection.
How can you represent what there are no words or images for? It’s easy to become frustrated when looking for the artistic “profoundness” of Ikeda’s work. I, personally, saw the unpredictable, blinding pattern of strobes on stage and tried to make sense, to find a pattern. I heard all the white noise, the atonal tuning forks, and grimaced as I silently pleaded for some resolution, for some tonal concord to satisfy my expectations. The more I searched, the more Ikeda’s work failed to satisfy; the more I tried to lump the piece into my conceptions of what makes “sense,” the more I found that it simply does not. My trouble, like the trouble many others were having, is that I could not come to terms with, to accurately describe, Ikeda’s greater “meaning.”
As I look back on it now, however, I can see how this supposed issue with Ikeda’s work is, in fact, its genius. Ask yourself, if you will, how you can represent something without words, without symbols. This is, in actuality, a pressing question for both technology and art. We can represent “0” and “1” and “tonal” and “sensible,” but how can we represent something such as Ikeda’s work, which does not fit into our defined categories?
Think of performance in terms of quantum numbers or Schrodinger’s cat; a number can be both “0” and “1” just like the cat is both alive and dead. The moment we try to look in Schrodinger’s box, the moment we try to identify and term the cat as alive of dead, we force it to be either one or the other. In using quantum numbers, we can store “infinitely” more knowledge than with simple binary-code, but the second we try to examine that stored knowledge, to categorize it, we force it to limit itself to either a “0” or a “1.” We simply cannot comprehend something being “un-representable,” we try so hard to represent and comprehend that we will confine something until it can be so. This is the paradoxical idea of Ikeda’s proposal. Our senses are infinite as proved by Superposition; we can sense each nuance of light and sound of Ikeda’s creation, but our perception is fallible. The moment we try to come to terms with what we sense, we limit it, force it to put itself in terms we can comprehend. “If the doors of perception were cleansed, everything would appear to man as it is, infinite.”
This speaks not only to Ikeda’s work, but I believe it speaks to art as a whole. We recognize that our perceptions are unique; but inherent to this idea, they must also be limited. By spending our time in the theater trying to perceive and comprehend each detail of a performance, such as Ikeda’s work, we shut off all other possibilities. We force it to become zeroes and ones. I think Ikeda’s work is more profound after the fact; I spent too long in the theater trying to understand it, and it made me frustrated. Looking back, I see the poetry in just letting the cat be both alive and dead, letting the white noise be nothing but white noise.
Nothing you read or hear can prepare you for the piece that is Superposition. The futuristic cross between an electronic concert and a hypnosis experiment left me both mesmerized and confused. The images of shifting graphic planes and the visual relationship between two sound waves kept my eyes glued to the screen while simultaneously serving as a break preparing me for when they would have to be laser focused in order to catch the words that passed quickly on the screen.
The biggest thing that Superposition did was facilitate conversation after the show. As soon as my friends and I left the theatre we wanted to increase our knowledge of what “Superposition” actually meant. For those interested it is a complex quantum physics concept that has been explained by Schrödinger’s Cat. Imagine there is a cat in a box that we can’t see and if even one atom of a certain chemical is detected the cat will be killed. But because we cannot see any of this we can’t know if the chemical was detected and the cat was killed making the cat simultaneously dead and alive. This unknown state of life and death serves as the basis for quantum superposition, which applies to all atoms and is mathematically backed.
Now the obvious question is how does this have anything to do with what we witnessed in the show and to be honest I am still not entirely sure. Perhaps the fusion of human input and technology represents this fusion of life and death because we don’t know which one is in control of the other. Then again I could be completely wrong and the beauty of the performance is in its convolution and is purposely made to make us wonder because that is what superposition is currently doing to physicists.
I am invigorated to find someone who shares the same insights that I have from Superposition. I totally think the part involved rolling marbles a “marblelous” portrayal of order versus chaos. The marbles at some point appeared scattered around the platform in disorder, yet when the actors start retrieving the marbles and roll them again, it cannot be more explicit that humans exert some control over the marbles’ relative locations. Indeed, the chance to predict each marble will end up is infinitesimal; however, we do know that the marbles will be somewhere within this closed system defined by a coordinate system. Certainly, this episode illustrated “an attempt to derive highly logical, calculable, mathematical meaning from a disorderly incident.”
A follow up example of humans exerting control over randomness occurred when the performers superimposed a grid on a piece of writing. Just like that, Ikeda simply engendered a cluster of alphabets listed in disarray. So, how did the performers restore order? Just simply crossed out the blanks or filled the blanks in black to create a new crossword puzzle. Once again, Ikeda laid out a completely arbitrary problem only to be solved by his human programmers.
In response to the last part of your comment, I hold a different view. Rather than criticizing the “attempt to mediate the world to make it more intelligible,” I think Ikeda actually advocates the practice of incessant exploration of the world. Here is a fraction of message excerpted from the words that were typed along the dark line amid the large screen: “All unstable processes we should control. All unstable problem we should solve. All unstable program we should determine.” As succinctly and clearly conveyed by the words, Ikeda is adherent to the activism in controlling, solving, and determining uncertainty. However, I agree that I sensed a somewhat contentious, if not rhetorical, tone when the words mention religion. In deliberate repetition and rhyme, the phrases emerged in sequence: “Religion is a boundary conviction. Religion is a divisionary confliction. Religion is a sanctuary compulsion. Religion is a country comparison. Religion is a supercountry constitution.” Somehow, I felt diverted from the mainline, which should be about the interaction between Science and Art, Randomness and Control rather than introducing another gigantic theme Religion. I wish to take no further part in discussing religion since I believe it is a distraction to this work. Nevertheless, I am convinced that Ikeda exemplifies, and thus supports, the merit of gazing the world through the lens of science and technology.
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I was exhilarated by Ryoji Ikeda’s superposition. Having walked into the Power Center not knowing exactly what to expect, I left the performance awestruck and enamored by the dazzling display of images, lights, sounds, and the actors’ interaction with technology. This reaction was one that did not seem to be shared by the majority of my classmates. One aspect of this piece which I found fascinating was its exploration of the relationship between order and chaos. This was evident from the very beginning when points were being plotted on a graph. At first, this occurred slowly: each point plotted was easily distinguished by sight as well as by sound (with its accompanying “beep”). The rate at which points were being plotted as well as the number of graphs eventually began to increase. The sound crescendoed, the visuals became overwhelming, and apparent chaos ensued; however, the audience knew that this apparent randomness came from the highly ordered plotting of Cartesian coordinates. Later in the piece, the opposite of this chaos-from-order occurred: the apparent randomness of rolling marbles was superimposed with calculated graphs of their distance from a central point and relative angles. This could be interpreted as an attempt to derive highly logical, calculable, mathematical meaning from a disorderly incident. Ultimately, I saw superposition as a criticism of humanity’s constant attempt to mediate the world to make it more intelligible. Religion, science, and mathematics are all artificial frames created to resolve fear of unknowability. The visual and auditory assaults throughout superposition force the audience to have a pure experience – sheer intensity, no mediation.
I would agree with you about the headache. Every time the music increased in intensity, I could feel it pounding with my heart and my head. I also agree with the way you described the performance as episodes.
I did not think there was necessarily chaos in the performance though. To me, data has some structure no matter what so the “chaos” that follows when the intensity of the music and the flashing of images on the screens increases does not make the data seem chaotic or disorderly. The data still shows some pattern or sense of structure and meaning but is sped up to a level beyond understanding.
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Superposition left me with a pounding headache and a lot of mixed emotions. There was a part of me that really hated what I saw. The performance was visually and aurally overwhelming, giving it a sense of surprise and incomprehensibility. Most of the time, it left me feeling confused, adulterated, and worried about my mental state.
On the other hand, the visuals were quite stunning and in the seeming discord, there was an intricate balance and clockwork-like mechanism to “Superposition.” Each time, almost every episode started small and then expanded to something greater and larger, then abruptly ended. And in each of these episodes, there were numerous orderly patterns being played out, all interwoven with one another. For example, the one part of the performance with tuning forks seemed to show how pitches are additive, coming together to make a larger, succinct harmonic. For there to be order, smaller parts are built upon one another.
However, the chaos and pandemonium of “Superposition” that made me so uncomfortable was born through the overwhelming compilation of so many different orderly and finite patterns interweaving and connecting to one another so rapidly. For order in any kind of system, smaller parts add to and build upon one another. However, once too many things come together and connect too rapidly, the neatness of the system is lost. From too much organization comes a perceived disorder.
Looking at it in that light, I was able to understand how genius Superposition is. Though I didn’t particularly like his work, Ryuji Ikeda was able to create this remarkable paradox. Yes, I left with a pounding headache and momentary deafness, but a greater perspective into how the human mind works and a distinction between order and chaos.
What makes a truly great performance? Audiences consider Ryoji Ikeda’s “Superposition” a great performance, indicative by the rave reviews and its presence at many prestigious venues including the Metropolitan Museum of Art and the University of Michigan. However, I spent the entirety of the show’s sixty-five minutes in utter confusion wondering how this multimedia presentation was considered profound art.
I had difficulty grasping a deep meaning behind the actions on the stage. In particular one of the actors mentioned in an in-class interview that the ending to “Superposition” was deeply moving, something not to be missed. The sensory overload of flashing screens and high-pitched sounds did not have this profound effect on me, but rather made me feel utterly lost. I left the theater feeling defeated, because I could not connect to this performance. Was the performance so deeply rooted in its abstract concepts that I could not comprehend it with my limited knowledge of art? I began to question whether others experience this same sense of defeat. The people leaving the theater expressing their love for the show might be hiding the sense of confusion I felt to appear more knowledgeable in art.
Despite my hesitations about the performance, I am glad I could experience something completely out of my comfort zone. “Superposition” truly embodies the idea of a renegade production. I felt fearful, calm, confused, and stressed all within the short performance. Ikeda’s multimedia show has changed my definition of a stage production, and opened a whole new world of fine arts performances for me to discover.
I agree with the seating issue. I sat on the very left-side balcony of the Power Center and it crushed the full experience of the performance as I had to lean over to the right on top of the person sitting next to me just so that I could read what was being blocked by a huge speaker. I think not being able to see the whole entity of the performance hindered our ability to comprehend and process what was happening.
I caught myself tired by the end of the performance because during it I tried so hard to analyze what the visuals and the audio were supposed to portray. There was so much going on during the entire performance that it just wore me out.
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In my opinion, there is no other way to sum up Ryoji Ikeda’s “Superposition” in one word than simply kaleidoscopic. The barrage onscreen of images when combined with the background sound score led to an enjoyable performance that appeals to both the visual and auditory senses. For the most part, I thought the performance was spectacular, reflecting the beauty in data, although there were three aspects of the performance I did not enjoy as much.
The aspect that lessened my enjoyment of the performance the most was my seat. My seating in the right-side balcony of Power Center involved a view of the stage that was partially blocked by a suspended stage light from the ceiling. This partially blocked my view of the left side of the giant screen, preventing me from seeing a little bit of the data and images that would pop up on the right side of the screen. For instance, there were times when words would appear onscreen and I was unable to keep up long enough to read what the words were saying collectively.
Another aspect was that the few times that words did show up on screen forming actual sentences, I did not have enough time to let the message behind the words sink in. I think I would have to see “Superposition” again in order to understand this more. Additionally, at one point when into more than three fourths of the performance, I found myself feeling sleepy with the quietness of the music. It was not until the thundering of the finale that I was jerked wide awake by the flashing of all the screens. If the rhythmic change or flow of the performance did not vary so much with highs and lows, I think I would not have felt sleepy later in the performance. Ikeda could potentially share his message on the beauty of data in his work without having it be so long of a performance-the repetition that occurred in each section of the performance could have been shorter and still gotten Ikeda’s message across. Overall, I think “Superposition” is a performance that one should see at least once because the sensory overload and shifts in energy truly makes data seem more alive and artistic.
Entering the performance I believed I had a general idea of what I was about to experience, but what you watch on a computer screen compared to what you watch live is always usually completely different. The visual and audio stimulation kept you on edge and forced you to focus on everything that was happening on stage. The loud sharp noises made you feel uneasy and the jolts of flashing lights made your eyes feel unbelievably uncomfortable. At some point the sounds became too harsh and obnoxious in a way that it became distasteful and difficult to enjoy.
This stimulation was chaotic, and for most of the time it was somewhat hard to comprehend what was happening. It made me question if there was supposed to be a meaning or theme for this performance. I didn’t know how to comprehend the it because to me it lacked a sense in direction. The entire experience was orderly components that were forced together in an attempt to create a coherent performance, which instead resulted in a hectic assortment that never lined up. Some of the phrases that were typed on the screen were ambiguous and made very little sense and the transitioning from topics, such as science to religion, were difficult to follow and understand.
But I was still overall incredibly impressed by the fusion of music, science, and technology. It was a modern style that makes the world of live performance unique. What most might not consider music is different for these two performers on stage with classical music backgrounds. The application of live performers gave the performance a different vibe, because it allowed us as the audience to connect with the performance. Technology and humans are on two different levels and the human manipulation of technology shows that these two levels are constantly impacting each other in some way shape or form. When the performers were not present on stage the lights and sounds became more disorganized, and when the performers were present, the stimulation became more balanced and coherent.
In my opinion, there is no other way to sum up Ryoji Ikeda’s “Superposition” in one word than simply kaleidoscopic. The barrage onscreen of images when combined with the background sound score led to an enjoyable performance that appeals to both the visual and auditory senses. For the most part, I thought the performance was spectacular, reflecting the beauty in data, although there were three aspects of the performance I did not enjoy as much.
The aspect that lessened my enjoyment of the performance the most was my seat. My seating in the right-side balcony of Power Center involved a view of the stage that was partially blocked by a suspended stage light from the ceiling. This partially blocked my view of the left side of the giant screen, preventing me from seeing a little bit of the data and images that would pop up on the right side of the screen. For instance, there were times when words would appear onscreen and I was unable to keep up long enough to read what the words were saying collectively.
Another aspect was that the few times that words did show up on screen forming actual sentences, I did not have enough time to let the message behind the words sink in. I think I would have to see “Superposition” again in order to understand this more. Additionally, at one point when into more than three fourths of the performance, I found myself feeling sleepy with the quietness of the music. It was not until the thundering of the finale that I was jerked wide awake by the flashing of all the screens. If the rhythmic change or flow of the performance did not vary so much with highs and lows, I think I would not have felt sleepy later in the performance. Ikeda could potentially share his message on the beauty of data in his work without having it be so long of a performance-the repetition that occurred in each section of the performance could have been shorter and still gotten Ikeda’s message across. Overall, I think “Superposition” is a performance that one should see at least once because the sensory overload and shifts in energy truly makes data seem more alive and artistic.
When the lights went out at Power Center this Saturday a little after 8pm, my heart began to race. And, if I am being honest, my palms were sweating. Why would I react like this? I’ve been to tons of performances; musicals, concerts, plays, uncomfortable drunken songs from my grandpa, but I have never felt nervous before any of those performances began. In the moment after the auditorium went dark and before Ryoji Ikeda’s screens turned on I knew the answer. I had never been to a performance like Ikeda’s Superposition and I was afraid. It turned out I had good reason to be. Superposition scared me because it forced me to think about the world in a way I had never fathomed before. I believe that is the purpose of art. To me, Superposition was not just a statement about the movement towards quantum mechanics, and I don’t think Ikeda intended it to be. It really made me think about the whole world, about how everything is infinitely happening and changing and it is almost impossible for people to understand, and yet because life is so mysterious that is why it is worth living; so we can chase the mystery, and move forward in our limited understanding. Ikeda’s work does not set out to answer all of life’s questions, because that would just be impossible. His screens and flashing images and non-traditional music place the questions in the audiences’ hands, and allows us to think about them- allows maybe even to change the way we think.
Blinded by strobe lights and kept on edge by music that seemed to emulate a horror movie soundtrack, I found myself uneasily attempting to extract meaning from a performance presented in a language I could not comprehend. Initially, I felt over stimulated by the amount of images that were on the screen at a given time. However, when I stopped trying to focus on the images individually and just let the stream of lights overcome me as a whole, I found the performance to be much more meaningful. Early on in the show the sentence, “everything is written in the immense book of nature which is constantly in before our very eyes” was written on the screen. It continued to explain that unless we have access to the language of nature we cannot understand this book. The entire show paralleled this idea. It constantly seemed to be relaying a deeper message yet, unless the audience had an understanding of computer coding and was able to look at every image at once, it was incomprehensible. The beauty of the show came from the fact that it was always slightly undecipherable. Even when sentences appeared on the screen, there was no spacing between the words, which made it hard to read. There was always the opportunity to understand bits and pieces, but the audience could never grasp the full picture. The whole show seemed to center around giving us several different opportunities to read the definition of “superposition”, yet it never allowed the words to appear fully on the screen. The actors seemed to constantly be highlighting all the missing letters, but never directing the audience to where the letters fit. It’s this incomprehensibility that constantly surrounds us in the natural world and was portrayed in this digital piece. Despite the fact that we make constant improvements in science and technology, the world of nature always remains somewhat out of reach.
I agree, I also felt the performance itself left me with a headache. It was a little too hard to follow and the beeps and flashes disoriented me in an unpleasant way.
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It is important to go into new experiences with an open mind. I attempted to do this while watching “Superposition” at the Power Center on Saturday. After hearing commentary from the actors and reading reviews on the piece I was hesitant but willing to be engrossed in the production. Part of me knew that this production was not my taste, but I was hoping my mind would be changed after watching it in person. It, unfortunately, did not. Although technically advanced and accurate, the piece itself was painful to watch and listen. With seemingly never-ending flashing lights, loud, monotonous beeps, and moving lines of words, I worried for those who are seizure prone in the audience. As the play progressed I waited for that pivotal moment where I would finally be engrossed in the work, but that climax never came. Instead was a flood of cliché phrases about science and religion that tried to be more sagacious than they were in actuality. I do understand the premise of the piece and that it is a complex work of performance art. I respect it as such, but I did not enjoy a minute of it. Had I not had to stay for a class, I would never have finished the performance. I did not leave changed or inspired, like I hope to after a performance. I left with a migraine and a deep sense of confusion. I truly hope to never have to witness anything remotely similar to “Superposition” ever again.
The formatting of e. e. cummings poem didn’t work 🙁 but google “r-p-o-p-h-e-s-s-a-g-r” and you’ll be able to see
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Though I personally could not enjoy Ryoji Ikeda’s performance of superposition because the loud noise and flashing lights gave me headaches, I appreciated Ikeda’s attempt to push the boundaries of what is a “performance.”
My favorite poet, e. e. cummings, came to the forefront of American poetry for his unorthodox and revolutionary use of grammar, punctuation and diction to write his poetry.
For example, this is what his poem r-p-o-p-h-e-s-s-a-g-r looks like:
r-p-o-p-h-e-s-s-a-g-r
who
a)s w(e loo)k
upnowgath
PPEGORHRASS
eringint(o-
aThe):l
eA
!p:
S a
(r
rIvInG .gRrEaPsPhOs)
to
rea(be)rran(com)gi(e)ngly
,grasshopper;
What interests me about cummings is that, though his poetry seems obscure and unnecessarily obtuse, he frequently uses ancient, structured poetry forms like sonnets and villanelles, but just breaks apart the grammar and line structure. Furthermore, the ideas and themes he conveys are similarly time-honored: love, death, family and what it means to be alive.
I believe Ryoji ikeda’s performance is the same. I think that he pushed the boundaries of what his performance using arresting light and sound, confusing motifs like binary and morse code, and employing both live performers and a digital background, but after stripping away these things, I believe he was simply talking about what it means to be alive in this ever-expanding universe with science and technology.
For me, however, the performance itself was unpleasant. I get migraines/headaches easily and the sounds and strobe lights were too much for me at times. I respect Ikeda’s medium of pushing the boundaries of what is performance like the way e. e. cummings does, but it’s easier for me to read poetry than to sit through an anxiety-producing performance.
Though I personally could not enjoy Ryoji Ikeda’s performance of superposition because the loud noise and flashing lights gave me headaches, I appreciated Ikeda’s attempt to push the boundaries of what is a “performance.”
My favorite poet, e. e. cummings, came to the forefront of American poetry for his unorthodox and revolutionary use of grammar, punctuation and diction to write his poetry.
For example, this is what his poem r-p-o-p-h-e-s-s-a-g-r looks like:
r-p-o-p-h-e-s-s-a-g-r
who
a)s w(e loo)k
upnowgath
PPEGORHRASS
eringint(o-
aThe):l
eA
!p:
S a
(r
rIvInG .gRrEaPsPhOs)
to
rea(be)rran(com)gi(e)ngly
,grasshopper;
What interests me about cummings is that, though his poetry seems obscure and unnecessarily obtuse, he frequently uses ancient, structured poetry forms like sonnets and villanelles, but just breaks apart the grammar and line structure. Furthermore, the ideas and themes he conveys are similarly time-honored: love, death, family and what it means to be alive.
I believe Ryoji ikeda’s performance is the same. I think that he pushed the boundaries of what his performance using arresting light and sound, confusing motifs like binary and morse code, and employing both live performers and a digital background, but after stripping away these things, I believe he was simply talking about what it means to be alive in this ever-expanding universe with science and technology.
For me, however, the performance itself was unpleasant. I get migraines/headaches easily and the sounds and strobe lights were too much for me at times. I respect Ikeda’s medium of pushing the boundaries of what is performance like the way e. e. cummings does, but it’s easier for me to read poetry than to sit through an anxiety-producing performance.
I agree that physically the “performance” could have been done without the use of the actors. However, I feel that would have destroyed what little semblance of meaning the piece had. As a bridging between the human and the artificial, the electronic, the actors to me were that anchor to reality.
I do very much agree however that it challenged the true meaning of “performance.” Assuming the actors inputs were actually affecting the visuals on screen, then each iteration of Superposition would be unique. What’s remarkable to me is the marble scene. The composite created at the end with the polar coordinates of each marble taken at the intervals would be a unique picture. More so, it would be so unique that it would never again be reproducible in any other iteration. To me, thats what makes it a performance. Despite all the static elements, at the end it is unique each and every time.
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After having seen Ryoji Ikeda’s “Superposition,” I found myself contemplating whether or not what I had seen was a “performance.” In the week prior to seeing “Superposition,” the term that I had most often heard used to describe “Superposition” was the term “art-installation.” After seeing “Superposition,” it makes sense as to why there was a certain tentativeness to describe it as a “performance.” The two “actors” that were used in the production were not on stage for the entire show, only coming on the stage for certain segments. As such, during long periods of the show, there were only images and sound that had been recorded and created previously. The images and sounds were indeed impressive in the degree to which they were in synchronous, for example the high pitched sounds that seemingly perfectly coincided with white flashing screens in the beginning of the show. However, due the fact they were previously created, these parts of the show were not performed but, rather, were merely presented. Even when the actors were on stage seemingly affecting the sounds and images within the show, it was impossible to tell whether or not they were actually affecting anything. The images and sounds could have just as easily been previously created, even if it looked as though the actors were creating them.
“Superposition” ranged upon being a “performance” when the actors dropped marbles in front of a camera and then the marbles were placed on a Cartesian plane on the screen behind the actors. However, even though I felt that this was actually happening real-time, the doubt from previous segments as to the validity of the actors’ role in the creation of images and sounds mitigated the potential of this moment to be “live performance.” As such, I largely perceived “Superposition” to be more of a presentation of art rather than a performance. Though the art being presented was fascinating, it wasn’t necessarily something that needed to be done in a theater as a “live” event.
I completely relate to how your “mind became bored and tired.” I could not divert my attention due to the loud noises and flashing lights, however, my mind was not completely focused. Since I did not fully understand the mathematics behind the performance, it was hard for me to concentrate on the message that Ikeda was trying to portray. I similarly enjoyed the peaceful break when the human performers were using the tuning forks. It gave my ears and eyes a break from the other intense stimulations. In general, I had a very similar reaction as you throughout the whole performance.
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I came to “Superposition” open-minded and very curious. Never before had I experienced anything even remotely similar to this performance. I actually expected to like it, because it was so different and seemed interesting. I was intrigued in the beginning, with the progression of the music and interaction of the different levels of screens. As time went on however, I became disconnected.
Ironically, my mind became bored and tired. The fact that one needed to clear the mind and remain open had an opposite effect on me. Because I could not understand what was happening and how it was connected I was disengaged and waiting for it to end. The noises were random and sometimes close to painful to hear. The combination of erratic visuals, sounds vibrating my seat, and sitting high above in the balcony, created a slightly sick feeling in my stomach. I found relief in the segment with the two performers creating sine like waves on the screen. The peaceful noise reminded me of something one would listen to when falling asleep.
Probably the thing that upset me the most was how the Morse code part was executed. I was excited to actually have a way to connect to the performance. However, I could barely see what was being spelled out, partly because it was lacking spaces between words and because a speaker blocked most of my view of the left screen. What I did notice was very interesting, such as “Information is not Knowledge.” I just wish I could have been able to decipher more.
Looking back at the experience now, I only recall a blur of bright lights and loud noises. Overall I did not enjoy this performance.
My post regarded how I felt really confused by the performance, simply because I lack a backgorund in physics so as much as I tried to read up on the inspiration for Superposition, I still felt lost. However, this post really clarified things for me, in revealing that things don’t necessarily have to be clear. While science often times is about facts and specific interpretations, this explanation be a unique, almost musical, interpretation of the laws of physics, thus being a complete parallel to the musical interpretation itself. The lack of clarity may be okay, after all, however I still feel unsatisfied with accepting this simply because of my own personal desire to know what I am watching and not feel unintelligent. Nonetheless, the focus on looking at things as a whole of bombardment and confusion is more successful in leading to musical appreciation I think, instead of trying to nitpick every detail.
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In physics, the basic principle of superposition claims that we do not know the state of any object; it is actually in all possible states simultaneously as long as we don’t look to check. I felt that Ryoji Ikeda’s superposition demonstrated this in a way throughout the performance. There were numerous times when I felt like I had no idea what was going on, but maybe that was the point. The audience is bombarded with loud noises and chaotic bright images, and I found myself at times attempting to discern the individual pictures or words when they were presented on the screens. A lot of times, the images started moving faster and faster, and it became difficult to focus on any one figure. There was one part with black tiles that would alternate flashing white as they scrolled down the screen; every time one of the tiles turned white, I would look towards that spot, but by then, other tiles in other places were flashing too. That’s when I stopped trying to concentrate on the smaller things, and I looked at the performance as a whole. Instead of focusing on any kind of order, I focused on the disorder. The individual squares blurred together and formed a stream of black, white, and gray, resulting in a unique kind of beauty. I began to appreciate the motion of the images and the blending of the different sounds, even if it was harsh and overwhelming at times. The more we try to focus on the state of things, the less we can know about it, and these ideas of uncertainty and randomness are what I believe Ryoji Ikeda was trying to portray with the chaotic display of data. Maybe we should stop trying to make sense of everything, and instead, we should just appreciate the experience.
I view this performance not as an exercise in art but as an exercise in elitism. Despite having next to no discernible meaning and being jarring, I personally was left not in awe but with a headache, the house was near packed with people waiting with bated breath for a grand performance. Instead, we were met with an incoherent jumble of cacophonous sounds effects coupled with repetitive and often uninteresting visuals.
But afterwards, when discussing the performance with friends, the general feeling was not that the performance failed but that we failed by not understanding it. I feel this is an unsettling trend with many modern performance art pieces: the audience is left without any understanding of the piece yet feels they must still laud it as great because they do not want to feel uneducated.
The only part of the performance I did enjoy was the portion with the superposition of the sonic oscillations produced by the tuning forks. This was a pleasant ray of hope that brought me back from the verge of sleep. What stood out about this portion from the rest of the performance was the fact that it featured both visual and auditory stimuli working together, and not warring in disharmonious conflict.
One additional comment that might have helped the performance- UMS should not have sold seats in the balcony knowing that the massive speakers added for the performance as well as the projectors would block significant portions of the screens for many viewers.
After watching superposition, I was honestly left feeling a little confused. While the performance was overwhelmingly unique and intriguing, as someone who is pretty un-versed in scientific concepts, I was unaware as to how to identify the parts of the perform inspired by the mathematical notions of quantum mechanics. While the loud decibels and flashing lights made for an extremely provocative performance, made even more exciting by the fact that two silent musicians controlled it on stage, I had trouble distinguishing between parts of the performance. In other words, the entire 75 minutes felt like a repetition of a 10 second compilation of various noise and light combinations. The extremity of the performance and its overwhelming nature made it easy to not even question the inspiration for the performance, simply because a questioning of all of the variables could put a person at risk for seeming unintelligent or naïve. I, however, have no shame in saying that even after reading various reviews of the show before and after, I still am left feeling lost, and like a lot of the message went over my head, simply because of the lack of my scientific background. Nonetheless, I can appreciate the scientific thought that went into making the performance, and found pleasure in listening to the performance, especially the contrasts between the severe builds and sudden shut offs. However, I feel that successful musical performances should not discriminate its audience based off of who can successfully understand the quantum background, for example. Music should be universally appreciated, across age groups and cultures, and while this performance was enjoyable to watch, I feel I did not receive the full effect that I could have if I was a physics major, perhaps.
This performance really demanded the audience’s attention. The deep bass at the beginning was a constant, uncomfortable ringing in my ears. The flashing lights forced me to avert my eyes at certain times and I was seriously worried about having a seizure. Personally, I did not understand nor enjoy this performance. I think I would have appreciated it more if I had known about the mathematics and the inspiration behind each part. For example, my favorite section was when the human performers were using the tuning forks, because I actually understood that they were causing the sound vibrations that correlated with the visuals. However, for most of the other sections, I did not know what the visuals meant or how the sounds were being made.
Despite my first impression, I do appreciate the hard work of the human performers. It takes a lot of concentration and coordination to type the Morse Code patterns. I also enjoyed the thought-provoking questions and comments that were being typed on the big screen. However, being on the balcony, the projects obstructed my view of the messages, so a lot of the time, I couldn’t comprehend the sentences.
Personally, I would never have thought that computer-generated visuals and sounds would be considered a “performance.” I also would never have gone to this performance if it hadn’t been required for a class. Since it was so different and out-of-the-box, I am glad that I was able to experience it, however, I do not believe I will be attending similar shows.
That’s interesting, I had a somewhat opposite reaction. I felt like I was able to find some specific meaning to write about in my post by making the piece “break its superposition”– observing parts closely so they stopped being such a blur of a bunch of intense experiences and instead resolved into something with definite value or meaning.
I think you make a good point that perhaps Ikeda is trying to tell us to stop trying to make sense of everything; another way to look at it is that perhaps Ikeda is simply trying to communicate to us how huge and complex the world is, perhaps (some wide-eyed optimism here) commend us for taking up the incredible task of understanding it all.
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In physics, the basic principle of superposition claims that we do not know the state of any object; it is actually in all possible states simultaneously as long as we don’t look to check. I felt that Ryoji Ikeda’s superposition demonstrated this in a way throughout the performance. There were numerous times when I felt like I had no idea what was going on, but maybe that was the point. The audience is bombarded with loud noises and chaotic bright images, and I found myself at times attempting to discern the individual pictures or words when they were presented on the screens. A lot of times, the images started moving faster and faster, and it became difficult to focus on any one figure. There was one part with black tiles that would alternate flashing white as they scrolled down the screen; every time one of the tiles turned white, I would look towards that spot, but by then, other tiles in other places were flashing too. That’s when I stopped trying to concentrate on the smaller things, and I looked at the performance as a whole. Instead of focusing on any kind of order, I focused on the disorder. The individual squares blurred together and formed a stream of black, white, and gray, resulting in a unique kind of beauty. I began to appreciate the motion of the images and the blending of the different sounds, even if it was harsh and overwhelming at times. The more we try to focus on the state of things, the less we can know about it, and these ideas of uncertainty and randomness are what I believe Ryoji Ikeda was trying to portray with the chaotic display of data. Maybe we should stop trying to make sense of everything, and instead, we should just appreciate the experience.
Superposition is an interesting blend of science and arts, perfect for today’s university student.
This performance was difficult for me to comprehend. I focus a lot of energy on classical music, which is generally very tonal, and this performance was nothing like that. To me, it seemed more like a systematic organization of noise. From the opening clicks to the final screeching apocalyptic ending, I was engaged yet confused by this sound. The performance also seemed awfully loud to me. I think I could have gotten the same effect from a 20% volume reduction and saved my eardrums.
That said, I really enjoyed the tuning fork scene. It was really intense without all the volume. Watching the performers scramble around on the table for the correct fork amidst a sea of similarly sized objects was very exhilarating, like the experience of a near miss in a soccer match, as they frantically grabbed the next pitch. The visual was also very helpful in this scene, and it incorporated some of the physics of the music without being too technical.
A lot of the references to quantum mechanics and physics were out of reach of my comprehension, and I wish I had more background in physics so I could better understand the performance. However, I think that the one scene with the marbles can be related to the uncertainty principle described in the program. We either know the speed or location of the particle, but not both. Similarly, as the computer took snapshots of the marbles rolling around, we know the position of the marble at that specific moment, but by the time we calculate and visualize the marble in that location, it has already rolled on to a new spot on the board. It is quite interesting to think that the moment we know one thing, it has already changed and moved on.
Overall, this performance was quite the new experience for me. Although it was a little too loud and flashy for my taste, I enjoyed it in moderation.
Hi Mac, thanks for sharing your insights. There are many ways to put together…what we saw yesterday evening into a message with meaning, and I’ve been trying to figure it out. I like your explanation of the part where he displayed concealed definitions of “superposition.” This interpretation fits the idea of Ikeda’s art expressing concepts in science, which involves much more uncertainty than many people think. We often don’t “know” as much as we believe we do.
Also, it didn’t occur to me that the incomprehensibility of the data and visuals might be part of the meaning of the scene itself. However, do you think that maybe Ikeda didn’t want us to even try to understand the flood of random data? I imagine that he may have wanted us to focus on the sensory aspect (provided that we weren’t completely overwhelmed). I can only guess, but this performance seems like it could be an art-for-art’s-sake kind of work.
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This Saturday, I walked out of the Power Center thinking to myself, “what did I just watch?” However, after periods of deep reflection, I truly appreciated Ikeda’s “Superposition.”
Ikeda’s performance provided an interesting social commentary on our understanding of the world we live in and how we perceive it.
The show begins with a discussion of how being unable to comprehend a language (spoken, written, physical, or visual) hinders our ability to take in information. He exemplifies his argument through his use of telegraphic waves and sounds, illegible graphs, incomprehensible visuals, blacked out crosswords, and coded definitions of superposition. Ikeda purposefully made it so that the audience could not understand every component of the performance in order to illustrate his point.
He then discusses knowledge versus fact and understanding versus uncertainty. This idea was best displayed through the redacted definitions of superposition. At several points during the performance, the definitions of superposition appear on the two largest screens; however, they are missing several words from their definition. The audience inferred that the blocked sentences on the screens were due to the organization. Yet, the audience did not know what the exact definitions were. The audience had the knowledge of what the screens said but they did not know all the facts, and the audience understood what the words on the screen said but they were uncertain of the exact definitions. Just as we go through life knowing and understanding what we are told and experience, but not necessarily knowing the whole story behind the information we know.
This performance, although overwhelming for one’s sense, was an exciting and unique experience that I am glad I had the opportunity to engage.
I think a lot of people will agree when I say this: I’m not sure I enjoyed Superposition, but it was certainly interesting. The physical experience itself was moderately unpleasant, the loud and often discordant music, coupled with the quickly flashing images was quite overwhelming. I was uncomfortable right away—the performance felt like something new as soon as it started.
However, Ikeda raised some very interesting points, or at least, that’s what I got out of it. I’m going to reference the “definition of superposition” part, just as an example. I liked that all the “important” words—those that made the definition unique—were unreadable, except for in brief flashes. I was trying to read as much as I could, but I could only get a word or two in each flash, which I found uniquely infuriating. It was like Ikeda was playing with our sense of curiosity, our overwhelming desire to learn more: deliberately intriguing us and then preventing us from finding any answers.
This idea seems to be a commentary on the nature of our knowledge and how we search for it. We are definitely curious creatures, and we look to art and science to help us find answers about the world. However, we are far from finding everything we want, so perhaps Ikeda is trying to put the audience in the place of an artist or a scientist. He gives us a torrent of experiences we cannot possibly absorb and we are left reeling, trying to understand what we just saw.
After having seen Ryoji Ikeda’s “Superposition,” I found myself contemplating whether or not what I had seen was a “performance.” In the week prior to seeing “Superposition,” the term that I had most often heard used to describe “Superposition” was the term “art-installation.” After seeing “Superposition,” it makes sense as to why there was a certain tentativeness to describe it as a “performance.” The two “actors” that were used in the production were not on stage for the entire show, only coming on the stage for certain segments. As such, during long periods of the show, there were only images and sound that had been recorded and created previously. The images and sounds were indeed impressive in the degree to which they were in synchronous, for example the high pitched sounds that seemingly perfectly coincided with white flashing screens in the beginning of the show. However, due the fact they were previously created, these parts of the show were not performed but, rather, were merely presented. Even when the actors were on stage seemingly affecting the sounds and images within the show, it was impossible to tell whether or not they were actually affecting anything. The images and sounds could have just as easily been previously created, even if it looked as though the actors were creating them.
“Superposition” ranged upon being a “performance” when the actors dropped marbles in front of a camera and then the marbles were placed on a Cartesian plane on the screen behind the actors. However, even though I felt that this was actually happening real-time, the doubt from previous segments as to the validity of the actors’ role in the creation of images and sounds mitigated the potential of this moment to be “live performance.” As such, I largely perceived “Superposition” to be more of a presentation of art rather than a performance. Though the art being presented was fascinating, it wasn’t necessarily something that needed to be done in a theater as a “live” event.
Superposition is the strangest thing I have ever watched. The performance encompassed a lot more layers than I expected, and I was a little overwhelmed. At each part, I could not stop myself from looking for the bigger picture. Every aspect of Superposition contained some medium of art and science. The performance focused on the former and the latter’s juxtaposition. The performance’s musicality mostly mimicked the informational age’s beeps and tones. We have all heard the sound of an incoming text, the sound of an error message on a computer, the sound a programing software, and the sound our keyboard makes on our phones. Ikeda puts all those tones together, blending what need not be blended. Out of the sound of scientific age, he creates music. The first segment of the performance split the screen into smaller displays that each showed the multiplication and explosion of bright dots. This segment gained speed with time that near the end of it, it just looked like the screen was flashing in different parts. After the intro, the performers came out. As they sat still, they created both visual and auditory rythms. They split the screen into two, and presented, in words and pictures, the differences between concrete science and the ambiguous life. Every thing they did from there, was some kind of contrast. A lot of it passed too quickly to analyze or comprehend, which only added to the performance. Knowledge has to be overwhelming—there is so much of it. The performance really stressed that. There was so much to it, that even now, only a day later, I cannot remember all of it. Ryoji Ikeda managed to address so many themes and ideas in an hour, making it blindingly beautiful.
I agree with you wholeheartedly that the performance was challenging to view and am glad that I am not the only one who left the theater feeling differently than they had while walking in.
However, I would just like to say that there is a difference between novelty and ingenuity that we all must respect and not commit the mistake of overlooking — though I do admit there is indeed room to argue on both sides for Superposition being merely novel versus actually ingenius.
Best,
Andy
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I was amazed, challenged, transformed. It felt like my brain was turned inside out and back again, but not quite the way it started.
I mean no offense to you but I am slightly befuddled by your claims and would appreciate some explanation.
After reading your comment I believe you are in essence saying that the meaning of “Superposition” is difficult to characterize through language, the only medium I have ever believed meaning could be described through. This seems very puzzling to me. Are you implying that there exists a better alternative to “distill” meaning from this performance? How do you put something into words if you deny yourself access to those words? This is highly paradoxical.
You recall that it was difficult for you to “turn off [your] internal monologue that kept asking ‘what does this mean?!'” I am sure you are aware it is human nature to wonder about those entities we are confused about. It seems to me you are claiming that only by defying logic and ignoring one’s own thoughts can “Superposition” be successfully viewed as an “experience of sublime nature.” I understand the graphics may have been “cool,” but where was the profoundness in the piece?
Elucidation would be much appreciated as I am genuinely interested in your perspective.
Best,
Andy
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Great show!
I wish I could come tomorrow night as well.
One of the things that is difficult, and also very rewarding about an experience like this show is how it resists traditional analysis in terms of being able to distill the “meaning” of the experience into verbal or written language.
Much like the 7 hour long album of very precisely designed minimalist electronic compositions I released last year to an almost nonexistent audience (what *is* the audience for such a thing, after all?), Superposition’s meaning is entirely rooted in the visceral experience itself.
Even for me as a very longtime fan of Ikeda’s work, I found it difficult to turn off my internal monologue that kept asking “what does this mean?!” When I succeeded, however, the raw experience itself flooded into me like the experience of sublime nature that I think it was intended to reflect in it’s glitchy, high tech mirror.
Well, going through the comments here and seeing most of them hailing on how great it was the experience, I’m definitely sure that I missed to smoke the same thing than you all.
Indeed it was very unique with nice video and audio features, but too abstract for me, without a clear line on what was the intention.
Walking through a haunted house and experiencing the scares is exactly how I felt during the performance as well! I found myself jumping out of my seat during the intense moments, but calmed by the sound waves from the tuning forks. Nevertheless, as the intensity during the performance was building up, I constantly found myself in a state of anxiety, searching for a climax. At times, I was also struggling to focus on the performance, but I had no trouble doing so during moments of loud sounds and overwhelming imagery.
The contrasting messages typed using Morse code were particularly intriguing, especially the ones about love and peace. Even more, the use of the tuning forks were interesting because it was as if the performers were sending messages to each other through sound waves. Although I enjoyed bits and pieces of the performance, I would not attend this type of performance again.
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Are you familiar with the intense alertness you experience when entering and experiencing a haunted house? This was my exact reaction during the entirety of Superposition. The very minute in which the performance began, I shot out of my seat because the loud, sudden noises took me by surprise. Not knowing what to expect whatsoever from Superposition, I first watched the plotting of dots on the graph with enthusiasm. Yet, what I did not know was that very loud, ear-splitting noises were soon to follow. Having understood how the rest of the performance was to go, though, I prepared myself for whatever was going to occur. Also, the plotting of the dots was the attention of this production for far too long in the beginning. I lost interest after about 10 minutes of just plotting dots, loud noises, and strobe lights. Something else I was also concerned about was there a disclaimer anywhere that warned people who are prone to epilepsies not to come? I honestly did not see one anywhere.
Contrasting from my negative ideas about the performance, I actually did enjoy the use of Morse code and the graphical representation of sound waves. The decoded messages typed out onto the large screen were really interesting. Their meanings were quite quizzical and stimulating, and anticipation was built up while the actors were decoding these messages that really drew me further into the performance. My favorite messages typed out were the ones that contrasted two similar-looking sentences to one another that revealed a different meaning in each. The sound waves experiment was extremely interesting at first, but I think it went on for far too long. It was so relaxing to listen to that I, honestly, almost fell asleep but was abruptly woken up by the extremely loud, sudden noises that followed.
Overall, I thought the performance was overly stimulating and interesting to watch. I personally do not think I would go to see it again because it gave me a headache with the flashing lights and the excruciatingly loud noises.
Ikeda’s “Superposition” was anything but super. I normally attempt to find the silver linings of even the most unenjoyable of performances, but simply put on Saturday evening I was unable to find anything of substance to take away from this “performance.”
As far as I’m concerned, what I witnessed was not much more than a cacophony of jarring noises coupled with dizzying graphics and occasional lines of text that were meant to induce thought but that were in reality irrelevant. I was at times legitimately concerned for the wellbeing of my ears (I would rather have listened to a fire alarm) and found myself continuously wondering if this performance would be the cause of my first epileptic seizure (it must be mandated that a warning be put on the ticket). While I concede that I have never viewed anything like that of Ikeda’s “Superposition” and that I might when feeling generous even describe the spectacle as “cool,” I am not so sure that an hour of such novelty without a real pointed direction is in this case a good thing. One must be very careful to not mistake uniqueness for ingenuity. I searched all hour for an “Aha!” moment, one that would give the performance a sliver of meaning, but found myself sitting empty-handed and in the dark at the conclusion of the show.
Perhaps I am simply just not an abstract-enough thinker, but I had a difficult time gleaning significance from any part of “Superposition” – though the theme of infinity was very prominent and the representations of big data and technology very obvious, I realized I kept asking “So what?” Anyone can repeatedly dot a black background with white spots and display fluctuating numbers in scientific notation as Ikeda did. These were familiar images to me, and I could not derive any new meaning. The performance did not introduce to me any notions that I had not already been aware of – where was the enlightenment?
My only hope and potential consolation is that perhaps a performance of this nature cannot be sufficiently analyzed in such explicit terms. If I had the opportunity to redo my Saturday evening, I would rather invest my time in learning actual concepts in the fields of quantum physics or big data – not in this disappointing attempt at representing these subjects.
I have to admit, I was disappointed and frustrated by the performance. Walking into the auditorium, I was excited and was anticipating to be blown away by whatever I was about to witness, even though I did not know exactly what to expect of Ryoji Ikeda’s “Superposition.” Nevertheless, there was no way I could have prepared for how I felt during the entire performance: overwhelmed.
All forms of art are designed to make the audience feel a certain way. I do not know what Ikeda intended his viewers to experience, but through most of the show, I was anxious and confused; only during a few fractions of the show, including when scenes of nature moved across the screen or when the performers beautifully incorporated the tuning forks, did I experience a sense of calmness and relief. In contrast, the majority of the show consisted of obnoxious high-pitched, ear-splitting sounds, which forced many people around me to cover their ears in an attempt to shield themselves from the pain or to leave altogether, as well as a deep, powerful base, of which I felt the vibrations through the ground and seat.
Throughout the performance, I often found myself anxiously waiting for something, but for what? It finally hit me when I realized that the flashing screens and increasingly sharp music was building up an intensity that, surprisingly, turned out to be anticlimactic. At one point towards the end of the show, however, the intensity led to an unexpected explosion, causing me to jump out of my seat. I tried to regain composure but ultimately failed to do so, especially because at end of the show, we were bombarded with a combination of loud noises and flashing images that made my heart beat faster with each passing second.
Looking back at the performance has made me realize that maybe this was Ikeda’s intention, to force the audience onto an emotional roller coaster. If this was the case, it was a job well done.
I really like your observation about the presence of human performers on the stage because I hadn’t noticed that at the time. The way I interpret it would be that data is random; however, humans want to try and make sense of this randomness. When humans aren’t around, data is chaotic and can mean anything, When humans are present, then they take control and try to find meaning in the data. Using this perspective, these contrasting situations are portrayed on the stage with the different segments. As a result, humans should be in control of technology, but the vast amount of data available makes this hard.
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After watching superposition I didn’t know what to feel. I felt like I had just witnessed the end of the universe. I had the opportunity to meet the actors before watching the show and they talked a lot about the contrast between the human and technological elements of the performance. This contrast became very apparent while I watched the show. I noticed that scenes where the humans were present, everything was much more organized. The Morse code scenes, the marble scene, and the crossword scene, for example, were all relatively calm and well put together. However, as soon as the humans left the stage, everything started going haywire, culminating in the explosion of light at sound that ended the show and terrified me. This distinction between humans and machines made me wonder if the humans were slaves to the computers or if the humans only existed because of the computers. This question of who controls whom is a problem that I think plagues our own society. People are so dependent on technology in today’s world that it’s hard to imagine a life without it, but at the same time, technology would never exist without humans.
superposition brought up many other issues besides human versus machine. It presented conflicts like science versus religion and order versus chaos. However, these topics felt somewhat under developed. The phrases that were typed out by the actors like “science is a differential equation” and “religion is a boundary condition” were complex and hard to follow and they switched between topics so quickly that it seemed, at times, that they were complex for the sake of being complex and not to make an actual point.
I felt the same way about not being able to identify a particular message that the piece was trying to send. I was also in the balcony, so at some parts of the performance I tried my best to focus intently on the typed messages because I thought I could find a particular message that was being sent in those. I still don’t know if I did, but I gave up about halfway through the show. I don’t know that the piece was meant to convey a certain message, but I think that if anything the audience could have just taken away from it a new way to view performance. Watching this kind of performance was new and unfamiliar to many of us, so if anything at least we broadened our horizons.
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This performance left me more conflicted than anything else. Leaving the Power Center, I could not decide whether I was intrigued or confused. Part of me really enjoyed the ingenuity and creativity of Ikeda’s production. The performance was unlike anything I had ever seen before. I did not know what to expect and was, for the most part, always entertained. The various scenes and constantly changing sounds and visuals assured entertainment. The fact that the two actors controlled most of the visuals was incredibly enticing, as it was as if our reality was being fused with the apparent reality of the performance. Seeing individuals influencing the performance so significantly made it feel more real and applicable to the reality of the audience.
Another part of me was confused the entire time, as I continually was trying to understand what the performance was actually about. I spent most of the performance thinking about what I was supposed to take away from the performance. In the beginning, I thought that all the numbers and patterns were supposed to symbolize the repetition and randomness in life. Then when the actors typed the long messages of Morse code, I thought that Ikeda was trying to convey a certain point when in reality the messages made little to no sense to me. This might have been due to my view, as I was sitting in the balcony and one of the large screens was partially blocked by the large speakers. Never the less, I became more confused, and in turn more frustrated that I did not understand the purpose. Later, when the various satellite images appeared, I was more intrigued but still confused about the objective of the performance.
In general, I am happy I attended Superposition. Although I left thoroughly confused, I was able to see a truly contemporary performance that exceeded my expectations.
I was exhilarated by Ryoji Ikeda’s superposition. Having walked into the Power Center not knowing exactly what to expect, I left the performance awestruck and enamored by the dazzling display of images, lights, sounds, and the actors’ interaction with technology. This reaction was one that did not seem to be shared by the majority of my classmates. One aspect of this piece which I found fascinating was its exploration of the relationship between order and chaos. This was evident from the very beginning when points were being plotted on a graph. At first, this occurred slowly: each point plotted was easily distinguished by sight as well as by sound (with its accompanying “beep”). The rate at which points were being plotted as well as the number of graphs eventually began to increase. The sound crescendoed, the visuals became overwhelming, and apparent chaos ensued; however, the audience knew that this apparent randomness came from the highly ordered plotting of Cartesian coordinates. Later in the piece, the opposite of this chaos-from-order occurred: the apparent randomness of rolling marbles was superimposed with calculated graphs of their distance from a central point and relative angles. This could be interpreted as an attempt to derive highly logical, calculable, mathematical meaning from a disorderly incident. Ultimately, I saw superposition as a criticism of humanity’s constant attempt to mediate the world to make it more intelligible. Religion, science, and mathematics are all artificial frames created to resolve fear of unknowability. The visual and auditory assaults throughout superposition force the audience to have a pure experience – sheer intensity, no mediation.
Ryoji Ikeda’s “Superposition” pushed the boundaries of performance in a way that I have never seen done before. It was far more than just a visual experience, for it was almost tangible. As a college student, I tend to stick with what is comfortable for me, which is seeing mainstream pop or rock artists perform live or watching theater productions put on by my school. While those shows are entertaining in their own right, few have been as thought provoking for me as “Superposition”. It was a show different than all others, and it actually made me very excited to see what is to come in the future of performance. The way that Ryoji Ikeda mixed the elements of sound and sight created a futuristic atmosphere. He is definitely ahead of his time.
While Ryoji Ikeda’s play on sight and sound pushed boundaries and was surely inventive, what was the cost? There was no spectrum of sound or sight in this piece. It was either utterly silent or sounds pierced and vibrated through one’s ears. The same can be said for the images flashing before the audience. It was either pitch black or harsh/bright color combinations were presented before us. Personally, I found it riveting and breathtaking, but I noticed that others did not feel the same way. People around me seemed to be very uncomfortable for the most part. I noticed that many people had brief moments of discomfort where they had to look away or plug their ears, but some even felt like it was necessary to leave. The way that the performance heightened the audience’s senses may have been overwhelming to many, but I actually think that the layer of discomfort added to the effect of the piece. I thoroughly enjoyed it.
After watching superposition I didn’t know what to feel. I felt like I had just witnessed the end of the universe. I had the opportunity to meet the actors before watching the show and they talked a lot about the contrast between the human and technological elements of the performance. This contrast became very apparent while I watched the show. I noticed that scenes where the humans were present, everything was much more organized. The Morse code scenes, the marble scene, and the crossword scene, for example, were all relatively calm and well put together. However, as soon as the humans left the stage, everything started going haywire, culminating in the explosion of light at sound that ended the show and terrified me. This distinction between humans and machines made me wonder if the humans were slaves to the computers or if the humans only existed because of the computers. This question of who controls whom is a problem that I think plagues our own society. People are so dependent on technology in today’s world that it’s hard to imagine a life without it, but at the same time, technology would never exist without humans.
superposition brought up many other issues besides human versus machine. It presented conflicts like science versus religion and order versus chaos. However, these topics felt somewhat under developed. The phrases that were typed out by the actors like “science is a differential equation” and “religion is a boundary condition” were complex and hard to follow and they switched between topics so quickly that it seemed, at times, that they were complex for the sake of being complex and not to make an actual point.
I agree that I did not enjoy this performance as much because it lacked the cohesion between segments. The transitions merely consisted of blackouts and the performers either entering or exiting the stage. I really like your approach on focusing on the aesthetic appeal of physics and mathematics. As someone who enjoys math, this would have made the experience much more enjoyable to me versus the hostile sounds and visuals.
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Superposition was either the most sublime performance I’ve witnessed, or the most useless one. The gimmick of building up, of crescendoing and intensifying, cycling towards something…and then suddenly blacking out was used multiple times. It was, in my opinion, a cop-out, a way for the performance to change topics without going through the difficulty of forming a cohesive segue. In this sense, I felt the performance was lacking.
However, there were elements of Ikeda’s work which I found compelling. The performers’ use of telegraphs and morse code as musical instruments and rhythmic components, while unpleasant to the ear, was skillful and innovative. Additionally, the use of math and geometry and physics to create art was a unique approach – it made me appreciate the beauty and definability within our universe. I’m usually unaware of these things, so in that way, it was enlightening to visualize plotting points as a medium for creating art.
I feel that if Superposition had focused more on this beautiful aspect of physics and mathematics, it could have engaged the audience much better than the overpowering and sensory overloaded approach which it used.
Perhaps, though, this is the sublimity Ikeda was aiming for. Maybe he wanted to make the audience uncomfortable – uncomfortable with the reality of the universe, the expansiveness, the interconnected-ness, the way in which everything can be linked through math and doesn’t have to be unknown and wondered about. Maybe that’s why this piece is well-respected. But maybe it’s just the fact that Ikeda utilized unique methods to state his point, a point which, in itself, is realized by thousands of scientists every year.
Personally, this performance was not one that I enjoyed. However, I recognize that it has merit and was going towards an interesting concept.
I agree with both of you. This felt like more of a spectacle than art, and I’m honestly not convinced there was a “larger theme”. Perhaps just a famous artist resting on his laurels and using the shock factor and indecipherable numbers to convince people of his “genius”.
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Have you ever joined a couple of friends, who were mid-conversation, and had no idea what they were talking about? That sense of confusion is exactly what I felt during this performance. I was thrown into a conversation between Ikeda and his work, and I was left lost and frustrated.
At the beginning of the production, I promised myself that I would keep an open mind, but by the end, I was ready to hightail it out of there. Everything that occurred in the middle is a blur of light and sound, and I am still struggling to connect those senses into one, coherent picture. Inhuman sounds and blinding lights were constantly bombarding me. At times, I had to close my eyes and cover my ears in fear that my head would explode. I understand that this performance may not be the type where you leave with a clear mental representation of what just occurred, but I did not expect to leave with only a headache and a desire for peace and quiet.
This brings me to my question: is this performance something that can be appreciated by people who are not familiar with the mathematical aspect? Every graph, line, and number had a role to play in this production, but I was not able to decipher what any of those roles were. As much as I tried to understand the mathematic hodgepodge on stage, my attempts were fruitless, and I was left more confused than ever. Perhaps my biggest downfall was my need to make sense of this production. Maybe if I had just watched and listened without trying to connect it to a bigger theme, then I would have found more clarity in this piece. Then again, it is impossible for me to sit and passively watch something without trying to find some meaning in it.
I am so used to trying to find meaning in performance it is refreshing to have something that is just sound and pictures that may have no concrete meaning at all.
It makes you think about how performance doesn’t have to fit into the perimeters that we expect. It is very strange and I think thats why a lot of people don’t care for it. But if more people see a performance that pushes the limits like this one does, they may be willing to experiment and find some other unique experiences that they normally would never think they would enjoy.
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Great show!
I wish I could come tomorrow night as well.
One of the things that is difficult, and also very rewarding about an experience like this show is how it resists traditional analysis in terms of being able to distill the “meaning” of the experience into verbal or written language.
Much like the 7 hour long album of very precisely designed minimalist electronic compositions I released last year to an almost nonexistent audience (what *is* the audience for such a thing, after all?), Superposition’s meaning is entirely rooted in the visceral experience itself.
Even for me as a very longtime fan of Ikeda’s work, I found it difficult to turn off my internal monologue that kept asking “what does this mean?!” When I succeeded, however, the raw experience itself flooded into me like the experience of sublime nature that I think it was intended to reflect in it’s glitchy, high tech mirror.
I completely agree as well. I found the loud noises and lights incredibly off-putting and headache inducing. I guess these production choices did keep people alert, but I found them incredibly distracting. I wish I had been more able to be sucked into the work instead of alarmed and uncomfortable for the majority of the performance.
I completely agree that that information line was very thought provoking, but I found many of the others that discussed science and religion to be rather trite. I wish there was more complexity to the few words written on the screen. These were moments to really inspire the viewers, but they did not fully accomplish the level of wisdom of which they aspired.
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ASL,
I felt the same with my senses being under attack. You’re right, it’s absolutely not necessary to blast music and light to the point of torture. It was rather unpleasant.
But in another sense, the dramatic effects are completely necessary. Ikeda’s intentions are apparent with his polarized use of light and sound. It’s either too bright/dark or loud/quiet; this exhibits the present and non –present; it illustrates the 0 and 1. Like the program notes, this performance is intended to touch on quantum theory, and the idea of having the overlapping of binary numbers. The deep understanding of quantum physics/computing is extremely complex and sophisticated. In that regard, the omnipresence of white noise and colors in the lights bring out the infinite (and thus incomprehensible) nature of quantum physics.
I find your question extremely stimulating about how we should approach the concept of infinity. I don’t have a clear answer but have some ideas that are relevant.
The marbles were notable. Through multiple trials, the spectrum of possible positions of marbles is filled. In the big picture, with time, infinity can be reached. Unfortunately we cannot live long enough to witness this phenomenon. This type of imagination that Ikeda provokes is extremely reflective. It had me questioning the presence of infinity and importantly the extent to which we can reach infinity. Although we can theorize the most profound concepts, it is just mere imagination and thus, sadly unreachable. So, for me, this was an illustration of our limits in conceptual thinking.
I feel like I had a similar experience as you did regarding the performance. At first, I was curious to see where the different parts were headed, such as the dots and the sound waves. However, I agree that some of the segments went on far too long because I could feel myself losing interest and zoning out, but maybe that’s how the next part catches you by surprise. I also liked the contrasting messages because they actually gave me something to contemplate. Overall, I would agree that the performance was unique, but I probably would not attend it again.
Also, regarding the strobe lights, I noticed there were warning signs posted outside the entrances of the balcony, but they obviously weren’t placed very well if most people did not see them.
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Are you familiar with the intense alertness you experience when entering and experiencing a haunted house? This was my exact reaction during the entirety of Superposition. The very minute in which the performance began, I shot out of my seat because the loud, sudden noises took me by surprise. Not knowing what to expect whatsoever from Superposition, I first watched the plotting of dots on the graph with enthusiasm. Yet, what I did not know was that very loud, ear-splitting noises were soon to follow. Having understood how the rest of the performance was to go, though, I prepared myself for whatever was going to occur. Also, the plotting of the dots was the attention of this production for far too long in the beginning. I lost interest after about 10 minutes of just plotting dots, loud noises, and strobe lights. Something else I was also concerned about was there a disclaimer anywhere that warned people who are prone to epilepsies not to come? I honestly did not see one anywhere.
Contrasting from my negative ideas about the performance, I actually did enjoy the use of Morse code and the graphical representation of sound waves. The decoded messages typed out onto the large screen were really interesting. Their meanings were quite quizzical and stimulating, and anticipation was built up while the actors were decoding these messages that really drew me further into the performance. My favorite messages typed out were the ones that contrasted two similar-looking sentences to one another that revealed a different meaning in each. The sound waves experiment was extremely interesting at first, but I think it went on for far too long. It was so relaxing to listen to that I, honestly, almost fell asleep but was abruptly woken up by the extremely loud, sudden noises that followed.
Overall, I thought the performance was overly stimulating and interesting to watch. I personally do not think I would go to see it again because it gave me a headache with the flashing lights and the excruciatingly loud noises.
I agree with everything you said. I love your analogy in the beginning, however, for me it was like joining a conversation being spoken in a different language also. I believe my problem is also that I could not make sense of the performance and how any of it was connected so I did not enjoy it as much as others who possibly had a more open mind. I would love to hear from someone who found a meaning from this performance because I sure couldn’t.
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Have you ever joined a couple of friends, who were mid-conversation, and had no idea what they were talking about? That sense of confusion is exactly what I felt during this performance. I was thrown into a conversation between Ikeda and his work, and I was left lost and frustrated.
At the beginning of the production, I promised myself that I would keep an open mind, but by the end, I was ready to hightail it out of there. Everything that occurred in the middle is a blur of light and sound, and I am still struggling to connect those senses into one, coherent picture. Inhuman sounds and blinding lights were constantly bombarding me. At times, I had to close my eyes and cover my ears in fear that my head would explode. I understand that this performance may not be the type where you leave with a clear mental representation of what just occurred, but I did not expect to leave with only a headache and a desire for peace and quiet.
This brings me to my question: is this performance something that can be appreciated by people who are not familiar with the mathematical aspect? Every graph, line, and number had a role to play in this production, but I was not able to decipher what any of those roles were. As much as I tried to understand the mathematic hodgepodge on stage, my attempts were fruitless, and I was left more confused than ever. Perhaps my biggest downfall was my need to make sense of this production. Maybe if I had just watched and listened without trying to connect it to a bigger theme, then I would have found more clarity in this piece. Then again, it is impossible for me to sit and passively watch something without trying to find some meaning in it.
This performance left me more conflicted than anything else. Leaving the Power Center, I could not decide whether I was intrigued or confused. Part of me really enjoyed the ingenuity and creativity of Ikeda’s production. The performance was unlike anything I had ever seen before. I did not know what to expect and was, for the most part, always entertained. The various scenes and constantly changing sounds and visuals assured entertainment. The fact that the two actors controlled most of the visuals was incredibly enticing, as it was as if our reality was being fused with the apparent reality of the performance. Seeing individuals influencing the performance so significantly made it feel more real and applicable to the reality of the audience.
Another part of me was confused the entire time, as I continually was trying to understand what the performance was actually about. I spent most of the performance thinking about what I was supposed to take away from the performance. In the beginning, I thought that all the numbers and patterns were supposed to symbolize the repetition and randomness in life. Then when the actors typed the long messages of Morse code, I thought that Ikeda was trying to convey a certain point when in reality the messages made little to no sense to me. This might have been due to my view, as I was sitting in the balcony and one of the large screens was partially blocked by the large speakers. Never the less, I became more confused, and in turn more frustrated that I did not understand the purpose. Later, when the various satellite images appeared, I was more intrigued but still confused about the objective of the performance.
In general, I am happy I attended Superposition. Although I left thoroughly confused, I was able to see a truly contemporary performance that exceeded my expectations.
It is important to go into new experiences with an open mind. I attempted to do this while watching “Superposition” at the Power Center on Saturday. After hearing commentary from the actors and reading reviews on the piece I was hesitant but willing to be engrossed in the production. Part of me knew that this production was not my taste, but I was hoping my mind would be changed after watching it in person. It, unfortunately, did not. Although technically advanced and accurate, the piece itself was painful to watch and listen. With seemingly never-ending flashing lights, loud, monotonous beeps, and moving lines of words, I worried for those who are seizure prone in the audience. As the play progressed I waited for that pivotal moment where I would finally be engrossed in the work, but that climax never came. Instead was a flood of cliché phrases about science and religion that tried to be more sagacious than they were in actuality. I do understand the premise of the piece and that it is a complex work of performance art. I respect it as such, but I did not enjoy a minute of it. Had I not had to stay for a class, I would never have finished the performance. I did not leave changed or inspired, like I hope to after a performance. I left with a migraine and a deep sense of confusion. I truly hope to never have to witness anything remotely similar to “Superposition” ever again.
I came to “Superposition” open-minded and very curious. Never before had I experienced anything even remotely similar to this performance. I actually expected to like it, because it was so different and seemed interesting. I was intrigued in the beginning, with the progression of the music and interaction of the different levels of screens. As time went on however, I became disconnected.
Ironically, my mind became bored and tired. The fact that one needed to clear the mind and remain open had an opposite effect on me. Because I could not understand what was happening and how it was connected I was disengaged and waiting for it to end. The noises were random and sometimes close to painful to hear. The combination of erratic visuals, sounds vibrating my seat, and sitting high above in the balcony, created a slightly sick feeling in my stomach. I found relief in the segment with the two performers creating sine like waves on the screen. The peaceful noise reminded me of something one would listen to when falling asleep.
Probably the thing that upset me the most was how the Morse code part was executed. I was excited to actually have a way to connect to the performance. However, I could barely see what was being spelled out, partly because it was lacking spaces between words and because a speaker blocked most of my view of the left screen. What I did notice was very interesting, such as “Information is not Knowledge.” I just wish I could have been able to decipher more.
Looking back at the experience now, I only recall a blur of bright lights and loud noises. Overall I did not enjoy this performance.
I completely agree. This performance seemed to be flashy and loud simply for the sake of being flashy and loud. I also agree that we should have been notified of how intense the display would be. I’m just glad that no one – to my knowledge – had any extremely adverse reactions. I understand that the performers may not have wanted the show to start with a warning of potential seizures or something like that, but I think it’s a small price to pay for safety. When an artist puts out a work such as this that alienates so many – either from its sheer abstractness or hazardous conditions – one has to wonder whether they’re putting on the performance for the audience or for him or herself. I’m sure it all made sense in Mr. Ikeda’s mind, but certainly not in mine or in the minds of everyone I’ve talked to about it.
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I understand that some art is designed to push us out of our comfort zone in order to make us think more about the world around us. This performance went well beyond pushing me out of my comfort zone, however. Within the first three minutes I had to leave because the flashing lights and noise were making me so sick I knew I would not be able to safely make it through the performance. I was not alone in this decision. I saw many others exiting the auditorium when I did and many people told me later that they left before the end of the performance as well. I appreciate the idea of pushing an audience out of their comfort zone but artists must also be cognizant of their audience’s health. I was also appalled at the lack of signage warning the audience about the strobe lights.
I agree with most of your comments pertaining to Ikeda’s performance.
I believe that it was a futuristic performance in the sense that it is a new-age hybridization between live performance and digitalized performance that heavily relies on the medium of technology to produce the art. However, we are moving into an age which technology is becoming more and more accessible, imperative, and prevalent in our society. Therefore, I feel that this performance is moving with the times to integrate modern technology with modern art.
With that being said, I do not believe that the purpose and meaning behind the performance were solely on a mathematical and scientific level. I believe that it was providing a commentary on the issue of understanding in this new modern age that we live in. It provided a venue where various different languages (written, visual, digital, and physical) came together, just as technology allows us to do now, and although we could not understand all that we saw, heard, and experienced, we could still form some sort of understanding based on what we thought we knew. This discussion provided a means for the audience to reflect on how they perceive information, fact, and knowledge as either understanding or uncertainty.
Additionally, not all the themes in the performance were mathematical or scientific. It discusses logical thinking versus assumptions, religion versus science, simplicity versus complexity, and so on. This performance, implicitly and explicitly, touched on a diverse realm of topics that are socially relevant today.
Ultimately, it was a very different performance and difficult to understand, but if you take a moment to step make and look at the performance, not based on what you saw that confused you, but what you thought you understood, you might reconcile the performance better within yourself.
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No matter what you could have imagined “Superposition” to be like, the performance is truly beyond all expectation or imagination. I personally had two interpretations, 1) this has a superior, deep thematic artistic expression that somehow relates to Physics, or 2) this was chaotic, confusing, and plainly difficult to absorb to be any form of entertainment for me. There were many connections to the universe and physics because it used sound waves and white noise as a medium, as well as references to momentum and engineering, but as someone who hardly knows anything about physics, I could not grasp the true meaning at all. This was what made me frustrated because it felt like there was a clear answer in front of my eyes, but I just was unable to grasp it no matter how much I tried. To the people that understand many concepts of physics and quantum physics, were you able to truly interpret anything clearly from this performance?
Do I hate the performance; do I think it was a complete waste of time? No. Every single part of the performance was in all aspects very “cool” and “futuristic.” I appreciate it because I think that no one but Ryoji Ikeda would have been able to create such a creatively bizarre performance that goes outside all boundaries. The only issue I had with the performance was that it was made for the future, but I currently live in the present. No matter how much I try to expand and open my mind, it is still difficult for me to grasp it wholeheartedly.
I was looking forward to this performance all week and it did not disappoint. It was so unique I have nothing else in the theatrical world I can compare it to. It reminds me of a more sophisticated version of the science exhibits in museums I went to as a child. Science is my passion, and I am amazed at how well this transformed science into performance. It demonstrated how nature doesn’t always seem natural. It is confusing and even at some points unpleasant, but this sort of data is always bouncing around in the universe, whether we’re aware of it or not.
The part with the marbles made it the most apparent to me that this was all happening in real time. The randomness of the marbles was mapped out the put on display. That’s what science strives to do, to organize the random, to make sense out of nonsense. Like the Morse code, the dots and dashes don’t appear to mean anything on face value, but it holds information. We live in an information age, and this performance was like looking inside of a computer, processing and representing data. This data exists on a very large scale, at the end of the performance, it looked as though the universe was being presented to us in data points, and it was powerful, it made me feel powerful. It was like I was some all-knowing outsider looking in on the universe. I was disappointed when the lights went up because I wanted to continue on in this journey through information that the performance was taking me on.
There were so many layers to the performance that I couldn’t fully grasp it all. But I don’t think it was meant to have a concrete meaning. The only downside to the performance was that I was rather far up in the balcony and couldn’t see the smaller screens very well, but even with that it was a powerful and thought provoking experience.
Superposition was madness. Utter madness. And I hated it. I came in expecting something different and abstract, though I didn’t realize just how out there it was going to be. I felt that the performance transitioned between the incomprehensible and the self-consciously abstract. I was also expecting more musicality out of the performance. Sure, noises were made in a fashion that could be described by the generous as musical, but if it was music it certainly was not any type of music that I would ever deem fit for listening. Superposition was an overly absurd and mysterious performance that had a few saving graces in the realm of the visual – though these were few and far between.
For me, the majority of Superposition seemed like a random collection of jarring computerized images and sounds that seemed to have no other function than to disorient the audience. At times I thought I might begin to make sense of them or the meaning of the piece, primarily during the sequence that involved scrolling through the newspaper pages, though nothing ever clicked for me. Perhaps it was because I wasn’t working hard enough to create my own connections – Superposition was a sort of “choose your own performance” in this sense. Though, I do not believe this to be any fault of my own. Any great performance should engage its audience and make it so that the audience wants nothing more than to be in the midst of the experience. This was not the case for me and my experience with Superposition.
Perhaps the most impressive thing about Superposition was its pacing – it succeeded in effectively lulling me to sleep with its slower bits and then jarringly and unpleasantly shaking me from my intermittent slumber (which, may I add I was fighting through, to the best of my ability). Superposition was a performance that seemed as if it craved for me to have an unpleasant experience. It seemed as if it was a parody of bad performance art. Perhaps if I had thought of the performance as that before seeing it, I could have had an experience reminiscent of a good time.
I understand that some art is designed to push us out of our comfort zone in order to make us think more about the world around us. This performance went well beyond pushing me out of my comfort zone, however. Within the first three minutes I had to leave because the flashing lights and noise were making me so sick I knew I would not be able to safely make it through the performance. I was not alone in this decision. I saw many others exiting the auditorium when I did and many people told me later that they left before the end of the performance as well. I appreciate the idea of pushing an audience out of their comfort zone but artists must also be cognizant of their audience’s health. I was also appalled at the lack of signage warning the audience about the strobe lights.
In physics, the basic principle of superposition claims that we do not know the state of any object; it is actually in all possible states simultaneously as long as we don’t look to check. I felt that Ryoji Ikeda’s superposition demonstrated this in a way throughout the performance. There were numerous times when I felt like I had no idea what was going on, but maybe that was the point. The audience is bombarded with loud noises and chaotic bright images, and I found myself at times attempting to discern the individual pictures or words when they were presented on the screens. A lot of times, the images started moving faster and faster, and it became difficult to focus on any one figure. There was one part with black tiles that would alternate flashing white as they scrolled down the screen; every time one of the tiles turned white, I would look towards that spot, but by then, other tiles in other places were flashing too. That’s when I stopped trying to concentrate on the smaller things, and I looked at the performance as a whole. Instead of focusing on any kind of order, I focused on the disorder. The individual squares blurred together and formed a stream of black, white, and gray, resulting in a unique kind of beauty. I began to appreciate the motion of the images and the blending of the different sounds, even if it was harsh and overwhelming at times. The more we try to focus on the state of things, the less we can know about it, and these ideas of uncertainty and randomness are what I believe Ryoji Ikeda was trying to portray with the chaotic display of data. Maybe we should stop trying to make sense of everything, and instead, we should just appreciate the experience.
I had never thought about the performance as you had watching Superposition. I had read a comment before seeing Superposition by a man who composes electronic music for a living, and he believed there was no meaning to search for in this production. So, I took this advice, and I did not try to understand what I was watching.
This was a very interesting way to look at the performance. I am absolutely awful at grasping the theory of superposition and anything involving quantum physics, mechanics, etc. and so on. I definitely need people like you to dissect performances so I am either able to agree with your statement or disagree with your statement to maybe further understand the performance at hand. Thank you so much for your contribution.
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As I walked out of Superposition people were certainly making their opinions known. One person from a few rows behind me was repeating “trash, that was the biggest trash that UMS has ever put on.” Obviously, this is an incredibly strong statement, and one that I’m sure is being expressed in the comments as I type. However, my opinion could not be more different from that of the man walking out of the performance.
It’s true that Superposition was a veritable assault on the senses, and almost defied understanding by members of the audience; but this is the very beauty of it. Ryoji Ikeda, in this particular piece, was attempting to communicate quantum superposition; an idea that he said was beyond full human comprehension due to its complexity and infinite nature. Therefore, the performance of this idea must be incredibly complex, overwhelming, and indeed beyond our comprehension. So by nature of the fact that this spectator hated the performance, probably because it was discordant, and seemingly purposefully bad (although I understand I am putting words in his/her/their mouth), the performance worked. Like its quantum namesake, superposition, turned out to be beyond human comprehension, and beyond the ease of understanding of normal performances. This is, in my mind, why superposition was a great show; it really effectively communicated the complexity, and chaos, but also the beauty and overwhelming nature of quanta, random chance and data. Yes it was loud, yes it was fast, yes it was random, yes at times it was uncomfortable, because it needed to be.
This Saturday, I walked out of the Power Center thinking to myself, “what did I just watch?” However, after periods of deep reflection, I truly appreciated Ikeda’s “Superposition.”
Ikeda’s performance provided an interesting social commentary on our understanding of the world we live in and how we perceive it.
The show begins with a discussion of how being unable to comprehend a language (spoken, written, physical, or visual) hinders our ability to take in information. He exemplifies his argument through his use of telegraphic waves and sounds, illegible graphs, incomprehensible visuals, blacked out crosswords, and coded definitions of superposition. Ikeda purposefully made it so that the audience could not understand every component of the performance in order to illustrate his point.
He then discusses knowledge versus fact and understanding versus uncertainty. This idea was best displayed through the redacted definitions of superposition. At several points during the performance, the definitions of superposition appear on the two largest screens; however, they are missing several words from their definition. The audience inferred that the blocked sentences on the screens were due to the organization. Yet, the audience did not know what the exact definitions were. The audience had the knowledge of what the screens said but they did not know all the facts, and the audience understood what the words on the screen said but they were uncertain of the exact definitions. Just as we go through life knowing and understanding what we are told and experience, but not necessarily knowing the whole story behind the information we know.
This performance, although overwhelming for one’s sense, was an exciting and unique experience that I am glad I had the opportunity to engage.
I shared a similar experience of being caught between trying to look away while simultaneously being drawn in. It was hard to know exactly what to thing or how to react to the blinding lights and sounds, yet I similarly walked away with a sense of relevance. As for the scientific messages, I had a hard time seeing them as concrete references to things like quantum mechanics and physics. Rather, it seemed as though science as a whole was being described so it could be placed opposite religion. The wave of sound we experience was definitely paradoxical: how can something so bizarre and confusing seem to communicate higher level understanding?
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Ryoji Ikeda’s Superposition entirely surprised me. I’ll admit that I went to the Power Center expecting nothing more than a headache invoking sequence of bright lights and beeping. With the extremely high pitched noted at the beginning of the performance, I at first thought that my expectations would be confirmed.
However, my attitude toward the performance quickly changed. Ikeda managed to take noises and images that are generally written off simply as dry, confusing, data and turn them into an overpowering experience. Although the sounds and images were harsh, I found myself completely enthralled by the performance, drawn in so much that I couldn’t separate myself from the sound. I was incredibly impressed that the traditionally opposed realms of science and art were linked so flawlessly. Art relies on the artistic to relay meaning while the sciences relay on the scientific. Superposition blurred this distinction in a way I previously thought impossible. I never expected that data could participate in creativity.
The harsh sounds and piercing lights compelled me to turn away and plug my ears, but at the same time paralyzed me so that all I could do was direct my attention to the stage. It almost seemed that Superposition had a kind of hypnotic power. I was unable to analyze the performance; much like the sciences which Ikeda’s data and images are associated with it lay totally outside my realm of understanding. Despite this however, I left the Power Center feeling that whatever was being portrayed by Ikeda’s performance was relevant to me. Ikeda’s Superposition relayed some sort of artistic interpretation of the world that I previously expected could only be represented by traditionally artistic means. While the components of the performance seemed like utter chaos to me, there certainly existed an order, an explanation within the chaos. This paradox drew me into the performance, and left me with an impression of confusion, surprise, and amazement.
Superposition was an experience unlike any other I have had before. When the lights slowly faded and the room was blanketed in darkness, I was unaware of how Ikdea would communicate his themes and his artistic vision; when the counters in the front of the stage began to beep and flash sporadically, all united by a mechanized harmony and a driving bass, I knew that I would just have to be a spectator. Through various physics demonstrations, such as a back-and-forth with Morse code and vibrations from tuning forks, we were given a beautiful artistic representation of science. However, the entire production was coated with an air of mystery and a tangible sense of fear. At multiple times in the production, the shrill tones of the machine would swell and crescendo to a point in which it could be contained no longer, and those moments of absolute tension provoked the horror of uncertainty and a loss of control. Taken as an experience, Superposition seemed to take us to a world in which the line between religion and science is blurred, and the only thing that is certain is the pulsing beat of Ikeda’s visions. The spanning cosmos is revealed to be individual planes of understanding; the random rhythms of dots and dashes are revealed to be communications of truth. At times it was blinding, at times it was deafening, and at times it was uncomfortable to even be in the room. However, the end result of this performance was a glimpse into one artist’s view of the world, and it is a superposition between machine and man.
After reading your comment I do agree with what you are saying. I am a spectator that left thinking, “I don’t think I really liked this performance,” but perhaps that was the purpose of the performance. It definitely made me uncomfortable so I guess it was a successful performance. The issue for me, however, was that I didn’t want to take in all the chaos. I wanted it to express some sort of meaningful moral that left me pondering the meaning of life because of the strong artistic expression the technology and performers expressed. Perhaps I had high expectations. Perhaps it wasn’t meaningful to me because it wasn’t personal enough for me, and in a way, perhaps I’m being a selfish spectator.
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As I walked out of Superposition people were certainly making their opinions known. One person from a few rows behind me was repeating “trash, that was the biggest trash that UMS has ever put on.” Obviously, this is an incredibly strong statement, and one that I’m sure is being expressed in the comments as I type. However, my opinion could not be more different from that of the man walking out of the performance.
It’s true that Superposition was a veritable assault on the senses, and almost defied understanding by members of the audience; but this is the very beauty of it. Ryoji Ikeda, in this particular piece, was attempting to communicate quantum superposition; an idea that he said was beyond full human comprehension due to its complexity and infinite nature. Therefore, the performance of this idea must be incredibly complex, overwhelming, and indeed beyond our comprehension. So by nature of the fact that this spectator hated the performance, probably because it was discordant, and seemingly purposefully bad (although I understand I am putting words in his/her/their mouth), the performance worked. Like its quantum namesake, superposition, turned out to be beyond human comprehension, and beyond the ease of understanding of normal performances. This is, in my mind, why superposition was a great show; it really effectively communicated the complexity, and chaos, but also the beauty and overwhelming nature of quanta, random chance and data. Yes it was loud, yes it was fast, yes it was random, yes at times it was uncomfortable, because it needed to be.
Are you familiar with the intense alertness you experience when entering and experiencing a haunted house? This was my exact reaction during the entirety of Superposition. The very minute in which the performance began, I shot out of my seat because the loud, sudden noises took me by surprise. Not knowing what to expect whatsoever from Superposition, I first watched the plotting of dots on the graph with enthusiasm. Yet, what I did not know was that very loud, ear-splitting noises were soon to follow. Having understood how the rest of the performance was to go, though, I prepared myself for whatever was going to occur. Also, the plotting of the dots was the attention of this production for far too long in the beginning. I lost interest after about 10 minutes of just plotting dots, loud noises, and strobe lights. Something else I was also concerned about was there a disclaimer anywhere that warned people who are prone to epilepsies not to come? I honestly did not see one anywhere.
Contrasting from my negative ideas about the performance, I actually did enjoy the use of Morse code and the graphical representation of sound waves. The decoded messages typed out onto the large screen were really interesting. Their meanings were quite quizzical and stimulating, and anticipation was built up while the actors were decoding these messages that really drew me further into the performance. My favorite messages typed out were the ones that contrasted two similar-looking sentences to one another that revealed a different meaning in each. The sound waves experiment was extremely interesting at first, but I think it went on for far too long. It was so relaxing to listen to that I, honestly, almost fell asleep but was abruptly woken up by the extremely loud, sudden noises that followed.
Overall, I thought the performance was overly stimulating and interesting to watch. I personally do not think I would go to see it again because it gave me a headache with the flashing lights and the excruciatingly loud noises.
I definitely agree that it was frustrating not being able to read what the performers were typing out. In addition to not being able to keep up with the two different messages being typed out, I had a speaker blocking the left side of the screen. Nevertheless, your conclusion really intrigued me. I agree that if one were to go see the performance a second time, he would be more prepared for the show. However, I don’t think a second viewing would be beneficial. I think Ikeda deliberately chose to use a fast pace along with no spaces in order to make it nearly impossible to read the exact messages. Thus, he was able to convey a completely different message without using words but instead by playing on people’s emotions.
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As I was directed to my seat and handed earplugs, my heart began racing; I did not know why earplugs were a necessity for the viewing of “Superposition.” In reaction to this gift of earplugs, I found myself perching on the edge of the seat and constantly looking at the other spectators seated in the vicinity, all of us just waiting for some catastrophic noise or loud explosion. I believe that this feeling of terror held me back from enjoying and analyzing the production to help discover the message that Ryoji Ikeda tried to communicate.
I struggled with accurate reading of the various messages the two performers communicated through Morse code, since they were sometimes typing the same message and other times typing different messages or one with minimal variation, so I did not know whether I needed to be switching between the two screens or if I could focus on one screen. I definitely missed some of the important points due to my inability to efficiently read the screens simultaneously. The lack of spaces and rapid pace of the sentences added to the battle with reading and comprehending each message. I wish that I could have been able to see the sentences the performers presented on the screens for a longer period of time, but I can see how that would take away from the fast-moving, intense performance because some of the viewers may lose interest if the sentences lingered too long. It is a difficult balance to find the exact right time to allow the viewers to read.
Overall, I think I would have benefitted from a second viewing of “Superposition.” I was overwhelmed with the experience as a whole and knowing what to expect would have helped me to understand the performance better.
I think that’s a really interesting way of looking at it. I totally agree with you that it wasn’t something particularly enjoyable. The visuals and sounds in the performance were too much and extremely harsh. Perhaps the reason why was because we as an audience are not exposed to this form of performance where the two realms of technology and art are intertwined so cohesively together.
However, perhaps this performance is not a mixture of the two realms, but instead, in a realm of its own entirely.
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Are technology and art two separate worlds, or are they two parts of a cohesive unit? Watching Ryoji Ikeda’s “Superposition” made me question my previous beliefs about performance and what it can entail. As a possible computer science major, I had a great appreciation for the amount of effort it must have taken to program the show. The technical aspects at certain points of the show were simply astounding. However, as an audience member, I found the show very difficult to watch.
The overwhelming visual and auditory components of the show were painful at times, and I found myself squirming around in my seat while other audience members decided to leave the theater all together. Throughout most of the performance, my senses were over-stimulated, which made me feel quite uncomfortable and distracted me from trying to find some sort of meaning in the piece. I could occasionally identify with some of the musical, rhythmic aspects of the performance, but it was hard to enjoy these moments before they were quickly interrupted by another excruciating sound or flash of light.
While I personally didn’t enjoy the overall experience, I think that it was Ikeda’s intention to make the audience uncomfortable. I also think that he wanted us to interpret the show in our own way because the piece does not have any concrete meaning or purpose. This became clear to me when the multiple definitions of “superposition” that appeared on the screens had most of the words covered with a scrolling and ever-changing series of numbers and letters.
Although I would not consider this to be a traditional performance, and although I did not particularly enjoy it, I now consider technology to be more of an art form than I did previously.
No matter what you could have imagined “Superposition” to be like, the performance is truly beyond all expectation or imagination. I personally had two interpretations, 1) this has a superior, deep thematic artistic expression that somehow relates to Physics, or 2) this was chaotic, confusing, and plainly difficult to absorb to be any form of entertainment for me. There were many connections to the universe and physics because it used sound waves and white noise as a medium, as well as references to momentum and engineering, but as someone who hardly knows anything about physics, I could not grasp the true meaning at all. This was what made me frustrated because it felt like there was a clear answer in front of my eyes, but I just was unable to grasp it no matter how much I tried. To the people that understand many concepts of physics and quantum physics, were you able to truly interpret anything clearly from this performance?
Do I hate the performance; do I think it was a complete waste of time? No. Every single part of the performance was in all aspects very “cool” and “futuristic.” I appreciate it because I think that no one but Ryoji Ikeda would have been able to create such a creatively bizarre performance that goes outside all boundaries. The only issue I had with the performance was that it was made for the future, but I currently live in the present. No matter how much I try to expand and open my mind, it is still difficult for me to grasp it wholeheartedly.
Superposition left me with a pounding headache and a lot of mixed emotions. There was a part of me that really hated what I saw. The performance was visually and aurally overwhelming, giving it a sense of surprise and incomprehensibility. Most of the time, it left me feeling confused, adulterated, and worried about my mental state.
On the other hand, the visuals were quite stunning and in the seeming discord, there was an intricate balance and clockwork-like mechanism to “Superposition.” Each time, almost every episode started small and then expanded to something greater and larger, then abruptly ended. And in each of these episodes, there were numerous orderly patterns being played out, all interwoven with one another. For example, the one part of the performance with tuning forks seemed to show how pitches are additive, coming together to make a larger, succinct harmonic. For there to be order, smaller parts are built upon one another.
However, the chaos and pandemonium of “Superposition” that made me so uncomfortable was born through the overwhelming compilation of so many different orderly and finite patterns interweaving and connecting to one another so rapidly. For order in any kind of system, smaller parts add to and build upon one another. However, once too many things come together and connect too rapidly, the neatness of the system is lost. From too much organization comes a perceived disorder.
Looking at it in that light, I was able to understand how genius Superposition is. Though I didn’t particularly like his work, Ryuji Ikeda was able to create this remarkable paradox. Yes, I left with a pounding headache and momentary deafness, but a greater perspective into how the human mind works and a distinction between order and chaos.
Superposition was an interesting performance to say the least. As I found my seat in the very last row of the upper balcony, I watched not only an extremely avant-garde performance take place, but also inspected the crowd down below whose bodies reflected the black and white lights of the glowing screens as if they were all being indoctrinated into some new realization of humanity. It kind of reminded me of that 1984 Macintosh commercial for some odd reason. Despite these irrational feelings, I still enjoyed Ikeda’s work. It was difficult to take in all of the screen movements, word progressions, and overarching meaning of the performance, but I think that is what made it amazing— it’s deliberate vagueness. I imagine this ambiguity may have created two kinds of critics: those that loved it because they found beauty in not being able to understand it all, and those that hated it because the element of full comprehension was missing. Like I mentioned before, I’d consider myself one who loved it.
The warm drubbing bass and the metronomic telegraph key that were subliminally present throughout kept the performance rolling for me. Design I thought, was an important element to the show as well and I think it attempted to speak to our existence’s dependency on pattern and rhythm. This was especially clear when the screens would mimic numerous pattern possibilities. I thought the dynamic between the screens and other machinery working in cooperation with these two people on stage was an interesting one. It seemed like a message about the limitless possibilities of mankind through computation. This became even more true when a quote I believe from William Blake’s The Marriage of Heaven and Hell appeared via one of the telegraphic messages: “If the doors of perception were cleansed everything would appear to man as it is, infinite.” This commentary on man’s infinite capabilities seemed like a pretty large theme throughout and I enjoyed that most of all.
I agree with your statements about the performance ending so abruptly – once I settled in to the idea that I would be uncomfortable and trying to listen closely and watch for a deeper meaning, the performance had ended. It took me that long to feel “okay” enough with the show that I would even be able to consider interpreting it.
I also felt that I was very self-focused during the performance. I was so aware of my own brain struggling to synthesize some type of meaning from the madness that I lacked the ability to synthesize any deeper understanding. The beautiful moments were really beautiful, but overall, I just didn’t come away from it with a positive or enriched feeling really.
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I didn’t hate the performance, nor did I enjoy it. Given the number of people in the audience who were covering their ears, I’m sure it was quite an uncomfortable experience for them, as it was for me. Once I got over the sensory overload and tried to ignore the fact that my eardrums and pupils were being abused, I tried to get a grasp on what everything meant. Was there supposed to be a deeper meaning? The Morse code section presented some thought-provoking ideas, but I found it difficult to find any significance in parts that didn’t have words. The only connection I made with the performance was when I thought of Chuck Bartowski getting the Intersect downloaded into his brain after seeing a million things flash before his eyes in a few short minutes. I couldn’t help but hope that I gained something from the chaos, even if subconsciously.
I found myself thinking more about how this experience was affecting my brain rather than a trying to find a deeper meaning. I thought about how the super-fast images really challenged the brain’s capacity to perceive and process information and the effect that had on my overall nervous system.
At some points, it got a little monotonous, which is why I found myself relishing in the moments that had color instead of just black and white and melody instead of white noise. Another thing I struggled with during this performance was the lack of direction; I mean, obviously it would be hard to have a plot with this type of performance, but everything seemed so random to me that I didn’t even know the performance was over until the lights came on and people started clapping. I guess I was expecting some sense of closure, which is why I was surprised when it just ended like that.
Superposition was either the most sublime performance I’ve witnessed, or the most useless one. The gimmick of building up, of crescendoing and intensifying, cycling towards something…and then suddenly blacking out was used multiple times. It was, in my opinion, a cop-out, a way for the performance to change topics without going through the difficulty of forming a cohesive segue. In this sense, I felt the performance was lacking.
However, there were elements of Ikeda’s work which I found compelling. The performers’ use of telegraphs and morse code as musical instruments and rhythmic components, while unpleasant to the ear, was skillful and innovative. Additionally, the use of math and geometry and physics to create art was a unique approach – it made me appreciate the beauty and definability within our universe. I’m usually unaware of these things, so in that way, it was enlightening to visualize plotting points as a medium for creating art.
I feel that if Superposition had focused more on this beautiful aspect of physics and mathematics, it could have engaged the audience much better than the overpowering and sensory overloaded approach which it used.
Perhaps, though, this is the sublimity Ikeda was aiming for. Maybe he wanted to make the audience uncomfortable – uncomfortable with the reality of the universe, the expansiveness, the interconnected-ness, the way in which everything can be linked through math and doesn’t have to be unknown and wondered about. Maybe that’s why this piece is well-respected. But maybe it’s just the fact that Ikeda utilized unique methods to state his point, a point which, in itself, is realized by thousands of scientists every year.
Personally, this performance was not one that I enjoyed. However, I recognize that it has merit and was going towards an interesting concept.
As I walked out of Superposition people were certainly making their opinions known. One person from a few rows behind me was repeating “trash, that was the biggest trash that UMS has ever put on.” Obviously, this is an incredibly strong statement, and one that I’m sure is being expressed in the comments as I type. However, my opinion could not be more different from that of the man walking out of the performance.
It’s true that Superposition was a veritable assault on the senses, and almost defied understanding by members of the audience; but this is the very beauty of it. Ryoji Ikeda, in this particular piece, was attempting to communicate quantum superposition; an idea that he said was beyond full human comprehension due to its complexity and infinite nature. Therefore, the performance of this idea must be incredibly complex, overwhelming, and indeed beyond our comprehension. So by nature of the fact that this spectator hated the performance, probably because it was discordant, and seemingly purposefully bad (although I understand I am putting words in his/her/their mouth), the performance worked. Like its quantum namesake, superposition, turned out to be beyond human comprehension, and beyond the ease of understanding of normal performances. This is, in my mind, why superposition was a great show; it really effectively communicated the complexity, and chaos, but also the beauty and overwhelming nature of quanta, random chance and data. Yes it was loud, yes it was fast, yes it was random, yes at times it was uncomfortable, because it needed to be.
I didn’t hate the performance, nor did I enjoy it. Given the number of people in the audience who were covering their ears, I’m sure it was quite an uncomfortable experience for them, as it was for me. Once I got over the sensory overload and tried to ignore the fact that my eardrums and pupils were being abused, I tried to get a grasp on what everything meant. Was there supposed to be a deeper meaning? The Morse code section presented some thought-provoking ideas, but I found it difficult to find any significance in parts that didn’t have words. The only connection I made with the performance was when I thought of Chuck Bartowski getting the Intersect downloaded into his brain after seeing a million things flash before his eyes in a few short minutes. I couldn’t help but hope that I gained something from the chaos, even if subconsciously.
I found myself thinking more about how this experience was affecting my brain rather than a trying to find a deeper meaning. I thought about how the super-fast images really challenged the brain’s capacity to perceive and process information and the effect that had on my overall nervous system.
At some points, it got a little monotonous, which is why I found myself relishing in the moments that had color instead of just black and white and melody instead of white noise. Another thing I struggled with during this performance was the lack of direction; I mean, obviously it would be hard to have a plot with this type of performance, but everything seemed so random to me that I didn’t even know the performance was over until the lights came on and people started clapping. I guess I was expecting some sense of closure, which is why I was surprised when it just ended like that.
I definitely agree with you Ruby. I felt the performance to be annoying, drawn out, and too bombarding of the senses. At one point I thought I was going to throw up! It seemed to me like the bombardment of music and light didn’t have as much to do with the physics concept as just to be annoying or attention-getting. Perhaps Ryoji felt his piece wasn’t quite avant-garde enough without them? I definitely also didn’t come out of the performance with any sense of a larger theme.
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Have you ever joined a couple of friends, who were mid-conversation, and had no idea what they were talking about? That sense of confusion is exactly what I felt during this performance. I was thrown into a conversation between Ikeda and his work, and I was left lost and frustrated.
At the beginning of the production, I promised myself that I would keep an open mind, but by the end, I was ready to hightail it out of there. Everything that occurred in the middle is a blur of light and sound, and I am still struggling to connect those senses into one, coherent picture. Inhuman sounds and blinding lights were constantly bombarding me. At times, I had to close my eyes and cover my ears in fear that my head would explode. I understand that this performance may not be the type where you leave with a clear mental representation of what just occurred, but I did not expect to leave with only a headache and a desire for peace and quiet.
This brings me to my question: is this performance something that can be appreciated by people who are not familiar with the mathematical aspect? Every graph, line, and number had a role to play in this production, but I was not able to decipher what any of those roles were. As much as I tried to understand the mathematic hodgepodge on stage, my attempts were fruitless, and I was left more confused than ever. Perhaps my biggest downfall was my need to make sense of this production. Maybe if I had just watched and listened without trying to connect it to a bigger theme, then I would have found more clarity in this piece. Then again, it is impossible for me to sit and passively watch something without trying to find some meaning in it.
I came into Superposition with very high hopes, expecting a musical performance supplemented by sound, images, and actors. I expected to see something that was on the forefront of art. What I experienced was that Superposition was a visual performance supplemented by actors and sound, which felt like it was taken out of a cheesy eighties movie where the Russians try to hack into US Government computers. The sound was often very annoying. It was generally high pitched and unpleasant. The images, while interesting, were very drawn out. Every sequence could have achieved its effect in about half of the time that it went on for. While the sequences were interesting, they were also very displeasing. At one point I believed that I was going to throw up, and considered leaving the theatre. It seems to me that the entire point of this performance was to scare, annoy, and otherwise displease the audience. I failed to make more than a few connections to the concept of superposition, in either the physics sense or the filmographic sense (though I will admit, I only have surface level understanding of the physics concept myself). The only connections that stood out to me were that there were two screens and two actors (for superposition in its physics meaning) and at one point there was one film superimposed over another (for superposition in its film meaning). Both of these were very surface level connections. While it could be argued that it is my fault that I was unable to make other connections, I reject that notion and place the fault solely on the creator of the piece. Whether he doesn’t understand the concept of superposition well enough to make connections or simply didn’t care enough to remains a discussion for a different day.
I also failed to gather direct meaning from Superposition. But as I thought about and discussed the performance more, a friend proposed the idea that maybe we weren’t supposed to entirely understand it. The data was overwhelming and certainly outside of my knowledge base, but perhaps there is meaning in the fact that we couldn’t understand it. Maybe Ikeda was suggesting that we won’t be able to understand everything out there in the world. Big questions like “What is love?”, “What is life?”, etc. have yet to be answered objectively. Maybe it’s okay if we don’t understand everything.
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“What is life? What is love?” read the telegraphs. It failed to ask, what is this performance?
Science and art. Math and music. Light and dark. Loud and complete silence. These strikingly opposite words all describe Ryoji Ikeda’s performance. While many enjoyed these varying dynamics, I did not. This performance seemed beyond my understanding.
While the different parts seemed interesting and insightful on their own, their correlation to the piece as a whole escaped me. For instance, the telegraph readings seemed meaningful, but of what? What message did they signify? Initially, the messages discussed information and its meaning with a very unique perspective: “Information is not knowledge.” Okay, so that seems like a very non-traditional approach to how we view information. This telegraph occurred during the black and white sequence of images. Later, the telegraphs moved from questioning the meaning of information to inquiring about the meaning of life, as mentioned earlier. The questioning of deep human values—life and love—were preceded by colored images instead of the initial, geometric, black and white visuals. This seems insightful, right? Adding color to symbolize the shift from a lifeless topic—information—to the emotional topic of human existence. But why? At this point, I still failed to understand what Superposition was trying to say. What was the meaning of this work as a whole? Maybe these two instances showcase a correlation—combining technology with meaning. However, the tuning forks and the zoomed in letters resembling a Scrabble board did not relate to the other two telegraph examples. I am by no means discrediting Ikeda’s skill or artistic perspective in Superposition; I am merely stating I did not understand it. Maybe my comfort with the traditional forms of performing arts hindered me from viewing this with a completely open mind, blocked me from reaping a meaning from his unconventional sounds and patterns. I left asking myself, what just happened? I still do not know.
Have you ever joined a couple of friends, who were mid-conversation, and had no idea what they were talking about? That sense of confusion is exactly what I felt during this performance. I was thrown into a conversation between Ikeda and his work, and I was left lost and frustrated.
At the beginning of the production, I promised myself that I would keep an open mind, but by the end, I was ready to hightail it out of there. Everything that occurred in the middle is a blur of light and sound, and I am still struggling to connect those senses into one, coherent picture. Inhuman sounds and blinding lights were constantly bombarding me. At times, I had to close my eyes and cover my ears in fear that my head would explode. I understand that this performance may not be the type where you leave with a clear mental representation of what just occurred, but I did not expect to leave with only a headache and a desire for peace and quiet.
This brings me to my question: is this performance something that can be appreciated by people who are not familiar with the mathematical aspect? Every graph, line, and number had a role to play in this production, but I was not able to decipher what any of those roles were. As much as I tried to understand the mathematic hodgepodge on stage, my attempts were fruitless, and I was left more confused than ever. Perhaps my biggest downfall was my need to make sense of this production. Maybe if I had just watched and listened without trying to connect it to a bigger theme, then I would have found more clarity in this piece. Then again, it is impossible for me to sit and passively watch something without trying to find some meaning in it.
Ryoji Ikeda’s Superposition entirely surprised me. I’ll admit that I went to the Power Center expecting nothing more than a headache invoking sequence of bright lights and beeping. With the extremely high pitched noted at the beginning of the performance, I at first thought that my expectations would be confirmed.
However, my attitude toward the performance quickly changed. Ikeda managed to take noises and images that are generally written off simply as dry, confusing, data and turn them into an overpowering experience. Although the sounds and images were harsh, I found myself completely enthralled by the performance, drawn in so much that I couldn’t separate myself from the sound. I was incredibly impressed that the traditionally opposed realms of science and art were linked so flawlessly. Art relies on the artistic to relay meaning while the sciences relay on the scientific. Superposition blurred this distinction in a way I previously thought impossible. I never expected that data could participate in creativity.
The harsh sounds and piercing lights compelled me to turn away and plug my ears, but at the same time paralyzed me so that all I could do was direct my attention to the stage. It almost seemed that Superposition had a kind of hypnotic power. I was unable to analyze the performance; much like the sciences which Ikeda’s data and images are associated with it lay totally outside my realm of understanding. Despite this however, I left the Power Center feeling that whatever was being portrayed by Ikeda’s performance was relevant to me. Ikeda’s Superposition relayed some sort of artistic interpretation of the world that I previously expected could only be represented by traditionally artistic means. While the components of the performance seemed like utter chaos to me, there certainly existed an order, an explanation within the chaos. This paradox drew me into the performance, and left me with an impression of confusion, surprise, and amazement.
This was an incredibly interesting comment for me to read because after the performance, I had thought to myself: Hey, what if you didn’t try so hard to understand what was going on and just observed? The key to this strategy, however, is actually being able to relax your mind. It is much easier said than done because when I try to stop focusing on something, I end up focusing on not focusing. My mind refuses to stop, and I end up more frustrated than when I started. I respect your ability to relax your mind, and I will definitely work on that during future productions.
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While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
I do wish, like you said, we got that chance to ask Ikeda questions about the performance. The information was so rapidly fired at us and there was so much of it, it was hard to understand which parts were fundamental to the entire piece. It almost seemed like nothing was unnecessary because it was so well planned, but it would still have helped to ask Ikeda what it all meant. I wish that I had come out of this performance understanding a little bit more then when I went in, but instead like you I felt confused. I can’t say out whether I loved or hated this performance. Obviously, this performance wasn’t for me and you, but somehow I wish it was.
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I can’t admit that I knew for certain what I was getting into when I took my seat for this performance.
I had nothing to go off of aside from a few mentions of its use of multimedia to bring together music and science, some “technological spin on theatre” that the few people I spoke with half-joked about in their confusion. Whatever it was, it was going to be something not entirely expected. Certainly not understood by those who did not have experience with the work and genre previously.
This was, I think, a fulfilled promise for the most part.
The entirety of the performance made clear to immerse its audience with an influx of information, at times aggressively ( which, thinking back on it, was probably the point). Incorporating mathematical concepts to more introspective theories, limiting the voices and words of those on stage in order to paradoxically allow thoughts to be expressed more cohesively; the piece clearly wanted to do a lot at once, and in the time allotted very literally shoved this information out, challenging the audience to grasp at whatever they could. This I found personally to be the most interesting: I could easily sit there without any attempt at retaining the information presented, and still walk away and see the phrases flashing, remember sequences of words and graphs that appeared and reappeared in quick succession. Whether or not you may agree with the sentiments expressed, it seemed difficult to leave the performance and not want to ask Ryoji Ikeda for explanations in the same forceful, rapid-fire with which he presented them to you.
It was stressful and aggressive, and oddly cathartic.
I’m not sure if this was entirely for me. When I left the performance I ran into someone who looked like they had just gotten out of something they weren’t sure they loved or hated. Mostly dazed, a little tired. I doubt I looked any different.
Sarah, I like your comments about order and how we seek order. This is really different from my perspective– I struggled to see order and a pattern in this performance. Especially in relation to the black and white squares–I just didn’t know what the images had to do with the sounds. I knew it was there– Ikeda is a famous guy so he obviously knows what he’s doing. I just didn’t see it. But it looks like you did. Maybe I should have stopped trying to seek out a correlation/order in this and just listened.
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While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
“What is life? What is love?” read the telegraphs. It failed to ask, what is this performance?
Science and art. Math and music. Light and dark. Loud and complete silence. These strikingly opposite words all describe Ryoji Ikeda’s performance. While many enjoyed these varying dynamics, I did not. This performance seemed beyond my understanding.
While the different parts seemed interesting and insightful on their own, their correlation to the piece as a whole escaped me. For instance, the telegraph readings seemed meaningful, but of what? What message did they signify? Initially, the messages discussed information and its meaning with a very unique perspective: “Information is not knowledge.” Okay, so that seems like a very non-traditional approach to how we view information. This telegraph occurred during the black and white sequence of images. Later, the telegraphs moved from questioning the meaning of information to inquiring about the meaning of life, as mentioned earlier. The questioning of deep human values—life and love—were preceded by colored images instead of the initial, geometric, black and white visuals. This seems insightful, right? Adding color to symbolize the shift from a lifeless topic—information—to the emotional topic of human existence. But why? At this point, I still failed to understand what Superposition was trying to say. What was the meaning of this work as a whole? Maybe these two instances showcase a correlation—combining technology with meaning. However, the tuning forks and the zoomed in letters resembling a Scrabble board did not relate to the other two telegraph examples. I am by no means discrediting Ikeda’s skill or artistic perspective in Superposition; I am merely stating I did not understand it. Maybe my comfort with the traditional forms of performing arts hindered me from viewing this with a completely open mind, blocked me from reaping a meaning from his unconventional sounds and patterns. I left asking myself, what just happened? I still do not know.
Superposition is precisely about the “encounter of randomness and control” which was specifically mentioned by Ryoji Ikeda in his interview with Peter Weibel on July 31, 2012. Ikeda purposely creates randomness with an intention to distinguish its counterbalance. With this expectation already instilled in my mind, I was able to detect several nuances that changed my aesthetic view of digital art.
The first encounter of randomness, perhaps, was unpleasantly “shocking” for many people. I have to admit that I also experienced some unease by the white and black slides blasting relentlessly in high frequencies. However, I noticed something structured and organized, apart from this mosaic chaos. Effacing all the cacophonies from the electric shocks and heeded closely at the time-clicking sound at the background, I was able to see sinusoidal waves. They were delineated by black screens aligned at discrete positions at certain time increments. Like the phi phenomenon ascribing the path of a fast-moving flashlight to our cognitive activities, the waves seemed to stimulate similar responses in our brains. Suggestively, Ikeda wanted to underline the fact that our minds are prewired to search for patterns in random dynamics of nature.
Another conclusion I drew from this episode is the quantum theory of wave-particle dualism. In analogy to this concept, each screen represents particulate property of light; but when you see them as a collective body, its wave-like quality becomes readily perceivable.
If Ikeda was playing a slot machine with the blasting screens, he would never wait for his prize to happen by chance. Instead, he would rather take control over time and make sure every figures will align with one another at his discretion just like he demonstrated here.
I had not taken time to connect the idea of superposition with the confusing messages on the screen, which was an obvious fault on my part. That is a really insightful way of explaining why the messages were so convoluted and sometimes a challenge to read. I still think I would have benefitted from a second viewing where I could have changed my focus and experienced another side of the production shifting the limits and possibly getting something different from the performance.
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I understand that Ryoji’s work isn’t everyone’s cup of tea, largely based on amplitude and strobe tolerance, so I don’t want to be misunderstood to say you have to change your opinion about the performance. I’m just a little concerned when you criticize that each performer would spell different things and “the audience was expected to decode both at the same time”. Based on the concept of quantum superposition, a large part of the artistic statement of the piece is at any point in time something exists in all of its potential states, but when measured (or observed) it reduces to one (this is a simplification and I’m no scientist, so someone should feel free to explain better). Considering this, I don’t think the audience is “expected” to decode both at the same time. I think the audience was expected to consider the potential for multiple states and experience the limitations of observation.
As I was directed to my seat and handed earplugs, my heart began racing; I did not know why earplugs were a necessity for the viewing of “Superposition.” In reaction to this gift of earplugs, I found myself perching on the edge of the seat and constantly looking at the other spectators seated in the vicinity, all of us just waiting for some catastrophic noise or loud explosion. I believe that this feeling of terror held me back from enjoying and analyzing the production to help discover the message that Ryoji Ikeda tried to communicate.
I struggled with accurate reading of the various messages the two performers communicated through Morse code, since they were sometimes typing the same message and other times typing different messages or one with minimal variation, so I did not know whether I needed to be switching between the two screens or if I could focus on one screen. I definitely missed some of the important points due to my inability to efficiently read the screens simultaneously. The lack of spaces and rapid pace of the sentences added to the battle with reading and comprehending each message. I wish that I could have been able to see the sentences the performers presented on the screens for a longer period of time, but I can see how that would take away from the fast-moving, intense performance because some of the viewers may lose interest if the sentences lingered too long. It is a difficult balance to find the exact right time to allow the viewers to read.
Overall, I think I would have benefitted from a second viewing of “Superposition.” I was overwhelmed with the experience as a whole and knowing what to expect would have helped me to understand the performance better.
Your interpretation of the performance based on its title’s scientific meaning is very interesting. I also thought that “Superposition” expressed the intertwining and overlapping of two realms: technology and traditional live performance. I think the performance, while shocking, had the potential to change the audience’s perspective on art as a whole. Your analysis was very profound, but I wonder what you thought of the performance as an audience member. Did you enjoy it?
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Ryoji Ikeda’s “Superposition” is defined by the dictionary as the “overlapping of waves.” In the most basic sense, this is certainly true. However, the waves this performance is concerned with are not those of displayed on the screen, but rather the clashing of two seemingly different disciplines: science and music.
Science is universally understood to be a formulaic discipline. There are laws that must be followed and equations that must be used, leaving little room for interpretation. Music, on the other hand, lends itself to more diverse interpretation. Each musician can communicate a unique message to his or her audience as they sit enraptured by the sound. “Superposition” draws upon both of these elements.
There is no denying the formulaic element of the performance before our eyes. The catalysts for much of the noise, the two humans, sit motionless as they surgically tap rhythm after rhythm. After each tap, waves appear on the large screen behind them, overlapping each other as they run from both sides of the monitor. Graphs and charts flash quickly before our eyes, followed by more pictures.
At the same time, we are aware of the musicality of the performance: the ever-present metronomic beeping in the background, the Dubstep-esque finale that blinds both our eyes and our ears, and the noises in general that are impossible to ignore.
“Superposition” is not only speaking of the overlapping waves that the two performers on stage are creating with their endless tapping, it is asking us to look even broader at the overlapping waves of music and science. It forces us to consider sound from a different perspective. The sounds on the stage, particularly the beeping from the data input, can be heard in many variations in our everyday life. How much music do we fail to acknowledge everyday and how much music do we unwittingly create?
The auditorium was NOT “half empty” from my seat (main floor center). I’d guesstimate it was 3/4 FULL and a very happy “full” it was! The balconies were full, too. Performers kept looking up there, acknowledging ALL the people. It was
a spectacular concert and, thankfully, MANY folks attended and filled the walls with JOY! ! !
My husband, Joe Recchia, is the President of the Michigan Accordion Society. We attended the concert last night at the Hill Auditorium in Ann Arbor Michigan. We were amazed at what wonderful talent we saw! We hope that there will be more concerts like that one here in Michigan! To learn more about the Michigan Accordion Society check us out at http://www.michiganaccordion.org and “like” us on Facebook!
“Superposition” was an hour-long struggle to create a sense of well, sense. While the inhumanely bright strobe and incomprehensible streams of data battered my physical senses, I kept trying to weave the performance, scene-by-scene, into some kind of story. Why was there a repeating pattern of progression from near-silence to total audio and visual cacophony, then silence and darkness? Did the sequence of scenes sum up to some larger message or concept?
In the end, I felt as though I were looking with a scientific eye at something that can’t be described that way. The only explanation for the repeated build-ups and silences I could come up with was that these “scenes” were discrete, like different songs on a CD. There was little or no direct relation that I could see between them. For most of the performance, I could only sink back into my seat, distracted by the fragmented mess of consciousness that were the many monitors that glared up at me and anxiously anticipating the next head-throbbing blast of noise. I couldn’t think. I could only feel.
My feelings, it turned out, offered me a better explanation. Until the part where the performers displayed old news articles to gentle, optimistic-sounding orchestral music, I felt fear that came from how “inhuman” and cold the music and visuals were. The performance gradually became more “human,” to me, culminating in the scene where the two large displays ran statements simultaneously, notably: “What is love? Never ask/ What is peace? Never answered.”
Then bedlam happened. The displays went back to computer-generated 3-D spreads of data, and again tried to give me a headache. Maybe there is no concrete meaning behind this, but I now see a theme: a collision between subjective human “understanding” and the “knowledge,” or data, which are facts, held by machines. Do they contradict each other, or can they be combined (superimposed) on one another to yield a new reality?
I really enjoyed the tuning fork demonstration as well. It transported me to a new kind of consciousness, because I usually don’t think about the fact that what I hear is fluctuating waves–I just call it sound. It’s interesting that you want to see even closer images of the forks vibrating–why is that? I can tell you from experience that there not much to see, unless you put the vibrating fork into a bowl of water. Then the vibrations cause the water to splash out of the bowl with the range corresponding to the pitch and size of the fork.
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This performance was very different than anything else I have ever experienced. While I really enjoyed some parts of the show, I found others slightly confusing and frustrating.
Personally, my favorite part was with the tuning forks. I found it remarkable to watch the sound waves being altered. I could see and hear the frequency and amplitude change as time passed and as different tuning forks were used. Thus, I appreciated being exposed to these basic sounds in a new, abstract way. Moreover, this part really pointed out the natural beauty of science, and the soothing sounds contrasted with the other ear throbbing noises present in the rest of the performance. However, I wish the members of the audience were able to see the performers’ actions more closely during this part of the show. I would have really liked to observe the vibration of the tuning forks in addition to the projection of the sound waves.
On the other hand, I also found certain parts of the show slightly frustrating. For example, I did not know what all the random numbers in the beginning of the performance represented. As a result, I found it difficult to connect with this part. I wish there was an explanation in the program regarding why these numbers had been chosen. Do they represent numbers that reoccur in nature? In addition, I also found it slightly frustrating when the audience never found out the exact meaning of the sentences being typed out. All of the blanks were filled with random letters and numbers instead of words. In other words, the ambiguity of the meaning of this performance caused the confusion and frustration I was feeling. Nevertheless, this was definitely a unique performance that I am happy I had the opportunity to attend.
Are technology and art two separate worlds, or are they two parts of a cohesive unit? Watching Ryoji Ikeda’s “Superposition” made me question my previous beliefs about performance and what it can entail. As a possible computer science major, I had a great appreciation for the amount of effort it must have taken to program the show. The technical aspects at certain points of the show were simply astounding. However, as an audience member, I found the show very difficult to watch.
The overwhelming visual and auditory components of the show were painful at times, and I found myself squirming around in my seat while other audience members decided to leave the theater all together. Throughout most of the performance, my senses were over-stimulated, which made me feel quite uncomfortable and distracted me from trying to find some sort of meaning in the piece. I could occasionally identify with some of the musical, rhythmic aspects of the performance, but it was hard to enjoy these moments before they were quickly interrupted by another excruciating sound or flash of light.
While I personally didn’t enjoy the overall experience, I think that it was Ikeda’s intention to make the audience uncomfortable. I also think that he wanted us to interpret the show in our own way because the piece does not have any concrete meaning or purpose. This became clear to me when the multiple definitions of “superposition” that appeared on the screens had most of the words covered with a scrolling and ever-changing series of numbers and letters.
Although I would not consider this to be a traditional performance, and although I did not particularly enjoy it, I now consider technology to be more of an art form than I did previously.
Fantastic! One of the most fun concerts I’ve been to in years. What talent. Who would have thought there were so many accordion virtuosos out there! Too bad the auditorium was half empty. I can’t wait to see them again someday.
Let’s be clear about Lawrence Welk, it will still be on television long after Seinfeld is out of syndication.*
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That was good clean fun! Was reminded of my childhood in Cleveland…the old man who stood outside of the grocery store and played the accordian. My Mom would give me a nickel and I would put it in a slot on his accordian and he would play a song. There was a long running TV show at noon on Sundays called Polka Varieties….no need to explain. When I was in middle school we lived near Parma, which was a big ethnic suburb and on Saturday nights we would sleep in the basement and watch a movie host called the Ghoul. I know for a fact it was syndicated in Detroit and Cincinnati where I have also lived. This Beatnick/Grave Digger would pillory all thing ethnic….it was just a sin to wear white socks to school or high water pants or have chrome balls or pink flamingos in your yard. Now the world has become murky with too much data and anarchy…it’s nice to go back in time and sit with your parents and Grandparents in front of Lawrence Welk on the B&W T.V.
It’s interesting that you brought up the concept of order and the human mind. It is true that the human brain will seek out answers that make the most sense. This performance could also be a good representation of how we seek order in randomness and chaos
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While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
Wonderful display of every popular Accordion was showcased by some of the very best accordionists throughout the world at the Hill Auditorium in Ann Arbor, MI on Saturday November 1, 2014. Over 45 musicians entertained and engaged the audience with an incredible passion and selection of a great variety of songs which brought various flavors of music through the use of the instrument.
The Hill auditorium was a perfect venue which featured three stages of performers, stage Left featured Julien Labro with the Spektral Quartet, Stage left featured the Irish Duo John Williams & fiddler Liz Carroll and center stage featured accordion virtuoso Alexander Sevastian and the Accordion Virtuoso of Russia Orchestra. Julian Labro did a wonderful job Emceeing the event!
The show featured many styles of the Accordions such as the Piano and Button style, the Bandoneon, Concertina, Diatonic Chromatic, Accordina and Bayon and all were presented masterfully from Classical to Tangos, to Folk music, to an incredible three accordion improvisations of the Beer Barrel Polk which featured each of the artists performing a solo with flavors from Classical to Folk to a Jazz variation which was presented with brilliant artistry! (Set list of the event is below)
The University of Michigan Musical Society worked closely with the Michigan Accordion Society to help promote the event and reached out and sold tickets to well over 1,000 people of all age groups and ethnicities.
We are very thankful to the wonderful staff and ushers at the University Music Society for welcoming and hosting the Michigan Accordion Society, Board Members, Members and their guests and allowing us to help promote our organization! Thank you!
I agree that Ikeda’s performance was very interesting and unique, but I would not say that it was enjoyable. The flashing lights and loud, high-pitched noises served a purpose, but they were not sights or sounds that I would ever choose to experience. I do agree that the presence of human performers was essential to the show and allowed the audience to connect with the performance.
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Ryoji Ikeda’s work was overwhelming, disorienting, even at times anxiety-producing. This probably turned off many viewers. But what better way to represent mass data and modern technology and science? The modern world is disorienting to say the least, particularly when it comes to the ever-expanding tech world. To Superposition’s detractors, I can only say that every emotion I felt during the performance, every confused thought or feeling of bafflement, was only a heightened version of those experienced when confronted with the bewildering, awe-inspiring world of contemporary science.
And yet there was structure to Ikeda’s chaos. He did not create the hectic, mind-boggling moments of the performance to reflect modern science without comment. The more “peaceful” intervals of the piece served to illustrate the connections and overlaps between man and big data. While Superposition begins and ends with the all-consuming presence of data—the screens filled with numbers and images incomprehensible to the average viewer, waves of impersonal tech sound coming at the audience from all directions—but the human element is essential to the show, and made a huge impact on my experience. Ikeda is not placing man and machine (or data) on opposite poles, struggling against each other. The human “performers” are placed in the midst of the levels of technological visual representation, playing with various ways of manipulating the technology that surrounds them. Neither man nor machine is supposed to win, that’s beside the point. The human presence, at least for me, made sense of the staggering crush of information and representation that the show contained.
Superposition brought up dozens of fledgling thoughts lodged in the back of my mind, and articulated them in more engaging, challenging way than I would have thought possible. This wasn’t a performance intended to be easy to understand, or perhaps even to like (many reacted strongly to strobe-type lighting and the technological, often ear-splitting noise). But for me, it was one of the most unique, revelatory, and genuinely enthralling events I’ve ever experienced.
This performance was very different than anything else I have ever experienced. While I really enjoyed some parts of the show, I found others slightly confusing and frustrating.
Personally, my favorite part was with the tuning forks. I found it remarkable to watch the sound waves being altered. I could see and hear the frequency and amplitude change as time passed and as different tuning forks were used. Thus, I appreciated being exposed to these basic sounds in a new, abstract way. Moreover, this part really pointed out the natural beauty of science, and the soothing sounds contrasted with the other ear throbbing noises present in the rest of the performance. However, I wish the members of the audience were able to see the performers’ actions more closely during this part of the show. I would have really liked to observe the vibration of the tuning forks in addition to the projection of the sound waves.
On the other hand, I also found certain parts of the show slightly frustrating. For example, I did not know what all the random numbers in the beginning of the performance represented. As a result, I found it difficult to connect with this part. I wish there was an explanation in the program regarding why these numbers had been chosen. Do they represent numbers that reoccur in nature? In addition, I also found it slightly frustrating when the audience never found out the exact meaning of the sentences being typed out. All of the blanks were filled with random letters and numbers instead of words. In other words, the ambiguity of the meaning of this performance caused the confusion and frustration I was feeling. Nevertheless, this was definitely a unique performance that I am happy I had the opportunity to attend.
“Chicken. Pheasant and chicken, chicken is a peculiar third.”
-Gertrude Stein, “Tender Buttons”
When I first read Gertrude Stein’s, “Tender Buttons,” I was confused and slightly annoyed that this poem qualified as meaningful poetry. It wasn’t until after I had researched the sound poetry movement that I began to appreciate “Tender Buttons” for the radical piece that it is. In the same manner, upon seeing Ikeda’s, “Superposition,” I was shocked and found the performance bereft of any real meaning. However, as I analyzed the physics behind it, I began to appreciate the performance more. There were moments during the performance in which clarity of purpose was achieved. When the performers were typing, the juxtaposition of the their messages on the screen made the connection between the superposition principle and the performance more apparent to the audience. This is, in part, because the typing sequence was one of the only scenes in which language was used to convey Ikeda’s vision. Common language is a universal bridge between people of all backgrounds and interests. People who are interested in technology could appreciate and understand parts of the performance that those who aren’t interested in technology couldn’t. The mathematics behind the performance was lost on people who lacked a mathematical background. However, every member of the audience who was literate could understand the typing sequence of the performance. The nearly parallel statements made on screen emphasized the inevitable impact that science and religion have on society both as separate entities as well as concepts that work in conjunction with each other. Although I will never concede that “Superposition” is an enjoyable performance, but I understand and appreciate Ikeda’s attempt to visually and sonically represent the superposition principle.
WOW. I didn’t know what to expect going into the concert, but I was blown away. It was beautiful, fun, and fascinating. The performers are true virtuosos.
This week, I went to two separate events, where Ryoji begrudgingly sat with academics while they picked apart, analyzed and attempted to intellectualize his piece.
At the Michigan Theatre they tried to define, to him, what kind of artist he is and what his piece meant. His response was (paraphrased) “I just wanted to make something big and cool, so I did”.
At the Power Center, physicists discussed the superposition of sound & visuals and the symbolism they saw in the piece. Ryoji usually responded with something like “I’m not an actual scientist and the visuals are more or less arbitrary”.
It was funny seeing him paid to be dodgy to university types and his “just come and see for yourself” send-off at both events helped build anticipation.
When the time finally came to experience it, we were seated as close as we could possibly be – exactly front and center.
It lasted roughly an hour, incorporating his trademark sine and white noise audio pieces, constantly changing visuals on somewhere in the neighborhood of 20 unique displays as well as two performers who contributed to both the sound and visuals.
I felt a lot of things throughout the performance. Some moments were like living in a sort of cyberpunk cream dream/nightmare. Others were like being witness to a major scientific breakthrough. I even had a moment where I felt like I was staring into the eye of “God”.
Whether there was a larger message or if it was just a massive scale 21st century techno-dadaist piece with challenging music and killer visuals, Superposition was undoubtedly my favorite experience of live art or music to date.
It’s been really interesting to hear all of the perspective and speculation coming from the academic community, art & music nerds and whoever else has been made aware of it. If the purpose of art is to get you to think, this is point-proven effectiveness.
Anyone who slept on it simply made the wrong choice.
Remarkable artistry, and especially appreciated the opportunity to hear Alexander Sevastian. It would have been nice to have the set list at the concert. I could have done without all the cruise ship flamboyance, and I never go to concerts to listen to the audience clap, but there were great individual performances and a very enjoyable evening.
Hi everyone! Here is the set list for the concert:
Accordion Virtuosoi of Russia:
First-half opening piece:
1. Mikhail Glinka, Ruslan and Ludmila (Overture)
Second-half set:
2. Georges Bizet, Carmen (Overture)
3. Scott Joplin, Ragtime
4. Shekotov, “Volga tunes” (arr. Shalayev)
5. Alexander Tsfasman, Flurries
6. Joe Vinuti, Jazz Improvisations
7. Konaev, “Gypsy tunes”
Concert Encore:
8. Aram Khachaturian, Sabre Dance
Finale (three accordion improvisations):
Jaromír Vejvoda, “Beer Barrel Polka”
Alexander Sevastian:
J.S. Bach
Organ Toccata and Fugue in d minor
Bogdan Precz
12 in 4
Carl Maria von Weber
Konzertstuck (excerpt: Finale)
We can name all the pieces performed by Accordion Virtuosi if necessary.
And I would like to express our gratefulness to Saba, who had helped and supported on backstage.
Thank you very much for your support! It wouldn’t be that easy without you!
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I was just wondering if the names of the pieces will be published anywhere
I understand that Ryoji’s work isn’t everyone’s cup of tea, largely based on amplitude and strobe tolerance, so I don’t want to be misunderstood to say you have to change your opinion about the performance. I’m just a little concerned when you criticize that each performer would spell different things and “the audience was expected to decode both at the same time”. Based on the concept of quantum superposition, a large part of the artistic statement of the piece is at any point in time something exists in all of its potential states, but when measured (or observed) it reduces to one (this is a simplification and I’m no scientist, so someone should feel free to explain better). Considering this, I don’t think the audience is “expected” to decode both at the same time. I think the audience was expected to consider the potential for multiple states and experience the limitations of observation.
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Ikeda’s “Superposition” was pure sensory overload to the point that it was actually an assault on the visual and auditory systems. Although, I assume that this effect was intentional and that Ikeda designed the performance to make the audience feel sensually uncomfortable and disoriented.
I have some general criticisms on the way that the show was produced and how it was staged at the Power Center. I don’t think that seats should have been sold for the balcony. The two smaller rows of screens were impossible to see from that height. Additionally, the auxiliary speakers and the projectors hanging from the ceiling blocked the view of the larger screens and ultimately disrupted my viewing experience.
The use of morse code was not well executed. Since the morse code messages were only use of words in the show, this was only opportunity to get a direct verbal message across to the audience. However, since there was no spaces included in the complex and long winded sentences, it was difficult to understand. The confusion was augmented by the fact that each performer was spelling out different things and the audience was expected to decode both at the same time.
Ultimately, I was very disappointed with the performance of “Superposition”.
While I was not able to listen to these interviews, I’d have to agree that I would not be without my criticisms if I were promised something more synchronized, something organized conceptually. The production did in fact seem more like small explorations in ideas that, while intense, seemed to fit in individual sections than follow something thematic.
The performance was captivating, but I would have to agree with your understanding of it as being an example of episodes, rather than a clear flow.
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Thank you UMS for presenting events such as superposition that extend the limits of what we consider art. That said, my critical comments: I attended the Stamps lecture, Saturday Morning Physics, and the Saturday performance. Stephen Rush did a decent, if somewhat colloquial, job of interviewing Ryoji Ikeda. At this interview, I began to sense Ikeda’s clear grasp of fundamental concepts. Saturday morning’s session went well with each of the three interviewees addressing fundamental topics. Ikeda, again, was able in his brief replies to express the content and relationships of important concepts. superposition itself is impressive in its variety, sonic landscape and the massive data flow to at least fourteen, apparently synchronized, two-dimensional displays. However, I didn’t see Ikeda’s clear conceptual thinking, evident in his interviews, in the piece. Instead, it seems to be a sequence of disconnected episodes, each of which, apart from some interesting texts at times, is seemingly meaningless. I wouldn’t attend a similar production in the future, but am glad I saw this one. Nevertheless, please UMS continue bringing us events that challenge us and enrich our experience.
I couldn’t agree more. I think that the supposed “openness” is not as widespread as some would hope to believe. I’m glad to hear you took your family as well, I wish I had seen this type of thing at 15. Many students unfortunately need things to be required to even fake an interest, which is unfortunate, but there are still many that appreciate the things that UMS and other organizations have to offer. I think that advertisement plays a role, but I think other methods that cater more to the young student demographic would increase attendance more than printing some posters. As an arts ambassador I hope to do things like that.
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I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
I can’t admit that I knew for certain what I was getting into when I took my seat for this performance.
I had nothing to go off of aside from a few mentions of its use of multimedia to bring together music and science, some “technological spin on theatre” that the few people I spoke with half-joked about in their confusion. Whatever it was, it was going to be something not entirely expected. Certainly not understood by those who did not have experience with the work and genre previously.
This was, I think, a fulfilled promise for the most part.
The entirety of the performance made clear to immerse its audience with an influx of information, at times aggressively ( which, thinking back on it, was probably the point). Incorporating mathematical concepts to more introspective theories, limiting the voices and words of those on stage in order to paradoxically allow thoughts to be expressed more cohesively; the piece clearly wanted to do a lot at once, and in the time allotted very literally shoved this information out, challenging the audience to grasp at whatever they could. This I found personally to be the most interesting: I could easily sit there without any attempt at retaining the information presented, and still walk away and see the phrases flashing, remember sequences of words and graphs that appeared and reappeared in quick succession. Whether or not you may agree with the sentiments expressed, it seemed difficult to leave the performance and not want to ask Ryoji Ikeda for explanations in the same forceful, rapid-fire with which he presented them to you.
It was stressful and aggressive, and oddly cathartic.
I’m not sure if this was entirely for me. When I left the performance I ran into someone who looked like they had just gotten out of something they weren’t sure they loved or hated. Mostly dazed, a little tired. I doubt I looked any different.
I agree about the balcony positioning. While I still enjoyed the performance, the balcony seats were definitely a pain. Several projectors obscured your view of the main large screen, which was intended to be very immersive. It was definitely harder to fully immerse yourself in the experience with the limited view, and it was difficult to read some of the text on the smaller screens.
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Ikeda’s “Superposition” was pure sensory overload to the point that it was actually an assault on the visual and auditory systems. Although, I assume that this effect was intentional and that Ikeda designed the performance to make the audience feel sensually uncomfortable and disoriented.
I have some general criticisms on the way that the show was produced and how it was staged at the Power Center. I don’t think that seats should have been sold for the balcony. The two smaller rows of screens were impossible to see from that height. Additionally, the auxiliary speakers and the projectors hanging from the ceiling blocked the view of the larger screens and ultimately disrupted my viewing experience.
The use of morse code was not well executed. Since the morse code messages were only use of words in the show, this was only opportunity to get a direct verbal message across to the audience. However, since there was no spaces included in the complex and long winded sentences, it was difficult to understand. The confusion was augmented by the fact that each performer was spelling out different things and the audience was expected to decode both at the same time.
Ultimately, I was very disappointed with the performance of “Superposition”.
Ryoji Ikeda’s work was overwhelming, disorienting, even at times anxiety-producing. This probably turned off many viewers. But what better way to represent mass data and modern technology and science? The modern world is disorienting to say the least, particularly when it comes to the ever-expanding tech world. To Superposition’s detractors, I can only say that every emotion I felt during the performance, every confused thought or feeling of bafflement, was only a heightened version of those experienced when confronted with the bewildering, awe-inspiring world of contemporary science.
And yet there was structure to Ikeda’s chaos. He did not create the hectic, mind-boggling moments of the performance to reflect modern science without comment. The more “peaceful” intervals of the piece served to illustrate the connections and overlaps between man and big data. While Superposition begins and ends with the all-consuming presence of data—the screens filled with numbers and images incomprehensible to the average viewer, waves of impersonal tech sound coming at the audience from all directions—but the human element is essential to the show, and made a huge impact on my experience. Ikeda is not placing man and machine (or data) on opposite poles, struggling against each other. The human “performers” are placed in the midst of the levels of technological visual representation, playing with various ways of manipulating the technology that surrounds them. Neither man nor machine is supposed to win, that’s beside the point. The human presence, at least for me, made sense of the staggering crush of information and representation that the show contained.
Superposition brought up dozens of fledgling thoughts lodged in the back of my mind, and articulated them in more engaging, challenging way than I would have thought possible. This wasn’t a performance intended to be easy to understand, or perhaps even to like (many reacted strongly to strobe-type lighting and the technological, often ear-splitting noise). But for me, it was one of the most unique, revelatory, and genuinely enthralling events I’ve ever experienced.
Blinding white light, a trembling theater, and the fear rushing into my body, all these things and more were what I felt at Ryoji Ikeda’s Superposition. This performance was beyond complicated and very different from anything I have seen before, but it was not something I can truly claim to have understood. For me, Superposition did not convey a deeper meaning nor enlighten me to anything, but rather serve to stir two very primal emotions, fear and wonderment.
The whole production began with a deep bass note flooding the theater. This bass note was a reoccurring sound and each time it played I could feel my seat and vocal cords vibrating along. This unnatural and intense feeling was the first thing that instilled a sort of fear in my body. The high-pitched note that followed and also continued throughout the production cause my ears pain, once again causing fear. The sudden and rapid flashing of bright white lights on the screen also continued to play with my fear. The entire performance was filled with this music and lighting whose main purpose seemed to be to make me afraid.
Despite the many moments that caused me fear, there were also moments of pure beauty and wonderment in this performance. In these scenes calmer music or no music was playing. The two scenes that most vividly caused my wonderment were the shots of nature with the questions and answers, such as “What is love? Never ask” and “What is peace? Never answered,” and the moment when they were tones played and we watched the sound waves. Unlike the other scenes these ones fed on my emotion of wonderment. In these moments, I felt more of a connection with the performance and felt there was more of a philosophical tone.
Overall, I cannot conclude whether I liked this performance or not, or if it was good or not. There are too many questions left unanswered for me and I didn’t take enough away to feel like I gained something from seeing this performance. All I can definitely say is that Ikeda caused the arousal of two emotions without too many words.
Ikeda’s “Superposition” was pure sensory overload to the point that it was actually an assault on the visual and auditory systems. Although, I assume that this effect was intentional and that Ikeda designed the performance to make the audience feel sensually uncomfortable and disoriented.
I have some general criticisms on the way that the show was produced and how it was staged at the Power Center. I don’t think that seats should have been sold for the balcony. The two smaller rows of screens were impossible to see from that height. Additionally, the auxiliary speakers and the projectors hanging from the ceiling blocked the view of the larger screens and ultimately disrupted my viewing experience.
The use of morse code was not well executed. Since the morse code messages were only use of words in the show, this was only opportunity to get a direct verbal message across to the audience. However, since there was no spaces included in the complex and long winded sentences, it was difficult to understand. The confusion was augmented by the fact that each performer was spelling out different things and the audience was expected to decode both at the same time.
Ultimately, I was very disappointed with the performance of “Superposition”.
I did not know what to expect and I was really happy I went. It was a well done and interactive concert with lots of variety. The time went so fast. I would go again if you brought it back to A2 and tell my friends to go too.
Absolutely FANTASTIC concert! I’ve been going to concerts since my days here as a student (over 30 years ago) and this was ONE OF THEE BEST! So much talent, musical genius, many accordion virtuosos and much more.
I thoroughly enjoyed each and every number culminating with a superlative second half that left everyone humming, strumming, clapping, toe-tapping and hoping these groups will come back again-an-again! ! ! Please??????? 🙂
I felt the same with my senses being under attack. You’re right, it’s absolutely not necessary to blast music and light to the point of torture. It was rather unpleasant.
But in another sense, the dramatic effects are completely necessary. Ikeda’s intentions are apparent with his polarized use of light and sound. It’s either too bright/dark or loud/quiet; this exhibits the present and non –present; it illustrates the 0 and 1. Like the program notes, this performance is intended to touch on quantum theory, and the idea of having the overlapping of binary numbers. The deep understanding of quantum physics/computing is extremely complex and sophisticated. In that regard, the omnipresence of white noise and colors in the lights bring out the infinite (and thus incomprehensible) nature of quantum physics.
I find your question extremely stimulating about how we should approach the concept of infinity. I don’t have a clear answer but have some ideas that are relevant.
The marbles were notable. Through multiple trials, the spectrum of possible positions of marbles is filled. In the big picture, with time, infinity can be reached. Unfortunately we cannot live long enough to witness this phenomenon. This type of imagination that Ikeda provokes is extremely reflective. It had me questioning the presence of infinity and importantly the extent to which we can reach infinity. Although we can theorize the most profound concepts, it is just mere imagination and thus, sadly unreachable. So, for me, this was an illustration of our limits in conceptual thinking.
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My feelings on superposition are as mixed as the technicolored screens.
It felt like my senses were under attack; most of the time I plugged my ears and strategically opened and closed my eyes to avoid being visually insulted by screaming light. Was it really necessary to make it that loud?
Although the experience itself was like torture, it stimulated profound thought. What stuck with me and shaped my understanding was the message: “INFORMATIONISNOTKNOWLEDGE. INFORMATIONISTHERESOLUTIONOFUNCERTAINTY.” I loved the episode with the marbles because it showed that an infinite amount of data can be accumulated and manipulated, but it will never fully capture a natural phenomenon. Which should we say is more sophisticated: the simple yet chaotic incapturable phenomenon, or the ridiculously complex methods of describing it?
That was good clean fun! Was reminded of my childhood in Cleveland…the old man who stood outside of the grocery store and played the accordian. My Mom would give me a nickel and I would put it in a slot on his accordian and he would play a song. There was a long running TV show at noon on Sundays called Polka Varieties….no need to explain. When I was in middle school we lived near Parma, which was a big ethnic suburb and on Saturday nights we would sleep in the basement and watch a movie host called the Ghoul. I know for a fact it was syndicated in Detroit and Cincinnati where I have also lived. This Beatnick/Grave Digger would pillory all thing ethnic….it was just a sin to wear white socks to school or high water pants or have chrome balls or pink flamingos in your yard. Now the world has become murky with too much data and anarchy…it’s nice to go back in time and sit with your parents and Grandparents in front of Lawrence Welk on the B&W T.V.
Outstanding concert! Remarkable and varied performances. A thoroughly enjoyable evening. We left smiling and talking about what we’d just experienced. Thank you once again UMS, a Touchdown, home run presentation.
Meh. Billy Cobham experimenting with a drum machine in the 70’s, Detroit Techno in the 80’s, Raves in the 90’s, Morse Code and a bug (Vibroplex) from the early 1900’s…. Schrodinger, Gödel and Heisenberg have left the building. My thoughts were not provoked. Oh, and please stop hitting one tuning fork against another.
While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
Thank you UMS for presenting events such as superposition that extend the limits of what we consider art. That said, my critical comments: I attended the Stamps lecture, Saturday Morning Physics, and the Saturday performance. Stephen Rush did a decent, if somewhat colloquial, job of interviewing Ryoji Ikeda. At this interview, I began to sense Ikeda’s clear grasp of fundamental concepts. Saturday morning’s session went well with each of the three interviewees addressing fundamental topics. Ikeda, again, was able in his brief replies to express the content and relationships of important concepts. superposition itself is impressive in its variety, sonic landscape and the massive data flow to at least fourteen, apparently synchronized, two-dimensional displays. However, I didn’t see Ikeda’s clear conceptual thinking, evident in his interviews, in the piece. Instead, it seems to be a sequence of disconnected episodes, each of which, apart from some interesting texts at times, is seemingly meaningless. I wouldn’t attend a similar production in the future, but am glad I saw this one. Nevertheless, please UMS continue bringing us events that challenge us and enrich our experience.
I was not a fan but I applaud the ingenuity and creative design for such an elaborate production.
Throughout the play, Ikeda explains, through visual and auditory mediums, mathematical concepts that words can only vaguely describe. He leads us into his world of understanding of advanced physics and exposes us to some of the most obscure ideas in the field. Ikeda focuses on quantum theory, specifically binary opposites of presence and absence.
We vicariously live in his world through deep mathematical analysis of presence and time. The marbles and computer algorithm that located each marble’s position were indicative of this. As seen, each actor has their own set of marbles that they move around their plate. A computer program counts the marbles’ positions multiple times and charts out the positions of the marbles to make an aggregate picture of where they landed. Through multiple trials, the spectrum of possible positions is filled. In the big picture, with time, infinity can be reached.
Also, the contrast of audio and lighting was very powerful and aided his interpretation of presence. There were parts of the performance when the music was soothing and relaxing with slow moving objects displayed on the screens with dimly lit lights. It was serene. Immediately there was a flash of light and the music was blaring white noise. The music was building in volume and the light intensity was increasing. There was an omnipresence or God like phenomenon present. It was overwhelming to experience.
I left the show sweating and shocked. The unpredictable nature of the show, as Ikeda intended, was very shocking and stressful with the ridiculous amount of stimulus. My head hurt.
Not for me, but I appreciate this type of innovation in the performing arts.
I attended the performance along with other members of my class because it was mandatory. If I had not been a part of the class, I would not have even known that the performance was going on! I think the problem is partially advertising performances such as these to students as well as students naturally being drawn more to performances that are in their comfort zone like Schoolboy Q and 2Chainz. The performance definitely opened my eyes to the way that we perceive music and performances and I’m happy that I attended.
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I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
Ryoji Ikeda’s “Superposition” is defined by the dictionary as the “overlapping of waves.” In the most basic sense, this is certainly true. However, the waves this performance is concerned with are not those of displayed on the screen, but rather the clashing of two seemingly different disciplines: science and music.
Science is universally understood to be a formulaic discipline. There are laws that must be followed and equations that must be used, leaving little room for interpretation. Music, on the other hand, lends itself to more diverse interpretation. Each musician can communicate a unique message to his or her audience as they sit enraptured by the sound. “Superposition” draws upon both of these elements.
There is no denying the formulaic element of the performance before our eyes. The catalysts for much of the noise, the two humans, sit motionless as they surgically tap rhythm after rhythm. After each tap, waves appear on the large screen behind them, overlapping each other as they run from both sides of the monitor. Graphs and charts flash quickly before our eyes, followed by more pictures.
At the same time, we are aware of the musicality of the performance: the ever-present metronomic beeping in the background, the Dubstep-esque finale that blinds both our eyes and our ears, and the noises in general that are impossible to ignore.
“Superposition” is not only speaking of the overlapping waves that the two performers on stage are creating with their endless tapping, it is asking us to look even broader at the overlapping waves of music and science. It forces us to consider sound from a different perspective. The sounds on the stage, particularly the beeping from the data input, can be heard in many variations in our everyday life. How much music do we fail to acknowledge everyday and how much music do we unwittingly create?
My feelings on superposition are as mixed as the technicolored screens.
It felt like my senses were under attack; most of the time I plugged my ears and strategically opened and closed my eyes to avoid being visually insulted by screaming light. Was it really necessary to make it that loud?
Although the experience itself was like torture, it stimulated profound thought. What stuck with me and shaped my understanding was the message: “INFORMATIONISNOTKNOWLEDGE. INFORMATIONISTHERESOLUTIONOFUNCERTAINTY.” I loved the episode with the marbles because it showed that an infinite amount of data can be accumulated and manipulated, but it will never fully capture a natural phenomenon. Which should we say is more sophisticated: the simple yet chaotic incapturable phenomenon, or the ridiculously complex methods of describing it?
I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
One of the things that is difficult, and also very rewarding about an experience like this show is how it resists traditional analysis in terms of being able to distill the “meaning” of the experience into verbal or written language.
Much like the 7 hour long album of very precisely designed minimalist electronic compositions I released last year to an almost nonexistent audience (what *is* the audience for such a thing, after all?), Superposition’s meaning is entirely rooted in the visceral experience itself.
Even for me as a very longtime fan of Ikeda’s work, I found it difficult to turn off my internal monologue that kept asking “what does this mean?!” When I succeeded, however, the raw experience itself flooded into me like the experience of sublime nature that I think it was intended to reflect in it’s glitchy, high tech mirror.
We walked out at intermission. The Young Vic should be ashamed. Never have I seen a worst production from our British friends who are typically the masters of the stage.
Maybe we will discover in the years to come a better way to subtitle a play but I’m not sure people should incriminate the PowerCenter for this.
I mean, if you do not understand French enough, there is no other way than reading the subtitles while the actors are playing.
Should we get rid of foreign language play just because some are complaining about having to read and watch at the same time?
It was interesting, but a bit like reading a book on a Kindle (viewing the subtitles) while something interesting was surely going on outside of your field of vision (the play). A bit frustrating
Reading titles a bit of a chore. Can see how Pirandello would write in his first language. When you were in NY did you see the statue of the hand gun with the barrel twisted around to aim at the shooter in front of the United Nations…..with the plaque reading,” Beat swords into plowshares.” It was given by the Grand Duchy of Luxembourg. Those poor people have been invaded with every European upheaval….The last time was the Battle of the Bulge. Now curiously there is a fine arts repository at the Luxembourg airport that is one of the 3 finest in the world. Stow your oil painting of rare wine and avoid taxes. They have also wrankled other EEC countries with huge tax breaks to Apple and most recently Amazon, you know how the Germans love Amazon! And I should take advantage of the new UMS archives and look up Rhinocerous.
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The play was written in Italian. By the time it was translated into French, and then into English (for the surtitles), the language was pretty stilted and hard to grasp, especially during the long passages, because the surtitles were often very brief. Overall the surtitles were not well done.
Why didn’t the surtitle people use the much more audience-friendly English translation by Edward Storer?
Overall, I much preferred this group’s “Rhinoceros” production, which I saw in NYC two years ago.
The play was written in Italian. By the time it was translated into French, and then into English (for the surtitles), the language was pretty stilted and hard to grasp, especially during the long passages, because the surtitles were often very brief. Overall the surtitles were not well done.
Why didn’t the surtitle people use the much more audience-friendly English translation by Edward Storer?
Overall, I much preferred this group’s “Rhinoceros” production, which I saw in NYC two years ago.
O.K. Took a break from watching the Lions in London. When out in the woods I had this dream that Pirandello was talking about Supra-National Government….specifically, the failure of the League of Nations and the ensuing WWI. So here we are in the 1920’s and he’s asking who is scripting Europe and will tragedy happen again….fore shaddowing of WWII. The play was lightly comedic…a few Three Stooges moments. Anyway, I think the Lions are going to lose.
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Well, one of my comrade de chambre in college was the son of the Ambassador from Luxembourg. My senior year I studied in Luxembourg City. My appreciation of French plays is perhaps a little different from yours. That is my story and I’m sticking to it!
Well, one of my comrade de chambre in college was the son of the Ambassador from Luxembourg. My senior year I studied in Luxembourg City. My appreciation of French plays is perhaps a little different from yours. That is my story and I’m sticking to it!
Very difficult to stage. Good job Theatre de Ville. It really churned me up. The football game in East Lansing didn’t go as planned. The election in a week is going to produce some surprises. Thank goodness you can get it all out of your system with art. Reading the super titles was a bit ardruous but think about the stamina of the actors. What a torrid evening!
Very difficult to stage. Good job Theatre de Ville. It really churned me up. The football game in East Lansing didn’t go as planned. The election in a week is going to produce some surprises. Thank goodness you can get it all out of your system with art. Reading the super titles was a bit ardruous but think about the stamina of the actors. What a torrid evening!
Thanks a lot for inviting again Le Théâtre de la Ville.
I loved the play, the acting, the music, the lights, and i’m still in awe. Unfortunately, I could not attend a second performance tonight.
I’m really touched by the soberness of the acting.
Rhinoceros two seasons ago, Pirandello this fall. I truly hope we will get more.
Thanks again for programing it.
Glad to see this famous play in an excellent production. I was challenged by the need to both watch the actors and read the surtitles. It seems less of a challenge in opera because the words come more slowly.
I thought the production was very interesting – really glad to see such beautiful, strong staging – the ballet of the actors and characters continually being reformed.. The super titles/sub titles were of course necessary but I thought wound up being kind of problematic – where to put them so that they were genuinely useful. In this instance, from my seat, I could either view the translation (the dialogue) or the action, never both at the same time. So I felt disappointed – I was missing one or the other. Maybe in the balcony, you could have seen the text and the staging at the same time. This is a topic those of us at Wild Swan Theater discuss a lot as we integrate American Sign Language into our staging for our patrons who are deaf, a kind of similar conundrum. We have two texts going simultaneously, one spoken, one signed, the signed text always in the stage picture. It’s another solution. In last year’s UMS presentation of Complicite’s Shun-Kin, I remember that there were titles behind the story teller Yoshi Oida that made that work more accessible. Maybe that was just chance or where I was sitting. Or maybe the work was more visual and less language dependent. In any case, it seems worth thinking about where to put the supertitles in the stage picture to help audiences get the most out of a production.
Congrats to UMS for bringing such unique and gifted musicians to our backdoor. I was blown away by the technical proficiency, artistry and humor shared on stage throughout the evening. Chris and Edgar are awesome people and truly the very best at what they do! I can’t wait to reconnect with these friends and inspirational craftsman the next time they’re in town.
Cheers!
Strange! The comments are all laudatory but we found the concert quite flat. The couple next to us said the same thing thing as did couple in the elevator in the parking structure.
Several of us went to the Fleetwood Diner after the show for a plate of Hippie Hash. We found the music odd, nothing to do with New Orleans and the time, no Jelly Roll Morton, no Louis Armstrong. The Natl Theater skunk works production was a weak cup of coffee for what we expected. Don’t get us wrong, we positively worshipped British Super Groups in the day but trying to hang an artistic emotion on a snippet of a rock song is just tired in this new millenium. There were redeeming qualities…it seemed to jell at the end and the fellows fighting was like Jackie Gleason if he had been on HBO in the sixties. The high pitch Southern accent of Blanche never fluctuated through the entire performance. It was a little annoying, even to someone who went to college in Cincinnati!. But Tennessee Williams had a point about alcohol abuse…& a lesson in mental health of this nature is timeless and immutable.
I may have unfairly scanted the Mozart in what I wrote–for me it was as satisfactory as the Berg.
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Mostly agreed–except that I thought the Brahms was satisfyingly muscular.
Mozart–the ping-pong ending of the first movement was a delight, as was the whirligig finale. In the finale, decades ago a recorded performance by the Guarneri Quartet creatively and clearly set forth the repetitive four-16th-notes figuration as chains of triplets.
In the Andante-Allegretto I couldn’t hear Violin II’s melody through Violin I’s filigree in the first repetition of the theme. And at the end of the movement, the final notes played by Violin I sounded like “piano tuning” instead of an ideal “tight” half-step. Yes, I know that the notes are sounded in altissimo and that violinists have fingers of human thickness.
Berg–A couple of times I thought, “This is like “The Rite of Spring!”
Thanks to the Belcea and to UMS for an outstanding recital!
And thanksgiving for less coughing than we heard at the Emerson Quartet’s concert. . . .
Mostly agreed–except that I thought the Brahms was satisfyingly muscular.
Mozart–the ping-pong ending of the first movement was a delight, as was the whirligig finale. In the finale, decades ago a recorded performance by the Guarneri Quartet creatively and clearly set forth the repetitive four-16th-notes figuration as chains of triplets.
In the Andante-Allegretto I couldn’t hear Violin II’s melody through Violin I’s filigree in the first repetition of the theme. And at the end of the movement, the final notes played by Violin I sounded like “piano tuning” instead of an ideal “tight” half-step. Yes, I know that the notes are sounded in altissimo and that violinists have fingers of human thickness.
Berg–A couple of times I thought, “This is like “The Rite of Spring!”
Thanks to the Belcea and to UMS for an outstanding recital!
And thanksgiving for less coughing than we heard at the Emerson Quartet’s concert. . . .
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Nowadays many quartets thrive on the (many) moments when they can dig into the strings of their instruments, reminding us that they are mad of GUT — with the result that they sound more than robust; “we mean business, they seem to say, and we’re not kidding.” The Belcea Quartet fortunately does not follow that model. Beauty of tone and expressiveness come first. Their range of dynamics is wide – from the cobwebby to the assertive. They played the Mozart work with a subtlety that was downright French. You can be sure that the composer and his friends did not play it like that. Tant pis! However, the Brahms work demands a more muscular approach and suffered from the lack thereof.
The Berg, which I’ve heard only once or twice before, was the most appealing work on the program. The performers displayed their intelligence as well as their virtuosity. We were also once again reminded of how helpful it is to the audience to hear a performer speak from the stage about the work to be played — especially if it is more challenging than the more commonly programmed pieces.
The program was well chosen, sampling three distinct periods and styles, and the performers are a terrific group. Glad they are back.
Nowadays many quartets thrive on the (many) moments when they can dig into the strings of their instruments, reminding us that they are mad of GUT — with the result that they sound more than robust; “we mean business, they seem to say, and we’re not kidding.” The Belcea Quartet fortunately does not follow that model. Beauty of tone and expressiveness come first. Their range of dynamics is wide – from the cobwebby to the assertive. They played the Mozart work with a subtlety that was downright French. You can be sure that the composer and his friends did not play it like that. Tant pis! However, the Brahms work demands a more muscular approach and suffered from the lack thereof.
The Berg, which I’ve heard only once or twice before, was the most appealing work on the program. The performers displayed their intelligence as well as their virtuosity. We were also once again reminded of how helpful it is to the audience to hear a performer speak from the stage about the work to be played — especially if it is more challenging than the more commonly programmed pieces.
The program was well chosen, sampling three distinct periods and styles, and the performers are a terrific group. Glad they are back.
Anna – Do you know if they have ever recorded Prelude no. 13?
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Hi everyone! Here is the set list for the evening:
Why only one?
Farmer and the Duck
Monkey Actually
Tempo “Di G Gavotta” from Partita No. 6 in e Minor
“Canon” from The Art of Fugue
FRB
Friday
Ham & Cheese
I’ll Remember for You
Fence Post in the Frontyard
INTERMISSION
Tuesday
Tarnation
This is the Pig
Look What I Found
El Cinco Real
“To Be Determined”
Prelude No. 13 from The Well-Tempered Clavier
It’s Dark in Here
ENCORE
First Movement from Concert Duo for Violin and Bass
I agree with Orlando – I was so looking forward to this concert. I did not expect to hear such unremarkable set of music.
I don’t think I will remember this concert next year or next week.
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Was disappointed. The lyrical beauty I have come to expect from and Edgar Meyer was for the most part missing. What we got was a lot of high speed noodling and flashy unison playing on unmemorable and unpleasant themes. We tended to blame Thile, as he had a stage presence we didn’t care for – he seemed cocky and stilted.
Was disappointed. The lyrical beauty I have come to expect from and Edgar Meyer was for the most part missing. What we got was a lot of high speed noodling and flashy unison playing on unmemorable and unpleasant themes. We tended to blame Thile, as he had a stage presence we didn’t care for – he seemed cocky and stilted.
Hi everyone! Here is the set list for the evening:
Why only one?
Farmer and the Duck
Monkey Actually
Tempo “Di G Gavotta” from Partita No. 6 in e Minor
“Canon” from The Art of Fugue
FRB
Friday
Ham & Cheese
I’ll Remember for You
Fence Post in the Frontyard
INTERMISSION
Tuesday
Tarnation
This is the Pig
Look What I Found
El Cinco Real
“To Be Determined”
Prelude No. 13 from The Well-Tempered Clavier
It’s Dark in Here
ENCORE
First Movement from Concert Duo for Violin and Bass
What a great show! Can anyone tell me the name of the “cover” that they did as the second to the last piece? I think it was Bach (I am not referring to either of the two Bach pieces they did during the first half). It was very soft and contrapuntal.
One of the great concerts of the last five years, drawing a crowd the likes of which is rarely seen in town. I was surprised by how terrific his band was, though the brilliant sax player overdid it (was expected to) a little in several songs, altering the mood unnecessarily. It’s hard to remember a performer in A2 who has made so many feel so good as Porter – he brought back memories of Marvin Gaye (of course), Stevie Wonder, and other musical leaders whose loving voice can captivate, change, carry and keep an audience. Bravo to UMS. I’d gladly trade 5 booked classical concerts for someone who works the jazz heartland of today.
The show was AMAZING. Definitely was not disappointed with what I saw. His vocals were clear, pure and emotive. The band was spectacular and he sang all of my favorite tunes. All in all love it!
Hi everyone! Here’s the set list for last night’s performance:
All songs by Gregory Porter unless otherwise noted.
Painted on canvas
Way to Harlem
Imitation of life (Paul Francis Webster, from 1959 film soundtrack of same name)
Liquid spirit
No love dying
Work song (Nat Adderley / O. Brown Jr.)
Hey Laura
Wolfcry
Musical genocide
Lonesome Lover (Abbey Lincoln / Max Roach)
1960 What?
Gregory Porter did not disappoint. I am in awe of his performance. From the first song to the last I was mesmerized. The tonality of his voice was so strong and clear. He captivated the audience in several ways. The way he talked to the audience to explain his perspective on each song gave the audience an understanding of what the song means to him. He encouraged audience participation and the audience didn’t disappoint either. The Band complemented GP’s style very well. I love, love, love this performance. I can’t wait to see him again.
Fantastic show! GP has very strong vocals and could have performed without microphones. The small setting in the Michigan Theater was perfect for this quintet. Congrats to UMS for branching out and recognizing alternative artist and acts and bringing them to the Duece. From Jason Moran, Bob James, Bill Frisell, Herbie Hancock and Chic Corea, as a jazz fan I’m in awe right here in my own backyard!
I had been waiting for Gregory Porter to come to Ann Arbor ever since I heard him on WEMU. I was not disappointed. He is a fantastic live act and very skilled in communicating with an audience. It was more than a concert; it was an inspiring experience. Please come back next year! I will go again next year and take all my friends. Thank you Gregory for representing in music what many of us there tonight want to hear said and expressed.
The first half of the show was what WEMU prepared me for….the nice school crossing guard making us feel good and safe. Then he took us down to the subway and on to another darker side of town. My pulse quickened as he sang about the Detroit riots etc. I’m not sure I would want a full show of either. A jazz club would have split it in two sets with the troopers hanging out for the volatile material. The band was very talented. The sax player had an interesting style. The drummer was rat a tat tat but not distracting to the great vocals of Gregory Porter. The piano player could seemingly play on style with his left hand and a nother with his right. The bass was steady and awesome through out. I hope to see Gregory Porter again in a few years.
The picture on the UMS catalogue was a tip off that this production would be one of the best. We were not dissapointed. Was fortunate enough to meet some of the cast beforehand. We tried out our dreadful French and I trotted out that I studied in nearby Luxembourg. Thomas said that it was a dark place, I said yes, it’s quite a tax haven. I hitch hiked through Belgium on at least two occassions, going to and from Amsterdam. I remember standing in the middle of a large traffic circle eating fresh pears from a tree. I gave a Belgian kid a cassette of the Talking Heads in gratitude for a ride. I was thinking of these things during the satisfyingly long production. I’ve always marvelled at the art of movie making….Kiss & Cry was a master class in live television production. Never trust what you see on a screen! Well done.
Count me among the fans of this production. At its heart, such a simple and elegant story–but what extraordinary means by which to tell it. It’s the most effective use I think I’ve ever seen of film as live theater–and live theater as film. A stage filled with technology and yet all of it deployed for such deeply human ends. Please bring back this company so that word of mouth can do its thing and fill the auditorium next time. The only way to appreciate this unique and ingenious work is to see it.
Just so everyone knows, there is one deception that needs clarification, in the list above. In every case a composer is listed except in the instance of “Nothing Compares 2 U” where the performer, Jimmy Scott, is listed. That tune was composed by Prince.
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Hi everyone! Here is the full music list:
Rinaldo, Lascia ch’io pianga – Händel
Gelido In Ogni Vena – Vivaldi
Cançao – Carlos Paredes
Valse sentimentale – Tchaikovsky
Les feuilles mortes – Cosma et Prévert
Nothing compares to you – Jimmy Scott
Wait the Lover – Wu Yingyin
Fratres – Arvo Part
No more words – Anna Calvi
Works for prepared piano – John cage
Rinaldo, Lascia ch’io pianga – Händel
Gelido In Ogni Vena – Vivaldi
Cançao – Carlos Paredes
Valse sentimentale – Tchaikovsky
Les feuilles mortes – Cosma et Prévert
Nothing compares to you – Jimmy Scott
Wait the Lover – Wu Yingyin
Fratres – Arvo Part
No more words – Anna Calvi
Works for prepared piano – John cage
This took me completely by surprise. I knew about the “nano-dancing” thing beforehand, but that particular aspect was merely the tip of the iceberg. Charleroi Danses somehow managed to combine dance, music, stagecraft, poetry, art, and even a little puppetry into something new and beautiful–a total work of art.
As a side note–does anybody have a playlist of the songs they used for the performance? I’d love to know the name of the aria that was heard throughout the show, and especially the name of the singer who sang that terrific cover of “Nothing Compares 2 U.”
Hi….Ken beat me to the Jimmy Scott cover of the song Sinead O’Connor made famous — “Nothing Compares 2 U” — which was composed by Prince; the baroque arias (there were two different arias) were both sung by Cecilia Bartoli and the first was Handel’s “Lascia ch’io pianga” from Rinaldo; the second one was Vivaldi, I think, and I am trying to track that down as I, too, want to know. Later.
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This took me completely by surprise. I knew about the “nano-dancing” thing beforehand, but that particular aspect was merely the tip of the iceberg. Charleroi Danses somehow managed to combine dance, music, stagecraft, poetry, art, and even a little puppetry into something new and beautiful–a total work of art.
As a side note–does anybody have a playlist of the songs they used for the performance? I’d love to know the name of the aria that was heard throughout the show, and especially the name of the singer who sang that terrific cover of “Nothing Compares 2 U.”
This took me completely by surprise. I knew about the “nano-dancing” thing beforehand, but that particular aspect was merely the tip of the iceberg. Charleroi Danses somehow managed to combine dance, music, stagecraft, poetry, art, and even a little puppetry into something new and beautiful–a total work of art.
As a side note–does anybody have a playlist of the songs they used for the performance? I’d love to know the name of the aria that was heard throughout the show, and especially the name of the singer who sang that terrific cover of “Nothing Compares 2 U.”
I loved the show and thought it was very thought provoking, BUT, I am curious if anyone else had a negative reaction to the use of the lego characters in the last sequence, involving the dead giraffe in the yard. The lego seemed to come out of left field and really confused me. Did anyone else have a different reaction to the lego characters in those scenes?
This was one of the best theatrical performances I have seen. The synthesis of choreography and videography was genius! The script was beautiful in its simplicity as the diverse selection of music conveyed the complex emotional textures. Did anyone else interpret the end as dementia unlocking the memories of this lonely woman allowing her to once again find her true love?
This performance was absolutely beautiful. The filmed portion (what was on the screen) was whymsical and magical. It felt like the performers had actually created another world. In terms of the filming and sets, it seemed fully formed, but I couldn’t help but feel disappointed after I left. The storyline that brought everything together seemed contrived and cliche and choppy. I had a hard time taking the meaning seriously after a while. It just felt overly dramatic.
In terms of the hand dancing, I was simultaneously impressed and disappointed. I wished there had been more “dancing” scenes and not so much narration. The reason why I decided to go to this show is because hand dancing has always intrigued me. Seeing it live for the first time was great, but I wanted it to be more “dancey”. I think that’s the nature of the show, though; it’s mixed-media, not just dance.
But despite the disappointments, I’m glad that UMS offered this performance and that I went. As I said it was beautiful. Even inspirational. And I loved seeing children as they left the Power Center, enthralled and excited and letting their own hands dance in the air.
Was an exquisite multi – media piece using hands that tells a story of a woman’s loves that have come and gone throughout her life. Extraordinary, spell-binding artistic dexterity and evocative musical and visual backdrop. Must see it again!
I have never experienced a more intense 90 minutes of PURE art. From beginning to end, the production expanded my universe exponentially, and made me look, feel, and know things about myself I’d never considered….all from the smallest of viewpoints. DO.NOT.MISS.THIS. You need to experience this.
Kiss and Cry is one of the most unusual, emotionally evocative performances I’ve seen. The use of miniatures and synechdoche works beautifully for a meditation on love, longing and memory. The coordination of stagecraft, dance, music/sound, and cinematography technique was masterful, and the result is something I never would have dreamed possible. Very special and deeply felt.
I absolutely cannot stop talking/ thinking about this most extraordinary, beautiful and fascinating experience I had last night. I encourage anyone, including young people 12 years and up, to see this tonight or tomorrow. Don’t hesitate to sit as close to the stage as you can. Makes it all the more interesting. Trust me! See it! Sit close!
Incredible is an understatment. The graceful and expressive dancing and being transfixed by such unbelievable camera work will keep you absolutely spellbound. This is a don’t miss performance. It execution is flawless.
Absolutely breathtaking!! This is a show that has to be experienced. The words, pictures or even the clips that I’d seen beforehand were intriguing but the actual experience of the whole was something I hadn’t been able to imagine.
My husband and I were completely bowled over by this theater experience. We had no prior information about the group or the production other than some clips online which frankly didn’t give any idea of the complexity, beauty and originality of Kiss and Cry.
Thanks to UMS for finding this group and bringing them to A2!
This performance is an extraordinarily creative, engrossing and sensitive narrative of a woman’s life, conveyed through a hybrid of choreography, theatre, music and film that is created live and projected simultaneously. The artistry and creative genius embodied in this work are stunning and unlike any stage performance or film one has ever seen.
You can still get tickets for Saturday evening and Sunday afternoon performances!
I hope that everyone who stood up after tonight’s performance make sue at least two more people see this performance before it leaves town. Thank you UMS for bringing this to town. THE BEST.
IMAGINATION, INTELLIGENCE, BEAUTY, HUMOUR and CRAFT.
Thanks yet again to the Emerson String Quartet for another of their always-stellar concerts!
Cellist Paul Watkins is so welcome!
The tempo in the first movement of Beethoven’s Op. 95 seemed a little too fast for the acoustic of the hall–some of the figuration was lost–although perhaps my first-row seat put me at a disadvantage. The violist was marvelous in the 2nd movement particularly. The tempo at the end of the last movement seemed fine–when the Guarneri Quartet played it here some years ago it seemed too rushed for my comfort.
“Just see how fast we can play this!” — similar to the last movement of Beethoven’s Quartet Op. 59, No. 3–
I was glad to hear the Lieberman quartet and would look forward to another performance of it.
Thanks to the donor of the endowment!
(I gave away my cough drops, hoping to help stem the tide of hacking. . . .)
Sincere thanks to UMS and the Emerson Quartet and Mr. Lieberman for a propitious opening to the 2014-2015 season!
Yes….loved the encore. For those wondering it was Haydn’s String Quartet, Op. 33, No. 5: Movement ii marked “Largo e cantabile”
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Agreed. The Beethoven was my least favorite, although I grant that that’s not my favorite Beethoven quartet. I really liked the encore and wished they had played a Haydn quartet instead of the Beethoven.
Agreed. The Beethoven was my least favorite, although I grant that that’s not my favorite Beethoven quartet. I really liked the encore and wished they had played a Haydn quartet instead of the Beethoven.
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A promising opener to the season!
Lieberman’s new quartet is a very fine, engaging work. I hope to hear it often but alas, probably won’t. What a variety of moods and forms — from the initial and final mournfulness to the lyrical, the prankish, and the jubilant. And our performers played it with much feeling, sometimes subtle and sometimes passionate. Would that they had given this much of themselves in the Beethoven. I overheard the following exchange.
An autumn lily said to a rabbit: “I thought this work was called ‘Serioso’, not ‘Furioso’. My. my, they played it awfully fast. I know there are more notes in some pf these passages than I could make out.”
Said the rabbit: ”You kiddin’ me? Fast? That ain’t fast! My friends and I can get through this thing at least thirty seconds faster!” And then he ate the lily.
But how about that Shostakovich? The players did not just play it; they revealed it.
As luck would have a friend had a cold and I got to go to the Michigan football game. I enjoyed the marching band and the pageantry on this, the finest weekend of the Fall. Walked up to campus for Emerson Lake and Palmer. Does anybody remember them, the British band that played rock versions of classical numbers? I saw them one time at Cleveland Municipal Stadium in the mid seventies. I was sorry about the coughing during the recording of the newly commissioned piece. I’d like to offer to attend any future quartets for anyone needing to stay home to nurse a cold. I was greatly cheered that a retired professor has endowed an annual string quartet concert. And one last thing, I was not impressed with the season opener of Saturday Night Live tonight. Emerson played terrific, I saw them once at the University of Washington in Seattle.
Lieberman’s new quartet is a very fine, engaging work. I hope to hear it often but alas, probably won’t. What a variety of moods and forms — from the initial and final mournfulness to the lyrical, the prankish, and the jubilant. And our performers played it with much feeling, sometimes subtle and sometimes passionate. Would that they had given this much of themselves in the Beethoven. I overheard the following exchange.
An autumn lily said to a rabbit: “I thought this work was called ‘Serioso’, not ‘Furioso’. My. my, they played it awfully fast. I know there are more notes in some pf these passages than I could make out.”
Said the rabbit: ”You kiddin’ me? Fast? That ain’t fast! My friends and I can get through this thing at least thirty seconds faster!” And then he ate the lily.
But how about that Shostakovich? The players did not just play it; they revealed it.
A packet of envelopes doxycycline caps 100mg Rivers had plenty of time to scan the field and find Eddie Royal, who eluded cornerback Marcus Cooper and turned a 25-yard pass into a 54-yard gain. That set up a 1-yard plunge by Ryan Mathews with 12:17 left in the third period.
I don’t even know how I ended up here, but I thought this post
was great. I do not know who you are but certainly you’re going to a famous blogger if you aren’t already 😉 Cheers!
I was totally taken to another space right into my soul esp. during the Cesar Franck piece. I never cease to be amazed by this wonderful human being . Yes, for his talent and the manner in which the instrument is an extension of his whole being but his wonderful sense of humor came out during his descriptions of the additional works he performed, What a gidft he has and I feel I was given a gift to be able to hear him.
Perlman was marvelous in playing Franck and Ravel. And the encores, as well. An overally great concert ! I had expected more in the Bach performance, though. As the others pointed out, one came away feeling the acoustic balance between violin and piano was not right, although I had partly blamed my position in Hill which was very much up in the back. But even apart from this, I think there was something missing in Bach: the violin even sounded sometimes slightly off-key. Bach is a challenge for many great artists, even if they are superb in mastering technically more difficult works, as Perlman did with Franck and Ravel. I couldn’t help thinking, that he would not give a Bach encore, but rather a Kreisler arrangement. And sure enough, that’s what he did. Not only one, but 2 + 2 out of five, in a sense: maybe to honor Kreisler who premiered the Franck sonata in Hill in 1922 ? Either way, Perlman knows the audiences love to see technically challenging works on stage….
Great compliment also to Root: he was great at the piano !
I agree with Byron, although I think some of the balance toward piano was intentional in the Bach. The sound definitely changed when Mr. Perlman turned toward the audience more.
Perlman is a marvelous violinist and his performance
was excellent. However, the balance between piano
and violin was poor. Perlman could barely be heard
on the Bach. The balance improved somewhat later
in the concert, but the balance at Hill should have been
checked before the performance. The piano lid was
open during the performance. Had the balance, perhaps,
been checked when it was closed?
The Franck piece was truly magical. A superb use of the violin as a visual medium. The Ravel piece presaged Gershwin..
The entire encore performance could stand on its own, and only left me wanting more.
Donald Bryant was a wonderful singing teacher and coach. I spent many happy hours working with him. I am saddened to learn of his recent passing. I was thinking of him today and wondering how he was doing, so I googled his name. Only to find this announcement. My heart goes out to Stephen, also a former teacher of mine, and the rest of Donald’s family. I think I met Travis at a production of The Tower of Babel. So many years ago.
Hi Christina! Did you try to submit via form or to ums-lobby@umich.edu? Haven’t received anything from you yet in either place. Will shoot you an email to sort it out. – Anna
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Please confirm that this submission of Community AiR Application is received. Thanks!
I have wonderful memories of many enjoyable and dynamic rehearsals and concerts singing for eight years under the direction of Thomas at U.M.S. Choral Union, Ann Arbor. He was dedicated to achieving the highest excellence for every musical work. Furthermore, I was glad to be his friend.
May he rest with the saints in the presence of his Lord, whom he loved greatly. Consoling thoughts and prayers to his family.
When ugly visual images are superimposed onto music, it changes the perception of the music completely: beautiful sounds become ugly. Objecting to this being done to Messiaen’s (or any other) music in no way means that one is choosing to ignore environmental crises. Ruining a hearing of Messiaen’s music does absolutely nothing to help the natural environment, or of our awareness of it needing help!
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There are those who welcome the “openness” of the work, and there are those who condemned the video as ugly and disgusting. Some people want to see the unblemished grandeur of the Rockies. Others see the aptness of Landau’s reminder that the natural beauties of America are in jeopardy. UGLY and DISGUSTING was intended even though it offends those who wish to ignore what is happening. Who owns this work — that is the question. Can the Hamburg Symphony recast it in a more contemporary form or are they spoiling it as they portray the spoiling of the Great West?
Music Lover, your condescending dismissal of my opinion is completely out of line. I am a scholar of Messiaen’s music, having performed most of his organ works, having carefully researched all his music, his writings on same, and having translated two of his lectures for publication by Alphonse Leduc of Paris (also the publisher of the score of Canyons). I have published a number of articles of my own on these topics. I know Des Canyons aux Etoiles intimately, owning the first LP recording, having heard another full live performance and a radio broadcast of yet another, and owning the full conductor’s score of the work and having studied it and its program notes repeatedly. Messiaen called himself “a composer of joy.” Environmental degradation was the farthest thing from his mind when he wrote Canyons. Rather, he sought to celebrate the beauty of nature and the presence of God in his creation. Landau’s film was _by no means_ an “interpretation” of this music; it was simply superimposed onto it with no regard for the music’s content or intent. “Interpretation” is a much-abused term in the arts these days, too often used to justify treating a work as a tabula rasa with no possible meaning on its own, existing only to have “meaning” imposed onto it by the “interpreter.” It’s clear from the scanty references in the UMS program booklet to Messiaen’s own commentaries on this work that the Berlin orchestra management felt that Messiaen’s religious references would be hard to sell to their audiences — per capita regular church attendance is c. 10% in western Europe, vs. c. 50% in the USA. So they simply chose to hide Messiaen’s commentaries and preferred to present incongruities superimposed onto the music. As a music performer and composer myself, I can never support such foolishness. My own approach to interpretation demands that I seek to understand a composer’s intentions, to understand them in context, and to express them with the fullest possible meaning. This in no way excludes artistry or creativity from performance: rather, it provides an ideal framework for them, if one is to reveal the music in its full depth and beauty.
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Riding down in the elevator, I heard someone ask: “Did you enjoy it?” Her friend’s answer came back: “Me neither.” I intruded tactlessly: “What makes you think it SHOULD be enjoyable?”
When we look at great art, do we insist on enjoying it? Music is written for all sorts of reasons and purposes.
As I hear it, this piece is expressive of moods and feeling states evoked by the crumbling defenses of Nature against the inroads of Man. We hear awe at the wildness of Western landscapes and the stomping and grinding of man’s machines as they crush all. The music is challenging to the ear as befits this struggle. No wonder we saw people leaving during the performance.
Is the video irrelevant trash? Not to me in this case. Yes, art should not be exploited for political purposes. I found that in this work music and film were compatible. I found neither distracting from the other. Certainly this film was made at a time of great public concern with the fate of Nature — more active concern than at the time when the music was written. But reinterpretations are, for better or worse, very common today, both here and in Europe. I’d say the film arguably put the music in a plausible context. Which is why I should enlighten Timothy Tikker that a reinterpretation by a later film maker of a an earlier composer’s work — even if he finds it wrong-headed and even if the film maker is a Jew and the composer an anti-Semite — is not necessarily an act of revenge. (“Stupidity,” he writes, is the ONLY other possible explanation he can think of!) I’d be happy if he passed this news on to the “countless” others who allegedly share his appalling bigotry.
I do have questions: 1) Was this theme of man against nature Messiaen’s (probably not) or is it Landau’s (or just mine)? 2) Did Messiaen anticipate any multi-media presentation? I ask because I thought the visual material was very well done and evocative (even though a bit repetitive and obvious at times. Clichéd it is not. If you prefer a film with scenes of the great parks of the West, then please don’t think that this would be highly original. National Geographic has scooped you.) Which means that if Messiaen had the theme in mind, but not the visual reinforcement, then I wonder how effective the music would be by itself in expressing it.
And two suggestions: 1) Listeners would do well to attune their ears to Messiaen’s rhythms, sonorities, and harmonies before they witness this work, (e.g., by listening to the Turangalila Symphony) to feel somewhat familiar with these cadences. 2) I wonder whether UMS has ever considered organizing post-concert sessions with its Education department. I would have enjoyed — yes, enjoyed — getting clarification of some things and hearing how people felt and what they thought. I bet I’m not the only one. Now that weeknight concerts start at 7:30 (a splendid idea) an optional session of this sort would provide some closure of the experience for those people who want it. Naturally, not every concert needs this to the same degree. (Einstein would have benefited.) Such an institution will make concert going more satisfying for many in a way that pre-concert talks cannot.
As is true so often, UMS gave us a most valuable experience.
Our group of friends thought this performance was spectacular and seeing it on a big screen was fantastic. Seeing the close ups of the puppets was fascinating. We loved everything about the production.
WE were both enthralled by the performance. The acting, the period, the set and especially the puppets, even the goose. The only problem was the usual one, the sound was very loud. Throughout. Sometimes you could not understand the words because of the sheer volume of the words.
What a moving story and spectacular accomplishment of theater. Wonderful use of storytelling and orchestration of movements by all characters. Thank you.
Do you feel that being in the balcony limited your ability to enjoy the show? I was up there too, and while I still enjoyed it, I would have liked to be able to see what I was hearing. I’m sorry to hear that you weren’t in the proper mindset for the show, I can definitely say that I was. I am a passive fan of jazz, but the added latin flavor of Rodriguez is what really sells his appeal for me.
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While there’s no question both performers are extremely gifted and talented artists, I just couldn’t get into “the groove” for this concert. I think you have to be in the right mindset for this type of jazz, and after a long day, I was hoping for more relaxing smooth jazz pieces. My mind just wasn’t energized enough on Friday to engage with this genre of jazz. Although this wasn’t one of my favorite UMS performances, I do appreciate the talent– especially Alfredo Rodriguez. Perhaps what I enjoyed most was Rodriguez’s technique toward the end where he played the piano standing up and hitting both the keys and the piano wire ( I believe this was what was happening, right? I was in the balcony and couldn’t see for sure if this was the technique.) I had never seen this before and it really created an interested sound!
Improvisation is, at least in my mind, the art of finding something new. In this respect, Rodriguez does not disappoint. He has developed a distinct style, and takes advantage of his vast theoretical knowledge in order to depart from the traditional. By working over relatively simple chordal structures, he gives himself free reign to improvise mindlessly. If he were hung up on keeping track of the song, I don’t think he would have the ability to let go and let his improvisational spirit fly.
In terms of the performance, while the musicians were excellent, the music was not. I’m not the first to bring up sound quality; it is such a shame that some of the nuances were lost amid balancing problems. Nothing ruins a show faster than bad mixing. I was able to connect briefly with some parts, but it is difficult to get lost in the music when you can hardly hear the instruments for the drums.
Why didn’t you like your seats and how did this affect how you enjoyed the performance? I didn’t like seeing everyone in the audience, but I bet this was the case upstairs as well.
I liked that the “stars” didn’t take over the whole show; when they sang they overshadowed the whole chorus who sang along. I think it’s weird that they got so much spotlight just for being guests, since the chorus must have been practising and working on the piece just as long as them.
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Great, the one time we get main floor seats is the time when we don’t want them. But after having been on a tour of Hill Auditorium, I was really looking forward to hearing the “great acoustics” that the place is known for.
The performance was great, of course. Compared to other performances I’d been to, like the Mali music of Diawara Fatoumata and the avant garde of Kronos Quartet, this one was a lot more like what I expected. It was flowed really well and all of the instruments were in perfect harmony.
What surprised me most of all, though, was how minimal the piece was. The first thing I noticed (besides the lights in the audience being left on) was that the piece began with only half of the violins (at least, that’s what it looked like from my poor angle). It wasn’t until after the first break that everyone began to play together. Before that, the piece sounded less cheerful than usual. Violins have that higher pitched sound that I typically associate with calm.
Similarly, the two main singers didn’t sing until closer to midway/the end! Nadine spoke to a class I’m in and told us this would be the case, but it didn’t make much sense to me that their “stars” weren’t capitalized on a bit more. Also, it didn’t seem like they sang for a long period of time. Most of the time it was the chorus only, but I thought that was great because it gave the performance a really majestic sound, though I didn’t follow along with the lyrics.
Although some of the choices made in terms of who played/sang when was peculiar, it all came together really nicely and I think this was one of the better performances I’ve been to!
I really loved this performance! I thought it was very powerful, and though I couldn’t understand the words, the lyrics were powerful as well. I think the soloists and everyone involved did an excellent job.
This was probably done on purpose but I think the huge size of the orchestra and the chorus really made the pain and sadness over Brahms losing his mother all the more powerful and prevalent. I could hear and feel those emotions with him while the performance went on.
Hill auditorium, of course, is lovely. My only complaint is the lights were on over the audience, so I could see everyone else – whether they were moving, enjoying it, or not enjoying it. This took away from the performance for me because it distracted me.
I’ve followed Akademie fur Alte Musik Berlin for more than 2 decades, through a personal connection: one of their leaders who wasn’t on this tour is the brother of a friend of mine, and I was present at his confirmation in the old DDR (his father was an amazingly courageous Protestant minister who, later as Bishop of East Berlin, sheltered protestors and, together with Kurt Mazur, contributed to the peaceful abdication of the old regime).
But this was the first time I ever heard them play in-person. Beyond the precision evident on recordings (Bach Overtures), their sound was wonderfully delicate, graceful, musical and full of life–what a treat! They also introduced me to the music of Bach’s sons, which I’m looking forward to exploring through their CDs. Thank you, UMS, for the unforgettable evening, and please consider inviting them back–imagine a cycle of Brandenbergs or Overtures?
I enjoyed the performances very much. Except for the initial JS Bach Orchestral Suite, I was not familiar with any of the other works by Bach’s sons on the program. I particularly liked the final piece (can’t remember the name) that possibly served as an inspiration for Mozart’s Little G-Minor Symphony. None of us will ever forget the harpsichordist stopping just a few minutes into the 2nd piece, but kudos to him for doing so and getting it tuned during intermission. Nice encore as well w/the final movement of Haydn’s Symphony #3. I hope Akamus will be back in Ann Arbor again.
This was a remarkable ensemble. Even from the balcony, I could hear everything that happened on stage. The musicians didn’t look like they were straining to play their instruments, but everything sounded perfectly clear. I found it quite amusing when the harpsichordist stopped the middle of the Johann Christian Bach piece because the harpsichord was out of tune! I was enjoying the piece so I did not notice something was not in tune, but he knows better than I do if it really sounded good.
Concerning a “period” harpsichord–indeed, we can’t reasonably expect it to be audible when accompanying an ensemble in a venue as large as Hill Auditorium.
I am risking censure by asking whether it might be possible to appropriately amplify the sound of such an instrument in a space far larger than most of the concert rooms of the 18th century. I trust that a microphone carefully placed and monitored would not also amplify the volume of instruments near it–? Maybe such an intervention has been tried and found wanting?
Thanks to the Akademie and to UMS for bringing us this delightful afternoon!
Liked it very much. Gave the tickets to my father-in-law for his birthday,. He loved it too. I was tired when we arrived but the music lifted me to a very nice leave of engagement and sound.
Breathtakingly beautiful performances. A real pleasure to experience unamplified music played on period instruments.
Amused by comments regarding the harpsichord’s volume – please note that this instrument does not possess the “carrying power” of a pianoforte. The reason the harpsichord was placed in one position for the J.S. Bach Orchestral Suite and then moved sideways with the top attached obviously had everything to do with the same acoustic issues described here. I found the harpsichordist’s postponement of the harpsichord concerto delightful and endearing – once the piece was rolling it became profoundly obvious why he didn’t want to showcase an out-of-tune instrument. Would you?
Earlier in the season, UMS announced that the harpsichord concerto in question was by W.F. Bach, and at least some of us were eagerly awaiting an opportunity to hear a seldom-performed work by J.S. Bach’s eldest son. As it turns out, if the notes in the program are correct, this concerto has long been attributed to J.C. Bach. And in truth it did complement J.C.’s symphony quite nicely.
Once more: period instruments like those that were handled so adroitly by the core contingent from the Akademie are not going to sound like conventional equipment designed in the 19th and 20th centuries. The whole point of this concert was to be made to listen twice as carefully to music from the 18th century played very like it was when the music was first introduced. Light years away from the noise pollution we all take for granted here in the cacophonous 21st century.
When you think back on this concert, kindly remember the sight of the violinist dancing joyously with every stroke of the bow. That’s what I’m carrying in my heart today.
I enjoyed the concert, but the harpsichord was difficult to hear; and it wasn’t clear to me why that instrument wasn’t turned so that the player could see the group. As it was, 2/3 of the group played behind his back?.
Certainly a memorable concert! The quality of the performance and the musicians was outstanding. It was also memorable because the harpsichord soloist aborted the piece midstream in the performance, apparently because the harpsichord was out of tune.
As a younger audience member (24 years old), here is my feedback. Overall, I thought the performance was excellent. Each of the pieces were very well executed, and, as I have come to expect from the group, very lively. Some parts seemed a bit rushed (e.g., orchestral suite ouverture and bourree), and I wish I had been able to hear the harpsichord more clearly throughout. Nonetheless, I was very impressed with both the pieces I knew well and those I had not heard before. I’ll continue listening to the group with enthusiasm for years to come!
Certainly a memorable concert–because of the quality of the performance and the musicians, and also because the harpsichord soloist aborted the piece midstream in the performance, apparently because the harpsichord was out of tune.
We have attended all of their concerts at Michigan and they have always left us feeling totally entertained; last night was another amazing concert. We hope they will return soon.
“Sort-of” learned something new: We are very long time followers, and personally acquainted with this group – because of my personal activities as publisher & teacher of classic guitar. (My first experience of Scott Tennant – one of the founding members – was watching him play in a master class for a visiting concert artist when he was a middle-schooler – many moons ago!) LAGQ never disappoints, and reveals ever-new concepts about what this unique instrument can do. So happy UMS continues to book them, especially because the Un Michigan School of Music has no in-depth, dedicated classical guitar curriculum, and is much behind the times.
As Robert Kinsey notes, their imitation of a gamelan orchestra was unbelievable. First half was predictable old stuff, but even they made jokes about that. I was nodding off during first half. Second half was far, far more entertaining. As we left, I told my friend who accompanied me, “they could have skipped the first half and just done the second and I would have been perfectly happy.”
Steve: You shoulda stayed. Second half was 10 times better than the first. Much more entertaining, interesting, engaging. And the guys spoke to the audience a lot more.
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We left at intermission. Hungarian rhapsody was great, other pieces were technically great but not entertaining. We wished they had spent more time with the audience but the discussion of the pieces was very limited
We left at intermission. Hungarian rhapsody was great, other pieces were technically great but not entertaining. We wished they had spent more time with the audience but the discussion of the pieces was very limited
What a nice mellow evening..WX and music went hand in hand. Was a different spin … some light, some serious. The performers had a nice balance. I particularly liked the world tour and how they coaxed a gamelan sound out of acoustic guitars.
These guys are welcome any time!
That performance was AWESOME! I’ve been a fan of these guys for years, and I’ve been itching to see them since the last time they were here. I received tickets as a birthday gift. Best. Birthday. Ever.
I drove 8 hours round trip for this performance and I have been attending it for 9 years. This is the first time I have ever felt the need to make a comment here or visit the forum.
I cannot believe they interrupted the performance for this farce of an award. It dragged and dragged. It should have been presented before the show, or any other time. We came for Jazz, not a mary sue coleman love-fest. Saying you were giving an award to the musicians in no way excuses it. Don’t put it on them – they came to play jazz for the people who love jazz. Ask any one of them if they wanted to stop the show to do a pony show and they’d tell you *NO WAY*.
And on top of that, the performance was shortened. The pieces were shorter, there was no proper encore.
We were double robbed – robbed of a typical performance and forced to sit through a mary sue love fest. Why didn’t you just give her a grammy?
It was truly a debacle and Ken Fisher’s statement above in no way excuses or explains the terrible decision making.
This was a very sad day for UMS and for the integrity of a musical performance.
Would they have interrupted an orchestral performance this way?
My great regret is that when I walked by Ken Fisher at the side exit that I did not stop and tell him how I felt. I was too steamed.
Frankly, I don’t know if I’ll bother coming again. It’s been a couple weeks and I am still disgusted by this. I’m sure it will feature heavily on my mind when next year’s show rolls around, but I usually buy my tickets as soon as they are available.
I think it’s really interesting how much you liked the baritone. Maybe it was because of where I was sitting but I thought he sounded quiet and not very strong, especially compared to Nadine. I do agree, though, that the performance was incredible and I think another collaboration between the Ann Arbor Symphony and UMS Choral Union would be spectacular!
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The baritone soloist stole the show! This was the first time I have heard Braham’s Requiem in its entirety, and overall I was very impressed with the musical quality and vocal performances by the choir and soloists. I found the provided translation to be extremely helpful when following the various movements within the performance, and enjoyed the short breaks between each movement. I felt the baritone vocalist provided an overall superior musical performance over the soprano soloist, although both vocalists were clearly talented and worked nicely with both the orchestra and choir. I would certainly buy tickets to future collaborations between the Ann Arbor Symphony and the UMS Choral Union.
Great, the one time we get main floor seats is the time when we don’t want them. But after having been on a tour of Hill Auditorium, I was really looking forward to hearing the “great acoustics” that the place is known for.
The performance was great, of course. Compared to other performances I’d been to, like the Mali music of Diawara Fatoumata and the avant garde of Kronos Quartet, this one was a lot more like what I expected. It was flowed really well and all of the instruments were in perfect harmony.
What surprised me most of all, though, was how minimal the piece was. The first thing I noticed (besides the lights in the audience being left on) was that the piece began with only half of the violins (at least, that’s what it looked like from my poor angle). It wasn’t until after the first break that everyone began to play together. Before that, the piece sounded less cheerful than usual. Violins have that higher pitched sound that I typically associate with calm.
Similarly, the two main singers didn’t sing until closer to midway/the end! Nadine spoke to a class I’m in and told us this would be the case, but it didn’t make much sense to me that their “stars” weren’t capitalized on a bit more. Also, it didn’t seem like they sang for a long period of time. Most of the time it was the chorus only, but I thought that was great because it gave the performance a really majestic sound, though I didn’t follow along with the lyrics.
Although some of the choices made in terms of who played/sang when was peculiar, it all came together really nicely and I think this was one of the better performances I’ve been to!
Very interesting thoughts on the body language of the soloists!!! I differed in that I thought that the baritone soloist delivered the better vocal performance, but I greatly admired Nadine’s more reserved stage presence. I know that Nadine’s vocal part was more somber in tone which was likely the reason for her stage presence, so I am thinking that perhaps the lyrics associated with the baritone solo required a similar physical reflection of tone?
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What to say that hasn’t already been said? This concert was amazing! After having done background research on the piece and Brahms himself, I was excited that I actually could hear what I learned in the performance!
Having met Nadine Sierra prior to the performance, I found myself cheering her on when she sang. I hope I’m not biased when I say she was the better soloist. The baritone solist just seemed, cocky. It was as if he has to do the show versus being excited to perform.
An incredibly beautiful performance! The long crescendos were absolutely perfect. Just when I thought it was complete, there was more. Wow! What power. What emotion
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There’s something about a group of people that voluntarily make music that is has that “it” factor for me. For that reason, I love the Choral Union and the enthusiasm they bring each time I’ve heard them. I’m a violin performance major at the SMTD and I happen to study with Aaron Berofsky, the concertmaster of Ann Arbor Symphony. I have worked this semester with his wife, also a violinist in the symphony. I was able to talk with them and a few of my friends who sub for Ann Arbor Symphony about what a special performance Friday night was. I love when such large pieces of classical repertoire are performed and I didn’t feel let down. It’s very easy to get caught up in the idea of a big piece without it being cliché. It’s the extraordinary moments of passion mixed with beautiful composition when a work comes to life. With such a full stage, I was glad that there was a spirit of cohesiveness and musicality that was a pleasure to listen to. I was pleased to be able to witness and participate in such an emotional and oddly uplifting requiem:) And of course Jerry Blackstone is always amazing and giving every bit to the music.
The baritone soloist stole the show! This was the first time I have heard Braham’s Requiem in its entirety, and overall I was very impressed with the musical quality and vocal performances by the choir and soloists. I found the provided translation to be extremely helpful when following the various movements within the performance, and enjoyed the short breaks between each movement. I felt the baritone vocalist provided an overall superior musical performance over the soprano soloist, although both vocalists were clearly talented and worked nicely with both the orchestra and choir. I would certainly buy tickets to future collaborations between the Ann Arbor Symphony and the UMS Choral Union.
Mediocre at its best, terrible at its worst, this sums up pretty well and succinctly my reaction to this choral work, and did I mention that it was ridiculously long? If I didn’t, let me just say it right now. It was really really long!
Give me a break; let me breath; let me get a drink of water, a soda, a pop, some juice. Let me use the restroom; let me move around; let me breathe. Let me do something to take all of this music in. But no, not if you’re Jerry Blackstone, no sir. If you’re Mr. Blackstone, you will keep going nonstop for almost two hours without letting me take in a single ounce of what is happening on stage.
And the crowd, what can I say about the crowd that the Wicked Witch of the West hasn’t said about Dorothy! My aisle was littered with old people just sleeping, literally and snoring and dosing in and out of deep slumber throughout the performance. One old person fell asleep on my shoulder, literally. “Are you kidding me?” I thought to myself. First you’re snoring next to me and then you put your head on my shoulder, absurd! If you’re old and it’s past your bedtime let me make an equally unorthodox and bold suggestion, stay home! If you cannot stay up past nine o’clock, please just stay home instead of falling asleep on top of folks sitting next to you.
I think it’s awesome that you were moved by a genre of music that you have been skeptical about. I always try to tell people that music is music. Everyone has their own preferences, but that doesn’t mean one should shun certain types of music. Moving musical moments can come from a jazz guitar player, a classical flutist, or even a rapper’s lyrics. All this to say that it’s important to stay open.
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The last time I attended a “classical concert” and an opera, I found it very hard to keep engaged throughout the whole performance and remember falling asleep every now and then. I was pleasantly surprised to see myself fully engaged for most of the performance not only because the quality of the performance and sound was impeccable, but because I was also able to see the performers’ full engagement in their performance, which always interests and impresses me. The hill auditorium was a perfect venue for the requiem because the sound just reverberated throughout the hall and hit every single wall I found myself getting chills every now and then. I think what made a lot of the audience members feel engaged to the performance was that they were able to feel the intimacy and love the performers had for their pieces. Their bodies reflected the contours of the music and therefore made both the visual and audio aspect of the performance match, something that a lot of performances lack. The unity of all those different types of artists also obviously reflected the hours of dedication and rehearsal they had to go through in order to prepare for such a lovely show. I would also like to mention that Nadine’s solo performance was stunning and her voice blew me away. Overall, I am glad that our class was able to provide me with a good classical performance experience because prior to this performance, I really did find myself wince at the idea of attending a classical concert. I would recommend this whole collaboration and set to anyone!
There’s something about a group of people that voluntarily make music that is has that “it” factor for me. For that reason, I love the Choral Union and the enthusiasm they bring each time I’ve heard them. I’m a violin performance major at the SMTD and I happen to study with Aaron Berofsky, the concertmaster of Ann Arbor Symphony. I have worked this semester with his wife, also a violinist in the symphony. I was able to talk with them and a few of my friends who sub for Ann Arbor Symphony about what a special performance Friday night was. I love when such large pieces of classical repertoire are performed and I didn’t feel let down. It’s very easy to get caught up in the idea of a big piece without it being cliché. It’s the extraordinary moments of passion mixed with beautiful composition when a work comes to life. With such a full stage, I was glad that there was a spirit of cohesiveness and musicality that was a pleasure to listen to. I was pleased to be able to witness and participate in such an emotional and oddly uplifting requiem:) And of course Jerry Blackstone is always amazing and giving every bit to the music.
I’m really glad that the lyrics (both german and translated) were included! Being able to lose myself in both the sounds and the meaning of the performance was great! I totally understand how it could be distracting, but for me I was glad to be able to “take a break” from the sounds when I needed it, and it helped string the whole thing together for me.
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I really wish I knew German! I spent the concert (maybe obsessively) trying to follow along with the lyrics. I really wanted to hear how Brahms used music to convey the emotions of the words, but I ended up getting lost a lot of the time and wish I had spent more of the time just enjoying the music.
I thought this was a fabulous performance! The behind the scenes with Nadine Sierra and the Hill Auditorium tour made the experience that much better for me. Realizing that the UMS Choral Union was unpaid was also amazing to me. I wish I could comment more on the musicality of the performance but that’s not really my forte. I would definitely go to a performance like this again though.
I was completely blown away by this performance. After hearing the amazing balance of sounds that you can only hear at Hill and a small handful of other auditoriums around the world, I’m thrilled that the Requiem was performed there. The soloists were absolutely phenomenal (and I know it’s been said before, but Nadine Sierra was especially impressive). A masterful performance by all involved!
What to say that hasn’t already been said? This concert was amazing! After having done background research on the piece and Brahms himself, I was excited that I actually could hear what I learned in the performance!
Having met Nadine Sierra prior to the performance, I found myself cheering her on when she sang. I hope I’m not biased when I say she was the better soloist. The baritone solist just seemed, cocky. It was as if he has to do the show versus being excited to perform.
The last time I attended a “classical concert” and an opera, I found it very hard to keep engaged throughout the whole performance and remember falling asleep every now and then. I was pleasantly surprised to see myself fully engaged for most of the performance not only because the quality of the performance and sound was impeccable, but because I was also able to see the performers’ full engagement in their performance, which always interests and impresses me. The hill auditorium was a perfect venue for the requiem because the sound just reverberated throughout the hall and hit every single wall I found myself getting chills every now and then. I think what made a lot of the audience members feel engaged to the performance was that they were able to feel the intimacy and love the performers had for their pieces. Their bodies reflected the contours of the music and therefore made both the visual and audio aspect of the performance match, something that a lot of performances lack. The unity of all those different types of artists also obviously reflected the hours of dedication and rehearsal they had to go through in order to prepare for such a lovely show. I would also like to mention that Nadine’s solo performance was stunning and her voice blew me away. Overall, I am glad that our class was able to provide me with a good classical performance experience because prior to this performance, I really did find myself wince at the idea of attending a classical concert. I would recommend this whole collaboration and set to anyone!
Ok, this definitely makes me feel better that I didn’t notice that the translation was in the program until later in the show (like the 5th or 6th movement). At first I regretted it, but after reading your comment it seems that it may have distracted me from simply enjoying the sound.
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I really wish I knew German! I spent the concert (maybe obsessively) trying to follow along with the lyrics. I really wanted to hear how Brahms used music to convey the emotions of the words, but I ended up getting lost a lot of the time and wish I had spent more of the time just enjoying the music.
I thought this was a fabulous performance! The behind the scenes with Nadine Sierra and the Hill Auditorium tour made the experience that much better for me. Realizing that the UMS Choral Union was unpaid was also amazing to me. I wish I could comment more on the musicality of the performance but that’s not really my forte. I would definitely go to a performance like this again though.
I sat on the main floor for this show and I really wish I hadn’t. I have never sat on the main floor of Hill Auditorium–always way back in the balcony or on the mezzanine, and I have to say I enjoy the sound in the upper seats a lot more.
Other than that, I really enjoyed the performance. I am not a huge fan of choral music, but I did think the singing was wonderful, especially the two soloists. I can’t even imagine having to sing for that many people, much less project so well without a microphone in such a big hall.
Above all I enjoyed the last movement of the Requiem. I thought it was the most beautiful one and really ended the show on a great note for me. Although this piece is by no means one of my favorite pieces of classical music, I was able to appreciate a kind of classical music that I had never really experienced live before, and I was very happy with my experience.
Also, the fact that the translation was in the program escaped my notice until the 5th or 6th movement. I wish I had noticed earlier, but then again I suppose it may have distracted me from the music had I been looking at the program the whole time.
I really wish I knew German! I spent the concert (maybe obsessively) trying to follow along with the lyrics. I really wanted to hear how Brahms used music to convey the emotions of the words, but I ended up getting lost a lot of the time and wish I had spent more of the time just enjoying the music.
I thought this was a fabulous performance! The behind the scenes with Nadine Sierra and the Hill Auditorium tour made the experience that much better for me. Realizing that the UMS Choral Union was unpaid was also amazing to me. I wish I could comment more on the musicality of the performance but that’s not really my forte. I would definitely go to a performance like this again though.
I was also slightly confused when the choir sat down. At first I thought they might have had a really long break, but then they were still singing after they sat down. I agree that this was a move to bring contrast to the movement. I also thought that this was done to put even more focus on Nadine’s voice.
In response to the soloists holding music, I think it’s a very common thing for a performance like this, in my experience at least. Opera music is very complicated and difficult with a LOT of notes as you could hear. It’s different from pop singing that usually has simpler, memorable melodies. I think of an opera singer as using their voice as an instrument and compare it with a violinist needing music during a performance.
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What a great night of performance! I thoroughly enjoyed being in the amazing venue of Hill auditorium, enjoying every moment of the awesome acoustics that I could hear from UMS chorale singing Brahms’ German Requiem. At first, I was a little sad that I wasn’t sitting centered, but was sitting left side of the stage, not being able to see the solos. But I ended up enjoying the harp sound, because two harpists sat and performed directly in front of my seating. I also started having couple interesting questions during the performance. For example, the choir was standing the entire time singing in good postures, then for the movement where Nadine Sierra had her amazing solo, the choir all sat down and started singing while sitting. That movement of Requiem did have a bit quieter and legato-like movement compared to the other movements, and I assumed that the conductor might have been trying to bring contrast to this movement compared to other movements, but I could not be sure. Another question that I had during the performance was the fact that the soloists were holding music when singing. I assumed the soloists would have memorized the words, but soloists holding sheets of paper on their hands during solo took away from the performance personally a little bit, while it was very acceptable to me for the rest of chorale to hold their music during the performance. Overall, it was an enriching classical performance, that I thoroughly enjoyed.
I really enjoyed reading your comment. Although I wouldn’t consider it my favorite performance of the year, I also loved Brahms Requiem! I agree with you completely that the language barrier did not detract from my enjoyment at all, and may have even added to it because it allowed me to enjoy the whole requiem on a purely aesthetic level, rather than having to make sense of the lyrics. Hill really was the perfect venue for this too, and the sound was immaculate. It was definitely an enchanting evening, and I’m glad you enjoyed the performance as much (and it sounds like even more) as I did!
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Bravo! Bravo! Bravo! Wow, this was my favorite performance of the semester by a landslide. First I would again like to say Thank You to UMS for supporting the Engaging Performance class that was offered this term. Through it I have been exposed to and educated to various genres of music and theater. My experience at the Brahm’s Requiem performance was the cherry on my ice cream sunday and the best way to end the semester. I have seen symphony orchestras perform before, but the UMS Choral Union and soloist added an entire dimension that blew my mind. Hill Auditorium was the perfect venue with superb acoustics, which only added to my enjoyment. The entire ensemble made the complicated piece look effortless. I found myself so mesmerized the language barrier did not even bother me! I left the performance wanting more. Bravo! Bravo! Bravo! Thanks again to UMS.
I thoroughly enjoyed the performance of Brahms Requiem at Hill on Friday night. I think one thing that made the performance truly special was that our Engaging Performance class had just recently gotten a private tour of Hill Auditorium, which allowed me to view the concert hall in an entirely different light. The piece was really spectacular, and its musical contours varied as much as those of a wild roller coaster. One minute the music was extremely soft and delicate, and the next it was engulfing the auditorium in a loud, sweeping wave. One aspect of the Brahms Requiem that particularly impressed me was the sheer number of people on stage, and with that many people the versatility and exquisiteness of the sound emanated by the choral union and orchestra. I loved both solo parts as well, although after hearing Nadine Sierra sing to our class, I was hoping to hear the same booming voice she offered then. I understand, however, that the part she sang may have called for a lighter sound. Overall, the Brahms Requiem was a fantastic show and I am very grateful for my exposure to and opportunity to see live such wonderful, intricate music.
I could not agree more regarding the acoustics in Hill Auditorium. Being able to hear all parts of the performance (orchestra, choral union and soloist) only added to my enjoyment. There is literally nothing negative I can say about this performance. I am glad you enjoyed it – as most did. An experience we will never forget.
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Bravo!! After learning some background and attending Friday’s performance, what struck me most about the Requiem, (and the venue), was its timelessness. Here’s a piece written a century and a half ago, being performed without any special effects or add-ins in an age when attention spans are miniscule, that was able to captivate seemingly its entire audience! The acoustic perfection of Hill certainly helps – this was my first true performance in the auditorium.
In terms of actual content, I was most intrigued by the quick and often fluctuations in pitch, volume and tempo performed by the chorale. I found it surprisingly easy to separate the orchestra and focus on the voices (and vice versa) when I wanted to. It was truly a treat to be in the magnificent presence of the soloists, as well.
Bravo! Bravo! Bravo! Wow, this was my favorite performance of the semester by a landslide. First I would again like to say Thank You to UMS for supporting the Engaging Performance class that was offered this term. Through it I have been exposed to and educated to various genres of music and theater. My experience at the Brahm’s Requiem performance was the cherry on my ice cream sunday and the best way to end the semester. I have seen symphony orchestras perform before, but the UMS Choral Union and soloist added an entire dimension that blew my mind. Hill Auditorium was the perfect venue with superb acoustics, which only added to my enjoyment. The entire ensemble made the complicated piece look effortless. I found myself so mesmerized the language barrier did not even bother me! I left the performance wanting more. Bravo! Bravo! Bravo! Thanks again to UMS.
Couldn’t agree more, Grace! I was most surprised at the fact that hearing a brief snippet of Nadine’s talent, sitting <10 feet from her was practically the same experience I felt in Hill (take away the other performers). A true testament to the acoustics, as you mentioned. It may have felt effortless, but I couldn't help but wonder how much their vocal cords must have hurt the next day.
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Nadine, Nadine, Nadine! Maybe it was just because I had heard a quick bit of her voice before the performance, but I was absolutely blown away by her performance especially. I’m sure the acoustics had something to do with it as well, but all of my expectations for the performance were by far exceeded. For such a complicated piece, the entire time felt effortless, from the soloists to the entire ensemble. It was nice that the translation were in the program, I usually find myself more involved in a performance when I know where the musicians are coming from, but I felt that for this performance I didn’t need the words because the music was able to convey emotion without them. Being a part of the audience was wonderful, but being in Hill Auditorium only heightened the experience. Having never heard a classical piece in Hill, it was an experience that I hope to have again. Thanks to UMS for this experience!
Bravo!! After learning some background and attending Friday’s performance, what struck me most about the Requiem, (and the venue), was its timelessness. Here’s a piece written a century and a half ago, being performed without any special effects or add-ins in an age when attention spans are miniscule, that was able to captivate seemingly its entire audience! The acoustic perfection of Hill certainly helps – this was my first true performance in the auditorium.
In terms of actual content, I was most intrigued by the quick and often fluctuations in pitch, volume and tempo performed by the chorale. I found it surprisingly easy to separate the orchestra and focus on the voices (and vice versa) when I wanted to. It was truly a treat to be in the magnificent presence of the soloists, as well.
Great post! I definitely agree that Hill auditorium was the perfect space for this performance. It was also awesome just to hear a performance in Hill to experience what it was like. I have never heard a performance in Hill and found it to be an unbelievable venue. I also totally agree about Nadine’s solo! I think meeting her prior to the performance made it even better because she was so relatable in class. I found myself being really excited to see and hear her solo because we met her before just as you said rooting for her.
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I’d been looking forward to this concert all week! Hill auditorium always makes for an acoustically phenomenal performance and the orchestra and UMS Choir formed a beautiful ensemble. Having discussed the Requiem in our “Engaging Performance” class, I really enjoyed following along with the English translation and observing where the change in lyrics (for example, a “but”) prompted an orchestral tone change. Perhaps one of my favorite parts of the concert was Nadine’s solo. After hearing her speak in class about her journey and accomplishments as an opera singer, I couldn’t help but silently root for her as she walked on stage. And what an incredible solo it was! She has such a rich voice and I hope I have the chance to hear her again. Come back to Ann Arbor soon, Nadine! Great job to all the performers. Your hard work and talent we’re very much evident and appreciated.
As I sat down in my seat I wasn’t quite sure what I was in for. The previous performances that I have seen through UMS have been light, fun, and usually performances in which the audiences is clapping and dancing to the music. However, this performance was quite the opposite. Brahms Requiem was exactly what I imagined a typical classical music performance. At first, I was intimidated by the performance and thought there was no way I would be able to understand what was going on or even enjoy it. Yet, about half-way through the performance I found myself thoroughly enjoying the performance. Even though I could not understand the words that were being sung I felt the emotion through the music and lyrics that allowed me understand exactly what the Requiem was supposed to represent. When the baritone opera singer began I felt his pain. It seemed like he was singing about a struggle. I thought the transition to Nadine’s portion was brilliant because I felt her part of the Requiem provided a lightness that the Requiem needed. The brightness that she brought to the performance was the perfect contrast to the baritone’s portion, which was dark and heavy. Moreover, the chorus did a fabulous job as well. They were so cohesive and in sync. Overall, this performance shock, wowed, and left me want more.
Elizabeth– I was thinking the same thing about the size the stage. I couldn’t believe I had walked the entirety of the space just a week before and now hundreds of people stood atop. It’s amazing how the performance transformed the atmosphere.
Also, how special to see your high school teacher playing!
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The ambiance, the setting, and the people all contributed to making this performance an amazing occasion. As I sat waiting for the Brahms’ Requiem to begin, I was amazed by the number of people that stood atop Hill’s stage. When I stood upon the stage a week before this performance, I didn’t feel as if it was such a huge stage. But so many different people were combined on that stage, and I heard this as well as the concert started. Instead of watching just one orchestra upon the stage we heard an orchestra, an entire chorus, a soprano and a baritone. It reminded me of the time I played Beethoven’s 9th Symphony. Being a part of an orchestra with a chorus surrounding me was surreal and amazing, because they were a whole different entity that we were making music with. I felt a similar experience watching the Brahms.
The second movement was my favorite, particularly because of the amazing French horns. It was even more fun watching and knowing my high school private teacher was playing! In this movement, I could see the happiness and celebration that was behind Brahms’ piece, rather than the sadness and lamenting that a requiem might usually be. It was an amazing experience to watch all these different musicians take the stage.
I mentioned something similar. Hill really is the perfect place for such an enormous number of musicians. Often when there is a sole performer on stage, the sound can be reflected in a somewhat bizarre way, so when it comes to Hill — the more the merrier for me!
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Hill has great acoustics, and although it’s not suited for all types of performances, as I’ve noticed with previous shows, it was the perfect setting for Brahms’ Requiem. All the different voice and instrumental sections were in perfect balance! I really appreciated the fact that the programs included German and English, as well as the hard work the choir put in on the diction, which was clearly indicated. The clear pronunciation of all those difficult to pronounce, let alone sing, German consonants, along with the guide provided in the program, easily distinguished the end of one movement and the beginning of another! It was a great performance! I especially loved Nadine’s soprano solo, her tone was crystal clear, and her high notes seemed to float flawlessly!
First and foremost, watching the UMS Choral Union perform is a heartfelt thing for myself – seeing a seemingly endless number of singers in the community (and elsewhere) come together and make such brilliant music. I even managed to spot a few familiar faces! My former high school choir teacher, as well as my former church choir director were among them.
The ensemble as a whole did a great deal of justice to Brahms’ iconic large-scale work. The quality (and quantity!) of the musicians proved to be quite vigorous in their portrayal of this emotional rollercoaster that’s so separated from its fellow requiem siblings. In combination with such a resonant venue, it was a complete powerhouse — in near-literal terms.
And before I forget — it goes without saying that the two soloists drew in every last bit of attention with each passing breath, but their visual aesthetic commanded the stage as well. Nadine mentioned beforehand that she would stun many with some chic gold attire and a look of vocal effortlessness, and every word proved true. And let’s not forget John Relyea’s no-nonsense gaze that could easily turn the audience to stone.
I’d been looking forward to this concert all week! Hill auditorium always makes for an acoustically phenomenal performance and the orchestra and UMS Choir formed a beautiful ensemble. Having discussed the Requiem in our “Engaging Performance” class, I really enjoyed following along with the English translation and observing where the change in lyrics (for example, a “but”) prompted an orchestral tone change. Perhaps one of my favorite parts of the concert was Nadine’s solo. After hearing her speak in class about her journey and accomplishments as an opera singer, I couldn’t help but silently root for her as she walked on stage. And what an incredible solo it was! She has such a rich voice and I hope I have the chance to hear her again. Come back to Ann Arbor soon, Nadine! Great job to all the performers. Your hard work and talent we’re very much evident and appreciated.
The text this work is set to is so beautiful and important to what the music is saying. I could not agree with you more. What did you think of the performance? Have you heard this work before?
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As in life, context in music is everything. That is why I find poetry set to music so enthralling. The melisma over “abgefallen” (from: The grass withereth, and the flower thereof ‘falleth away’) is one of my favorite examples. Brahms’ word painting allows an intimate connection to both the verse, and his intention. Though he did pick all of the words, his melodies are what give them life.
One of the best performances I have seen in the past year or two! Blackstone brought beautiful musicianship and artistry out each and every performer on stage, creating a magnificent ensemble. The balance was perfect, the choir’s diction was clear, and everyone did it well together. A great production, too bad it was only one performance.
I couldn’t agree more. I was up in the Mezzanine and often my friend who sat next to me had to tell me to sit still because as I watched him almost appear to be jumping I would almost jump too. I feel like he was a big part of the performance because while everyone else seemed so stiff (as would be expected) he was like a ball of energy. It was great to see a conductor with so much energy, especially for a piece as long as the Brahms Requiem. He not only made the performance more enjoyable but as an audience member I could tell that he was really enjoying what he was doing.
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Watching Jerry Blackstone conduct was as much a part of the wonderful experience as listening to the CU, the orchestra and the soloists. A fabulous performance.
Since getting my ticket for this performance back in January, I had been anxiously waiting for Friday night and I was not disappointed. The Brahms’ Requiem was beautifully performed. The vocalists shone, not once being overpowered by the A2SO. However, I won’t lie I was lost at first unaware that they weren’t singing in English. I was actually quite confused until a friend of mine leaned over and told me that they were singing in German. Once I knew that tiny tidbit I comfortably enjoyed the performance. If I had to choose a favorite part, it would have to be Nadine Sierra’s solo. Her voice was so beautiful and all I can say was that she is a phenomenal performance and I would love to see her again.
However, for as much as I loved the performance, there were things I did not enjoy. While I understand the need to seat people, I felt that having people walk in late then having to stand up to let them in was very frustrating, especially when it occurred right as a movement began, I feel it pulled me away from the performance and caused a lot of frustration. On top of that, during the entire performance, I wanted to know why there was no seating in the balcony. In my experiences at Hill auditorium, sound wise I’ve found those seats to be some of the best. Other than these slight issues I honestly felt the performance was well worth the wait.
I agree with you in the sense that
1. I enjoyed this performance so much more than the Kronos Quartet.
2. It was so helpful that Matthew went over the texts and relationships in keys between movements of the Requiem.
3. Yes! I do also wish I could’ve heard more of Nadine Sierra. She was not only beautiful, but had the voice that was rare for me to find in opera singers these days.
And last but not least, 4. Hill auditorium was by far the best venue to attend these performances. I’m sad that our “Engaging Performance” class only had one performance to attend at the Hill Auditorium this semester.
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I thoroughly enjoyed the incredible performance of Brahms’s Requiem on Friday evening. To be honest, the piece was much less musically-dramatic than what I had anticipated, but having a more conservative taste in music (enjoying the classical as opposed to more contemporary pieces played by the Kronos), I appreciated the combination of the orchestra, choir, and the two fabulous opera singers. It was helpful to have learned about Brahms’s Requiem before attending the concert because I felt that I had a better understanding of its musical components. For instance, when the chorus first began to sing, the mood was very solemn—almost serene to a certain point—as if the sound was transcending beyond the earth into the heavenly realms.
In addition, I wished I could have heard more of Nadine Sierra—she was superb! Whereas I simply just listened to the rest of the choir and the orchestra, I actually watched her and listened to her, trying to follow her gestures and facial expression as she played around with the notes so effortlessly on the high register, which created a different kind of concert experience for me.
All in all, it was such a pleasure to hear such great live music in a beautiful theater with truly awesome sound acoustics). Hill Auditorium was the perfect venue for this performance!
What a great night of performance! I thoroughly enjoyed being in the amazing venue of Hill auditorium, enjoying every moment of the awesome acoustics that I could hear from UMS chorale singing Brahms’ German Requiem. At first, I was a little sad that I wasn’t sitting centered, but was sitting left side of the stage, not being able to see the solos. But I ended up enjoying the harp sound, because two harpists sat and performed directly in front of my seating. I also started having couple interesting questions during the performance. For example, the choir was standing the entire time singing in good postures, then for the movement where Nadine Sierra had her amazing solo, the choir all sat down and started singing while sitting. That movement of Requiem did have a bit quieter and legato-like movement compared to the other movements, and I assumed that the conductor might have been trying to bring contrast to this movement compared to other movements, but I could not be sure. Another question that I had during the performance was the fact that the soloists were holding music when singing. I assumed the soloists would have memorized the words, but soloists holding sheets of paper on their hands during solo took away from the performance personally a little bit, while it was very acceptable to me for the rest of chorale to hold their music during the performance. Overall, it was an enriching classical performance, that I thoroughly enjoyed.
Katherine — I definitely agree that it was amazing to hear so many voices. I thought it was amazing how an entire chorus, an orchestra, and the soloists all take the stage together. Entirely different entities yet we were able to hear and appreciate each other. I have played the French horn for over 9 years as well, and I can see what you are saying about the oboist cleaning his instrument. That is just something that he has to do in order to put his best sound forward! French horns have to empty their water and clear the pipes of their instruments so they can sing a clear sound as well. I felt so much emotion as well when I was listening to this concert. I was a little concerned that it might be very boring to sit through but the orchestra and all the singers were able to convey so much emotion that it was amazing to listen to.
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A truly spectacular sight to see so many voices fill an auditorium with no microphones. I was blown away by the choir’s ability to enunciate and articulate each note so carefully that any seat in the house was ideal. I am especially one to enjoy solos; as a former oboist for over 9 years, I can appreciate the hard work and very apparent nerves that go into a performance in front of a crowd. As some were disgruntled by the oboist’s cleaning of his instrument, I saw that as just a part of the performance. Just as an actor may drink water in between acts, an oboists who carefully crafts their music must make adjustments to demonstrate the best possible sound.
The most engaging part of this performance was experiencing the emotions the musicians and conductor had on stage. It was powerful to just experience the natural highs and lows all throughout the acts and to connect with the music in a way that took over your body from the passion resonating all throughout the auditorium. I very much enjoyed the soloists by both Nadine Sierra and John Relyea, as their emotion was conveyed through the language barrier I experienced. Overall, a beautiful conclusion to the UMS tour our U of M class has gone on!
The ambiance, the setting, and the people all contributed to making this performance an amazing occasion. As I sat waiting for the Brahms’ Requiem to begin, I was amazed by the number of people that stood atop Hill’s stage. When I stood upon the stage a week before this performance, I didn’t feel as if it was such a huge stage. But so many different people were combined on that stage, and I heard this as well as the concert started. Instead of watching just one orchestra upon the stage we heard an orchestra, an entire chorus, a soprano and a baritone. It reminded me of the time I played Beethoven’s 9th Symphony. Being a part of an orchestra with a chorus surrounding me was surreal and amazing, because they were a whole different entity that we were making music with. I felt a similar experience watching the Brahms.
The second movement was my favorite, particularly because of the amazing French horns. It was even more fun watching and knowing my high school private teacher was playing! In this movement, I could see the happiness and celebration that was behind Brahms’ piece, rather than the sadness and lamenting that a requiem might usually be. It was an amazing experience to watch all these different musicians take the stage.
I also really enjoyed being able to meet with Nadine before and it helped me to enjoy the performance much more! I completely agree, knowing her backstory made me feel that I was connected to her in a way that I am sure I previously would not have been able to. Hearing about the lifestyle of someone like Nadine was definitely enlightening and eyeopening and made me much more appreciative of all the hard work that goes into her performance!
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Out of all the performances I have attended through UMS, the Brahms’ Requiem performance was my favorite for several different reasons. First, I truly appreciated Nadine’s voice and thought of it to be nothing short of an angel. There were many times throughout the show where her voice gave me chills because it was so incredible. I believe that since our class was given the opportunity to meet Nadine and hear her stories the day before the performance it allowed me to be more engaged in the performance because I felt connect to her in a way. It was almost the same feeling one gets when going to support a friend in a show, performance, or game. In addition, I enjoyed listening to the music and incorporating it with the discussion of the history of Brahms’ Requiem. Lastly I really appreciate being able to experience a performance in Hill Auditorium, such a beautifully constructed building that has so much history behind it.
Blair,
I too enjoyed that Nadine came and spoke with our English class the day before and that we were able to hear her sing. It got me so excited to hear her at the performance on Friday! I couldn’t believe the grandness of their voices. She was right when she said that they honestly use every muscle in their body to produce such a loud sound. I was in awe. Loved the choral portion as well.
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This was my first time watching a symphony orchestra concert (which was evident when I was the only person clapping between movements) but I don’t want to miss another one! I thought that the band was very in synch and worked well together, but my attention was totally drawn to the choir and soloists. I thought that their sound was incredible, their ability to fill the entire auditorium without microphones with their crescendos was mind blowing. The ringing of the high soprano notes vibrated through me.
My major concern during the concert was that I wouldn’t be able to hear the middle sections (specifically the altos) which is why I really appreciated the section solos so that I could hear the parts that didn’t stand out as well. Both soloist I thought did a really good job, I thought that John Relyea had a weird affect to his sound (it sounded very glottaled or throaty) but I thought that his ability to put both emotion and power into his sound was undeniably impressive. I actually was surprised with Nadine Sierra because she had visited my English the day before and sang for us, and in that space her voice was very powerful and filled the entire room, but I thought at the concert she struggled more with having that powerful sound. Needless to say I still loved listening to her and I am itching to go see more of her work.
Nadine, Nadine, Nadine! Maybe it was just because I had heard a quick bit of her voice before the performance, but I was absolutely blown away by her performance especially. I’m sure the acoustics had something to do with it as well, but all of my expectations for the performance were by far exceeded. For such a complicated piece, the entire time felt effortless, from the soloists to the entire ensemble. It was nice that the translation were in the program, I usually find myself more involved in a performance when I know where the musicians are coming from, but I felt that for this performance I didn’t need the words because the music was able to convey emotion without them. Being a part of the audience was wonderful, but being in Hill Auditorium only heightened the experience. Having never heard a classical piece in Hill, it was an experience that I hope to have again. Thanks to UMS for this experience!
Absolutely my favorite performance all semester! Bravo to the UMS Choral Union, soloists and symphony orchestra! The energy and emotion was overwhelming and breathtaking. Since I am not a musician, I cannot fully grasp the hard work that goes into these performances. I thought it was incredible to be able to speak with Nadine, one of the soloists, before the concert to hear about her preparation for performances and her career as a professional opera singer. This made me even more excited to experience Brahm’s Requiem. Further, Blackstone was so enthusiastic, I found myself lost in his charismatic motions that complimented the music. I have gone to see the Chicago Symphony Orchestra and Chorus sing at Symphony Hall (one of my most treasured musical experiences) and this performance was just as moving, especially the sixth movement. So happy I attended, and so impressed with the musical collaboration of the symphony orchestra, chorus and soloists.
I completely agree with you and your opinion of the show. The way Hill is constructed allowed for all the voices of the choir and the music from the orchestra to be blended together so well. In addition in my opinion it takes a lot of practice and concentration to be able to pull off the German pronunciations especially if one is only fluent in English and the choir performed it wonderfully. I also agree how well Nadine sang. She sounded like an angel to me. Overall I appreciated the hard work everyone in the performance went through to put on a successful show!
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Hill has great acoustics, and although it’s not suited for all types of performances, as I’ve noticed with previous shows, it was the perfect setting for Brahms’ Requiem. All the different voice and instrumental sections were in perfect balance! I really appreciated the fact that the programs included German and English, as well as the hard work the choir put in on the diction, which was clearly indicated. The clear pronunciation of all those difficult to pronounce, let alone sing, German consonants, along with the guide provided in the program, easily distinguished the end of one movement and the beginning of another! It was a great performance! I especially loved Nadine’s soprano solo, her tone was crystal clear, and her high notes seemed to float flawlessly!
Erin-
I can very much agree with you that every time I step into Hill I am immersed in a different world! It is truly a special place to engage in a performance. I, too, was shocked how I connected with the soloists despite a heavy language barrier. I appreciate what you mentioned about the orchestra. In this concert it was easy to get overwhelmed by the power of the choir and especially the soloists. I thought the orchestra did a beautiful job at balancing throughout the entire performance.
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Upon entering Hill Auditorium I was immediately captivated by the beauty of the venue. That alone probably had an impact of how I would eventually feel about the performance by the UMS Choral Union. By the end of the performance of Brahms’ Requiem, I was filled overwhelmed by what I had experienced. I have always been a fan of choral music and this was by far the best I had ever heard. Of course I don’t want to undermine the precise manner in which the orchestra played, which was also delicate and beautiful, but there is something about the human voice that resonates to sweetly with my soul. The loveliness that soloists voices portrayed had me nearly in tears despite the fact that I understood none of what they were saying. It wasn’t a message that I picked up verbally, but instead through the clarity of sound I heard with one of my five senses. If I could go back a million times…I wouldn’t hesitate.
Out of all the performances I have attended through UMS, the Brahms’ Requiem performance was my favorite for several different reasons. First, I truly appreciated Nadine’s voice and thought of it to be nothing short of an angel. There were many times throughout the show where her voice gave me chills because it was so incredible. I believe that since our class was given the opportunity to meet Nadine and hear her stories the day before the performance it allowed me to be more engaged in the performance because I felt connect to her in a way. It was almost the same feeling one gets when going to support a friend in a show, performance, or game. In addition, I enjoyed listening to the music and incorporating it with the discussion of the history of Brahms’ Requiem. Lastly I really appreciate being able to experience a performance in Hill Auditorium, such a beautifully constructed building that has so much history behind it.
A truly spectacular sight to see so many voices fill an auditorium with no microphones. I was blown away by the choir’s ability to enunciate and articulate each note so carefully that any seat in the house was ideal. I am especially one to enjoy solos; as a former oboist for over 9 years, I can appreciate the hard work and very apparent nerves that go into a performance in front of a crowd. As some were disgruntled by the oboist’s cleaning of his instrument, I saw that as just a part of the performance. Just as an actor may drink water in between acts, an oboists who carefully crafts their music must make adjustments to demonstrate the best possible sound.
The most engaging part of this performance was experiencing the emotions the musicians and conductor had on stage. It was powerful to just experience the natural highs and lows all throughout the acts and to connect with the music in a way that took over your body from the passion resonating all throughout the auditorium. I very much enjoyed the soloists by both Nadine Sierra and John Relyea, as their emotion was conveyed through the language barrier I experienced. Overall, a beautiful conclusion to the UMS tour our U of M class has gone on!
I was definitely feeling nostalgic too! The last major choir performance I was apart of was Carmina Burana at Hill. It is such a different experience being an audience member as opposed to a performer at Hill, the sound is really best when you get to step back and listen to all of the parts thanks to the amazing acoustics!
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Last night was incredible! Nadine Sierra did an absolutely amazing job with the soprano solo, the way she makes it look so effortless is astounding! But did anybody else miss the days of high school band and choir after watching that show last night?! I know I did!! The blend, balance, and even the overall acoustics in Hill were wonderful, and to think there were no microphones on anyone that I could see! Overall, the performance was a great experience and I look forward to seeing more works by both groups in the future!
I like how you pointed out the cohesion of the vocals and the instruments. I also thought they were wonderful. I preferred the male singer to the female, maybe because I thought she was so annoying when she visited our class. The orchestra was incredibly talented and you made an interesting point about the volume and intensity of their instruments. I didn’t know what a timpani was before you commented, so thanks for that :_
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I never thought that I’d enjoy operatic singing. However, Nadine Sierra convinced me otherwise the second she opened her mouth. It was amazing how both powerful and beautiful her voice could be and how it complemented the orchestra and choir perfectly. That is definitely not to say that I wasn’t in awe of John Relyea and his exemplary solo, as both soloists astounded me with their talent. But I have to say that my favorite part was the choir. I loved how they held the dynamics so well while staying together as one voice; as a soprano who grew up in a choir I know how hard that can be, especially in a different language. Of course, the orchestra cannot be forgotten. I was amazed at the range of tones and dynamics they were capable of while still not drowning out each other’s instruments; I could enjoy both the gentle harps and the powerful timpani!
Hill has great acoustics, and although it’s not suited for all types of performances, as I’ve noticed with previous shows, it was the perfect setting for Brahms’ Requiem. All the different voice and instrumental sections were in perfect balance! I really appreciated the fact that the programs included German and English, as well as the hard work the choir put in on the diction, which was clearly indicated. The clear pronunciation of all those difficult to pronounce, let alone sing, German consonants, along with the guide provided in the program, easily distinguished the end of one movement and the beginning of another! It was a great performance! I especially loved Nadine’s soprano solo, her tone was crystal clear, and her high notes seemed to float flawlessly!
I sat farther in the back so I actually wasn’t able to see the oboist cleaning his instrument every three minutes, but I have to admit–just listening to him I can’t imagine he could have been so distracting because as you mentioned, he played so beautifully. As annoying as it must have been for you, perhaps you could consider this as one of the perks of attending a live music performance?
But otherwise, I agree–the two soloists were superb! I hope they’ll be back, too.
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Incredible performance. Enjoyed every minute of the CU singing and the orchestra except for the oboe player front and center who was eternally cleaning his instrument. Realize oboes are touchy to play and he did a great job with his solos but it was distracting to see him pulling the cleaning cloth every 3 minutes. Kudos to the two soloists. Hope they’ll be back.
I really enjoyed this concert at Hill. I have been to operas at home in New York, so I was a bit jaded, but I thought it was a wonderful performance. Hill was the perfect setting for such beautiful music. Not much can relax me, and this was a wonderful experience that helped me get my mind off of life. I liked watching the interaction between the conductor and the orchestra. It was interesting to see the reactions of his actions. I also liked to watch how moved the musicians got at times of the piece. Sometimes, there would be abrupt jarring switches to the flow of the music, and their bodies reflected the transformations as they played. The music was also a very visual experience in my mind. The sounds created pictures, and colors that I could see. It was very interesting. When I got home, I bought another version on iTunes and listened to it again. This was one of my favorite performances of the year. I think this was a great way to culminate the course.
Jillian – this was definitely my favorite performance thus far! I think that Hill was the perfect space as well, I am so glad that you thought so too. Nadine’s voice was so unique and I wish that she did even more. I’m so glad that you enjoyed the performance and the venue, I really did too!
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I thought that Nadine Sierra solo was so beautiful and one of the best sopranos I have ever heard! The orchestra music mixed with the soloists was something I have never seen live and can definitely appreciate. I thought it was an incredible performance and for sure one of my favorites. Any one else think that? I also thought it was perfect for Hill Auditorium. What a classy and beautiful space for this type of music.
Hill Auditorium was the perfect venue for the Brahm’s German Requiem! I thoroughly enjoyed the entire experience and was so pleasantly surprised with the entire performance. During the performance I found myself daydreaming back to the days when I participated in high school choir. I was familiar with the idea of singing a foreign language in a group. While it is quite difficult to do, I think the chorale clearly articulated emotion through their voices and made in much easier for the audience to understand each piece. I was also very, very excited to see that the translations of each song were listed. It was very helpful to refer to that throughout the performance, just to get a clearer idea for what each song was about. Like many others, Nadine Sierra’s talent stunned me. She blew me away with her soprano solo and I wish that she had sung even more. Like I mentioned earlier, Hill Auditorium and the Brahm’s Requiem were meant for each other. The sounds from the orchestra and the chorus blended so well together and worked magically with the acoustics in the room. I really enjoyed my team in the theater and thought that it was the most ideal spot for this music group. Overall, I’d say that this was the best performance I have seen through UMS thus far!
I thoroughly enjoyed the incredible performance of Brahms’s Requiem on Friday evening. To be honest, the piece was much less musically-dramatic than what I had anticipated, but having a more conservative taste in music (enjoying the classical as opposed to more contemporary pieces played by the Kronos), I appreciated the combination of the orchestra, choir, and the two fabulous opera singers. It was helpful to have learned about Brahms’s Requiem before attending the concert because I felt that I had a better understanding of its musical components. For instance, when the chorus first began to sing, the mood was very solemn—almost serene to a certain point—as if the sound was transcending beyond the earth into the heavenly realms.
In addition, I wished I could have heard more of Nadine Sierra—she was superb! Whereas I simply just listened to the rest of the choir and the orchestra, I actually watched her and listened to her, trying to follow her gestures and facial expression as she played around with the notes so effortlessly on the high register, which created a different kind of concert experience for me.
All in all, it was such a pleasure to hear such great live music in a beautiful theater with truly awesome sound acoustics). Hill Auditorium was the perfect venue for this performance!
I was also amazed at how well they performed while being volunteers. I actually had forgotten until after the concert because they were so good! And yeah, I was a bit upset that I couldn’t really understand german, but I didn’t really like reading from the program because i felt like it was distracting me from the music.
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The experience in the Brahms Requiem was enjoyable. I liked the music pretty much. I was interested in how the orchestra, the chorus and the singers cooperated under the conduct of the conductor. I learned before the performance that the chorus was formed by people who was not professional singers and they only had a short time to prepare for it. I respect them very much. They did such a good job that night. One only problem I had during enjoying the performance was the lyrics. I don’t know Germany and before I noticed that there were English lyrics printed in the program, I was totally lost. I really hoped that there would be some notification during the performance telling me which part it was going on.
I never thought that I’d enjoy operatic singing. However, Nadine Sierra convinced me otherwise the second she opened her mouth. It was amazing how both powerful and beautiful her voice could be and how it complemented the orchestra and choir perfectly. That is definitely not to say that I wasn’t in awe of John Relyea and his exemplary solo, as both soloists astounded me with their talent. But I have to say that my favorite part was the choir. I loved how they held the dynamics so well while staying together as one voice; as a soprano who grew up in a choir I know how hard that can be, especially in a different language. Of course, the orchestra cannot be forgotten. I was amazed at the range of tones and dynamics they were capable of while still not drowning out each other’s instruments; I could enjoy both the gentle harps and the powerful timpani!
Totally agree! Words are not enough for this performance! I’m also looking forward to another performance which is also such enjoyable!
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This performance was amazing! I knew it would be wonderful, but words cannot express just how great it was. I loved the music (I could listen to it all day), and Jerry Blackstone, along with the Ann Arbor Symphony, Choral Union, and the soloists did an amazing job. What an incredibly gorgeous and moving piece. I’m eager to to see (and hear!) more of the Choral Union, and I’d love to hear this piece again. Bravo to all!
The experience in the Brahms Requiem was enjoyable. I liked the music pretty much. I was interested in how the orchestra, the chorus and the singers cooperated under the conduct of the conductor. I learned before the performance that the chorus was formed by people who was not professional singers and they only had a short time to prepare for it. I respect them very much. They did such a good job that night. One only problem I had during enjoying the performance was the lyrics. I don’t know Germany and before I noticed that there were English lyrics printed in the program, I was totally lost. I really hoped that there would be some notification during the performance telling me which part it was going on.
I agree, Nadine Sierra is an amazing soprano and I can’t wait to see what she does in the future. I think Hill Auditorium adds to the beauty of the music, it is a match made in heaven.
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I thought that Nadine Sierra solo was so beautiful and one of the best sopranos I have ever heard! The orchestra music mixed with the soloists was something I have never seen live and can definitely appreciate. I thought it was an incredible performance and for sure one of my favorites. Any one else think that? I also thought it was perfect for Hill Auditorium. What a classy and beautiful space for this type of music.
This concert was amazing! I am always amazed at the quality of music the choral union brings to the stage. This is probably my favorite piece by Brahms. He paints the text so carefully and with such detail. I find his use of the text in the 6th movement very interesting when relating it to Handel’s setting of this same text in Messiah. Brahms’ music for this text is darker and more pensive than Handel’s music which is more joyous. I have heard this piece performed in English and in German. On one hand Brahms wanted this to be a mass for the people which is an argument for performing it in whatever language is prominent. But, on the other hand German is the original language of the mass and performance practice would suggest the piece be performed in German. What do other people think?
Hey Robert,
I totally agree I thought seeing the conductor do that was so cool and engaging! I gained a lot of respect for conductors after watching this performance. I too was grateful for the pamphlet with the translations. Definitely differed from other performances where I had absolutely zero clue what was going on.
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Jerry Blackstone has some serious hops! Watching the conductor jump up with two feet in the air, and then viciously throw his arms in opposite directions while his head ferociously nods forward made the performance special for me. The passion parlayed with the power Mr. Blackstone had over the performers was spectacular. It was really nice to be able to follow along with the lyrics on the pamphlet handed out before the performance. It kept me engaged and allowed me to understand what the choir and opera were singing so passionately about. I have a couple of questions. Does anybody know whether Brahms specifically chose certain sections of the piece to be sung by opera singers vs. the choir? Also, did anyone else have trouble sounding out the German language? It did help when I finally realized that the choir repeated certain paragraphs 3-4 times.
As in life, context in music is everything. That is why I find poetry set to music so enthralling. The melisma over “abgefallen” (from: The grass withereth, and the flower thereof ‘falleth away’) is one of my favorite examples. Brahms’ word painting allows an intimate connection to both the verse, and his intention. Though he did pick all of the words, his melodies are what give them life.
I thought that Nadine Sierra solo was so beautiful and one of the best sopranos I have ever heard! The orchestra music mixed with the soloists was something I have never seen live and can definitely appreciate. I thought it was an incredible performance and for sure one of my favorites. Any one else think that? I also thought it was perfect for Hill Auditorium. What a classy and beautiful space for this type of music.
Listening to anything in a foreign language can be hard to follow. Once you get lost, finding your place again is next to impossible! I found the same thing happened to me when I tried to follow just the words, but if you listen to the music it often gives cues to the changing of lines and emotions throughout the song. It also lets you appreciate some of the word painting going on throughout the piece!
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Jerry Blackstone has some serious hops! Watching the conductor jump up with two feet in the air, and then viciously throw his arms in opposite directions while his head ferociously nods forward made the performance special for me. The passion parlayed with the power Mr. Blackstone had over the performers was spectacular. It was really nice to be able to follow along with the lyrics on the pamphlet handed out before the performance. It kept me engaged and allowed me to understand what the choir and opera were singing so passionately about. I have a couple of questions. Does anybody know whether Brahms specifically chose certain sections of the piece to be sung by opera singers vs. the choir? Also, did anyone else have trouble sounding out the German language? It did help when I finally realized that the choir repeated certain paragraphs 3-4 times.
It’s so rewarding to see so many positive responses to this performance, especially from my classmates! I really appreciate the Brahms Requiem having been a part of the Engaging Performance curriculum, because it gave me an opportunity to view the performance from the audience perspective in addition to my perspective as a member of the Choral Union.
While this was not my first time performing on the stage of Hill Auditorium, it was my first time performing as a new member of the Choral Union. I had gone almost a year without being a member of a choral group, and while the Brahms Requiem wouldn’t have been my first choice to sing, I was so happy to be part of a choir again that the music grew on me with each Monday night rehearsal and I thoroughly enjoyed learning about the history behind it.
Preparing for this performance took a LOT of effort and dedication from every single performer, especially in the week leading up to it (7.5 rehearsal hours for the CU!!). I was so exhausted after each dress rehearsal – standing and breathing and singing and holding a folder is more physically demanding than it might appear – but once Friday evening came, I felt prepared and energized. I always get such a rush of excitement and relief at the end of a performance, and Friday was no exception – I felt that all of our hard work and weeks of rehearsing notes and dynamics and pronunciation and “not wiggling” at the end of each movement really paid off, and even though it might have felt a little like overkill in that moment, everyone definitely deserved the THREE rounds of applause!
What an honor it was to be a part of this performance of such a magnificent work by Brahms, in a choir and an auditorium that have so much history, coached and conducted by the marvelous human Jerry Blackstone!!! I am so excited to continue as a member of the CU and perform Handel’s MESSIAH in December!
Shoutout to my mom, my brother, and my housemates for coming out and supporting me!
I should have looked in the program booklet to see the translations! I would have loved to know what they were saying, although the music seemed to communicate a lot of emotion! I agree that it was wonderful to hear the different parts of the Requiem and having Nadine come and speak with us before the performance. It would be interesting to know what kinds of things go into the program…
Glad you enjoyed as well!!!
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BRAVO! Brahms’ Requiem was, by far, my favorite performance I have seen. So many aspects of this performance made it one to remember.
Nadine was absolutely incredible. It was definitely helpful to have met her the day before. As she was singing, I could remember parts of her story that she shared with us; it made the performance that much more special. I definitely felt more personally connected with the performance. The only thing about Nadine is that I wanted to hear her sing more!
Also, it was so interesting to actually hear the different parts of the music that we discussed in class (I was proud of myself for recognizing it during the performance). I am really happy I learned the history behind Brahms’ Requiem. Seeing the video of how the chorus and orchestra prepare increased my appreciation for the show. I was also happy that Hill Auditorium was chosen for this show in particular because the richness of the pieces in combination with the richness of Hill only contributed to the overall lavishness of the performance.
Lastly, I was really happy to see the translations of the songs in the program booklet. It helped in my understanding of the performance, which allowed me to fully appreciate the show.
I just want to say a big thanks to UMS for putting on this production – it was truly fantastic!
It’s funny that you say the environment was very peaceful… That was the first comment from my housemate who came to support me, before she later admitted that she, too, fell asleep during the performance 🙁
It’s kind of funny to me that several people are commenting that they thought the performance was quite long, because it was under two hours long, after all. And from my perspective on stage, it was kind of a blur! I do understand that sitting through classical music can be a challenge, though, especially when it’s seven movements long and it’s inappropriate to clap between them.
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I really hate that I skipped my morning coffee that day, because I was having trouble staying awake throughout the performance. The environment was so peaceful and calming. Hill Auditorium is a majestic and beautiful space, the seats so comfortable, and the music so eloquent. It would have been difficult not to feel content and relaxed.
I do think the show was rather long, considering there was no intermission or breaks. The audience didn’t applaud between movements-which I do not think we were supposed to. I think the lack of movement and audience response contributed to me dozing off. I couldn’t feel engaged when I was just sitting there.
Overall, however, the music was beautiful. Great job to the orchestra, and choral union. And the two soloists did a fantastic job! I loved listening to Nadine sing because she talked to our class about her journey of how she got to where she is, and I could really see her passion in her performance.
I noticed the Harps too Zach! Their fingers moved so quickly yet so swiftly. Also, their sound was quite loud and they had a large responsibility in terms of fulfilling the melody.
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Holy Brahms Requiem! What an emotional rush. I left Hill Auditorium Friday night completely satisfied, craving more, feeling dramatic. Dat choir thoo. The combination of a full orchestra with a full choir along with the soprano and bass singers made the experience extremely engaging. Especially in Hill Auditorium, there was no shortage of things to engage any and all of my senses. At times I felt the need to close my eyes to more fully focus on the sounds. At other times I was fascinated with the conductor’s dramatic gestures, or the pairs of hands simultaneously plucking at harps. Occasionally I would even look up and around to take in the fine details and dramatic arcs of Hill Auditorium.
I noticed, unfortunately rather late in the performance, the benefits of following along with the german words in the program. This task was very challenging, given I don’t speak german, but because of how often the choir and singers repeated certain phrases, it greatly increased the requiem’s dramatic qualities. I can still clearly remember the line, “Wo ist dein Seig?” or “Where is my Victory?” in the 2nd to last act. This line was repeated many times, and made Brahm’s lament and sorrow almost palpable. When I wouldn’t follow along with the words, I’d get lost in the sounds, which were pleasant, but more devoid of meaning.
Jerry Blackstone has some serious hops! Watching the conductor jump up with two feet in the air, and then viciously throw his arms in opposite directions while his head ferociously nods forward made the performance special for me. The passion parlayed with the power Mr. Blackstone had over the performers was spectacular. It was really nice to be able to follow along with the lyrics on the pamphlet handed out before the performance. It kept me engaged and allowed me to understand what the choir and opera were singing so passionately about. I have a couple of questions. Does anybody know whether Brahms specifically chose certain sections of the piece to be sung by opera singers vs. the choir? Also, did anyone else have trouble sounding out the German language? It did help when I finally realized that the choir repeated certain paragraphs 3-4 times.
I have been to my share of performances in Hill where I have either fallen asleep or come very close! It is a very calming environment, and easy to doze off, especially if you’re lacking coffee! Since it’s one piece, it’s meant to be performed without a break, from one movement to the next; but I agree, it was long. I agree, the music was beautiful; I could listen to it forever! I also liked hearing Nadine sing after hearing her speak. It’s always nice to hear from the performer and get a sense of him or her before a performance; It allows you to see/hear it in a new light.
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I really hate that I skipped my morning coffee that day, because I was having trouble staying awake throughout the performance. The environment was so peaceful and calming. Hill Auditorium is a majestic and beautiful space, the seats so comfortable, and the music so eloquent. It would have been difficult not to feel content and relaxed.
I do think the show was rather long, considering there was no intermission or breaks. The audience didn’t applaud between movements-which I do not think we were supposed to. I think the lack of movement and audience response contributed to me dozing off. I couldn’t feel engaged when I was just sitting there.
Overall, however, the music was beautiful. Great job to the orchestra, and choral union. And the two soloists did a fantastic job! I loved listening to Nadine sing because she talked to our class about her journey of how she got to where she is, and I could really see her passion in her performance.
This performance was amazing! I knew it would be wonderful, but words cannot express just how great it was. I loved the music (I could listen to it all day), and Jerry Blackstone, along with the Ann Arbor Symphony, Choral Union, and the soloists did an amazing job. What an incredibly gorgeous and moving piece. I’m eager to to see (and hear!) more of the Choral Union, and I’d love to hear this piece again. Bravo to all!
I agree with you! It was great to meet Nadine before the show which also helped me to engage more to the performance. Also it was definitely pleasure to hear Nadine’s beautiful singing !
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Brahms German Requiem was actually a bit more interesting than I initially thought it was going to be. Truthfully I was not very interested in this performance beforehand. I think that meeting Nadine before the show helped me to connect a bit more to it. It was quite entertaining to hear her sing while thinking about her life story that she had told our class the day before. Otherwise, the show was still quite amazing and very impressive. I did become a bit bored at times but I expected that coming in.
It was an amazing performance on Friday night! I never had a chance to become an audience member of choir concert because I was always the member of choir. I always enjoy being on the stage as a performer but I also enjoyed a lot as an audience, listening to the beautiful sound that the choir made. Balance was good, two soloists were fantastic. Thank you, UMS for hosting such a fabulous performance!
I enjoy listening to classical music casually. I am not very knowledgeable about it, but I do listen to it sometimes when studying or trying to relax. This performance was a great opportunity for me to learn a little about classical music, so I got to it. I started by listening to Ein deutsches Requiem, and then to other pieces by Brahms. I enjoyed a lot the pieces I listened to. Additionally, this was the first time I attended a musical event in Hill Auditorium. Needless to say, I was very excited for the concert, and it did not disappoint.
Listening to Brahm’s German Requiem live was so much more powerful than listening to it recorded. Also, thanks to the UMS booklet, I was able to follow the letters. I’m very happy I did, it helped me react to the performance in a very emotional way. The performers were all very talented, and the sound was amazing.
I am very glad I was able to attend this event. I will definitely try to attend similar events in the future after this fantastic experience.
Hi Elise, I am also very impressed with the performance. I enjoyed it a lot. Before the concert I listened to Brahm’s German Requiem so I knew a little what to expect (sound wise). However, I did not pay attention to the words before the concert, and reading them on the performance changed my whole appreciation of the piece. It was just very powerful and emotional to give meaning to the beautiful music.
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Outstanding! Every time I hear the UMS Choral Union sing, I am impressed. The majestic tone to their voices created a projection of music that washed over you and filled you with the emotion of the song, especially in Hill Auditorium. Plus, the soloists, Nadine Sierra and John Relyea, were amazing!
This was my first time hearing Brahms’s German Requiem and I tried to follow along with the words. Knowing what was being said helped me to hear the changes in emotion throughout the piece and better understand the music. When they sang, “Joy, eternal joy, shall be upon their heads,” the music was peaceful and happiness filled the auditorium. Yet, when they sang, “They go forth like shadows and give themselves great anxiety in vain,” the music sounded like it was the end of the world and that all sadness had consumed us. Hearing these different emotions in correspondence with the lyrics was intriguing! I can’t express in words how much I enjoyed the performance!
I totally agree with you, as I was really anticipating this performance all semester. Not being familiar with much classical music, I still enjoy the tranquility that it sometimes provides. I was also very happy to be attending a choral performance. What really struck me about your response was the fact that you mentioned that the audience felt alive despite the context of the piece: death. I hadn’t thought about the context of the piece as I was wrapped up in the sound, but I did leave feeling very much alive. So maybe Brahms may have been composing about death but wanted his audience to see/feel that there is life after death. Just a thought!
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What an amazing performance. The performers, the venue, the music, everything. This was a truly special night for all in attendance, as the audience got to experience an extremely moving performance. This was probably one of the concerts that I’ve most been anticipating attending throughout the semester, as we had not yet had the opportunity to listen to traditional classical music. While I am unfamiliar with many styles of classical music, I enjoy it immensely, and attending Brahms’ Requiem at Hill Auditorium did not disappoint.
I thought that the venue was a great choice, as the acoustics in the beautiful Hill Auditorium allowed every listener to enjoy the performance; after getting the opportunity to tour the venue with my “Engaging Performance” class, I can now honestly say that there is not a bad seat in the house.
One performer who really stood out to me was Nadine Sierra. Our class actually had the opportunity to bring her in the day before the performance for a Q&A session, and she was incredibly friendly and personable. That, in addition to her amazing singing voice, makes it easy to understand why she’s a star on the rise. Even though the performance, in general, centered around the theme of death, all in attendance certainly felt alive and well as a result of attending this performance.
Upon entering Hill Auditorium I was immediately captivated by the beauty of the venue. That alone probably had an impact of how I would eventually feel about the performance by the UMS Choral Union. By the end of the performance of Brahms’ Requiem, I was filled overwhelmed by what I had experienced. I have always been a fan of choral music and this was by far the best I had ever heard. Of course I don’t want to undermine the precise manner in which the orchestra played, which was also delicate and beautiful, but there is something about the human voice that resonates to sweetly with my soul. The loveliness that soloists voices portrayed had me nearly in tears despite the fact that I understood none of what they were saying. It wasn’t a message that I picked up verbally, but instead through the clarity of sound I heard with one of my five senses. If I could go back a million times…I wouldn’t hesitate.
Wow, I’m sorry you had such a negative experience with this show. I will adamantly agree with you that it was very long, and a break wouldn’t have been a bad idea. I have no background in choral music, but I really did enjoy the overall vibe. I will be honest though, I did fall asleep (not on the shoulders of another person, though). I think if there were a break in the show, I would have been able to stay more engaged for the entirety of the show. Thanks for giving your honest opinion on the night!
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Mediocre at its best, terrible at its worst, this sums up pretty well and succinctly my reaction to this choral work, and did I mention that it was ridiculously long? If I didn’t, let me just say it right now. It was really really long!
Give me a break; let me breath; let me get a drink of water, a soda, a pop, some juice. Let me use the restroom; let me move around; let me breathe. Let me do something to take all of this music in. But no, not if you’re Jerry Blackstone, no sir. If you’re Mr. Blackstone, you will keep going nonstop for almost two hours without letting me take in a single ounce of what is happening on stage.
And the crowd, what can I say about the crowd that the Wicked Witch of the West hasn’t said about Dorothy! My aisle was littered with old people just sleeping, literally and snoring and dosing in and out of deep slumber throughout the performance. One old person fell asleep on my shoulder, literally. “Are you kidding me?” I thought to myself. First you’re snoring next to me and then you put your head on my shoulder, absurd! If you’re old and it’s past your bedtime let me make an equally unorthodox and bold suggestion, stay home! If you cannot stay up past nine o’clock, please just stay home instead of falling asleep on top of folks sitting next to you.
I really hate that I skipped my morning coffee that day, because I was having trouble staying awake throughout the performance. The environment was so peaceful and calming. Hill Auditorium is a majestic and beautiful space, the seats so comfortable, and the music so eloquent. It would have been difficult not to feel content and relaxed.
I do think the show was rather long, considering there was no intermission or breaks. The audience didn’t applaud between movements-which I do not think we were supposed to. I think the lack of movement and audience response contributed to me dozing off. I couldn’t feel engaged when I was just sitting there.
Overall, however, the music was beautiful. Great job to the orchestra, and choral union. And the two soloists did a fantastic job! I loved listening to Nadine sing because she talked to our class about her journey of how she got to where she is, and I could really see her passion in her performance.
This was my first time watching a symphony orchestra concert (which was evident when I was the only person clapping between movements) but I don’t want to miss another one! I thought that the band was very in synch and worked well together, but my attention was totally drawn to the choir and soloists. I thought that their sound was incredible, their ability to fill the entire auditorium without microphones with their crescendos was mind blowing. The ringing of the high soprano notes vibrated through me.
My major concern during the concert was that I wouldn’t be able to hear the middle sections (specifically the altos) which is why I really appreciated the section solos so that I could hear the parts that didn’t stand out as well. Both soloist I thought did a really good job, I thought that John Relyea had a weird affect to his sound (it sounded very glottaled or throaty) but I thought that his ability to put both emotion and power into his sound was undeniably impressive. I actually was surprised with Nadine Sierra because she had visited my English the day before and sang for us, and in that space her voice was very powerful and filled the entire room, but I thought at the concert she struggled more with having that powerful sound. Needless to say I still loved listening to her and I am itching to go see more of her work.
I agree! I wondered why John had two solos and Nadine only had one. Also I agree about the venue, Hill is beautiful and this concert fit like a glove in there, it still felt intimate despite being in such a huge space.
And yes to the translations, I didn’t follow along word for word either but like you said I could understand what the mood of the song was!
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I thought that Nadine Sierra was absolutely amazing! My only wish was that she sang more! Before tonight, I had never been to a concert that combined singing with orchestra music. I thought that everything sounded very nice together, and that Hill Auditorium was the perfect space for the performance.
I really appreciated that UMS provided the translations of the lyrics. Even though I did not follow along word for word, I liked being able to read what the song was about because it helped me understand the tone. I attended the Asif Ali Khan concert a couple weeks ago, and I found the language barrier very difficult. Having the translation made it much easier to stay engaged.
Hi Taylor, I find it interesting that you could see the oboe player cleaning his instrument. I did not see him or her at all. Perhaps we were not located in similar spots.
Regardless, I did like the show and I was very interested in what it was like to be in a choral union and so it is nice to hear that other choir people enjoyed hearing the UMS choral Union.
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I absolutely loved this performance, especially with my background in choral music. I was an active member in my high school choir so this was one of my favorite performances. However, I was distracted by the oboe player cleaning his instrument center stage. I’m already not a fan of the oboe so it was super annoying to watch. Overall, the choir sounded great, they blended well, and the orchestra was amazing!
Brahms German Requiem was actually a bit more interesting than I initially thought it was going to be. Truthfully I was not very interested in this performance beforehand. I think that meeting Nadine before the show helped me to connect a bit more to it. It was quite entertaining to hear her sing while thinking about her life story that she had told our class the day before. Otherwise, the show was still quite amazing and very impressive. I did become a bit bored at times but I expected that coming in.
You did a great job of summarizing the performance’s brilliance! I couldn’t agree more, Hill was definitely the perfect place to host this concert. The acoustics are really amazing. I also think your comment about Nadine was spot on; after having her come in to our class and speak to us about the life of an opera singer, I think that I only appreciated her incredible performance more.
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Hold on. I can’t talk. My jaw is still on the ground from the Brahm’s German Requiem EXPERIENCE this past Friday. I have been to Operas before, but never have I enjoyed the performance as much as I have this one! Hill auditorium was undeniably the perfect venue for the requiem. I was pleasantly surprised by how excellently harmonized the chorus was. After the show, it took me a moment to process that the chorus was comprised of students; I would have sworn that they were professionals who traveled. Throughout the semester, this class has taught me to have a greater appreciation for musicians and performers because they give so much when they are on stage. Nadine gave a life-taking performance in her solo. After hearing how much preparation (from childhood to now) that went into making her the talent she is, the performance was even more enjoyable to watch. The Brahm’s German Requiem seemed to be the perfect ending to a series of engaging performances. If I may make a request, UMS please bring back this performance, it is simply timeless.
What an amazing performance. The performers, the venue, the music, everything. This was a truly special night for all in attendance, as the audience got to experience an extremely moving performance. This was probably one of the concerts that I’ve most been anticipating attending throughout the semester, as we had not yet had the opportunity to listen to traditional classical music. While I am unfamiliar with many styles of classical music, I enjoy it immensely, and attending Brahms’ Requiem at Hill Auditorium did not disappoint.
I thought that the venue was a great choice, as the acoustics in the beautiful Hill Auditorium allowed every listener to enjoy the performance; after getting the opportunity to tour the venue with my “Engaging Performance” class, I can now honestly say that there is not a bad seat in the house.
One performer who really stood out to me was Nadine Sierra. Our class actually had the opportunity to bring her in the day before the performance for a Q&A session, and she was incredibly friendly and personable. That, in addition to her amazing singing voice, makes it easy to understand why she’s a star on the rise. Even though the performance, in general, centered around the theme of death, all in attendance certainly felt alive and well as a result of attending this performance.
I was first exposed to live classical music earlier this semester when I went to see Kronos Quartet. Since then, my appreciation has simply grown for classical music. I could not picture anyone singing along with classical music and having it sound as beautiful as it did in Hill. The orchestra performed seamlessly (at least to me!) together to create a beautiful show for the audience.
That being said, my experience would not have been the same without the translation provided by UMS. If it hadn’t been for these translations, which helped me follow along, I may have had trouble focusing and been bored. The translations helped me understand the music and gave reason to the tone of the music and the singers.
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Absolutely spectacular performance of Brahms’ German Requiem by Ann Arbor Symphony Orchestra and UMS Choral Union. The soloists were flawless; Nadine Sierra was stunning, and John Relyea was dynamic and powerful. They both owned the stage during their solos. I would love to see them perform again in concert so please come back! There was also so much emotion and life in the conducting by music director, Jerry Blackstone. Watching him lead the orchestra and the choral was unbelievably thrilling. Thank you, UMS, for this performance.
I could not agree more! I would love to see the soloists together again performing a different piece in Ann Arbor. Their presence was felt and voices were simply magnificent.
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Absolutely spectacular performance of Brahms’ German Requiem by Ann Arbor Symphony Orchestra and UMS Choral Union. The soloists were flawless; Nadine Sierra was stunning, and John Relyea was dynamic and powerful. They both owned the stage during their solos. I would love to see them perform again in concert so please come back! There was also so much emotion and life in the conducting by music director, Jerry Blackstone. Watching him lead the orchestra and the choral was unbelievably thrilling. Thank you, UMS, for this performance.
Caroline I couldn’t agree more, seeing her shine on stage has put her on a pedestal in my mind. Its interesting that you felt bad for the conductor. Now that I think about it, I do notice how he did have to wait for the, to sit down. I do think he does deserve a very big round of applause for his role in everything. I would definitely put this performance in my top three of the year!
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After the performance, I saw Nadine Sierra across the street, and I felt like she was a celebrity! It was breathtaking to watch her sing on stage in her golden gown. The baritone soloist did a great job too, but I wish Nadine had been able to sing more.
I do not have much experience with music, so I don’t think I would be able to tell if there were any flaws in the performance, but it sounded perfect to me. The conductor received so much of my respect instantaneously – I felt awful when he was waiting for people to sit down so he could begin the second part. After learning about the acoustics in Hill Auditorium I understood how noise from the audience could greatly impact the performance of those on stage.
After reading other comments and talking to people that were sitting in the mezzanine, I wish I could have seen more of the instrumentalists. It was very exciting to be so close to the orchestra and the UMS Choral Union, but if I go to a performance like this I will probably sit higher up to be able to see more. Overall one of my favorite performances of the year!
Hold on. I can’t talk. My jaw is still on the ground from the Brahm’s German Requiem EXPERIENCE this past Friday. I have been to Operas before, but never have I enjoyed the performance as much as I have this one! Hill auditorium was undeniably the perfect venue for the requiem. I was pleasantly surprised by how excellently harmonized the chorus was. After the show, it took me a moment to process that the chorus was comprised of students; I would have sworn that they were professionals who traveled. Throughout the semester, this class has taught me to have a greater appreciation for musicians and performers because they give so much when they are on stage. Nadine gave a life-taking performance in her solo. After hearing how much preparation (from childhood to now) that went into making her the talent she is, the performance was even more enjoyable to watch. The Brahm’s German Requiem seemed to be the perfect ending to a series of engaging performances. If I may make a request, UMS please bring back this performance, it is simply timeless.
I felt bad about the noise from the audience too! It was funny but also slightly annoying when everyone would cough in between the different parts.
I could also make out the three notes we learned in class. I was so happy that I was able to recognize that! I didn’t remember much of the meaning from class, but I’m so appreciative that the program included the translations.
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It was such an incredible performance! Listening Brahms’ German Requiem, I realized how beautiful the Hill Auditorium is. It was such a nice place to hear the orchestra as well as an amazing performance! However, I felt a bit sorry for the orchestra because of the audience; some of them seemed like they got really bad cold. They just kept coughing which was annoying and disturbing me sometimes.
One of my favorite parts was the “three notes” that we learned in the class. I could recognize the three different notes as well as the contrast parts. Although I didn’t know any of German words, I could understand the contents because the class covered it. Also, I love the solos parts. I wish I could hear the first violinist’s solo, but still the performance was so great!
After the performance, I saw Nadine Sierra across the street, and I felt like she was a celebrity! It was breathtaking to watch her sing on stage in her golden gown. The baritone soloist did a great job too, but I wish Nadine had been able to sing more.
I do not have much experience with music, so I don’t think I would be able to tell if there were any flaws in the performance, but it sounded perfect to me. The conductor received so much of my respect instantaneously – I felt awful when he was waiting for people to sit down so he could begin the second part. After learning about the acoustics in Hill Auditorium I understood how noise from the audience could greatly impact the performance of those on stage.
After reading other comments and talking to people that were sitting in the mezzanine, I wish I could have seen more of the instrumentalists. It was very exciting to be so close to the orchestra and the UMS Choral Union, but if I go to a performance like this I will probably sit higher up to be able to see more. Overall one of my favorite performances of the year!
Right! I forgot to mention that how impressive that many people sing together. I was thrilled by so many various voices and its enormous harmony. Also, I agree with you that this performance didn’t make me being bored at all.
I like you explain about some backgrounds of the music since I think it’s really significant to know to understand the performance better. Overall, it’s a nice comment!
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Hill auditorium has over 3000 seats, and I think the music of the orchestra, soloists, and choral union filled the space enough to be heard perfectly by each and every one of them. It was really impressive to hear so many people singing together in German, and staying together with the conductor and orchestra through such an extensive piece. I’m sure a huge production like this takes a lot of careful planning and coordination and I was never bored while watching all the different parts interacting at once. But what I think what I like the most was actually Brahms music. He made a song for the dead into something beautiful, magical, and serene. Instead of ruminating on death we are supposed to celebrate life and take full advantage of it. That was a meaning I could relate to and take understanding from. The tasteful rendition of this piece by the choir and soloists made it well worth attending.
It was such an incredible performance! Listening Brahms’ German Requiem, I realized how beautiful the Hill Auditorium is. It was such a nice place to hear the orchestra as well as an amazing performance! However, I felt a bit sorry for the orchestra because of the audience; some of them seemed like they got really bad cold. They just kept coughing which was annoying and disturbing me sometimes.
One of my favorite parts was the “three notes” that we learned in the class. I could recognize the three different notes as well as the contrast parts. Although I didn’t know any of German words, I could understand the contents because the class covered it. Also, I love the solos parts. I wish I could hear the first violinist’s solo, but still the performance was so great!
Christina, I totally agree. When the choir would suddenly sing full blast I could feel it in my body. All of a sudden when they would sound, it was so powerful my hands would clutch. I was taken back. The choir was totally awesome. I also really enjoyed the Requiem in general.
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I have never been a huge fan of choral music, but despite that I enjoyed the concert very much. I was impressed with everyone on stage and thought the orchestration and singing came together very nicely.
This was my first time listening to Brahms’s German Requiem fully, and I found it for the most part muted and reflective – totally appropriate for a requiem. Some of my favorite parts, however, were when the choir would sing at full blast, for instance, about joy in the second movement. My absolute favorite part has to be during the sixth movement when the choir was singing on the triumph of death; it was very powerful.
Holy Brahms Requiem! What an emotional rush. I left Hill Auditorium Friday night completely satisfied, craving more, feeling dramatic. Dat choir thoo. The combination of a full orchestra with a full choir along with the soprano and bass singers made the experience extremely engaging. Especially in Hill Auditorium, there was no shortage of things to engage any and all of my senses. At times I felt the need to close my eyes to more fully focus on the sounds. At other times I was fascinated with the conductor’s dramatic gestures, or the pairs of hands simultaneously plucking at harps. Occasionally I would even look up and around to take in the fine details and dramatic arcs of Hill Auditorium.
I noticed, unfortunately rather late in the performance, the benefits of following along with the german words in the program. This task was very challenging, given I don’t speak german, but because of how often the choir and singers repeated certain phrases, it greatly increased the requiem’s dramatic qualities. I can still clearly remember the line, “Wo ist dein Seig?” or “Where is my Victory?” in the 2nd to last act. This line was repeated many times, and made Brahm’s lament and sorrow almost palpable. When I wouldn’t follow along with the words, I’d get lost in the sounds, which were pleasant, but more devoid of meaning.
Totally agreed! I found it so convenient to see the translations. Though, I didn’t necessarily follow along the entire time it was nice to know what was being said. Furthermore, it’s something about the culture of this type of music that made the language barrier not as overwhelming as all our other performances. Perhaps because of the combination of sounds, which made it less obvious and therefore, allowed me to take in the other components of the performance instead of focusing on one aspect.
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I thought that Nadine Sierra was absolutely amazing! My only wish was that she sang more! Before tonight, I had never been to a concert that combined singing with orchestra music. I thought that everything sounded very nice together, and that Hill Auditorium was the perfect space for the performance.
I really appreciated that UMS provided the translations of the lyrics. Even though I did not follow along word for word, I liked being able to read what the song was about because it helped me understand the tone. I attended the Asif Ali Khan concert a couple weeks ago, and I found the language barrier very difficult. Having the translation made it much easier to stay engaged.
Mediocre at its best, terrible at its worst, this sums up pretty well and succinctly my reaction to this choral work, and did I mention that it was ridiculously long? If I didn’t, let me just say it right now. It was really really long!
Give me a break; let me breath; let me get a drink of water, a soda, a pop, some juice. Let me use the restroom; let me move around; let me breathe. Let me do something to take all of this music in. But no, not if you’re Jerry Blackstone, no sir. If you’re Mr. Blackstone, you will keep going nonstop for almost two hours without letting me take in a single ounce of what is happening on stage.
And the crowd, what can I say about the crowd that the Wicked Witch of the West hasn’t said about Dorothy! My aisle was littered with old people just sleeping, literally and snoring and dosing in and out of deep slumber throughout the performance. One old person fell asleep on my shoulder, literally. “Are you kidding me?” I thought to myself. First you’re snoring next to me and then you put your head on my shoulder, absurd! If you’re old and it’s past your bedtime let me make an equally unorthodox and bold suggestion, stay home! If you cannot stay up past nine o’clock, please just stay home instead of falling asleep on top of folks sitting next to you.
Ryan, clearly you enjoyed this performance a lot,a lot more than I did! You talk about “Precision, accuracy, and exquisiteness.” I have no idea what you mean by that. I don’t even feel that I had a chance to breathe in between the music. I absorbed nothing. It was just a relentless barrage of music, singing, screaming, and a whole lot of other things, mostly just noise. Perhaps it has to do with you understanding and passion for the genre. You clearly know what they were singing about and what basses, altos, and sopranos are. I have no idea what any of that stuff is. Nonetheless, I am glad to hear that you appreciated the “Art” for what it was suppose to be and that you had a good time.
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Precision, accuracy, and exquisiteness are three words that I can use to describe the UMS Choir’s performance of Brahms’s German Requiem. I was greatly engaged by the entire show, yet I was really captured by the sixth movement, Denn wir haben hie keine bleibende Statt. The tenor’s voice was efficacious for the movement because the piece describes an apocalypse. At times, I thought I was listening to the Star Wars’ soundtrack, yet I realized Brahms had a much more powerful message: chaos occurs in society, yet there is strength to overcome the struggle. In addition, I greatly enjoyed the assortment of the choir. I was able to hear basses, altos, and sopranos intertwined throughout the choir and not centered to a specific location. Overall, UMS Choir was amazing under Jerry Blackstone’s direction and it truly captured Brahms’s messages within his requiem.
Ryan F
I also felt like the preparation we received in class was really beneficial to my experience of the performance. Knowing the back-story of not only Brahms, but of the Requiem itself, and of one of the soloists helped me to feel more involved in the production. Plus, we found out how much time it took to put all of this together! Makes you really appreciate all that performers do to make a great performance. Glad that you enjoyed it too!
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Initially, I was intimidated at the thought of sitting through an hour plus classical music performance about death. In previous classical music performances I’ve been to, I’ve sometimes felt engulfed in a wall of sound, unable to distinguish between different parts and therefore left bored and/or waiting for the end of the performance.
Luckily, this performance was far more engaging than those previous performances, and I credit that with the preparation we were given in class (University of Michigan’s “Engaging Performance” class). First, it was helpful to learn the background of the piece—that is was a non-religious piece with religious themes dedicated to the mourning of Brahm’s mother’s death. Secondly, it was helpful to meet Nadine Sierra—having talked to one of the show’s stars and learned about her background piqued my interest in the fifth movement of the piece. Lastly, watching the video in class about the chorus’s preparation before their performance enhanced my appreciation of the effort that goes into synchronizing the different parts of an orchestra.
Overall, I enjoyed Brahm’s Requiem, and I credit much of that enjoyment to being vaguely well-informed about the production prior to attending the show.
Hill auditorium has over 3000 seats, and I think the music of the orchestra, soloists, and choral union filled the space enough to be heard perfectly by each and every one of them. It was really impressive to hear so many people singing together in German, and staying together with the conductor and orchestra through such an extensive piece. I’m sure a huge production like this takes a lot of careful planning and coordination and I was never bored while watching all the different parts interacting at once. But what I think what I like the most was actually Brahms music. He made a song for the dead into something beautiful, magical, and serene. Instead of ruminating on death we are supposed to celebrate life and take full advantage of it. That was a meaning I could relate to and take understanding from. The tasteful rendition of this piece by the choir and soloists made it well worth attending.
The sixth movement was my favorite as well! The requiem as a whole was pretty relaxing, so when the chorus started singing forte, it held an urgency that captured my entire attention. I got goosebumps at that part.
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Best performance all term! That was a lot to take in, and 74 minutes of nonstop epic music did make me feel stressed out at some points. I think my favorite part was definitely the sixth act, when the chorus got so loud, the strings were furiously playing, and the conductor was jumping around on his stand. As opposed to the other performances, to me this one had a lot of meaning in it (it’s hard for this performance not to mean anything to anyone with how heavy the subject it’s talking about is). Blessed are the living who mourn for the dead, but be happy for the dead, because they are at peace. It really just came down to the 7th act when I thought, this whole requiem is this last act. It wouldn’t make sense if only the last act played, but the volume of the first 6 acts were able to emphasize the topic of the last one.
I have never been a huge fan of choral music, but despite that I enjoyed the concert very much. I was impressed with everyone on stage and thought the orchestration and singing came together very nicely.
This was my first time listening to Brahms’s German Requiem fully, and I found it for the most part muted and reflective – totally appropriate for a requiem. Some of my favorite parts, however, were when the choir would sing at full blast, for instance, about joy in the second movement. My absolute favorite part has to be during the sixth movement when the choir was singing on the triumph of death; it was very powerful.
I also enjoyed Nadine an awful lot! Hearing her speak was definitely to our advantage because we understood her passion for Opera and got a sneak peek of her talent. I agree that Hill Auditorium was the perfect venue, and it was chosen for its great acoustics! I think we equally enjoyed this performance!
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BRAVO! Brahms’ Requiem was, by far, my favorite performance I have seen. So many aspects of this performance made it one to remember.
Nadine was absolutely incredible. It was definitely helpful to have met her the day before. As she was singing, I could remember parts of her story that she shared with us; it made the performance that much more special. I definitely felt more personally connected with the performance. The only thing about Nadine is that I wanted to hear her sing more!
Also, it was so interesting to actually hear the different parts of the music that we discussed in class (I was proud of myself for recognizing it during the performance). I am really happy I learned the history behind Brahms’ Requiem. Seeing the video of how the chorus and orchestra prepare increased my appreciation for the show. I was also happy that Hill Auditorium was chosen for this show in particular because the richness of the pieces in combination with the richness of Hill only contributed to the overall lavishness of the performance.
Lastly, I was really happy to see the translations of the songs in the program booklet. It helped in my understanding of the performance, which allowed me to fully appreciate the show.
I just want to say a big thanks to UMS for putting on this production – it was truly fantastic!
I absolutely loved this performance, especially with my background in choral music. I was an active member in my high school choir so this was one of my favorite performances. However, I was distracted by the oboe player cleaning his instrument center stage. I’m already not a fan of the oboe so it was super annoying to watch. Overall, the choir sounded great, they blended well, and the orchestra was amazing!
I felt the same way, I just wanted to close my eyes sometimes and take it all in. I was really impressed too with how great the soloists were at projecting.
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So much energy! I honestly feel like I could have closed my ears and garnered all of the emotions from the conductor’s movements. He was so fun to watch and very engaging. Obviously the soloists were breathtaking, but I think that he and the unbelievable acoustics of the venue really made the performance for me.
Best performance all term! That was a lot to take in, and 74 minutes of nonstop epic music did make me feel stressed out at some points. I think my favorite part was definitely the sixth act, when the chorus got so loud, the strings were furiously playing, and the conductor was jumping around on his stand. As opposed to the other performances, to me this one had a lot of meaning in it (it’s hard for this performance not to mean anything to anyone with how heavy the subject it’s talking about is). Blessed are the living who mourn for the dead, but be happy for the dead, because they are at peace. It really just came down to the 7th act when I thought, this whole requiem is this last act. It wouldn’t make sense if only the last act played, but the volume of the first 6 acts were able to emphasize the topic of the last one.
So much energy! I honestly feel like I could have closed my ears and garnered all of the emotions from the conductor’s movements. He was so fun to watch and very engaging. Obviously the soloists were breathtaking, but I think that he and the unbelievable acoustics of the venue really made the performance for me.
One of my favorite things to do during performances with such a large ensembles is to pick a performer to focus on closely and follow throughout the performance. Helps me connect more with the show. The oboist was definitely an easy one to chose.
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this was a wonderful performance. I thought that the two soloists were spectacular. I actually enjoyed watching the oboist cleaning his instrument — to me that is part of the immediacy of live music (instead of listening to a recording).
Audrey,
I am so glad you brought up the principal flutist because I consistently listened to her playing and I thought she was also the best. Did you also listen/see the cellos? They were incredible and it was interesting to see them constantly switching playing positions. I am glad there was someone else in the audience with an acute sense of hearing.
Ryan F.
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Wonderful performance. Very moving. I think the conductor should have had a separate recognition for the wind section, esp. the principal flutist. She was amazing. The CU was superb.
Precision, accuracy, and exquisiteness are three words that I can use to describe the UMS Choir’s performance of Brahms’s German Requiem. I was greatly engaged by the entire show, yet I was really captured by the sixth movement, Denn wir haben hie keine bleibende Statt. The tenor’s voice was efficacious for the movement because the piece describes an apocalypse. At times, I thought I was listening to the Star Wars’ soundtrack, yet I realized Brahms had a much more powerful message: chaos occurs in society, yet there is strength to overcome the struggle. In addition, I greatly enjoyed the assortment of the choir. I was able to hear basses, altos, and sopranos intertwined throughout the choir and not centered to a specific location. Overall, UMS Choir was amazing under Jerry Blackstone’s direction and it truly captured Brahms’s messages within his requiem.
Ryan F
Steven,
Prior to this year I had never been to Hill auditorium and it would have been a shame for me to have never experienced its beauty. I agree that the acoustics in the auditorium were a perfect setting for the rich voices of Nadine and John.
I hope that before I leave michigan that UMS is able to bring more incredible artists for our viewing pleasure.
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Wonderful! The conductor, singers, and musicians were absolutely wonderful. Watching a performance at Hill Auditorium was honestly one of the best moments of my time here at the University of Michigan. The hyperbolic design of the venue really enriched the performance and it was beautiful to hear all the music and passion so clearly, specifically the emotion in the voices of Nadine Sierra and John Relyea. Having the English translation to Brahms’ German Requiem was nice as it allowed us to follow along and make sense of these changes in emotion. Although it was a little awkward for someone like myself—someone who has never experienced a similar performance—to watch Nadine sit on stage not performing for most of the performance, I assume I felt that way because I was hoping to hear more from her as her voice was as beautiful and engaging as she is. Lastly, it was amazing to watch the conductor and see his body shake to the music as if he was possessed by his own creation. Overall, I was very happy with the experience. Shout out to UMS for making it all possible!
What a beautiful way to spend ones Friday evening. I was caught off guard by the grandiosity of the orchestra and was struck by their power. The concert had a remarkable blend of music and both soloists; Nadine and John did a remarkable job. It was quite an honor to meet Nadine prior to the show and her performance truly blew me away. I only wish that both artists had been able to sing more as their voices were impeccable. The event was beautiful and the skill and technique of the choir and orchestra to stay in tune was remarkable.
I agree with just about everything you posted. I also really enjoyed watching Jerry Blackstone and loved his passion and energy. I also find your comparison of the performance to live theater to be very interesting. Thank you for sharing!
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An incredible performance! Although I hadn’t heard Brahms’ German Requiem before, and don’t understand German, I thoroughly enjoyed the dynamic music, glorious choir, and captivating soloists. While I enjoyed the sound of the music and the combination of the choir and orchestra, the aspect of the performance I liked the most was watching the musicians perform. I loved seeing how Jerry Blackstone embodied the energy of the piece when he conducted by moving and singing along, and how the string players of the orchestra moved their bows in unison as they played. I found it similar to seeing live theater in that the audience’s attention was allowed to wander over the stage and focus on different parts of the ensemble during the performance. Overall, I really liked how the different parts of the orchestra and chorus came together to form a cohesive and engaging ensemble that sounded absolutely amazing.
Wonderful! The conductor, singers, and musicians were absolutely wonderful. Watching a performance at Hill Auditorium was honestly one of the best moments of my time here at the University of Michigan. The hyperbolic design of the venue really enriched the performance and it was beautiful to hear all the music and passion so clearly, specifically the emotion in the voices of Nadine Sierra and John Relyea. Having the English translation to Brahms’ German Requiem was nice as it allowed us to follow along and make sense of these changes in emotion. Although it was a little awkward for someone like myself—someone who has never experienced a similar performance—to watch Nadine sit on stage not performing for most of the performance, I assume I felt that way because I was hoping to hear more from her as her voice was as beautiful and engaging as she is. Lastly, it was amazing to watch the conductor and see his body shake to the music as if he was possessed by his own creation. Overall, I was very happy with the experience. Shout out to UMS for making it all possible!
While I didn’t really enjoy the performance as a whole, I did love when Nadine had her solo. I also heard her before the show and it was really cool to hear her sing at two different perspectives.
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After hearing Nadine sing a snippet a little bit before the show, I knew I was in for a treat and I was not let down. The show was phenomenal and breath taking. The dynamic between the singers and the orchestra was great, wish I could see the show again! It was beautiful. Also, loved watching the conductor, I very much admire their creative instruction of the performance.
I wasn’t a huge fan of this performance. I am able to appreciate what the performers did, but overall I was just bored. It was a really long show with no breaks. As somebody who does not go to these types of events, it all sounded the same to me. I had no motivation to read along with the words in my program either. The whole show was a blur to me and I couldn’t wait to leave. However, I did love the auditorium. The atmosphere was amazing and the sound was really good. One thing that I thought was really strange, however, was that the second the performers stopped to move to the next movement, the place erupted in coughing. I don’t understand how everybody held them in for so long. It was pretty funny.
I had the same thought process as I entered Hill. I definitely agree that it was the perfect venue for Brahms’ Requiem; everything about the performance was so rich! I also agree about Nadine: I think she was absolutely incredible, but I wish we would have been able to hear more of her!
Also, I agree that the music was captivating, regardless of my lack of German language knowledge. This particular style didn’t strike me as a language barrier since we had the translated lyrics in the program book. It didn’t bother me like it did for the previous Asif Ali Khan performance, where we weren’t given much explanation of the songs.
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Grandiose! Majestic! Formal! These are just a few of the words that entered my mind as I settled into Hill. I had been inside Hill before for a cultural performance but the Brahms German Requiem seemed more appropriate to be seen at Hill. After meeting Nadine Sierra, I had some insight into what the show would be like and sound like. I’m not quite sure how many people were in the chorus, but the synchronized harmonies of so many people blended so well to create a smooth and pleasant sound, I was in awe. Then, my favorite movement, the soprano solo commenced. Regardless of the fact I had no knowledge of the language, it was so captivating. Nadine mentioned how opera singers do not wear microphones but her sound was so big and full, it was hard to believe there was no mic. That was real talent!
This performance definitely fit the space it was in. The big ensemble, grand sounds, and the rich history around the piece fit well around the rich setting of Hill, as well as it’s rich history. There was a congruence that I appreciated.
My one and only critique od the performance was that I wish we were able to revel in the soloists voices a little more. I had never heard anything like it before and I enjoyed it so much that I could have heard an entire concert of just Nadine and John. Overall, a fantastic performance and production put on by UMS!
BRAVO! Brahms’ Requiem was, by far, my favorite performance I have seen. So many aspects of this performance made it one to remember.
Nadine was absolutely incredible. It was definitely helpful to have met her the day before. As she was singing, I could remember parts of her story that she shared with us; it made the performance that much more special. I definitely felt more personally connected with the performance. The only thing about Nadine is that I wanted to hear her sing more!
Also, it was so interesting to actually hear the different parts of the music that we discussed in class (I was proud of myself for recognizing it during the performance). I am really happy I learned the history behind Brahms’ Requiem. Seeing the video of how the chorus and orchestra prepare increased my appreciation for the show. I was also happy that Hill Auditorium was chosen for this show in particular because the richness of the pieces in combination with the richness of Hill only contributed to the overall lavishness of the performance.
Lastly, I was really happy to see the translations of the songs in the program booklet. It helped in my understanding of the performance, which allowed me to fully appreciate the show.
I just want to say a big thanks to UMS for putting on this production – it was truly fantastic!
I too feel very privileged every time I attend a concert in Hill! It really adds to the concert experience to know before even getting to your seat that you will have an unobstructed view of the performers and a great sound because of the amazing acoustics. Hill really is one of many gems in Ann Arbor!
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Beautiful sights and sounds all around last night. I love and am grateful for every opportunity I have to be in Hill Auditorium, especially when the performance is as powerful as the Brahms’ Requiem was. I find it so beautiful to see and hear so many artists working together to create such magical work; makes my soul happy.
The concert witnessed by a pretty full house at Hill Auditorium on Friday evening was a masterpiece. Albeit the concert was fairly long and didn’t engage me for brief moments throughout, all seven movements were beautifully played and sung by the AASO and UMS Choral Union, as well as the talented Baritone and Soprano soloists. I was most entertained by the 2nd movement in which the powerful timpani solo leading up to the massive chord sung by the Chorus was unbelievably impactful. Another aspect of the concert I thoroughly enjoyed was watching the conductor Jerry Blackstone. He was so animated during the 6th movement, even jumping on the podium! I though that Nadine’s performance was wonderful. She really did make singing unamplified to 3,000+ people look effortless by rarely looking at her music and displaying facial expressions that fit the sorrowful yet hopeful 5th movement. Although I, along with others around me, was a bit put off by the Baritone soloist not accepting Blackstone’s hand during the bows, the performers received a well-deserved standing ovation for their masterful exhibition of Brahms’s Opus 45.
An incredible performance! Although I hadn’t heard Brahms’ German Requiem before, and don’t understand German, I thoroughly enjoyed the dynamic music, glorious choir, and captivating soloists. While I enjoyed the sound of the music and the combination of the choir and orchestra, the aspect of the performance I liked the most was watching the musicians perform. I loved seeing how Jerry Blackstone embodied the energy of the piece when he conducted by moving and singing along, and how the string players of the orchestra moved their bows in unison as they played. I found it similar to seeing live theater in that the audience’s attention was allowed to wander over the stage and focus on different parts of the ensemble during the performance. Overall, I really liked how the different parts of the orchestra and chorus came together to form a cohesive and engaging ensemble that sounded absolutely amazing.
I completely agree! I loved watching how his body moved with the different dynamics of the piece and how it reflected the different tones of the movements. I found him completely engaging and his excitement and energy helped me connect with the performance more.
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Watching Jerry Blackstone conduct was as much a part of the wonderful experience as listening to the CU, the orchestra and the soloists. A fabulous performance.
I had many of the same impressions as you did. I was vaguely dreading the idea of listening to a long piece of classical music called “Requiem,” and I had similar preconceptions about opera singers.
Having the translations at hand was also helpful for me–it provided a way to follow along with comprehend the piece, and to stay engaged throughout.
I, too, was impressed with the singing of the chorus and with the soprano and baritone singers–and I, too, am very happy I went to this performance.
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Stereotypes were broken at the Brahm’s Requiem performance. To start, when I heard that this was going to be a classical music performance, I cringed at the thought of having to listen to that for 2 plus hours of it. It didn’t help when I heard the name, Brahm’s Requiem. Requiem. Was this going to be depressing? Finally, when I heard there was going to be an opera singer, I expected the singer to be a big, older woman. Boy was I surprised when we met Nadine, and I am so happy that we did. To hear her sing the day before got me very excited for the performance and made me second guess all the assumptions I had made. At the performance, all my generalizations were proven wrong. The music, although definitely classical, had so much variety and emotion. I was glad that we got the translations because it helped me relate to the songs. Regardless, the emotion that was betrayed by all the performers, especially by Nadine and John, allowed me to understand the overall meaning of the songs. Having the Choral Union sing as well made the performance even more enjoyable for me. I was astonished by their talent, and they were a great compliment to Nadine and John’s solos. Overall, I am very happy I went to this performance, not just because of how beautiful the music was, but also because it taught that I should not make rash generalizations about performances before seeing it first.
Initially, I was intimidated at the thought of sitting through an hour plus classical music performance about death. In previous classical music performances I’ve been to, I’ve sometimes felt engulfed in a wall of sound, unable to distinguish between different parts and therefore left bored and/or waiting for the end of the performance.
Luckily, this performance was far more engaging than those previous performances, and I credit that with the preparation we were given in class (University of Michigan’s “Engaging Performance” class). First, it was helpful to learn the background of the piece—that is was a non-religious piece with religious themes dedicated to the mourning of Brahm’s mother’s death. Secondly, it was helpful to meet Nadine Sierra—having talked to one of the show’s stars and learned about her background piqued my interest in the fifth movement of the piece. Lastly, watching the video in class about the chorus’s preparation before their performance enhanced my appreciation of the effort that goes into synchronizing the different parts of an orchestra.
Overall, I enjoyed Brahm’s Requiem, and I credit much of that enjoyment to being vaguely well-informed about the production prior to attending the show.
Hi Elise! I also really enjoyed this performance because of the grand majestic sounds I had not heard in any performance before. Even though, I could not understand the words, I could feel the emotion through their voices. It was an amazing to see! I agree the soloists were incredible. I just wish we could have heard more of them but overall it was a very enjoyable performance!
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Outstanding! Every time I hear the UMS Choral Union sing, I am impressed. The majestic tone to their voices created a projection of music that washed over you and filled you with the emotion of the song, especially in Hill Auditorium. Plus, the soloists, Nadine Sierra and John Relyea, were amazing!
This was my first time hearing Brahms’s German Requiem and I tried to follow along with the words. Knowing what was being said helped me to hear the changes in emotion throughout the piece and better understand the music. When they sang, “Joy, eternal joy, shall be upon their heads,” the music was peaceful and happiness filled the auditorium. Yet, when they sang, “They go forth like shadows and give themselves great anxiety in vain,” the music sounded like it was the end of the world and that all sadness had consumed us. Hearing these different emotions in correspondence with the lyrics was intriguing! I can’t express in words how much I enjoyed the performance!
Grandiose! Majestic! Formal! These are just a few of the words that entered my mind as I settled into Hill. I had been inside Hill before for a cultural performance but the Brahms German Requiem seemed more appropriate to be seen at Hill. After meeting Nadine Sierra, I had some insight into what the show would be like and sound like. I’m not quite sure how many people were in the chorus, but the synchronized harmonies of so many people blended so well to create a smooth and pleasant sound, I was in awe. Then, my favorite movement, the soprano solo commenced. Regardless of the fact I had no knowledge of the language, it was so captivating. Nadine mentioned how opera singers do not wear microphones but her sound was so big and full, it was hard to believe there was no mic. That was real talent!
This performance definitely fit the space it was in. The big ensemble, grand sounds, and the rich history around the piece fit well around the rich setting of Hill, as well as it’s rich history. There was a congruence that I appreciated.
My one and only critique od the performance was that I wish we were able to revel in the soloists voices a little more. I had never heard anything like it before and I enjoyed it so much that I could have heard an entire concert of just Nadine and John. Overall, a fantastic performance and production put on by UMS!
I agree that Hill Auditorium was a great place for this performance to take place. I was especially excited to see the performance take place there after getting a tour of the auditorium the week before. Hearing about the history of it and knowing about all the sound dynamic that was created intentionally by the architects made me appreciate how well projected all the music was at Brham’s Requiem. Hill Auditorium was created so that even a person talking at a normal volume could be heard at the top row, but to have an opera performance, which is already so loud, allowed everyone to appreciate the strength of their voices no matter where they were seated.
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When I went to Brahms Requiem, I was not fully sure as to what to expect as I knew that this night was to be a new experience for me unlike anything I had seen before. I felt that the overall show was very well done, and I especially enjoyed the solo pieces by Nadine and John. It seemed clear to me that both of them had mastery over their vocations and their excellence made this event a treat to watch. While they made it look easy, it was clear that we were witnessing the fruits of tremendous practice. The blending of the Ann Arbor Symphony Orchestra with the voices of the UMS Choral Union created a powerful sound which moved many members of the audience and provided the solid foundation for the soloists. I felt that the music director was amazing, and that it was due to his tremendous efforts that all these distinct elements were able to combine together in melodious harmony. I thought it was a remarkable choice to place this event in the Hill Auditorium; in this location, a penny dropped a foot above the ground on the center stage could be heard clearly in the seats furthest away from the stage. While this fact did make the inevitable coughs and moving of chairs travel loudly to the stage, I felt that this unique location erased the great physical distance and allowed me to feel as if I was seated beside the performers as they played.
Stereotypes were broken at the Brahm’s Requiem performance. To start, when I heard that this was going to be a classical music performance, I cringed at the thought of having to listen to that for 2 plus hours of it. It didn’t help when I heard the name, Brahm’s Requiem. Requiem. Was this going to be depressing? Finally, when I heard there was going to be an opera singer, I expected the singer to be a big, older woman. Boy was I surprised when we met Nadine, and I am so happy that we did. To hear her sing the day before got me very excited for the performance and made me second guess all the assumptions I had made. At the performance, all my generalizations were proven wrong. The music, although definitely classical, had so much variety and emotion. I was glad that we got the translations because it helped me relate to the songs. Regardless, the emotion that was betrayed by all the performers, especially by Nadine and John, allowed me to understand the overall meaning of the songs. Having the Choral Union sing as well made the performance even more enjoyable for me. I was astonished by their talent, and they were a great compliment to Nadine and John’s solos. Overall, I am very happy I went to this performance, not just because of how beautiful the music was, but also because it taught that I should not make rash generalizations about performances before seeing it first.
I like your optimistic view of the oboist cleaning his instrument. I have heard many people say that it was distracting, but I agree with you completely: it is part of the live performance experience! Plus, he wasn’t making any sound to disturb the music, so I don’t think there is anything wrong with him cleaning his instrument, especially if it helps him to play better!
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this was a wonderful performance. I thought that the two soloists were spectacular. I actually enjoyed watching the oboist cleaning his instrument — to me that is part of the immediacy of live music (instead of listening to a recording).
Outstanding! Every time I hear the UMS Choral Union sing, I am impressed. The majestic tone to their voices created a projection of music that washed over you and filled you with the emotion of the song, especially in Hill Auditorium. Plus, the soloists, Nadine Sierra and John Relyea, were amazing!
This was my first time hearing Brahms’s German Requiem and I tried to follow along with the words. Knowing what was being said helped me to hear the changes in emotion throughout the piece and better understand the music. When they sang, “Joy, eternal joy, shall be upon their heads,” the music was peaceful and happiness filled the auditorium. Yet, when they sang, “They go forth like shadows and give themselves great anxiety in vain,” the music sounded like it was the end of the world and that all sadness had consumed us. Hearing these different emotions in correspondence with the lyrics was intriguing! I can’t express in words how much I enjoyed the performance!
Yes! The performance was so awesome. It must have been an interesting experience hearing this with a different perfomer than your mom. I feel like it would have been very nostalgic and warming.
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Fabulous and uplifting performance — so inspirational! Thank you to everyone — I thoroughly enjoyed myself. My mom sang this work with the CU many moons ago, so she was with me in spirit tonight!
After hearing Nadine sing a snippet a little bit before the show, I knew I was in for a treat and I was not let down. The show was phenomenal and breath taking. The dynamic between the singers and the orchestra was great, wish I could see the show again! It was beautiful. Also, loved watching the conductor, I very much admire their creative instruction of the performance.
Thomas, I completely agree with you that this was a superb performance. I also felt that both soloists “owned the stage” and stole the limelight. The sheer quality of their singing and the length of time for which the soloists performed so beautifully was amazing. I felt that the merged sound produced by both the Orchestra and the Choral Union was the force which truly allowed the soloists to succeed. I felt that we were watching three performances at once: one by the Choral Union, one by the Orchestra, and a separate show put on by the soloists. I felt what made the show truly amazing was the way that, instead of being in conflict with each other, these sounds blended together in harmonious accord. The music director seemed to be the person who was the most responsible for the elegant, beautiful way in which these elements combined, and I felt that a lot of the credit definitely should go to him for his great efforts. I felt that this concert encouraged me to try to be more open to listening to similar types of music in the future; if they did come back, I would probably be one of the first to try to get tickets.
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Absolutely spectacular performance of Brahms’ German Requiem by Ann Arbor Symphony Orchestra and UMS Choral Union. The soloists were flawless; Nadine Sierra was stunning, and John Relyea was dynamic and powerful. They both owned the stage during their solos. I would love to see them perform again in concert so please come back! There was also so much emotion and life in the conducting by music director, Jerry Blackstone. Watching him lead the orchestra and the choral was unbelievably thrilling. Thank you, UMS, for this performance.
When I went to Brahms Requiem, I was not fully sure as to what to expect as I knew that this night was to be a new experience for me unlike anything I had seen before. I felt that the overall show was very well done, and I especially enjoyed the solo pieces by Nadine and John. It seemed clear to me that both of them had mastery over their vocations and their excellence made this event a treat to watch. While they made it look easy, it was clear that we were witnessing the fruits of tremendous practice. The blending of the Ann Arbor Symphony Orchestra with the voices of the UMS Choral Union created a powerful sound which moved many members of the audience and provided the solid foundation for the soloists. I felt that the music director was amazing, and that it was due to his tremendous efforts that all these distinct elements were able to combine together in melodious harmony. I thought it was a remarkable choice to place this event in the Hill Auditorium; in this location, a penny dropped a foot above the ground on the center stage could be heard clearly in the seats furthest away from the stage. While this fact did make the inevitable coughs and moving of chairs travel loudly to the stage, I felt that this unique location erased the great physical distance and allowed me to feel as if I was seated beside the performers as they played.
Yes! Last night defiantly reminded me of playing in my middle school and high school orchestras. I haven’t played since graduation! One time, we tried to play with my school band for a concert. It really made me appreciate last night and how difficult it must have been for the orchestra, choir, and soloists to all stay together on the same beat.
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Last night was incredible! Nadine Sierra did an absolutely amazing job with the soprano solo, the way she makes it look so effortless is astounding! But did anybody else miss the days of high school band and choir after watching that show last night?! I know I did!! The blend, balance, and even the overall acoustics in Hill were wonderful, and to think there were no microphones on anyone that I could see! Overall, the performance was a great experience and I look forward to seeing more works by both groups in the future!
No kidding! I felt the same way! When I watched his energy rise during the crescendos, I couldn’t sit still in my seat. I loved the soloist too especially the powerful voice of the bass-baritone (John Relyea). He was perfect for the Requiem.
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Watching Jerry Blackstone conduct was as much a part of the wonderful experience as listening to the CU, the orchestra and the soloists. A fabulous performance.
Absolutely spectacular performance of Brahms’ German Requiem by Ann Arbor Symphony Orchestra and UMS Choral Union. The soloists were flawless; Nadine Sierra was stunning, and John Relyea was dynamic and powerful. They both owned the stage during their solos. I would love to see them perform again in concert so please come back! There was also so much emotion and life in the conducting by music director, Jerry Blackstone. Watching him lead the orchestra and the choral was unbelievably thrilling. Thank you, UMS, for this performance.
I couldn’t agree more that Hill was an excellent choice of venue for this performance! It really helped acoustically with how many people were packed on that stage! I also appreciated the lyrics being provided. It definitely helped break down some of the language barrier.
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I thought that Nadine Sierra was absolutely amazing! My only wish was that she sang more! Before tonight, I had never been to a concert that combined singing with orchestra music. I thought that everything sounded very nice together, and that Hill Auditorium was the perfect space for the performance.
I really appreciated that UMS provided the translations of the lyrics. Even though I did not follow along word for word, I liked being able to read what the song was about because it helped me understand the tone. I attended the Asif Ali Khan concert a couple weeks ago, and I found the language barrier very difficult. Having the translation made it much easier to stay engaged.
Last night was incredible! Nadine Sierra did an absolutely amazing job with the soprano solo, the way she makes it look so effortless is astounding! But did anybody else miss the days of high school band and choir after watching that show last night?! I know I did!! The blend, balance, and even the overall acoustics in Hill were wonderful, and to think there were no microphones on anyone that I could see! Overall, the performance was a great experience and I look forward to seeing more works by both groups in the future!
I thought that Nadine Sierra was absolutely amazing! My only wish was that she sang more! Before tonight, I had never been to a concert that combined singing with orchestra music. I thought that everything sounded very nice together, and that Hill Auditorium was the perfect space for the performance.
I really appreciated that UMS provided the translations of the lyrics. Even though I did not follow along word for word, I liked being able to read what the song was about because it helped me understand the tone. I attended the Asif Ali Khan concert a couple weeks ago, and I found the language barrier very difficult. Having the translation made it much easier to stay engaged.
Concert was fantastic. Loved everything about it. Only problem was Thayer parking. We arrived in plenty if time and I also have handicapped permit. Attendants told us there were no handicapped spaces and continuously let people into garage when it was clearly full. We were one if at least 50 cars let in with no spaces. At the top of structure, we were told to go over to Fletcher. By this time, we were only 10 minutes from performance. There’s got to be a better way.
this was a wonderful performance. I thought that the two soloists were spectacular. I actually enjoyed watching the oboist cleaning his instrument — to me that is part of the immediacy of live music (instead of listening to a recording).
Hi Lydia,
I also found the oboe player to be distracting as he cleaned his instrument. I had to focus on NOT focusing on him because it took me out of the power of the overall performance when I found myself staring at him. But I agree that the performance as a whole was incredible and the two soloists were breathtaking.
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Incredible performance. Enjoyed every minute of the CU singing and the orchestra except for the oboe player front and center who was eternally cleaning his instrument. Realize oboes are touchy to play and he did a great job with his solos but it was distracting to see him pulling the cleaning cloth every 3 minutes. Kudos to the two soloists. Hope they’ll be back.
Beautiful sights and sounds all around last night. I love and am grateful for every opportunity I have to be in Hill Auditorium, especially when the performance is as powerful as the Brahms’ Requiem was. I find it so beautiful to see and hear so many artists working together to create such magical work; makes my soul happy.
Wonderful performance. Very moving. I think the conductor should have had a separate recognition for the wind section, esp. the principal flutist. She was amazing. The CU was superb.
Watching Jerry Blackstone conduct was as much a part of the wonderful experience as listening to the CU, the orchestra and the soloists. A fabulous performance.
Fabulous and uplifting performance — so inspirational! Thank you to everyone — I thoroughly enjoyed myself. My mom sang this work with the CU many moons ago, so she was with me in spirit tonight!
Incredible performance. Enjoyed every minute of the CU singing and the orchestra except for the oboe player front and center who was eternally cleaning his instrument. Realize oboes are touchy to play and he did a great job with his solos but it was distracting to see him pulling the cleaning cloth every 3 minutes. Kudos to the two soloists. Hope they’ll be back.
The show was excellent and I’m also disappointed they didn’t play longer. I got the feeling most people were not very pleased. Not an appropriate venue to give MSC, yet another award. It was all unnecessary and very annoying.
This concert was a major disappointment for my family. The music was lost in the self absorbed award show and scheduled fundraising event to follow that hollowed out the concert and cut it short. I will not be back again to sit through award banter and artists rushing off to the next event. This has been my #1 concert every year and making the long trip to Ann Arbor has been rewarded in the past. 4 prime tickets for this. Not again. The talent present on that stage was wasted by the leadership giving themselves awards and accolades on that stage.
Let me add no concert I ever been to has lasted one hour. Maybe 1.5 hours at least. And at the prices you charge we deserve more! You included the awards in that time screwing us over. You promised us a 2 hour show. I understand there maybe a 20-30 min intermission. and did not provide us with that. Nor did you try to call us back in when there was a encore because of errors on your part. This awards thing should have happened at the gala. Because really, I could care less that U of M / UMS is giving an award. I am here for the music. You guys act like your hot stuff like the National Academy of Recording Arts and Sciences of the United States who gives out the Grammy’s, plus I paid for a 2 hour concert not an award show which I do not watch on TV, so why would I want to see it in person?
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Hi everyone,
Ken Fischer here, president of UMS. Thanks for your feedback.
The intention of both the orchestra and UMS was to have the performance duration be similar to prior years (with UMS’s award presentation extending the duration of the event). The award presentation did not take the place of otherwise scheduled music. The orchestra has shared their set list with us — please find the full list below. At the end of the concert, prior to the intended encore, the house lights were raised partially and many audience members began to leave. We think that the encore selection may have suffered from the confusion that ensued.
We tremendously value your feedback and your support of Wynton Marsalis and the Jazz at Lincoln Center Orchestra. Our sincerest apologies if this event fell below some of your expectations. We will aim to do better in future seasons.
Sincerely,
Ken Fischer
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Set list:
JLCO with Wynton Marsalis
March 30, 2014 at 4 pm
Buddy Bolden
Lawd Lawd Lawd
“Jelly Roll” Morton
Smokehouse Blues
Morton
Dead Man Blues
Duke Ellington
New Orleans Suite: Portrait of Wellman Braud
Ellington
Old Man Blues
Ellington
Lady of the Lavender Mist
Kenny Burrell (from Kenny Burrell & John Coltrane)
Lyresto
Joe Raposo
Bein’ Green
Ellington/Billy Strayhorn
Deep South Suite: Happy Go Lucky Local
———–
Encore:
What a disappointment- the music was great, the show much too short and the speeches total unnecessary or if that important, could have been done at the beginning with a longer concert. And Wynton really did not play that much.
The interaction between each and every member of the orchestra as each piece progressed was as interesting as hearing the orchestra swing! An amazing study in communicating. We felt that they granted us, as audience members, the privilege of being included in the performance rather than just sitting there!
I’d like to say, however, that I’ve been attending every Wynton/LCJO concert at Hill Auditorium since 2006 – and none were ever this short.
Usually they were on Thursday nights from 8:00 pm to 10:00 pm with a short intermission half-way through, or a continuous show from 8:00 pm to 9:30 pm – but never have they only played just a little over an hour.
If this is the new “normal” then I’ll save my money from now on.
Last year he played behind the piano then came out. This year he stopped and left. I saw picture taken and lights came up and thought that was it. An announcement should have been made as we hung around for a Few and slowly took the long way out no one played or announced. He did play longer songs last time though. The speech was way too long. I was very disappointed in How it was handled.
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Hi everyone,
Ken Fischer here, president of UMS. Thanks for your feedback.
The intention of both the orchestra and UMS was to have the performance duration be similar to prior years (with UMS’s award presentation extending the duration of the event). The award presentation did not take the place of otherwise scheduled music. The orchestra has shared their set list with us — please find the full list below. At the end of the concert, prior to the intended encore, the house lights were raised partially and many audience members began to leave. We think that the encore selection may have suffered from the confusion that ensued.
We tremendously value your feedback and your support of Wynton Marsalis and the Jazz at Lincoln Center Orchestra. Our sincerest apologies if this event fell below some of your expectations. We will aim to do better in future seasons.
Sincerely,
Ken Fischer
–
Set list:
JLCO with Wynton Marsalis
March 30, 2014 at 4 pm
Buddy Bolden
Lawd Lawd Lawd
“Jelly Roll” Morton
Smokehouse Blues
Morton
Dead Man Blues
Duke Ellington
New Orleans Suite: Portrait of Wellman Braud
Ellington
Old Man Blues
Ellington
Lady of the Lavender Mist
Kenny Burrell (from Kenny Burrell & John Coltrane)
Lyresto
Joe Raposo
Bein’ Green
Ellington/Billy Strayhorn
Deep South Suite: Happy Go Lucky Local
———–
Encore:
Ken Fischer here, president of UMS. Thanks for your feedback.
The intention of both the orchestra and UMS was to have the performance duration be similar to prior years (with UMS’s award presentation extending the duration of the event). The award presentation did not take the place of otherwise scheduled music. The orchestra has shared their set list with us — please find the full list below. At the end of the concert, prior to the intended encore, the house lights were raised partially and many audience members began to leave. We think that the encore selection may have suffered from the confusion that ensued.
We tremendously value your feedback and your support of Wynton Marsalis and the Jazz at Lincoln Center Orchestra. Our sincerest apologies if this event fell below some of your expectations. We will aim to do better in future seasons.
Sincerely,
Ken Fischer
–
Set list:
JLCO with Wynton Marsalis
March 30, 2014 at 4 pm
Buddy Bolden
Lawd Lawd Lawd
“Jelly Roll” Morton
Smokehouse Blues
Morton
Dead Man Blues
Duke Ellington
New Orleans Suite: Portrait of Wellman Braud
Ellington
Old Man Blues
Ellington
Lady of the Lavender Mist
Kenny Burrell (from Kenny Burrell & John Coltrane)
Lyresto
Joe Raposo
Bein’ Green
Ellington/Billy Strayhorn
Deep South Suite: Happy Go Lucky Local
———–
Encore:
Given the universal disgust here with the heavy-handed nature of the award presentation and the truncated concert length, is anyone from UMS going to address this publicly, either here on this forum or elsewhere?
The 20 minute presentation disrupting the concert made this overall a very poor experience. for the price paid, the value was not there considering that this was a 70 minute concert and 20 minutes of that were presentations. Then to leave the concert and have some protest group outside with a bullhorn yelling at us as we were leaving? really? Sorry UMS, we will not be back based on this horrible experience.
usually there’s a two hour show with intermission, or, a one-and-a-half hour show with no intermission.
Last night however, there was a one-and-a-half hour show with a very long intermission – and then no Encore at the end because the rush to get to the gala.
I regret spending $150 on tickets, and feel ripped off…
I agree with all the comments I have read. The presentations were badly done and boring, and the music way too short. They played one encore with three musicians after the audience was on their way out. Impolite and unfriendly. Were they in a rush to get to the Gala?
Also I didn’t like the basketball scores (I am an MSU fan).
We also drove an hour and a half to attend a two-hour concert and were not happy to be required to sit thru self-congratulations. The music itself was superb.
The show was great! I enjoyed Wynton Marsalis and the Jazz at Lincoln Center Orchestra just as much as I have at previous shows. However, I agree with the general sentiment that the awards were overly boastful and unnecessarily long. The added gala at the end may have been nice for those who paid for it, but it’s shouldn’t have limited the length of the actual show. It seemed pretty clear that UMS set the timing. The lights raised as soon as the band got up to leave which I think contributed to only a brief encore performance. I saw the 60 Minutes segment too – it was a nice ending to the evening!
I think the general consensus is that there could have been a few more songs. Came home to see Michigan edged by Kentucky. But all was not lost! Wynton Marsalis was a reporter on the last segment of 60 Minutes. He interviewed his piano player, Marcus Roberts, who is blind ( but was not at Hill today). The story lifted my spirits and reminds us of how lucky we are to have our eyesight and how much some people can do without it. Marcus Roberts even paid tribute to Toledo’s Art Tatum, the greatest jazz pianist of all time. We have been very lucky to see Wynton Marsalis so many times and all the incredible musicians he brings with him. I saw his Dad one time and he was in awe of our Pistons of 2003-2004. Better days lie ahead!
I always love seeing Wynton and the JLCO, but felt the music was truncated by the awards ceremony. Really would have liked a bit more music afterwards.
The music was magnificent but the performance was listed as 2 hours. With the speeches, it barely cleared 1:30.
While the musicians entirely deserve this recognition, the speeches changed the mood of the event for my guests and me. We left wondering why the performance ended so strangely and so early.
I was not clear Rachelle, I am not blaming Wynton Marsalis, UMS is fully to blame for this in my eyes. They paid for him to be there and Bs’ed for part of the time they paid him to perform.
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I fully blame UMS for this faux pas. I’m sure JLCO was only doing as they were told to end at a certain point to facilitate the gala starting on time. Very annoying and disappointing for those of us who did not purchase a ticket to hear awards for 20 plus minutes.
I fully blame UMS for this faux pas. I’m sure JLCO was only doing as they were told to end at a certain point to facilitate the gala starting on time. Very annoying and disappointing for those of us who did not purchase a ticket to hear awards for 20 plus minutes.
I agree with both of you all I heard was bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla after two minutes. Think about what happened to the concert I paid for for myself and my friend.
You guys my not realize there is a $350 per person after glow and it could have been done at that not at a concert.
The music part was great, but the at least twenty minute award was unneeded and could have been saved for the after glow people.
I was very disappointed the concert was 1:10. I feel like I was robbed. I read it was 4p-6p for the concert and 6p-? for after glow. I just wanted a concert. I did not pay for the Grammys. You gues acted like you were world class org giving out an award worthy of grammys and you are not. You wasted my time. I drove from Farmington area, paid hard earned money to get one hour an 10 minute music and no encore this time soo sad. Maybe Wynton should play somewhere lese next year.
I agree, Howard. The show was excellent, but the self-congratulatory corporate blather could have been gotten out of the way before the concert actually started. It was annoying enough and such an interruption that it nearly ruined the entire afternoon.
As a not-at-all famous mezzo-soprano, I purchased tickets to hear how a couple pieces of my college repertoire really should sound–and was enthralled. Ms. Erraught’s pure joy in making music shined through in each piece. And to turn Hill into an intimate recital hall was a feat, while at the same time graciously complimenting us on the facility!
Of course, our responses to an event like this are subjective, so I can fully respect your view, and am glad you enjoyed the show so thoroughly. Nevertheless, I still feel the performers could have done more to include those of us not from their culture.
I also understand that people’s reactions to volume in music can also be subjective, as well as that where one is sitting in the hall affects what and how we hear. So, let me be specific — my son and I were sitting on the right side, seven rows back from the front, near the speakers on that side. My son has a decibel counter on his phone and since the music was uncomfortably loud for him, he checked the level. He told me afterwards that he can not be sure that his reading was professionally accurate (since neither he nor his equipment are professional) but the reading he got was 86 — which is one decibel higher than the limit past which protective equipment is required for people working in such an environment. So, even if his reading was somewhat high, where we were sitting, for us, it was loud, and unpleasantly so. Clearly, we were not the only ones who felt that way, as an earlier comment in this thread tells of people needing to leave because of the volume. If I was going to a rock concert, and I was sensitive to volume, I would know not to choose seats close to the front. I did not expect to have that concern at this event.
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This was our first experience of live Qawwali and we thoroughlly enjoyed the dynamic and inspiring performance. The ensemble displayed remarkable expertise in following-the-leader, and most of the audience was spontaneously clapping along throughout the show. It’s amazine to read comments saying it was too loud or not “immersive”…we experienced the volume as pleasant and the overall spirit as integrative (despite some non-English banter). FWIW, I think that Scott Asheton would have loved it!
We are both extremely grateful to have had the opportunity to hear the Israel Philharmonic perform the Bruckner Eighth Symphony at Hill Auditorium ten days ago. For each of us, the Eighth has always been a deeply profound, moving and spiritual experience. This was a superb performance with a mature interpretation of this truly magnificent musical offering. We did not want each of the movements to end, especially the Scherzo and the Finale. Given the rarity of programming this piece, it was an extraordinary experience to hear the symphony performed in concert.
Sincere thanks are due to Ken Fischer and his colleagues at the Musical Society for their role in bringing the Israel Philharmonic and this Bruckner performance to Ann Arbor.
I share the same opinion as this was my first Qawwali performance as well. I thought the music was very lively and energetic! Yet I also shared that unfamiliarity with it being in a language that I do not understand. It was very interesting to see the audience react to the songs though, and everyone was able to clap and dance along!
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Ok this was my first experience of Qawwali and honestly I loved it! I thought the music was fantastic and would love another opportunity to see it. From the word go, I just wanted to clap along. Honestly the only thing I could possibly complain about was that it was in a language unfamiliar to me and while other laughed at some things and seemed to respond to something else that he said (especially during the 3rd or 4th piece) I just felt lost. However, this is something I would definitely pay to see again!
Before the performance, I searched YouTube for a preview of what to expect for the show and was not expecting to enjoy the show. Whichever songs I listened to were very slow, and difficult for me to get into. Therefore, I walked into Rackham with a somber mentality, thinking more about what I have to do after the concert. I couldn’t have been more wrong about the excitement of Qawwali though. Everything was so much more lively and upbeat than I had anticipated. The music was definitely different than anything I had ever listened to, but it was a nice and refreshing different. I was intrigued by the harmonization between all of the men’s voices, and the incredibly wide vocal range they portrayed. I also found it interesting how sometimes there would be two people playing the harmonium; one person playing the keyboard, and another person moving the pump. In all honesty, however, I was not able to stay awake during the entire performance, despite the energy. This does not mean it was a bad performance, or I was not interested in it, but more so that I have been averaging three hours of sleep for the past week. The performers did a fantastic job of engaging their audience.
Professor Farina Mir mentioned how the group feeds off of the audience’s reactions, but I feel it was more of a mutual exchange. Unlike me, a good majority of the audience was familiar with Qawwali and knew the songs. It seemed like Asif Ali Khan was rekindling the flame of their past, reminding them of songs they once loved. The group of people in front of me in particular were clapping, dancing, and shouting throughout the entire performance, as it resonated with them so well. This energy from the audience brought even more dynamic to the stage. I’ll admit, it was a little strange being on the other side, not understanding the language, songs, or references, so I focused my attention on other aspects that we talked about in class. I listened for the typical five or seven beats that Arabic music goes off of as opposed to the eight that western music generally has, however I could not hear it. I also could not tell whether or not the group was improvising, as they would all quiet down, and pick up the volume and tempo at the same time. All in all, I enjoyed the music and the energy that the audience was radiating.
This was our first experience of live Qawwali and we thoroughlly enjoyed the dynamic and inspiring performance. The ensemble displayed remarkable expertise in following-the-leader, and most of the audience was spontaneously clapping along throughout the show. It’s amazine to read comments saying it was too loud or not “immersive”…we experienced the volume as pleasant and the overall spirit as integrative (despite some non-English banter). FWIW, I think that Scott Asheton would have loved it!
Dear Elizabeth…thanks for writing and sharing your enthusiasm with others. To your point, for the four performance run of “The Suit”, Thursday night was the least well sold of the four performances — Wed, Fri and Sat showings had much fuller audiences than Thu night. So your friend was right, Thu night was the smallest audience. We did not give tickets away to any of the shows. All best.
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Absolutely fantastic, there are no other words for performance. Not only is she a beautiful young woman but the voice was astonishing. But she was only one of many outstanding artists you’ve had this year. I loved “The Suit” especially having seen the film at the Michigan Theater that starred Peter Brooks. The evening we went it was crowded, but a friend of mine went on Thursday and said it was very empty and she suspected you were giving away tickets. I don’t believe that and enjoyed every bit of it.
I don’t know enough about this music to talk about it in the technical terms you did, but when you said “it is the immersive experience of the music which was lacking” I feel you hit the nail on the head. That’s what I was coming to experience and I was sad that it was missing. Yes, technically, the singing was very impressive, but I felt little heart in it or intention to inspire.
An earlier comment referred to the excessive volume, and I’d have to agree with that also; there was plenty of raw power in their singing, without needing to raise it to that decibel level.
One more point, also referring back to an earlier comment. I too enjoyed seeing people loving to hear their native music. That is very beautiful, and as someone who was not born in this country, and 65 years later still delights in hearing my native tongue and music, I appreciate UMS making it possible for people from other countries to have that same opportunity. But as a Westerner, I did not feel much addressed or included by the musicians. Yes, the music should, and did, speak for itself. But I felt left out when Asif Ali Khan introduced songs, when humorous lines were spoken and sung — all of which could have been translated. If I was hearing this concert in Pakistan I would not expect anyone to notice me or go out of their way to include me, but I felt that could have been done here, and i would have felt acknowledged and engaged with as a “minority” member of the audience. Thank you.
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Mixed feeling. Was the concert entertaining – yes. Guess it is also hard to cater to an audience so diverse, there was too much vocal gymnastics. But thats what the majority of the audience likes and appreciates. It seemed more like the Bollywood version of Qawwali. The essence of Qawwali/Maqaam music is to bring forth the spirituality in the lyric using a certain “lagaav” or employment of the note in a certain way. That was somewhat absent. The likes of Amir Khusrau, Rumi are hard to grasp anyway, it is the immersive experience of the music which was lacking. Using sargam, taraana style singing is all part of qawwali but it has its distinct flavor, what was demonstrated on stage was what we see these days in run-on-the mill Indian Classical concerts. Man Kunto Maula and Damadam Masta Kalandar are compositions that will drive a listener crazy (in a good way), when done well, they evoke spontaneous reactions from the audience in different ways. No one needs to be told to stand up. Technically, the singers were very gifted, I especially observed their skillful and highly aesthetic transitioning from one raga to another. In the first piece, am not certain but it seemed like gliding from a variation of Yaman/Kalyan to Nand-like patterns, then definitely resting upon Raga Lalat. More like Moorchana style of singing, very deeply rooted in Hindusthani/Dhrupad forms of music – very rarely sung on stage by performers of the day. Feel sad when artists of such high calibre cater a concert to populist tastes. Rigor is good, rigor will reveal most aesthetic possibilities of sound and if the audience is not conditioned enough, it is upon the performers to raise the bar, that is the highest service to one’s art. I would love to listen to the artists’ riyaaz, where am sure they must sing their best…thanks UMS.
Mixed feeling. Was the concert entertaining – yes. Guess it is also hard to cater to an audience so diverse, there was too much vocal gymnastics. But thats what the majority of the audience likes and appreciates. It seemed more like the Bollywood version of Qawwali. The essence of Qawwali/Maqaam music is to bring forth the spirituality in the lyric using a certain “lagaav” or employment of the note in a certain way. That was somewhat absent. The likes of Amir Khusrau, Rumi are hard to grasp anyway, it is the immersive experience of the music which was lacking. Using sargam, taraana style singing is all part of qawwali but it has its distinct flavor, what was demonstrated on stage was what we see these days in run-on-the mill Indian Classical concerts. Man Kunto Maula and Damadam Masta Kalandar are compositions that will drive a listener crazy (in a good way), when done well, they evoke spontaneous reactions from the audience in different ways. No one needs to be told to stand up. Technically, the singers were very gifted, I especially observed their skillful and highly aesthetic transitioning from one raga to another. In the first piece, am not certain but it seemed like gliding from a variation of Yaman/Kalyan to Nand-like patterns, then definitely resting upon Raga Lalat. More like Moorchana style of singing, very deeply rooted in Hindusthani/Dhrupad forms of music – very rarely sung on stage by performers of the day. Feel sad when artists of such high calibre cater a concert to populist tastes. Rigor is good, rigor will reveal most aesthetic possibilities of sound and if the audience is not conditioned enough, it is upon the performers to raise the bar, that is the highest service to one’s art. I would love to listen to the artists’ riyaaz, where am sure they must sing their best…thanks UMS.
Ok this was my first experience of Qawwali and honestly I loved it! I thought the music was fantastic and would love another opportunity to see it. From the word go, I just wanted to clap along. Honestly the only thing I could possibly complain about was that it was in a language unfamiliar to me and while other laughed at some things and seemed to respond to something else that he said (especially during the 3rd or 4th piece) I just felt lost. However, this is something I would definitely pay to see again!
I enjoyed it more than I expected. In fact I even got into the audience participation. It was great to see how much the audience loved it. Qawwali ideally takes the audience into flight and we nearly accomplished that!
We loved the music, but it was deafeningly loud and we had to leave. Why was it so heavily amplified? If you are going to amplify to that extent, could you put a warning in the announcement of the performance?
We thought the concert was fantastic!
It was wonderful to see so many people loving what was obviously familiar music to them.
And we felt invited to the party!
Thanks UMS & Asif Ali Khan for an enchanting evening!
Hello again,
I hadn’t finished my note when it somehow was interrupted so if it looks truncated or unfinished please excuse me. I thought she was fantastic and trust my previous note will compliment this one. It can’t replace it as I hadn’t finished and don’t know what got sent.
Absolutely fantastic, there are no other words for performance. Not only is she a beautiful young woman but the voice was astonishing. But she was only one of many outstanding artists you’ve had this year. I loved “The Suit” especially having seen the film at the Michigan Theater that starred Peter Brooks. The evening we went it was crowded, but a friend of mine went on Thursday and said it was very empty and she suspected you were giving away tickets. I don’t believe that and enjoyed every bit of it.
Tara Erraught joins many other emerging artists we have heard, thanks to UMS, that have gone on to major careers. We found the concert a complete delight. The commitment and warmth of both singer and pianist was unmistakable, no mean feat in that huge hall. Great plan for a program too–the drama of the opening Haydn mirrored the other operatic pieces at the end of the program, enfolding the more intimate lieder in the middle. Great sense of style in everything, and thoroughly engaging for the whole concert. We’d love to see her return!
it is so interesting to me how people can react so differently, I agree about the Kurtag — the fragments meant it never went anywhere, so the grief that the speaker mentioned basically was barely there, as were no other emotions. But I, and everyone I talked to, LOVED the Scottish piece and found it a very beautiful encore.
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While I enjoyed the concert and thought very highly of the group, I felt the Kurtag was both a very poor choice in general, and in particular to this program – not because it was “modern” but because it was self-indulgent, emotionally flat and boring. The Elias again showed poor programming skills by following the exquisite Beethoven with a gloomy Scottish piece that nearly destroyed the atmosphere they had so beautifully created just minutes before. I don’t get it. Someone needs to clue them in.
While I enjoyed the concert and thought very highly of the group, I felt the Kurtag was both a very poor choice in general, and in particular to this program – not because it was “modern” but because it was self-indulgent, emotionally flat and boring. The Elias again showed poor programming skills by following the exquisite Beethoven with a gloomy Scottish piece that nearly destroyed the atmosphere they had so beautifully created just minutes before. I don’t get it. Someone needs to clue them in.
It was so wonderful! Ms. Erraught’s performance was absolutely stunning, but her joyfulness and charisma were also infectious. Unforgettable evening! Loved every minute.
I enjoyed this recital so much. I didn’t know the works that Tara Erraught sang, but each set of songs formed a coherent and sometimes dramatic unit which I found very effective. She sings with enormous commitment and joy, totally immersed in the music, and communicates her own passion to her audience. A beautiful voice and a winning personality.
Personally, the evening was great with Tara and Dearbhla, both quite accomplished. Tara mesmerized me without my having knowledge of Italian, knowing only a bit of German, and not knowing the pieces. I believe she will become UMS and A2’s upcoming sweetheart. All artists must begin somewhere … and Tara has had quite an outstanding beginning elsewhere.
Although her voice may not be fully mature, she was a joy, a fresh and delightful joy, to watch and listen to. It is too bad that you left at intermission as you might have enjoyed the second half of the program more–more uplifting and fun. She did shine in that gorgeous bright red gown. And cheers for her accompanist!
Louise
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We left along with several others – while I support emerging artists – this was not what we expected. It would have been a perfect fit for a Sunday afternoon concert at a church hall. It was more like a recital her voice was very well-trained and she was very nice, however, it was not a beautiful tone nor was the repertoire particularly interesting. Just how we felt …. Sorry.
Well, she was billed as a mezzo soprano, so I was certainly expecting a recital. I do think she had a beautiful tone, technique to burn, and so much power, she must blow the roof off the Bavarian State Opera House. Her Cenerentola was pyrotechnic.
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We left along with several others – while I support emerging artists – this was not what we expected. It would have been a perfect fit for a Sunday afternoon concert at a church hall. It was more like a recital her voice was very well-trained and she was very nice, however, it was not a beautiful tone nor was the repertoire particularly interesting. Just how we felt …. Sorry.
Very enjoyable evening. For me, it was a pleasant surprise. I was not familiar with any of the works in the program, and I found the Brahms and Wolf songs, both composers I don’t normally turn to, nice to listen to. I may not have the most discerning ear, but I found Tara’s voice very beautiful. A pity that the turnout wasn’t greater, but at least for those of us who were there, we were able to enjoy an evening with a lovely artist.
I loved reading your comment Dyona, and it definitely resonated with me. The electric energy of both groups was my favorite part of the show. Alfredo Rodriguez expended more energy moving his body while playing the piano than anyone I’ve ever seen play before. And Martinez was spreading the energy to the audience by engaging them in clapping along and dancing. I also found the Martinez group’s music to be particularly invigorating. Awesome show!
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This was great! Friday’s performance was one of the most lively I’ve seen so far. Both Alfredo Rodriguez & Pedrito Martinez had tons of energy which flowed into the crowd while they played. I enjoyed Rodriguez’s performance the most; I’ve never seen any pianist, jazz or not, play and move so much at once. Though the sound slightly drowned out the singers during the second, I still thoroughly enjoyed watching this beautiful mix of traditional and modern latin jazz music.
We left along with several others – while I support emerging artists – this was not what we expected. It would have been a perfect fit for a Sunday afternoon concert at a church hall. It was more like a recital her voice was very well-trained and she was very nice, however, it was not a beautiful tone nor was the repertoire particularly interesting. Just how we felt …. Sorry.
This was a positively lovely evening — and I’m not an opera afficiando by a longshot. Ms. Erraught’s sharing of her art and soul in her performance & encores were captivating (and equally so Ms. Dearbhla Collin’s accompaniment).
I’m so grateful. Thank you so much for such a soul-restoring evening.
I found their playing to be precise, but strangely emotionless. I think the Debussy, for example, should show some joy and exuberance, and they were so soft and controlled that this wasn’t conveyed to me.
Also, the Kurtag wasn’t the only piece that was, in my opinion, too soft. I kept wondering if we were sitting in a dead spot in the auditorium, but I think not–
What a great message to receive at the end of the day. Thanks for the shout out….and for your interest.
Michael
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Greetings from Colorado! I’m bored to death at work so I decided to browse your site on myy
iphone duuring lunch break. I really like thhe knowledge you provide
here and can’t wait to take a look when I get home.
I’m amazed at how quick your blog loaded on my cell phone ..
I’m not even using WIFI, jusat 3G .. Anyways, awesome site!
Greetings from Colorado! I’m bored to death at work so I decided to browse your site on myy
iphone duuring lunch break. I really like thhe knowledge you provide
here and can’t wait to take a look when I get home.
I’m amazed at how quick your blog loaded on my cell phone ..
I’m not even using WIFI, jusat 3G .. Anyways, awesome site!
Really interesting what you say, Ross, about the interaction between Rodriguez and Slavov. I noticed the cohesiveness as well, and for me, that makes a huge difference. I think there’s a difference between improvisation and simply jamming out – the trio was feeding off of each others’ vibes, which I have mad respect for, and playing along as they felt.
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I loved the performance by the Alfredo Rodriguez Trio and Pedrito Martinez Group on Friday night. I thought the Rodriguez Trio exhibited more technical, musical talent but I loved the energy and fun vibes that Martinez brought to the stage. My impression was that the Rodriguez Trio’s music sounded more cohesive and tightly knit together, while the Martinez Group’s sound was occasionally dissonant, but overall had a fuller, stronger sound that just engulfed the Michigan Theater. And I really loved the element that singing added to the Martinez Group’s music.
One thing I noticed during both acts and I thought was especially cool was the nonverbal communication between the musicians on stage. It was very apparent at times that Peter Slavov, Henry Cole, and Rodriguez would be looking at each other to get musical cues. I saw during Slavov’s solo in one song that Rodriguez line his hands up about to jump back into the song with his piano, but then decided against it and pulled away from the piano. Martinez also, it appeared, was sending rhythms to his other band members, particularly Ariacne Trujillo.
I thoroughly enjoyed the entire performance but my favorite part was the final encore. I was deliberating whether or not to stay, but staying was definitely worth the wait. Rodriguez and Cole joined the Martinez group on stage and they were having so much fun and making such wonderful music; no one in the audience could sit still. A perfect ending to a great show!
It seems like many of the attendees who have already posted share many of the same opinions that I do. Starting with the Alfredo Rodriguez Trio: I felt the drummer took away from the show the most. Don’t get me wrong – he was incredibly talented, but I think the sheer volume of the drums drowned out a lot of other elements of the performance. For example, several times, Rodriguez would alter the volume or tempo of the piano to express a change in the nature of the piece, but the drums made it hard for me to pick up on. That being said, Rodriguez’s aggressive demeanor was entertaining, and at other times, too distracting. For me, his passion was admirable, but his movement begged you to watch him, when I wanted to spend time dissecting the performance of the other two.
The Martinez group immediately jumped out at me as being much more exciting. The very first song called for the audience to clap along – and maybe it’s simply my past experiences at Michigan Theatre, but I thought the venue was much more conducive to this group than the precursor. Everything about a show communicates – in this case, the dress of the performers immediately clued me into the free-spirited, upbeat demeanor and that made me more comfortable from the get-go.
Talent all around. Not sure I’d go out of my way to see either again, but you have to admire their passion for their art.
I actually arrived at the concert very excited to hear some engaging music with really interesting improvisation, but the “interesting” part was taken just a little too far.
I believe what was happening when he was standing up was a combination of his hand dampening the strings as well as plucking them, though I’m not entirely sure either.
I don’t know if you were unsure but there was a second group after the original trio that was a little easier to connect with and a little more relaxed. Had a more notable latin style to it as well which was enjoyable. You should look up the artists if you missed it. I personally wasn’t very overjoyed by what happened with this group either but it was a little contrasted to the Alfredo Rodriguez Trio.
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While there’s no question both performers are extremely gifted and talented artists, I just couldn’t get into “the groove” for this concert. I think you have to be in the right mindset for this type of jazz, and after a long day, I was hoping for more relaxing smooth jazz pieces. My mind just wasn’t energized enough on Friday to engage with this genre of jazz. Although this wasn’t one of my favorite UMS performances, I do appreciate the talent– especially Alfredo Rodriguez. Perhaps what I enjoyed most was Rodriguez’s technique toward the end where he played the piano standing up and hitting both the keys and the piano wire ( I believe this was what was happening, right? I was in the balcony and couldn’t see for sure if this was the technique.) I had never seen this before and it really created an interested sound!
What, or who, or…ah! The talent of the Alfredo Rodriguez trio was incredible. There is absolutely no doubt in my mind that these three men have a deep, masterful understanding of their instruments. However, in my own personal experience, that skill wasn’t enough—or perhaps was too much. Especially in Rodriguez’s playing I felt lost, unable to follow really any progression of chords, notes, experience or story. I generally appreciate all types of music but the barrage of notes as he flipped up and down the piano was just completely overwhelming for me.
Going off of that the band as a whole seemed to be playing in different realms. I had trouble feeling how the percussionist connected to the bassist to the piano. Though I could see them watching each other, and occasionally hear accents from one or the other I never really felt a moment where the band was grooving together. The moments of absolute solo for each individual instrument were definitely my favorite because it allowed me to at least somewhat connect with where the musician was trying to go. In the other sections, trying to feel where the entire band was trying to go I felt lost. Again, I would stress that I am usually a very big appreciator of all types of music but this performance just seemed to fall short for me. Perhaps if I were significantly more adept at understanding jazz improvisation it would have resonated better with me.
Brilliant sound clarity is one of Celi’s conducting attribute. He would request at least 17 rehearsals for a concert. Nothing comes for free. A perfectionist…. He and Arturo Benedetti made famous concerts ( Beethoven, the 5th Piano concerto, for instance). Benedetti refused 8 Steinways, before settled to the 9th, for his Tokyo concert. There are numerous good artists, but only a handful of them make history.
I really enjoyed when Alfredo played standing up. I couldn’t quite see, but I believe he was playing the wires along with they keys? Is there a name for this technique?
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Wow, I totally forgot about Alfredo’s posture but I’m glad that you bring it up because it was very noteworthy! I too was surprised by his posture as most musicians are very poised. I wonder why he chose to stand that way.
While there’s no question both performers are extremely gifted and talented artists, I just couldn’t get into “the groove” for this concert. I think you have to be in the right mindset for this type of jazz, and after a long day, I was hoping for more relaxing smooth jazz pieces. My mind just wasn’t energized enough on Friday to engage with this genre of jazz. Although this wasn’t one of my favorite UMS performances, I do appreciate the talent– especially Alfredo Rodriguez. Perhaps what I enjoyed most was Rodriguez’s technique toward the end where he played the piano standing up and hitting both the keys and the piano wire ( I believe this was what was happening, right? I was in the balcony and couldn’t see for sure if this was the technique.) I had never seen this before and it really created an interested sound!
Already stole the show and I had never imagined that I would have had this much fun watching a jazz pianist. He crushed all my expectations of how a piano jazz concert would be like, and especially after my disappointment after a recent jazz quartet I attended by UMS this season. He had so much fun and had so much passion doing what he does best that I think the audience enjoyed his performance as well. I definitely remember his performance more than I do Alfredo Rodriguez, not that he was a bad performer in any way. He was also a great pianist, just not as fun to watch as Alfredo!
I am pretty familiar with jazz, but this concert came a pleasant surprise as I had never heard anything quite like this. The fusion with latin styles of music was light and refreshing. I really enjoyed watching Alfredo Rodríguez’s energetic piano performance. It had me on edge the whole time as I tried to anticipate his next movement! By the time the Pedrito Martinez Group I was a but exhausted from the long week I had had and from engaging with Rodriguez’s performance but I still enjoyed it despite my tiredness.
I loved the performance by the Alfredo Rodriguez Trio and Pedrito Martinez Group on Friday night. I thought the Rodriguez Trio exhibited more technical, musical talent but I loved the energy and fun vibes that Martinez brought to the stage. My impression was that the Rodriguez Trio’s music sounded more cohesive and tightly knit together, while the Martinez Group’s sound was occasionally dissonant, but overall had a fuller, stronger sound that just engulfed the Michigan Theater. And I really loved the element that singing added to the Martinez Group’s music.
One thing I noticed during both acts and I thought was especially cool was the nonverbal communication between the musicians on stage. It was very apparent at times that Peter Slavov, Henry Cole, and Rodriguez would be looking at each other to get musical cues. I saw during Slavov’s solo in one song that Rodriguez line his hands up about to jump back into the song with his piano, but then decided against it and pulled away from the piano. Martinez also, it appeared, was sending rhythms to his other band members, particularly Ariacne Trujillo.
I thoroughly enjoyed the entire performance but my favorite part was the final encore. I was deliberating whether or not to stay, but staying was definitely worth the wait. Rodriguez and Cole joined the Martinez group on stage and they were having so much fun and making such wonderful music; no one in the audience could sit still. A perfect ending to a great show!
I totally agree with you, Hannah. I’m a little cautious when it comes to piano because I always think it’ll be like slow classical music. So, to prep for this performance I checked out both artists on YouTube first and can definitely say I was pleasantly surprised at how original and spicy their songs are.
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I have never been much of a fan of piano music – it always puts me to sleep and going into Friday night’s performance I was afraid that that was exactly what I was in for. I was terrified that I would spend the whole first half of the performance focusing on staying awake instead of on the music. Thankfully, that was not a problem. Alfredo Rodriguez gave an amazing performance. From the very first piece I was entranced in the music. Sleep was not an option. The music surprised me, when I think of piano I automatically think Beethoven (which after hearing numerous times just gets old) but it was nothing of the sorts. Everything he played (even if it was based on something far older, or took from an older piece – I don’t know how music is written) sounded original and unique, like a modern work of art and the presence of the trio aided in that so much. It kept the music lively and upbeat – something I can’t get enough of, I want to hear more (I say as I pull up yet another YouTube video). I would pay again and again to see this performance because I absolutely loved it. My only question in regards to this performance would have to be…is he coming back?
This was great! Friday’s performance was one of the most lively I’ve seen so far. Both Alfredo Rodriguez & Pedrito Martinez had tons of energy which flowed into the crowd while they played. I enjoyed Rodriguez’s performance the most; I’ve never seen any pianist, jazz or not, play and move so much at once. Though the sound slightly drowned out the singers during the second, I still thoroughly enjoyed watching this beautiful mix of traditional and modern latin jazz music.
I completely agree with you! I was personally blown away by Alfredo Rodriguez and his crew. I honestly was captivated by it. That being said I also wasn’t a huge fan of Peditro Martinez. To me it was just difficult because I had a really hard time hearing them over their instruments. Honestly, for the entirety of it, I (though I hate to be harsh) wanted them to leave and for Alfredo Rodriguez to come back. But who knows you could totally be right that they followed Alfredo Rodriguez trio and that’s what caused the disappointment. There is honestly a part of me that wonders that if they had taken to the stage first would my opinion be different?
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Hats off to Alfredo Rodriguez and his crew who KILLED IT (in a good way). While I am not a jazz aficionado, I was very impressed with their level of skill and emotion/commitment in their music. While the sounds were a little off when they were all played together, I was so captivated by the focus and visual performance of each of the musicians as they were playing that I could get past a few awkward notes. Pedrito Martinez was another story. Maybe it was because they followed after Alfredo, but I was just not feeling the music. There was nothing exciting about it for me, and I found myself waiting for it to be over. I felt like it was being put to sleep with how monotone Pedrito’s Group sounded. Overall, I was ready for bed by the end of the performance.
I have never been much of a fan of piano music – it always puts me to sleep and going into Friday night’s performance I was afraid that that was exactly what I was in for. I was terrified that I would spend the whole first half of the performance focusing on staying awake instead of on the music. Thankfully, that was not a problem. Alfredo Rodriguez gave an amazing performance. From the very first piece I was entranced in the music. Sleep was not an option. The music surprised me, when I think of piano I automatically think Beethoven (which after hearing numerous times just gets old) but it was nothing of the sorts. Everything he played (even if it was based on something far older, or took from an older piece – I don’t know how music is written) sounded original and unique, like a modern work of art and the presence of the trio aided in that so much. It kept the music lively and upbeat – something I can’t get enough of, I want to hear more (I say as I pull up yet another YouTube video). I would pay again and again to see this performance because I absolutely loved it. My only question in regards to this performance would have to be…is he coming back?
I had mixed feelings about the performance by Alfredo Rodriguez Trio and Pedrito Martinez. I loved the way Rodriguez played the piano and the vibe he gave off the crowd with all the emotion and vibe he gave off with his physical motion and great energy. However, he played a lot of contemporary jazz rather than standards, giving the audience harder to relate to. I think he might’ve been going for targeting avant-garde audience, loving the new-age jazz rather than people loving the old classic standard jazz piano pieces. Martinez group also had its groove on with Cuban Jazz music, mainly driven by showy and fancy percussion. As a jazz guitarist, I think appreciated more traditional jazz components that Martinez group performed with, having a percussion group, being able to relate more, since guitar is considered to be in the rhythm section in Jazz Ensemble, as well as solo performing instrument. I loved the type of feedback the audience gave when they saw something they liked on stage, or asking for encore. Overall, I think there was good communication between the members of ensemble, and good connection with the audience at times, but might not have been targeting the right target audience for the venue/performance.
I remember thinking that this guy (Alfredo) must have an extremely intimate intellectual relationship with the piano; to witness his ability to fly around the keyboard and produce interesting and exciting grooves all the while was truly awesome. Before the concert I briefly listened to some music by the Pedrito Martinez Group, so I didn’t know that I would be in for such a treat from Alfredo’s group. Like you, I was also bored by the familiar Latin beats of Pedrito’s ensemble but was certainly “wowed” by the Alfredo Rodriguez Trio.
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Is that even how you are supposed to play the piano? That was one of the thoughts that went through my mind when watching Alfredo play. I had never seen someone play the piano live like that. He seemed to be able to play it to whatever extent he felt like. I was fascinated by the whole performance of the trio, from the masterfully played solos, to Alfredo’s unusual playing with the piano strings. I thought the encore was really good too; it contrasted a lot with the previous type of music the trio had played. It was a lot moodier and easier to follow.
Leading up to the concert I was more excited to see Alfredo Rodriguez Trio more than The Pedrito Martinez Group. I looked at videos of both groups before the concert and I just knew that for me, the Alfredo Rodriguez trio was going to be the ‘wow’ experience. The Pedrito Martinez Group was also good but I got a little bored after a while with the more traditional latin rhythms.
It was awesome to see a performance with so much improvisation and talented musicians, I enjoyed it a lot.
After a long and exhausting week, my mind and body were nowhere near the energy level necessary to fully appreciate this performance. The dark venue and the distance between my seat and the stage (I sat toward the back of the balcony) seemed to compound my already groggy and disinterested state. Despite this, the passion and virtuosity of the Alfredo Rodriguez Trio did not escape me. Even when I felt like I didn’t have enough familiarity with Cuban-style jazz to keep up with the music with my ears, I found myself transfixed by the dexterity of Alfredo’s fingers on the piano. His classical training was evident in his composition as well as his playing style – it was fun to pick out the different bits of improvisation that sounded more jazzy, more Cuban, or more classical. The bass player was also exciting to watch; watching his fingers dance on the strings during his solo, I got the distinct impression that his instrument was an extension of his body and the music was an extension of his mind.
Not feeling too excited to sit through another 3-hour UMS show, I did not share the delight of many audience members when the trio returned for an encore, even though I ended up enjoying the song. I was ready for the rhythmic sounds of the Pedrito Martinez Group ten minutes into the intermission, which ended up testing my patience and commitment to this show by being way longer than I expected. When the PMG finally came on, I was totally underwhelmed. I could tell that all the musicians had a lot of talent, but as many commenters have mentioned, the sound was terrible – I couldn’t hear the bass guitar at all, and Pedrito’s congas overwhelmed the other instruments and voices. I sat through three songs and left – my exhaustion got the better of me and I did not expect much variety from the remainder of their set. I was also a bit ruffled by this particular combination of venue and performer; I think that the style of the Pedrito Martinez Group would be much better suited for a restaurant atmosphere or an outdoor plaza. I normally don’t walk out of performances on principle, but in this case I had reached my limit of enjoyment.
You bring up a really interesting point about how jazz is a conversation but the performances were too overwhelming. I felt this way especially about the second half. The small bit of the recording I heard of the group prior to the performance seemed alright, but in person the amplifications were off and I ended up with a really bad headache.
I agree that the first half could have had more melodies and could have slowed down sometimes, but I personally still enjoyed the Trio a lot, even if it was a bit fast “loud”.
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Maybe I’m the only one who feels like this performance is not for me. Personally I enjoy jazz music; I’m a big fan of Sting. But this performance is totally different from jazz that I’ve listened and enjoyed. Actually, the overall performance was too loud for me so that I felt like I was at a rock and roll concert instead of jazz music.
I could recognize how talented Rodriguez is, but sadly I could not enjoy his music very much. The drum sound overwhelmed the bass sound, which I really wish to hear. Also, I thought each performer played each different pieces of music.
I wish to hear more peaceful music for the second half, because I was tired of listening loud sounds. However, the second half was seriously louder than the first one. I believe people who controlled the sound of music did something really wrong. Their voices were loud and their instruments were so loud. Definitely, their vocal sounds and pieces of music didn’t match up and made a lot of dissonances.
Maybe I’m too sensitive. But, I hope to feel comfortable while I listen the music. In that perspective, the performance “Alfredo Rodriquez Trio and Pedrito Martinez Group” was a bit disappointing. One says that jazz is talking and I agree. I would say the performance was shouting all the time.
I was a bit surprised to see all the comments about how people found the Rodriguez Trio’s music to be not engaging; their group has been one of my favorite performances this year. Perhaps it’s my fascination with the piano, but I was very much along for the ride and didn’t have a dull moment throughout the performance. I was sad to see them finish their last planned piece of the night. When they returned to the stage for an encore, I and the audience members around me were more than excited.
Speaking of which, the people around me kind of made the show for me as well. The man who shouted out “yeah!” when particularly strucken by a musical run and the lady in front of me who was bobbing her head to the music the entire time made me smile. As I listened to the music, I couldn’t help but appreciate the culture that UMS brings to their seasons.
Though all three musicians were very talented, I do agree that Alfredo Rodriguez is early in his career and could become more of a nuanced player with more experience. His talent was obvious and awe inspiring (I couldn’t help thinking he needed more keys on his piano), but at times the runs became overly ornamental. I came to enjoy his rare, simpler melodies a lot more as a result. But overall, I was more than impressed with the Rodriguez Trio.
As I read your comment, I thought to myself that we must have seen two different performances.
Passion? What I experienced was to the contrary. It was a lack thereof, passion.
Nonetheless, I’m glad to hear that you enjoyed the performance. It might also have something to do with the seating arrangements. Where were you sitting?
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Never before I have experienced such a fresh blend of Cuban music and jazz by the Alfredo Rodriguez Trio. It was so easy to sense Mr. Rodriguez’s confidence, his personality, and his playfulness to just have fun with his crew and with the audience was unreal. It truly brought out the best of each artist, and you could feel their passion! Each performer in the band played a tremendous solo that rocked the house. I could not stay in my seat while watching them sway and swing and bump to the music as they played. Their hands must have been on fire after the show after playing all those notes. The encore was terrific as well. Perfect contrast to his upbeat set list.
The second half with Pedrito Martinez and his group was utterly disappointing. It was too structured and too rigid, too rehearsed, no improvisation, and clearly no passion. They seemed to play songs that they’ve been playing for years, and they didn’t seem to be having as much fun as the Alfredo Rodriguez Trio. The sounds were not that pleasant either. The majority of it sounded like pop music, and truthfully, I hated the sound of the cowbell after the second piece they played. It didn’t match at all with the Latin/Cuban sound they were trying to deliver.
Overall, I would love to see the Alfredo Rodriguez Trio again in concert. I can’t say the same for Pedrito Martinez Group.
I’m glad you mentioned your true feelings about the second half of the performance because I felt the same way! I couldn’t handle the mixing of the cowbell with the other instruments. It wasn’t harmony in the second half; It was a clash of sounds, and it clearly did not fit. As for the first half, it reminded me a little of Kronos Quartet…It took some time to adjust, but it was a very unique sound that I really enjoyed.
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I’m sorry to admit it, but yes, I was one of the ones that left early. The Alfredo Rodríguez Trio were skilled, but I never quite got into the “jazz” mood, and only really enjoyed two of their more melodic pieces, otherwise, I got quite bored with their experimentation. I really enjoyed the double bass player, and was looking forward to his solo. Overall, I enjoyed it, but kept hearing some sort of clicking of something hitting the strings while he was playing. Can anyone tell me if this is normal? I thought that it took away from the deep sound a bit. As for the Pedrito Martinez Group, I’m afraid that the sound mixing was a large factor in why I didn’t enjoy it. The other reason is because it was too loud and monotonous; it tired me out rather than made me feel like dancing. I think I realize I am being very cynical, and so I’m hoping that someone will enlighten me as to why they enjoyed the performance, so then I can better understand this style of music.
Rises through the ashes this review, after yet another epic disappointment by UMS and by ENG-290. I admit; I know nothing of music, and I know even less of art, but I know beauty and harmony. This performance was not it. Here I was thinking that things cannot get any worse, and the sky opens up and comes glaring down like a beam from the death star—onto the archaic stage of the Michigan Theater—The Alfredo Rodríguez Trio. Heavens have mercy, I don’t even know where to start!
This was by far the most visually uninteresting and acoustically morbid thing that I’ve ever seen or heard. There was literally nothing to look at, literally. From where I was sitting, the balcony, it looked as if three diminutives were moving around frantically while sitting still. There were absolutely no visuals to go along with the sounds of their instruments crashing.
As I stared into oblivion, I found myself asking these questions more than once. Why am I here? When will the misery end? And, Alfredo Rodríguez and company did not a single thing to try and move my thought process in a different direction. Type in “Study Music” into YouTube. The site is littered with hours and hours of similarly bland music. This was nothing special. Just there guys who should be probably playing in their mom’s basement. I can listen to this music at home, in the car, on my phone, in the bathroom, anywhere!
Never before I have experienced such a fresh blend of Cuban music and jazz by the Alfredo Rodriguez Trio. It was so easy to sense Mr. Rodriguez’s confidence, his personality, and his playfulness to just have fun with his crew and with the audience was unreal. It truly brought out the best of each artist, and you could feel their passion! Each performer in the band played a tremendous solo that rocked the house. I could not stay in my seat while watching them sway and swing and bump to the music as they played. Their hands must have been on fire after the show after playing all those notes. The encore was terrific as well. Perfect contrast to his upbeat set list.
The second half with Pedrito Martinez and his group was utterly disappointing. It was too structured and too rigid, too rehearsed, no improvisation, and clearly no passion. They seemed to play songs that they’ve been playing for years, and they didn’t seem to be having as much fun as the Alfredo Rodriguez Trio. The sounds were not that pleasant either. The majority of it sounded like pop music, and truthfully, I hated the sound of the cowbell after the second piece they played. It didn’t match at all with the Latin/Cuban sound they were trying to deliver.
Overall, I would love to see the Alfredo Rodriguez Trio again in concert. I can’t say the same for Pedrito Martinez Group.
I know exactly what you mean! I’m no dancer either, but this style of jazz can really make you want to move! Apparently Cuban Jazz like this is always more percussive than “traditional” jazz, and those strong beats just really resonate in your body making you want to shake them out.
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What a grooving night! I was about to dance although I am not a dancer at all. I don’t know if others felt in the same way, but for me, all the jazz music I’ve ever heard before sounds funky to me, and the beats are really cheerful for dancing. For example, when Rodriguez was hitting the piano while also muting its strings, although the tones are hardly to hear any more, the sound itself had a strong dancing beats form in it, so it could let people dance without having tones at all.
I’m so glad I stayed until the very end! The one song I was waiting on Pedro Martinez to sing was La Luna and man did they sound good! In fact the entire Pedro Martinez half was awesome. The vocals of him and the female singer were excellent and I loved hearing them harmonize.
The Alfredo Trio also did a great job. I did not enjoy the as much as the second half, but just seeing Alfredo perform was entertaining in itself. It was obvious that he was enjoying his own music because he could hardly stay seated in his piano stool! He had some really great moments, though, where the “groove” was definitely there.
The collaboration at the end was so cool and I love seeing the support between the two groups. It made the show all-the-more special.
This concert was incredibly refreshing! When I first found out I’d be going to a 3 hour Jazz concert, I will admit I was a bit worried. After looking into Cuban Jazz a bit more, however, I was pleasantly surprised! Rather than gravely voices grating into a microphone at around 10 BPM we got treated to a night of amazing percussive instruments, exciting vocals, and upbeat melodies!
While the music from both groups was certainly incredible I have to say that I found Rodriguez’s trio much more entertaining that Pedrito’s group. Pedrito arguably had more skill, though I can’t say I’ve ever seen piano playing on a scale like Rodriguez’s, but the amount of energy in the first act was simply stupendous.
The biggest issue I had with the concert was the length. 3 hours is a long time for any concert, in my opinion, and after a while I found my mind wandering. Maybe I’m just not the kind of person who’s made for marathon concerts like this, but even with the change in bands and songs eventually the entire evening began to bleed into one. I think it would be more beneficial, or at least better for people like myself, to give each group their own concert. If not that, then shorten the number of songs each group does. It might seem counter-intuitive, but in my opinion it would make each group stand out more on their own.
I’m sorry to admit it, but yes, I was one of the ones that left early. The Alfredo Rodríguez Trio were skilled, but I never quite got into the “jazz” mood, and only really enjoyed two of their more melodic pieces, otherwise, I got quite bored with their experimentation. I really enjoyed the double bass player, and was looking forward to his solo. Overall, I enjoyed it, but kept hearing some sort of clicking of something hitting the strings while he was playing. Can anyone tell me if this is normal? I thought that it took away from the deep sound a bit. As for the Pedrito Martinez Group, I’m afraid that the sound mixing was a large factor in why I didn’t enjoy it. The other reason is because it was too loud and monotonous; it tired me out rather than made me feel like dancing. I think I realize I am being very cynical, and so I’m hoping that someone will enlighten me as to why they enjoyed the performance, so then I can better understand this style of music.
Hi Harshavardhan, you seem knowledgeable in the jazz style, so I thought I’d ask you about the first half. You see, I didn’t really enjoy Alfredo’s improvisation, it all seemed jumbled and random to me and not so enjoyable to listen to. That being said, I’m no jazz aficionado, so I was wondering how you know if a band is “good” when they are experimenting like that?
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The concert combining Pedrito Martinez and Alfredo Rodriguez was a stimulating blend which showcased various distinct shades of Cuban Music. I felt Alfredo’s unique blend of music from Latin America with jazz was very well done and showed his exceptional artistic ability. I thought Alfredo’s improvisation stole the show and his energy was contagious; Alfredo simply could not sit still and his genuine enthusiasm seemed to sweep the audience off their feet. While he did not steal the limelight, I also felt the cello player’s performance was particularly memorable and contributed substantially to the quality of the concert.
Pedrito’s concert emphasized his adroitness with the drums and his mixing of modern lyrics with Afro-Cuban musical tradition was something that the audience seemed very unaccustomed to, but which I came to appreciate. Pedrito’s extended solo was astounding and showed a very wide range of beats; Martinez’s mastery of his trade was evident in the way that his drumming seemed to pour the foundation for all the pieces that his group played.
I found it particularly interesting when the Pedrito Martinez group invited Rodriguez back onto the stage to play together; the chemistry between the two groups was intriguing and I found it entertaining to watch Rodriguez leave the piano to joke and play alongside Jahir Sala. While I particularly enjoyed Rodguiez’s performance and was extremely unfamiliar with the music played by Martinez, I felt both groups played equally well and showed me two very different aspects of the Cuban musical tradition.
Hi Bobby! I totally agree that the music makes people want to move. I find jazz music having amazing beats that are so funky and making people dancing. So good to hear the similar opinion from you.
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The music just made me want to move! There was so much energy in the show. I’m not sure what it was about the music but there’s no better way for me to describe it than it made me want to get off my feet. While I did think it was a little loud at times and in the second half they had some sound issues it didn’t take away from the performance too much. All in all I couldn’t be happier I got exposed to this music and can’t wait to show it to my friends!
What a grooving night! I was about to dance although I am not a dancer at all. I don’t know if others felt in the same way, but for me, all the jazz music I’ve ever heard before sounds funky to me, and the beats are really cheerful for dancing. For example, when Rodriguez was hitting the piano while also muting its strings, although the tones are hardly to hear any more, the sound itself had a strong dancing beats form in it, so it could let people dance without having tones at all.
I agree, the balance was not very good. Other than that I feel that the first half was very exciting. The harmonies Alfredo used in his improvisations were amazing! I just wish the intermission wasn’t so long.
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I thought the first half of the performance, the trio, was technically great. I like jazz and can be found listening to it often. One thing that upset me was the balance(or lack there of) between the trio members. The percussion should not have been amplified, and the bass player’s mic should have been turned up. The percussion drowned out the other two. The second half of the performance was just not for me. It was loud and I couldn’t understand what they were sining. Not a performance I would go out of my way to see again, not bad but not great.
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UMS President Ken Fischer Announces Retirement:
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People Are Talking: UMS presents Mnozil Brass:
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People Are Talking: UMS presents The Bad Plus Joshua Redman:
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A Chat with Deb Clancy, UMS’s DTE Energy Foundation Educator of the Year:
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What is Isicathamiya?:
[…] ABOUT ISICATHIMIYA SINGING From http://www.umslobby.org/index.php/2010/01/what-is-isicathamiya-393“What is […]
People Are Talking: UMS presents Mnozil Brass:
Although I have been following the Mnozil Brass for years, this performance of as far beyond my expectations. Thanks for bringing them to town, and please plan for a return visit.
People are Talking: UMS Presents Jerusalem String Quartet:
I decided as soon as the schedule came out that I wanted to attend the concert, but I wanted to wait to get senior rush, so I had no choice but to purchase my ticket the day of the concert. As always, the Jerusalem Quartet was superb!
People Are Talking: UMS presents: Zafir: Musical Winds form North Africa to Andalucia:
I was listening to Cuban Fantasy last Saturday on WEMU and my friend and host Mark Taras said he had a pair of tix to give away and suggested to his loyal audience of Cuban jazz fanatics that they might want to call in and win. He was so right. Zafir was a real trip. It brought back memories of my early twenties when I nearly ran out of money in Northern Europe and Eurailed to Morocco for the Winter. I loved the wandering songs. I remembered a fossil market with bushels of trilobytes in stalls under bare bulbs. I helped w the making of a TV movie on Marco Polo carrying plaster camels into place for after the battle scene. I never worried too much about my safety in Morocco. The people were friendly and accepting. I just put my mind in nuetral and let inertia be my bookmark during the long evening. Also, the Michigan Theater is a very warm place to hold a gathering….there are certain amenities and the staff is very genuine.
People Are Talking: UMS presents Mnozil Brass:
This was our first experience at Hill Auditorium and it was very enjoyable. My husband and I are both brass players and marveled at the technique and musicianship exhibited by these players. We had a lot of fun. The only issue we did have was the size of the seats. For me it was fine, but for my 6’2″ husband who recently had knee replacement surgery, it was too cramped for him to sit at least a little comfortably.
People Are Talking: UMS presents Mnozil Brass:
I think you are referring to the sing along: “Let it Go” from Disney’s Frozen
Great show!
"Please, who is the singer if the last song they played? We missed it, we wereon our way out to catch a flight, so anybody knows?
by Eleni
People Are Talking: UMS presents Mnozil Brass:
The Mnozil Brass were very entertaining! Thank you for bringing them so close to home.
People Are Talking: UMS presents Mnozil Brass:
Land of Make Believe. It was absolutely AMAZING — Tuba jam was mind blowing.
Hello all, the encores were: “Land of Hope” by Chuck Mangione and “Lonely Boy” by Paul Anka. Thanks!
"by Anna, UMS
People Are Talking: UMS presents Mnozil Brass:
Great comment. I sensed that they played differently but I’m only able to play the radio. Dahnke!
I have two degrees in music and trumpet is my major instrument. But these guys play their horns in a way with which I am unfamiliar. So clear and crisp and accurate and in tune and with dynamic changes, etc. WOW! Canadian Brass should be worried. Although they are equally talented I was very impressed with the tuba player. To be able to be as crisp as the trumpets is a might feat. I hope they return to Michigan soon.
"by Larry
People Are Talking: UMS presents Mnozil Brass:
Hello all, the encores were: “Land of Hope” by Chuck Mangione and “Lonely Boy” by Paul Anka. Thanks!
People Are Talking: UMS presents Mnozil Brass:
MacArthur Park? Or the encores?
Great show!
"Please, who is the singer if the last song they played? We missed it, we wereon our way out to catch a flight, so anybody knows?
by Eleni
People Are Talking: UMS presents Mnozil Brass:
I have two degrees in music and trumpet is my major instrument. But these guys play their horns in a way with which I am unfamiliar. So clear and crisp and accurate and in tune and with dynamic changes, etc. WOW! Canadian Brass should be worried. Although they are equally talented I was very impressed with the tuba player. To be able to be as crisp as the trumpets is a might feat. I hope they return to Michigan soon.
People Are Talking: UMS presents Mnozil Brass:
Great show!
Please, who is the singer if the last song they played? We missed it, we wereon our way out to catch a flight, so anybody knows?
People Are Talking: UMS presents Mnozil Brass:
Absolutely fantastic performance! Loved their shiny brass instruments, their expert playing and their schticks! Very clever, wonderful music, delightfully amusing and charming all at the same time! A+++++!
People Are Talking: UMS presents Mnozil Brass:
Wonderful show! My 11-year-old son and I thoroughly enjoyed the great musicianship with sense of humor throughout. We hope they will be back again!
People Are Talking: UMS presents Mnozil Brass:
They were great. Please invite them back.
People Are Talking: UMS presents Mnozil Brass:
Many thanks! Somehow I had missed that classic interpretation.
K.
That was Eine Kleine Frühlingsweise, which is set to Dvorak.
"by Chris Powell
People Are Talking: UMS presents Mnozil Brass:
These guys are off the chart awesome. I would gladly pay to see them again. The music and humor combined for a most enjoyable evening. Bravo UMS !
JRL
People Are Talking: UMS presents Mnozil Brass:
That was Eine Kleine Frühlingsweise, which is set to Dvorak.
Loads of fun–Great brass chops combined with a universal mime-style humor. We enjoyed the whole evening.
Can anyone tell me the name of the acapella song?
"by K.
People Are Talking: UMS presents Mnozil Brass:
These guys killed it! My 84-year-old dad and I had a great evening being entertained by these musicians and their Monty Python antics. Loved it.
People Are Talking: UMS presents Mnozil Brass:
Outstanding and committed performance,. An evening well spent
People Are Talking: UMS presents Mnozil Brass:
Mnozil Brass, sounded to me like the thing you put on the end of the garden hose to spray off the car after a wash. Well, they were great musicians and showmen. I’m not sure about the recurring Spanish lesson though. Most of the audience caught on. I saw a number of kids in the audience, which was nice for a Thursday night. They made great use of the stage at Hill. Good show!
People Are Talking: UMS presents Mnozil Brass:
Loads of fun–Great brass chops combined with a universal mime-style humor. We enjoyed the whole evening.
Can anyone tell me the name of the acapella song?
People are Talking: UMS Presents Jerusalem String Quartet:
The quartet’s performance was absolutely stellar!
People are Talking: UMS Presents Jerusalem String Quartet:
This chamber concert was memorably delightful. The music was well chosen and beautifully played, particularly the Bartok, Schumann and Beethoven encore.
People are Talking: UMS Presents Jerusalem String Quartet:
just spectacular
People are Talking: UMS Presents Jerusalem String Quartet:
I’d like to encourage comments about the Bartok from you knowledgeable folk. I thought it was interesting to hear, after my ears got attuned to the initial dissonance, which came as a shock after the Beethoven, and that it was visually fun. The Presto was a lovely ending to the concert.
People are Talking: UMS Presents Jerusalem String Quartet:
I learned about this concert through mailings and decided immediately to get tickets, Loved concert
People are Talking: UMS Presents Jerusalem String Quartet:
All in all, a wonderful concert, and a rare treat to hear Beethoven done with playfulness and spirit. I found the Schumann, though, like much of his orchestral music, to be banal, droning and uninspired, save for the last movement. Thankfully it was erased by the superb encore.
People are Talking: UMS Presents Jerusalem String Quartet:
Fabulous!!
People are Talking: UMS Presents Jerusalem String Quartet:
Jerusalem String Quartet was wonderful. Very enjoyable.
People are Talking: UMS Presents Jerusalem String Quartet:
This evening’s encore was th Presto (second movement) from String Quartet No. 13 in B♭ major, op. 130, by Ludwig van Beethoven.
Liz Rosenthal, UMS Programming Manager
Esperanza Spalding Montréal International Jazz Festival:
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People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
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People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
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People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
The music and singers were very good, but I was hoping that they would sing something in English. Maybe a program handout with English or a screen with English translation so it would be more meaningful.
People Are Talking: National Theatre Live: Shakespeare’s As You Like It:
As you like it – a good interpretation of Shakespeare’s work. The creativity of the desks be coming the forest is amazing. 1st act was a bit slow but the 2nd act made up for that and made it a fantastic performance
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
Great fun. What was the name of the guitarist, the one who sang “Con te par tiro”?
The boom-box back-up for the junior singers at the beginning was a bit cheesy, however.
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
Asisti al evento el Viernes 1 de Abril con un grupo de 32 amigos mas. Desafortunadamente creo que todos teniamos una expectativa mucho mas alta sobre esta “Noche de Mariachi”.
Los maestros de ceremonia, el ballet, y las chicas que dieron apertura al show estuvieron excellente!!!.
Los senores del Mariachi, cantan hermoso, tienen unas voces espectaculares, y gran talento!!! Pero desafortunadamente se quedaron cortos en el repertorio, se dedicaron a cantar solo las canciones de su propia autoria, por cierto poco conocidas por el auditorio.
Desafortunadamente cantaron canciones de conocimiento de toda la audiencia como Cielito Lindo, El Rey, la Bamba y otras dos canciones solo en los ultimos diez minutos del show.
Deberian considerar para futuras presentaciones incluir canciones que han sido de larga reconocimiento no solo en Mexico sino en Latinoamerica y el mundo entero para lograr el total deleite del publico. Canciones como:
La Media Vuelta, Mujeres Divinas, Paloma Querida,Cuando salga la luna, Volver, Pa’ todo el anho, Un mundo raro, El 7 mares, La ley del Monte, Toquen Mariachis toquen…. y muchas mas….
Disfrutamos el show, pero definitivamente les falto dar mas y complacer al publico!!
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
What an exciting event! I was so happy to be part of such an interactive event, even though I am not Spanish-speaking. They certainly are a Treasure, and the lovely Mariachi vocalists in the beginning. Such a treat to see where these young ladies start in such a riveting vocal style!
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
Thank you, Alvaro!
I love that piece!
Cathy
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
Just saw the Sunday matinee performance of The Sleeping Beauty, American Ballet Theater. Wow, what an incredible treat to see world class grand classical ballet theater in Detroit. I’ve seen other classical ballet theater performances in Moscow, St. Petersberg, Kyiv, Oslo, and Riga, and this performance was comparable. Thanks UMS!
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
Thank you so much for putting on such a beautiful performance. Every thing from the set, the talent to the choreography was top notch. I was so impressed with the younger children and their professionalism. Please come back to Detroit soon!
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
After I got parking shock can you imagine when I bought two candy bars handed the woman a $10 bill and she said; “thank you” and went to the next person. I didn’t need to get the candy, and truthfully I don’t believe food and drinks should be sold at an event like this. I guess it helps them make extra money for support.
Wonderful performance; loved the costumes, music, and dancing. People should be prohibited to use their cell phones. Throughout the performance, there was this lady in front of me who constantly checking her face book! I wonder why she even bothered attending the show. I found it distracting and disrespectful. Parking was expensive ($20).
"by Elham
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
I’m surprised they are seating people that are late. I always get their early. You are right, that is very rude. No matter what the excuse may be they should not be seated.
A little too long, but absolutely beautifully done. Thoroughly enjoyed. However, when we are there a half hour on time and they are STILL SEATING LATE PEOPLE 20 minutes INTO THE PERFORMANCE, totally RUDE. This would NEVER happen at the opera. If you are late, you wait till intermission.
"by jb
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
The one where they just play is:
Huapango de moncayo
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
Wonderful performance; loved the costumes, music, and dancing. People should be prohibited to use their cell phones. Throughout the performance, there was this lady in front of me who constantly checking her face book! I wonder why she even bothered attending the show. I found it distracting and disrespectful. Parking was expensive ($20).
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
A little too long, but absolutely beautifully done. Thoroughly enjoyed. However, when we are there a half hour on time and they are STILL SEATING LATE PEOPLE 20 minutes INTO THE PERFORMANCE, totally RUDE. This would NEVER happen at the opera. If you are late, you wait till intermission.
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
An amazing production with exquisitely designed costumes. The timing of each performance by the principals was seamless and I was thrilled to see Misty dance.
The bus provided by UMS got us there in time to have a delicious dinner at Vicente’s Cuban restaurant.
A perfect evening.
JoAnn
4/3
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
Does anyone know the title of the rather longish instrumental piece that Mariachi Vargas played toward the end of the program?
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
Fabulous performance. Great collaboration. The bus was supportive of the event.
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
It was wonderful, we loved it. I only wish they would put an age limit on admittance. Someone had a toddler that you could hear during the performance. I always park at the Opera House parking garage usually pre-pay for $10. They didn’t offer pre-pay this time and had to pay $20. They announce no photography or filming during the performance. I don’t understand why people think it is ok to use cell phones or Ipads. Very unfair to others.
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
Wonderful performance. Being brought up on ballets by Chaikovsky(I am Russian) I always have very high expectations and this one was up to them!! Thanks to everybody who made this to happen.
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
Magical performance! Kudos to those who donated 600 tickets to young people so they could attend the matinee today!
Carole Rycus
Ann Arbor,Mi
UMS Bans Cell Phones, Installs Pay Phones:
Very well done, everyone, but special kudos for Jonesboro native Willie Sullivan. Glad to see your smiling face, Willie.
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
The musicians were talented but the evening overall was a huge disappointment. There was no attempt made to accommodate non-Spanish speakers, and no attempt to provide any context or education about the music, its history, or cultural significance. Even the program was devoid of content. I did not learn anything.
It was clear that those who were not already familiar with this music were not wanted here. I left feeling frustrated and alienated.
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
Have never seen so many people in Hill have so much fun. Fantastic. I don’t understand Spanish, but the music and the mood communicated all I needed to know. I probably won’t come to a repeat show, but I would highly recommend. Very enjoyable.
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
Wonderful music and a lot of fun for those of us who speak Spanish. But I took a class of undergraduate students from U of M with me n they were frustrated by not understanding Spanish. The Mariachi folks need to do what they have done in the Opera — subtitles in English on a screen above or at least introduced the songs in English telling folks what they were about.
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
The lead-in singers were too many and it went on too long. With canned music yet! I came to see Marachi and didn’t need the rest.
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
Me gusto mucho pero quedaron a deber. Me explico:
Siendo el Mariachi un orgullo Mexicano, excluyeron equivocadamente de su amplio y excelente repertorio unos pocos temas clasicos como:
Mexico Lindo
El son de la negra
El Mariachi Loco
La Bikina
El cascabel
Hermoso Cariño
Respetuosamente a su gran actuación, también les falto mas complacer al publico.
En otros años la presentacion fue mas entregada y complaciente, regresando 2 o 3 veces al escenario a petición de los asistentes.
Aun asi, es TOTALMENTE recomendable y volvería a ir a verlos. No por nada el Mariachi es considerado Patrimonio de la Humanidad!!
A propósito, las 3 jovencitas que abrieron la presentación, la guerita que canta con un acento español hermosisimo, el ballet que las acompaño y los maestros de ceremonia, también estuvieron de lujo y le agregaron mucho valor a la de por si, muy profesional y alegre velada.
Respetuosamente, Viva México y bendito USA que a traves de U of M que nos abren sus puertas a nosotros y nuestras raices!
Ustedes que opinan?
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
El mejor Mariachi del mundo. Son unos profesionales. Excelentes voces, canciones,y trajes. La musica es excelente. Por algo son patrimonio cultural de la Humanidad. Me encanto. Estoy fascinada.
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
Wonderful evening of dance, costumes, sets, staging and music. Parking twice the cost of regular opera events-greed is never agreeable. Great diversity in the audience. A bit late for most children-perhaps matinees should be considered.
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
The performers were great. The ushers were kind and helpful. The show wasn’t the best experience I could have had because of all the phones and IPads being held up and blocking my view. When we asked the person in front of us to put down his gigantic phone he told us to shut up. Luckily the usher intervened. Unfortunately the two IPads a few rows ahead still blocked our view. What a bummer.
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
We’ve come a long way from Chas. Sink and the Philly Orchestra May Festival, which I attended for many years, but I gotta admit the variety is refreshing. Latinos are a happy, hard working people and they love their music, So do the Irish and many others.
Why not wear out the upholstery a little faster and get the crowds coming to Ann Arbor
Just don’t forget the red, white and blue
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán:
Muy divertido! The costumes were beautiful. The music was fun and filling. The audience may have been the best part. Was kind of like watching a baseball game indoors. I’m sorry the new comers don’t know where to park. It’s a pretty confusing town and traffic was snarled by the Spring football game and a million other things.
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán at Hill Auditorium:
I’m grinning and happy, loving what we have experienced this evening. Loved the energy in the audience, too! I’m living proof that music transcends language and culture….by the end of the final encore I could swear I spoke Spanish fluently. VIVA!!!
People Are Talking: UMS presents Mariachi Vargas de Tecalitlán at Hill Auditorium:
The Mariachi Vargas ensemble may be the best in the world, but tonight’s program was deafeningly loud and totally off-putting. I didn’t buy a main floor ticket to see nearly an hour of students singing, either. I stayed until about 9:00, then left. Couldn’t take the overly loud sound (even went up to the mezzanine and it was nearly as loud and not at all enjoyable to listen to).
A woman sitting behind me (on the main floor) kept screaming at the top of her lungs before, during and after every number. Perhaps she was “under the influence” I don’t know. But it was totally irritating and uncalled for. I’ve never had such an unpleasant experience with a performance from UMS before. Hopefully, never again, in the future. Glad to be home.
UMS Lobby Guidelines:
This Mariachi band may be the best in the world, but tonight’s program was deafeningly loud and totally off-putting. I didn’t buy a main floor ticket to see nearly an hour of students singing, either. I stayed until about 9:00, then left. Couldn’t take the overly loud sound (even went up to the mezzanine and it was nearly as loud and not at all enjoyable to listen to).
A woman sitting behind me (on the main floor) kept screaming at the top of her lungs before, during and after every number. Perhaps she was “under the influence” I don’t know. But it was totally irritating and uncalled for. I’ve never had such an unpleasant experience with a performance from UMS before. Hopefully, never again, in the future. Glad to be home.
People are Talking: UMS Presents American Ballet Theatre: The Sleeping Beauty:
Beautiful dancing, costumes, and music. It’s a good idea to arrive early enough to read the program before rather than during intermission as I did. Parking across the street is $30.00 and $10.00 at the Z parking garage.
UMS Bans Cell Phones, Installs Pay Phones:
Thank-You, Thank-You, Thank-You András Schiff’s performance @ Hill was “Tainted” by the chorus of Cell Phones.(Not part of the Program) Thank-You, Thank-You, Thank-You
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
I agree, Ian, though I also liked the final flowers in the rain. For the most part, I could do one or the other, listen or look. The fact that the short films were in slow motion made it even harder to watch while listening because I had to pay close attention to find what was moving. I listened with my eyes closed for some of the concert.
Finally, there is a culture difference between viewing a film and listening to music. Chuckles and gasps are fine for a film, not for a concert.
The playing was masterful and the acoustics in Hill did it full justice, at least where I was sitting. I find Bach very elegant and cerebral and I found some of the visuals to be distracting and others essentially irrelevant. The only two that worked for me were in the middle part of the program: the woman holding and responding to a photograph; and what I interpreted to be a Japanese take on a mourning ritual.
However, I am so pleased that I went. Gil Shaham gave a wonderful performance.
"by Ian Z
People Are Talking: UMS presents Montreal Symphony:
I can identify with logistical problems in getting to one’s seat, such as long will call lines. Another thing about concerts at Hill is the parking situation. The nearest structure is not of the best quality, and fills up fast. So one can probably count on walking some distance, and extra time just for that. There were no audience problems where I was in the front center section.
In Detroit, I usually get a box seat, which are located in a separate area, where people getting to their seats late creates far less intrusion than with row seating. However, when some people do arrive after the piece has begun, it is still a little distracting but I just stay focussed on the music. Talking, using cell phones, etc. no, no, NO!
I believe it may have been the great conductor/composer Gustav Mahler who began the practice of forbidding seating after the concert has begun until an appropriately lengthy pause. I seem to recall in one of his works he stipulates a pause of so many minutes before starting the second movement.
Mr. Sullivan, thank you for your consideration of the various comments. For me it was an exceptional concert, very enjoyable. Ann Arbor is extremely fortunate to have convenient access to events of this scale and quality.
I wanted to comment on the issue of seating people after the concert started. A contributing factor might have been very long will call lines. When I arrived at about 10 minutes before 8PM, the 2 lines went out the doors, down the steps, and maybe 40 feet to the north on Thayer. (I don’t know what is typical for will call. This was unfortunately only my first UMS event at Hill this season.)
When I got my ticket, there were still significant lines behind me. I moved very quickly to my seat in section 5 on the main floor. I was seated for probably no more than 2 or 3 minutes before the concert started. Due to the large number of delayed will call patrons, I thought that perhaps the ushers were trying to seat people that would have been required to wait under less crowded conditions. (I am not saying that this is good or bad, only that it is my perception.)
I don’t know who controls the start of the performance, but a delay of a few minutes would have allowed time to seat many of these people.
Three possibilities for improving this situation are:
– At the time of purchase, warn will call patrons that for busy events, a 10 or 15 minute wait in the will call line must be expected.
– Find ways to expedite the process of picking up will call tickets, especially if long lines are starting to form.
– Delay the start of the event, even by a few minutes.
Ideally, all patrons would arrive and be seated well before the start of a performance. But for a crowd of 3,500 or so people, this will always be difficult to achieve.
"by Mark
People Are Talking: UMS presents Montreal Symphony:
I have been attending concerts for decades. I have heard some great ones at Hill. This was certainly one of those being unforgettable! Daniil Trifonov was incredible. I view him as on his way to being historically one of the greatest pianists of the 21st century. I thought so upon hearing him for the first time in Detroit, knowing nothing of him beforehand. I had the pleasure of meeting him, and he also comes across as genuinely a very nice person. The Montreal Symphony and Negano were very impressive, wonderful in Debussy and in the rare complete Firebird.
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
Thanks, Nancy
Shaham must have been using a baroque bow for that movement. That is the hand position for a baroque bow.
"by Nancy K
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
Shaham must have been using a baroque bow for that movement. That is the hand position for a baroque bow.
I am not a string player, but I have a question about technique. I noticed that for at least part of the Partita No. 1, (the piece immediately before the first intermission) Mr. Shahan held the bow differently than he did for most (if not all) of the remaining pieces. His hand was about 2-4 inches from the base of the bow. Does anybody know why he would have done that and what effect it had?
"by Ken Posner
UMS Artists in “Residence”: Meet Carolyn Reed Barritt:
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People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
I absolutely agree with “fifil”. Shaham fabulous performance. The visuals trite, banal,insulting to the audience as well as the music. I had to keep my eyes closed to be able to enjoy. So much for my expensive seat up front so I could experience the expressions and fingers.
I thought the playing was gracious and sensitive and wonderful, so I thoroughly enjoyed the music. Shaham is a masterful performer, and his violin resounded with exquisite beauty and grace under the roof of the Hill Auditorium.
However, I thought the visuals were tasteless, to say the least. It is displeasing to see the world class classical musicians acquiescing to such shallow, kitschy “translations” of their art. The visuals were banal, meaningless, nothing to do with Bach, and not unlike your regular, over-saturated, slow-mo imagery in food commercials and the like. Ugly.
The playing was world class, so let me end on that note. Stellar (if routine) performance of the six solos. Long, demanding, and rewarding all the way through. Awesome.
"by fifil
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
Sorry, didn’t reread. Greatly enjoyed music and film. sb
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
My daughter and I greatly enjoyed both music and dil. the dove was especially enchanting. sb
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
I am not a string player, but I have a question about technique. I noticed that for at least part of the Partita No. 1, (the piece immediately before the first intermission) Mr. Shahan held the bow differently than he did for most (if not all) of the remaining pieces. His hand was about 2-4 inches from the base of the bow. Does anybody know why he would have done that and what effect it had?
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
Procrustean huh? Seemed a bit obscure to anyone but the so very intellectual. So I looked it up….. Maybe that is the whole point, that Bach is a composer whose works can connect us to our common humanity. Maybe there is a glimpse here of expanding the vision of what visual and musical artistry can be. I would join in with those who found it unclear as to the connection or even the artistic value of the films and the music together. But I take a different perspective. I have briefly worked on a few movements of these sonatas and partitas and have heard them played. In his notes Gil Shaham speaks if the complexity and depth inherent in them. To play them all in one performance, with such carefully dedication was amazing. I am suspecting it just might be my lack of genius and insight which leaves me wondering what I missed, rather than Gil Shaham’s ineptitude in presenting it.
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
Yup.
While Shaham is a masterful violinist his interpretation of these powerful and moving pieces seemed procrustean. A dance needed to sound like a dance, fast was preferable to moving, etc. This is not Bach to me. However, “De gustibus non est disputandum” or “in matters of taste, there is no dispute”.
"by A
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
Agree.
The technicity of the playing was breathtaking. But I found the interpretation quite cold and lacking in emotion. The video detracted rather than enhanced. An interesting evening, but not a transporting one.
"by Ufa
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
While Shaham is a masterful violinist his interpretation of these powerful and moving pieces seemed procrustean. A dance needed to sound like a dance, fast was preferable to moving, etc. This is not Bach to me. However, “De gustibus non est disputandum” or “in matters of taste, there is no dispute”.
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
The technicity of the playing was breathtaking. But I found the interpretation quite cold and lacking in emotion. The video detracted rather than enhanced. An interesting evening, but not a transporting one.
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
The music was moving. I traveled from out of state to see this performance and Gil Shaham made the trip worth it! Awesome!
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
Music was outstanding. The images were intrusive and distracting. Ugh…
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
Thank you to all the collaborators for a wonderful evening. Gil Shaham’s violin playing was masterful. The imagery was fascinating. I particularly liked the non-human images in the films — the flowers, skull, hourglass and globe.
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
Bach’s music demands concentration. It is often quite complex. The harder one listens, the greater is appreciation of Bach’s musical genius. Shaham’s performance was extraordinary.
The film was a distraction from Bach’s music and Shahan’s playing. It was also devoid of cogency to the music.
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
Wonderful. Exquisite performance. The slow slow motion videography was beautiful
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
I found Gil Shaham’s performance tonight to be absolutely breath taking. A world-class artist performing some of the most captivating pieces ever written. There is just something about Bach that transcends everything. The 3 hours went by so quickly, I wished it had taken longer.
I was a bit apprehensive when I heard there was going to be film to go along with the music, but I have to say….as a Bach lover and enthusiast, I found the slow-motion films to be exactly what was needed in a space like Hill to deepen the average audience member’s listening experience. The films for me, helped to offer a new perspective or way of looking at each movement. I disagree with a comment made already that the films weren’t “relevant” or had “nothing to do with Bach.” I find those statements to be completely ludicrous, because for me…. Bach is everything, and everything is Bach.
The audience members behaved better this time around compared to some of the past performances I’ve been too…..still some whisper’s, and clumsy people dropping cellphones during the softest part of an adagio…audience grade this time around is a B-
Overall, an incredibly moving performance by one of the most revered artists in the world. I will never listen to Bach the same way again.
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
The playing was masterful and the acoustics in Hill did it full justice, at least where I was sitting. I find Bach very elegant and cerebral and I found some of the visuals to be distracting and others essentially irrelevant. The only two that worked for me were in the middle part of the program: the woman holding and responding to a photograph; and what I interpreted to be a Japanese take on a mourning ritual.
However, I am so pleased that I went. Gil Shaham gave a wonderful performance.
People are Talking: UMS Presents Gil Shaham Bach Six Solos with original films by David Michalek:
I thought the playing was gracious and sensitive and wonderful, so I thoroughly enjoyed the music. Shaham is a masterful performer, and his violin resounded with exquisite beauty and grace under the roof of the Hill Auditorium.
However, I thought the visuals were tasteless, to say the least. It is displeasing to see the world class classical musicians acquiescing to such shallow, kitschy “translations” of their art. The visuals were banal, meaningless, nothing to do with Bach, and not unlike your regular, over-saturated, slow-mo imagery in food commercials and the like. Ugly.
The playing was world class, so let me end on that note. Stellar (if routine) performance of the six solos. Long, demanding, and rewarding all the way through. Awesome.
People Are Talking About…Jennifer Koh:
I totally missed the purpose of the video. I loved and was awed by the Bach. Mr. Shaham is impressive.
First “Mavericks” – Guest Blog by Leslie Stainton:
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People Are Talking: UMS presents Montreal Symphony:
Mr. Sullivan, thank you for your consideration of the various comments. For me it was an exceptional concert, very enjoyable. Ann Arbor is extremely fortunate to have convenient access to events of this scale and quality.
I wanted to comment on the issue of seating people after the concert started. A contributing factor might have been very long will call lines. When I arrived at about 10 minutes before 8PM, the 2 lines went out the doors, down the steps, and maybe 40 feet to the north on Thayer. (I don’t know what is typical for will call. This was unfortunately only my first UMS event at Hill this season.)
When I got my ticket, there were still significant lines behind me. I moved very quickly to my seat in section 5 on the main floor. I was seated for probably no more than 2 or 3 minutes before the concert started. Due to the large number of delayed will call patrons, I thought that perhaps the ushers were trying to seat people that would have been required to wait under less crowded conditions. (I am not saying that this is good or bad, only that it is my perception.)
I don’t know who controls the start of the performance, but a delay of a few minutes would have allowed time to seat many of these people.
Three possibilities for improving this situation are:
– At the time of purchase, warn will call patrons that for busy events, a 10 or 15 minute wait in the will call line must be expected.
– Find ways to expedite the process of picking up will call tickets, especially if long lines are starting to form.
– Delay the start of the event, even by a few minutes.
Ideally, all patrons would arrive and be seated well before the start of a performance. But for a crowd of 3,500 or so people, this will always be difficult to achieve.
My name is Willie Sullivan and I am the Front of House/Usher Coordinator at UMS. I am saddened to hear that some of you had a poor experience at this amazing concert. We always try to do our best to acknowledge issues as they arise, but as your comments show, some things slip through the cracks. Because Hill Auditorium is such a vast space, it is very difficult to monitor all areas simultaneously.That being said, there is no excuse for what many of you experienced. We cannot thank you enough for your feedback and will, in the future, work even harder to ensure that similar situations do not occur at performances. Further, we can guarantee that the issues with ushers are being acknowledged and resolved. Thank you so much for your support and we hope to see you again soon!
"Willie Sullivan
UMS
by Willie Sullivan
People Are Talking: UMS presents Montreal Symphony:
Thank you, Mr. Smith. It would be much appreciated.
I come from Europe, have been to an endless number of concerts and all kinds of live performances. I have no recollection of people being allowed to enter a hall after the beginning of a performance. If it is, it is after the completion of a piece (and not between movements). There should be respect for the art, the artists and the audience as well.
My name is Willie Sullivan and I am the Front of House/Usher Coordinator at UMS. I am saddened to hear that some of you had a poor experience at this amazing concert. We always try to do our best to acknowledge issues as they arise, but as your comments show, some things slip through the cracks. Because Hill Auditorium is such a vast space, it is very difficult to monitor all areas simultaneously.That being said, there is no excuse for what many of you experienced. We cannot thank you enough for your feedback and will, in the future, work even harder to ensure that similar situations do not occur at performances. Further, we can guarantee that the issues with ushers are being acknowledged and resolved. Thank you so much for your support and we hope to see you again soon!
"Willie Sullivan
UMS
by Willie Sullivan
People Are Talking: UMS presents Montreal Symphony:
Thank you! That’s sums it all up.
Amazing pianist!
"Wonderful conductor!
World Class Orchestra!
by Alde Calongcagong
People Are Talking: UMS presents Montreal Symphony:
My name is Willie Sullivan and I am the Front of House/Usher Coordinator at UMS. I am saddened to hear that some of you had a poor experience at this amazing concert. We always try to do our best to acknowledge issues as they arise, but as your comments show, some things slip through the cracks. Because Hill Auditorium is such a vast space, it is very difficult to monitor all areas simultaneously.That being said, there is no excuse for what many of you experienced. We cannot thank you enough for your feedback and will, in the future, work even harder to ensure that similar situations do not occur at performances. Further, we can guarantee that the issues with ushers are being acknowledged and resolved. Thank you so much for your support and we hope to see you again soon!
Willie Sullivan
UMS
People Are Talking: UMS presents Montreal Symphony:
I agree with everything Aaron has said. I had a lady answer her cellphone right behind me during the performance and despite people glaring at her, she continued with her conversation. Ushers continued to seat people behind me and in front during the beginning of Debussy. Endless clearing of throat, whispering, coughing. Wasn’t it customary to have some cough drops, unwrapped in your pocket, ready at hand to suppress any cough? PLEASE UMS make a suggestion at the time of online purchase that concert pieces require silence, suggest some cough drops, and have the ushers prevent anyone from being seated once the concert begins. These tickets are not cheap, please take steps to help ensure a wonderful live performance be enjoyed by all.
I am a music student at the University of Michigan, and I’ve attended many performances of all kinds at Hill Auditorium. One thing about live performances that always strikes me to the core is simply how rude and oblivious audiences are. I’ve never sat through more than 2 seconds of silence in an auditorium without someone dropping a program, whispering to their neighbor, creaking their seat, coughing at an unacceptable volume…..audiences are the worst part of live performances for me as an observer.
The beginning of the Debussy was ruined by chatting, and awful ushers that were still sitting people after Mr. Hutchins began his first note. This is unacceptable. I understand that audiences at orchestra concerts tend to be a bit older, but what I’ll never understand is the sounds that come out of peoples bodies at these most delicate performances. A cough or sneeze would be an understatement. These audience members made sounds similar to wild animals. What is seriously the issue with audiences? Do they have no clue as to what the proper etiquette is at an orchestra concert?
The works of Debussy, Prokofiev and Stravinsky are masterpieces. They deserve respect. They need silence, and a focused atmosphere in which to thrive. I attended a performances of András Schiff not to long ago at Hill, and although his artistry was incredible, the annoyances of the audience almost ruined the performance for me and my friend.
Is there a solution to this? Can audiences actually sit still for 45 minutes of a symphony? Can an audience respect silence, and not pull out their phones in the middle of a piano sonata or whisper to their friend at the beginning of Firebird?
I am about fed up with live audiences. Sometimes I wish I had just stayed home, and listened to a perfectly good recording.
"by Aaron Netis
People Are Talking: UMS presents Montreal Symphony:
A splendid concert. The Debussy was gorgeous, Prokofiev dramatic, and Stravinsky magnificent. I was amazed at the power and originality of the Firebird. The Rite of Spring is usually called his masterpiece but much of the innovation is already there in the Firebird. A performance like this shows why live performance can’t be matched by any recording.
People Are Talking: UMS presents Montreal Symphony:
I am a music student at the University of Michigan, and I’ve attended many performances of all kinds at Hill Auditorium. One thing about live performances that always strikes me to the core is simply how rude and oblivious audiences are. I’ve never sat through more than 2 seconds of silence in an auditorium without someone dropping a program, whispering to their neighbor, creaking their seat, coughing at an unacceptable volume…..audiences are the worst part of live performances for me as an observer.
The beginning of the Debussy was ruined by chatting, and awful ushers that were still sitting people after Mr. Hutchins began his first note. This is unacceptable. I understand that audiences at orchestra concerts tend to be a bit older, but what I’ll never understand is the sounds that come out of peoples bodies at these most delicate performances. A cough or sneeze would be an understatement. These audience members made sounds similar to wild animals. What is seriously the issue with audiences? Do they have no clue as to what the proper etiquette is at an orchestra concert?
The works of Debussy, Prokofiev and Stravinsky are masterpieces. They deserve respect. They need silence, and a focused atmosphere in which to thrive. I attended a performances of András Schiff not to long ago at Hill, and although his artistry was incredible, the annoyances of the audience almost ruined the performance for me and my friend.
Is there a solution to this? Can audiences actually sit still for 45 minutes of a symphony? Can an audience respect silence, and not pull out their phones in the middle of a piano sonata or whisper to their friend at the beginning of Firebird?
I am about fed up with live audiences. Sometimes I wish I had just stayed home, and listened to a perfectly good recording.
People Are Talking: UMS presents Montreal Symphony:
Outstanding concert! Previous philharmonic orchestras performances and musical selections were mediocre at best. In comparison, the DSO certainly ranks ahead of New York, Chicago, and London. The Montreal Philharmonic restored my faith in UMS. Thank you, it was delightful.
People Are Talking: UMS presents Montreal Symphony:
We had a wonderful time! The parts of the firebird that I knew gave me goosebumps. Thanks for posting the IDs of the encore pieces!
People Are Talking: UMS presents Montreal Symphony:
One of the best concerts of the season. The pianist was magnificent…and so young! But the highlight was the Firebird. I had never heard it in its entirety and it was magical. I could see in my mind’s eye the whirling of dancers throughout. Nagano had such a way with his orchestra… coaxing out nuances I didn’t believe possible.
People Are Talking: UMS presents Montreal Symphony:
A most wonderful concert. I so enjoyed all the pieces. Thank you for bringing the artists to Ann Arbor. sb
People Are Talking: UMS presents Montreal Symphony:
I disagree, the Bizet was a wonderful counterpoint…send me out somewhat energized
As wonderful as Montreal’s Firebird was, I felt it was a programming mistake. Playing the entire work for ballet didn’t hold up as a concert piece – much of it meant clearly as accompaniment to actual dancing – and detracted somewhat from the incredible performance by Trifonov. Also, the final Bizet encore was unnecessary, inappropriate and shattered a lovely mood
"by manofletters
People Are Talking: UMS presents Montreal Symphony:
There was a lot of noise during the opening, the ushers shouldn’t be seating anyone during the performance.
The concert was fantastic, but the audience members nearest us (Section 8, Row H, Mezzanine) were something else.
Right at the start of the Debussy, an usher tried to seat two women in our row (we would have had to stand to let them in). I motioned to them “no” and they stopped, but not before their noise and movements wiped out the opening flute solo. Later one of the women called me ‘unkind’–I guess it didn’t occur to her that she was the one being highly inconsiderate.
A young man behind me insisted on kicking the back of my seat off and on throughout the whole concert. When I pointed this out to him at the conclusion, he was dumbfounded.
Finally, during the second encore, the Bizet, a cell phone rang, audibly. An older woman near us took the call and began talking right during the music! Incredible.
Sorry to say, but this kind of behavior is enough to make me stay away from concerts at Hill for the foreseeable future.
"by Christopher Brodersen
People Are Talking: UMS presents Montreal Symphony:
As wonderful as Montreal’s Firebird was, I felt it was a programming mistake. Playing the entire work for ballet didn’t hold up as a concert piece – much of it meant clearly as accompaniment to actual dancing – and detracted somewhat from the incredible performance by Trifonov. Also, the final Bizet encore was unnecessary, inappropriate and shattered a lovely mood
I’ve been a musician for 45 years, and I’ve played and heard Firebird many times….as a concert band transcription. The Montreal Symphony tonight gave me my very first live orchestral experience of Stravinsky’s work. INCREDIBLE. Our seats were very close to the stage, and the location allowed me to also hear nuances in the music that I’d never before noticed in recordings; how the pulse and intention of the composition sweeps across the orchestra; how Hill Auditorium itself becomes part of the music as it augments what a listener experiences; how the orchestra breathes with Maestro Nagano. An unexpected, magnificent, and certainly uncommon and engaging experience. I am not the same person I was at 7:58 this evening. Thank you!
"by Gail
People Are Talking: UMS presents Montreal Symphony:
That you allowed it to continue – if you did – is just as bad.
We were sitting in the upper balcony. Three rows ahead of me was a U of M student who decided to sit “on” the chair instead of “in” the chair. This way she was a head and a half taller than anybody else who was sitting near her. Total interference.
"by Ruth
People Are Talking: UMS presents Montreal Symphony:
Outstanding performance overall….unique in many respects.
I agree with Christopher’s comments , as I witnessed many times the lack of discipline enforcement of the management , at Hill Auditorium.
People Are Talking: UMS presents Montreal Symphony:
Nagano’s direction was artistic and nuanced, reminiscent of Georg Solti’s talent. The pianist was spectacular. One of the best concerts I’ve ever attended.
People Are Talking: UMS presents Montreal Symphony:
We were sitting in the upper balcony. Three rows ahead of me was a U of M student who decided to sit “on” the chair instead of “in” the chair. This way she was a head and a half taller than anybody else who was sitting near her. Total interference.
People Are Talking: UMS presents Montreal Symphony:
Amazing pianist!
Wonderful conductor!
World Class Orchestra!
People Are Talking: UMS presents Montreal Symphony:
Thank You!
The encores for this evening’s performance were as follows:
Daniil Trifonov:
Liszt, Etudes d’execution transcendants d’apres Paganini, S.140 No. 2
Orchestra:
Ravel, Pavane Pour une Infante Défunte
Bizet, L’Arlesienne Suite No. 2: “Farandole”
– Mary, UMS
"by Mary Roeder
People Are Talking: UMS presents Montreal Symphony:
I’ve been a musician for 45 years, and I’ve played and heard Firebird many times….as a concert band transcription. The Montreal Symphony tonight gave me my very first live orchestral experience of Stravinsky’s work. INCREDIBLE. Our seats were very close to the stage, and the location allowed me to also hear nuances in the music that I’d never before noticed in recordings; how the pulse and intention of the composition sweeps across the orchestra; how Hill Auditorium itself becomes part of the music as it augments what a listener experiences; how the orchestra breathes with Maestro Nagano. An unexpected, magnificent, and certainly uncommon and engaging experience. I am not the same person I was at 7:58 this evening. Thank you!
People Are Talking: UMS presents Montreal Symphony:
The encores for this evening’s performance were as follows:
Daniil Trifonov:
Liszt, Etudes d’execution transcendants d’apres Paganini, S.140 No. 2
Orchestra:
Ravel, Pavane Pour une Infante Défunte
Bizet, L’Arlesienne Suite No. 2: “Farandole”
– Mary, UMS
People Are Talking: UMS presents Montreal Symphony:
Anyone know the encore piece played by Daniil Trifonov? (The pianist)
People Are Talking: UMS presents Montreal Symphony:
The concert was fantastic, but the audience members nearest us (Section 8, Row H, Mezzanine) were something else.
Right at the start of the Debussy, an usher tried to seat two women in our row (we would have had to stand to let them in). I motioned to them “no” and they stopped, but not before their noise and movements wiped out the opening flute solo. Later one of the women called me ‘unkind’–I guess it didn’t occur to her that she was the one being highly inconsiderate.
A young man behind me insisted on kicking the back of my seat off and on throughout the whole concert. When I pointed this out to him at the conclusion, he was dumbfounded.
Finally, during the second encore, the Bizet, a cell phone rang, audibly. An older woman near us took the call and began talking right during the music! Incredible.
Sorry to say, but this kind of behavior is enough to make me stay away from concerts at Hill for the foreseeable future.
People Are Talking: UMS presents Montreal Symphony:
Fabulous concert. Very entertaining!
People Are Talking: UMS presents Apollo’s Fire with Apollo’s Singers: St. John Passion:
Apollo’s Fire and Bach’s Passion are exceptional! I do think that Hill Auditorium would have been a better location as the Church’s acoustics are significantly inferior to Hill. I look forward to Apollo’s Fire, with the same cast of performers, coming to Ann Arbor and UMS in the 2017 Lenten Season with Bach’s St Matthew Passion!!
People Are Talking: UMS presents Apollo’s Fire with Apollo’s Singers: St. John Passion:
Apollo’s Fire and Bach’s Passion are marvelous. What was not good was the venue. Hill Auditorium would have been a superior location. The Church’s acoustics did not stand up to this event… and if you’re going to be seated for three hours, church pews are brutal.
People Are Talking: UMS presents Apollo’s Fire with Apollo’s Singers: St. John Passion:
Thank you to the amazing UMS audience for a very special communal experience last night! Those of us on stage really felt that you were completely immersed in our spiritual journey with us. That’s the best reward we could ask for, as performers. In a world filled with much insanity, Ann Arbor is a haven of intelligences! Love from all of us at Apollo’s Fire.
People Are Talking: UMS presents Apollo’s Fire with Apollo’s Singers: St. John Passion:
Also incredibly moving — noted in the New York Times review (March 14) — was the unaccompanied second stanza of the chorale in Part 1, Scene 2, confessing individual responsibility in response to the first stanza’s question, “Who was it, Lord, did strike Thee?”
The fulfilling of the individual responsibilities of each participant in last night’s offering brought us an overwhelming experience.
Bach’s high drama was so well expressed, especially in the interactions among the evangelist, Jesus, Pilate, and the crowd, but also when the maid and the servant were part of the action. Often it seemed that the characters were even talking over one another. I’ve both sung and played this music (viola and viola d’amore), so I understand how hard it is to pull off such rapid exchanges. Apollo’s Fire made it sound effortless! There is so much beauty that it’s hard to single out one part or another, but I found the closing chorale especially moving.
"by Linda Speck
People Are Talking: UMS presents Apollo’s Fire with Apollo’s Singers: St. John Passion:
Apollo’s Fire, synonymous with “Musical Perfection”. An emotional evening in every way. If Bach could have risen for this performance, he would be amazed, humbled, exuberant at this expression of what he created. Thank you so much Apollo’s Fire, and thank you UMS.
People Are Talking: UMS presents Apollo’s Fire with Apollo’s Singers: St. John Passion:
A very beautiful, moving performance. I second all the comments below. One quibble, though: Why were the female soloists so vocally shut down? I was only 6 rows from the stage but I could barely hear the blonde soloist. Where is the projection? And hardly any emotionality … is that an early music conceit?
People Are Talking: UMS presents Apollo’s Fire with Apollo’s Singers: St. John Passion:
A beautiful performance of Bach’s “St. John’s Passion” by Cleveland’s Apollo’s Fire baroque ensemble & chorus conducted by Artistic Director Jeannette Sorrell. These folks bring music to life. This was the fourth appearance of Apollo’s Fire at University of Michigan during the past decade and each of their performances excels in academic interpretation & performance. A treat to have been able to attend.
People Are Talking: UMS presents Apollo’s Fire with Apollo’s Singers: St. John Passion:
Bach’s high drama was so well expressed, especially in the interactions among the evangelist, Jesus, Pilate, and the crowd, but also when the maid and the servant were part of the action. Often it seemed that the characters were even talking over one another. I’ve both sung and played this music (viola and viola d’amore), so I understand how hard it is to pull off such rapid exchanges. Apollo’s Fire made it sound effortless! There is so much beauty that it’s hard to single out one part or another, but I found the closing chorale especially moving.
People Are Talking: UMS presents Apollo’s Fire with Apollo’s Singers: St. John Passion:
Masterful presentation that brought the music to life. Thank you for bringing Apollo’s Fire to Ann Arbor again.
People Are Talking: UMS presents Apollo’s Fire with Apollo’s Singers: St. John Passion:
A very enjoyable evening. I had to leave a bit early but Apollo’s Fire is on top of their game. Here’s a bit of Cleveland history. In their first year, the Cavaliers played at Public Hall. They had the worst record but they did lead the league in stolen cars!
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
Wish there were more opportunities for contemporary jazz. There are so many more talented, innovative, inspiring jazz artists. Unfortunate that this is the only name promoted
People Are Talking: UMS presents Nufonia Must Fall:
This is the third of the “renegade series” of UMS programs I’ve attended, and I loved all three.
Really dug the set design, story, and general attitude KK had with the audience. It’s one thing to dream big, it’s entirely another to follow through on a concept like this and get the additional talent on board to pull it off. Loved the overall visual aesthetic of the sets, kind of a twilight world.
Being a huge silent film fan, I appreciate that this story veered closer to a hand-made, no rules approach, both visually and sonically. I’ll take imagination and a creative approach over CGI any day. Even with the massive amounts of technology applied, here was an aspect to this production that left enough holes for imagination to fill in the rest.
People Are Talking: UMS presents Nufonia Must Fall:
I’m surprised there aren’t more comments. The audience seemed to be Kid Koala fans and must have loved it. I was interested in the technical part and impressed by the puppeteers and the videographers. Less impressed by the Kid although he had the concept presumably. I thought the story was a little weak. Why does the inventor of the hexabot go for the robot hero?
People Are Talking: UMS presents Nufonia Must Fall:
I’m surprised that the little robot wasn’t slinging poutine to bar goers. The White House chefs served this French Canadian staple at the state dinner w the Trudeau’s and the Obama’s this week. It’s a favorable time for Americans to travel to Canada. Having been to Fan -Expo in Toronto twice am tempted to go again this August. It’s the Comic-Con of Canada. The show was simple and sweet…Kids these days don’t need anymore toxic interaction. I’m glad our nice neighbors came over this weekend w their cute show.
People are Talking: UMS Presents The Chieftains:
Hello! In case you didn’t catch it below, here it is one more time:
The set list for Saturday night, March 5 at Hill Auditorium in Ann Arbor was as follows (note that groups of songs were performed as “suites”):
Opening – Gaith Aneas – King of Laois – 9 Points – Violin solo – Chieftains Magpie – Dance Pretty Girls
Bodhran solo – Cotton-Eyed Joe
Vocal/Dance solo – Foggy Dew – Puirt a Beul
China – Full of Joy – Flute solo
Mandela – Ballyfin Polkas
(Ann Arbor Grail Singers) Never Give All The Heart – Shenendoah – Anthem – Kerry Reels (dancers)
Fanny – Harp solo
March to Battle (Glen Erin Pipe Band)
Male dancers (Joe & Nathan Pilatzke)
Finale: Paddy solo – Saxophone solo
———–
Encore: An Dro (with Glen Erin Pipe Band)
I would love to have a copy of the set list too. that is how I found this page – looking for a list of the music 🙂
"by Martha Jordan
People are Talking: UMS Presents The Chieftains:
I would love to have a copy of the set list too. that is how I found this page – looking for a list of the music 🙂
Hello! We’ll see if we can track down that set list for you!
"by Anna, UMS
People are Talking: UMS Presents The Chieftains:
Loved the Chieftains!!! I enjoyed the bagpipes and kids dancing. I was not a fan of the adult choir-Made me feel like I was at a community concert rather than a professional event. Would like to have heard more from the Chieftains. We have a few of their CDs and really enjoy their music.
People are Talking: UMS Presents The Chieftains:
Hi, Mark Jacobson, here, from UMS Programming.
The set list for Saturday night, March 5 at Hill Auditorium in Ann Arbor was as follows (note that groups of songs were performed as “suites”):
Opening – Gaith Aneas – King of Laois – 9 Points – Violin solo – Chieftains Magpie – Dance Pretty Girls
Bodhran solo – Cotton-Eyed Joe
Vocal/Dance solo – Foggy Dew – Puirt a Beul
China – Full of Joy – Flute solo
Mandela – Ballyfin Polkas
(Ann Arbor Grail Singers) Never Give All The Heart – Shenendoah – Anthem – Kerry Reels (dancers)
Fanny – Harp solo
March to Battle (Glen Erin Pipe Band)
Male dancers (Joe & Nathan Pilatzke)
Finale: Paddy solo – Saxophone solo
———–
Encore: An Dro (with Glen Erin Pipe Band)
Thank you for your participation on the UMS Lobby!
Best,
Mark J.
People are Talking: UMS Presents The Chieftains:
The music was great and the dancing was fabulous!
I did feel the show was too short, no intermission was also not good. The intermission at Hill is so fun.
The short show and no intermission made me feel like the Chieftains just wanted to make their money and run as fast as possible. I will not pay their high price to see them again if this is how they do their shows!
People are Talking: UMS Presents The Chieftains:
The show was a bit short, at only an hour and a half, but it was really, really good. They were funny, as well as incredibly talented. Great show; would definitely go see them again.
People are Talking: UMS Presents The Chieftains:
Hello! We’ll see if we can track down that set list for you!
Thank you for a wonderful evening! I’d love to know the names of the tunes that were played last night, especially the one that ended the evening. Could you please send us the set list, or as much of it as you can?
Thank you again!
"by Laszlo Slomovits
People are Talking: UMS Presents The Chieftains:
Thank you for a wonderful evening! I’d love to know the names of the tunes that were played last night, especially the one that ended the evening. Could you please send us the set list, or as much of it as you can?
Thank you again!
People are Talking: UMS Presents The Chieftains:
I am so happy that they offer the 10- buck tickets. On a tight budget, I took a 45-minute( free) bus ride. Thanks for making this affordable for most people!
I don’t go out much. I received an e-mail this week offering discounted tickets for this concert. I decided to get out of the house and take advantage of what the University has to offer. I bought the least expensive ticket because I knew from a lecture I heard about Hill Auditorium that there are no bad seats in the house. I sat in the balcony and yes, it was tight quarters, but I could see and hear everything. I didn’t mind the shrieking. It was the type concert that was conducive to energetic outbursts. I enjoyed the enthusiasm. The parking was a pleasant surprise. Most places I go charge $10 and $20 to park. I appreciated the reasonable $5 to park in the near-by Dental School structure. Thank you for a most enjoyable evening.
"by CJM
People are Talking: UMS Presents The Chieftains:
Beautiful singing, wonderful instruments. Such a nice bonus to have both the adults and kids dancing! Loved the harp. Pipe and drum band wonderful. The choir number was a favorite. Just outstanding. Makes me want to take Rec and Ed Celtic dance!
People are Talking: UMS Presents The Chieftains:
Spectacular show, but too short! I also wish the Chieftains didn’t feel the need to jump on the 21st century bandwagon of make it louder make it faster make it edgier. They are capable of doing all those things, and yes, folk musicians do compete for speed and dexterity as part of their tradition, but the romantic ballads got cheated. I could have done with a little less race-to-the-finish and a little more of “Women of Ireland” (still their greatest hit), “The Sea Maiden,” “Summertime, Summertime,” etc. The dancers were great, but it wasn’t necessary to wire their feet. Finally, bravo to Moloney for still kicking it at 78 the way he did at 35 (when I first got to know the band). It’s nice to see young people and women up there, too. Overall a thrilling show.
People are Talking: UMS Presents The Chieftains:
We enjoyed the music, dancing and the collaborative incorporation of local groups. A terrific evening.
People are Talking: UMS Presents The Chieftains:
I don’t go out much. I received an e-mail this week offering discounted tickets for this concert. I decided to get out of the house and take advantage of what the University has to offer. I bought the least expensive ticket because I knew from a lecture I heard about Hill Auditorium that there are no bad seats in the house. I sat in the balcony and yes, it was tight quarters, but I could see and hear everything. I didn’t mind the shrieking. It was the type concert that was conducive to energetic outbursts. I enjoyed the enthusiasm. The parking was a pleasant surprise. Most places I go charge $10 and $20 to park. I appreciated the reasonable $5 to park in the near-by Dental School structure. Thank you for a most enjoyable evening.
People are Talking: UMS Presents The Chieftains:
I agree with you, Mike. I was facinated by the dancing. This type dancing is actually part of the rhythm section.
Wrongo. The jig and toe tapping was just as musical as all else, including that of the female fiddler. Every aspect of the show was fantastic and especially the female singer, the piper band, and the snake dance at the end. I did nit notice any shrieking or whistling per se, but I was on the main floor and not the balcony. Some of the hoots and hollers were from the band. Response from the audience, including the rhythmic clapping added to the show.
"by Mike O'Model
People are Talking: UMS Presents The Chieftains:
The publicity photo does not match those who appeared.
People are Talking: UMS Presents The Chieftains:
Wrongo. The jig and toe tapping was just as musical as all else, including that of the female fiddler. Every aspect of the show was fantastic and especially the female singer, the piper band, and the snake dance at the end. I did nit notice any shrieking or whistling per se, but I was on the main floor and not the balcony. Some of the hoots and hollers were from the band. Response from the audience, including the rhythmic clapping added to the show.
The music was great. I could have done without those two guys dancing the jig. It was fine for a couple of minutes, but I came to hear the music.
"by Liz
People are Talking: UMS Presents The Chieftains:
Thank you The show was amazing!!
I was on the Balcony, I wasn’t that much conforntable in my seat, since I got there a bit late, I couldn’t remove my coat to not bother the neighbor…
I was waiting to hear more pipe…but overall the show again was fabulous and they were fantastic able to captivate me and bring my imagination to travel to Ireland!!
I agree with Bonnie, a lot of shrieking and whistling can be annoying
NK
People are Talking: UMS Presents The Chieftains:
The music was great. I could have done without those two guys dancing the jig. It was fine for a couple of minutes, but I came to hear the music.
People are Talking: UMS Presents The Chieftains:
Who doesn’t want to be Irish in March? The lemmings were on the beach and we had town to ourselves! Good to be alive!
UMS Lobby Guidelines:
The Chieftans were FANTASTIC! ! ! From the first melodic tune to the last bow with members of the audience dancing all around and winding up onstage, the whole concert was one of the best musical evenings I’ve experienced in a long time!
BRAVO— a million times!
People are Talking: UMS Presents The Chieftains:
Loved the performance, HATE the shrieking and whistling some concert goers seem to need to do. I wish when we are reminds to turn off our phones we could also be reminded to be considerate of patrons’ ears!
People are Talking: UMS Presents The Chieftains:
My seven-year-old’s first UMS performance. He was captivated, especially by the dancers. Thanks for a wonderful night, and for bringing one of my favorite groups back to A2!
UMS Director Michael Kondziolka to Receive Chevalier Award:
Congratulations !!!!!!!!
People are Talking: UMS Presents Sir András Schiff, piano:
“Orpheus with his lute made trees,
And the mountain tops that freeze,
Bow themselves when he did sing:
To his music plants and flowers
Ever sprung; as sun and showers
There had made a lasting spring.
Every thing that heard him play,
Even the billows of the sea,
Hung their heads and then lay by.
In sweet music is such art,
Killing care and grief of heart
Fall asleep, or hearing, die.”
Thank you, Sir Andras, and Mozart, Haydn,
Beethoven and Schubert, and UMS!
People are Talking: UMS Presents Sir András Schiff, piano:
The original of version of Mozart’s Adagio for Glass Harmonica, K. 356/617a sounds like this.
https://www.youtube.com/watch?v=2_1ADpVj9wU
Astounding.
The encore Saturday night was a transcription of Mozart’s Adagio for Glass Harmonica, K. 617a. The instrument, or at least one version of it, was invented by Benjamin Franklin.
"by Richard Carnes
People are Talking: UMS Presents Sir András Schiff, piano:
The encore Saturday night was a transcription of Mozart’s Adagio for Glass Harmonica, K. 617a. The instrument, or at least one version of it, was invented by Benjamin Franklin.
What was saturday feb 20 encore?
"by karen mary park
People are Talking: UMS Choral Union: Love is Strong as Death:
I was very interested in hearing the Durufle Requiem because I will be singing it with the Oakland Choral Society in April. I am sorry to say I was disappointed in the performance. The Choral Union sang wonderfully well; but I felt the rhythm and commitment to the piece was lacking. This is an inspiring and commanding piece. Unfortunately, it lacked inspiration. I enjoyed the Brahms and Vaughn-Williams.
People are Talking: UMS Presents Sir András Schiff, piano:
What was saturday feb 20 encore?
People Are Talking: UMS presents The Triplets of Belleville:
Unique and engaging – absolutely loved it!
People Are Talking: UMS presents The Triplets of Belleville:
Outstanding collaboration of film and music. Loved it!
People Are Talking: UMS presents The Triplets of Belleville:
Very enjoyable! A fascinating experience. Great movie, fantastic music!
People Are Talking: UMS presents The Triplets of Belleville:
Fantastic performance!
People Are Talking: UMS presents The Triplets of Belleville:
I love cartoons, all different kinds. Triplets of Belleville is sort of unique though. I was out on my bike a bit today. The wind was high and in good biker fashion, I rode into the wind so the ride home would be a breeze. The musical score was fabulous. No, I really mean that. We could smell a winner from the time it was announced last Spring. A shame it is only a one night stand.
People Are Talking: UMS presents The Triplets of Belleville:
My favorite part was leaving after 50 minutes. Hideous imagery: absolute ugliness! And unlike most in the audience frog torture doesn’t make me laugh. PUKE!
People are Talking: UMS Presents Sir András Schiff, piano:
Again, bravo! Mozart’ performed with dynamic shading, agogic accents, discrete ornamentation. I’m looking forward to Saturday’s recital–
Last but not least: Pianist Sir András Schiff on Last Sonatas Project:
Hi Rainey, the encore was the second movement of Schubertt’s final sonata, which will be performed on Saturday night at Hill: the Sonata in B-flat Major, D. 760, Andante sostenuto.
People are Talking: UMS Presents Sir András Schiff, piano:
The encore for Thursday night’s concert was the second movement of Schubert’s last sonata, which will be performed at Hill on Saturday night: the Sonata in B-flat Major, D. 760, Andante sostenuto.
Last but not least: Pianist Sir András Schiff on Last Sonatas Project:
Another beautiful evening with thanks to UMS and Mr. Schiff. Could someone please share the name of the piece he offered as the encore? Thank you in advance for any assistance you can provide.
People are Talking: UMS Choral Union: Love is Strong as Death:
We attended because of Alto Rhapsody. I have a great recording with Dame Janet Baker. Haven’t heard in concert since DSO when in Ford Auditorium many years ago. Mr. Hanoian(?sp) and the organ/choir did a grand job. Remainder of program excellent.
People are Talking: UMS Presents Sir András Schiff, piano:
Though I loved the concert, I thought it a very strange way to present the music. The 4 different works were played not only with no intermission, but with almost no pause between them, not even one allowing for late seating after the Haydn, and no time even for listeners to digest a work, its thematic or tonal expression. Sitting close, I could see Schiff looked extremely tired and worn, even before he began, and wondered if he were simply trying to get it all done quickly and efficiently. But the encore piece made it obvious that even if he were sick or over-fatigued, he could bring incredible strength and musicianship to a complex and subtle work, even after playing nonstop for 95 minutes. I too was impressed by the embellishments to the Mozart. Schiff’s elegant control at times seems detached, and his emphases random. Unlike Igor Levit’s playing, it was impossible to detect any personality in Schiff’s. He strives to express only his musical perfectionism and a composer’s formal intention, as it is written, achieves it, and then he seems to disappear. Viewed up close, it can sometimes be disconcerting, if you’ll excuse the pun.
People are Talking: UMS Presents Sir András Schiff, piano:
As I recall, Sir Andras did some remarkable pedaling in the Haydn–
Few performers can successfully ornament Mozart’s music–
bravo!
People are Talking: UMS Presents Sir András Schiff, piano:
Thanks, Timothy! A preview of the next recital! Sweet !
The encore was the second movement of Schubert’s A Major Sonata, D959
"by Timothy Muffitt
People are Talking: UMS Presents Sir András Schiff, piano:
The encore was the second movement of Schubert’s A Major Sonata, D959
What was the encore?
"by Kim
People are Talking: UMS Presents Sir András Schiff, piano:
The whole program was well-chosen, like different movements in a sonata. I remembered the sublime Bach he played as an encore a couple of years ago and was hoping for more this time, but what he played seemed absolutely right.
People are Talking: UMS Presents Sir András Schiff, piano:
What was the encore?
People are Talking: UMS Presents Sir András Schiff, piano:
I’ll remember the captivating Beethoven, especially! Also, the ornamentation in the repeats of the Mozart and the remarkable (!) placement of agogic accents in the Haydn. OK, the sense of drama in the Schubert. All in all a wonderful experience, and quite the lesson in piano playing and music making.
People are Talking: UMS Presents Sir András Schiff, piano:
Brilliant fast, furious, and short performance. As usual I let my mind wander….thought about gravity waves and subatomic particles. The cieling of Rackham hall has arcs of gold radiating out from the stage. Massive black holes ( the piano) sending waves to my eardrums. I’m reminded of the joke about the Higgs Boson that tried to enter the church and was denied. It replied, “How do intend to have mass.” Bravo Andras Schiff!
People are Talking: UMS Choral Union: Love is Strong as Death:
Excellent performances, of course. However, the programming was depressing and far too grim for Valentine’s Day. The Brahms in particular was a poor piece to open with, despite the wonderful singer.
People are Talking: UMS Choral Union: Love is Strong as Death:
Congratulations to all of the performers on a skillful, nuanced rendering of the music. I especially liked Durufle’s Requiem. It captivated me from start to finish. Thank you all.
UMS Lobby Guidelines:
My wife and I loved the whole program. The Brahms was, well, BRAHMS–deep, thoughtful. The V Williams music wonderfully embraced and magnified G Herbert’s poetry. And how many times does anyone hear Durufle? The opening themes in Gregorian chant then amplified and rendered new by Durufle’s exposition–all very accessible and late 20th century.
The soloists, the organist, the Union made memorable music together.
Thank you for this program.
People are Talking: UMS Choral Union: Love is Strong as Death:
Loved the Durufle Requiem, a favorite and rarely heard. Thank you, Choral Union…. also kudos to the C Union for programming the Alto Rhapsody during the DSO’s vocal-and-choral-less Brahms Festival (no Requiem, DSO? what a missed opportunity.)
People are Talking: UMS Choral Union: Love is Strong as Death:
Excellent choice of music. Excellent quality of voices, balance, intonation,
pronunciation, musicality, precision. Conductor,organist, soloists: all excellent.
People are Talking: UMS Choral Union: Love is Strong as Death:
My wife was initially suspicious of a Valentine’s Day outing with the theme “Love as Strong as Death.” But we were glad to have the chance to hear some rarely performed but ethereal music. I still think the first seven minutes of the Durufle Requiem may be the best of any modern Requiem.
People are Talking: UMS Choral Union: Love is Strong as Death:
Found the Brahms to be rather dirge like; not much life outside the choir.
Liked the Mystical Songs a lot – although the piece does need the typanies orchestrated for the big choral sections. Lancaster’s presentation was a little precious, but his voice was great. Herbert’s poetry is wonderful and V-W paints it beautifully.
Generally disappointed in the organist – good keyboards, but slow with his feet and clumsy with the swell and manual/stops transitions.
People are Talking: UMS Choral Union: Love is Strong as Death:
Mr. Lancaster demonstrates the most beautiful, precise vocal technique and lyric voice yet fails to execute understandable language, even in English! I wonder if balcony seating allowed clarity.?
People are Talking: UMS Choral Union: Love is Strong as Death:
This afternoon’s concert was a superlative musical experience on every count.
For those who are being starved for decent music on Sunday mornings, it was a transcendent afternoon.
People are Talking: UMS Choral Union: Love is Strong as Death:
Lovely program. Pure voices from the soloists and choir.
People Are Talking: UMS presents Camille A. Brown & Dancers: Black Girl — A Linguistic Play:
Beyond fabulous! I thought the q&a was excellent and offered a way to share and learn
Thomas Sheets (1952-2014):
What a honor to have sung with the UMS Choral Union for many years under the directorship of Thomas Sheets from 1993-1997 and former direcfor Thomas Hilbish.for a number of years also. Both of these fine, gifted conductors are no longer with us, but I do have fabulous memories, which i now cherish.
Virginia Smith (Ginny) Bradenton, Florida
2/10/16
UMS Director Michael Kondziolka to Receive Chevalier Award:
Agreez, cher Michel, l’expression de mes sentiments les plus distingues!!
PS Mazeltov!
UMS Director Michael Kondziolka to Receive Chevalier Award:
Arf! Arf! That is off the chien! Congratulation Michael. Bon Chance!
People Are Talking: UMS presents Taylor Mac:
I too enjoyed the colorful performance art of Taylor Mac and the incredible musicians backing him. The first two hours were the best; the third hour was slow and boring- too much time spent on back-room sex and groping of the 1980s.
I loved that we were permitted to take photos. I loved that we got to acknowledge our sexual orientation early in the performance when he had the straight folks stand up and move around the auditorium and the queers, queens, bisexuals and lesbians move into the center section and dance! I’d guess that the audience appeared to be about 50-50 . . .
Student Spotlight: Embedded with Mariachi Vargas:
Thank you Christina for sharing your experiences in San Antonio with the world. Your grace, beauty and talent had an incredible impact on us all. We are so grateful for your generosity in the time you shared with our MPR team and for all that you shared with our youth. Thanks a million and we look forward to seeing you in March/April during the Vargas concert at the Hill!
People Are Talking: UMS presents Igor Levit, piano:
Let’s call Mr. Levit’s recital “interesting.” He took a two-hour program and, by skipping two applause exits each half, and by starting both halves of his program briskly, was able, with his inward and deeply personal playing, to turn it into a nearly two-and-a-half hour recital. I have never heard any of the four works on the program played more slowly, with greater variations in pacing and volume, and with a more willfully conscious shaping of every phrase. That does not mean the music-making was bad, just very unusual, idiosyncratic, and attention-getting. I heard things in each work that I had never heard before, thanks to Levit’s focused attention to detail. Would I want to hear pianism like this very often? Definitely not. But why not hear an artist with a very unique view of his art provide something different, thought-provoking, and challenging!!
People Are Talking: UMS presents Taylor Mac:
This is performance art of a high caliber that works in vital ways, even transformative. With this marvelous nudge from the creative and production teams and, especially, the performers, I hope to become more compassionate and more humane. If at all feasible, please, UMS, bring us the entire A 24-Decade of Popular Music.
People Are Talking: UMS presents Igor Levit, piano:
Thank you, Mr. Needleman. We SO agree.
By far the worst performance of a Bach partita I have ever heard. Sounded more like a Chopin Nocturne. Pretentious and too slow–it’s supposed to be dance music. Tempos uncertain and strange. As for the Schubert, I never realized that Bach and Schubert were the same person.
One does not have to be a purist to find fault. Turreck gives a wonderful classical performance and Pinnock another on the harpsichord. I don’t know whether Richter has ever recorded the partita, but his WTC is–like Levitt’s playing–very non-tranditonal. However, Richter gives an imaginative performance which while probably far from what Bach sounded like originally, is intellectually imaginative and emotionally ingaging. So I am not criticizing from the viewpoint of the original performance narrative…..
"by Richard Needleman
Students TalkOut After Abraham.In.Motion:
Exactly where you can uncover hundreds of young independent Paris escorts of distinct origins, as nicely as escort agencies all through France.
People Are Talking: UMS presents Igor Levit, piano:
By far the worst performance of a Bach partita I have ever heard. Sounded more like a Chopin Nocturne. Pretentious and too slow–it’s supposed to be dance music. Tempos uncertain and strange. As for the Schubert, I never realized that Bach and Schubert were the same person.
One does not have to be a purist to find fault. Turreck gives a wonderful classical performance and Pinnock another on the harpsichord. I don’t know whether Richter has ever recorded the partita, but his WTC is–like Levitt’s playing–very non-tranditonal. However, Richter gives an imaginative performance which while probably far from what Bach sounded like originally, is intellectually imaginative and emotionally ingaging. So I am not criticizing from the viewpoint of the original performance narrative…..
People Are Talking: UMS presents Igor Levit, piano:
Igor Levit gave an absolutely gorgeous performance. Introspective, insightful, meditative, beautiful. We loved it!!
Many thanks to Professor Ilene Forsyth for generously endowing a Choral Union concert annually in perpetuity.
People Are Talking: UMS presents Igor Levit, piano:
I am pleased to find that someone who clearly knows the material better than I feels as I do about the performance and its limitations
Beautiful music last night. So glad my daughter and I could be there. sb
"by Shirley Beck
People Are Talking: UMS presents Igor Levit, piano:
One of the most intelligent and informed reviews I’ve read in a long time. I agree with most of what you say, but nevertheless loved the concert, the program and the energy and thought Levit put into the performances, even if over-interpreted certain portions of them. I like his attitude, not always his execution. I do agree that the Bach Gigue was over the top but believe Levit will get it right when he matures. He seemed very proud of himself when that was over. Gould wouldn’t have preened. We have already seen many artists who break down doors everywhere but in A2. I’m sure Schiff will do well. Limiting the size of the hall the doors open into may be the secret.
This was the first time I have heard Igor Levit. They say “he is the future” (LA Times), however, to my ears, he sounded 2000 and late.
The Bach gave a basic impression – the D Major opening didn’t seem particularly triumphant or festive. The runs that some might consider brilliant were about as blurry as the background image on the cover of the program notes. The sublime Allemande, with all of Mr. Levit’s tempo changes, fell apart into pieces. The most exciting thing was the brief memory slip in the left hand during the B section. Toward the end, there was a spark of energy in the Gigue, but the tempo was too brisk to hear any definition in the individual lines. Perhaps Mr. Levit wanted to present an intimate Bach – but it was simply quiet, like looking at a 1:144 model airplane instead of the real thing.
What always amazes me about Schubert is the omnipresence of the vocal aspect in the music. Mr. Levit’s interpretation reminded me of Meek Mill’s attempt to vocalize and publish a diss track aimed at Drake last Fall. What did he mean to say? Perhaps he was thinking along the lines of Alfred Hitchcock (“messages are for the Western Union”). I certainly didn’t get a message. Maybe that’s a good thing. The silence Mr. Levit held after the final piece was dramatic, but seemed more like awkward theatre given the circumstances.
The Beethoven started with an extreme pianissimo – an effect that Mr. Levit revisited several times during the piece, and paid a high price for in the Recitative – the extreme effect backfired and he lost two notes to complete silence before the return of the allegro, the return of which was not in tempo and needed to accelerate back to the original pace.
Mr. Levit took the movement out of the second movement. It was either so bad it was good, or so good it was bad, I’m not sure. In the third beat of measure 6, I’m pretty sure there is a b natural in the left hand instead of the b flat we heard tonight.
The allegretto was more of an allegro con brio. But who cares about tempo? The painful sighs at bar 42 were played harshly, and the primary motif enunciated with careful attention to the sixteenth note rests – Mr. Levit was true to the score and clearly serving the music and composer. Would Beethoven have been proud of that?
Prokofiev gave a larger sense of scale of sound, and showed a peek of the dimension Mr. Levit was missing up until this point in the program. But this too left more to desire – the loud sections peaked quickly, and the finale came to an end before I realized there was a build up.
Mr. Levit received several ovations, and the Polka encore deserved a C for contrast given that earlier in the evening we were supposed to live through Beethoven’s only Sonata in D minor (that’s a big deal), and Bach’s D Major – happiness that can only be felt after having lost everything.
I guess the only question left is – do we really need another recital series endowed in perpetuity? Or do we need to find an Artist for whom we would break down doors to come see and who would sell out the hall within 10 minutes of the announcement?
#whatatimetobealive.
"by Jimmy Nolan
People Are Talking: UMS presents Igor Levit, piano:
Beautiful music last night. So glad my daughter and I could be there. sb
People Are Talking: UMS presents Taylor Mac:
Astounding show! Creative, moving, thoughtful–Taylor Mac did say at the night school conversation “this is MY church!” And judy did preach– about acceptance, activism. I loved the energy, the balloons, and am so pleased I was in row M and got to dance in the orchestra pit with a lovely young woman. Lovely and fun performance
People Are Talking: UMS presents Igor Levit, piano:
This was the first time I have heard Igor Levit. They say “he is the future” (LA Times), however, to my ears, he sounded 2000 and late.
The Bach gave a basic impression – the D Major opening didn’t seem particularly triumphant or festive. The runs that some might consider brilliant were about as blurry as the background image on the cover of the program notes. The sublime Allemande, with all of Mr. Levit’s tempo changes, fell apart into pieces. The most exciting thing was the brief memory slip in the left hand during the B section. Toward the end, there was a spark of energy in the Gigue, but the tempo was too brisk to hear any definition in the individual lines. Perhaps Mr. Levit wanted to present an intimate Bach – but it was simply quiet, like looking at a 1:144 model airplane instead of the real thing.
What always amazes me about Schubert is the omnipresence of the vocal aspect in the music. Mr. Levit’s interpretation reminded me of Meek Mill’s attempt to vocalize and publish a diss track aimed at Drake last Fall. What did he mean to say? Perhaps he was thinking along the lines of Alfred Hitchcock (“messages are for the Western Union”). I certainly didn’t get a message. Maybe that’s a good thing. The silence Mr. Levit held after the final piece was dramatic, but seemed more like awkward theatre given the circumstances.
The Beethoven started with an extreme pianissimo – an effect that Mr. Levit revisited several times during the piece, and paid a high price for in the Recitative – the extreme effect backfired and he lost two notes to complete silence before the return of the allegro, the return of which was not in tempo and needed to accelerate back to the original pace.
Mr. Levit took the movement out of the second movement. It was either so bad it was good, or so good it was bad, I’m not sure. In the third beat of measure 6, I’m pretty sure there is a b natural in the left hand instead of the b flat we heard tonight.
The allegretto was more of an allegro con brio. But who cares about tempo? The painful sighs at bar 42 were played harshly, and the primary motif enunciated with careful attention to the sixteenth note rests – Mr. Levit was true to the score and clearly serving the music and composer. Would Beethoven have been proud of that?
Prokofiev gave a larger sense of scale of sound, and showed a peek of the dimension Mr. Levit was missing up until this point in the program. But this too left more to desire – the loud sections peaked quickly, and the finale came to an end before I realized there was a build up.
Mr. Levit received several ovations, and the Polka encore deserved a C for contrast given that earlier in the evening we were supposed to live through Beethoven’s only Sonata in D minor (that’s a big deal), and Bach’s D Major – happiness that can only be felt after having lost everything.
I guess the only question left is – do we really need another recital series endowed in perpetuity? Or do we need to find an Artist for whom we would break down doors to come see and who would sell out the hall within 10 minutes of the announcement?
#whatatimetobealive.
People Are Talking: UMS presents Igor Levit, piano:
since i know so little about the technical aspects of music, i know i should be reticent to say anything about this amazing pianist–especially with the detailed responses i see others have made–i just can’t stop from saying the concert i heard tonight was pure genius thoughtful enriching emotionally satisfying pretty serious what a great touch the happiness of the encore a perfect ending to a most wonderful experience thank you ums for bringing this to us….
People Are Talking: UMS presents Igor Levit, piano:
Levitt displayed a delicate and graceful touch, with exaggerated contrasts in tempos, especially with largo passages in the Beethoven. It worked.
People Are Talking: UMS presents Igor Levit, piano:
I had never heard of Igor Levit and came to this concert on the strength of the program. I was thrilled by his fresh, imaginative approach to the Bach Partita and Beethoven sonata, both pieces I’ve heard many times. I found his playing to be personal and intimate in a way that really engaged me. The Prokofiev piece, new to me, was profound. I’d love to hear him do more Shostakovich; that encore was terrific!
People Are Talking: UMS presents Taylor Mac:
What an unbelievable talent. His vocals are incredible, his wit and intelligence undeniable, his delivery so expressive, one of my favorite performances. I’m coining a new word…outlandofits… for his costumes. I warn you Taylor may have some establishment issues. Well maybe some others as well. Lots come to think of it. And that’s part of the fun.
People Are Talking: UMS presents Taylor Mac:
Thanks to the artists and UMS!
Soft numbers were great! Loud ones were too much for my ears–
People Are Talking: UMS presents Lyon Opera Ballet at Power Center:
Thank you, UMS for this avant-garde ballet. This performance was captivating and left a lasting impression.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
Did I miss something?
People Are Talking: UMS presents Taylor Mac:
Cutting edge performance art for the drag queen bingo crowd.
People Are Talking: UMS presents Taylor Mac:
Terrific!
People Are Talking: UMS presents Taylor Mac:
Wow – great show!
People Are Talking: UMS presents Taylor Mac:
What an amazing, fabulous, creative, moving performance! Everyone should go to this!!! Judy is so creative and actually I do not have the words for how moved I am! Loved every minute – audience participation, his charisma and PRESENCE!Fabulous! UMS I am proud that you brought Taylor Mac to Ann Arbor! Thank you!
Student Spotlight: Embedded with Taylor Mac and Pomegranate Arts:
Can’t wait to see you Friday!!!!! AM bringing friends and hope for opening of heart and mind!
Study Up: Tanya Tagaq Teaches You to Throat Sing:
I enjoyed the film. It is amazing that in 1922 it was possible to operate a movie camera in the extremely cold temperatures. Even today, gear often fails in the arctic and antarctic. I enjoyed the throat singing. I wish there had been more of it during the vocal performance, part of which seemed not to be throat singing. The drum set didn’t add much. The violin may have been a plus but it often couldn’t be heard. I don’t think the vocalists’ gestures and movements on stage were a plus. They just distracted from the film. However, overall, a performance worth seeing.
People Are Talking: UMS presents Tanya Tagaq in concert with Nanook of the North:
I am amazed at the energy Tanya puts out to all of us! She seems to go into a trance and emote, express what she feels during her story. I was distracted at times by the film and words but also it was a juxtaposition with Tanya’s soul. Powerful images and incredible life! To have to hunt and kill for your food – survival – everyday! I left feeling many things – one of the lessor feelings was “I have nothing to complain about”. I LOVEd her voice and her movement and her total embodiment of her expression. She could have been exhausted from the show or so connected to spirit that she was invigorated! Only she knows! Thank you Tanya
People Are Talking: UMS presents Tanya Tagaq in concert with Nanook of the North:
I did not understand this “performance” but I could feel it. I did not applaud because I had nothing comparable to refer to from experience. It didn’t seem all throat singing because a vocalist I recognized aerated notes from her head. I enjoyed the instrumentalists. The film was great.
People Are Talking: UMS presents Tanya Tagaq in concert with Nanook of the North:
Fantastic! The performance was powerful, expressive, and unapologetic. At time’s I wasn’t sure if Tagaq’s voice represented human, animal, or environment – or if it reflected eating vs. being eaten. It was dense, provocative, and spine-tingling.
I mostly ignored the film, however, as I found it distracted from the music. Particularly jarring was trying to follow a rationalized narrative on screen, especially one told by text, without losing the emotional response of the music.
People Are Talking: UMS presents Tanya Tagaq in concert with Nanook of the North:
What an astounding performance! My knee tapped through the whole performance in response to Martin’s rhythm that created heartbeat for Tagaq’s super energized vocalizations often harsh as is the climate, landscapes and life there. I’m so glad I shared this experience.
People Are Talking: UMS presents Tanya Tagaq in concert with Nanook of the North:
Nanook is so impressive a film that I remembered many frames as i watched it this evening, 45 years after seeing it for the first time. It was perfect as it was.
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Putting us together is the vision and work of our manager Linda Goldstein (she is also Bobby Mc Ferrin’s manager)
Lisa: “It is wonderful to release energy through sound.”
Me: “It is wonderful to be released through Lisa’s voice.”
Soaring, improvisatory, rapturous.
Lisa took us to a higher place. No more “background” for you. You have placed yourself squarely in the forefront.
And … The Grand Baton… well… WHAT A blend. What genius put Lisa Fisscher and The Grant Baton together? Thank you!
"by Anita Salustro
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Musically this concert was truly unique. Lisa Fischer’s vocal range is astounding. She “sounds” sacred. There’s not another living soul I would describe that way. Her band is fabulous, too. Unfortunately, sometimes their musicianship overpowered her voice. I found that distracting — disappointing, even. It’s nothing adjusting her microphone wouldn’t correct. Otherwise, it all worked very well together. Their original takes on Rolling Stones hits were especially creative. And Fisher’s performance of “Ease the Pain” left no doubt why she won a Grammy for it.
People Are Talking: UMS presents Chamber Music Society of Lincoln Center:
Friday evening’s encore was the Scherzo (3rd movement) from Dvorak’s Piano Quintet, No. 2, Op. 81, and was performed by Wu Han, Ms. Lee, Mr. Lee, Mr. O’Neill, and Mr. Canellakis.
Liz Rosenthal, UMS Programming Manager
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Some further information on the setlist….
The second song of Ms. Fischer’s set was:
“Don’t Ever Let Nobody Drag Your Spirit Down” (Eric Bibb cover)
“Miss You” is another Rolling Stones cover.
“Last Goodbye” closes Lisa Fischer’s 1991 album “So Intense.”
Hope this provides further clarity!
-Mark Jacobson, UMS Programming
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Thank you for attending Wednesday evening’s concert by Ms. Lisa Fischer and Grand Baton at Ann Arbor’s Michigan Theater!
Below is the concert setlist:
Breath of Heaven (Amy Grant cover)
Drag
Bird in the House (Railroad Earth cover)
Rock ‘n’ Roll (Led Zeppelin cover)
How Can I Ease the Pain (Lisa Fischer)
Fever (Peggy Lee cover)
Jumpin’ Jack Flash (Rolling Stones cover)
Miss You
Addicted to Love (Robert Palmer cover)
——–
Encore (suite):
Wildflower (Fischer)/Last Goodbye
Thank you for your participation on the UMS Lobby and hope to see you at a future UMS concert event.
-Mark Jacobson, UMS Programming
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Agree strongly with everything you say. Sublime is a good word. How about when that person in the balcony sang? Lisa’s rapport is palpable.
Truly one of the most creative, present/connected, and eclectic performances I have ever seen. The vocal and band were sublime. I was deeply moved, mesmerized and felt like part of the music, not just an observer. Heartfelt and incredibly talented, just WOW!
"by Cinda Hocking
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
YES YES YES!!!!!
Lisa Fischer was ASTOUNDING–AMAZING–WHAT SHE GAVE
"WAS A GIFT FROM HEAVEN! I was transported beyond my
ability to describe. She and the band were in a total grove and
I was right there with them…from the first lovely and hypnotizing number–to the world of ROCK–to R & B –as they say–“A Whole ‘nother level” PLEASE GET HER BACK AGAIN.
by Alta Harrison
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Lisa: “It is wonderful to release energy through sound.”
Me: “It is wonderful to be released through Lisa’s voice.”
Soaring, improvisatory, rapturous.
Lisa took us to a higher place. No more “background” for you. You have placed yourself squarely in the forefront.
And … The Grand Baton… well… WHAT A blend. What genius put Lisa Fisscher and The Grant Baton together? Thank you!
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Lisa Fischer was ASTOUNDING–AMAZING–WHAT SHE GAVE
WAS A GIFT FROM HEAVEN! I was transported beyond my
ability to describe. She and the band were in a total grove and
I was right there with them…from the first lovely and hypnotizing number–to the world of ROCK–to R & B –as they say–“A Whole ‘nother level” PLEASE GET HER BACK AGAIN.
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Wow, wow and wow. Great band– glad that all three members had opportunities to shine– but Ms. Fischer’s performance was beyond wonderful. Several well-deserved standing Os! She included some oldies (absolutely killed “Ease the Pain”– totally made it new!) The sound mix was a bit off (esp in the rock numbers) and the lighting was too dark (especially when the artists went on the stage apron). Acoustics were excellent. This show was really great. I am thrilled that Lisa Fischer is touring and moving forward. Looking for a new album and hoping for many more concerts!
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Truly one of the most creative, present/connected, and eclectic performances I have ever seen. The vocal and band were sublime. I was deeply moved, mesmerized and felt like part of the music, not just an observer. Heartfelt and incredibly talented, just WOW!
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Great concert…a once in a lifetime voice. The mix at the Michigan did not due Ms. Fischer justice. When the instruments are louder than the vocals it’s a bad mix!
People Are Talking: UMS presents Ms. Lisa Fischer and Grand Baton:
Do you really want me to say what I think? It was Fantastic! The band was first rate and could sound like a jazz. Trio or a Keith Richards jam band. Ms. Fischer crafted each somg in her own way…it’s about time woman get to belt out the tunes.
Three patrons, three perspectives: The Cripple of Inishmaan:
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People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
I adored it! I thought they did an amazing job at easing you into things for it starting out with them butt naked. There were definitely parts that made me uncomfortable, but the way they did it made me warm up to them every time.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
I was taken in as soon as these courageous, generous performers made their way down the aisles, breathing over us as if in blessing. I loved that the cast was all different ages, colors, and sizes, and very quickly “forgot” they were sans clothes. I liked the changes of tone and pace, although I felt some sections might have been extended/deepened to match the poignancy, humor, or richness of the best sessions. I also felt some fear for both the actress who plunged into the audience as well as the audience members who found themselves with a naked woman on their laps. The assaultive loudness of the pre-show music did not seem in keeping with the feeling of co-participation that the show itself generated. While I did not attend a show followed by a discussion, I would have welcomed the opportunity to talk with the cast afterwards. I found an on-line interview with Young Jean Lee helpful in framing the performance.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
I passed on this show when I subscribed but bought a ticket when UMS offered a discount. I didn’t expect to be impressed but I was. The women showed many talents: dance, mime, acting, ability to make us laugh and ability to make us feel uncomfortable. Since the show has been performed over 60 times in several North American and European countries, it was certainly time for it to come to Ann Arbor. I wonder if the show has an overall theme and, if so, what it is? I suggest Freedom. I also wonder if 10, 20 50 years from now, the show will be a classic or irrelevant?
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
For those curious about the pre-show playlist, here’s the track listing. Warning: Adult Language.
____________________________________________
1. Azealia Banks – Van Vogue
2. Rye Rye – Dance
3. Njena Redd Foxx – Silly Bitch
4. Tadow – Pussy Wet
5. Rye Rye – Hotter
6. Azealia Banks – Heavy Metal
7. Rye Rye (ft. MIA) – Bang
8. Njena Redd Foxx – Hold My Purse
9. Lady – Yankin
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
The first thing to do, even before a rewrite is to change the music. Bring the audience in w Eric Clapton, Motherless Children. Can that techno except the scene w the wierd Euro-Dance. I’m not sure she has an age in mind for these guys….they act like Freshmen but were involved in years of graduate school. People like that listen to Bob Segar & the Eagles. Where was this play set? Janesville, Wisc., lotta tall Yoopery guys there.
Occassionally I watch a new sit-com on TV. Tonight’s show was like a pilot. Proctor &Gamble would buy in and advertise. I didn’t believe that anybody was a banker or went to Harvard. I have three brothers and we moved a family member this weekend. The energetic lunacy I can relate to. The ending was a rough landing on a long flight, the wheels hopped of the runway at least three times. But you know, I kind of like it!
"by Robert Kinsey
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
I’m glad to know I wasn’t the only one who related to Matt.
I was emotionally moved by this performance in an unexpected way. I quickly related to Matt, the son living with his father, who just wanted to be helpful. His brothers could no longer relate to him, and their unwanted attention brought him and me to tears. The boyish, silly antics were welcome comic relief. I loved the freedom of just being that their late night dancing and drinking brought. I left the theater needing to release the emotional tension, as I thought about families that are close to me.
"by Zita
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
The other two sons were just there to celebrate Christmas. He wasn’t there because of the divorce, his kids weren’t there because of the divorce.
I just couldn’t believe that white liberal guilt would paralyze anyone as Matt is paralyzed. Why was it never mentioned in what field he spent 15 years in a PhD program (did he ever finish?), or how big the student debt is? And would the father really be so happy to have his sons home when the cause is Jake’s divorce? Are we to assume that the banker married a Black woman as his way of evading privilege? Why no attention to that?
"by Ruth Scodel
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
I extremely enjoyed the play and was simultaneously laughing and thinking deeply the entire time. I was captivated and on the edge of my seat waiting to see how the family’s discussions would unfold.
One unique aspect of the play was that it wasn’t about how SWM privilege affects others, but rather how it psychologically affects SWMs themselves. And for each of the characters, the effects were very different.
There were numerous themes and questions brought up. What does it mean to be an educated, socially-conscious SWM who wants to be part of the solution, when prevailing social narratives say that your existence, success, and happiness is the problem itself? How are SWMs socially sanctioned to deal with their own issues and problems, and what are the consequences? Is it possible to reject privilege – what would that even look like? Lots of food for thought.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
Women, dancing naked is not something I see everyday. But, once I got past that, I really started to enjoy the show. It took me on a deeper journey. I realized how the stripping away of the clothes actually makes me look at them; clothes can sometimes give labels too. (which I realized when they came out to the after show talk). But what really made me uncomfortable was when I saw them naked, I looked for other signs so I could label them; i.e. their hair, the way they were build, it was like I had to be able to identify them, instead of accepting them. That made me feel ashame.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
Disappointing. A bit hard to tell whether the problem resided in the script or the acting, or an unfortunate combination of both. The ideas were clear enough: What does straight white male privilege mean in the day of identity politics? What are the different ways of enacting or resisting that privilege? The rough housing and the mock interview did a reasonable job of exploring such questions. As did the set itself, including the costumes and the people who cleaned the set between acts — showing this was excellent, as it made clear the work that SWM generate for invisible helpers (wives, sisters, servants).
But the whole thing felt extremely wooden. The characters were caricatures – little more than the ideas or pathways they were meant to embody. Straight white men are people too (and no, I’m not any of those categories), and the play would have done better to portray them as living breathing individuals. On this front, it was especially difficult to tell whether the problem was the script or the actors – one could imagine strong actors doing a better, deeper job with an otherwise fairly wooden script. I actually dozed off toward the end (and no, that’s not typical for me — the acting was just incredibly uncompelling.)
Huge disappointment after the exuberance and originality of Untitled Feminist Show.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
It didn’t help that someone’s phone started ringing right near the end…
I agree with other commenters who found the guys’ rough-housing and traditions/memories fairly believable and entertaining. However the theme of privilege was implausibly rendered and confusing. The play ended with a complete thud.
"by Larry
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
I agree with other commenters who found the guys’ rough-housing and traditions/memories fairly believable and entertaining. However the theme of privilege was implausibly rendered and confusing. The play ended with a complete thud.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
I just couldn’t believe that white liberal guilt would paralyze anyone as Matt is paralyzed. Why was it never mentioned in what field he spent 15 years in a PhD program (did he ever finish?), or how big the student debt is? And would the father really be so happy to have his sons home when the cause is Jake’s divorce? Are we to assume that the banker married a Black woman as his way of evading privilege? Why no attention to that?
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
I was emotionally moved by this performance in an unexpected way. I quickly related to Matt, the son living with his father, who just wanted to be helpful. His brothers could no longer relate to him, and their unwanted attention brought him and me to tears. The boyish, silly antics were welcome comic relief. I loved the freedom of just being that their late night dancing and drinking brought. I left the theater needing to release the emotional tension, as I thought about families that are close to me.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
What I experienced was not what I expected… and I enjoyed it. The dialogue and physicality between the brothers and father were strikingly realistic (at least, in my experience as someone with multiple siblings). I saw myself and my brothers in the characters.
Although I thought I was pretty conscientious about issues surrounding white male privilege, the production provided other, very specific issues that I did not consider.
Though I could not tell you the overall message of the show, I can tell you that it was an emotional rollercoaster. I think it’s up to the audience to decide for themselves what “Straight White Men” means, in the same way “Untitled Feminist Show” is pretty open-ended.
Would definitely watch again if I had the chance.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
Occassionally I watch a new sit-com on TV. Tonight’s show was like a pilot. Proctor &Gamble would buy in and advertise. I didn’t believe that anybody was a banker or went to Harvard. I have three brothers and we moved a family member this weekend. The energetic lunacy I can relate to. The ending was a rough landing on a long flight, the wheels hopped of the runway at least three times. But you know, I kind of like it!
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
Very disappointing. The script is a mess. Clunky exposition, dreadfully poor staging, and ho-hum performances. Ideas are certainly worth exploring, but not effectively executed.
People Are Talking: UMS presents Chamber Music Society of Lincoln Center:
It was a fantastic performance – an almost full-house standing ovation!! yes, we want more of this type of performance – a regular event!!??
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
Most unusual, very interesting, and obviously talented performers.
People Are Talking: UMS presents Chamber Music Society of Lincoln Center:
Beautiful concert. Beyond expectations.
People Are Talking: UMS presents Chamber Music Society of Lincoln Center:
I heard the Beilman siblings play Mozart ten [?] years ago at the U of M Museum of Art.
When they came on stage I saw two middle-school [?] players and said to myself in doubt, “Who are these kids?”
And then–their technically accomplished and eloquent playing put me into a state of stunned disbelief.
Some years later Benjamin Beilman gave a creative recital of Bach and Beethoven at Kerrytown Concert House.
Last night his work–and everyone’s–was beyond praise.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
I am guessing there was a message in the play somewhere, but it was very difficult to find, perhaps something about white male privilege. Three very immature guys (and their father) acting out off-color junior high hi jinks for 90 minutes is not my idea of enjoyable theater going. This play needs a total rewrite!
People Are Talking: UMS presents Chamber Music Society of Lincoln Center:
Exquisite, nearly perfect, as expected. Why a group like this programmed the Schubert – a trivial, boring work – is beyond me. The Mendelssohn was somewhat more interesting, but still juvenalia, unworthy of their sophisticated talenst. Luckily the Dvorak encore left me with the same joy, gratitude and admiration that the Mozart had. Let’s hope the next time they come they choose works that are all interesting as well as diverse.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
A friend of mine heard the Q&A on Thursday night, and I was, likewise, expecting them to talk about their experiences at the end, which would have made it more meaningful to me. There was so much I didn’t understand. I appreciated the shame-free nudity and the grace and confidence of several of the actors.
People Are Talking: UMS presents Jazz at Lincoln Center with Wynton Marsalis, trumpet:
Disappointed in the lack of an encore by Wynton as he usually performs, but otherwise a pleasure as usual listening to these great musicians.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
I was not offended by the nudity but thought the show was quite boring. I thought the performers were brave but way short on talent.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Straight White Men:
I truly enjoyed the show. A bit disturbed that I was NOT as disturbed as I wanted to be. Am I too much like these characters? Yes! So related to the father. My house is 63, I put candy and sox in stockings, I care so for my boys, etc. Loved the rough housing. Still this showed how affluent this privileged family is.
Is Matt the one that women of color wanted men to be like? I found him to be the description of what his mother would have thought. But his brothers sure thought higher of him.
I expected the sons to be more like TRUMP than the partially evolved, conscientious guys they were.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
I’d like to hear more from the people who attended on Thursday. We Friday people didn’t get the chance to hear the performers speak.
People Are Talking: UMS presents Chamber Music Society of Lincoln Center:
By far the best concert we have attended this academic year. I do not usually give a standing ovation but tonight this old fogey jumped to his feet. The Schubert was wonderful!
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
I completely understand what you meant by feeling like you were in a dream. Numerous times I was so enamored by the performers that I suddenly had tunnel vision and I could not see nor care about any of my other surroundings. This show was something unlike anything I have ever experienced, and I am so glad that I got the opportunity to view it. The messages were stark and unapologetic. I will never forget the way that I have been impacted by this celebration of the female.
Rarely if ever have I seen such a brave, bawdy, thought-provoking work or such brave, bawdy, bold performers. The experience is akin to a dream–you wake the next morning not quite convinced you’ve spent an evening in such company, with so many strange yet obviously meaningful images and encounters, arranged in some semblance of a narrative that only you can finally interpret. Thank you for taking a chance that A2 audiences would rise to this provocative occasion.
"by Leslie Stainton
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
I had the pleasure of watching this show tonight. It was inspiring, confronting and deeply stirring. I had so many internal experiences and thoughts throughout the performance–but mostly an awesome sense of how brave and beautiful these women were. MUST SEE!
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
I agree with comments of others, especially Laura, about this unique and thought-provoking show.
In addition, it appeared that many other folks were intrigued, curious, and looking for expanding their learning, both emotional and intellectual, since a huge contingent of the audience stayed for the Q & A.–which, by the way, was helpful in “digesting” what we had just seen.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
Rarely if ever have I seen such a brave, bawdy, thought-provoking work or such brave, bawdy, bold performers. The experience is akin to a dream–you wake the next morning not quite convinced you’ve spent an evening in such company, with so many strange yet obviously meaningful images and encounters, arranged in some semblance of a narrative that only you can finally interpret. Thank you for taking a chance that A2 audiences would rise to this provocative occasion.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
brilliant! I loved the audience participation and rapid change of mood. One moment I was laughing my ass off, then enjoying a beautiful song, next, a thought-provoking expression of raw emotion. the slow-motion sequence was very well done. bravo.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
Outstanding show! It was so interesting to see the emotions portrayed and how the audience perceived the dancers and nudity in the first 10 minutes and then how I felt an ease to the audience as it progressed.
One of the best I’ve seen all year – I loved that the bodies on stage mirrored those in the audience – surprising to me how I gravitated toward each one of the dancers during the show in various ways – all gorgeous, all emotive, all incredible – thank you!
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
I enjoyed last night’s show Untitled Feminist because the nudity was just there – refreshing – and loved the different shape bodies and how each person carried themselves. Because there were no words I imposed my own experience on what was being expressed. Sometimes it was of young girl fun skipping, playing, wanting to be part of the fun. One scene struck me as rape. Another castration. The performers were claiming themselves.
The Q&A was helpful to me. Hearing them talk about feeling genderless; about how the show has evolved! I would love to have heard the dialogue in the beginning shows and then witnessed the growth.
I am going to White Men tonight. I heard she wanted to “disturb” folks with this show. White privilege IS disturbing. So I am looking forward to seeing how she attacks this.
People Are Talking: UMS presents Young Jean Lee’s Theater Company: Untitled Feminist Show:
The miming in many of the sketches was not clear enough to understand the points. The concept of the play is fine, it just needs some clearer direction.
People Are Talking: What’s in a Song?:
It was a truly magnificent and thoroughly enjoyable performance, but I have a suggestion about the subtitles. They added greatly to the enjoyment, but, because I couldn’t see my program in the dark, I never knew the title/composer of each song as the singer began to perform it. Why not precede each song’s text with a display of the title, composer and poet?
People Are Talking: UMS presents Jazz at Lincoln Center with Wynton Marsalis, trumpet:
Theywere really great renditions of pop songs. I listen to 60’s on XM six when I am in a real funk. Even though I’m from Cleveland CKLW boomed across Lake Erie at night from Windsor. I had a ball shaped transister AM radioand a mono plug….Boy wouldn’t that fetch a price on EBAY!
Thank you all for attending last evening’s concert by Jazz at Lincoln Center Orchestra with Wynton Marsalis. Below is the concert setlist:
JLCO January Tour 2016
January 20, 2015
Hill Auditorium
Ann Arbor, MI
Street Life by Will Jennings & Joe Sample, arr. Vincent Gardner
White Room by Jack Bruce & Pete Brown, arr. Carlos Henriquez
All in Love is Fair by Stevie Wonder, arr. Sherman Irby
Sugar Lee by Donny Hathaway, arr. Chris Crenshaw
Eleanor Rigby by Paul McCartney, arr. Ted Nash
Smile Please by Stevie Wonder, arr. Irby
Another Star by Stevie Wonder, arr. Gardner
Wooden Ships by David Crosby, Paul Kantner, & Stephen Stills, arr. Wynton Marsalis
Blame It On the Boogie by Mick Jackson, David Jackson, & Elmar Krohn, arr. Gardner
——————-
Thank you for participating on UMS Lobby!
Mark Jacobson, UMS Programming
"by Mark Jacobson
People Are Talking: UMS presents Jazz at Lincoln Center with Wynton Marsalis, trumpet:
Thank you all for attending last evening’s concert by Jazz at Lincoln Center Orchestra with Wynton Marsalis. Below is the concert setlist:
JLCO January Tour 2016
January 20, 2015
Hill Auditorium
Ann Arbor, MI
Street Life by Will Jennings & Joe Sample, arr. Vincent Gardner
White Room by Jack Bruce & Pete Brown, arr. Carlos Henriquez
All in Love is Fair by Stevie Wonder, arr. Sherman Irby
Sugar Lee by Donny Hathaway, arr. Chris Crenshaw
Eleanor Rigby by Paul McCartney, arr. Ted Nash
Smile Please by Stevie Wonder, arr. Irby
Another Star by Stevie Wonder, arr. Gardner
Wooden Ships by David Crosby, Paul Kantner, & Stephen Stills, arr. Wynton Marsalis
Blame It On the Boogie by Mick Jackson, David Jackson, & Elmar Krohn, arr. Gardner
——————-
Thank you for participating on UMS Lobby!
Mark Jacobson, UMS Programming
People Are Talking: UMS presents Jazz at Lincoln Center with Wynton Marsalis, trumpet:
It isn’t like I haven’t been to the Rock & Roll Museum a couple of times. I grew up with that music. I think the band is just trying to connect with a wider audience. I see the merit of bringing more listeners into the fold gradually. That said, I would have prefered jazz from the 1950’s. Maybe they can do that next year.
People Are Talking: UMS presents Royal Philharmonic Orchestra:
That’s pretty funny! I felt exactly the opposite. I hope I never have to hear the Beethoven Violin Concerto again in my life – to me it’s one of his least accomplished works – and I thought Zuckerman’s interest in it as a performer sounded forced. I’m surprised he programmed it, but I suppose he felt most audiences want at least one thing they can sink into like an old sofa.
The Beethoven pieces were great. The Elgar pieces were so BOOOORING. And they were at the end of the program. I went mostly to listen to Zuckerman play and he did not play at all in the Elgar pieces.
"by Michael Linkevich
People Are Talking: UMS presents Royal Philharmonic Orchestra:
The Beethoven pieces were great. The Elgar pieces were so BOOOORING. And they were at the end of the program. I went mostly to listen to Zuckerman play and he did not play at all in the Elgar pieces.
People Are Talking: UMS presents Royal Philharmonic Orchestra:
I completely agree. It was a masterful treat. The principal players kept their pizzicato parts perfectly together while he played the Beethoven.
Humbled. It’s the only word to describe the feeling of watching someone masterfully conduct a wonderful orchestra, and beautifully play a Beethoven violin concerto solo, at the same time, and without music to read. Utterly humbled. To witness an orchestra conducted by mere looks, hip movements, and head nods while the conductor was consumed by fingering complex music on the violin was nothing short of stunning.
The Enigma Variations were an emotional roller coaster that was just wonderful. I had hoped an English orchestra might bring extra soul to this piece, and the way many players swayed while playing only confirmed this most English piece was deep within their bones. It was magnificent.
The encore reminded me of of a great cup of coffee after an amazing meal. It was the perfect denouement.
"by Dennis
People Are Talking: UMS presents Jamie Barton, mezzo-soprano:
Opera Singers are often classified as divas. This stereotype was instantly negated when Ms. Barton (and Mr. Katz) made their entrance super casually dressed, with a graceful and natural introduction that charmed the audience.
And followed by singing that was anything but ordinary. Songs by 5 composers, in 5 styles, and 5 languages, and smoothly and elegantly moving from one to the next.
People Are Talking: UMS presents Royal Philharmonic Orchestra:
Humbled. It’s the only word to describe the feeling of watching someone masterfully conduct a wonderful orchestra, and beautifully play a Beethoven violin concerto solo, at the same time, and without music to read. Utterly humbled. To witness an orchestra conducted by mere looks, hip movements, and head nods while the conductor was consumed by fingering complex music on the violin was nothing short of stunning.
The Enigma Variations were an emotional roller coaster that was just wonderful. I had hoped an English orchestra might bring extra soul to this piece, and the way many players swayed while playing only confirmed this most English piece was deep within their bones. It was magnificent.
The encore reminded me of of a great cup of coffee after an amazing meal. It was the perfect denouement.
People Are Talking: UMS presents Royal Philharmonic Orchestra:
A beautiful program indeed, made more so by the orchestra’s rich, nuanced and unhurried playing, drawing out not only every clear note, but every emotion as well.
While one might think of Elgar as a come-down after Beethoven, the Enigma Variations served well as a lush compliment. I’ve always enjoyed the piece, though never more so than last night.
And of course a sublime pleasure to have Zuckerman as a soloist and conductor.
People Are Talking: UMS presents Jamie Barton, mezzo-soprano:
An opulent program performed with opulent artistry!
People Are Talking: What’s in a Song?:
My husband and I truly enjoyed the concert. The supertitles were helpful. Since the screen is already in use, I would like to suggest displaying the name and composer of the song before it starts. The people next to us kept using their cell phone flashlight to look at the program after every song started. They were discreet, but it was still distracting. With such a varied collection of short songs, it was nearly impossible to hold them all in memory. I second the suggestion of using a microphone for the spoken word.
People Are Talking: UMS presents Royal Philharmonic Orchestra:
Thank you! It was the most perfect encore to a concert I’ve ever heard. Though I’ve loved Elgar for many years, I didn’t know he could create such beauty, and it seemed perfectly suited to the the Royal Philharmonic, and to Zuckerman’s masterful touch.
Hi, Fellow Readers,
Last night’s encore by the Royal Philharmonic Orchestra and Mr. Zukerman was the slow movement (2nd movement) of Elgar’s “Serenade for Strings,” Op. 20.
Thank you for both attending the concert and for reading!
Mark Jacobson, UMS Programming
"by Mark Jacobson
People Are Talking: What’s in a Song?:
Fantastic!! This was one of the best concerts we have heard—engaging, lovely, and unique. It was a tribute to Martin Katz to see the affection and esteem in which he is held. The singers were terrific and the Coda was a delightful surprise.
Thank you to all who made this possible.
People Are Talking: UMS presents Royal Philharmonic Orchestra:
Hi, Fellow Readers,
Last night’s encore by the Royal Philharmonic Orchestra and Mr. Zukerman was the slow movement (2nd movement) of Elgar’s “Serenade for Strings,” Op. 20.
Thank you for both attending the concert and for reading!
Mark Jacobson, UMS Programming
People Are Talking: What’s in a Song?:
Thanks for joining us for the first concert of Song Remix: A Biennial Songfest!
Please see below for the songs performed in the “Coda” section which were announced from the stage:
Louiguy: La vie en rose (Ms. von Stade)
Frishberg: Another song about Paris (Mr. Ferguson)
Wilder: Blackberry Winter (Mr. Daniels)
Berlin: Always (William Bolcom and Joan Morris)
Arr. Hogan: Give me Jesus (Ms. Brugger)
Cipullo: Another reason I don’t keep a gun in the house (Mr. Blumberg)
Puts: You need song! (All)
Liz Rosenthal, UMS Programming Manager
People Are Talking: What’s in a Song?:
Simply thrilling!
People Are Talking: UMS presents Royal Philharmonic Orchestra:
Three winners in a row. First, Martin Katz with an ensemble on Friday. Then Jamie Barton on Sunday. And now this. Like, wow.
To start at the end, this was the best performannce of the Enigma Variations I have ever heard in decades of listening. The Royal Phil under Zukerman brought out features of the score (and, by implication, of the people these variations portray) that have never been heard and sketched so well – so somberly, so amusingly, so blusteringly, so lovingly. (It may be that these Britsh players have a special feeling for Sir Edward: the movement of the Elegy they played as an encore was also most moving.)
Before the intermission we heard Mr. Z. in the Beethovem Violin Concerto. This, too, was played lovingly and in nicely subdued tone. No showing off – just the music. A crescendo of rustling in the audience reminded us that Beethoven was in no rush to bring the first movement to a close.
The Egmont Overture waa played in suitably robust fashion.
People Are Talking: UMS presents Royal Philharmonic Orchestra:
Three winners in a row. First, Martin Katz with an ensemble on Friday. Then Jamie Barton on Sunday. And now this. Like, wow.
To start at the end, this was the best performannce of the Enigma Variations I have ever heard in decades of listening. The Royal Phil under Zukerman brought out features of the score (and, by implication, of the people these variations portray) that have never been heard and sketched so well – so somberly, so amusingly, so blusteringly, so lovingly. (It may be that these Britsh players have a special feeling for Sir Edward: the movement of the Elegy they played as an encore was also most moving.)
Before the intermission we heard Mr. Z. in the Beethovem Violin Concerto. This, too, was played lovingly and in nicely subdued tone. No showing off – just the music. A crescendo of rustling in the audience reminded us that Beethoven was in no rush to bring the first movement to a close.
The Egmont Overture waa played in suitably robust fashion.
What was the name of the encore piece?
"by Izhar
People Are Talking: UMS presents Royal Philharmonic Orchestra:
What was the name of the encore piece?
People Are Talking: What’s in a Song?:
We enjoyed the concert enormously. The warmth between the singers and Prof. Katz extended to the audience as well, and it turned into a regular love fest. Back at home we were still basking in the afterglow for another hour or so.
People Are Talking: What’s in a Song?:
I’ve attended lieder and song recitals for 45 years, and this was the most satisfying and moving recital of the sort I’ve ever attended. What an excellent selection of newcomers and all-time favorites! The music was superb, but the love–love of song, love for the marvelous Martin Katz, and obviously warm feelings shared all around–made this a very special evening for me and, I believe, for UMS. Thank you.
People Are Talking: UMS presents Jamie Barton, mezzo-soprano:
Loved the Chausson & the Dvorak about the Mother weeping as she taught her daughter the songs. Her “triangle was ringing passionately”, as she sang in another of the Dvorak songs. Is that a euphemism of sum sort?
People Are Talking: What’s in a Song?:
A really wonderful concert; we came away feeling uplifted by the songs, and by the artistry of the musicians, and by their obvious love for what they are doing.
People Are Talking: What’s in a Song?:
Thanks to the featured artists and UMS for an evening beyond praise!
And to Joan Morris and William Bolcom for their so-nostalgic “Always” —
I remember Marilyn Horne singing “Always” to Martin Katz when she was feted here at a Ford Honors program–
We hold Professor Katz in our esteem and gratitude–always!
People Are Talking: What’s in a Song?:
Loved the singing, and thank you for the sur-titles. Why not on the second half?
One suggestion for future performances:
Have some sort of a mike for the spoken word. I was under the balcony and could understand very little of what was said, especially since it was said in a conversational volume. maybe just a hand held mike that could be turned on and off readily??
People Are Talking: UMS presents Jamie Barton, mezzo-soprano:
Enjoyed the wonderful concert by Jamie Barton and Martin Katz. Due to lost luggage that arrived in late afternoon, Jamie Barton had a different look for the first half and the second half. Fun to see both looks! We especially enjoyed the Dvorak.gypsy songs.
People Are Talking: What’s in a Song?:
A very satisfying concert! Lesson: you don’t need the celebrities du jour or even great voices – although Ms. Brugger is a gem — to entertain an audience if the program is as thoughtfully composed and as carefully rehearsed as this one was. There were no war-horses last evening but rather a mixture of more or less unfamiliar songs, some serious. some lighthearted, presented by engaged artists willing to take risks. Just think what the Choral Union series would be like if we had such clever novel and varied programming each time rather than the routinized, often listless and perfunctory performances of the most popular works by the most popular composers. (Ok, strike me dead, dear lord, for this blasphemy!)
But if you yearn for refreshing fare on all programs, honk.
People Are Talking: What’s in a Song?:
This concert was wonderful — I am still singing.
People Are Talking: What’s in a Song?:
We loved this concert! Kudos to Martin Katz, and the wonderful artists he brought together for this very special event celebrating music, song, and poetry.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
A most wonderful way to spend New Year’s eve. I’m spoiled having experienced this production. I wanted to experience it again. Thank you to everyone involved.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Refreshing. A Christmas Carol is done so often, and often so poorly, so it was beautiful to see such a spectacular production. I loved it. The clown/mime inspired opening was amazing. The puppetry was absolutely superb (not to mention the wide variety of vocal qualities the actors used in their characterizations of each puppet). The set was one of the most beautifully detailed things I’ve ever seen. Lovely!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
We hope they come back next year.
Jim and Molly Walker
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Brilliant production from every aspect! I usually loathe audience participation but this was done with such great spirit and fun before the actual “show” began that it got everyone in the mood. I am familiar with the Power Center Stage and was completely enchanted with its transformation. Actors/puppeteers were incredible! Thank you for this wonderful entertainment!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
It took a little nudging to get our 14 year old son to his first professional theater production. After the play, he summed up his experience by saying, “Wow, that was 1,000 times better than I thought it would be!”
We wish to thank National Theater of Scotland a thousand times over for making this the beginning of more family time at the theater.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
I was so overwhelmed by the intimacy and energy of the set when I walked in with my two sons that I started to tear up! We were seated in the front row and laughed and clapped and deeply felt every spirit’s message and the transformation of Scrooge. When we left, I announced that my life will never be the same—and I meant it! I will have a hard time finding such a professional, interactive and engaging experience for my family again. Thank you for sharing your time and talents with us.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
I’ve seen three National Theatre of Scotland productions – Black Watch, Prudencia … and now Christmas Carol. They were all unique in concept, venue and staging and were supported by great acting. I look forward to any future productions from this first class, innovative organization.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
And now for something completely different! What a delight on New Year day. And we can be proud of the U of M football team too! Great start to 2016. Go Blue!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
The puppets were awesome. The actors were awesome. Very well done for New Years Eve. Pricey but well worth it. Good job. May be back next year.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
I enjoyed it very much. The whole mystery of where we were going, and why, as we waited in line, others in the room down the hall were laughing so much–gave me such a feeling of anticipation. And the actors were so playful with each of us as we entered the room.
The puppets were amazing! I think that’s what will stick with me the most.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Bravo!!! This is hands down the most unique, inventive and enthralling performance of “A Christmas Carol” that I have ever seen. The cast is absolutely stellar. The addition of the puppets does not detract from the story, on the contrary, the artistry of the actors in acting and manipulating the puppets in congruity with their individual (multiple) characters is astounding. Mr. Scrooge is amazing and endearing. The cast is so tight and such a team and are all very true and organic, a true ensemble, and really ACTORS actors. A pleasure to watch. RUN, don’t walk to the production! Plan on seeing it more than once. We did. It’s a priviledge.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
What an absolutely delightful performance experience! A Christmas Carol will never be the same…
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Attended the “sensory” performance. Appreciated that this option was offered. I’ve seen a lot of theater, but this was simply amazing. The set and staging were incredible. I highly recommend.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Yes, bravi! An intense, experiential form of theatre. Has a2 seen anything so intense since the Living Theater (approx. 44 years ago) brought their art to our public places on campus (bank, flagpole, other ‘symbols’)? Fun interaction with audience to begin the show, before the show. The puppets were very compelling, especially the Cratchits. Loved the ways that actors found their ways into and out of the theatre space— through closet, crannies and cabinets. Great voices, tech support superb, very effective use of space and sound and shadow/light. Memorable humor added to Dickens’ text. Uplifting. Thanks UMS, and thanks NTofScotland!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Brilliant staging, puppets & actors–from the moment the audience walks towards the intimate venue to the very last moment of the curtain call. Thrilled I got to experience this. Get a ticket & go!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
This was an amazingly engaging production. The audience was in the thick of the action, and the players made sure we were included. The creative use of lighting, music and puppetry made this a very special performance. We went to the Christmas Eve show and it’s hard to imagine a better way to kick off Christmas!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
This was an amazing afternoon of theatre, but was much devalued by the young children seated behind us. The adults who were rude enough to answer their constant questions instead of shooshing them ruined the experience for all of us seated nearby. I find it interesting that we have detailed instructions on how to make the performance enjoyable to the point of unwrapping candies before entering the theatre, but then completely ignore the type of disruption we experienced.
Listening Guide in Samples: Bob James:
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People Are Talking: UMS presents Jake Shimabukuro, ukulele at Hill Auditorium:
Was ffcr ein wundervolles Geschenk. Habe glceih auf Deinen Link geguckt und bin nun, dank Unmengen an schf6nen Steinen aus De4nemark, ganz motiviert. Steinanhe4nger, ich komme 🙂 Grudf, Tanjav
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Saw it on Christmas Eve. Best theater performance I have seen ever!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
This was truly amazing show. One of the best I have ever seen! Bravo to the entire cast and crew. Very entertaining!!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
We had a blast at the Sunday matinee. Perfect play to render the intimate experience of a night with the spirits of past present and future. brings out the kid in all of us. congrats on bringing this pure magic to AA.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
You can’t have A Christmas Carol without the inclusion of Fezziwig. Also the little boy at the end “Today, today is Christmas Day”. Just can’t omit this scene
Mike
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Extraordinary integration of puppetry & live action 2 tell the classic tale of Scrooge & his redemption. Don’t know who had a better time, me or my 6 yo. granddaughter.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
This was the most incredible piece of theater I’ve seen all year, and definitely one of the coolest performances I’ve seen in Ann Arbor. Thanks for bringing the National Theatre of Scotland to town!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
I’m so glad I caught this performance. There is nothing I can compare this to. The venue was intimate and the performers did a great job of engaging the audience. An amazing experience!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
What an amazing, ASTONISHING, gasp-worthy production! I never expected to be completely transported by a story I know by heart and which I’ve performed myself. This is an INCREDIBLE experience. RUN, do not walk, to see this!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Really enjoyed this! Very different from anything else I have ever seen. Thought I knew this story very well, but it was presented in such a novel way that I was mesmerized. Very well done!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Simply fantastic! I was sulking at the price of tickets being used to purchasing student tickets most of the time, absolutely no regrets now. Thank you UMS – you are a significant part of the enriching experience and countless beautiful memories I will have of my time here at UM/Ann Arbor. Go blue!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
A truly unusual and original presentation of the Christmas Carol that no other group has done. The cast really had fun engaging with the audience. The almost invisible appearances and disappearances of the cast and puppets added to the ghostly and magical quality of the performance. Having each small audience group be applauded was unique and engaging.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
It was a truly amazing show, from the introduction to the set to the acting. It was one of the most entertaining UMS programs I’ve had the privilege of attending.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Amazing. One of the best theater experiences I’ve had (rivaling War Horse at the National Theater). Bravo!
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
I’m not a Christmas Carol fan, but the puppets were superb and I realized that of course Scrooge should be a Scot.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Thank you UMS for tonight performance and the others. I’m a Christmas Carol fan and this was one if the best.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Possibly the most amazing bit of theater I’ve seen in the past 40 years; it brought tears to my eyes. I’m so glad the UMS is bringing us such high quality non-musical performances to balance their bill – I just wish I could afford to attend more of these.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Delightful, inventive, just what we know we will experience with the National Theater of Scotland.
People Are Talking: UMS presents National Theatre of Scotland: Charles Dickens’s A Christmas Carol:
Bravo Bravo Bravo. What an extraordinary evening of theatre. Thank you so much for bringing this to us. The performances and production values are all stellar. This is a fabulous evening of theatre and I hope every house is sold out, as it should be. Thanks again to UMS for bringing this kind of performance and so many others, to us here in Ann Arbor. Makes having left my home in NYC a bit easier! (a bit!)
People Are Talking: Royal Shakespeare Company Live in HD: Shakespeare’s Henry V:
Thank you for presenting Henry V. Enjoyed it tremendously. sb
People Are Talking: Royal Shakespeare Company Live in HD: Shakespeare’s Henry V:
This was a great performance, and vastly different from the Olivier “gold standard.” One feels much closer to this King Henry, as he struggles to shake off his youthful playboy-like life and take on the responsibilities of Kingship. The commentary during the intermission made it clear that Shakespeare was doing his part to bolster English nationalism at a time when national cohesiveness was needed, mentioning how the play has been used since at times when nations have been threatened by or involved in war. I didn’t consider seeing the play to be a ratification of violence but rather one more step to understand both war and leadership.
People Are Talking: Royal Shakespeare Company Live in HD: Shakespeare’s Henry V:
I customarily anticipate ‘Live in HD’ telecasts from the Globe theatre quite eagerly but tonight, for its presentation of ‘Henry V’, I left my comfortable home with dread. I particularly dreaded hearing men bellow, for three hours, about the necessity, onset, and prosecution of war.
Shakespeare composed ‘Henry V’, an historical play about a young king organizing for war (against the French) amidst England’s own preparations for war (against the Irish). Moreover, the play’s director noted that other famous productions of the play, such as Laurence Olivier’s and Kenneth Branagh’s, occurred while Britain was at war. He however contrasted his production with previous efforts because this production occurred during peace-time (for Britain) and thus the audience could grapple with the play unburdened by the extra-curricular supplement of contemporaneous war and could thus focus more exclusively upon the play itself. Alas, ‘Henry V’ offers a forever timely examination of states’ feverish anticipation of, and preparations for war: audience members noted, in the weeks since this production was recorded, that Britain had launched missiles at ISIL targets and its current leader had exhorted his peoples to be ‘patient and persistent’ since the extensive new military operations would ‘take time’.
More generally, I thought about waking daily to the news that yet another African-American had been slain or otherwise violated by an agent of the state, that increasing numbers of ‘radicalized’ people were inflicting hate speech and hate crimes upon Muslims and their places of worship, that Republican presidential candidates had uttered still more grotesque sentiments about entire populations, and that U.S. mass shootings generally constitute mere local news precisely because of their banal commonality. I didn’t wonder why the rousing St. Crispin’s Day speech, a speech exhorting men to fight for honor and glory, curdled grotesquely in my mouth: my daily being is saturated with news of violence and I am simply exhausted by it. Departing early did not constitute a comment on the (fine) production itself but rather like a necessary act of self-preservation.
People Are Talking: UMS presents Handel’s Messiah:
oops – Blackstone, not Blackgrove.
People Are Talking: UMS presents Handel’s Messiah:
The annual UMS performance of MESSIAH is our favorite date, and we loved the variety offered by Sheets and Blackgrove. We wondered how it would change under a new/younger conductor – Mr. Hanoian certainly did not disappoint! The crisp tempo and clarity of Sunday’s oratorio was superb. Beautiful trumpet solo! The vocal soloists were great, but our favorite is always the chorus. THANK YOU for all your hard work and practice!
Handel’s Messiah: A history in photos, programs, and video:
It was an excellent performance after enjoying many of them, however, the first time for a female trumpet soloist…BRAVO!
People Are Talking: UMS presents Handel’s Messiah:
I loved the tempi. Chorus was wonderful. My favorite – Blessing and honor, glory and power. So moving.
And I especially loved the mezzo soloist. What a rich, full, round voice, and remarkable coloratura for so big a voice. She is phenomenal!!
People Are Talking: UMS presents Handel’s Messiah:
While the baritone was somewhat weak in terms of voice projection, the conductor’s punctuation of key phrases throughout the performance not only compensated, but served to lend new meaning to many of the sung lines. It was almost fugue-like at times, which was brilliant. Indeed, the occasional improvisations of both the soprano and tenor were artistic delights, and highlighted their mastery of thr music beautifully. The more pronounced use of the pipe organ than in prior years was both refreshing and exhilarating, leading some to comment after the final bows were taken that this performance had such amazing drama and pomp. I do wish, though, that the solo singers had stood closer to the stage front edge, as their voice projection, standing somewhat behind the line where the conductor stood, was often blocked by the conductor. But that’s a small complaint. On balance, the performance was a tour-de-force.
People Are Talking: UMS presents Handel’s Messiah:
You may have set a new record for speediest performance this afternoon!I enjoyed the different interpretation. The chorus pieces were particularly lovely. The sound carries so beautifully in Hill, although I must agree the seats are dreadfully uncomfortable.
Handel’s Messiah: A history in photos, programs, and video:
Glorious. Wonderful soloists, superb orchestra (as always) and the Choral Union was the icing on the cake. What a way to start the holiday!
People Are Talking: UMS presents Handel’s Messiah:
Uninspiring and quite bland, not to mention the seating in the auditorium is very uncomfortable. Hill audortuim needs to be updated especially the seating which is awful.
People Are Talking: UMS presents Handel’s Messiah:
Saturday’s Performance was wonderful. The choir was sharp and the tempi were brisk!
Bravo!
People Are Talking: UMS presents Handel’s Messiah:
We’ve been attending performances of Handel’s Messiah for 20 years, and found this one to be particularly beautiful and inspiring, and excellent in every way. We love what Mr. Hanoian has done, especially with the choir! It was crisp, clear and exhilarating. Overall, an A++++
(PS: we vote for red poinsettias…)
People Are Talking: UMS presents Handel’s Messiah:
My 36th year of the Messiah. This performance under Mr. Hanoian ranks among the best. I could hear how he changed it in subtle ways compared to past performances. My compliments to all and BRAVO!
People Are Talking: UMS presents Israel Philharmonic Orchestra at Hill Auditorium:
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People Are Talking: UMS presents Takács Quartet:
Terrific. What one expects of the Takacs. Disappointed they did not give an encore’ but maybe they had to get the bus.
People Are Talking: UMS presents Takács Quartet:
“I’ve been increasingly obsessed with the idea that longer pieces can actually be made out of less stuff as a way of supporting the weight of their structures.” These are not the words of some grim critic, but of the composer himself. Such candor is disarming. Imagine a novelist saying this. And – did I hear right? – the first movement is modeled on a junkyard?
I haven’t fathomed the attractions of the minimalist school of composition, and I wish someone would explain it next time. I found the second movement of Strong Language appealing. But the rest seemed aimless and uneventful; there was no obvious reason why it stopped when it did. Most admirable was the evident conviction with which our Takacs friends played the piece.
Nothing uneventful about the Haydn and Dvorak quartets! They are both full of ingenious invention, and they got fine readings this evening. The Haydn especially is a work quite astonishing and unlike most others of his quartets in mood and spirit and form.
And the Dvorak was played with all the appropriate sentimentality of longing and joy. Never a dull measure in either of these works. Also Ken Fischer was right; we are lucky to hear this group year after year. Their performances are invariably stylish, tasteful, and bare of affectation.
As regards programming, sure, let’s have plenty of modern music along with the older, more familiar in each concert. But before we dip into the latest untried hot-off-the-press pieces, how about taking our selections from the second half of the 20th century? There’s plenty of satisfying adventure there, and it’s been too long neglected.
Watching Antigone: The Most [Blank] City in America:
Such a thoughtful response, Andy. I DO hope The Most _City in America manages to present the hopeful aspects of the Flint story. All too often in the past, community projects about this authentic place have rested in the negative. Best to you as you continue to listen to and shape the story.
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
In short, this concert went way beyond music.
Naturally, we were disappointed that Leif Andsnes was ill (and we wish him speedy recovery), but our hearts jumped on learning that Paul Lewis would play instead, having know of his huge reputation for Beethoven and Schubert.
It was a deeply moving performance. Mr. Lewis has a clear humility in his interpretations and avoids gimmicks. This surely was a key element in how immediate Beethoven’s soliloquies were to us in the audience. He gave us pure music, and allowed Beethoven to speak without us being aware of who was playing.
Thank-you to UMS for engaging this truly great artist, and bringing him to Ann Arbor.
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
Throughout Lewis’ performance, I was fascinated with his power of expression through what I believed to be such a limited medium. His physical involvement with the piece, his mastery of the instrument, and the passion with which he performed all combined to keep a relatively single-minded repertoire nothing short of invigorating. I was surprised when Lewis’ performance stirred an emotional reaction out of me, as I had never experienced that in any music that was not choral. My favorite piece, in particular, was his third, as I felt that it bounced around between opposites: lively and melancholy, quick and slow, piano and forte. That contrast proved to bring variation to a set list that may have superficially appeared to lack it. Overall, I thoroughly enjoyed the performance. Although I was sad to miss Leif, Paul Lewis most definitely did not disappoint!
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
In c minor, D. 915
Schubert called it Allegretto.
"by Music Lover
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
For my first attendance to a professional classical piano concert I was pleasantly surprised. Although hearing that Leif was cancelling last minute disappointed me, what did not disappoint was Lewis’ performance last night. He received a very brief introduction that honestly could have been replaced by just more beautiful music if I had it my way. All three of Lewis’ pieces were performed absolutely remarkably and although the type of music is not what I would typically listen to, after hearing how Paul Lewis played I will definitely begin looking more in to the classical genre. The way he composed himself during the performances was very entertaining, as seeing him absorb himself entirely into the piece with his whole body was very powerful and showed me how connected he was to his music. Overall, it was a beautiful concert and I hope to see Paul Lewis return to Ann Arbor in the near future.
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
Schubert called it Allegretto.
Disappointment yesterday turned to sublime pleasure this evening with Paul Lewis’ delicate yet clear touch on the last three Beethoven sonatas.
I’d like to know which Schubert piece he played as an encore.
"by Jeff Gaynor
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
From the moment Paul Lewis’ fingers touched the keys, he had the audience hooked. He courageously tackled three Beethoven sonatas with intensity, charm, and absolute beauty. His body language distinguished each piece from one another. I loved how he slouched when playing a legato melody, snapped his head to a particular note, or stiffly sat at attention while sharply hitting every key. The long pauses after each piece created an almost holy atmosphere of appreciation for the music and the musician
My personal favorite was Sonata No. 32 in c minor, Op. 111. It immediately started with a jarring tune that made it stand out from the first two pieces. The contrast between the sections of music played in the lower and higher octaves created an image of a sort of battle going on between dark and light forces. Lewis’ rigid posture emphasized the seriousness of the piece.
Additionally, it was so kind of Lewis to come all the way from London to play for one night here in the U.S. He was extremely humble, yet he really engaged the audience when he played a Schubert piece as an encore. While I was disappointed I did not get to see Leif Ove Andsnes, I can’t think of anyone better that could have replaced him. I hope I get the chance to see Lewis perform again, and I encourage anyone who has the chance to attend one of his performances.
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
Disappointment yesterday turned to sublime pleasure this evening with Paul Lewis’ delicate yet clear touch on the last three Beethoven sonatas.
I’d like to know which Schubert piece he played as an encore.
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
Aside from the heroic logistics of Mr. Lewis’ short-notice fill-in for the ear-infected Mr. Andsnes, I’m happy to say that we heard a recital with many pleasures and surprises, moments of joy and solemnity. The last (Arietta) movement of op. 111 was magical — worth all the rest of the program. Mr. Lewis played the slow movements of all three sonatas especially beautifully, coaxing the finest sounds from the piano. He has extraordinary control of dynamic effects — not so much of rhythmic tact. In the fast movements there were occasional clunky or murky passages, and the accelerandos were often super-accelerandos, giving the music an undeserved levity. But, hey, he probably hadn’t slept for about three nights.
As to the chosen program itself, I would rather have heard any one of these three piano sonatas mixed in with works by other composers. That’s what Mr. Andsnes had intended to play — some Chopin, some Sibelius, some Debussy, and a Beethoven sonata smack in the middle.
Especially in this age of distractibility and shallow multi-tasking, I bet quite a few listeners found it hard to keep concentrating when it came to the last of these late Beethoven sonatas. And if you ever want to introduce an inexperienced college freshman to Western concert music, who has never been to an orchestral or chamber concert or to a solo recital, you would rather have him/her hear a wide sample of this art’s range – a little from this period, a little in that style? Maybe the Mozart will grab her or maybe the Prokofiev – who knows!?
However, in recent years, we have seen a trend in programming that works against this. Recently we’ve had all-Bach evenings and concerts with only one large complex work. I don’t think this will attract a new young audience. It may not even be the most satisfying offering to the old audience!
I grant you, such marathon programs are admirable artistic feats by the performers. But…
But if we want to attract and retain a new generation of concert-goers and help preserve the classical music tradition, we can’t afford this sort of thing; no matter how fine the artist(s), we need multi-period, multi-style programs such as that planned by Andsnes because they will appeal to a range of appetites.
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
Paul was amazing and we would love to have him back.
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
For my first ever piano concert this was absolutely beautiful. I was at first very much disappointed that Leif was sick and was unable to make it to the concert. Whereas, I believe that he made the right decision since he has both a viral and ear infection. Fortunately, Paul was able to make it in place of Leif. Thanks to all the sponsors and the managing director of UMS for making this concert go on.
Paul definitely won my heart over. I feel as though he represented his personality in a beautiful way through his music and his presentation of the music. I felt that touch he contained when he played the piano; his touch was something that intrigued me a lot and I appreciated tremendously. Although one has to say kudos for his astonishing transitions, his transitions were as smooth as they could get and varied throughout. During all his pieces none of them followed a certain pattern that one could follow. I always thought I knew what was about to come and he suddenly changed it up. This keeping me engaged and engrossed.
Another interesting trait of Paul was his technique of showing the emotions for the piece that he performed. Paul made sure to vary the tempo, pitch and body movement making his performance thoroughly appreciated by everyone in the auditorium.
Overall, Paul I think was an amazing replacement for Leif. Although, things should change for him and I hope UMS calls him back often for many other performances. He was an absolutely amazing pianist in my eyes; especially him being able to portray his skills and emotions as a package when playing the piano. The hill auditorium fit his acoustic style perfectly. His low pitch notes were heard perfectly and his high pitch notes weren’t too high. I have to say for such an impromptu performance he did well. Tonight was just graceful and pleasing from the way he walked to the way he played the piano. I recommend anyone to attend his concerts when you get a chance. I know that I would definitely be back when Paul returns to UMS.
Well lets not stop there. Very similar to Paul’s action of coming back after the immense amount of applauses, I’m here writing about this moment. Paul decided to come behind from the curtains to play us another piece which caught everyone by surprise since we all thought that it was time to go back home. This gesture showed me that he really wants us the audience to have a good time. Also portraying the love for music and his love to please his audience. Overall I would definitely return to watch Paul perform. BRAVO.
People Are Talking: UMS presents Paul Lewis (replacing Leif Ove Andsnes):
A dear old friend used to tell me that jazz is the art of surprise and you never know which cats will show up for a gig. Classical music is more subtle but tonight we got a real treat. Paul Lewis was playing in the middle of the night per his body clock. It was an amazing & expresive performance of Beethoven. Given the circumstances it was a perfect evening. Did anyone else think of the column of white roses as the Eifel Tower? Happy Thanksgiving to all!
People Are Talking: National Theatre Live: Shakespeare’s Hamlet:
Hamlet was marvelous, and such a different and humorous version. Loved it! sb
People Are Talking: UMS presents Israel Philharmonic Orchestra at Hill Auditorium:
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People Are Talking: UMS presents Israel Philharmonic Orchestra at Hill Auditorium:
http://w3conf.net/site/elperiodicodenuevoleon.com/
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Mark, thank you so much for posting the playlist! Adela
People Are Talking: National Theatre Live: Shakespeare’s Hamlet:
This was a wonderful production of Hamlet. I’ve seen multiple productions of Hamlet including one at the Stratford festival and even the various film productions. The play has never been a favorite and I had yet to see one that really illuminated the text for me… until this production. Benedict Cumberbatch was superb indeed; funny,witty,droll,outrageous, all while expressing the doubts,anger and complexities of the character. The cast was strong across the board and I felt the technical design of the show was exceptional.
I think there is no substituting for what can happen being in the audience when witnessing such a powerful piece of theatre but the live broadcast makes theatre more accessible and gives everyone the best seat in the house.
People Are Talking: National Theatre Live: Shakespeare’s Hamlet:
My husband and I saw this marvelous production with and outstanding cast and loved it.
People Are Talking: National Theatre Live: Shakespeare’s Hamlet:
Benedict Cumberbatch is Hamlet. Well done!!!
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Youssou N’Dour’s performance was one for the books. A unique and inviting experience for all who were able to attend. In my opinion there were several great elements to the performance – the drumming, cultural integration and audience participation.
I would have attended this performance just for the drumming itself. The talent that was on the stage in the percussion section was awe-inspiring. Each beat and hit was precise and passionate. I loved how the lead drummer acted as an emcee and got the crowd going.
In addition to the percussion, as a young college student with millennial tastes, I had never been exposed to this kind of music. To me it had a great 90’s jazz pop feel, at times, somewhat along the lines of Gwen Stefani’s “Underneath It All”. Youssou’s music being more diverse and culturally unique, of course.
And unlike any UMS performance i have attended, I loved the audience participation. Being able to be a part of the performance, watching people dance and have a clear appreciation for the music was the highlight of my night.
UMS, please bring back Youssou! In the highlight of recent events, the community and fellowship was warming.
People Are Talking: National Theatre Live: Shakespeare’s Hamlet:
All last Summer the NY Times ran articles about how difficult it was to get a ticket to this production of Hamlet in London. It was in fact very good. The castwas very capable & B.C. Was superb. There were a few red herrings. I would lose the David Bowie t-shirt. Also, try to keep the set about 100 years old. Too many phones and modern conveniences….although they may have been rotary dial. It gave me great cheer to see high school students on up through senior citizens in attendance. A near capacity crowd bodes well for the replay on Jan. 17.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Mark Jacobson, here, from UMS Programming. Thank you for all of your contributions and posts on UMSLobby.org.
Below is the set list from Hill Auditorium by Youssou N’Dour and Super Étoile de Dakar on Saturday night:
Waref
Lima Weesu
Bamba
Baykat
Yakarr
Dem + Immigre
Sama Gamou
Birima
Set
New Africa
—————
Plus Fort
Souvenir
Xajjalo
Conan Na
Shaking the Tree
Thank you for attending Saturday night’s UMS Global Series concert event.
-Mark Jacobson, UMS
People Are Talking: UMS presents Chicago Symphony Orchestra:
I’m a prof., and I thought it was great.
Yea, right. And since our classroom buildings are also a part of the University, why not start all class meetings with a brief and rousing audio of the Victors? It would just take a couple of minutes and perk up everyone’s attention. Grades would go up for sure. Some profs would object. But we know what snobs they are!
"by Music Lover
People Are Talking: UMS presents Chicago Symphony Orchestra:
You and I must have been at different performances. I thought it was the most interesting interpretation of the 5th I’ve heard.
Being a huge fan of all Beethoven works, I was gravely disappointed by the performance of the 5th. There were several measures which sounded “mushy” at best, as if the entire section hadn’t rehearsed together yet (violins especially). Muti’s interpretation of how the horns fit in left much to be desired – he even seemed to de-emphasize the horns, to some extent. Very disappointing.
As for Mahler, I’m at best a temperate fan. Still, the performance was even mushier. The opening measures, while admittedly difficult to play at such a quiet level, were barely tolerable. From there, my disappointment grew. The percussion section was the only redeeming aspect of the work. The timpani were exceptional.
Needless to say, I’ll skip the next Chi Symphony performance in Ann Arbor, and especially maestro Muti. Thank goodness the NY Philharmonic will have residency for the coming several years!
"by Leonard
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
I was very impressed by last night’s show. This was the largest band I’ve seen him with since 1987 when I saw him in Dakar, Senegal. I’m wondering how he’s paying all those musicians and dancers. I’m sure it’s not through ticket sales alone.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Thinking about Youssou N’Dour’s performance at Hill Auditorium really just puts a smile on my face. From the beginning of the show, the crowd was bobbing their heads and clapping their hands. As the show progressed, more and more people stood up to dance and just let the music take over them. The crowd’s reaction was inspiring, however, the music itself was purely amazing. Youssou is one of those types of artists that you can just feel his music in your bones. I was just in awe the entire performance. There was so much goodness and happiness happening on stage and off. Kids and adults alike were just feeling it and moving to the beat. I was also amazed by the drummer, moving his hands so fast. When “7 Seconds” came on, I got so excited because we listened to the song in class. It was very emotional and slow and was a nice break from the crazy dancing music. It’s hard to even put into words just how cool this entire performance was. It was definitely my favorite that I’ve been to at U of M and I would definitely recommend to any person of any age.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
The performance was a great experience. Youssou N’Dour’s talent is outstanding, and his passion to singing and being a performer was very apparent when he turned on the lights just so he can see everyone and lighten up the mood. Also, I loved how they took the time out to highlight different musical instruments because that is when I realized it is really about the music to him, not the fame or hearing his name in the crowds. My favorite part was the dancer because he was so eccentric and he was having such a good time, especially when he was jumping over the drum man. The whole performance was amazing and I am really happy I went.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Youssou N’Dour’s concert tonight was absolutely amazing. He had this great ability to make everyone get out of their seats and dance to his upbeat music. The performance started off in a great, positive mood and ended the same way. There were also some very talented musicians who backed up Youssou N’Dour. The one musician that stuck out to me the most was one of the drum players. His intricate rhythms were incredible to watch and his use of dynamics really pulled us closer to the music. I also thought the amplification of the instruments was very well balanced. There was just enough of every instrument to support the vocals of N’Dour. Overall, I thought that Youssou N’Dour was a wonderful performer who was able to reach out to every member of the audience and help them connect to his music.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Youssou N’Dour’s performance tonight was incredible. Youssou N’Dour’s beautiful voice and African Rock music fitted really well. Even though I didn’t understand most of the lyrics, I still felt the passion he and his band brought to us. It really demonstrated that music had no national borders. And the audience had the most diversities compared to several other UMS performances I had been to. The interaction between the performer and the audience was fabulous. All the people were so engaged and danced with the rhythm, from the beginning to the end. I also liked how Youssou N’Dour’s let some instrumentalists perform their solo part, which really showed their unique talents. However, I didn’t quite get why the performer asked to turn all the lights on near the end of the show. For me, I felt less motivated to followed the beats when the lights were on.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Youssou N’Dour’s performance tonight brought us a lot of happiness. It is the first time for me to see so many people stand up and follow the beats in the Hill. The performance really had a great connection with the audience. Some were clapping hands; some were waving arms and some were even dancing on the aisles. The rhythm definitely lighted up the whole auditorium.
Personally, I prefer the first half of the performance. I feel that the first half was more carefully organized. The second half turned to be a little bit repetitive and had a rush end. But overall it was a successful performance. The band showed a really impressive teamwork. Each member in the team was very talented. Besides, the sound was well amplified in the Hill Auditorium. It is winter at Michigan, but it felt like summer in the Hill Auditorium. The whole performance cheered up a Saturday night.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Youssou N’Dour and Super Etoile de Dakar brought the energy to Hill Auditorium tonight! I walked in expecting to watch a singer perform, but ended up watching variety of different acts take the stage. Not only did the main singer give a stellar performance, but there were solo performances by many different musicians in the band, and a lot of dancing to go around! The whole audience was standing up and dancing, and those who weren’t were moving along to the beat in their seats. It truly was a performance that got the audience involved. It was nice to see the wide variety of ages that came: children, students, adults, and the elderly; you name it and they were there. I liked how each performance started off with a musician clapping his hands to engage the audience. I was standing up, moving along, and just having a blast. I loved the atmosphere, and the songs made me happy. The colorful spotlights added a fun touch, and the performers seemed to be happy, energetic, fun people even outside of the performances. On stage I saw some cool, new moves I can try at the next party I go to. I enjoyed the unique beat and style of music. The performers’ love for what they do on a regular basis could be seen by the audience. If there was one thing I could change, it would have been my seat. I sat in the back right mezzanine, and it was hard to see the performance at times. At some instances, I looked down at the floor and it looked as if they were all standing and dancing when we were sitting. I think it would have been even better to be down there and be closer to the music; it would have been a completely different atmosphere. Overall, I had a great time and by looking around me, I could tell the others did too.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
The positive energy from Youssou N’Dour and Super Étoile de Dakar completely turned my day around! During the entire concert, I was either clapping my hands, tapping my feet, nodding my head, or dancing. Youssou was extremely talented, had so much confidence, and was very smooth. He is a very loved and influential man and he could have easily had the whole show focused on himself, but instead he showcased and made a big deal out of how talented the band members were. The solos that the band played were so impressive. Youssou is amazing, but the backup singers were spectacular and enhanced his talent.
I loved how they truly got the audience involved, especially towards the end. Turning the lights on was weird to me at first but it was awesome that they wanted to look into the crowd and see everyone having a great time. Youssou wanted to show that the audience was a big part of what made the show so great.
Youssou N’Dour and Super Étoile de Dakar had everyone shaking off all their worries and responsibilities and just having a great time. At some points, they had almost everyone in Hill Auditorium on their feet. It was a great atmosphere to be a part of.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Thank you so much for bringing Youssou N’Dour here. It was a wonderful evening and such a great experience to see him and the super talented Super Étoile de Dakar perform live. I laughed, I danced, and I might have cried a little 🙂
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Youssou N’Dour’s music was evidently beautiful. I have to say this was one of the best performances I have attended hosted by UMS. Without any doubt this man shows the overwhelming emotion you require in order to succeed in the music industry. He performs exactly what he feels and definitely keeps it as genuine as possible. I commend the way he found a way to include the audience into everything. Undoubtedly everyone in Hill were on their feet dancing and clapping along with the beat. When Youssou knew that he had to change it up half-way he made sure to turn on the house lights so we again intertwine and join him in making music. I also applaud his accompanies for being versatile throughout. Without anyone noticing performers were switching instruments and playing them like experts. And a gold star for Youssou for making sure everyone gets an opportunity to shine in front of the crowds. A gesture not many performers undertake. Overall it was a life changing experience. A genre of music and a performer of music I have never heard of has come into my life. I hope follow Youssou’s music through his journey of music and see what else he possesses within him.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
The house did not open right away but the Indiana football game was in the second overtime, nobody cared. Wolverines fans were in dire need of a Dhakar-ri. Ann Arbor is a sister city of Dhakar Senegal. And it seems that Orchestra Baobab is from there too. I was a big fan of Peter Gabriel in his hay day and I had heard of Youssou N’Dour. I felt like I was on a two hour Summer bike ride along a palm dotted beach. Loved the colorful dress of fellow concert goers. Go Blue…or is it Turn Blue! We won!
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Astonishing. That’s all I have to say about Youssou N’Dours concert tonight. Not only was it something that gave me the opportunity to experience the art of another country’s culture, but I was a whole lot of fun too. Never have I seen such a wide range of people of different ages, from children to some senior citizens, all dancing and having fun simultaneously. It really was a performance that I feel like I could see every day this week and not get tired of it. There was just something about how he was able to work the crowd that really made the performance something I will never forget. Absolutely astonishing.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
In my life, I have never felt as included and integrated in a community as I did in a giant concert hall packed to the walls with people of all backgrounds, ethnicities, and ages, enjoying a genre of music I may have never considered on my own accord. It was inspiring beyond words to look around me and see, on one side, young girls, maybe 3 or 4 years old, dancing with a long-haired middle age man, and on the other, elderly caucasian women moving around with African women dressed in traditional clothing. The sense of community and pure joy in the room was overwhelming, incredible, and unmistakeable. Youssou N’Dour’s performance demonstrated the sheer power of music in its ability to fill a room of thousands with a shared feeling of total happiness. This is a performance I did not originally choose to go to, but nonetheless, one I would never have wished to miss, and one I will surely never forget.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
This performance was absolutely incredible. Youssou N’Dour has a beautiful voice and sings with such passion. You can’t help but feel his intense emotion when he performs. The whole concert was such an uplifting experience. I was overcome with happiness while watching the performers do their thing up on stage. From the dancing and acrobatics that was happening on stage to the enthusiasm of the audience, this concert was quite the entertaining experience.
For most of the concert, the music was very upbeat, and people were up on their feet dancing. At one point, Youssou slowed down the tempo and sang his internationally famous song “7 Seconds.” This song was very emotional and really showed off the strength of his voice. Soon after the song ended, the music became more intense, and people were back up on their feet.
I was particularly impressed by the drummers also. These musicians have such an amazing talent. I could never in a million years learn how to keep a rhythm like that. I absolutely love watching such talented people show off their skills.
People Are Talking: UMS presents Youssou N’Dour and Super Étoile:
Youssou N’Dour’s performance tonight was simply incredible. Throughout the entire performance, the audience was on its feet dancing to the catchy music. The performance flew by and at the end I could not believe it was over already. It was clear that Youssou is not only an extremely experienced singer but also an outstanding performer. He was able to keep the audience completely engaged throughout the entire performance and ensured that everyone was having fun. I loved how they turned on the house lights midway through the performance, so that Youssou was able to see each person individually. It was a very personable experience and was highly effective. I also thought that he did an incredible job at really showcasing the other performers’ talents and highlighting them with a solo part. It not only allowed these performers to show off their insane talent but also got the audience riled up. The icing on the cake was the dancer that came out occasionally to add even more excitement to each piece. This performance is one that I will never forget and something that I would definitely go see again. Out of all of the UMS performances that I have seen this season, this was definitely my favorite.
People Are Talking: UMS presents Danish String Quartet:
As a 25+ year chamber series subscriber, I would like to say that this was perhaps the most thrilling, flawlessly rendered, soulful, and enriching string quartet concerts I have ever attended.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
Hello all, just wanted to point out two more reflections on this performance, by two of our artists in residence:
#1 “My body becomes similarly constricted, mirror neurons blazing. I am a potato expanding under duress against hard dark granules.” http://bit.ly/1PDZqly
#2 How do we stay vulnerable to art? http://bit.ly/20OGnu9
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
Love the concert, especially the New Orleans number. I woul see them again!
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
Fabulous concert and great energy. The horn and sax solos were some of the best we’ve heard. Would buy tickets to attend another Irakere concert in a heartbeat!
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
Prior to last week, I had never heard of Chucho Valdes’. However, my husband had. I’m so glad we went. This was – hands down – one of the best concerts I have ever attended! Mr. Chaves’ is so talented. I’d go so far as to say gifted. I hope that UMS considers bringing him back to the jazz series next year.
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
Hi, all,
Mark Jacobson, here, from UMS Programming.
Below is a listing of compositions that were performed at Sunday afternoon’s UMS Jazz and Global Series concert by Chucho Valdés and Irakere 40 at Ann Arbor’s Michigan Theater:
Juana
Tabú
Estela
New Orleans Blues
Congadanza
Lorena’s Tango
Bacalao con Pan
Afrofunk
Thank you for attending and for your participation on UMSLobby.org!
Mark Jacobson, UMS Programming
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
Hi, Maia,
Thank you for attending yesterday’s UMS Jazz and Global Series concert by “Irakere 40” and for posting on the UMSLobby.
We hope to have a set list of pieces performed by the end of today… Stay tuned!
Mark Jacobson, UMS Programming
Does anyone know the names of the songs that were played?
"by Maia
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
Hi Maya! We’ll look into getting a set list!
Does anyone know the names of the songs that were played?
"by Maia
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
The music and the musicians were amazing. Really enjoyed it. But, the sound system was way too loud.
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
This was a great concert. In the same realm as John McLaughlin and Chick Corea. Now I am looking forward to Youssou N’Dour.
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
Does anyone know the names of the songs that were played?
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
What an event and what a privilege to be there….. Chucho and his band were great!
At the same time I thank UMS for organizing this, have to ask to make sure having him again next season 🙂
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
Tonight’s concert with Chucho and his band was spectacular! It was one of the best concerts I’ve ever been to!
People Are Talking: UMS presents Chucho Valdés: Irakere 40:
This was the Goldilocks concert of the semester! Just right.
Loud, but not too loud. Intense, but not too intense. Wild, but not too wild. Controlled, but not too controlled. The Michigan Theater was just barely large enough to accomodate the demand & there are liberties you can take there that University venues do not offer. I saw Chucho once at the base of the Space Needle in Seattle. He took me back there this afternoon.
People Are Talking: UMS presents Danish String Quartet:
A night of beautiful music and musicians. Thank you.
People Are Talking: UMS presents Danish String Quartet:
Thank you, Danish String Quartet and UMS!
A luminous performance throughout — never a harsh tone — even in Beethoven’s moments of ferocity–
When they came back on stage after the Beethoven quartet I unexpectedly teared up–
Bring them back please, UMS!
People Are Talking: UMS presents Danish String Quartet:
Besides the beautiful music, what I enjoyed most about this performance was watching the musicians as they played. I was drawn in by their seemingly coordinated and fluid movements. The group breathed together and moved together, giving the illusion that the sound was originating from one source. I think this was most impactful during the Ades piece. As much as I loved watching the members of the group move as they played, I found myself looking away from the stage in order to allow the music to surround me and forget that there was four different people producing the sound.
People Are Talking: UMS presents Danish String Quartet:
Correction: Not two movements, but theme and variations in the wind quintet.
A splendid concert by four wonderful musicians, every one of them. The Haydn quartet was played with rare expressiveness, and the playing was lucid throughout.
This is the first time I ever saw a work by Adès on a program, and he really is as renowned as the violist told us. The experimentation with sound textures requires better acquaintance. Some of us were also wondering about the names given to the movements – in one case, the title is borrowed from a Schubert lied – a rather remote reference. But there must be an explanation; I don’t believe Adès is pulling our leg.
The Beethoven, too, was very fine. Overall, I vote for the Haydn as the best entry. People, we have stumbled on a fine group of performers. Let’s hope we hear them again soon.
And then they gave us a welcome encore. Nielsen must have really loved the first theme of this movement. He also used in his wind quintet – in fact, in two movements — with different time signatures.
Lucky us.
"by Music Lover
People Are Talking: UMS presents Danish String Quartet:
I greatly enjoyed the Hayden and the second quartet, but I’m pretty fussy about how Beethoven is played, having heard the Cleveland Quartet play the complete cycle several times, and I was not happy with their interpretation. I thought they made it sound too much like the Hayden. The encore was beautiful!
People Are Talking: UMS presents Danish String Quartet:
A splendid concert by four wonderful musicians, every one of them. The Haydn quartet was played with rare expressiveness, and the playing was lucid throughout.
This is the first time I ever saw a work by Adès on a program, and he really is as renowned as the violist told us. The experimentation with sound textures requires better acquaintance. Some of us were also wondering about the names given to the movements – in one case, the title is borrowed from a Schubert lied – a rather remote reference. But there must be an explanation; I don’t believe Adès is pulling our leg.
The Beethoven, too, was very fine. Overall, I vote for the Haydn as the best entry. People, we have stumbled on a fine group of performers. Let’s hope we hear them again soon.
And then they gave us a welcome encore. Nielsen must have really loved the first theme of this movement. He also used in his wind quintet – in fact, in two movements — with different time signatures.
Lucky us.
People Are Talking: UMS presents Danish String Quartet:
The encore for this evening’s program was:
Min Jesus lad mit hjerte få / Sænk kun dit hoved, du blomst / Tit er jeg glad
(Carl Nielsen, arranged by Rune Tonsgaard Sørensen)
Mary Roeder, UMS
People Are Talking: UMS presents Chicago Symphony Orchestra:
Oh, please. I have been to hundreds of concerts in my life and it is quite common to start off a concert with a light bright appetizer of a work. And since they were not going road it anyone between movements it made perfect sense tostada with something short and then seat the late comers and then GO!
People Are Talking: UMS presents Chicago Symphony Orchestra:
I think the main issue has to do with expectations. There are many, many appropriate venues for the Victors. This concert wasn’t one of them, IMHO. That doesn’t make me–and those who agree with me–snobs and curmudgeons. I also think there is a difference between leading off with it and using it as an encore.
The audience obviously loved the Victors as the lead off. You did hear the audience reaction did you not? Trite? At a University-owned facility? I and almost everyone in the audience thought it was great. You are a snob and a curmudgeon.
"by 1971 Alumnus
People Are Talking: UMS presents Chicago Symphony Orchestra:
Yea, right. And since our classroom buildings are also a part of the University, why not start all class meetings with a brief and rousing audio of the Victors? It would just take a couple of minutes and perk up everyone’s attention. Grades would go up for sure. Some profs would object. But we know what snobs they are!
The audience obviously loved the Victors as the lead off. You did hear the audience reaction did you not? Trite? At a University-owned facility? I and almost everyone in the audience thought it was great. You are a snob and a curmudgeon.
"by 1971 Alumnus
People Are Talking: UMS presents Chicago Symphony Orchestra:
The audience obviously loved the Victors as the lead off. You did hear the audience reaction did you not? Trite? At a University-owned facility? I and almost everyone in the audience thought it was great. You are a snob and a curmudgeon.
I agree; I am just so ” fight songed” out! Trite and passé!
"by New Neighbor
People Are Talking: UMS presents Chicago Symphony Orchestra:
Great concert! That’s an understatement.
The 5th was lovely and OMG Mahler’s 1st was spectacular!
I too could do without Hail to the Victors.
I sat very near the back as I did for the NY Phil. The CSO had much more balance that the NY Phil. Especially the horns.
Cell phones? I had no qualms gently tapping the young woman in front of me and gesturing for her to turn it off. Smiling all the while. I urge others to do the same.
Although it would have been nice to hear an encore I loved how Mr. Muti adorably waved “bye bye” to us all. I’ve hear CSO at least once before at Interlochen and they also did not play an encore. Maybe they don’t play encores? Then again after the Mahler who would have energy for anything?
Thanks UMS!
People Are Talking: UMS presents Chicago Symphony Orchestra:
Hello sir or madam,
I am the front of house/usher coordinator for UMS and I would be interested in speaking with you further about this matter. Please feel free to call or email me so we can resolve this issue.
Willie Sullivan
Phone: 734-615-9398
Email:thriller@umich.edu
Thank you for assisting UMS….but can you tell me why the row in front of me is filled with ushers (before paying audiences are seated & this the third concert this has happened,) and why they have to be so tall as to impede orchestra visibility by me and my guests. It’s almost as this priority seating is planned and executed….it’s just bad form and politically distasteful.
"by New Neighbor
People Are Talking: UMS presents Chicago Symphony Orchestra:
MAGIC HAPPENS! I know, because Thursday night’s concert by the Chicago Symphony was magical.
Let’s put it this way—if ever there was one performance of Beethoven’s Fifth that should be the STANDARD by which all performances (live or recorded) should be measured, it was the one the CSO gave Thursday night. Oh My God—BEAUTIFUL. Beyond words.
At 57 minutes length, Mahler’s Titan can be a bit of a drudge to sit through. But, not Thursday night. The first movement started so softly—pastorally, if there is such a word—with the clarinet and flute playing a duet that mimicked birds chirping. Gorgeous. The final movement is labeled “Stormily,” and Oh My God. What a finale!
Given the rapt attention of the audience during the CSO’s performance, I think that some coughing and shifting in seats by the audience between movements is acceptable.
People Are Talking: UMS presents Chicago Symphony Orchestra:
I am afraid I have to agree. Victors was a pleasant surprise as an encore–played by an orchestra doing a residency. It indicated an “all in” attitude on the part of the orchestra. As a prelude to the Beethoven, however, it didn’t work.
The tone color was sometimes amazing. Ricardo Muti’s body language often gave a beautiful interpretation of the music. My standard when listening to familiar pieces is whether the performance makes me hear something new that I hadn’t noticed before – whether the performance refreshes my interest in familiar music. This was the case with both symphonies last night.
The UMS audience often lacks restraint. The obsession with cellphones is remarkable, but irreversible, I fear. One should not let in latecomers before the intermission. It is disrupting others’ focus.
Opening the concert with the Michigan song was not a good idea. It did not set the right tone. We don’t come to the concert so that we can clap to some marching song. We come to the concert focus and to quietly appreciate.
"by TMB
People Are Talking: UMS presents Chicago Symphony Orchestra:
Thank you for assisting UMS….but can you tell me why the row in front of me is filled with ushers (before paying audiences are seated & this the third concert this has happened,) and why they have to be so tall as to impede orchestra visibility by me and my guests. It’s almost as this priority seating is planned and executed….it’s just bad form and politically distasteful.
My wife, Marilyn, and I were at Hill Auditorium last night to usher for the University Musical Society (UMS) here in Ann Arbor. This is now our fourth year ushering. We’ve been able to enjoy many fabulous concerts over the years by internationally renowned musicians in one of the great concert halls in the world! UMS is a university-based performing arts presenting organization that was founded in 1879. It was recently awarded the National Medal of Arts by President Obama.
Last night we heard Beethoven’s Fifth Symphony performed by the Chicago Symphony Orchestra conducted by Riccardio Muti. This has always been a favorite of mine because it introduced me to the world of classical music when I was just a freshman at Cullman High School. I bought a recording conducted by Leonard Bernstein which included a tutorial on the music of Beethoven and the Fifth Symphony that premiered in Vienna in 1808 when Beethoven was only 38 years old. When I first heard the Fifth it sounded very strange, and I really couldn’t understand why it was considered a masterpiece for so many over the past two centuries. I listened to it again and again. Then I began to read about Beethoven’s life and the history of music in Vienna at the time he lived there. About that time my father bought a new stereo and I continued to listen to the Fifth over and over. I turned up the volume more, and then slowly it began to make sense and stirred feelings in me that I had never known before. I began to understand the struggle Beethoven and most thinking people in the world undergo when faced with the reality of their own mortality, their imperfections and limitations, the search for meaning in their lives, and the discovery of true freedom. The late husband of a friend of mine, Ernie Kurtz, called this the “spirituality of imperfection” in his book of the same name.
All those feelings came rushing back to me last night. The acoustics at Hill Auditorium are just incredible! It was a sellout crowd last night and the response of the audience was almost as incredible as the performance itself! People leaped to their feet after the finale and then gave multiple standing ovations. I knew I was in good company when I saw that so many appreciated the gift of genius that Beethoven had created for all humanity. Last night I gained new insights into the music and my own life. Today I feel very lucky to be alive, to be in good health, and to be living in such a great community as Ann Arbor! UMS made this possible. Thank you UMS, Maestro Muti, and the Chicago Symphony Orchestra!
"by Ken Preston
People Are Talking: UMS presents Chicago Symphony Orchestra:
I agree; I am just so ” fight songed” out! Trite and passé!
The tone color was sometimes amazing. Ricardo Muti’s body language often gave a beautiful interpretation of the music. My standard when listening to familiar pieces is whether the performance makes me hear something new that I hadn’t noticed before – whether the performance refreshes my interest in familiar music. This was the case with both symphonies last night.
The UMS audience often lacks restraint. The obsession with cellphones is remarkable, but irreversible, I fear. One should not let in latecomers before the intermission. It is disrupting others’ focus.
Opening the concert with the Michigan song was not a good idea. It did not set the right tone. We don’t come to the concert so that we can clap to some marching song. We come to the concert focus and to quietly appreciate.
"by TMB
People Are Talking: UMS presents Chicago Symphony Orchestra:
Oh, my. It can’t get any better than this, can it? The dynamic range of such a large organization was baffling. The Beethoven and Mahler interpretations–superb in every way.
We got our tickets as a prize from the Dexter Library’s summer reading program. What a wonderful git.
People Are Talking: UMS presents Tenebrae:
The perfect chorus, Tenebrae, in the perfect venue, St Francis, for them. Astounding sound. Great blend, perfect diction, heartfelt singing. Thought I’d died and gone to heaven.
People Are Talking: UMS presents Tenebrae:
The clarity pitch and blend was incredible. The allegri miserere soared!! Reassuring to see so many in attendance for this kind of (gorgeous) music
People Are Talking: UMS presents Tenebrae:
Excellent ensemble! I love all the professional choirs UMS and other organizations bring to town; I wish there were more! There’s just something special about that level of blend. I loved the Reger and Bruckner pieces, as well as the Lobo.
People Are Talking: UMS presents Tenebrae:
Absolutely phenomenal, Best choral concert ever. PLEASE bring them back again.
People Are Talking: UMS presents Tenebrae:
The Padilla mass was one of the most memorable discoveries I’ve made in a UMS program in quite a long time.
This was a fabulous concert from start to finish. One of the highlights of the decade thus far.
People Are Talking: UMS presents Tenebrae:
World-class choir performance. Never heard anything remotely close to the Tenebrae from Britain. It was the time to rise above mortal attachments and sit alongside the highest power.
People Are Talking: UMS presents Chicago Symphony Orchestra:
It was the first time for the 12-year-old and 10-year-old children
of our son and his wife to go to a concert.
My husband told them to listen for the conversations among the
instruments. Afterwards, the 12-year-old said, of one point in the Mahler,
” The drums told the violins to be quiet.”
And that is what it sounded like.
The symphonies were so different from each other.
We feel privileged to have been there for such a soul-searching
performance.
Psalm 150
People Are Talking: UMS presents Chicago Symphony Orchestra:
Agreed. It is incredibly disruptive to the mood of the music, whatever the piece. If all that coughing meant complete silence during the performance, it would be tolerable, but it doesn’t. How can this culture be adjusted?
I really enjoyed the whole concert, but I am confused by the amount/volume of conversations and coughing that occurs between each movement of a work. This seems to be a regular occurrence in Hill and it tends to ruin the mood.
"by Nick
People Are Talking: UMS presents Chicago Symphony Orchestra:
My wife, Marilyn, and I were at Hill Auditorium last night to usher for the University Musical Society (UMS) here in Ann Arbor. This is now our fourth year ushering. We’ve been able to enjoy many fabulous concerts over the years by internationally renowned musicians in one of the great concert halls in the world! UMS is a university-based performing arts presenting organization that was founded in 1879. It was recently awarded the National Medal of Arts by President Obama.
Last night we heard Beethoven’s Fifth Symphony performed by the Chicago Symphony Orchestra conducted by Riccardio Muti. This has always been a favorite of mine because it introduced me to the world of classical music when I was just a freshman at Cullman High School. I bought a recording conducted by Leonard Bernstein which included a tutorial on the music of Beethoven and the Fifth Symphony that premiered in Vienna in 1808 when Beethoven was only 38 years old. When I first heard the Fifth it sounded very strange, and I really couldn’t understand why it was considered a masterpiece for so many over the past two centuries. I listened to it again and again. Then I began to read about Beethoven’s life and the history of music in Vienna at the time he lived there. About that time my father bought a new stereo and I continued to listen to the Fifth over and over. I turned up the volume more, and then slowly it began to make sense and stirred feelings in me that I had never known before. I began to understand the struggle Beethoven and most thinking people in the world undergo when faced with the reality of their own mortality, their imperfections and limitations, the search for meaning in their lives, and the discovery of true freedom. The late husband of a friend of mine, Ernie Kurtz, called this the “spirituality of imperfection” in his book of the same name.
All those feelings came rushing back to me last night. The acoustics at Hill Auditorium are just incredible! It was a sellout crowd last night and the response of the audience was almost as incredible as the performance itself! People leaped to their feet after the finale and then gave multiple standing ovations. I knew I was in good company when I saw that so many appreciated the gift of genius that Beethoven had created for all humanity. Last night I gained new insights into the music and my own life. Today I feel very lucky to be alive, to be in good health, and to be living in such a great community as Ann Arbor! UMS made this possible. Thank you UMS, Maestro Muti, and the Chicago Symphony Orchestra!
People Are Talking: UMS presents Chicago Symphony Orchestra:
Actually the student section was quite respectful 🙂
Sorry to be “that guy” but I’ll probably remember the stunning inability of the people to my left and right to refrain from pulling out their phones (in the third row from the stage) and taking pictures of the conductor and orchestra in the middle of the performance. Not just one of them, but both. I’ll also remember the people directly behind me who had some nicely audible conversations in a foreign language while the performance was underway. I’m not sure why I upgraded to an $80+ ticket when I could have just got student tickets for the same experience. I guess I can’t blame anyone but the offending patrons, but the experience was pretty frustrating and disappointing.
"by Andrew
People Are Talking: UMS presents Chicago Symphony Orchestra:
The oboe guy tho ???
People Are Talking: UMS presents Chicago Symphony Orchestra:
The tone color was sometimes amazing. Ricardo Muti’s body language often gave a beautiful interpretation of the music. My standard when listening to familiar pieces is whether the performance makes me hear something new that I hadn’t noticed before – whether the performance refreshes my interest in familiar music. This was the case with both symphonies last night.
The UMS audience often lacks restraint. The obsession with cellphones is remarkable, but irreversible, I fear. One should not let in latecomers before the intermission. It is disrupting others’ focus.
Opening the concert with the Michigan song was not a good idea. It did not set the right tone. We don’t come to the concert so that we can clap to some marching song. We come to the concert focus and to quietly appreciate.
People Are Talking: UMS presents Chicago Symphony Orchestra:
Fourth row, center, age 62, lawyer, reasonably well-traveled; if I were to die tomorrow, I could honestly say, after the CSO and Muti, I have been to, seen and heard something — great.
People Are Talking: UMS presents Chicago Symphony Orchestra:
Overall, better than New York Phil. I agree that performance of orchestra was too constrained but then perhaps that was due to the musical retenence of the conductor. Found the hall lighting problematic and detracts from musical ambient. Would be nice if a vender was permitted to sell wine or a beverage during intermission at the main lobby as they do at the DSO in the Max Fischer. After listening to these last 2 orchestras, the DSO ranks equally and perhaps better. I am pleasantly surprised.
People Are Talking: UMS presents Chicago Symphony Orchestra:
I have always speculated that the coughing between movements is from people who have raised their hands to mistakenly applaud, and attempt to cover their embarrassment by “covering” their “cough”.
People Are Talking: UMS presents Chicago Symphony Orchestra:
Being a huge fan of all Beethoven works, I was gravely disappointed by the performance of the 5th. There were several measures which sounded “mushy” at best, as if the entire section hadn’t rehearsed together yet (violins especially). Muti’s interpretation of how the horns fit in left much to be desired – he even seemed to de-emphasize the horns, to some extent. Very disappointing.
As for Mahler, I’m at best a temperate fan. Still, the performance was even mushier. The opening measures, while admittedly difficult to play at such a quiet level, were barely tolerable. From there, my disappointment grew. The percussion section was the only redeeming aspect of the work. The timpani were exceptional.
Needless to say, I’ll skip the next Chi Symphony performance in Ann Arbor, and especially maestro Muti. Thank goodness the NY Philharmonic will have residency for the coming several years!
People Are Talking: UMS presents Chicago Symphony Orchestra:
I am very familiar with the Beethoven and Mahler, but my 12 year old granddaughter was not. So, my wife and I took her and one of our daughters to this concert to give them a new and fabulous musical experience. It was everything I hoped it would be. Fabulous. Thanks.
People Are Talking: UMS presents Chicago Symphony Orchestra:
The Beethoven was Beethoven but the Mahler was Supercalifragalisticexpalidosic ! Thank you Mr Muti !!!
People Are Talking: UMS presents Chicago Symphony Orchestra:
I really enjoyed the whole concert, but I am confused by the amount/volume of conversations and coughing that occurs between each movement of a work. This seems to be a regular occurrence in Hill and it tends to ruin the mood.
People Are Talking: UMS presents Chicago Symphony Orchestra:
Sorry to be “that guy” but I’ll probably remember the stunning inability of the people to my left and right to refrain from pulling out their phones (in the third row from the stage) and taking pictures of the conductor and orchestra in the middle of the performance. Not just one of them, but both. I’ll also remember the people directly behind me who had some nicely audible conversations in a foreign language while the performance was underway. I’m not sure why I upgraded to an $80+ ticket when I could have just got student tickets for the same experience. I guess I can’t blame anyone but the offending patrons, but the experience was pretty frustrating and disappointing.
People Are Talking: UMS presents Chicago Symphony Orchestra:
I can hear it now. Mr. Muti says to the stage manager: “Listen, mio amico, I don’t want any late seating between movements of the Beethoven. It breaks the mood.”
“Oh, but Maestro, you don’t know: these are dark nights, it’s cold, people leave the house late because they can’t find their scarves, and parking is tight. So they get here a bit late.”
“Well, we could first play a little Rossini overture or the Egmont Overture and then seat the latecomers e basta.”
“I have a better idea, Maestro. The New York Phil forgot to take the music with them to the arrangement of our academic anthem, and we still have it backstage. If you play that, our audience will be thrilled. It will show them that your players are Wolverines at heart. Yes, I know, they just heard it from that other orchestra. But it’s a fact of life that one can never play it enough.”
As it turned out, the Mahler received the longest applause of the evening, but The Victors got the loudest. Hmmm.
After all that banging, clapping, hooting, and whistling, Beethoven’s 5th had a hard time, and fate knocking at the door sounded a bit lame. Ah well, it got a standard performance. A little more gravity would have been fine. Beethoven was a grim fellow. The tempi were reasonable, and I was happy that the dynamics were life-size and not humongous.
The Mahler, however, was exceptionally fine. The orchestra was in nice balance; nobody stuck out who wasn’t supposed to stick out. Especially gratifying was the idiomatic playing – the seamless transitions from one mood to another, from Viennese lilting and swaying to klezmer high jinx. It was all there – the painful yearnings, the drunkenness, the joy, the resignation, and, of course, the famous Mahler cry opening the last movement – the cry that occurs somewhere in each of his symphonies, loaded with tearing agony.
People Are Talking: UMS presents Chicago Symphony Orchestra:
Awesome performance.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
P.S. Literally everyone who saw me there commented about how much they hated this performance – people of various ages, genders etc.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
It was awful….not the incredible skills and athleticism of the performers but the choreography and the sound. Unfortunately, I have seen / heard this kind of performance before and was greatly disappointed that Hubbard Street would join this boring, style of performance. I’ve loved them for their variety, humor and creativity. After the first few moments of each piece, the monotony was painful. In addition to essentially no variation among pieces (except at the surface) and the sound / “music” was excruciating; really abusive, with the second piece just repeating and repeating (and repeating and repeating) its depressing theme and the third piece loud, atonal. Even plugging my ears barely helped. At least the level of sound could be toned done to avoid hurting the ears of many in the audience. I hope that UMS will reinvigorate its dance program. It has overemphasized this style in recent years. I hope that Hubbard Street will return in a more interesting form the next time.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
The Hubbard Street Dance Chicago Performance created interesting combinations and contrasts throughout the performance, with aspects both accentuating and working with each other. There was both smooth and choppy movements within every dance, making each type of movement noticeably different from the other. The dancers would flow together in smooth movements, but their limbs would be moving in a quick, jerky manner. In the first piece, there was no music, and the silence allowed the dancers breaths and grunts to be more exaggerated and noticeable. In the last two pieces each dancer was in their own solid color costume, separating each dancer from another more in your mind. Overall, the performance kept me visually interested with the various elements that worked together to contrast and complement each other.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
Most amazing choreographer kudos to him a wonderful
addition to Hubbard
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
Today’s performance by Hubbard Street Dance Chicago was underwhelming at times, yet also entertaining. It seemed to take some time for the audience and dancers to warm up to one another. The first piece was redundant in its themes and the lack of new ideas left the performance falling flat. I don’t think this is representative of the performers and more accurately attributed to the choreography. While I found the movements interesting,there was too much repetition with very little variation. If the ideas expounded upon themselves more, I think N.N.N.N. could have accomplished more. However, the two latter pieces (Quintett, One Flat Thing) were entertaining in their overall themes and brought me to the edge of my seat.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
I thought the performance tonight by Hubbard Street Dance Chicago was spectacular. I was absolutely blown away by the creativity and thought process that went into each of the three pieces. William Forsythe was able to put a modern and unique twist on ordinary ballet. In the first dance, N.N.N.N., the dancers did a great job of coming together as a whole, spinning off of each other and reacting to each other’s dance moves. I liked how in the performances, the audience could see everything: slow motion, fast footwork, and long dramatic pauses. By changing the pace, it kept it interesting. Tonight at the show, they incorporated tables, a motion picture, and a repetitive song sung by an older man- all things most ballet performances would not include. I enjoyed the imaginative out-of-the-ordinary approach that they took. Although the dancers were very talented, without the interesting manipulations of the dance and additions of nontraditional dance objects, I felt like I would have been bored. In addition, if I could change one thing, I would have added a tiny bit of background music in the first piece, but other than that it was great. I think the inspirations behind these pieces could be felt throughout the performance. My personal favorite dance tonight was One Flat Thing, reproduced. I liked the intensity and complexity of the piece. There was never a dull moment and I enjoyed how they started and ended boldly. Overall, I would highly recommend this performance.
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The three pieces in Hubbard Street Dance Chicago tonight were definitely unique and creative. N.N.N.N. quite challenged my understanding of dancing. It was not music, but the flashed sound and the deep breath that leaded the body movements. Besides, it was notable that each movement switched between a slowly one and a rapidly one by using flinging arms. The second performance Quintett was my favorite piece tonight. In addition to the dancing, the first remarkable thing was the combination of the song and the orchestral music. What also attracted me was the using of light and shadow. The ending part was especially impressive when the projection of background was turned on and the shadow of the dancer reflected on it. The choreography of all three performances were sophisticated and amazing and tonight’s performance really worth to be recommended.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
(continued)… One Flat Thing was also a piece that kept my attention for the entirety of it. The tables were a phenomenon on their own as they stayed still while all the activity was going on around them, under them, on them, and in the gaps in between. I loved the synchronization and even appreciated the abrupt ending. Overall, The Hubbard Street Dance Chicago performance left me unexpectedly surprised as to what a completely different interpretation of ballet is.
The Hubbard Street Dance Chicago performance moved me in a way that I really did not expect. Although my preconception was that the moves were sharp and did not fit with any type of music, the actual performance flowed impeccably. Quintett was executed with such intensity that I was able to visualize an emotion with each kick. It really did challenge the conceptions of ballet – I did see the basis of the style but the subtle differences and the true passion with which they performed it was scintillating.
"by hiranmayi125
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The Hubbard Street Dance Chicago performance moved me in a way that I really did not expect. Although my preconception was that the moves were sharp and did not fit with any type of music, the actual performance flowed impeccably. Quintett was executed with such intensity that I was able to visualize an emotion with each kick. It really did challenge the conceptions of ballet – I did see the basis of the style but the subtle differences and the true passion with which they performed it was scintillating.
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Hubbard Street Dance Chicago was simply amazing. My favorite performance was Quintett because I don’t think I ever looked away from the stage once; I was captivated the entire time. I found the song, amplifying throughout, to be very moving. At first I thought the song was saying “Jesus Christ never found me dead” but then I began thinking it may have been saying “Jesus Christ hasn’t failed me yet.” I thought their dancing was beautiful and the sky projection at the end was mesmerizing. I also thought each performance was pretty similar in dance styles. It makes sense because it came from the same choreographer and performed in a series together, however, I found this to be a little boring after a while. In general, I loved the performance, but this was one criticism I had.
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For being one of the only dance companies to perform all-year long domestically and around the world, the Hubbard Street Dance Chicago company did a swell job tonight. The first piece N.N.N.N. intrigued me but I wouldn’t necessarily say in a positive way. Starting without the music though really changed the game, almost everyone was expecting a few tunes at some point of the performance. Although the woman who kept speaking at the beginning did send me on a loop; for a second I thought this woman was part of the performance. Overall, the technique used by the performers in N.N.N.N. was flawless but It needed an overall message which wasn’t very clear due to the repetitive steps. Quintett was the most engaging dance of the night it mostly caught my attention through actions and reactions of the dancers and fantastically timed moves which were immaculate. At the end the performer just kept leaning back hoping that the other had made his way onto stage by then. Overall I applaud the techniques, such as the breathing and clapping instead of music, that the choreographer acquainted the dancers with. I also commend how the dancers showcased these techniques as a accustomed attribute used in the ballet world . All-embracing, I would definitely recommend a visit when time provides. It would be a wondrous affair to attend for a ballet connoisseur.
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great insight !! 😉
Tonight’s performance by Hubbard Street Dance Chicago was absolutely brilliant. All three pieces were so unique in their own way and were something that I had never seen before. My favorite piece was “One Flat Thing”. The way each dancer was able to incorporate their movements with the tables and the other dancers was remarkable. The music that was paired with the choreography added intensity to the dance as well. Throughout the entire dance I sat on the edge of my chair because the performance was so engaging. I loved how there were dancers doing different routines simultaneously at different places on the stage, so there was always something to see. After watching this performance, I have developed an even greater appreciation for dance.
"by Sammi125
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Hubbard Street Dance Chicago presented an outstanding show tonight. Among three excellent performances, I really liked one flat thing, reproduced. The play was really energetic right from the beginning, where all the dancers dragged the tables to the front, to the end, where all the dancers dragged the tables to the back. Symmetries and sequences were everywhere. I couldn’t image how the choreographer managed to put twenty dancers together in such ordered and at the same time disordered way. And it was mind blowing when I was reading the explanations of organizational structures after the show. Link: http://synchronousobjects.osu.edu/content.html
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Hubbard Street Dance Chicago left me in awe at the end of each piece. The dancers moved with such grace and precision. I was fully engaged in each performance and I am still amazed at how talented they were. The piece that sticks with me the most is “Quintett”. In this performance, I could tell how extremely athletic they have to be in order to dance so brilliantly. The dancers were able to stay in character and focused while making fluid movements that took strength and agility. My favorite dancer was the woman in the orange dress. I found myself following her even while other dancers were on the stage. I enjoyed how her motions, especially with her legs, were always elongated and dramatized. At first I thought that the repetitiveness of the song would distract from the dancers but it ended up fitting in very well.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
The Hubbard St. Dance Company did an absolutely spectacular job tonight. In the first piece each dancer seemed like a piece of a clock that couldn’t even figure out how they worked, let alone how they functioned in the scope of the whole. It was very entertaining to watch them try to figure out how they worked. The third piece was also very interesting, I could see how the choreographer was influenced by Scott’s trip to the South Pole. But my absolute favorite piece was the second. I came in expecting the repetitive tune the homeless man is singing to become tiring after a while, but the music constantly changing in volume and speed made the piece seem new in every repetition. The second piece overall felt very intimate which was escalated by the fact that the women were wearing what looked like nightgowns. Overall just an amazing way to spend an evening.
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I couldn’t agree more! 🙂
Hubbard Street Dance impressed me beyond anything I could have foreseen. Normally I find it hard to appreciate dance that fails to directly tell me a story, however, the dancers were so passionate that I was able to interpret a unique story in each piece. My favorite was “Quintett,” which possessed an elegance and fluidity that contributed to an overall beauty that captivated me throughout the entire performance. Additionally, there was an apparent wariness among the performers that leads the audience to believe in the intentionality of their choices, further developing the overall grace of the performance. The entire piece seemed to function as a transformation, be it in style, structure, or partner choices. The only constant in this piece was the accompaniment which, although repetitive, still contributed to the beauty of the piece.
"by Madison125
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Tonight’s performance by Hubbard Street Dance Chicago was absolutely brilliant. All three pieces were so unique in their own way and were something that I had never seen before. My favorite piece was “One Flat Thing”. The way each dancer was able to incorporate their movements with the tables and the other dancers was remarkable. The music that was paired with the choreography added intensity to the dance as well. Throughout the entire dance I sat on the edge of my chair because the performance was so engaging. I loved how there were dancers doing different routines simultaneously at different places on the stage, so there was always something to see. After watching this performance, I have developed an even greater appreciation for dance.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
While I found the movements interesting, I became bored after 5 minutes as all of the performances were repetitive in the extreme. There was no feeling of anything artistically, i.e.- inducing a deep sensual feeling. Much less worthwhile than their previous appearance here.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
Hubbard Street Dance impressed me beyond anything I could have foreseen. Normally I find it hard to appreciate dance that fails to directly tell me a story, however, the dancers were so passionate that I was able to interpret a unique story in each piece. My favorite was “Quintett,” which possessed an elegance and fluidity that contributed to an overall beauty that captivated me throughout the entire performance. Additionally, there was an apparent wariness among the performers that leads the audience to believe in the intentionality of their choices, further developing the overall grace of the performance. The entire piece seemed to function as a transformation, be it in style, structure, or partner choices. The only constant in this piece was the accompaniment which, although repetitive, still contributed to the beauty of the piece.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
Tonight’s performance was absolutely outstanding. All three pieces had its own unique aspects to it. The one that really stood out to me, however, was Quintett. Although the music for this piece was very repetitive, every movement in the choreography had something to add to the entire message of the piece. This took away the feeling of repetition regarding the music. I could also feel the intensity of the dancers with every breath they took. Breath had a big part in communication and I thought that the dancers did an incredible job at communicating with each other when there weren’t clear cues in the music. I would definitely recommend watching their performances.
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Hubbard Street Dance Chicago made me reevaluate my perception of professional dance. The absence of music in N.N.N.N. allowed the sharp breaths of the dancers to be emphasized while also having an inconsistent tempo. The stiffness and fluidity of the movements (which were not traditional ballet moves) made me realize how much control the dancers had over their limbs. Quintett was, by far, the most intriguing for me to watch. The quietness of the music in the beginning made me lean in and pay closer attention. The tenderness that the dancers touched each other with contrasted beautifully with the rapid pace of the movements. It allowed me to connect with the dance on a intimate level. I am unsure of what to think of One Flat Thing, Reproduced. I don’t know how to interpret the purpose of the tables and the vague audio sounds. While it was the most visually energizing, I think the other performances brought an equal amount of passion and energy.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
I found the hubbard street dance Chicago performance to be very entertaining and vividly creative. Every performance was completely different from any of the others, but the one thing they did share in common was how enjoyable to watch. Each dancer was unbelievably talented. The way that forsythe utilized his performers’ talents was remarkable and made for a very entertaining performance. I was astounded at the end of every dance and left the performance wanting more. I would definitely recommend this performance and would easily consider going back a second time.
People Are Talking: UMS presents Hubbard Street Dance Chicago: Works of William Forsythe:
Hubbard Street Dance Chicago was breathtaking tonight. The first performance, N.N.N.N., was the most memorable for me. During this dance, I was mesmerized by the sharp movements. Every gesture seemed to have intense purpose, influencing each movement to come afterwards. When I finally realized that no music would be playing for the entirety of the dance, I was a bit confused. The breathing, sniffing, and clapping sounds that ended up symbolizing the music intrigued me very much. It must have taken a lot of practice to learn this dance as well as to memorize the sounds to make while dancing.
People Are Talking: Sankai Juku:
I think that seeing Sankai Juku was a very fascinating experience. It was definitely unlike any other performance I’d seen before, which I appreciated, as I enjoy having my paradigms challenged when it comes to art. Due to the nature of the performance, any meaning one might find in it has to be carefully drawn from very subtle elements of the show. Thus, it is very likely that no two people have the same idea about what any individual part of Umusuna really “means”. However, to me at least, it seemed that various acts of the show represented different fundamental aspects of human life. The first act likely represented birth or the beginning of time, as the hourglass-like sand first began to fall from the sky. The second act, with more obvious symbolism, represented pain and suffering, with red lighting and characters frequently appearing to be screaming. The next act involved a lot of laying on the ground and leaping upwards, only to fall back down again and shift around in place. I believe it represented the cycle of sleep and waking, but it also could more abstractly make a statement about success and failure. I was actually able to deduce one of these human facts from each act of the show, so if anyone wants to know the others, please ask me! Of course, you may have come to different conclusions about what the dance represented. Let me know!
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
As a former dancer and current student in a School of Music, Theater, and Dance “dance for non-majors” class focused on improvisation and composition, I was thoroughly impressed with the performance this past Friday. As I read the program booklet before the performance began, I was immediately intrigued by the references to gravity, birth, and death as major themes. Such ambiguous topics lend themselves to a wide variety of possible interpretations. There were some distinct pieces of the performance that I thought clearly represented one of the major themes. For example, the “death” piece involving loud, disturbing music, red lighting, and performers in red skirts seemed fairly self-explanatory. However, in multiple pieces with moments of more pleasant music, brighter lighting, and performers in white skirts, pinning down what theme was being represented was a bit more difficult. As I attempted to classify these segments of the performance, I realized that I was completely disregarding everything I’ve been taught in class this semester – especially from viewing Jennifer Monson’s Live Dancing Archive – about improvisational and more “modern” dance. Dance is composed of much more than just a staged routine; it can be a vehicle for archiving personal memories, breaking societal norms, and gleaning insight into different cultures. UMUSUNA, and butoh in general, touched on all of these varied facets of dance. From what I’ve gathered, modern butoh stemmed from a need of the Japanese, as individuals and as a larger community, to express the horrors of WWII through movement. As I look back on the performance, I can easily see how the fear and discomfort I felt during the “death” performance and latter hope and ease I felt during the more well-lit, mellow performances could be woven into a larger story of the terror the Japanese experienced and their ensuing resilience as a community. Furthermore, the elaborate and slow movements of the dancers from the “death” piece onwards reminded me that just because the performance could be telling an intricate story of life and death, there is no reason as to why it needs to rise, climax, and fall à la traditional storytelling form. While I think that the extremely slow pace of the performance made focusing difficult at times, it only served to enhance the emotions stirred both audibly and visually when I was truly tuned-in. What are your thoughts on the themes of the performance? Did certain pieces seem objectively easy to classify? Of the pieces that didn’t, do you think they were hinting at a more overarching comment on dance as a form of creative expression?
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
There is one point that stands out to me in Bobby’s response, and that is that Butoh is not aesthetically pleasing. As I read the rest of his response, this idea stuck in my head forcing me to reread parts because I wasn’t able to focus on passage. At first I agreed with him. I remember thinking that the dance was harsh and vial while at the performance, but now in reflecting on it and recalling parts of the performance I feel something different. Now I recall all the movements as being purposeful, composed, elegant, and most importantly genuine. In hindsight, the movements the dancers made struck the incredible balance of being soft and gentle while also being deliberate and controlled. To me, these qualities are fundamentally aesthetically pleasing. We discussed that a performance can only survive in the present, and attempts to recreate the performance through conversation or reflection results in creating a new performance altogether, but I think this is fallacious. One of the criteria that we, as a Great Performances class, came up with for how a performance should be judged is the way that it makes the audience feel. To restrict a performance to only the present thus contradicts our method of evaluating it. I did not like Umusuna when I saw it live. It was weird, creepy, and the performers didn’t really doing anything, I thought. But now looking back, I feel much better about Umusuna, and I feel I can now much better appreciate the striking visuals and the entwinement of odd music. It is just my opinion that Umusuna was aesthetically pleasing, and I think it would be absurd if this opinion was invalidated by the fact that this was not my opinion as I sat watching it.
Butoh does not contain pirouettes, jazz squares, or beautiful costumes. Instead, brace yourself for shaved heads, sand, screaming, and confusion. While viewers of traditional dance performances respond in awe, viewers of butoh react with shock. In my opinion, Sankai Juku’s butoh performance was not aesthetically pleasing, nor do I think it was meant to be. The dancers made jarring expressions, the intense volume of the music at times hurt my ears, and many of the dance moves were repetitive. However, by doing so, this performance was inherently human. Painted in off-white and sporting shaved heads and exposed upper bodies, the dancers looked as if they had emerged naturally from the earth covered in clay. Without flashy costumes to distract the audience from the dancers’ gestures, it was easier to focus on what the dancers were attempting to convey. The human experience. In the real world, as this performance demonstrated, our appearances are flawed, many sights and sounds can be painful to experience, and many of our actions are repetitive. In one scene, four dancers stood around a stream. They dipped their toes in the water and witnessed their reflections. To me, this scene exhibited curiosity and calmness. The dancers slowly moved around the stream in silence, observing it with intense focus. I viewed their movements similarly – with patience and without distraction.
"by Bobby
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I must confess that I didn’t really understand the Sankai Juku performance. I kept searching for an underlying story or plot, and being unable to do so was oddly frustrating. Nevertheless, I found myself enthralled by the performance. In the second part of the performance, the white body paint and red stage lights caused the dancers to look like they were glowing, giving them a creepy, haunting look. The dance itself was vastly different from the first part, with fast, frantic, seemingly random movements that conveyed a sense of frenzy, as compared to the slow controlled movements of the dancer in the first part. At one part, the dancers spun around close to the ground, looking upwards with gaping mouths, evoking a sense of despair. This part of the dance was quite unnerving and made me feel uncomfortable, lingering at the back of my mind for the rest of the night. What fascinates me is that although I could not understand the dance, I was still affected emotionally. Butoh is unlike any dance I’ve ever seen before, and watching this performance was a new experience.
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I also noted the unity (or lack thereof) of the dancers. Your interpretation of the reason for the slight differences between each dancer is interesting! While watching the performance, I was mostly distracted and annoyed because I couldn’t tell if they were trying to be in sync and failing, or if they were intentionally out of sync. Since they are dressed to eliminate any distinguishing characterisitics, the out-of-sync movements present an interesting paradox of individuality versus anonymity within the dance.
Everything about the Sankai Juku group displayed unison such as their stark white skin, shaved heads, and matching costumes. All of these details were meant to help the audience from concentrating on the individuals characteristics of the dancers, but instead on the movement of the dancers. However, when it came down to the movement itself, there did not seem to be great cohesion within the group. The slower a dance is, the easier it is to pick up on discrepancies in the flow between performers. Butoh is an extremely slow dance and therefore it was very easy to tell if one person was slightly off from the rest of the group. There were many times in which the dancers had separate roles within their group, but most of the time the group danced as one. At least one dancer was almost always a little bit off during the group parts. I found this interesting because I’d have thought that group would concentrate more on being very cohesive. However, Butoh is also considered an inward to outward dance, where the dancers do not need to be taught the style. It exists within everyone and the dancers are supposed to use previous memories and experiences to release the dance from within them. When considering this, it would make sense for each of the dancers to all have slightly different styles because each dancer is basing their dance off of different memories/experiences.
"by BK
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Umusuna was certainly a memorable performance, living up to its name. But what was truly profound during such an abstract performance? For myself, this dance performance was made memorable in its dancers’ connection to the stage. The lighting, sound, and stage set up all played an integral role in the performance. The lighting was brilliant, highlighting the different moods of different parts in the performance. A standout moment in the dance was the low yellow lighting, accenting the marks in the sand on the stage and casting long shadows. This stark contrast in lighting seemed to emphasize the marks made by the dancers as they moved across the stage. Due to the name of the performance, I like to think this emphasized the memories and experiences created in a lifetime, and how we shape the world as much as it shapes us. Overall, I thoroughly enjoyed the dance much more than I expected, and was glad to have the opportunity to experience this unique art form.
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Thirty seconds into the play, and all I feel is confusion, intrigue, and perhaps a little bit of fear.
While these were my first impressions, they later gave way to an experience that can best be summarized as ethereal. The dancers themselves seemed to draw as little attention on themselves as possible, garbed entirely in pure white with shaved heads. Instead, all there was to focus on was what seemed to be a “dialogue of gravity” in Ushio Amagatsu’s words. The dance, to the best of my understanding, was a collection of hyper-deliberate motions, slowed down to the point where the dancers seemed as if they were almost moving in slow motion. Combined with the accompanying music, the only detail accessible to me as an audience member was emotion. Sometimes there were seven people on stage, and other times there were only one. Other than that, I really had no idea what was going on, and I think that’s what the whole point of the dance was: an entirely novel experience. Today, in an entirely interconnected world (thanks to the internet), we know so much more about the culture and events all over the earth almost instantly. And yet, in this nearly omniscient internet culture of ours, Sankai Juku manages to provide us with an experience entirely novel and unexpected. Everyone in the audience, regardless of how much experience they may have in the theater or in the art of dance, was seeing such a performance for the first time. I personally felt that I couldn’t enjoy the art as much because it was too abstract for my personal tastes, but that doesn’t detract from the fact that it was still an entirely new experience ripe for exploration.
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One of the most confusing, yet unmistakably interesting performances I have ever seen is Sankai Juku. Even at the beginning of it all, as the first dancer slowly made his way to the center of the stage, I was taken aback. Although I knew some basic background information about the dance and what the dancers would look like, I was still startled when I saw the dancer covered in white and fully bald. As the dance continued, I became more and more confused. The style of dance was very new to me and I had never seen anything like it in my entire life. The way that the dancers moved their bodies seemed strange and awkward, like when they flailed their arms repeatedly as if grasping for something that was out of reach. Yet, it seemed much more profound and meaningful than what it was at face-value. Reading the program description of the dance, I was intrigued by the relationship that the dance seemed to have with gravity. This relationship was especially evident when the dancers fell to the ground and danced with their backs to the ground. It was difficult for me to understand what exactly the dancers were trying to depict with their movements, but the moves felt so mysterious and thought-provoking that I knew there was something special about the dance. Though I cannot say I thoroughly enjoyed the performance, I can definitely say that I was interested to say the least.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
By the end of the dance, I was almost convinced that the performers weren’t human. Aside from the ghastly appearance, the movements they made were so far from any normal human function. The way they ran was short and quick, more like a scurry than a run. The way they moved so slowly and deliberately. The way they widened their mouths without making a sound was almost hard to watch, as if they were straining to speak but were unable to get anything out. Movements like these were so prevalent that by the end, it was hard for me to look at them as performers. It felt far more like I was watching strange but curious creatures up on stage. And perhaps that was part of the point of the dance, to throw the audience into a powerful area of discomfort. The themes of Sankai Juku’s performance weren’t human like a Shakespeare play or a symphony; they were clouded and abstract. The meaning behind their movement was incredibly alien, and I had to reach much further to grasp it. It really was like nothing else I’d ever seen, which made it a very interesting experience. I’d go again.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
I was unfamiliar with any form of Japanese dance until learning about Butoh in my lecture class, thus I was unsure what to expect from Sankai Juku’s performance. It was definitely different from the only dance performances I have ever viewed-those demonstrated in musicals. Umusuna was very slow, smooth, and the dancers had very fluid movements. Most of the time, it was as though they were moving through water. By far the most exciting and shocking part of the overall show, to me, was the second part, “All that is born”. The dramatic music, red lighting, and the red-tinted outfits were almost horror-like. The dancers opened their mouths whenever there was a roaring sound in the music, as though they were the ones roaring, and I found that to be very interesting. It was my favorite part. I only wish that the program insert had included more background about each individual parts of the performance. Overall, I felt that the performance was very different from what I am used to and intriguing, and I left with an almost meditative feeling. I enjoyed it!
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
Amazing control, but too abstract. Reading up on the group’s work and their performance style of butoh had gotten me very excited for the performance: They appeared to be a group that uses abstract movements and style to convey the most elementary emotions and forces of nature. For this particular performance, “the birth of earth” sounded like a very promising title, where a lot could be explored, from the beginning of earth itself to the time of our entry into it. However, when it was time for the performance itself, I could not relate any particular part to its theme. I think the flaw in the performance (if it can be called a flaw) is that no context is provided for the audience. And when the audience has absolutely no context for interpreting an abstract work, then the movements and the emotions that could otherwise be called brilliant become simply nothing more than confusing randomness. One particular scene I can think of is one where one of the dancers was laying with his back to the floor, his knees bent, and one of his arms stretched out to the sky, and he appeared as if he was dying, his soul ready to leave his body. However, that theme did not seem to fit in the context of the events surrounding that scene, and so I had no idea if that was indeed the theme discussed. Overall, the movements were incredibly controlled, but I wish there was more context for interpretation.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
You know that feeling, when you know you are witnessing an incredible work of art? When you just know that there is some deep significance and artistry that you know you should feel privileged to be witnessing? You try desperately to grasp the abstract concepts presented before you, trying glean any meaning or interpretation of something beyond your tiny thought process. And yet, you resign yourself to defeat, and you have absolutely no idea what’s going on. That was me during UMS’s production from Sankai Juku. I tried to prepare myself as best I could, through extracts of past performances, reading the background of butoh, and trying to get a sense of what was supposed to be very abstract, interpretive, and even grotesque. When the first section began, I actually found it quite pleasing to watch and listen to. Looking back, it did feel very much like a meditation, watching a form move so slowly and methodically with sweet music in the background. I thought to myself, “Huh, maybe this won’t be so bad after all.” I spoke MUCH too soon, as the lights suddenly turned to read and music because very disturbing, dissonant, so unlike the previous section. In all honestly, I could not wait for it to end.
While I watched the rest of the performance, I often switched between discomfort at the more outlandish sections and relief at the more traditional and peaceful sections, much like the “Mirror of the forest.” Perhaps it was not my favorite performance I’ve seen, but I do still recognize that I have to appreciate the art form, especially in regards to the context for its creation: a reaction to the horrors of WWII. I will say that I was proud of myself for making some connection to the dances as far as a storyline – to me, the various sections, in relation to “birth,” “earth,” and “death,” constituted the creation of a primordial form, emerging from the water, and evolving to become a modern human. Did I do wrong trying to make a connection instead of letting the performance just inspire me and affect me? Maybe. But that is what helped me appreciate it more. I think truly that beauty is in the eye of the beholder, and this performance was certainly no exception.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
This performance is going to give me nightmares. I doubt I have the words to properly describe my experience. The dance was somehow an emphasis of human form, and at the same time completely alien. The combination of the loud, dissonant music, and the bizarre, unfamiliar dance moves was completely unnerving. At more than one point, the dancers barely looked like people at all, let alone individual humans in paint and costume. I could barely look away, and at the same time I didn’t want to watch. At one point, the dancers were lit all by red light, and kept mouthing roars in time to jarringly loud clashes from the music, like demons trapped inside of ancient Greek statues. Frankly, I found the performance terrifying, but for those who are comfortable with getting out of their comfort zone, 10/10 would recommend going if the opportunity presents itself.
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The use of sand was magical. The clouds of dust that followed the movement of the dancers suspended time, allowing the dance to exist for just a little bit longer. It was like the dancers left a three-dimensional shadow, a tangible ghost, in the wake of their every step. This effect was especially powerful in the first dancer’s performance. His solo featured very gentle motions and facial expressions, with an occasional brisk movements highlighted by the sand. His delicate, controlled movements (synchronized with the peaceful noise of the music) transformed him into a God-like character, I thought. This was then contrasted with a highly painful and disturbing performance that was jarring in both sight (bright red lights and demented figures) and sound (screeching, discordant music). It felt as though the God-like soloist had made a perfect creation that was promptly dismantled by evil and demons.
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I loved how Sankai Juko felt like both a modern art/performance art experience in some ways and a classic dance show in others. I almost felt like the set and the lighting could have stood on their own in a modern art exhibit, with the sand falling and the weights going up and down indicating shifts between harmony and imbalance. I thought the expressiveness of the different colored lights and the different music in indicating the different phases of the world’s development was so cool. I experienced the show as a classical dance through focusing on the human connections and the beautiful rhythm and harmony but I was also able to look at it aesthetically and see the dancers as something other than dancers, as sculpture, as components of a visual and kinetic landscape. Their movements were at times very animalistic and I was especially struck by their assumption of fetus like positions on the stage and the evolution they expressed and how they seemed to become something more than human. Overall, I thought the performance, though not what you’d expect from a generic dance performance, was a very thought provoking performance and I thoroughly enjoyed it.
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Going into this performance I purposefully refrained from having expectations because I really didn’t know what to expect. In this performance there were no movements without a purpose. The dancers moved with incredible precision, allowing the entire performance to flow effortlessly. Although I can appreciate the technique of this dance, I feel like I understood and appreciated the style after the first three segments. After that, the slow movements became indistinguishable from those in earlier segments. I am glad I had the opportunity to see this performance and be exposed to such a unique form of dance, and I may even try another performance of this style if I have the chance. However, this performance did not make an immediate fan out of me.
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After all the articles I read about Sankai Juko and Butoh, I felt so prepared for the performance. However, once the dancing actually started, I realized that no amount of Wikipedia pages could have prepared me for what I was seeing. The movements were slow and controlled, yet complicated and powerful. I admit, I did a poor job analyzing the symbolism in the dance, but I was able to interpret it in my own unique way. I became immersed in the movements and found the whole dance to be a meditative and reflective event. It was interesting to see a dance that works with gravity instead of against it. I am so glad I had the opportunity to see this side of Japanese culture and I am grateful to the Sankai Juko company for coming to the University of Michigan.
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Thoughts on Gravity
I find it fascinating that Amagatsu, the director of Sankai Juku, referred to butoh as a “dialogue with gravity.” I have never encountered a dance form that seeks to hold on to gravity – in contrast, most dances have leaps and lifts, elements that actually try to defy gravity. Watching Umusuna really opened my eyes to how the visual arts can be depicted in other ways. I was awed by the ability of this dance to use an interaction with gravity to represent different ideas. During the blue phase of the dance for example, when the dancers were huddled on the floor in fetal position, I could really feel the weight of gravity pulling the dancers down every time they tried to get up. This phase came right after the red phase, where I associated the movements to terror and pain; as a result, I interpreted the blue phase as a struggle to survive or find the will to live again. I saw this as a depiction of how sometimes pain can cause people to close up, and it takes a lot of strength to move on. I never thought about how this idea could be expressed with gravity until I saw this performance. It really demonstrated that there are infinite ways to convey an idea or present an art form. So, was this performance “great?” I feel like Umasuna was a great performance because it not only left a lasting impression on me as an art form, but it also got me to think about certain ideas like pain and recovery. I am left with these ideas to explore, and I think that is what makes butoh powerful – it is simple, yet through this “dialogue with gravity” it leaves the audience with a new perspective to think about.
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With all the high expectations I had for this performance, I left feeling rather unsatisfied. I sat on the edge of my seat for the first 15 minutes, yearning and searching for a quickening of pace that never quite happened. There were definitely some moments that resonated with me. For instance, when the dancers lay curled on the ground—I believe in the beginning of the third movement—I felt a lot of pain and vulnerability as they shifted positions to the violent music; they struck me as childlike and new, not yet accustomed to life and the feeling of isolation. I also loved the simplicity and stylistic choices of stage set up, lighting and costume. It all felt very raw and elemental, which was a type of beauty I could appreciate. Overall, however, the performance simply couldn’t hold my attention. Perhaps as some of the other critics have said, in a better mindset and a more intimate space I could have better appreciated the dance and the intriguing culture it reflects, but that just wasn’t the case on Friday night. Instead, I left with a far greater portion of boredom than the inspiration I had been so looking forward to.
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A swift flip of the hand and the performance was underway! When the first dancer came on stage and started moving ever so slowly towards the back of the stage, I thought I was in for a long evening. However, as soon as he motioned the lighting changed drastically and more dancers entered to join him on stage. I was struck throughout this performance by the intricate light displays. From the balcony, the patterns they cast across the stage were truly stunning, especially during the “in winds blown to the far distance” scene. To me, the lights carried the performance. They gave a sense of the time and place of each scene and added helpful visuals to aid my understanding of the dance. I wonder if the lights were as visible from the main floor! I enjoyed being in the balcony for this performance. By nature, it relies on looking at the motions of the dancers as a group, which was very easy to see from the higher perch.
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I had difficulty watching Umusuna; I don’t particularly like abstract works, and western media heavily influences my ideas of entertainment and art. My expectations of performance are fast, straightforward, and literal. Sankai Juku defies all of these, and my experience of watching their dancing was therefore filtered through an earnest attempt to understand butoh. I spectacularly failed at this comprehension, and came away from the show more confused and disorientated about the nature of the art form and what I had witnessed than when I had entered the theater. Nonetheless, I believe it was an experience worth having. The most striking elements of the performance were the visceral depictions of the underlying themes of birth and life, and unsurprisingly, I connected most heavily with those depicted in a near literal fashion. The image of the dancers scuttling in the fetal position, both exposed and yet so patently alive, stuck with me as true look into the intentions of the performance. Their movements were confusing and conceptual, and yet drew the mind to the vulnerability of life and its beginnings. While I left Umusuna feeling like I “didn’t get it,” it still gave me plenty to think about.
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Sankai Juku’s recent performance at the Power Center left me both intrigued and confused. I had never seen a performance like this before, and so I went in excited to learn a little more about Japanese culture. However, the loud screeching noises and the strange set left me confused. What did the sand falling from the ceiling represent? Also, I was confused by the music. Having no prior knowledge of Japanese culture, I was confused by the loud, disturbing sounds that were coming out of the speakers. What was the meaning of this, if there was any at all? Overall, I left the Power Center wondering what exactly it was that I had just sat through. I can’t say I really enjoyed the show, as most of it made absolutely no sense to me. What did everyone else think about the performance?
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Ah, and that should be Sankai Juku, not Senkai Juku.
I was pleasantly surprised by Senkai Juku’s ability to combine the beautiful and the grotesque into a powerful performance. I found their minimal set and use of sand to be particularly impressive. The continuous stream of sand filling the stage was very striking, and the large sanded areas reminded me of Zen gardens, the dancers bodies creating the garden patterns. I’m unsure of the intentionality of that, but with Japan’s history of Zen Buddhism, I found it plausible. An audience member near me, who was Buddhist, also commented that many of the dancers’ movements resembled Buddhist prayer and meditation poses, a thought that also ties nicely into the show’s themes of life and death. The dancers interactions with the sand (rolling, running, sifting through it) also suggested an intimacy with the environment or a “dialogue with gravity” in an elegant way, while the streaming sand made time a omnipresent force of its own. They connoted much with a minimalist set—very impressive. And while I found the moments of more meditative movement to be extremely beautiful, the grotesque, ridiculous aspects of the dance were equally striking. Those rapid, almost violent sequences and gaping mouths combined with the show’s moments of peace to suggest the beauty and absurdity of life and death in a succinctly powerful way.
"I couldn’t help but try and imagine what it would be like to be a Butoh dancer, as the performance seemed to be quite a transformative experience for the dancers. As a woman, however, I had to wonder: why is Butoh traditionally performed with male dancers? Will Senkai Juku or other modern Butoh dance companies ever incorporate female dancers in the future, or does tradition trump inclusivity? Overall, a wonderful, powerful performance.
by Lizzie
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For me, the experience of this performance was overwhelmingly intriguing, disgusting, captivating, and boring. I tried to do some thinking on the meaning behind the dance post-performance. I think that in the butoh-inspired dance work UMUSUNA: Memories Before History, Ushio Amagatsu, the choreographer, designer, and director of Sankai Juku, explores the development of humanity and its universal relationship while also suggesting that life is simply a dance with space and time. Amagatsu implores this concept by invoking physical constraints of the human body and using free-falling sand to symbolize the constant, irreversible passage of time. Amagatsu also reflects on the uncontrollable and unexplainable forces of nature, such as gravity. The relationship between Earth (through sand) and the living (through the performers) is highlighted in order that the audience may be enlightened to the superficiality of their own existence and their reliance on nature and its seemingly unchangeable laws. Amagatsu elaborates on this meaning in the program, stating that “dance is composed of tension and relaxation of gravity just like the principle of life and its process,” illustrating the elemental nature of human interaction with regular natural laws. Using music that is either wholly cacophonous or recognizably pentatonic, UMUSUNA mixes butoh’s traditional slow, decisive movements with the occasional sprint to both captivate and shock the audience. Color is also a factor of the performance; outside of the bland pale shade (much like the color of clay) that was painted on the skin of every performer, clothed their bodies, and masked stage, a red light could be cast to indicate terror, or a green light to reference nature through forestry. Amagatsu’s work is aimed towards humanity in order that one may simply reflect on the reliant (and sometimes grotesque) humanity in which one is irrevocably involved. Overall the performance was incredibly deep, but due to my inexperience with butoh and dance in general, I don’t know that I was able to fully appreciate the performance at the time of its showing, and I found its “weirdness” relative to the Western art that I’m used to both repulsive and tiring while still quite interesting.
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This brings up an interesting and thought-provoking idea. Why is it that in Western dance style and performances in general, we always look for a story? We are in this never-ending search to know “what the plot was”. I can completely relate to what you are saying in this pos Kelly. I love ballet as much as the next person but Butoh was a new dance style that I have never seen before and that I really enjoyed, but only after I stopped thinking about what the story was. Instead, like you said, only once I stopped looking for a meaning and let my mind wander a bit was I enlightened by what the dance represented to me. No plot could show the importance of rebirth, beauty and roots quite like Butoh.
I can’t say I totally understood the performance by Sankai Juku. I have never seen anything like it. When I was reading Rachel’s blog post about her time in Japan, I really liked how she talked about her first experience with a Japanese performance. She said it made her realize that she’d only been exposed to a very small scope of literature. It’s the same with performance art. We’re confused by Butoh, I think, because it is so different from Western traditions. It’s very different from Western dance. In Western dance traditions, the dancer entertains the audience with leaps and jumps- things the audience probably couldn’t do themselves. For the most part, the Butoh dancers didn’t use their bodies in any spectacular way, except when they moved very slowly and showed spectacular control. It’s a different kind of entertainment. I think we might also be confused because there is no solid narrative. In the West, dances tend to accompany a story. Ballets definitely have stories. We are more comfortable with a performance if the meaning is laid out for us. In Butoh, the dance seems to be symbolizing something much bigger. I have no clue what that is, but I was able to enjoy the performance more when I stopped searching for one clear meaning.
"by Kelly
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Sankai Juku’s performance was so distant from the ordinary that it completely transformed my definition of theatre and dance. I recently watched a UMS production of Antigone, which was a modern take on Sophocles’ classic play that made extensive use of the set, stage and props in order to create a “world” within the performance. However, Sankai Juku made minimal yet effective use of props. The pan balance, which kept altering, seemed to be a metaphor for the world’s balance. For example, when it wasn’t in equilibrium, the lighting was a deadly red and the dancers’ movements became much more restricted and unnatural. When equilibrium was restored, the lighting turned to green and the movement was almost like a merry dialogue with gravity, as Butoh is often described. In terms of interpretation, “Memories Before History” leaves the door wide ajar. Having read about the origins of Butoh, I related the first part of the dance, which seemed to depict suffering, to the war. The second part could be related to resilience post the war. However, something that stayed constant throughout the show was what I’d call the “stream from the heavens”, which goes on to signal hope is what keeps mankind going. While it got difficult to follow at times due to the slow movements, the performance was a great platform for thought and introspection. The dance leaves the audience with various interpretations that can be applied generically and personally, which makes me wonder if this is one of the features of what could be classified as a “great performance”- a dilemma we are trying to get around in my course.
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i agree totally
As a dancer, I can appreciate the muscle control, synchrony and precision that the dancers showed. The motifs and themes that were enacted — life and birth, terror, the vulnerability of humanity (all my interpretations, mind you) — were powerful and truly challenged me. In the digital age, we're so used to being bopped over the head with obvious themes and parallels; this required me to do more mental work.
"On the whole, however, the performance was not enjoyable to watch. The movements were painfully slow and the power of the delicate movements was lost on a large stage. In current context, this was more performance art than dance, and I think the stage setting set up viewers for a much more dynamic performance. As I sat there, I couldn't help but think that the emperor was not wearing any clothes, and no one had the guts to admit it. I know butoh dance is an ancient medium, but I couldn't help but think the performance could have done a better homage to the old form by taking into account current sensibilities and modifying it to appeal to a modern eye. I venture to guess more people in the Ann Arbor area are now turned off to butoh dance than now devotees.
by cat on a wire
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Having never been exposed to butoh before, this performance was a new experience for me. What I found especially interesting was how the dance focused on remaining on the ground, which contrasts many other dance forms that aim to get off the floor as much as possible. Instead, the butoh performers were more strongly rooted in the ground, either standing with a firm stance or on the floor itself. Because of this, much of their movement was done with their arms. Sometimes these motions were very slow, but it was clear every one had a distinct purpose and demonstrated the dancers’ fine control over their bodies. Besides being deliberate, I thought their movements succeeded in conveying the theme of the dance; for example, in the “Mirror of Forests” dance, the four dancers (two pairs mirroring each other) were often moving their arms in a manner similar to trees swaying in the wind. Although this might not have been a performance I would normally have attended, I found it interesting due to the fact that it was so different than the other dances I’m accustomed to watching.
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I think that we can all agree that there was one particularly captivating segment in the butoh performance by Sankai Juku. Personally, the only segment I found true meaning in was the second skit; the one with the four performers, red background, guttural screaming, and general atmosphere of unease. I, personally, saw various aspects of deep symbolism that led me to believe that this was the director’s vision of Hell. The first aspect of the dance that gave me the impression that they were representing Hell was the incredibly harsh, dark red light. The lighting itself was not only blood red, but also created sharp contrasts on the bodies of the performers, making them seem even more grotesquely inhuman than they already looked. Then came the guttural, agony-ridden screams from the speakers, with the actors mimicking the screaming. The dancers were also in a group of 4, with 4 symbolizing death in Japanese culture. Similarly, the scales shifted from an equal position to a position in which one was higher and the other lower. This was reminiscent of the Scales of Justice, further indicating that this scene was more than just horrific, but rather that it related specifically to retribution. This dance was unique in that the dancers moved relatively quickly; compared to the other dances, which were all very controlled and slow, this dance involved a lot of scurrying and sharp movements, making their movements seem inherently more violent and inhuman. It seemed to me that each dancer represented a unique demon, demonstrated through the fact that each of them spun in a unique way. What I got out of the dance was a narrative of the transformation of 4 sinners who had died into horrific demons; the recently perished sinners begin by screaming in agony and using rapid movements in a desperate attempt to escape their Hell. However, as the dance progresses, the 4 sinners not only accept, but also embrace their fate as they are transformed into ungodly, inhuman beings when the other three dancers move in a circle around the dancer as she spins in a unique way. They were transformed by the unique sin that brought them to that Hell into a unique demon that represented that sin. The combination of the discordant screaming, harsh red light, and eerie costumes of the dancers truly made me feel more than uneasy, almost afraid.
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What is a dance? It’s generally defined as moving rhythmically to music, typically following a set sequence of steps. I’m not exactly sure what I expected before going, but nothing could have possibly prepared me for the dramatic sequence of movements that is Butoh. The movements are powerful, bound to the ground without any springy leaps as ballet does, but combined with the lighting, there is just that amount of feeling that tells you that what you’re looking at is not human – the word that I’m looking for is ‘unworldly’. The feeling is much more animalistic and dangerous; the whiteness of the dancers’ painted skins and their shaved heads made me feel as if I were looking at a ghost or a corpse. The music changes from act to act and while some are booming out loudly and keeping you awake, the other scores crawl up on your backside and gives you the creepy crawlies. But the whole thing only does so much to keep you awake. The red lighting and the turn of the head as the dancers open their jaws wide in time with the animalistic screaming of the music is enough to grab your attention once, but only that once. Repetition is deadly to the attention span of the viewers, even if there are loud, shrill noises in the background, and I feel as if this was the case with Sankai Juku. While it was a unique performance and it was certainly nothing like I had ever seen before, at the end the performance left me very confused. Is the performance more leaned towards giving a message to its audience, or is it to find a way to express oneself? I am unsure of the answer.
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I am not good with dance. When it comes to the fine arts, I love theatre, I always appreciate classical music, and modern art is fascinating to me. Dance, however, while often interesting, is not something I ever care to see. The only form of dance I know a thing about is ballet, and even then, not much. As a result, I was hesitant about the performance by Sakai Juku. In the end, however, I was fascinated by the whole thing. My difficulties with dance were certainly a hindrance, as I couldn’t always tell what was meant by most parts outside of relating actions to the title of the scene. That said, the actions by the dancers were captivating. Watching them go from very slow, careful movements to sudden twitches to fast, fluid spins were wonderful to see, even if I wasn’t sure why they were done. The skill and practice involved was worthwhile on their own. The “Mirror of Forests” section in particular was interesting; parts of it felt like an “ordinary” dance sequence, rather joyful even, but then the performers suddenly become alert and aware of their surroundings. I only have a tenuous connection to how that applies to the title, but I certainly felt the emotion involved. I enjoyed the entire show, and if I had enough experience to interpret it instead of being confused, it likely would have been fantastic for me.
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I find the Japanese Dance UMUSUNA performed by Sankai Juku was meditative, enduring, and transcendental for me personally. Firstly, it was meditative because there was no words during the entire performance. The only components were images and non-verbal sounds. The lack of words left a lot of space for my imagination to wander, yet at the same time, I never felt empty or lost. I’d like to describe how I felt as all of my emotions that I went through in the past 19 years rushed through me one by one, while I’m able to detach from them. It’s exactly what mindful meditation is all about—to passively observe your thoughts and emotions without casting judgement on them. I had ample space and time to reflect on my life as I actively seek meanings and answers behind the seemingly perplexing exotic performance. Secondly, the performance was also enduring for me. The sheer length of it (1.5 hours) and the slow pace of the performance were quite a challenge for some people, especially for those who never meditated before. To be able to sit through with your mind awaken and mindful of every detail of the dance was a big achievement for all of us. I believe many people felt immense relief after it was over, not because of the “boringness” of it, but rather for its sublime meditative qualities. Lastly, the performance was also transcendental. I interpreted two hanging things on the back of the stage as two parts of a giant scale from heaven. Whenever it’s unbalanced, the theme of the movements reflected the worlds beyond our understanding. When the left side was lower than the right side, the theme was endless pain, horrifying torture, and absolute darkness, reflected by the red color. When the left side was higher than the right side, the theme was long-waited freedom, ultimate salvation, and overwhelming brightness, reflected by the blue color. When the scale was balanced, the theme shifted back to our mortal lives, projecting different categories of life events and emotions, such as birth, death, joy, or frustration. In a word, Sankai Juku’s UMUSUNA was indeed a magical and supernatural experience for many of the audience. The inexpressible, complexing feelings brought to me could not be perfectly put into tangible words, but I know it’s there. And it will always be. That’s the power of Japanese dance.
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Despite genuinely enjoying the performance, moments during the Sankai Juku were disturbing to me as well everyone in the audience: I know this because we share a common history. The choreographed convulsing of the hairless painted dancers send chills down my spine as their bodies spun in sand. Left. Right. Bend up. Crawl to the other side. Fall back down. Comprehension of their cryptic movements was interrupted by a combination of senses ranging from confusion to disgust to admiration. Why was I so troubled? I am a firm believer that many human reactions are rooted in an evolutionary history. I am disturbed by the hairless pale bodies of the Sankai Juku troupe because those traits are indicators of disease, sickness, or even death: “Stay away!” The unnatural twisting and squirming of the trio in sand conjured an unconscious threat response within my body: “That is not healthy, normal human movement!” I am disturbed because I am pre-programmed to be. We are disturbed because we share a common evolutionary history.
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Watching this play had the feeling of being on the outside of two people having an inside joke. As I sat in the Power Center utterly confused by the movements on the stage, I tried to comprehend this extremely different dance form what I was used to. After being perplexed for the first twenty minutes into the show I realized that the reason for me not understanding was because the dance was devoid of Western culture. Since my whole life has been immersed in Western culture, it was refreshing to watch something I had no familiarity with. So from this outsider’s aspect I thoroughly enjoyed the play, especially the music, yet I do not feel like I actually understood the messages that were being expressed. While I am able to appreciate the dance for the experience it gave me, I was just unable to grasp anything beyond the aesthetic and sonic planes.
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If you are willing to put some effort into understanding the performance, you might find it interesting. But that is the problem. It seems that, for better or worse, there is no concrete plot, which definitely turns many people off. I was certainly wondering at times, “why are these scantily dressed older men rolling around in the sand?” However, it dawned on me that this should not be looked at like a play or a movie even if there are “actors” on stage. It is much more closely related to music in that there is no need for literal interpretation although there may be a theme. It is focused on how the performers move: very slowly and deliberately, but I was dismayed at how frequently they seemed out of sync with one another, and often their movements were, to me, excessively slow and repetitive. For someone who does not understand the intricacies of dancing as a performance, UMUSUNA is far too arduous to appreciate. As they say in show business, “I don’t see a lot of money here,” but that’s too bad, because it was a very artistic and thought provoking performance.
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I left this performance feeling both touched but also confused. The emotional connection I felt to the dance stems from an understanding of the context in which Butoh, as a dance form, was created: In post-WWII Japan, where a decade of war had resulted in the most lethal single act of war in history, (the dropping of atomic bombs over Hiroshima and Nagasaki) and the complete upheaval of a political system that had been in place for centuries. And the beginning of the performance, I thought, communicated to the audience so much of what people in Japan must have felt during that time: A mixture of confusion, anger, fear, and despair. Perhaps more concisely, the beginning of the performance communicated a strong sense of anguish. This did not last long, however. I’m not familiar with the technical language of such a performance, but when the first dancer left the stage, and was replaced by a quartet of other dancers, the performance began to go downhill. From that point on, it seemed somewhat incoherent. The majority of the movements that dancers performed after that change were so subtle that, from the balcony, it was often difficult to tell whether they were moving at all. Such small, slow movement didn’t provoke emotion from me. When the dancers did perform faster, more exaggerated movements, they seemed, although visually captivating at times, somewhat out of place— a direct result of being in contrast with the rest of the movements, and being so few and far between. After the power of the first part of the performance, I was somewhat disappointed with the remainder of it. That being said, the beginning was powerful enough to ensure that attendance was not a negative experience. It simply was not the overwhelming positive experience I had hoped it would be.
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Today, someone attempted to justify why they wore only one contact in each eye, for twice as long, alternating eyes. There were some arguments that had a semblance of logic, chiefly saving time or money. However there were some that made no sense. My favorite was the response to my claim that he would harm his vision unnecessarily, and have a rather poor prescription when he got older. To which, his rebuttal was, “Do you actually trust old who have good vision?” If you are confused at what you have just read, then you understand how I felt after attending the Sankai Juku performance of Umusuna on Friday night at the Power Center.
Ushio Amagatsu, leader of the Sankai Juku dance troupe, paints this Butoh style of dance as a “correspondence with gravity” and a “primordial conflict”. The dance was as abstract as the words Amagatsu used to describe it. There were parts where three dancers would lay down on the ground, and would coordinate their spins with each other to provide an interesting visual. In another portion of the performance five dancers would congregate in a far corner of the stage, only to sprint in different directions, perform more dancing, and move back to their starting location. Taken as individual “scenes”, I see the potential to be able to reflect and attempt to make some sort of understanding as to what was happening, but as whole I could not see what united the work and made it cohesive. The novelty of the dance wore off after half an hour of disjointed lighting and mood changes, and I found it difficult to pay further attention to it.
In other words, if the piece was half an hour long, or had some explicit structure to draw the piece together, I would have found it much more enjoyable. Perhaps adding a pre show discussion would have enhanced my understanding of the piece, but the way I saw it was much too abstract and outside my realm of understanding.
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I have never seen a butoh performance before, so I had no idea what to expect going into this one: I wasn’t even sure if I would be capable of appreciating it. However, I surprised myself: as soon as the dance began, I was mesmerized. I think part of this was due to the fact that the music they chose as accompaniment for the first movement was instrumental and elegant, and did much to emphasize the already-present grace in the dancers’ movements. Since the first movement was not grotesque or uncomfortable in any way, I felt at ease and was able to see the beauty in the dance, and this allowed me to more easily appreciate the subsequent movements, especially the second one. That was, perhaps, the hardest to view, since the music was heavy and dissonant, and the dancers embodied this by opening their mouths in time to the music. I was also surprised during this movement (and some of the later ones) that the movements were so quick. There were, of course, plenty of movements that were so slow they almost appeared jerky, and movements that were slow but expressive—but this performance, especially movement 4, had lots of quick movements too. This was interesting, even though I knew going into the performance that Sankai Juku incorporates a little more Western influence than is traditional, because it added another dynamic element to the dance, and maybe made it more accessible to Western audiences.
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I have little experience with dance outside of musical theater, but I was truly blown away by the intricacy of this performance. The dancers transitioned between synchrony and individualism with grace and precision, specifically in the section where 3 of the dancers started in the fetal position. At one point, all 3 of them were doing a worm-like move in sync, and then in the blink of an eye they had shifted to performing the move on their own time. Then, two performers synced up while one was on his own time. These different patterns seemed to mesh together like cogs in an unfaltering machine until, all of the sudden the dancers were back together, like magic. Considering the music had no established beat or time signature, how did the dancers establish counts, or any system, that would allow them to move together, separate into their own movements, and then come back together? However it may have been done, I felt the performance displayed the ideology of “power in numbers” very well. Because the white powder stripped the performers of any noticeable physical differences, and their synchrony was on point, I viewed the dancers as a single mass instead of individual dancers. I believe this amplified the emotional appeal of the performance. When the performers were in close proximity, moving together, as opposed to scattered about the stage, I could feel the focus, the intensity, but also the serenity of the movements. It put me in the heart and soul of the dancer and allowed me to catch a glimpse of what they were feeling as they presented this magnificent show of complexity and raw emotion.
JW
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Sankai Juku’s Memories Before History was an unique experience that captured the immense power of expression through dance. I loved how the performers were able to effectively communicate with the audience through their “dialogue with gravity”; the slow, meticulous movements carried (almost paradoxically) a huge amount of beauty and energy. In the opening scene, for instance, the precision of the performer as he walked down the stage was mesmerizing. Each painstakingly slow step was carefully calculated as the sifting sound of falling sand filled the stage. I felt an (again, almost paradoxically) ethereal sense of power, a journey into a sort of “humanness” (stripped of the superfluous elements of life) that could not be put into words. This idea resonated throughout the rest of the performance. Every act, in fact every movement, seemed to carry an indescribable feeling that touched at the core of our essential beings, and seemed to capture some vital part of our emotional spectrum (whether rage or ecstasy or grief). This was all despite the fact that I did not fully understand everything that was going on. I do not truly comprehend Japanese dance, and I was thus thoroughly confused at multiple parts throughout the dance. Even with my lack of understanding, I still sensed a deep sense of energy and calm, and felt that the piece touched at a “basic” element within us all. The performers, through the slow power of their “dialogue with gravity,” connected with the audience and revealed the essential parts of being human.
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During the beginning moments of the Sankai Juku performance, I had a very difficult time understanding what I was watching. I couldn’t understand the message being conveyed as I tried to decipher the literal meaning behind every movement. However, as the night went on, I became increasingly aware of the broad range of emotions expressed by the dancers, despite the minimal style of the Butoh dance. Because the dance itself wasn’t very visually pleasing, I realized that it was important to judge the performance based on its ability to convey poignant emotions rather than its entertainment value. I could especially connect with the feelings of terror and pain as the dancers produced muted screams. Perhaps my favorite aspect of the performance and something that kept catching my eye was the stream of sand descending from ceiling, collecting in a pile on the stage for the duration of the performance. In a dance so abstract, it was nice to have some sort of constancy as well as something to mark the passage of time. Although at times I did find it difficult to stay engaged with the performance due to its slow and repetitive nature, I did leave the venue wanting to learn more about this unique dance form.
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Irregularly and awkwardly shaking my own leg in my seat as I watched the Sankai Juku performance last Friday night, I was dumbfounded by the dancer’s steady, calculated movements for extended periods of time. The dancer’s moves were so gradual yet so graceful that even the smallest flick of the wrist in the first act was distinctly noticeable. This type of dance performance requires so much stamina and discipline that the dancers soon earned my admiration.
I was also able to appreciate how similar all the dancers looked, with their shaved heads and simple clothing, allowing me to really focus specifically on all of the movements and changes in scenery. I think my favorite aspect of the dance performance was watching the slight color changes in the dancer’s white clothing being accented with a matching background. For example, when the dancers white costumes were highlighted with a green piece of cloth, the background responded by adding a subtle green lighting. However, during the fourth act, when the middle strip between the two risen parts of the floor was flooded with blue light, the four dancers on the stage crouched next to this extraneous light in amazement, representing how any variation in the stage filled with uniformity was bizarre. As a result, the synchronization among the dancers was broken, symbolizing how they were almost unable to cope with this nonconforming aspect of the stage. These elusive messages really facilitated me to analyze even the smallest of changes and kept me actively engaged throughout the performance.
In the beginning of the show, I occasionally found myself unable to concentrate as the agonizingly slow dance moves and melodic tunes in the background had me dozing off. However, as the night progressed, I developed a newfound respect for this type of dance form that I had never been previously exposed to before. The patience required to constantly move at such a slow speed really grasped my attention and attained my appreciation.
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The male dancers were twirling their fingers freely as if they were playing an instrument. Confused, I stared at the stage more alertly. At this exact moment, a rhythmical beat came from the back of my row. As the humming sounded off, the hands of the dancers stared twirling in various directions, then shortly, the bodies of the performers started twisting. In a curved path, dancers skipped across the stage in a calm yet furious wave-like fashion. Their upper bodies swung down freely, as if affected by the gravitational force. I immersed my soul in the movements, and my thoughts drifted up and down and left to right, just like an unnoticeable yet powerful tide in the vast ocean. The humming synchronizes astonishingly with the rhythm of the “finger dance” on stage. It wasn’t until my neighboring seat: a 60-year old man, annoyingly tapped and scolded that rude “noise-maker” awake had I realized the noise was from a snoring student. Sorry for disrupting the show, that student left reluctantly and quietly. I actually felt pitiful towards my fellow classmate. Maybe he was tired from an intramural sport competition, or maybe he was exhausted from midterms. The tranquil yet powerful movements on stage helped the exhausted freshman get the rest he needed. No stories were told explicitly during the dance, but implicitly, the motion of the dancers’ bodies, in a way, depicts their desire to hold on to time as sand in the hourglasses in the background and on stage run slowly. The sleeping student parallels this theme because he wanted to sleep longer. He, like everyone else, wanted time to freeze when asleep. The dancers were going against the falling sand. They were trying to prevail gravity. They were counteracting the laws of nature. I’m sure that asleep student would do the same things if he could, too. I know I would.
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At first, I did not know what to perceive of the pasty white, bald dancers making internalized, yet powerful movements throughout the stage. If you desire to observe a peculiar, yet fascinating dance style, Shankai Juku is the ideal performance. I expected usual a dance performance where I leave with clear interpretations of messages and a natural connection to the pieces. I left this performance feeling unsettled, perplexed, and very intrigued. I was most engaged following the first serene section with one dancer performing slow and controlled movements and an “hourglass” of sand slowly trickling onto the stage as a visual symbol of the passing of time on earth. Immediately, a thunder sounding noise transformed the stage from a soft yellow color into a sea of red. The tone abruptly shifted from serene to distressing and disturbing. The dancers constantly swayed with sudden jerky and sharp movements. I was captivated by this movement style, yet not sure what to make of it. What did these jerky movements represent? How can they connect to the severely anguishing facial expressions of the dancers? It could represent the stark contrast between the life and death and the jerky movements represent the oppositions faced in life. A slight cacophony of electrical-sounding music and thunder-like noises continued booming throughout the theater, contributing to the unsettling mood. I understood the desolate tone of the piece; however, I could not wrap my finger around the exact causes of the dancer’s distress and what it represents. I can attribute it vaguely to the tendency for evil in human nature and humans’ ability to deceive. The intensity and wavelength of the dancers’ movements continued to increase which can represent the tendency for evil developing over time until culmination. Overall, this performance was bewildering, yet extremely fascinating.
-RT
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The performance by Sankai Juku was unlike anything I have ever seen, heard, or felt! I had a hard time connecting to the performance because of this. I was quite confused about the meaning of the work. At the end of the show, I thought the way in which the performers took their bows was incredibly interesting. Each dancer bowed in their own fashion and yet they did so in union. I felt as if the performers were still in character during this moment. They still moved slowly, as they had during the show, and with a certain blank face, as they did not smile or laugh. This intrigued me because normally I enjoy seeing performers take their bows not as the characters they were portraying on stage during the performance but as themselves. This moment typically makes me feel more connected with performers as it shows their humanity. The look of relief after completing another show or a giggle with a fellow castmate demonstrates how the performers might act in their daily lives. As I did not get to see a glimpse into a different side of these performers, I felt even more separated from them. I admire what they did on stage, but I did not quite get it.
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While I come from a diverse dancer background of both ballet and hip-hop, this Japanese traditional “dance” was like nothing I’ve ever seen. I found the performance of Sankai Juku unique, confusing, and, to be honest, at times, haunting. The performance was devised into seven sections which all comprehensively related to the theme “memories before history,” or, memories of the unborn. The third section, “memories from water,” will forever remain imprinted on my mind.
The memories from water section follows the “all that is born” section, an incredibly haunting and disturbing display with fiery red backgrounds and monstrous growling noises in sync with the dancers’ movement of their mouths. “Memories from water”, however, begins with a serene vibe as the dancers assume fetal position atop the sand, a blue background now replacing the fiery red. The dancers follow a set of movements that become repetitive throughout the scene: remaining in fetal position while creating circular spirals, inchworm-like crawling on the sand, and then subtle display of their hands with intricate movements of their fingers. To me, these movements were as far from a form of dance as one could get; however, the emotional affect created on the audience as a result of these dance moves was nonetheless a powerful one, as with any other performance I’ve attended or performed in.
The emotions that ran through my mind were a mix of confusions composed of being simultaneously disturbed and intrigued. More so, disturbed. The silence on behalf of the actors was piercing, the movements were confusing, and the audible “music” one could here was far from a sound with a tune, but nonetheless, this art form went greatly appreciated and reveled—I just think I didn’t get it.
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“Dizzying, inebriating, and spiritually elevating” is how I would describe my experience of viewing the Sankai Juku’s performance of Butoh. During the entire performance, my body was hunched forward, trying to get closer to the stage, while sweating on the outside but cold inside due to the constant electrical current running through my body from head to toe.
One of the most memorable scenes that fits my description of the performance perfectly was the “red scene.” Among the five colors that appeared on stage (white, red, yellow, green, and blue), red, for me, was the most energetic one that I literally couldn’t take my eyes off from. The four dancers started their movement from the rear left corner of the left rectangle of the stage. Slowly turning and twisting, they resembled a flickering flame. Time to time they gaped their mouths as if to suck everything inside them. Then, as a light of a match grows into a forest fire, their movement became bolder and soon, they take over the entire stage. Like a moth drawn to a flame, I was captivated by the radiant light of the performance, and, even though only momentarily, I felt as if my core, spirit, inner-self, or whatever you may call, was caught on fire.
Overall, the performance was very abstract but concrete at the same time, depicting different elements around us, like fire, air, ground, water, and forest. However, several other elements were not so clear to me. One is the color difference of the two rectangles on stage during the “beige/yellow scene,” which seems to portray growth of life from the ground. I do not understand why the left rectangle was shone with blue light while the right rectangle, the one that the dancers moved to, was shone with beige. Also, the shape of the shadow on the rectangle is another mystery to me. The most confusing part for me are the moving scales. What do they represent? What does their movement symbolizes? Those would be my first questions to Ushio Amagatsu if I ever get an opportunity to ask him about the “Umusuna: Memories before History.”
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Still strangely haunted by this ritualistic meditation/performance. I was constantly drawn in by the different aspects of the set – the sand, the two planes on the ground, and the subtle scale that was tipping in the background – surprisingly though, not by the unsettling movement happening on the stage. The set, in itself, was stunning. Walking into the performance I noticed the sand falling from the ceiling of the stage, but little did I realize that the two planes were covered in sand until the dancers began to trace shapes on the ground (specifically during the second, darker piece). The perfect stillness of the sand in the beginning has been on my mind since the end of the performance. How had they gotten it so smooth? Was it supposed to be as entrancing as it had been for me? I may be reading into it too much, however I saw it as the “before history” aspect — before there was chaos from living beings, there was pure peace. Although I still do not know entirely how I feel about the show as a whole, I loved watching the set develop. Yes, it was already on stage as I walked into the theatre; yet there was something about watching the sand fall or the scale tip to stage right during the darker scenes/ towards stage left when innocence was the theme that was completely and entirely enticing. For example, when the first piece (with one man slowly walking toward the sand) ended and the second piece (with four dancers and darker music) started, the scale upstage of the dancers tipped to stage right and the lighting over it turned red.
However, that’s entirely it. Perhaps it was the slowness in which the dancers moved or the slightly hibernation-inducing music, but my attention was fully on the set — rather than the actual show. During the pieces of the show in which I made myself focus on the dancers, I was very confused by the movements and the meaning of the pieces. They seemed very repetitive and slow, and no matter how hard I tried I was always drawn right back into the beauty of the set pieces.
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The concept of “Dialogue with Gravity” that Sankai Juku interpreted was a very interesting and abstract one. I felt as though the music and movements seemed to symbolize winds — however there seemed to be not much disruption of gravity itself. Throughout the entire performance, the central pillar of sand fell in a strictly linear fashion, which gave it the characteristics of an hourglass — almost as if they were the sands of time, uninterrupted and let to flow freely. The lateral sandfalls came off as balances, with a different proportions representing a new dance scene. With each downpour of sand, the sand fell straight down — yet the music and kinetics of the performers seemed to suggest wind-like themes, which would disrupt gravity and skew the sand movement in multiple directions. If this was the intention of Sankai Juku, I was wondering why Sankai Juku chose the undeviating sandfalls rather than have them be affected by the winds.
Thank you for coming to perform at the University — it was an enlightening cultural experience.
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I agree, a personal reflection from the dancers would’ve been touching, but I’m not sure it would necessarily help the audience understand much more. It seems part of the reaction the audience is “suppose” to feel from the dance is confusion. It might help to think of the dance how you want it to be, or how it made you feel. This is how Butoh “comes from within, out.” After all, it was a dream on stage: some details blurred, others sharply distinct. Time and gravity were warped, and with a variety of sounds that in the end all oddly suited the distinct dances and united them. I never understand everything in my dreams, but then again some things are never meant to be understood fully.
I did not understand the message of the Sankai Juku performance. While I was confused about the movements and sand that was on the stage, I did have a connection with the different sounds throughout the dance. The show started with silence and I thought this was a powerful way to capture the audience’s attention. Eventually, the sound effects of falling sand could be heard before turning into a song. The music throughout was very tranquil and beautiful, but did change into loud, heavy, distorted sound, which instantly altered the mood of the dancers and audience. At one point, the soundtrack featured an orchestra, and it was easy for me to see the connection between the dancer’s movements and the music. While watching this performance, I often wondered what this performance meant to the dancers and how did they feel when performing? I think that hearing a personal reflection from a Butoh dancer may help me understand the meaning of their dances.
"by AS
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The slow, expressive, and controlled movements of the dancers had me slightly disturbed while still being mesmerized. Their ghostly appearance made up of shaved heads and white skin made them seem like other-worldly creatures. My favorite part of the whole performance was definitely the second dance they performed composed of red lights and haunting music. The dancer’s gaping expressions reminded me of someone silently screaming which matches the vibe I got from the set, music, and dance movements. When they moved into a backwards L-shape on the left rectangle, the music brought to my mind a gun being cocked and shot. Their movements in these moments were very deliberate and matched the music. There were fast spurts surrounded by long periods of slow movements. I did notice that circles were used a lot in the performance, and in this particular dance. The dancers moved in circles, circles were “drawn” on the floor in the sand, and the spotlights and small lights in the background were circles. For me this symbolized a cycle and completion. Another thing I noticed about the set is that the sand falling from the ceiling could represent time passing, like an hourglass. This would correspond with the theme of the performance: “Memories before History”. The only negative feedback I have for the performance is that I wondered if they were supposed to be dancing differently or if they were just out of sync/ making small mistakes. Some of the dance movements seemed rather random and I question whether those moments where the dancers were moving their bodies in all different ways were choreographed or if they were made up on the spot. Additionally, by the end of the performance I was a little bored. However, I would see another performance by Sankai Juku if I had the opportunity.
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I was taken aback by this performance, but not for the reason that I had previously anticipated. Rather than being overwhelmed by an intense performance that I could not relate to, I was intrigued by the ideas that the dance drew my attention to. I think that the falling sand is a great representation of time. When the first dancer interacted with the sand by reaching for the falling sand and tracing his arms, as if to bathe in the sand, I reflected upon the occasions when I have tried to make every second count, such as when visiting family or friends, only to watch time slip away in the end. I was amazed that the dance could be so controlled yet flexible at the same time; the slow dance forced me to look at the dancers’ full body movements rather than focus on the individual body parts that were moving. The slow speed of the dance allowed me to appreciate the strength inherent in the dancers as well as the power projected by the dance. I liked this performance because I found it quite thought-provoking.
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Sankai Juku, a dance of vulnerability, fear, and existence was quite a unique experience to watch, especially given my lack of familiarity with dance performances. The dancers’ crisp energy and precision captivated me at times, but the abstract nature of this artistic expression also left me confused at others. Coming into the performance, I did not know what to expect from it. The movement that stood out to me the most was the second one, with the red light shining down as the fast-moving and enchanting dance conveyed sharp emotions of horror, energy, and anxiety. Each movement seemed to speak to me personally as they brought out different moods, as the performers displayed excellent muscle control and syncopation. Despite being very confused throughout the performance, afterward, I began to gain a sense of appreciation for the different elements of the performance. I realized that the sand falling in the background demonstrated the slow passing of time, which may have been relevant to the people of Japan at that time, considering the origin of the dance was from the post World War II era. This context may be important in explaining the many different themes of rebirth and horror. I also realized that the movement with the performers curled up and progressively rising up represented the process of life. However, I still had many questions about the performance. What did the two balances hanging from the ceiling represent? What was the meaning behind the costumes of the performers? This dance, captivating at times yet confusing at others, was unique in that it allowed the audience to make meaning out of its abstract nature.
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Never have I ever experienced a performance that was as thought provoking as the Sankai Juku performance. It was very interpretive which contributed to both its confusing and inspiring nature. Because the motions of the dancers had no distinct, preset meaning, I was able to choose what I wanted the dance to represent. The scene I enjoyed most was the third one with the blue lighting in the background, perhaps because this was the one that I understood the most. I felt that this scene was very representative of the human life cycle. From the very beginning when the dancers were curled on the floor to their gradual progression to standing and then walking, it seemed to represent human growth starting from birth. The presence of raw emotion in the Sankai Juku performance was unparalleled to that of any other dance I have ever seen. Having had experience as a dancer, I was also intrigued by the motions of the dancers which seemed to be emotionally derived rather than systematically. For example, in ballet, the teacher can simply call out a few terms and the students will know what to do. In the Sankai Juku performance however, each motion seemed carefully constructed to have some type of meaning. It was not just the dancer’s that contributed to the performance; the setting was also an essential aspect. The constant flow of sand and fluctuation in the scale presented the analysis that as time goes on, there will be a change in what powers dominate our lives as each time the scale shifted, a new scene began. The comprehensive nature of the Sankai Juku performance made it a very unique experience.
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I did not understand the message of the Sankai Juku performance. While I was confused about the movements and sand that was on the stage, I did have a connection with the different sounds throughout the dance. The show started with silence and I thought this was a powerful way to capture the audience’s attention. Eventually, the sound effects of falling sand could be heard before turning into a song. The music throughout was very tranquil and beautiful, but did change into loud, heavy, distorted sound, which instantly altered the mood of the dancers and audience. At one point, the soundtrack featured an orchestra, and it was easy for me to see the connection between the dancer’s movements and the music. While watching this performance, I often wondered what this performance meant to the dancers and how did they feel when performing? I think that hearing a personal reflection from a Butoh dancer may help me understand the meaning of their dances.
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Many of my friends felt that they didn’t understand it and therefore didn’t like it, but I rather enjoyed the dance! I found many aspects of this Butoh art form to be very unique and different than what I usually see in performances of Eastern culture, but I was still able to pull out the messages of life and connectedness to the earth quite explicitly. The strange, heavy movements of the dancers supported the idea that we are all connected to the Earth and belong to it. The sand simply (and strongly) symbolizes the Earth itself. The grotesque appearances of some performers and the background music at first was off-putting, but I took it to mean that we were connected to earth in the most primitive and natural fashions possible; we are deeply rooted to it. So, in short, many of the obscure and “scary” aspects that people associate with the performance I found to be very unique, meaningful, and I really enjoyed the performance overall.
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I really wish I understood that. I really, really do. I can appreciate the imagination and creativity at play, but to be honest, I spent most of the performance being confused and slightly disturbed. The second and third segments I found particularly uncomfortable, especially when they had their mouths open as if they were screaming the music.
Something I’ve been thinking a lot about since seeing the performance is something we discussed in my theatre classes in high school: Diderot’s Paradox. While it is technically a specific question of acting, I think it is an interesting question to bring up in relation to butoh: which is more important, the emotions of the performer or the emotions of the audience? Much of mainstream Western art is focused on the emotions of the audience, which I think is one of the things that sets butoh apart. Yes, it is always nice for the audience to be engaged and experience catharsis when watching a performance. However, I don’t think that is the point of butoh. I think it is as much or even more about what the performers feel, especially given that it is supposedly an art form that comes from the inside out. If I look at the performance from that perspective, I can appreciate it a little bit more and acknowledge that my enjoyment was not necessarily the goal. I certainly hope the performers got more out of it than I did.
I left the theatre perplexed, uncomfortable, and wondering if everybody in the audience felt the same way. This type of performance is not a part of our culture, so I do not want to judge harshly seeing as I do not understand it. I can appreciate it, and I am glad I went, as I have never seen anything like this before, but I think once was enough for me.
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I was pleasantly surprised by Senkai Juku’s ability to combine the beautiful and the grotesque into a powerful performance. I found their minimal set and use of sand to be particularly impressive. The continuous stream of sand filling the stage was very striking, and the large sanded areas reminded me of Zen gardens, the dancers bodies creating the garden patterns. I’m unsure of the intentionality of that, but with Japan’s history of Zen Buddhism, I found it plausible. An audience member near me, who was Buddhist, also commented that many of the dancers’ movements resembled Buddhist prayer and meditation poses, a thought that also ties nicely into the show’s themes of life and death. The dancers interactions with the sand (rolling, running, sifting through it) also suggested an intimacy with the environment or a “dialogue with gravity” in an elegant way, while the streaming sand made time a omnipresent force of its own. They connoted much with a minimalist set—very impressive. And while I found the moments of more meditative movement to be extremely beautiful, the grotesque, ridiculous aspects of the dance were equally striking. Those rapid, almost violent sequences and gaping mouths combined with the show’s moments of peace to suggest the beauty and absurdity of life and death in a succinctly powerful way.
I couldn’t help but try and imagine what it would be like to be a Butoh dancer, as the performance seemed to be quite a transformative experience for the dancers. As a woman, however, I had to wonder: why is Butoh traditionally performed with male dancers? Will Senkai Juku or other modern Butoh dance companies ever incorporate female dancers in the future, or does tradition trump inclusivity? Overall, a wonderful, powerful performance.
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Watching Sankai Juku perform the Butoh dance was an interesting experience. It was difficult for me to really understand what the purposes behind the different dance scenes were. I was trying to understand what the significance of the two sand pits and the stream of sand from the sky were, but could not come up with any plausible answer. The movement of the dancers did seem to try to play with gravity, as their movements were slow and gradual. One interesting thing I noticed in the performance was the relationship between fast motions and slow gradual motions of the dancers, because movements seemed to switch between these two extremes. Overall, I could tell the performance carried a lot of emotion and meaning, even if I was not able to pinpoint it exactly.
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I agree. I think in Butoh, there are many juicy contradictions, and I love your description of a “moving sculpture.” I would image these dancers spend a lot of time with each other and get to know each other and themselves quite well, not just from their off-the-stage lives, but also from their inward-out performance on the stage. I am also curious as to how much these dancers rehearse, as perhaps Butoh needs some degree of improvisation and spontaneity to represent a dancer’s inner thoughts.
I think another description of the dancers I would give is “collectively individual,” a contradiction because one must sacrifice their individuality to act within a group. Many might believe that Butoh is a dance which requires many anonymous, whited-out dancers to collectively represent some abstract idea, but I believe the opposite is true. Maybe Butoh dance is the message achieved by summing the contemplative movements of the only superficially standardized men. Though they on a larger structure danced with similar movements, if you looked closely you would see each with a distinctive style and slightly off movements. I know I noticed a slightly different quality to movement, if you will, from the same dancer in different scenes.
I saw the Sankai Juku performance to be one of many contradictions. Among the most interesting was the coordination and connection observed between members during the dance, with no physical contact and rare eye contact between them. This made me wonder about the lives of the dancers outside of the performance, in terms of how much time they spend together in rehearsal or if they spend time together outside of the Butoh dance. Another observed contradiction came to me in a note I made during the performance. I jotted down the phrase “moving sculpture,” which is an inherent contradiction because sculptures cannot move. However, this phrase was how I best described the phenomenon of the dancers themselves. I am curious to hear how others would describe the dancers, and try to explain how they managed such a fluid and connected performance while moving individually.
"by Amelia
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I have very little experience with dance as a medium, and usually dance performances leave me profoundly confused, but thankfully I was able to appreciate this performance by Sankai Juku better than most. As whole, I found that it captured life and nature in a really unique but meaningful way. The opening segment, where the lone dancer was seemingly energized by the flowing sand, was a quite interesting way to begin the performance; and later, in the third movement “Memories from water”, the actors being curled in the fetal position and progressively coming out of their shell, I think reflected brilliantly the raw essence of the beginning of life. The ascending and waving movement of the dancers in the “Mirror of Forests” movement actually very much resembled the movement of trees, in a way I did not think human dancers would be able to capture. Dance can be a really abstract medium of expression, but despite the abstractionism of this performance, I really felt there was a lot to appreciate and relate to. The dancers made nature and life come alive and I really enjoyed being able to watch this.
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Overall, the performance was a delightfully alien experience for me. I felt as if the dancers’ energies were in sync with the music in a manner contradictory to traditional expectations. Usually, the song provides a backdrop for the performers to showcase their talents in a flamboyant or explicit manner; however, the Sankai Juku showcased the music through the movements of the actors. For example, the blue segment of the performance utilizes the dancers to express the calm, relaxed atmosphere expressed by the auditory; the dancers themselves seem to merely mirror the music as they lay on the mat. To some, this may seem boring and lackluster; however, their movements portray the music in a manner similar to subtle poetry. While not initially accessible, one can savor the music in a more potent manner through simple, universal gestures enabling greater degree of musical communication.
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The mesmerizing shapes moving around the stage, are those actually people? This was the main question running through my mind during Sankai Juku’s performance. I was amazed by how unhuman the whole production looked. All the dancers’ shaved heads and white painted bodies transported them out of their everyday lives as humans and into their role as an unnamed being. The piece that stood out to me the most was “Memories from Water” with the three men in simple skirts. On each screech of the audio, when the dancers changed positions into the next of the sequence, either spinning around on their sides, lifting only their shins into the air, or sitting up with their legs folded under them, they reminded me of slimy creatures emerging for the first time. In a lot of movements, there were limbs sticking out in places that didn’t look natural and almost made me want to cringe. What shocked me the most throughout the performance were the grotesque facial expressions. The dancers opened their eyes wide, their mouths wider, and flexed their fingers for another layer of tension. No matter how hard I thought about it, I struggled to associate the extreme expressions of the dancers to a human emotion I recognized. As the performance went on, I felt more and more like I was inside someone’s mind. Instead of humans experiencing these emotions, I felt like the dancers were the emotions terrorizing a mind. Although completely different from anything I had experienced before, I am still utterly shocked and in awe that what I saw on stage was created and executed by the human body and mind.
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I found Sankai Juku not exactly to be “enjoyable,” but rather to be “thought provoking.” It’s the type of dance you enjoy thinking about afterward more than the actual performance. During the performance, I was assaulted by the seemingly pointless hand movements of the dancers and their grotesque unreal-looking bodies. I was confused by the symbols, such as the sand and costumes, and was unable to focus on any given element of the performance long enough to understand. Afterward, however, I began to appreciate the accuracy with which the play communicated to the audience its bleak view of the human condition. The frantic ineffective hand motions represent the pointlessness of so much we do in life; the sand represents the constant march of time; the dancers themselves represent a generic view of mankind. The unenjoyable aspects of the performance thus actually aided the director in communicating his method, and thus, was ultimately worth it.
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The Sankai Juko performance was unlike anything I have seen before. Actors covered from head to toe in white makeup performed interpretive dances to strange music as a steady flow of sand fell from the ceiling throughout the showing. Although I had trouble finding meaning within the dances and spent much of the time confused by what was happening on stage, I found myself entranced by the performance, unable to look away, as if I were staring into the mesmerizing flames of a fire. As the actors repeated motions and formations on stage, patterns in the performance became noticeable to the point where many of the dancers’ actions were predictable. The performance was so abstract I found it hard to relate to, but it was able to evoke feelings of tranquility during the slow peaceful parts of the dance with warm lighting and made me feel panicked and on edge during the segment with fast frantic dancing under red lighting. Watching the performance was a good opportunity for me to be exposed to other cultures and arts, but with my limited background in butoh dance and related performances, I left with a sense that I was not educated enough to get all that I could have out of the experience.
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I did not enjoy the performance as much as I had hoped to. I found it to be too long and pretty monotonous. It was challenging to identify the meaning of the movements, which made the dances uninteresting and hard to follow. Additionally, the dancers demonstrated almost no emotion, the only exception being when they seemed to silently scream—an aspect that I found quite unnerving—and as a result I was not emotionally invested in the performance. I am having some difficulty calling the production a dance. I think it was more performance art as the staging and lighting seemed to be just as important as the movements. I did really enjoy the use of sand on stage. I am not quite sure of the meaning, but I liked the imagery of the dancers making imprints in the sand and of the sand piling on the stage as the dances progressed.
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“Psychologically troubling” would be a good way to describe my impressions of Sankai Juku’s performance. Most of the pieces were tranquil to an almost eerie extent. The movements were full of resistance and were extremely controlled and contained. The most disturbing piece was set under dark, red lighting and used unsettling music. The dancers’ mouths were gaping open, giving the impression that they were screaming. They moved their arms in a seemingly distressed way, as though they were trying to escape something. I would love to know what the inspiration for that piece was. While most of the pieces reminded me of nature, I feel like that one could have been inspired by the events of World War II. But, to my confusion, the piece is titled “All that is born.” The dancers circled each other in ways that resembled the orbiting of planets around the sun, so perhaps it is about the birth of the universe.
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Even though the performance is supposed to encompass pre-history, I found it impossible not to interject my own views of the world onto the dancers. The fourth movement, in all its’ yellow glory, made me think almost immediately of hazmat suits. It was if I was watching the aftermath of a nuclear fallout and seeing humans beginning to interact with the Earth again. The performers seemed to me to be the custodians of a world where only sand remained. I understand that this was probably not Mr. Amagatsu’s intention when creating this piece, but I wonder if I should feel justified in having this reaction? Perhaps the glory of these pieces is that they are free for interpretation by any viewers as part of a joint human experience? Am I wrong to inflict my own interpretation on it and is there any one, singular way to view a performance? Indeed, Mr. Amagatsu is working in quite a specific cultural lens that my thoughts might be entirely inappropriate for this piece.
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Sankai Juku is not the kind of the dance which you have to fully understand in order to appreciate, but it does inspire me to think a lot. Sankai Juku presents abundant elements of Asian philosophy, through which it integrates and reconstructs the complicated feelings of human beings towards the space-time and thus delivered a passionate eulogy towards life.
Color was a major theme of the performance. Red, blue, yellow, green, and flesh color, in Asian philosophy, represents the five basic elements of the world: fire, water, wind, soil, and human. The color red created an environment of purgatory, in which people screamed so exhaustedly and desperately as to be noiseless. The color blue was full of vigor, just like what the word “water” reminds us of. The actors curled up on the ground like tiny worms, trembled when they heard the sounds of thunders and birds, and struggled to molt, grow, and evolve. These nascent creatures tentatively stretched out their horns—dancers’ arms, drew them in, and stretched out again, demonstrating an exploration towards an outer world which every life may experience. What came then with the sound of the wind was the yellow scene. Dancers waved their arms up and down, front and back, as if they were groping for something in the vacuum. Then the color green brought to the stage a majestic music, with which dancers stretched their arms up and down as if trees were growing up overwhelmingly, embracing the light of the sun and absorbing the nutrition of the soil. The performance, named the “dance of darkness”, actually discussed how lives, created in darkness, entered this world and found their own positions here. In this new space they experienced the repression and fear, exploration and transformation, struggle and pursuit, as well as the final transcendence. Without time and life, space is nothing but a perpetually static vacuum. But the dynamics of life, along with the idea of “time” indicated by the everlastingly falling sand in the background, endowed the space with a direction towards future—only with life, could there be future. Thus, the performance, starting with a body-monologue in the flesh color, continued with the horror of red, the life of blue, the pursuit of yellow, and the growth of green, and finally ended up with the return of the flesh color. The dancers were kneeling and rotating ceremonially, worshiping towards the greatness life meant to the world with the collective identity as human beings.
The ultimate theme of the performance, “the dialogue with gravity”, was thus deepened. The dancers showed the motif of growth through depicting that lives, although restrained by the ground, explored the world unceasingly and never gave up to reach higher. The motif of time was also connected to gravity, since it was shown by the falling sand, as if the fluidity of time was driven by the force of gravity. Hence, the performance united the motif of life, time and space together philosophically in the idea of “one”, the core of meditation.
Honestly I would say that Sankai Juku actually provided many indescribable moments, because words work only for things that have limits, while the themes of the dance could be limitless. I tried very hard to interpret some of the meanings of the performance, but in fact, my most enjoyable time was when I gave up the attempt of interpretation and simply appreciated the shock that Sankai Juku offered deep in heart.
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Calling UMASUNA a dance performance neglects to acknowledge the true purpose of Butoh and ignores the symbolism and importance of the set design. The style is more of a ‘meditation in movement’, a description taken from an article in Dance Teacher Magazine. As the performers moved, it appeared to be an inward experience, rather than a communication between the performer and audience. If a great performance is characterized by an interaction between viewer and performer, can this show qualify as such? The most communicative aspect of the show was the set. The scales moved with each new meditation, representing a sort of give and take between the body and mind. The stream of sand that fell at the back of the stage was reminiscent of an hourglass. This could have shown the passage of time. The most visually striking moment occurred when yellow lights illuminated the sand. Through showing the curves and footprints on the sand with shadows and lights the performance conveyed the idea that actions affect things and leave impressions. I enjoyed the visual art behind the dancers, but the dance itself bored me. I understand that the purpose of this style is to be one with gravity. However, gravity is a part of everyday life, something we all understand. Dance should show a breathtaking departure from the mundane, a new aspect of life, a way to defy the ordinary such as gravity. Therefore, this performance was more of a meditation with a wonderfully impactful setting.
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Sankai Juku’s performance of UMUSUNA: Memories Before History was a completely new experience in sight and sound. There were times of very slow and deliberate movements, and times that were far more upbeat in comparison. One part of the performance that I really enjoyed was the piece pertaining to the water. There was a strip of blue lighting cutting through center stage and green lighting in the background which created for me the scene of a small stream in a forest. Eventually the blue lighted strip went away and the dancers focused on more than just the immediate area of the stream. This part of the performance had both slow and fast elements, which was a nice contrast. I really enjoyed how each performer seemed to be working from within themselves to create this beautiful work of art, and I think that really captured the essence of the Butoh style. Overall, I found this performance completely different from any other that I have attended. The unique stage elements, and the small details of lighting all added to the whole concept, and I would highly recommend attendance at a Sankai Juku event to anybody.
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I did not like the Sankai Juku performance. Part of it was probably because of the expectation bias I had coming into the performance; I was expecting a grotesque, raw, post-WWII purely emotional dance. I would say that the performance made some progress to at least displaying these emotions (especially though the wide open mouths during the facial expressions), but came short of reaching that apex of emotional turmoil. I felt like each stride of motion had too much thought put into it, and not enough of the raw, grotesque emotion that was present in the Japanese people after WWII. Sure, in the faces I could see their mouths open, but I felt like alongside that, there should have been far more contortions of body. With the open mouths, I saw pain, but did not feel it.
But I felt like even more so, I was let down by the loss of what I saw as potential to really show what it meant to live after WWII. It was definitely more complicated than grotesque turmoil; there is the valiance of hope, togetherness, and all the joy of going through a horrible situation with other human beings. There were times in the performance where I almost felt like that was what was being said, but I never could really pin the meaning of the dance down, where I could feel the dancers experiencing pain together, or apart. It seemed arbitrary when they would move out of sync and into sync. (but maybe, that is really just my fault then, as a bad listener)
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As a first time viewer of Bhutto dance, it is impossible to deny how much discomfort I felt during the performance. However, this discomfort was valuable, and I came to new realizations after viewing something that seemed so foreign, so bizarre at times. Unlike my initial thought that dance was meant to be viewed and not always analyzed, I found myself thunking about the dance and not focusing on what was being presented on stage. I attribute this to the performance’s confusing rather than engaging nature. As a result, though, my understanding of Bhutto dance did increase. Some of the observations I recorded were that Bhutto dance consist of generic motions we see in life, but we do not generally associate these motions with dance. For example, in the third scene with the three dancers alternating between fetal position and other poses, I recognized the motions but I was shocked to see those moves being utilized in dance form. I was also aware of the many contrasts, such as between fast paced walks and slow body motions, traditional music and modern-sounding background noises. Because I was a stranger watching another culture perform on stage, I was able to notice these purposeful imperfections and imbalances, but I never found any aesthetic enjoyment of the dance.
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I had very little idea what to expect when seeing UMUSUNA: Memories before history. Likewise, as I was watching the performance, I didn’t quite understand how to interpret the dances. I decided instead to enjoy the music and movements at the purely sensual level. After I left, however, the imagery kept flashing back to me. One part of the performance that I found particularly striking was when the background of the stage became a vibrant green and the center strip a bright blue. This lighting made the stage look like a forest with a river flowing through it. At one point, the dancers gestured as if they were drinking from the “river”, and I think that this was the moment I began to understand that Umusuna was about life. There was a hanging sand-dial of sorts that fluctuated in height throughout the performance, and I think that that may have been meant to symbolize the passage of time. One thing I could not really understand, however, was the meaning of the continuous flowing of sand in the center of the stage. What was that meant to symbolize?
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I was actually very impressed with the out-of-sync sections of the dancing, because it seemed to me very deliberate. Especially in the third movement (the yellow-washed one, in which they started out curled up on the sand scuttling a little bit). It is difficult to be perfectly in sync, but often even harder to be deliberately out of sync. And it does have a nice effect of a sort of ebb and flow between the dancers.
Everything about the Sankai Juku group displayed unison such as their stark white skin, shaved heads, and matching costumes. All of these details were meant to help the audience from concentrating on the individuals characteristics of the dancers, but instead on the movement of the dancers. However, when it came down to the movement itself, there did not seem to be great cohesion within the group. The slower a dance is, the easier it is to pick up on discrepancies in the flow between performers. Butoh is an extremely slow dance and therefore it was very easy to tell if one person was slightly off from the rest of the group. There were many times in which the dancers had separate roles within their group, but most of the time the group danced as one. At least one dancer was almost always a little bit off during the group parts. I found this interesting because I’d have thought that group would concentrate more on being very cohesive. However, Butoh is also considered an inward to outward dance, where the dancers do not need to be taught the style. It exists within everyone and the dancers are supposed to use previous memories and experiences to release the dance from within them. When considering this, it would make sense for each of the dancers to all have slightly different styles because each dancer is basing their dance off of different memories/experiences.
"by BK
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I was thoroughly perplexed by Sankai Juku: UMUSUNA. Throughout the entire performance I tried to understand what was trying to be communicated, what the dancers’ gestures indicated, and if there was a story being told. However, by the end of the performance, I was still clueless. Part of the reason I feel this way is because this performance was unlike any dance I had ever watched in my life. Almost every other dance performance I’ve seen had fast, flashy dance moves meant to entertain the general audience. The dancers this performance of butoh, however, was fully focused on presenting in their own traditional moves. Now that I think about it, this performance was less of a show and more of a display of the things butoh aims to expose, for example the unique stories of each individual dancer. It was interesting to see a form of dance where there is a deeper concern than showy dance moves, and where the performers were fully concentrating on expressing their experiences. However I wish I could know the personal stories of each individual dancer, and know exactly what compels them to express their selves in this way.
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Sankai Juku: UMUSUNA was a mesmerizing and intense display of Ushio Amagatsu’s vision for Memories Before History. With lively, pleasant music during some parts, and loud, dramatic noises at other, it had an impressive variety of sounds that added to the auditory experience. I enjoyed the employment of pin-drop silence at times to help the audience focus on the specific movements of the dancers. Similarly, just the sound of sand falling made the audience put their attention on the constant stream of sand in the background, which was also able to captivate me for long periods of time. Not only that, but the performance emphasized the constancy of the sand being there, pouring the entire time, no matter what was happening on stage. This, combined with the repetition of the same movements in each section allowed for stability and consistency throughout the piece. Slower, gentle movements were used in the dance, unlike modern dances. The lingering clouds of dust help us visualize the patterns of the dancers, and could represent the lasting impact we have on history. Elements of the costumes added to the visual effect of showing the performers’ interaction with gravity, for example, the long dangly earring that always pointed to the ground, as did strings and long flowy cloths. This emphasized one of Amagatsu’s main themes of dance, the tension and relaxation of gravity. Overall, Amagatsu combined intense choreography and changing sounds, among other aspects, effortlessly to create an incredible performance.
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I was not really sure what to expect from Sankai Juku before watching the performance, and though the experience was along the lines of what I had expected, I was intrigued by what I saw. The second movement of the performance – with the glaring, red stage lighting and corseted costuming – remains the peak of the production for me as not only was it fast-paced and engaging, but it also threw out explicit emotion, something I did not always receive from the other movements. I felt terror, unfiltered and pure, and based on the facial expressions and movements of the performers as well as my own thoughts during the display, I found myself unsure as to whether the dancers on stage were simply consummating horror, or if they themselves felt and were encompassed by it.
Even while watching the dance, it was clear to me that a lot of the symbolism and meaning in the performance went right over my head; I regret not having had the context behind Butoh to fully appreciate the piece. Perhaps if I had known beforehand that the colored lighting was meant to represent the four elements (fire, water, air, and earth) and that the sand piling up on stage was meant to convey the passing of time, I may have been able to better interpret the various movements, and consequently become more engrossed with the production. However, as intensive as Umusuna was, it was not my cup of tea, as I found it rather frustrating to be unable to confidently speculate on the consequence of each scene, and thus found it difficult to be fully immersed in the performance at any given time.
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Your observations are very insightful. Sankai Juku’s relationship to gravity is unique, and probably one of the reasons why many people who saw it for the first time found it unsettling and unlike anything they had seen before. I too was moved by how precise their movements were, and often found myself amazed by how they remembered the dances. Your insight about the costumes representing military uniforms is also interesting and valid. The white costumes with the green waist embellishment remind me most of a military uniform. Thank you for sharing your thoughtful observations!
Many common dances appear to “defy gravity”, such as ballet where the dancers stand on their toes. Contrary to these styles, the dancers of Sankai Juku appeared to embrace all forces and act against them. The dancers exerted much strength with each movement. The audience could feel the power behind each motion. The facial expressions of the dancers appeared distressed and frustrated. At times they seemed to be screaming, but could not let out any sound. I began to question whether their movements were occurring unwillingly. The movements of the Sankai Juku performers were slow and precise—as if something was directing each part of their body. I ponder where the origin of the movements derives. Is there some external force acting on the Sankai Juku performers and if so what is the objective of the force? I considered the historical context of Butoh, which arose shortly after the end of world war II. Perhaps characteristics, such as the identical costumes, were used to embody the uniforms worn by a militia. Was the force supposed to trigger movements reflecting certain emotions? Although I was not able to understand the purpose of parts of the performance, it was still a unique experience.
"by BB
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This performance made me reflect on my own life more than any other performance I have ever seen. The music was intensely powerful and the movements of the dancers were very meditative. This put my mind at ease and I found my thoughts wandering throughout the performance; however, they wandered in accordance with what was happening on stage. When the red, fiery section was occurring, my thoughts turned to the various forms power in the world and some of the stresses in my own life. It was a most distressing scene. Then, while the green “life” dancers were on stage, I found myself thinking about one of my favorite sounds: the birds that live outside my window at home chirping in the morning. I felt a strong connection flowing between the dancers, the music, and me. This show helped me discover a whole new way to listen to music and understand a dancers message, all through the traditions of a different culture than my own. I was also in awe of the amazing body control of the dancers. On top of all my other feelings, the amazing talent put “the icing on the cake” for me. I thoroughly enjoyed this engaging and spiritual experience!
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I am going to be blunt- I am not really that fond of Umusuna as a whole. I liked the whole concept behind the performance- the beginning of life, time, the world. The man walking towards the sand in the beginning illustrates man entering the universe, and thus time begins- this is helped by the visual of the two hourglass-like objects on the sides of the stage as well as the giant one placed center stage. I also liked that stage was covered in sand— the sands of time, one could say. But after this first scene of the individual guy walking towards the infinitely sand, I did not really understand what was happening. There were lots of other people running around, dancing, sometimes not in sync. As a performer I understand that it can be difficult to quickly get accustomed to a new stage, (for me, getting used to the acoustics since I’m a musician) that being said it was very distracting to see that one guy dragging slightly behind the rest of the group. And I realize that the performers shaved their heads so as to revert the audience’s attention more towards the dancing itself, but I found myself often looking at the dancers’ faces, as I was taken aback since they all looked so similar. All in all I appreciated the originality behind the dance in general, but I did not particularly enjoy the performance.
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The Sankai Juku performance of UMUSUNA was certainly a unique experience. Going into the show, I was not very familiar with the style of that type of dance, but, nonetheless, I found it to be very interesting. I cannot claim to have understood the meanings behind all of the various movements and set pieces, but several moments did resonate with me. The opening of the show with the lone performer slowly walking towards the large scale had a very cinematic feel, and the image that was created with the help of the lights and the set really stuck with me. Some of the performance’s choices regarding color were also very intriguing. The way the colors of the costumes often matched with the lights used in the set created a very distinct mood. Especially in the latter half of the show when four performers were on stage at the same time, I felt those choices emphasized their actions and highlighted how in-sync their movements were. I will admit to being confused by the deeper meanings of many of the choreographed pieces, but the technical skill of the dancers and the emotion of the performance were still very clear.
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Sankai Juku: transcending the limits of the humanistic element of dance. By removing distinguishing elements such as hair and skin tone, the performers become an amalgamation of extraterrestrial and neonatal. Overall the production emphasized the fragility of humankind: pulling memories of vulnerability from the audience through moments such as the silent grasp for escaping time as represented with the sand, the muffled screams in the red glow of darkness, or even the grown men curled into the fetal position. The non-verbal aspect of the butoh dance allows the audience to incorporate their own experiences, and share in one another’s pain without having to struggle to find words for a communicative explanation.
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The explicit heaviness in the dancer’s movements shows the audience that the meaning that should be extracted from this performance is related to the human condition in the lens of Japanese history. I found that during the entire performance, my attention was focused on the fact that the audience would rarely see the dancers detached from the sandy surface on which they were dancing. I agree with the fact that the dancer’s heavy motions emphasized a stylistic point in the performance concerning their relationship to the floor and the physical weight in their bodies as discussed in lecture, but I think that we can go a step further and say that this stylistic choice also highlighted the emotional heaviness or burden the dancers were trying to express to the audience. This was particularly evident in the scene in which the dancers were laying on the ground in what looked like fetal position, shifting around in circles. It was as if the dancers were glued to the floor and couldn’t get up; to me, it seemed as if this was due to a mental burden, rather than a physical burden, due to the cowering facial expressions the dancers had during this set. A conclusion like this makes sense as Butoh dance reflects the emotions, fear, fallen pride, and suffering, felt by the Japanese community during the Post-World War II era.
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Many common dances appear to “defy gravity”, such as ballet where the dancers stand on their toes. Contrary to these styles, the dancers of Sankai Juku appeared to embrace all forces and act against them. The dancers exerted much strength with each movement. The audience could feel the power behind each motion. The facial expressions of the dancers appeared distressed and frustrated. At times they seemed to be screaming, but could not let out any sound. I began to question whether their movements were occurring unwillingly. The movements of the Sankai Juku performers were slow and precise—as if something was directing each part of their body. I ponder where the origin of the movements derives. Is there some external force acting on the Sankai Juku performers and if so what is the objective of the force? I considered the historical context of Butoh, which arose shortly after the end of world war II. Perhaps characteristics, such as the identical costumes, were used to embody the uniforms worn by a militia. Was the force supposed to trigger movements reflecting certain emotions? Although I was not able to understand the purpose of parts of the performance, it was still a unique experience.
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Sankai Juku’s UMUSUNA was one of the most unusual, but thought-provoking performances I have ever seen. Every movement was controlled and executed with painfully precise detail. I also found the progression from small, contained movements to free and travelling movements throughout the performance effective on two points. Aesthetically speaking, it makes sense to build the energy and movement as a show progresses. Second, this development can be linked to some of the bigger ideas of Sankai Juku’s performance. Since they typically explore topics such as birth and death, the transition from restrained movements to open movements could be symbolic for these inevitable experiences. The youth typically either deny on some level the inevitability of death, or are very uncomfortable with the subject. But as humans age, death is more accepted. The beginning of the dance could represent the youth, because the looming presence of death literally presses down on them like gravity. However, as the show progresses and death becomes more accepted, gravity is lifted. This enables the dancers to move without facing opposition. Also, the sand that falls throughout the piece adds to this symbolism. Sand is typically associated with time, so as the sand falls during the show, time passes and the dancers “age”. The final pose was quite powerful, because the dancers all ended in the fetal position. This pose completes the cycle of birth and death, and shows that life goes on. I wondered what the significance of the structure of the stage was. There was a gap between the two sides of the stage. What do you think the purpose of the the separation was?
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I agree with you. I enjoyed the first couple parts of the dance and the last part, but the middle seemed prolonged. The music in the middle was repetitive and very serene, which made me unable to focus on the dance; at this point I was used to the style of Butoh. I also appreciated the new style and the way that Sankai Juku was trying to portray messages, but this performance is not for everyone; you phrased this well in your last sentence.
I also wanted to say that I’m glad that I watched this performance; it was a great new experience!
There were a few satisfyingly entertaining moments, but my overall impression of Sankai Juku: UMUSUNA: Memories Before History was that of bemused boredom. The general reliance on shock value and lack of inherently impressive dancing left me unimpressed. Exactly three moments actually held my interest: When the original dancer first looks at the audience, there was a moment of self awareness which I enjoyed. When his solo ends with the entrance of red light, noise, and corresponding dancers, I jumped in my seat, and I can always respect when a performance elicits a visceral response. Finally, when the dancers interacted with the “water” on the stage, I appreciated the simple yet effective use of stage lighting.
That being said, I have been dancing competitively my entire life and am trained in or have performed the following styles: Ballet, jazz, lyrical, contemporary, tap, hip hop, bhangra, Bollywood, raas, and bharatnatyam. I know what is challenging for the human body. Furthermore, as captain of a dance team that does a variety of styles and performs with elements of stage production, I know what it takes to put together an entertaining show. As a dancer and consumer, it is part of my paradigm that a dancer’s/performer’s first and foremost responsibility is to entertain the audience. If an audience is collectively bored at any point while you are on stage, you have failed. The dance movements I witnessed on stage left me bored. I realize that it’s kind of “the point” of butoh to contrast with refined dance styles, but at no point did their movements, formations, speed, or prowess have me on the edge of my seat. I can appreciate that they spent tens of minutes doing ab exercises in front of me and that itself is challenging, but I was not entertained.
Moreover, I generally enjoy/appreciate shock value, but this performance seemed to rely on the strangeness of the dancers’ costumes, makeup, and expressions without backing it up with actual visible skill. I’m sure the dancers can do very impressive movements, but I never got to see them. The performance surely has value for those whose paradigm of performance differs from mine, but if you look for entertainment in dance this might not be the show for you.
"by LAW
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
The Sankai Juku performance was definitely different from any other style of dance I have seen before. The main feature that resonated with me was the effect of the sand coming off their bodies with their movements. It made their movements seem more fluid and peaceful. Otherwise, however, I did not like the performance; either I didn’t understand what they were trying to convey to me, or there was nothing to convey. Either way, many of the dances that they did were off-putting. For example, the lying in the sand and crawling around, or the screaming with the mouth wide open was very creepy, and made me uncomfortable. If they came back I do not think I would go.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
Butoh does not contain pirouettes, jazz squares, or beautiful costumes. Instead, brace yourself for shaved heads, sand, screaming, and confusion. While viewers of traditional dance performances respond in awe, viewers of butoh react with shock. In my opinion, Sankai Juku’s butoh performance was not aesthetically pleasing, nor do I think it was meant to be. The dancers made jarring expressions, the intense volume of the music at times hurt my ears, and many of the dance moves were repetitive. However, by doing so, this performance was inherently human. Painted in off-white and sporting shaved heads and exposed upper bodies, the dancers looked as if they had emerged naturally from the earth covered in clay. Without flashy costumes to distract the audience from the dancers’ gestures, it was easier to focus on what the dancers were attempting to convey. The human experience. In the real world, as this performance demonstrated, our appearances are flawed, many sights and sounds can be painful to experience, and many of our actions are repetitive. In one scene, four dancers stood around a stream. They dipped their toes in the water and witnessed their reflections. To me, this scene exhibited curiosity and calmness. The dancers slowly moved around the stream in silence, observing it with intense focus. I viewed their movements similarly – with patience and without distraction.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
The slow yet meticulous forms of human nature presented by the Sankai Juku reminded me of the modern dance lessons I took when I was younger. Butoh, like modern dance, deviates from traditional forms of dance showcased by forms such as ballet, tap, and jazz. Similarities between Butoh and American modern dance also revolve around expressing natural movements of the body. For example, the third movement began with Sankai Juku dancers in sleeping fetal positions. As the music continued to play, the dancers went through a routine of sporadic movements involving kicking, thrashing, and spinning. Slow hand gestures and elegant body rolls followed these spasmodic movements. The shaved heads and white body makeup of the dancers enhanced the movements of the performance. Such movements leave the dances’ messages up for a wide range of interpretation. Throughout the performance, I attempted to connect the movements with the emotions they seemed to convey in order to find a central meaning within the dances. Previous readings from our English lecture described Butoh as “a dance of darkness,” which was influenced by the bombings and repercussions of WWII in Japan. Are the Butoh dances representative of the aggregate Japanese response to the traumatic events of the war?
People Are Talking: Sankai Juku:
Sankai Juku’s performance of UMUSUMA was startlingly moving. As a dancer and a former Tae Kwon Do student, I appreciated the immense physical control the performers displayed, as well as the melodious traditionally Japanese music that accompanied the performance. I’ve never seen a performance like this before, and was taken aback by the intense emotion displayed in the dancers gaping expressions and lethargic movements. The opening scene with the solo dancer dressed in stark white with sand pouring onto a similarly nude stage was a powerful entrance to the show. I also enjoyed the scene with four traditionally dressed Japanese dancers with green lapels, on the set with green background and a simply displayed blue light river down the middle of the stage. Both scenes emphasized the profoundness of simplicity that seems characteristic of Butoh. Both scenes made use of slow, deliberate movements using the entire expanse of the stage. The movements were quite repetitive, and without knowing more about the art form, I at times felt lost in the seemingly random steps and cacophony on stage. I think it is important to remember that the art form came out in post-war Japan. This context can serve as the basis for the tragic tone that the dance takes on. The dance seems to mimic a movement from death to rebirth, just as Japan began to redevelop after the tragedies of World War II. I felt as though the dancers embodied the idea that when you have nothing else, when you’ve been stripped of distinguishable physical characteristics around you and on yourself (the plainness of set and costume), you still have your soul. The performance seems to be an ode to that inner spirit, and the ability of expression and culture to persist through immense tragedy.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
I saw the Sankai Juku performance to be one of many contradictions. Among the most interesting was the coordination and connection observed between members during the dance, with no physical contact and rare eye contact between them. This made me wonder about the lives of the dancers outside of the performance, in terms of how much time they spend together in rehearsal or if they spend time together outside of the Butoh dance. Another observed contradiction came to me in a note I made during the performance. I jotted down the phrase “moving sculpture,” which is an inherent contradiction because sculptures cannot move. However, this phrase was how I best described the phenomenon of the dancers themselves. I am curious to hear how others would describe the dancers, and try to explain how they managed such a fluid and connected performance while moving individually.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
I thought the performance acted as a time machine, allowing viewers to travel back and forth at random through a human life. This was evident through the clockwise and counterclockwise spinning of the dancers, representing the forward and backward progression through time. They made circles in the dirt with their feet as they spun, creating a clock. Their foot acted as the hand of a clock, giving the illusion that as their foot made a rotation, time was progressing. Another visual symbol of time was the balance in the background. As the right pan fell further than the left, the music and movements were dark and intense, symbolizing death. When the left pan was further down, the performance brought viewers back to birth. I believe the performance also portrayed ideas of existentialism that tied to this idea of traveling through time. With existentialism, the world of the absurdity explains that at any given time during your life, anything can happen to you. This also gives us some explanation as to why the choreographer would have perhaps began at birth, shifted to death, and came back to birth again. In my opinion, the random order of the performance is a visual representation of the idea that we have no control over events in our lives or time itself.
People Are Talking: Sankai Juku:
We are able to see so many untraditional dance moves such as incredibly slow movements and gaping mouths that are unlikely to be seen in any other dance performances, but there is one thing that Butoh dancers never do, at least not in this particular performance – physical contact with each other. Why is that? I started wondering if there is a purpose behind this during the “Mirrors of forests”, where the dancers mirrored the ones on the opposite of the stage. The dancers had their arms extended forward with hands opened as if they were trying to grab the other hand in front of them. I interpreted this as a image of people trying but failing to reach their inner selves, who are what we see in mirrors, over and over again. When my mind is conflicted, I sometimes feel the inability to see clearly who I am and what I truly desire. To me, the “mirrors” portray the unsolvable inner struggles within us. With the use of white powder, the distinguishing features of each dancer are concealed. In a way, individualism is therefore diminished among the dancers as well. This implies that as humans, we are all fundamentally the same. The lack of physical contacts gives me the message that, even though we share the same cycles of life, go through the same trauma, and endure the same hardships, we are unable to reach and help each other. I walked out of the Power Center with the sense of helplessness and isolation lingering in my heart.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
Dance as a moving art form very obviously requires attention to energy and its usage, but never before had I seen dance so inspired by energy itself. Each shift in body weight seemed to be a transfer of energy—conveyed to the very fingertips. Everything was centralized around how things flow together, and this concept was articulated through the dancers’ draped clothing, the steady stream of sand in the background of the stage, and the naturalistic inspirations behind the dance such as water, wind, blood, and organic growth. By the end of the performance I fully understood this energy since it had been discussed in so many different ways throughout the dance’s movements, and realized that gravity wasn’t the only force being discussed in Sankai Juku’s dialogue with gravity.
I also felt the presence of the electromagnetic force between the dancers and their environment, something most of us are familiar with through everyday dealings with static. This is a type of energy that compels objects towards one another and at the same time repulses them. The dancers never once touched one another, yet they were bound together in common energy throughout the entire performance. The dance’s movements were often grotesque, especially in the second movement where low grating screams were combined with dark, pulsing movements and gaping mouths. Despite this repulsive nature, Sankai Juku succeeded in pulling us in as an audience, physically not touching, but attracted through mutual rapture.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
I was once told that contrast creates the greatest excitement and reaction from an audience, and that is exactly what the Sankai Juku Dance Group did. Multiple aspects of their performance played on this idea of contrast. However, the second movement, II All That Is Born, seemed to dance with opposing forces the most. In this section, four performers started grouped closely in the back left corner of the stage. They moved slowly, adhering to the laws of gravity. They then proceeded to spread out across the stage. Te difference in use of space cause the audience to lean back; they tried to absorb everything going on on stage. Their bodies shifted slowly at first, but occasionally they would jerk swiftly along with the music playing behind them. My eyes were drawn in every time the dancers made a quick movement. The use of space and speed as a means of opposition caused me, as an audience member, to be greatly enticed by what was happening on stage. This movement of the performance was unsettling, uncomfortable yet highly exciting and captivating. I believe this is due greatly to the contrast created on stage along with the choice of lighting and sound. Overall, as difficult as it was to grasp the concept of what was presented on stage, the mastery of contrast allowed for a wonderful performance.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
I had hoped for more information regarding butoh prior to Sankai Juku’s performance on Friday night- I had personally never heard of that style of dance before. The documents and posts on the UMS website were helpful, but I feel that a more comprehensive post on the dance form would have helped me gain even greater perspective. Going into any performance, I think that it is vital to have some sort of background information- this allows one to appreciate the event to its fullest. Yes, you can connect to almost any piece emotionally even without some sort of understanding of what is going on, but just the smallest bit of information can transform how you view a performance and what you take from it.
My desire for more information aside, I was enthralled by the contrast between the synchronization of the dancers and the lack thereof. There was one moment during the “second act” of the show when the red clad men swayed together as if they were the arms of an underwater plant, rocked by the ebb and flow of the water. It was beautiful- I almost began swaying myself. However, there were also moments of individuality. The men in all white moved in circles around each other about midway through the performance and they all acted as the central node in their unique ways. Similarly, when the men in green were interacting with the water (or the blue light that I interpreted to be water), it was clear that they were doing so in an unsynchronized fashion. This allowed the unity of the body to become the focal point of the performance rather than the unity of a group of individuals.
After reading Annick Odom’s “Dialogue with Gravity: 10 Things You Didn’t Know About Butoh”, I was able to make a connection between the dance form and the observations that I had made during the show. Odom asserts that “butoh lived and died in a single performance” when it was originally performed. Dancers would spontaneously express what was already within them (Odom). No synchronization would have occurred in original butoh if it was performed spontaneously. Or, if it did occur, it would have happened without prior planning. Ushio Amagatsu’s butoh has added the harmony of synchronization to the original butoh style.
Citations
Odom, Annick. “UMS Lobby.” UMS Lobby. 18 Sept. 2015. Web. 23 Oct. 2015.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
I can’t say I totally understood the performance by Sankai Juku. I have never seen anything like it. When I was reading Rachel’s blog post about her time in Japan, I really liked how she talked about her first experience with a Japanese performance. She said it made her realize that she’d only been exposed to a very small scope of literature. It’s the same with performance art. We’re confused by Butoh, I think, because it is so different from Western traditions. It’s very different from Western dance. In Western dance traditions, the dancer entertains the audience with leaps and jumps- things the audience probably couldn’t do themselves. For the most part, the Butoh dancers didn’t use their bodies in any spectacular way, except when they moved very slowly and showed spectacular control. It’s a different kind of entertainment. I think we might also be confused because there is no solid narrative. In the West, dances tend to accompany a story. Ballets definitely have stories. We are more comfortable with a performance if the meaning is laid out for us. In Butoh, the dance seems to be symbolizing something much bigger. I have no clue what that is, but I was able to enjoy the performance more when I stopped searching for one clear meaning.
People Are Talking: UMS presents Antigone by Sophokles:
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People Are Talking: UMS presents Sankai Juku: UMUSUNA:
There were a few satisfyingly entertaining moments, but my overall impression of Sankai Juku: UMUSUNA: Memories Before History was that of bemused boredom. The general reliance on shock value and lack of inherently impressive dancing left me unimpressed. Exactly three moments actually held my interest: When the original dancer first looks at the audience, there was a moment of self awareness which I enjoyed. When his solo ends with the entrance of red light, noise, and corresponding dancers, I jumped in my seat, and I can always respect when a performance elicits a visceral response. Finally, when the dancers interacted with the “water” on the stage, I appreciated the simple yet effective use of stage lighting.
That being said, I have been dancing competitively my entire life and am trained in or have performed the following styles: Ballet, jazz, lyrical, contemporary, tap, hip hop, bhangra, Bollywood, raas, and bharatnatyam. I know what is challenging for the human body. Furthermore, as captain of a dance team that does a variety of styles and performs with elements of stage production, I know what it takes to put together an entertaining show. As a dancer and consumer, it is part of my paradigm that a dancer’s/performer’s first and foremost responsibility is to entertain the audience. If an audience is collectively bored at any point while you are on stage, you have failed. The dance movements I witnessed on stage left me bored. I realize that it’s kind of “the point” of butoh to contrast with refined dance styles, but at no point did their movements, formations, speed, or prowess have me on the edge of my seat. I can appreciate that they spent tens of minutes doing ab exercises in front of me and that itself is challenging, but I was not entertained.
Moreover, I generally enjoy/appreciate shock value, but this performance seemed to rely on the strangeness of the dancers’ costumes, makeup, and expressions without backing it up with actual visible skill. I’m sure the dancers can do very impressive movements, but I never got to see them. The performance surely has value for those whose paradigm of performance differs from mine, but if you look for entertainment in dance this might not be the show for you.
People Are Talking: UMS presents Sankai Juku: UMUSUNA:
Everything about the Sankai Juku group displayed unison such as their stark white skin, shaved heads, and matching costumes. All of these details were meant to help the audience from concentrating on the individuals characteristics of the dancers, but instead on the movement of the dancers. However, when it came down to the movement itself, there did not seem to be great cohesion within the group. The slower a dance is, the easier it is to pick up on discrepancies in the flow between performers. Butoh is an extremely slow dance and therefore it was very easy to tell if one person was slightly off from the rest of the group. There were many times in which the dancers had separate roles within their group, but most of the time the group danced as one. At least one dancer was almost always a little bit off during the group parts. I found this interesting because I’d have thought that group would concentrate more on being very cohesive. However, Butoh is also considered an inward to outward dance, where the dancers do not need to be taught the style. It exists within everyone and the dancers are supposed to use previous memories and experiences to release the dance from within them. When considering this, it would make sense for each of the dancers to all have slightly different styles because each dancer is basing their dance off of different memories/experiences.
People Are Talking: Sankai Juku:
Personally, I did not find the Sankai Juku performance to be particularly enjoyable. It took me a while to even process the situation and adjust myself to the general abnormality of what was happening on stage. I thought that the themes and the story could have been presented in a number of different formats that all would have been more effective. However, that being said, I can understand why this type of dance is respected and liked by some people, because I could see the meaning behind the dance itself, and I appreciated the message it was sending. I liked the theme of the travel from birth to death to rebirth, and the slow decomposition of living. The whole performance also makes more sense knowing that it was created as a post WWII/ post atomic bomb, which helps the audience connect the grotesque faces and themes to an origin. In conclusion, I am glad that I was given the opportunity to see Sankai Juku because it was an insight into another type of performance and it was interesting, but I don’t think I would see it again.
People Are Talking: UMS presents Antigone by Sophokles:
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Bobby McFerrin on Spirituality:
I had no idea this was TWO Christmas episodes! Imagine my surspire when it arrived! I thought it was just A Christmas They Never Forgot. Anyway, I have been a fan of this much-loved series for years. As kids, my bother and I grew up watching Little House on the Prairie and every Christmas I get him a DVD. I really think he’s going to like this. Every show is always perfect! Michael Landon set the bar of excellence so high that no one in the past 30 years has ever been able to even come close! These are the main cast members of this family-friendly series:Michael Landon (played: Charles Ingalls)Karen Grassle (played: Caroline Ingalls)Melissa Gilbert (played: Laura Ingalls)Melissa Sue Anderson (played: Mary Ingalls)Matthew Laborteaux (played: Albert Ingalls)Ketty Lester (played: Hester-Sue Terhune)Dean Butler (played: Almanzo Wilder)Victor French (played: Isaiah Edwards)Linwood Boomer (played: Adam Kendall)Richard Bull (played: Nels Oleson)Alison Arngrim (played: Nellie Oleson)Melissa Missy Francis (played: Cassandra Cooper Ingalls)Jason Bateman (played: James Cooper Ingalls)Rachel Lindsay Sydney Greebush (Carrie Ingalls)Wendi Brenda Turnbaugh (played Grace Ingalls) These are the 2 eps that this DVD incldues, with the original air dates show descriptions: Christmas at Plum Creek December 25, 1974The entire Ingalls family works (extra) hard to earn money for Christmas gifts. Carrie even finds a penny in an old hat box. Laura decides to trade Bunny to Mr. Oleson! Charles raises extra money, as well, by reconstructing a set of wagon wheels. Ma and Mary each take up sewing as their family contribution. And, on Christmas morning everyone gets the surspire of their lives! This ep is from Season One . A Christmas They Never Forgot December 21, 1981Mary and Adam come back to Walnut Grove (from NY) for a rare surspire visit. When the entire family is snowed in, everyone sits around the kitchen table and tells some of their fondest memories. And, one of the stories even includes is a Christmas clip from the Little House Original Pilot Movie, with Mr. Edwards! A Christmas They Never Forgot is from Season Eight . Merry Christmas!!!
UMS Documentary Wins EMMY Award:
usul aja nch buat manajemen coba seelski pemain korea Ahn Hyo Yoen yg g jd diambil persiba siapa tau cocok jd tandemx Julio Lopez. Sapa tau ntar kaya’ Park Juhn Hwan yg g produktif di Persiba malah bagus maenx di PSM
You and Your Ukulele:
I’m in total agreement with Dan, above. I’m a ncoewmer to the uke, began with a cheap soprano which was ok for messing about but wanted more. I went for a concert because of my fat fingers, and got myself an Ashbury AU60 and I’m delighted with it. For a reasonable price the quality is spot on and the sound is first class.It’s a joy to play so, as I can hardly bear to put it down, my playing has improved rapidly. Perfect for the serious beginner.OverallSoundPlayabilityValue forLooksConstruction
Student Spotlight: Embedded with Hubbard Street Dance Chicago:
Hi, Kiris and Chloe — thought you might be interested in this article by a University of Michigan student who was an HSDC summer intern/dancer.
Carol
People Are Talking: UMS presents Abdullah Ibrahim & Ekaya:
Correct! Monk continues to be of significant influence to Mr. Ibrahim. And, the jazz community recently celebrated Monk’s birthday on October 10.
Thanks for asking for the set list…see below!
-Mark Jacobson, UMS Programming
Any set list available? The Monk composition was “Skippy.” Great concert last night. Thanks UMS!
"by Carl Michel
People Are Talking: UMS presents Abdullah Ibrahim & Ekaya:
Below is the set list from Wednesday evening. Thank you for attending this 15/16 UMS Jazz Series opening concert event.
Abdullah Ibrahim & Ekaya
Wednesday, October 21, 2015 at 7:30 pm
Michigan Theater
SET LIST
(Note: The below set list represents the concert repertoire, not necessarily in the order performed, as the order of pieces performed is determined in the moment by Mr. Ibrahim.)
All compositions by Abdullah Ibrahim, except where noted.
• Dreamtime
• Barakaat
• Peace
• The Balance
• Ishmael
• The Wedding
• Monk
• Skippy (by Thelonius Monk)
• The Mountain
• Nisa
• Mississippi
• Duke
• Sotho Blue
• In the Evening
• Tuang Guru
• Water from an Ancient Well
• Mindif
• Kalahari Pleiades
-Mark Jacobson, UMS Programming
People Are Talking: UMS presents Abdullah Ibrahim & Ekaya:
Any set list available? The Monk composition was “Skippy.” Great concert last night. Thanks UMS!
People Are Talking: UMS presents Abdullah Ibrahim & Ekaya:
Absolutely beautiful composition and world-class musicianship. This guy is a legend. Top notch horns and rhythm section.
People Are Talking: UMS presents Abdullah Ibrahim & Ekaya:
This was an incredible evening: Abdullah Ibrahim is a legendary figure in the world of jazz as well as the freedom struggle in South Africa. Tonight he performed a meditative, soul-searching set that called to mind the deep chords of Township gospel singing, the penny-whistle swing of 1950s Cape Town pop, and an improvisational spirit closely akin to Duke Ellington, Thelonious Monk (a composition of whose he performed at the end of his set), and Charlie Mingus. Along with his suggestive and resonant piano playing he was accompanied by a cadre of inventive, sensitive, dazzling side men. The concert was as much a pristine introduction to the pleasures of jazz improvisation as it was a valediction of how jazz has contributed to the culture of the past century–and how it continues to speak to our present and our future.
People Are Talking: UMS presents Abdullah Ibrahim & Ekaya:
Gentle is not a word I often apply to jazz. I’m used to wild romps and more volume. Perfect for mid week. I was tired. Very soothing. A corner of jazz I seldom explore. Was reminded of a case on jury duty….driving on Ambien, they brought in the forensic scientists from Lansing to explain the chemistry. Anyway, made it home safely.
People Are Talking: UMS presents New York Philharmonic:
I agree. My guess is that the soloist played a cadenza based on Beethoven’s cadenza — but elaborating on it. That would explain the length.
Interesting. I don’t remember hearing such a long cadenza before. Is it what is commonly played?
"by Egret
People Are Talking: UMS presents New York Philharmonic:
Interesting. I don’t remember hearing such a long cadenza before. Is it what is commonly played?
Hi Bernard,
"Mr. Barnatan played Beethoven’s cadenza – that was noted in the program notes. Hope you enjoyed the concert!
Liz, UMS
by Liz
People Are Talking: UMS presents New York Philharmonic:
Hi Bernard,
Mr. Barnatan played Beethoven’s cadenza – that was noted in the program notes. Hope you enjoyed the concert!
Liz, UMS
WHOSE CADENZA DID HE PLAY ?
"by BERNARD SIVAK
People Are Talking: UMS presents New York Philharmonic:
WHOSE CADENZA DID HE PLAY ?
Terrific! What gorgeous phrasing and control of dynamics from both the orchestra and Mr. Barnatan. I loved the playful adventurous use of slightly over the top horns in a few paasages because, as the program notes so accurately describe, that was Beethoven’s spirit – sublimely beautiful jokester. Gilbert has brought this orchestra together to make real music. Thank you, UMS!
"by Linda
Student Spotlight: Rachel Stopchinski on Japan and Sankai Juku:
Hi Rachel, I really enjoyed reading your post! I worked with Pomegranate Arts over the summer as an UMS 21st Century Artist Intern, and encountered Sankai Juku’s work through that. I agree with your thoughts, and I wrote a preview post with your quote on [art]seen at Arts at Michigan. I hope you can check it out!
People Are Talking: UMS presents Antigone by Sophokles:
I saw “Antigone” and “All My Sons” on consecutive nights. On paper Sophocles is a genius and Arthur Miller is merely very good, but these two productions gave the opposite impression.
People Are Talking: UMS presents Antigone by Sophokles:
Our biggest problem was the poor sound. We only understood half of what was being said. If we hadn’t read the play we would have been even in worse shape. We sat in the fifth row and we would have been fine without the distorted microphone sound.
People Are Talking: UMS presents Antigone by Sophokles:
Still haunted by this amazing multi-dimensional production, a trance-like ritual framed by eclipses and sustained by powerful blasts of silence. Elements of Laurie Anderson, Judith Malina, Morton Feldman, Antonin Artaud and Jean Genet. Conventional pacing and well-oiled attention-sustaining techniques would have robbed it of the very magic that had us sitting stock-still throughout and delivering a standing ovation afterwards.
People Are Talking: UMS presents The Gloaming:
What a wonderful concert! I usually prefer my traditional music straight-up, the way you would hear it in a pub, but these are the world’s very best trad musicians playing just beyond the boundaries of the genre. I found it thrilling and beautiful and dreamlike. I hope that they will come back, and I hope that Nic Gareiss will be back again too. It wa a joy to see him perform.
People Are Talking: UMS presents Antigone by Sophokles:
I found a lot to think about in this performance. The set was interesting in itself, so was the off-beat beauty of the translation, and the actors were immensely skilled. I was constantly intrigued by the staging (the parallel between the rectangular door and the rectangular grave, the phases of the disk of the sun/moon). the way actors went in and out of the Chorus, the play between the classic and modern. But I wonder if it was meant to be so cerebral? it was that, even for me, and my companion was not unhappy to have seen it but puzzled. I was dismayed by the audience laughing at Creon’s line “the sacrilege that I call public policy”–which for me is the center of the play. There are many ways of thinking about the ethical dilemmas it poses–but the one that is most alive for me is: what is our responsibility as individual citizens of a state that does wrong? oppose it, yes–but is Antigone right to wreck her life? or is her absolutism the mirror of Creon’s, demonstrated by the collateral damage (Haimon, then Eurydice–). It’s pretty marvelous that the play works after 2500 years.
People Are Talking: UMS presents National Theatre Live: Othello at Michigan Theater:
We walked out at intermission, The acting was superb, but the brutality on stage, as moved to the modern world, was sickening. Give me a beating or sword play any day, over drilling through hands or ripping flesh with a hammer’s claw.
It is hard enough to read about these black op practices in the press, but we don’t need to see it on stage.
Antigone by Sophokles:
Still haunted by this amazing multi-dimensional production, a trance-like ritual framed by eclipses and sustained by powerful blasts of silence. Elements of Laurie Anderson, Judith Malina, Morton Feldman, Antonin Artaud and Jean Genet. Conventional pacing and well-oiled attention-sustaining techniques would have robbed it of the very magic that had us sittiing stock still throughout and delivering a standing ovation afterwards.
People Are Talking: UMS presents Antigone by Sophokles:
The microphones were not set adequately. Could not hear 90 percent of the dialogue in the balcony. Ruined the whole play for me. I almost walked out. I was also underwhelmed by this play.
People Are Talking: UMS presents Antigone by Sophokles:
Most over pretentious, avant garde piece I’ve ever seen. Done at a funeral dirge pace. King Kreon actor goes from soft to shouting and there’s nothing in between. Didn’t understand what was suppose to be happening as it was presented on stage since the script seems thwarted by odd use of words; and the lighting and projected images are distraction and leaves one to wonder how they fit into the story. If you want to know what the play is suppose to be about and mean, read about it in the program-then skip the show.
People Are Talking: UMS presents Antigone by Sophokles:
I wonder whether or not this was a deliberate decision. I feel that in general the performance was made less emotional than it could be. It is clear that at the end of the play, where Creon was suffering, it was the director’s intention not to let the audience to sympathize too much with this character. The music became louder and somewhat more energetic and vivid, and the last scene showed that no one on stage sympathized with Creon either.
It was unfortunate that Anne Carson kept the word “liver” in the description of Eurydice’s death and that the production didn’t change it. In Greek, the liver is an organ of emotion (in Aeschyus, “Many things touch the liver” in a heartbreaking passage about deaths in war), but in English, the line is too anatomical and sounded funny.
"by Ruth Scodel
People Are Talking: UMS presents Antigone by Sophokles:
I wrote a review of this production (as well as the SMTD production of All My Sons) on the Arts at Michigan blog. It might be a bit long-winded for a UMS Lobby comment, so I’ll link it here: http://arts.umich.edu/seen/2015/10/16/review-greek-tragedies-classical-and-contemporary-antigone-and-all-my-sons/
People Are Talking: UMS presents Antigone by Sophokles:
I liked the performance overall, but that line did elicit a large laugh on Thursday night, which was unfortunate.
It was unfortunate that Anne Carson kept the word “liver” in the description of Eurydice’s death and that the production didn’t change it. In Greek, the liver is an organ of emotion (in Aeschyus, “Many things touch the liver” in a heartbreaking passage about deaths in war), but in English, the line is too anatomical and sounded funny.
"by Ruth Scodel
People Are Talking: UMS presents Antigone by Sophokles:
Thank you! This is exactly how I felt. I was sorely disappointed and saddened that I payed twice as much for a student as last year’s prices. I can only imagine how those in the audience who payed full price felt. I’m looking forward to seeing other performances put on by UMS that are quality and not overhyped, flat, and pretentious renderings of classical theater.
Good advertising and the hype will keep the audiences clapping for 4 nights in a row, but this is a rather underwhelming performance, if you ask me. Far flung in its distortion of the spirit of the tragedy and blithely comfortable with its ignorance of it, it offered neither a challenging modernization of the piece, nor a sensitive rendition in a classical vein. Stale, slow paced, and predictable, this piece is made for the people who go to theater because of the social prestige associated with it, not because they can recognize and demand artistic excellence. Classics seem boring and trivial, great heroes come off as pusillanimous stock characters, and the catharsis is debased to sentimental pap for the retirees and self-conscious professors. Creon’s character is completely trivialized (and he looks like Hitman!), depriving the performance of one pole of dramatic tension (without which there is no tragedy proper), and turning it into a sleazy, good girl vs bad guy “narrative”, which, of course, “Antigone” is not. Less advertising and better quality next time, s’il vous plait.
"by fufo
People Are Talking: UMS presents Antigone by Sophokles:
Here here!
This was a disappointing production. The acting was flat. The pacing was slow. The (mildly interesting) back screen projection did not connect thematically to the show, particularly to the underutilized corporate office-style set. People were laughing at Creon’s pain (to be fair, he was wallowing on the stage like a 3-year-old pitching a fit) and Eurydice’s suicide (because of the line about the liver). The messenger’s delivery was monotone and insubstantial as comic relief. This play has so much to offer, and it was painful to see this production miss the mark so broadly.
"by mgarcia
People Are Talking: UMS presents Antigone by Sophokles:
This was a disappointing production. The acting was flat. The pacing was slow. The (mildly interesting) back screen projection did not connect thematically to the show, particularly to the underutilized corporate office-style set. People were laughing at Creon’s pain (to be fair, he was wallowing on the stage like a 3-year-old pitching a fit) and Eurydice’s suicide (because of the line about the liver). The messenger’s delivery was monotone and insubstantial as comic relief. This play has so much to offer, and it was painful to see this production miss the mark so broadly.
People Are Talking: UMS presents Antigone by Sophokles:
I also was impressed that the lack of a chorus was replaced, if I am correct, by slow motion film clips of the Dutch recovery of their dead in Ukraine, based on the hint in the program notes. Subtle yet powerful.
People Are Talking: UMS presents Antigone by Sophokles:
It was unfortunate that Anne Carson kept the word “liver” in the description of Eurydice’s death and that the production didn’t change it. In Greek, the liver is an organ of emotion (in Aeschyus, “Many things touch the liver” in a heartbreaking passage about deaths in war), but in English, the line is too anatomical and sounded funny.
I do not regret buying a ticket and seeing Antigone. It is a worthwhile experience. That said, this is not a production I like. The translation is too casual, parts of the set (bookcases, faucets) are barely used or not at all, video behind the actors seems mostly unrelated to the action, and the loud vocal music at the very end also seemed out of place. The acting is good (though the actors are VERY hard to hear) as we expect but the text causes them to utter lines that produce laughs when the moment is tragic. Yes, some laughs break the tension appropriately early on, but in the last 10 minutes, no – this is a tragedy.
"by Jack
People Are Talking: UMS presents Antigone by Sophokles:
Actually, the miking was a director’s decision from the beginning and I don’t think it had anything to do with the cast’s abilities. (I heard this from Kirsty Bushell at the panel.) She didn’t explain why, but I think he wanted the peculiar sonic distance. I wasn’t sure I liked it, but it was a deliberate effect.
The updated script was lively. I disagree that Creon’s character was trivialized — on the contrary, he was made fully human in his complexity. This was NOT a simple good vs bad rendition,not the least because Creon was brilliantly played… and, unfortunately, because Antigone was not. Binoche does not have the powers required of a stage actress. She played Antigone in an old, melodramatic style that did not match the other performances or the script.
On the up side, the updated script offered up humor, wonderfully delivered via The Guard. On the down side, Binoche clearly couldn’t project (it was downright painful when she tried), leading the whole performance to be miked. This seriously detracted from the strength of the production itself, which overall was visually stunning but sonically stilted.
"by Ufa
People Are Talking: UMS presents Antigone by Sophokles:
The star of the show without a doubt was Anne Carson’s translation. Everybody else was good but that was great.
People Are Talking: UMS presents Antigone by Sophokles:
O.K. Big world events still occur around celestial events such as eclipses. The Supermoon eclipse brought the Pope, the leader of China, and V. Putin to our shores, plus the Speaker of the House tendered his resignation. I drifted in to a big dream that the crew of the U.S.S. Enterprise took jobs at a dotcom and I was waiting for the Google bus to take them all home to the Mission at the end of the day. I think they would have stuck to antiquity at the Thurber Theater in Columbus.
People Are Talking: UMS presents Antigone by Sophokles:
Superlative acting. I found the relationship between the projections and the play unclear and, at times, distracting. Even by classic tragedy standards, script was a bit plodding at times, especially Creon’s extended mea culpa at the end. I regretted that there were titters, but I suspect they reflected that.
People Are Talking: UMS presents Antigone by Sophokles:
I do not regret buying a ticket and seeing Antigone. It is a worthwhile experience. That said, this is not a production I like. The translation is too casual, parts of the set (bookcases, faucets) are barely used or not at all, video behind the actors seems mostly unrelated to the action, and the loud vocal music at the very end also seemed out of place. The acting is good (though the actors are VERY hard to hear) as we expect but the text causes them to utter lines that produce laughs when the moment is tragic. Yes, some laughs break the tension appropriately early on, but in the last 10 minutes, no – this is a tragedy.
People Are Talking: UMS presents Antigone by Sophokles:
The updated script was lively. I disagree that Creon’s character was trivialized — on the contrary, he was made fully human in his complexity. This was NOT a simple good vs bad rendition,not the least because Creon was brilliantly played… and, unfortunately, because Antigone was not. Binoche does not have the powers required of a stage actress. She played Antigone in an old, melodramatic style that did not match the other performances or the script.
On the up side, the updated script offered up humor, wonderfully delivered via The Guard. On the down side, Binoche clearly couldn’t project (it was downright painful when she tried), leading the whole performance to be miked. This seriously detracted from the strength of the production itself, which overall was visually stunning but sonically stilted.
People Are Talking: UMS presents Antigone by Sophokles:
Good advertising and the hype will keep the audiences clapping for 4 nights in a row, but this is a rather underwhelming performance, if you ask me. Far flung in its distortion of the spirit of the tragedy and blithely comfortable with its ignorance of it, it offered neither a challenging modernization of the piece, nor a sensitive rendition in a classical vein. Stale, slow paced, and predictable, this piece is made for the people who go to theater because of the social prestige associated with it, not because they can recognize and demand artistic excellence. Classics seem boring and trivial, great heroes come off as pusillanimous stock characters, and the catharsis is debased to sentimental pap for the retirees and self-conscious professors. Creon’s character is completely trivialized (and he looks like Hitman!), depriving the performance of one pole of dramatic tension (without which there is no tragedy proper), and turning it into a sleazy, good girl vs bad guy “narrative”, which, of course, “Antigone” is not. Less advertising and better quality next time, s’il vous plait.
People Are Talking: UMS presents New York Philharmonic:
Evolution? Development? Future? Can we be confident that these “developments” – great old orchestras accompanying movies and providing sound pageants at sports events — WILL secure a future for something resembling what we call classical music? Are we seeing a new young audience replacing the departing one at concerts?
At Lincoln Center, by pure chance, my seat was next to the conductor’s mother (different conductor). Even with that uplift, Mr. Gilbert created as high a high as he appears to be the heart and embodiment of the future of orchestral presentations. The UMS is tracking perfectly with this evolution. Thank you. Thank you for letting us hear in person what excellent developments are occurring. David R. Bruegel
"by David R. Bruegel
People Are Talking: UMS presents New York Philharmonic:
I attended the On The Waterfront /NY Phil event on Sunday the 11th – the orchestra was exciting to experience, my first time ever for the NY Phil and with one of the greatest American films ever made accompanied by Bernstein’s thrilling original film score. I couldn’t miss it. A mostly very fine experience – but, why the decision to have a 20 minute intermission in the middle of a 108 minute film containing only 45 non-continuous minutes of music? Not for the musicians’ sake surely. This was a great disservice to the film, the filmmakers, and the film-goers; it was never meant to be viewed with a big break in its middle, which couldn’t help altering the tension being built throughout the film. It was pretty startling I have to say. yet, Bravo to the NY Phil, a thrilling job.
People Are Talking: UMS presents New York Philharmonic:
At Lincoln Center, by pure chance, my seat was next to the conductor’s mother (different conductor). Even with that uplift, Mr. Gilbert created as high a high as he appears to be the heart and embodiment of the future of orchestral presentations. The UMS is tracking perfectly with this evolution. Thank you. Thank you for letting us hear in person what excellent developments are occurring. David R. Bruegel
People Are Talking: UMS presents New York Philharmonic:
Always ready to listen to great music in a wonderful venue.
People Are Talking: UMS presents New York Philharmonic:
I’m still shaken up from yesterday’s screening of “On the Waterfront” accompanied incomparably by the New York Philharmonic, “Thanks” is an inadequate expression of my gratitude to all who conceived, planned, and implemented this stupendous show!
People Are Talking: UMS presents New York Philharmonic:
Thrilling performance by NY Phil at Hill Auditorium yesterday afternoon, 10/11/2015. “On the Waterfront” is an experience I wish every American could enjoy, and hearing it accompanied by the NY Phil a once in a lifetime pleasure, for sure! So glad this opportunity was possible for so many appreciative concert goers in Michigan. I traveled 2 hours to Ann Arbor on a beautiful sunny October day, enjoyed a picnic lunch on a park bench very close to the auditorium, with free parking close-by. Saw an American classic movie, while I listened to Leonard Bernstein’s original score played by one of our world’s finest orchestras. Thank you U of M for providing such a rousing welcome for this fine orchestra, and thank you NY Phil for the excellence and respect you bring to your work. Awesome performance!
People Are Talking: UMS presents New York Philharmonic:
Saw “On the Waterfront” yesterday and was blown away. The social commentary of the times, the hypnotic performance of the actors exceeded my expectations. A super treat was the lecture prior to the show, only negative “not enough room”, standing room only, but well worth standing for lecture! Orchestra played exceptionally, would have loved a few numbers as an encore.
People Are Talking: UMS presents New York Philharmonic:
I lived in New York from 1971-76 and went to several NY Philharmonic concerts then. One of those was conducted by Leonard Bernstein. So I feel a connection with the NY Phil. Friday night’s concert at Hill was amazing. The Lindberg piece was the most accessible work of his I’ve ever heard. Barnaton was brilliant in the Beethoven Piano Concerto 1. But the Beethoven Seventh Symphony was a revelation. I’ve never heard such a thrilling performance of this work before. Absolutely, absolutely an amazing concert. Sunday’s concert performance of “On the Waterfront” was also one I will probably never forget.
People Are Talking: UMS presents New York Philharmonic:
I thoroughly enjoyed the pre-concert talks which gave me insight into how a film score is written and performed. I had no idea. Also, I had never seen On The Waterfront, and it holds up surprisingly well. I appreciated the compromise needed to have a live orchestra (subtitles and the inaudible dialogue at the most dramatic moments) and the behind the scenes work needed to come up with the score: thank you for the program notes! All in all, an excellent (and educational) way to spend an afternoon.
People Are Talking: UMS presents New York Philharmonic:
Well, to paraphrase Yogi Berra, The movie was good and the music was nice also. Sure beats an afternoon watching football. I think it was the first time I watched On the Waterfront straight through. Bravo!
People Are Talking: UMS presents New York Philharmonic:
Today’s musical accompaniment to On The Waterfront was outstanding! I hope that similar performances can happen in the future!
People Are Talking: UMS presents New York Philharmonic at Hill Auditorium:
Every note was fabulous. The blending of sounds in that hall was pure honey. The EP Solenon LA Variations -ingenious and extraordinary! Experience of a lifetime.
People Are Talking: UMS presents The Gloaming:
The performance was not what I was expecting. It was a lot more abstract and avant-garde than I prefer. If I had known what type of music they would be playing, I would have not purchased a ticket. I suffered through 3/4 of the show and then left a very disappointed patron. I have been a patron for many years and this was my first disappointment in a performance. I had traveled to Ann Arbor from E Lansing, which doubled the disappointment.
People Are Talking: UMS presents New York Philharmonic:
Opinions about music and everything else differ, but I enjoyed the LA Variations a great deal, and I agree that Alan Gilbert’s opening comments were very helpful. I can see that it might not be to everyone’s taste, though.
As for aging hippies, do they look more pretty and interesting if they are wearing formal clothing? I’ve been attending concerts in Ann Arbor for years and I can honestly say I don’t pay any attention to what others are wearing, but I understand that it could be a bit of an adjustment. I hope that it won’t interfere with your enjoyment of future concerts.
Welcome to Ann Arbor!
I am new to area and thought I would like to hear beautiful music and experience the “Boston” of the midwest. Truthfully, the first production was discordant, raucous, audacious, and should probably be called LA traffic. Thankfully, the mini seminar provided a better insight into the piece.However, I would not elect to hear it again. The skill of the orchestra is truly amazing and worth the ticket price. It wad disconcerting to see how poorly dressed the audience was….there is nothing pretty or interesting about aging hippies. The ushers were better dressed! I hope this casual code is not a prediction of my future in AA.
"by New neighbor
People Are Talking: UMS presents New York Philharmonic:
A satisfying concert! The Salonen work invites one into a wonderland of exotic marvels. Astonishing tone colors and textures arouse one’s curiosity and draw one into undreamt of neighborhoods. Often the textures are thick, and in this performance the sound level was as high as it was the previous evening so that one is hard pressed to make out what is being varied in these Variations. Maybe re-hearing the work from time to time will make it more transparent. I look forward to the chance to do so.
The Strauss work was well performed except for the many unfortunate exaggerations of dynamic highs. (One gets the impression that this orchestra and conductor lie in wait, like a cat before a mouse hole, for a chance to let loose without restraint whenever the dynamic marking remotely allows it.) The result is that people who are unfamiliar with this music will not be able to decipher such passages. On the other hand, many calmer passages, such as the final pages of “the hero’s death” were played with uncommon grace and touching sensitivity thanks in large part to the remarkable solo playing by the concertmaster.
One more thing. The audience seemed grateful to Mr. Gilbert for his introductory remarks about the Salonen work. If conductors spoke to the audience regularly, many listeners would be helped to focus their attention and come away with an enriched concert experience.
People Are Talking: UMS presents New York Philharmonic:
I am new to area and thought I would like to hear beautiful music and experience the “Boston” of the midwest. Truthfully, the first production was discordant, raucous, audacious, and should probably be called LA traffic. Thankfully, the mini seminar provided a better insight into the piece.However, I would not elect to hear it again. The skill of the orchestra is truly amazing and worth the ticket price. It wad disconcerting to see how poorly dressed the audience was….there is nothing pretty or interesting about aging hippies. The ushers were better dressed! I hope this casual code is not a prediction of my future in AA.
People Are Talking: UMS presents New York Philharmonic:
The performance was amazing!! It was a bit hard to hear what the conductor was saying at the beginning from the rear balcony. I was very disappointed to see multiple students playing on their phones in the row in front of me during the Strauss piece. One woman was playing a video game with the sound on. It would have been great if someone had been standing where they were when we entered, so they could have intervened, or the auditorium could implement some other rude patron prevention strategy. I considered throwing my program at her but didn’t want to cause a ruckus. #turnthephoneoff #veryrude The music was amazing.
People Are Talking: UMS presents New York Philharmonic:
The air was thick with excitement in Hill Auditorium at the end of last evening’s concert. Cries of ”mind-blowing” and “awesome” flew from aisle to aisle. Never have so many stood up in fervent gratitude for bliss beyond words. And others, fewer in number, left in a mixture of sadness and indignation.
The concert began with a score by Lindbergh on which the ink was not yet dry. Its noise level and thumping, crashing rhythms suit it best as the background music for a sword fight between Attila the Hun and Genghis Khan. We might have been spared this in favor something more interesting.
Let’s now consider the very end of the concert. I don’t mean the witty rendition of The Victors or the conductor’s donning a MICHIGAN cap, which he will surely wear during THE GAME this afternoon, but rather the last movement of Beethoven’s Seventh. No one has ever claimed that this is Exhibit A of subtlety. Right, it’s modeled on a simple country dance, a Middle European 19th century dance in which peasants, tipsy from an excess of new wine, whirl their sweethearts around on a swept barn floor. But Mr. Gilbert’s substitution of presto furioso for Beethoven’s Allegro con brio doesn’t do the trick. This is no longer a dance. And once again, no note was played a mere forte; all evening long fortississimo – fff — was the conductor’s message to the orchestra. While the rhythms of the movement were thrust home to us in unvaried thump-thump-thumps, the brass choir “clarified” the harmonies with alternating bursts of tonic and dominant, tonic and dominant, tonic and dominant. As for the opening of the work, there, too, the band lost an opportunity for displaying a gem – the introductory sostenuto section prior to the vivace. There’s nothing more satisfying than a quiet, lingering suspense being released into happy song. But if you start too fast, then the contrast is lost and the audience the poorer for it.
I cringe to write this, but the sensibilities in the hall last evening were those of the football stadium, where fans can hear the awesome NYPhil brass choir again this afternoon.
PS Oh, I almost forgot to mention that Mr. Barnatan, our pianist, won a prize last evening. No one can play that concerto faster or glitzier than he, and no one has ever played a longer cadenza. Congratulations.
People Are Talking: UMS presents New York Philharmonic:
Please invite Inon Barnatan back to UMS!
People Are Talking: UMS presents New York Philharmonic:
What a pleasant way to spend a Friday evening. The acoustics of the Hill never fail to amaze me. Mr. Barnaton and the Philharmonic played superbly and even the up-tempo 7th was rich and exciting. I’ll take a venue like this any time. Thanks UMS.
People Are Talking: UMS presents New York Philharmonic:
Terrific! What gorgeous phrasing and control of dynamics from both the orchestra and Mr. Barnatan. I loved the playful adventurous use of slightly over the top horns in a few paasages because, as the program notes so accurately describe, that was Beethoven’s spirit – sublimely beautiful jokester. Gilbert has brought this orchestra together to make real music. Thank you, UMS!
People Are Talking: UMS presents New York Philharmonic:
A bit rushed 7th for my preference, but otherwise nice start to residency. Love the maestro’s energy, it was a joy to watch!
People Are Talking: UMS presents New York Philharmonic:
Good, very good, as was to be expected, but not more than that. Solid, polished delivery of two classic works. Quite pleasing.
People Are Talking: UMS presents New York Philharmonic:
I had not heard Inon Barnaton before tonight, even on a recording. His performance tonight instantly converted me into a huge fan. Beautiful, sensitive, nuanced playing. The entire concert was wonderful! Thanks.
People Are Talking: UMS presents New York Philharmonic:
The piano concerto was lovely with its subtleties. I was sitting way high up in the balcony. The horns were loud – a little blatty in the Symphony. Maybe it was where I was sitting? Amazing to hear those two Beethoven pieces played so well. This was not the best concert I have heard at Hill but very enjoyable.
People Are Talking: UMS presents New York Philharmonic:
Today’s master classes were terrific! Talented UM students learning from dedicated professionals while we, the audience, sat in awe at the insights and their immediate implementation. Thanks to Carter Brey and Tim Cobb for memories that will last longer than one year!
People Are Talking: UMS presents The Gloaming:
Extremely talented musicians that play beautifully together. Felt slow for long periods. Enjoyed overall though for the uniqueness of the music. Loved the piano player for his talent and his passion.
People Are Talking: UMS presents The Gloaming:
I love traditional Irish music, but the avant-garde, improvisational nature of their performance was not really my cup of tea. However, I am always in awe of virtuosity, and they were absolutely amazing in that respect. Bravo!
I found the piano player’s affectations distracting, and his wine drinking throughout the performance rather disturbing.
People Are Talking: UMS presents The Gloaming:
Here is last night’s set list:
Pilgrim – Sheehan’s – Maud Miller – P Joe’s Lullaby e minor – Jenny’s Chickens – Hughie Travers
Oisin’s Dream – The Booley House Jig – Goose – Slides
-with Nic Gareiss
Cucunandy
Allistrum’s March – The Girl Who broke My Heart
Freedom/Saoirse – The Sailor’s Bonnet – Toss – Wrong Key
The Mountain Lark – Bronwyn Lee – The Boy in the Gap – Music in the Glen
-with Nic Gareiss
_____
Swallow – My Darling Asleep – Matt Molloy Jig
Mary, UMS
People Are Talking: UMS presents The Gloaming:
What a privilege to hear new music created. Their ease and facility with their instruments made every note special. I’ve followed this group since its inception, and was SO happy to be able to hear them in my own back yard. Thanks, UMS Programming staff, for bringing them to me.
People Are Talking: UMS presents The Gloaming:
Indeed! Please invite again. The music (instrumental, spoken, and sung), musicianship, and ensemble interactions were captivating … and I just finished a night of the deepest dreams I’ve had in quite a while — more of the kind I have after one of the dance companies’ performances.
I’ve already shared their Youtube link of “Saoirse” with a number of friends and family.
The Gloaming are aptly named and broke into my interior only the way the gloaming does. Thank you, [The] Gloaming guys (and Nic) and UMS!
This was fantastic. Please invite them to return.
"by Joe
People Are Talking: UMS presents The Gloaming:
Very Irish with a new twist! Wonderful!
People Are Talking: UMS presents The Gloaming:
This was fantastic. Please invite them to return.
People Are Talking: UMS presents The Gloaming:
Where we sat it was not too loud (row x) but the piano was dominating—when I was a kid banging on the piano like that would earn a tongue lashing.
I liked the experimental music, but at those times when the piano was being pounded it destroyed the group feel, with most of the other instruments disappearing. Overall, the sound was adequate, but could have been better, which is sad because these fine musicians were doing so much that did not come through.
A treat was seeing Nic Gareiss dance, he showed great musicality!
People Are Talking: UMS presents The Gloaming:
I wouldn’t call it “dream music”—-much more energetic and grounded in traditional Irish music than that. I loved the dynamic range and interplay between the instruments. The virtuosity of all was thrilling…and the dancer was a particular treat. Martin Hayes was the heart of the group, from the sweetness of the slower passages to his blazing dance tunes. The concert felt like an Ark performance in its informality and spontaneity (that’s a compliment).
People Are Talking: UMS presents The Gloaming:
Wow, what an amazing sound they created!! Every note is so special. I was especially impressed by the sound of piano, very very soft to full strength, etc. etc. Also traditional aspect of music is always important to me, expressing the continuation of humanities through music and poetry. I enjoyed their small talks between music.
I wonder about the amplifying the sound, too. If it is essential for them or not, because every sound was so beautiful and amazing, including the stepping shoes! (Although the shoe sound might be harder to hear to the back audience.) I want to hear them in a smaller venue next time if I have a chance.
Thank you, UMS, for bringing the Gloaming to AA!
People Are Talking: UMS presents The Gloaming:
We left before a pause; a bit rude but the sound level was way too high and the music was incredibly repetitive. We just could not endure any more.
People Are Talking: UMS presents Sphinx Virtuosi with the Catalyst Quartet and Gabriela Lena Frank, piano:
We very much enjoyed the young violinist.
Many of the compositions should have been edited/shortened.
All the words and thank you’s were a distraction from the music.
People Are Talking: UMS presents Audra McDonald:
I mean…it was Audra McDonald. It was not just a concert, it was an experience because she lived every song as if she was doing it from the show. I laughed when she told her stories and when she sand “I’ll be here” I cried WITH her cuz she had a tear rolling down. She’s simply the best, and has the Tony’s to prove it. Plus she told me I had a nice smile MID-CONCERT…I almost flew out of my seat in delight. She’s awesome sauce!
People Are Talking: UMS presents L-E-V:
Didn’t really enjoy it.
People Are Talking: UMS presents Sphinx Virtuosi with the Catalyst Quartet and Gabriela Lena Frank, piano:
Thanks all for your stellar concert!
Inspiring repertoire and performance!
Looking forward to your next one–
People Are Talking: UMS presents Audra McDonald:
We drove all the way from Harrisburg, Pennsylvania to see her! (Ok..we had some other business to tend to at the University but we made sure it coincided with Ms. McDonald’s performance). She was absolutely wonderful !!! She “brought the house down” with Maybe This Time !
People Are Talking: UMS presents Audra McDonald:
Thanks for the song list – the selections were a great part of a wonderful evening.
HI there 🙂 We just posted this above. Enjoy!
"by Anna Prushinskaya
People Are Talking: UMS presents Audra McDonald:
Audra is such a multi talented performer. She delivers a song with her entire heart and soul. Loved every minute of the concert!
People Are Talking: UMS presents Audra McDonald:
Lyrical, magical!
People Are Talking: UMS presents Audra McDonald:
Our evening with Audra was magical. She is so engaging and personable and has such a beautiful voice. We thoroughly enjoyed every minute of the Concert.
People Are Talking: UMS presents Audra McDonald:
Audra McDonald is a marathon runner…62 cities and she sounds that good. I particularly like that a lot of students were in the audience. She inspires them, they inspire her. I heard several people say they were going for ice cream afterwards…Perfect first show at Hill.
People Are Talking: UMS presents Audra McDonald:
Audra really is the queen! What a beautiful concert taking us through such a diverse compilation of musical theater repertoire. I love how much context she provides to each of her songs and her voice is second to none. Thank you Audra and UMS!
People Are Talking: UMS presents Audra McDonald:
Thank you SO much!
Song list please !!!!!
"by Andralisa
People Are Talking: UMS presents Audra McDonald:
HI there 🙂 We just posted this above. Enjoy!
Song list please !!!!!
"by Andralisa
People Are Talking: UMS presents Audra McDonald:
Yes! We’ve just posted it. Enjoy!
Is it possible to have the program (song title, composer, &, where appropriate, musical) added as a comment, please?
wow.
"by Rainey
People Are Talking: UMS presents Audra McDonald:
I was completely blown away. Thanks for an amazing show, UMS and Audra.
People Are Talking: UMS presents Audra McDonald:
I have had the pleasure of seeing Audra 6 times,…each an incredible experience. She is the consummate musical theatre actress, with a voice that will send chills up and down your spine. I will NEVER miss any of her performances as long as I am on this planet because they all bring me supreme joy with her love and commitment to her music. She doesn’t ever just phone in a performance, she lives and recreates each and every lyric. I hope she reads this, because it certainly is a tribute to her amazing talents… thanks for coming back Audra… simply put… WONDERFUL!!!!
People Are Talking: UMS presents Audra McDonald:
With her incredible understanding of what drives the human soul, Audra lifted the hearts of an entire audience and inspired every person in the room to be a kinder and more loving being. This was the most compelling concert I have ever seen. Thanks to Audra and to UMS for making this possible.
People Are Talking: UMS presents Audra McDonald:
Song list please !!!!!
People Are Talking: UMS presents Audra McDonald:
What an incredible concert – thank you so much!
People Are Talking: UMS presents Audra McDonald:
Fantaxtic Show! She was grand as usual!!!
People Are Talking: UMS presents Audra McDonald:
Please do provide the song list!
Is it possible to have the program (song title, composer, &, where appropriate, musical) added as a comment, please?
wow.
"by Rainey
People Are Talking: UMS presents Audra McDonald:
Every year she continues to amaze. What a magic carpet ride. She is a goddess.
People Are Talking: UMS presents Audra McDonald:
So brilliant, charming, and lovely. What a wonderful evening. Thank you, UMS!
People Are Talking: UMS presents Audra McDonald:
I had never seen her perform before and was absolutely blown away. An amazing talent. One of my favorite performances ever. And I have to say, one of the most charming performers I’ve seen.
Why Audra McDonald Loves Ann Arbor:
Airborn and wheels up on another UMS season….Audra McDonald a flawless take off. Decided to take UMS’s advice and wore an Hawaian shirt. Still warm at the equinox….lots of students in the balcony including a large contingent from B.G.S.U. Down the road a little over an hour. They knew our friend Doug who was a voice professor there and went to many Many UMS performances before he died the other year. Audra was glad to be with us and toshare in the delight of being the only university arts presenter to recieve the Natl. Medal for the Arts this year. Everyone seemed to enjoy the evening and heading for ice cream.
People Are Talking: UMS presents Audra McDonald:
Thank you UMS for another absolutely lovely evening with Audra McDonald! She was her typical beautiful, talented, gracious self & it made for an unforgettable night!
People Are Talking: UMS presents Audra McDonald:
Is it possible to have the program (song title, composer, &, where appropriate, musical) added as a comment, please?
wow.
People Are Talking: National Theatre Live: George Bernard Shaw’s Man and Superman:
An outstanding performance/production where the ideas, the wit, as well as the dramatic tensions came through in a typically talky play.
People Are Talking: UMS presents My Brightest Diamond with Detroit Party Marching Band:
Raising the stage would definitely be a good idea!
Other than the viewing issues, this was a high-energy, fun performance! What an incredibly powerful voice, and such a fresh musical approach!
The enthusiasm and intensity of Shara Worden, and the Detroit Party Marching Band were SO infectious! Great show — Thanks, UMS!
People Are Talking: UMS presents My Brightest Diamond with Detroit Party Marching Band:
Spectacular show. Shara was breathtaking and the venue was a super fun setting. Thanks for making this happen!
People Are Talking: UMS presents My Brightest Diamond with Detroit Party Marching Band:
This was not a club it was a visual happening and thus should appreciate that everyone might like to see what the performers are doing. Vertically challenged is a strange description for people, it has no real meaning for a concert. The tall people are just rude and grabby, kind of like those that scramble for the candy out a pinata.
What a total riot! An incredible band, an incredible party, and overall just exactly what my end-of-week called for. Club shows aren’t spectator sports, so I wasn’t bothered about the lack of visibility or the vertically ambitious rockers in the front row. 😉 I was super appreciative of the dance floor, the nice drinks, and all the friendly faces. Thanks UMS!
"by Truly
People Are Talking: UMS presents My Brightest Diamond with Detroit Party Marching Band:
Absolutely true! We would really like to see someone with theater experience set this venue up better or move it elsewhere.
Second what others said: fabulous performance, poorly arranged for seating / viewing. Especially disappointing because of Shara’s great visuals. We were among those who stood on chairs in order to see. But would like to see more edgy performances in this venue, with more thought given to viewing arrangements.
"by Joel
People Are Talking: UMS presents My Brightest Diamond with Detroit Party Marching Band:
Second what others said: fabulous performance, poorly arranged for seating / viewing. Especially disappointing because of Shara’s great visuals. We were among those who stood on chairs in order to see. But would like to see more edgy performances in this venue, with more thought given to viewing arrangements.
People Are Talking: UMS presents My Brightest Diamond with Detroit Party Marching Band:
Great show! It was nice to see Shara’s versatility in her set. She is an amazing talent – one to watch. We have a relationship with the Party Marching Band and knew they had toured with My Brightest Diamond in the Netherlands and also performed in Detroit with her. But we had not seen them together, live. It was an interesting collaboration. I too, would have liked to have seen the concert in a better space. But enjoyed the food and drinks available and the downtown space. Loved the varied ages of the crowd!
People Are Talking: UMS presents My Brightest Diamond with Detroit Party Marching Band:
What a total riot! An incredible band, an incredible party, and overall just exactly what my end-of-week called for. Club shows aren’t spectator sports, so I wasn’t bothered about the lack of visibility or the vertically ambitious rockers in the front row. 😉 I was super appreciative of the dance floor, the nice drinks, and all the friendly faces. Thanks UMS!
People Are Talking: UMS presents My Brightest Diamond with Detroit Party Marching Band:
Would have been nice to be able to see-interesting how over and over again the tallest people go in front. What is that all about? Fun show, intersting music. way too small a space for the number of people though – raise the stage?
People Are Talking: UMS presents My Brightest Diamond with Detroit Party Marching Band:
Loved the show and the Party Band. It would have been much more enjoyable if the audience had a better view of the performers. Some members of the audience had to stand on chairs. We pretty much settled for no view. Not sure there was a stage but if there was one it should have been taller.
People Are Talking: UMS presents Israel Philharmonic Orchestra at Hill Auditorium:
Home is where the tooth brush stands But you can ppahres argue that you have different levels of home ; you will never loose home as where you grew up, but you also have other homes where the feeling of homeness hits you the moment you walk through the door.
What Makes a Great Jazz Trio?:
My Dad is AMAZING isn’t he?! I don’t know what I’d do withadout him — it was actuadally his idea to book a videoadgadraadpher — I was dead set against it at the start if you rememadber bucseae I couldn’t find any non-cheesy wedadding films out there! I can’t really conadvey how pleased and in awe I am at this video. And again I still can’t believe it’s mine! And I can’t believe it’s makading peoadple cry!! *blush* And yes, about the fire at the casadtle. I keep imagadinading what would have hapadpened if our wedadding had been booked a few weeks later! I’m sure we would have coped — but I applaud those who are havading to go through the comadmoadtion of movading things around at very short notice! Not an easy thing to cope with I’ma0sure! I’m woradried I’m going to watch this movie too much and get bored of it! But it brings back so many memadoadries — and plus watchading it means I kind of get to relive the day again — which I am so yearnading to do! Oh if only it were posadsiadble!a0x
[VIDEO] Messiah Memories: Jerry Blackstone, Conductor:
What a joy to find such clear thinikng. Thanks for posting!
People Are Talking: UMS presents Fred Hersch Trio at Lydia Mendelssohn Theatre:
I hate wedding lists with a paossin, particularly the ones where the cheapest item is a cheese slicer for a332. And if you dare to buy the slicer, you are openly declaring that you’re a tight-arsed/povvy git.Perhaps the hosts think that a wedding list is a fair exchange for a three-course meal in pleasant surroundings. I’ve no idea.
People Are Talking: UMS presents Angélique Kidjo at Hill Auditorium:
“Hope no one drops one of their Compact Fluorescents and spills the mrcruey inside…”The phosphor lining is fairly hazardous too, as there are usually several slightly radioactive compounds in it as well. These aren’t the light elements that are low powered and typically inert (like your tritium powered night sights, which are a mildly radioactive isotope of Hydrogen), but the heavy metal types that shrink your ‘nads and give you cancer.The ballast can be an issue too, though they are supposed to be solid-state, with no PCB oils in them, but most of these units are built (shocker) in China, famous for adding ethylene glycol to your toothpaste! Who knows what’s going into them?Finally, it is indisputable that the garden variety CFL is far more an energy hog to produce in the first place.I’ve been experimenting with some CFL lamps in my house, and my own observations are leading me to a couple of conclusions: The first is that the more expensive branded units are far better in terms of service life. Don’t believe for a minute that the store-branded ones will last you 15 years or whatever their claims are. The best I’ve done with one in continual burn is about 3 years. The second is that with multi-bulb fixtures, the parallel arrangement of the loads tends to reek havoc on the ballasts of the second or third bulb from impedence drop. The short of it is, they burn out quickly.Most importantly, CFL lamps SUCK at color rendering, making everything look sick or artificial. Can’t wait ’til they go the way of the Dodo bird.
My Brightest Diamond (Shara Worden) with the Detroit Party Band:
With apologies to Jimmy Stewart and Ralphie Parker, this is my fotraive Christmas movie of all time. If you are reading this because you have never seen Christmas Vacation , stop right now and go to the video store and rent it. Then come back here and order your own copy because you’ll want to watch it over and over again each holiday season.The undisputed gem of the National Lampoon Vacation’ series, the plot can be summed up very simply: idealistic family man Clark Griswold wants to host the perfect old-fashioned fun family Christmas. As all of us idealistic family men have discovered, there is no such thing as a perfect holiday, and that just about sums it up. The appeal of this film is that we can all relate to the disasters that holidays can become, regardless of how well-meaning we are and how hard we work to achieve them. The cast is terrific. Chevy Chase and Beverly D’Angelo (Ellen) are back as the Griswolds, with Juliette Lewis and Johnny Galecki assuming the roles of Audrey and Rusty. John Randolph and Diane Ladd are Clark’s parents, while E.G. Marshall and the ultimate mother-in-law, Doris Roberts are Ellen’s parents. Nicholas Guest and Julia Louis-Dreyfuss are Todd and Margo, the yuppie neighbors. William Hickey and Mae Questel (the voice of Betty Boop and Olive Oyl) nearly steal the show as Uncle Lewis and senile Aunt Bethany. Randy Quaid does steal the show his cousin-in-law Eddie is one of the all-time great characters in recent comedy history.The self-inflicted situations that befall Clark in his holiday quest are peppered with memorable dialogue and slapstick, yet believable enough to bring flickers of recognition to most viewers. Witness his mishaps on the roof putting up the lights; getting trapped in the attic; spending his Christmas bonus before he gets it; dealing with his snooty neighbors; and getting hilariously tongue-tied at the lingerie counter and being remarkably eloquent when he gets his bonus . Admit it. We’ve all been there.A holiday movie should be one that holds up to repeated viewings, and this one does. Besides the excellent cast and the familiar situations, there is a great score by Angelo Badalamenti (Twin Peaks), the animated opening credits sequence, and some fine tunes such as Hey Santa Claus by the Moonglows! There are numerous little touches that you might not catch the first several times check out the shape of the packages in Mr. Shirley’s office when Clark gives him his gift, and see what happens to the light bulbs Clark puts in the cart at the Wal-Mart.I suspect, like in our home, Christmas Vacation has become a sort of institution in many homes each holiday season. We like to get together with friends to watch it, with everyone dressing as a character from the movie. We eat green jello with cat food in it, stand and join in the Pledge of Allegiance and the Star Spangled Banner, recite the lines along with the characters, and give thanks that our holidays are at least a little better than the Griswolds’.
Performing Objects: Beyond Puppetry:
Dude, helping ppolee is one thing but at some point we need to charge some $ for some of the services, otherwise we can’t help anymore. Helping ppolee via coaching creating all the material takes a lot of time. To offer all this to you, we need a programmer, a videoeditor, a journalist etc. and all ppolee wanna be paid because they have to feed a family.Btw. there is free stuff at our blog, quizmodule newsletter. This FREE info gets you started and points you into the right direction.
People Are Talking: UMS presents Emerson String Quartet at Rackham Auditorium:
LOL! We were practicing vliion during Earth Hour too! We did not have the slick headlamps though, we just lit the old-fashioned candles. Natta thought it great fun to practice by candlelight but when she almost dipped her scroll in the flame of one candle, I think my heart stopped for a minute. She is only three after all! 😉
The Great Pipe Organ:
You coudnl’t pay me to ignore these posts!
People Are Talking: UMS presents Israel Philharmonic Orchestra at Hill Auditorium:
The New Boyfriend badge is now avaialble and it only goes to my hhsegit tipper, if they can maintain there boyfriend status for a period of time (see boyfriend page)Also now available is the Christmas Badge tip 600 tokens and get yourself a special prezzie from your princess! Happy Holidays!
People Are Talking: Frankenstein:
I just want to tell you that I’m new to blogging and site-building and alulatcy savored this web-site. Very likely I’m going to bookmark your blog . You really come with really good articles. Many thanks for sharing with us your blog.
Behind the Scenes with Steve Lehman:
Oh, I love these pictures. They are so pecfret for Sundays in my city : ). I am ever so glad you linked up Jen! Hope your week this week is just as pretty as last week : ) Stay as warm as possible!
People Are Talking: UMS presents Royal Shakespeare Company Live in HD: Richard II:
mugam vovse ne turecki.uje, uje vse berut tolko s nimi botrcoa kak? podat v sud? ili chto. nam nujno posilnee bit esho ne takoe budet.propaganda nujna silneyshaya na ves mir.
People Are Talking: UMS presents Artemis Quartet at Rackham Auditorium:
Hahaha! I agree, I can’t believe sooemne paid for this, but at the same time I can’t believe how well it works well you know, for a string quartet imitating helicopters.
People Are Talking: UMS presents Richard Goode at Hill Auditorium:
My partner has an etsixing custody order in place dated 2006. The mother has full custody and access is to be agreed between the parties.We need the orders to be changed as two of the children now live with us (15 and 18) but there is still a girl (8) who lives with the mother but we cannot see her as the mother does not allow it. Long story.I want to lodge an initial application with the Family Law Court Brisbane. Do I also need to lodge an affidavit?
UMS Staff at Motown Museum:
I tried taking a look at your wtbeise with my cellphone and the design doesnt seem to be right. Might want to check it out on WAP as well as it seems most cellular phone layouts are not really working with your web page.
People Are Talking: UMS presents Lyon Opera Ballet at Power Center:
Do youve got a spam concern on this irenntet site; I also am a blogger, and I was asking yourself your situation; weve got developed some great techniques and we are looking to swap options with other people, be certain to shoot me an e-mail if planning to pursue.
Announcing our 2015-2016 season!:
I am thrilled with your world class array of performances and contributing volunteering is so fulfilling and gratifying,Deciding what performances to select is daunting due to extraordinary choices.It is an honor and privilege to be part of UMMS.I can hardly wait for the season to start..
LOVe the variety of performances every year! So thankful for the UMS series
"by saloney
People Are Talking: UMS presents Lyon Opera Ballet at Power Center:
It was simply delightful: the dancing, the choreography, the expressions with the masks. What was particularly enjoyable was hearing all the children around us belly laughing at the three sisters trying on the shoe.
People Are Talking: UMS presents Richard Goode at Hill Auditorium:
I was introduced to two works this afternoon that I had never heard before – the first and the last on the program. I love that — hearing something new to me, but not new in the world. How often does this happen? Sure, we hear new stuff at concerts but it was written day before yesterday, and so, of course none of us has heard it. But there are many treasures of the past that some of us can still discover afresh, and this can makes concert going all the more exciting – if it happns often enough! Let’s all express our appreciation when novelties of this kind are programmed (in addition to well-performed chestnuts.)
One often thinks of Mozart as a composer of sweet, straightforward tunes that go easily into the ear and that one can hum while taking a shower. This Adagio is neither simple nor hummable. But Mr. Goode gave it transparency and brought out lines that might have gone unheard. I’ll see if I can find it again on YouTube.
In the second movement of the Beethoven he started speeding up, and he continued to play at headlong tempos in the Brahms; I’ll eat my hat if old Johannes intended that velocity. It’s a lamentable trend. I wonder whether artists are flattering some real or imagined culture-wide impatience. But playing music faster than intended is like being taken to the Louvre or the Uffizi and having only 5 seconds in front of each painting. (“Did you like the Mona Lisa?” “Was that the female head two paintings ago?”) A pianist friend put it this way: “Brahms needs more space.” Very true. On a different point, another pianist said the sonorities in op. 76 are too homogeneous to play the whole thing at once; some pieces: yes, but not all of them. After all, it’s not a suite.
The Debussy was top-notch — everything in its place. All the humor accounted for. The Humoresque — clearly Schumannesque “handwriting” – strikes me as a bit longer than absolutely necessary; I’ll wait patiently to hear it again. Which proves that not everything that’s new to you is equally worth getting to know. Or, to put it more crassly, some works are justly neglected.
But how about that programming, ranging from the late 1700s to thee early 20th century? Did we hear a single orchestral program this year or the previous or the one before that that ranged so widely?
Season adjourned. See you in September. Some good stuff coming up.
People Are Talking: UMS presents Richard Goode at Hill Auditorium:
I was disappointed. An interesting program but difficult to pull off in this environment. To my ears, Hill Auditorium is just not an appropriate venue for piano recital. From where we were sitting, (row J stage left), the sound was remote, with a cold metallic quality. Having heard Mr Goode in more piano-friendly venues, I’m guessing it wasn’t his playing that was at fault! I know UMS wants max attendance but there are much better “rooms” in the immediate vicinity.
People Are Talking: UMS presents Richard Goode at Hill Auditorium:
Hello- I’m Isabel Park, a first-year U-M piano student attending several UMS piano performances this season and sharing my thoughts here on UMS Lobby after. If you’d like to read more: http://www.umslobby.org/index.php/2014/11/student-spotlight-u-m-first-year-student-isabel-park-sets-out-to-explore-piano-15982 I’d love to hear your responses!
Richard Goode’s program was ambitious in an artistically subtle way. The pieces he performed are some of the lesser performed works and for the most part, required a – for lack of a better word – childish innocence. I’ve often been told that you can only play Mozart well if you are either a child or an elderly person. There must be something about middle-aged people that’s too complicated for the purity expressed in Mozart. In Richard Goode’s rendition of the Mozart, I heard a youthful innocence with the maturity and intellect of an adult. The combination was quite special.
Another difficult aspect of Mozart is that it is stripped down to the core. There isn’t much grandeur or technical flourish to “hide” behind, unlike Liszt or Beethoven, but Mr. Goode didn’t need anything to hide behind. From the opening phrase, he garnered the audience in with an intimacy that made me feel like we were having a personal conversation. With every sforzando, I felt a jab in the chest – as if he were telling me about a sad experience. It was amazing how the rubato, essentially an imperfection in the pulse, could be used so tastefully to make it a perfect artistic gesture. Unlike mediocre pianists, the ends of phrases were attended to just as carefully as their peaks. Seeing a lone pianist on such a big stage made the experience that much more memorable for me. Sure, the massiveness and overwhelming presence of a symphony is something indescribable on its own; however, by the end I felt as if I had experienced pure joy, harrowing ordeals, and sadness. It was an interestingly introspective encounter that I think I owe to Mr. Goode’s willingness to make himself vulnerable as both a person and performer in order to provide this magical experience that’s so hard to come by.
The Beethoven was a stark contrast from the Mozart. The lyricism in the first movement made Mr. Goode’s sound come across as more vocal than percussive and the phrases were beautifully contoured. In moments where he came out of a forte section followed by a suspenseful break, and re entered with a piano sound were like walking into an enchanted forest. There was a sense of wandering throughout that kept me emotionally engaged throughout. The final movement ended with a refreshing rush of vitality. Some of the chords that ran up the register reminded me of Beethoven’s Emperor Concerto and especially in those instances, Mr. Goode really seemed to dominate the piano.
When he returned on stage for the Brahms and began to play, it seemed as if he had aged 20 years. The expressiveness of the sound was so experienced and packed from the purity he had shown us in the previous pieces. From the full textures to the articulations, his unlimited range of emotions was evident. My favorite was the last Intermezzo because of how he brought out the richness of the beautiful harmonies. The moments of key change were like flowers blooming. I also liked the final Capriccio for how uninhibited and raw it was.
But my favorite piece from the entire program had to be Debussy’s Children’s Corner. I played parts of it when I was younger, but I could have barely recognized them because they were so masterfully played – no one would have guessed they were for children aside from how humorously Mr. Goode played them. Despite the repetition in Doctor Gradus ad Parnassum, the momentum was continuous and played with so much conviction. There were parts in The Snow is Dancing where the repeated notes in his right hand seemed to be talking and an unbeatable spirit dominated through Golliwog’s Cake-walk. The only childish aspect of it all was the unpredictability and excitement during the performance.
The Schumann was a thought-provoking way to conclude the unique program. It reaffirmed my opinions that Mr. Goode is truly an artist that understands that music is more than an admirable performing arts, but that it is human expression and communication. At the cost of his comfort, I was able to experience the multi-faceted nature of human emotion and experienced a reflective evening that I will not forget.
People Are Talking: UMS presents Richard Goode at Hill Auditorium:
Thank you. I appreciate it when more knowledgeable listeners come to the Lobby and let us know what the encores were.
Hello! The encore was Beethoven Bagatelle #4, from Op. 126.
"by Anna Prushinskaya
People Are Talking: UMS presents Lyon Opera Ballet at Power Center:
The performance of the Lyon Opera Ballet of Cinderella was very enjoyable, amusing and innovative. I loved the choreography especially because it veered somewhat from traditional balletic choreography to expose the playful and funny aspects of body movement in dance. The costumes were wonderful further highlighting the comic version of a new Cinderella. I would go to see the performance again and again and I wish them even greater longevity! Triple Kudos!
People Are Talking: UMS presents Richard Goode at Hill Auditorium:
Hello! The encore was Beethoven Bagatelle #4, from Op. 126.
People Are Talking: UMS presents Lyon Opera Ballet at Power Center:
Yes! that scene on the stairs was great!
Once again, I was treated to a delightful experience of amazing creativity! The dancing was graceful as ballet can be, but also acrobatic at times. The audience gasped as Cinderella bounced down the stairs where she left her slipper.
"by Marjorie Lynn
People Are Talking: UMS presents Lyon Opera Ballet at Power Center:
Enjoyed the performance very much — it was creative and a unique take on the familiar story. The masks might have given me nightmares when I was a child, but I liked them a lot today!
I do find myself wondering why it is that a very small but annoying portion of the audience does not seem to think that the “no cell phones” and “no photography” rules apply to them. There were 3 or 4 people in my line of vision today. the ushers could not have gotten to them without disturbing everyone else even more, so I don’t fault them at all. Oh well… I still enjoyed my afternoon!
People Are Talking: UMS presents Lyon Opera Ballet at Power Center:
My guest was most impressed! Weird in a good way. Reminds me of opening ceremonies when the French host the Olympics. If Boston chickens out I hope 2024 will be in Paris. Good to see the flip-side of Disney. One Final Jeopardy question was blah blah blah so & so from De’ Isgnee France….& the answer was Who is Walt Disney. I’d love to go back to France….the Euro is about par w the Dollar. Great dancing!!
People Are Talking: UMS presents Lyon Opera Ballet at Power Center:
Once again, I was treated to a delightful experience of amazing creativity! The dancing was graceful as ballet can be, but also acrobatic at times. The audience gasped as Cinderella bounced down the stairs where she left her slipper.
People Are Talking: UMS presents Lyon Opera Ballet at Power Center:
I was drawn because I am interested in new expressions and UMS has been good for me in finding them around the world. Also I am a committed francophile, and so it did not hurt that it was a group from Lyon. The performance was great! I loved seeing how expressive the dancers were in masks, and then loved seeing them remove their masks at the end.
Announcing our 2015-2016 season!:
LOVe the variety of performances every year! So thankful for the UMS series
Announcing our 2015-2016 season!:
Really excited about the Triplets of Belleville show!
Announcing our 2015-2016 season!:
I like the jazz offerings….Chucho Valdes….also Joshua Redmond & the Bad Plus. ….. Of course Wynton M. & Jazz @ Lincoln Center Orchestra. Theater looks strong. Symphonically muy bueno though I would like to see my hometown Cleveland Orchestra. Looks like a lot to discover!
People are Talking: Royal Shakespeare Company Live in HD: Shakespeare’s Love’s Labour’s Lost:
Love’s Labours Lost was fabulous. You never get this close to the faces, the emotions, etc. You’e actually on stage with them.
And the acting was peerless.
What’s more, the clean-up crew found my wife’s lost glove.
Thanks!
People are Talking: Royal Shakespeare Company Live in HD: Shakespeare’s Love’s Labour’s Won:
The Michigan Theater did not turn off the lights during the introductory remarks. Theater goers continued to talk, walk around, stand up blocking the view of the screen so that those of us who wanted to learn from the presentations about the relationship of the two plays and the reasons for setting it after WWI were unable to hear. Requests to the ushers were ignored. It’s important that this oversight be rectified in the future.
People are Talking: Royal Shakespeare Company Live in HD: Shakespeare’s Love’s Labour’s Won:
More Please! The RSC Live and NTL Live are so wonderful…please do more of these…
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
I thought the music making and improvisation was brilliant, but I must admit, I never experienced the real spine-tingling magic that I was expecting. I wish they would have played more and talked less. They might have found the sweet groove that can make you smile for a week.
They have earned the right to have a little fun on stage, but the empty pocket shtick got old and the over-the-top mutual admiration was just not necessary. I was almost embarrassed.
People Are Talking: UMS presents Artemis Quartet at Rackham Auditorium:
Yes, it was definitely cold in there. We were uncomfortable the whole time and probably would have left if the music had not been so superb.
Of course they were wonderful, as expected, though I thought the programming could have been more diversified. But it doesn’t matter to me much any more how great the performances are in Rackham because after 30 minutes it gets to be freezing in there. I can feel cold blasts of air on me. Many people have complained about this over and over for years, yet UM and UMS continue to do nothing about it but smile and shrug their shoulders. Since most attendees at chamber concerts are older, it’s even more of an issue than it should be. As a result, I and others are less able to enjoy performances, and the situation becomes not only an insult audience members, many of us regulars, but to the performers. I’m tired of the situation and of the UM blithely ignoring its patrons, and will probably cut back on how many concerts I go to there.
"by pwiener
People Are Talking: UMS presents Artemis Quartet at Rackham Auditorium:
Of course they were wonderful, as expected, though I thought the programming could have been more diversified. But it doesn’t matter to me much any more how great the performances are in Rackham because after 30 minutes it gets to be freezing in there. I can feel cold blasts of air on me. Many people have complained about this over and over for years, yet UM and UMS continue to do nothing about it but smile and shrug their shoulders. Since most attendees at chamber concerts are older, it’s even more of an issue than it should be. As a result, I and others are less able to enjoy performances, and the situation becomes not only an insult audience members, many of us regulars, but to the performers. I’m tired of the situation and of the UM blithely ignoring its patrons, and will probably cut back on how many concerts I go to there.
People Are Talking: UMS presents Artemis Quartet at Rackham Auditorium:
Since taking my son on campus visits on the east coast I continue to be thrilled with the sumptuous cultural opportunities in AA. Unparalleled in my view. Thanks UMS!
The performance was a great experience for me. The dynamic range of the musicians was unexpected – especially since almost all of the time all four were playing. Vasks was particularly delicious, since I rarely dig contemporary works.
People Are Talking: UMS presents Artemis Quartet at Rackham Auditorium:
I agree with the previous comments. I was most fascinated by Vasks and Dvoràk, but also liked the Tchaikovsky. This was a great concert, which made me miss my hometown Berlin – though it’s amazing to go to such a concert on campus in Ann Arbor. Thanks to UMS and the sponsors for bringing them here.
People are Talking: New Look for UMS Lobby:
The Artemis Quartet performance Sunday afternoon at Rackham–exciting, emotional, vibrant. The dynamic range (ppp to F and Szf, etc)–astounding. The Rackham, a perfect venue, showcased the best of this force in the chamber music world. If you missed it, sorry.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
There is composition in some jazz, and then there’s making it up on the spot. Lots of interesting textures, polyrhythms, melodies made on the spot. They are both legends in their own right and it was intesresting to hear their different approach. I’m guessing some of the crowd that didn’t like this probably also hate when they both played with Miles in the late 60s. It often had little structure. It’s hard to explain jazz to someone who doesn’t play music. There are always the superficial fans that want the hits!
People Are Talking: UMS presents Artemis Quartet at Rackham Auditorium:
It is true that the Dvorak was one of the highlights of the concert. However, everything that Artemis did was exquisite, whether or not you had a favorite piece. It was amazing to see a group that is really in their “sweet spot”. They have played together long enough to truly think with a “group mind”. However, they still have the fire and vigor of a younger group of musicians. Other younger groups have played at Rackham, and they have the abandon that often characterizes such groups, but sometimes it overshadows their musical maturity. Artemis is able to bring everything at once, very special to be able to experience this.
People Are Talking: UMS presents Artemis Quartet at Rackham Auditorium:
I agree with, and can’t improve on, the first comment here.
I do wish to say how impressive it was to listen to musicians so in tune with each other.
People Are Talking: UMS presents Artemis Quartet at Rackham Auditorium:
These three works couldn’t have been in better hands. The Artemis players are without exception superb instrumentalists. What balance!
It might have been wise to play these three quartets in the reverse order since the Vasks and the Tchaikovsky pale by comparison with the Dvorak as regards inspired musical invention.
One can’t help smiling (or giggling) at the Vasks’ narrative and imagistic aspirations described in the program booklet — complete with a lighthouse, repeating life cycles, and sundry other fixin’s. But at least we now know what was on his mind as he composed. The first movement is dramatic, busy, and sounds as though it is supposed to tell a story with its quick shifting moods and motifs – but what story? The second is a touching, keening lament.
Tchaikovsky’s Quartet #1 is just not one of my faves. It’s pleasant enough, and, as one of my cousins used to say, it ain’t gonna kill ya to listen to it. But not much happens. I’m reminded of a comment Tchaikovsky once made about Brahms. “His music,“ he said, “is like a pedestal without a statue on it.” Seems am apt verdict on this work, which is not representative of the greatest melodist of the 19th century. (But, again, not to mislead anyone, the second movement andante cantabile owes its beauty to a folk song.)
The Dvorak, of course, made up for anything that was less than gripping: every movement a delight!
People Are Talking: UMS presents Oliver Mtukudzi and the Black Spirits at Michigan Theater:
Hi Georgie! We’ll work on getting that information and post here if / when we’ve got it! Thanks for attending!
Was a great show! Does anyone know the setlist?
"by Georgie
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
As soon as this concert was offered I knew that I needed to see these two masters of piano and jazz on stage together, just the two of them. Anyone who knew that it was just a duet surely would have understood that they were about to hear something unique, personal, and masterful. We were witness to new music, improvised, and unique to this one night and audience, never to be heard again. I was moved by Gayle Moran’s performance. I felt privileged to be present.
For those expecting to hear the usual, to quell their need for familiarity, to feel comfortable hearing the same tunes these men have played over and over and over for the last 45 years, 45 years people! did not understand the possiblities of the night.
People Are Talking: UMS presents Oliver Mtukudzi and the Black Spirits at Michigan Theater:
Was a great show! Does anyone know the setlist?
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
that was a wonderful show they are truly talented
People Are Talking: UMS presents Oliver Mtukudzi and the Black Spirits at Michigan Theater:
An exceedingly joyous show!! Great spirit, heart, sounds and visuals!! Lots of energy!!
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Without a doubt, one of the most amazing musical expressions that I have ever witnessed….what a blessing to have been in that room. It is a rare treat to be in the presence of such genius…
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Wow what grumps! I’m a little surprised by the folks who were expecting classical jazz music at the Hill… what they gave us was what they’ve been doing as magic together since before I was born! Just check out you tube with the chronicles of their style and contributions. Art is expressive for both the player and the listener, keep live performances live. As for timing, some of us from the East could not pass through the crowded hospital and power center traffic – who knew AA on Thursday would be so gridlocked!
I was personally blessed with both joy and tears throughout the night! I was overwhelmed when Gayle shared “Someday my prince will come”… Your prince has come, and continues to shine!
Keep supporting music of all forms and styles. It’s the freedom we share!
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Amen! It’s not music to eat potato chips by.
I do believe some of these people miss the point in jazz improvisation. Improvisation is what jazz is all about. That’s what Chick and Herbie do so brilliantly. Here’s 2 of the masters performing in front of you, “bare bones”, letting their audience witness how this highly crafted art is done in it’s infancy. “In other words “from nothing”, and creating it on the spot. It’s a fine art! If anything was read off of sheet of music it was very minimal. If any of you who are complaining about how they did this then try doing it yourself and see how well you fair. Maybe then you might have some appreciation for how wonderful they pulled it off.
"by Zig
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
It was fun for a while but not coherent art. Clever and technically brilliant but not satisfying. Had I known this was designed for their personal enjoyment more than ours, I would have stayed home. Even my jazz fanatic husband agrees.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
I do believe some of these people miss the point in jazz improvisation. Improvisation is what jazz is all about. That’s what Chick and Herbie do so brilliantly. Here’s 2 of the masters performing in front of you, “bare bones”, letting their audience witness how this highly crafted art is done in it’s infancy. “In other words “from nothing”, and creating it on the spot. It’s a fine art! If anything was read off of sheet of music it was very minimal. If any of you who are complaining about how they did this then try doing it yourself and see how well you fair. Maybe then you might have some appreciation for how wonderful they pulled it off.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
It was a very interesting concert, and I actually agree with *all* the comments. It was totally awesome to hear two geniuses playing off each other, but it got rather boring after a while. As did other listeners, I began to wish for a bit more emotional content and melody.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Hi, Mark Jacobson here from UMS Programming.
Here is Thursday night’s set list from Hill Auditorium on April 16, 2015:
Improv #1
You’d Be So Easy To Love (Cole Porter)
Synth Improv #1
Lineage (Chick Corea)
Someday My Prince Will Come with special guest Gayle Moran (Larry Morey/Frank Churchill)
Maiden Voyage (Herbie Hancock)
Spain (Joaquin Rodrigo/Corea)
Thanks for participating in the online post-concert conversation.
-Mark Jacobson, UMS
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
I wholeheartedly agree. My first time seeing either one of the giants should not have left me scratching my head or wanting some of my money back. $90 a piece for two tickets to that “concert” didn’t leave me wanting for more. It left me wanting for something in the first place.
Though Herbie Hancock and Chick Correa are clearly masters of Jazz, this experimental format was not interesting after the second time around. My wife and I see jazz concerts regularly all over the country, but this was not what we were expecting.
"Hopefully the next concert they do will take a different approach.
by Greg Apsey
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
It was junior high band rehearsal…a format concert-goers should have been apprised of before spending such “good” money. I’m not a musician but it just as well could have been me on stage with either–or both, of them.
Agree with some of the sentiments above. Saw Chick with John Mclaughlin few years ago, and Herbie with his combo a decade ago. I much prefer band arrangements, or at least a coherent program. Jazz is already an esoteric art, so free form improvisation between two masters on the same instrument trying to simultaneously play backing and solo components was too much for me. These guys have obviously earned the right to tour in any format they want, but I would not go again.
"by Mike Hafner
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
My sentiments as well, Valerie…2000%
My husband and I were disappointed. We came to hear some oldies, but goodies i.e. watermelon man, chameleon, etc. What we heard was a lot of piano keys , being played a bit scattered.
"by Valerie Paramore
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
My sentiments as well, Linda…2000%
Disappointed indeed! It felt like they were having their own fling and the rest of Hill were bystanders.
"by Linda
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
My sentiments as well, Michele…2000%
What a tremendous disappointment. I was expecting to be wowed by these two greats, but the experience was far from moving–too much seemingly improvised. Where was the sheet music? They kept joking about not having it, but there were sheets on stage. I didn’t want to watch two musicians “conversing” with each other the entire night. I wanted them to converse with the audience too, and, for me, that meant something a bit more conventional. No Chameleon? Come on!
"by Michele
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
My sentiments as well, Greg…2000%
Though Herbie Hancock and Chick Correa are clearly masters of Jazz, this experimental format was not interesting after the second time around. My wife and I see jazz concerts regularly all over the country, but this was not what we were expecting.
"Hopefully the next concert they do will take a different approach.
by Greg Apsey
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
THE Worst jazz performance I had EVER seen at $125pp! Don’t get me wrong: jazz is not on my list of favorite genres but I indulge because sometimes artists excite me with a hit that compels to dance a salsa or greystone or something. My boyfriend is a whore for jazz; he hated last night’s performance.
Ann Arbor History: Herbie Hancock and Chick Corea’s Hill Auditorium Reunion:
I was disappointed in the first half of the concert. I think a lot of people went to the concert remembering the old music of Chick and Herbie. The first half of the concert was just a cacophony of of good piano playing but with very few, if any, memorable rifs. Herbie’s accompanyment of Chick’s wife was memorable in that it let Herbie be Herbie.
The encore was the best piece of the concert. It had some semblance of a melody and this fusion of the two players made great sound.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Enjoyed this concert very much.
Sadly Ferrante & Teicher cannot be booked as Teicher is no longer with us….
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Agree with some of the sentiments above. Saw Chick with John Mclaughlin few years ago, and Herbie with his combo a decade ago. I much prefer band arrangements, or at least a coherent program. Jazz is already an esoteric art, so free form improvisation between two masters on the same instrument trying to simultaneously play backing and solo components was too much for me. These guys have obviously earned the right to tour in any format they want, but I would not go again.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
The concert was incredible. Parking was deplorable. Coming from out of town I had no idea it would take me 50 minutes to park coming from a restaurant 5 minutes away. The beauty of those runs and the vocalist were worth the frustration.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
My husband and I were disappointed. We came to hear some oldies, but goodies i.e. watermelon man, chameleon, etc. What we heard was a lot of piano keys , being played a bit scattered.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Amazing concert in the very hard to manage duet format. Chick and Herbie are two of the few remaining living jazz masters and I felt fortunate to watch them interact and hit all the right keys. Jazz is improvisation and may be hard to swallow for some. Artists have to be given some leeway to explore their art to keep it fresh. There is a definite kinship between the two of them. Buy the greatest hit CDs if you strive for familiar tunes.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Disappointed indeed! It felt like they were having their own fling and the rest of Hill were bystanders.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
What a tremendous disappointment. I was expecting to be wowed by these two greats, but the experience was far from moving–too much seemingly improvised. Where was the sheet music? They kept joking about not having it, but there were sheets on stage. I didn’t want to watch two musicians “conversing” with each other the entire night. I wanted them to converse with the audience too, and, for me, that meant something a bit more conventional. No Chameleon? Come on!
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Though Herbie Hancock and Chick Correa are clearly masters of Jazz, this experimental format was not interesting after the second time around. My wife and I see jazz concerts regularly all over the country, but this was not what we were expecting.
Hopefully the next concert they do will take a different approach.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Pure excellence. Especially loved “Maiden Voyage”…the first jazz record I ever bought.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Two masters, showing how it’s done, and having fun doing it.
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
Great concert. The electronic interlude probably hit some of us who wish Herbie never found the vocoder I the 80s. The two of them have a special magic together no matter what they were doing…
People Are Talking: UMS presents Herbie Hancock and Chick Corea at Hill Auditoium:
That was a rare performance….maybe not what some undergraduates had bargained for….Wow, there are so many true jazz aficionados in the area. I hope we can come together like Herbie & Chick to support our jazz on public radio. Word to ourselves, try to be on time though!
December is a Great Month to Give!:
its really great thanks for share
more http://www.madimpact.com
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
Thanks so much!
APK (and all!), here is the program listing:
Music Maestro, Please – Allie Wrubel, Herb Magidson (1938)
"Wenn ich liebe brauch dann geh` ich zu – Pauline Jim Cowler, Fritz Rotter (1928)
Let ‘s Do It – Cole Porter (1928)
Marie Marie Marc – Roland Johannes Brandt (1931)
Frauen sind so schön wenn sie lieben – Erich Plessow, Bruno Balz (1936)
I’m In The Market for You – James F. Hanley, Joseph McCarthy (1929)
Wir sind von Kopf bis Fuß – Friedrich Hollaender, Friedrich Hollaender (1930)
Stormy Weather – Ted Koehler, Harold Arlen (1933)
Mein Gorilla – Walter Jurmann, Bronislaw Kaper, Fritz Rotter (1933)
Heartaches – Al Hoffman, John Klenner (1931)
Ich frag Madame Walter – Jurmann, Bronislaw Kaper, Fritz Rotter (1931/1932)
I Got Rhythm – George Gershwin, Ira Gershwin (1930)
Du hast mich nie geliebt – Will Meisel, Fritz Rotter, Otto Stransky (1929)
Ich steh mit Ruth gut – Fred Raymond, Robert Gilbert (1928)
Concerto For Trumpet – Harry James (1942)
Was That the Human Thing to Do? – Joseph Young, Sammy Fain (1931)
Bilbao Song – Kurt Weill, Bert Brecht (1930)
Love Thy Neighbor – Mack Gordon, Harry Revel (1934)
Some Of These Days – Shelton Brooks, Shelton Brooks (1927)
Who ‘s Afraid Of The Big Bad Wolf? – Frank Churchill, Ann Ronnell (1933)
Wie hab’ ich nur leben können – Friedrich Hollaender, Robert Gilbert (1932)
Millions Of Kisses – Peter Maurice, Jos.Geo.Gilbert (1932)
Coubanakan – Moises Simons Sauvage (1936)
Over My Shoulder – Harry Woods (1934)
Dein ist mein ganzes – Herz Franz Lehár Fritz Loehner-Beda (1929)
Dort tanzt Lulu – Will Meisel, Will Meisel (1931)
Oops!… I Did It Again – Max Martin, Rami Yacoub (1999) (recorded by Britney Spears)
Gib mir den letzten Abschiedskuss
by Anna Prushinskaya
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
APK (and all!), here is the program listing:
Music Maestro, Please – Allie Wrubel, Herb Magidson (1938)
Wenn ich liebe brauch dann geh` ich zu – Pauline Jim Cowler, Fritz Rotter (1928)
Let ‘s Do It – Cole Porter (1928)
Marie Marie Marc – Roland Johannes Brandt (1931)
Frauen sind so schön wenn sie lieben – Erich Plessow, Bruno Balz (1936)
I’m In The Market for You – James F. Hanley, Joseph McCarthy (1929)
Wir sind von Kopf bis Fuß – Friedrich Hollaender, Friedrich Hollaender (1930)
Stormy Weather – Ted Koehler, Harold Arlen (1933)
Mein Gorilla – Walter Jurmann, Bronislaw Kaper, Fritz Rotter (1933)
Heartaches – Al Hoffman, John Klenner (1931)
Ich frag Madame Walter – Jurmann, Bronislaw Kaper, Fritz Rotter (1931/1932)
I Got Rhythm – George Gershwin, Ira Gershwin (1930)
Du hast mich nie geliebt – Will Meisel, Fritz Rotter, Otto Stransky (1929)
Ich steh mit Ruth gut – Fred Raymond, Robert Gilbert (1928)
Concerto For Trumpet – Harry James (1942)
Was That the Human Thing to Do? – Joseph Young, Sammy Fain (1931)
Bilbao Song – Kurt Weill, Bert Brecht (1930)
Love Thy Neighbor – Mack Gordon, Harry Revel (1934)
Some Of These Days – Shelton Brooks, Shelton Brooks (1927)
Who ‘s Afraid Of The Big Bad Wolf? – Frank Churchill, Ann Ronnell (1933)
Wie hab’ ich nur leben können – Friedrich Hollaender, Robert Gilbert (1932)
Millions Of Kisses – Peter Maurice, Jos.Geo.Gilbert (1932)
Coubanakan – Moises Simons Sauvage (1936)
Over My Shoulder – Harry Woods (1934)
Dein ist mein ganzes – Herz Franz Lehár Fritz Loehner-Beda (1929)
Dort tanzt Lulu – Will Meisel, Will Meisel (1931)
Oops!… I Did It Again – Max Martin, Rami Yacoub (1999) (recorded by Britney Spears)
Gib mir den letzten Abschiedskuss
Will the actual program be posted somewhere? I’d love to have a list of the pieces they performed so I can find them on Youtube/iTunes.
"by APK
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
I saw Max and the Palast Orchestra the last time they were here, so it was very good to see them again. Hope they keep Ann Arbor on their agenda. Now I’m off to shop for more of his CD’s, as I did last time they were here. This was such fun.
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
Excellent program. To produce an intimate performance in a large auditorium was an amazing feat. Max Rabbe has a great voice and stage presence highlighted by his deadpan commentary. The musicians of the Orchester are very talented. Their ability to shift positions, instruments and perform solo showed that they are excellent performers. Hope they are brought back soon. A pre-performance lecture would be great.
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
My first time at the Hill Auditorium because this was the furthest east appearance for this year’s Max Raabe & the Palast Orchester USA tour. Fabulous performance, but, would have thought that UMS would have scheduled a pre-performance talk as was done at George Mason University last year or at least encouraged the audience goers to dress in the spirit of the 30s.
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
This is the second UMS presence of the group. First one was a couple of years ago….Except “Lulu”, this program was different, which come as a new surprise….Their first DVD is worth watching as well. Stunning performance of a music era somewhat forgot . Last but not least, the great sens of humor of Mr. Raabe. Excellent performance.
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
The violinist was fabulous!
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
Hi there! We’ve reached out for a set list and will post it here as soon as we’re able. Glad you enjoyed the performance!
Will the actual program be posted somewhere? I’d love to have a list of the pieces they performed so I can find them on Youtube/iTunes.
"by APK
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
A fabulously entertaining show! His deadpan humor had the audience laughing throughout, and the final song was spot on! There is something so special about the Big Band sound which just makes you want to dance. My sister hired a live “Big Band” for her wedding reception back in 1982 and we danced the night away. I was reminded of the event last night. Bring them back next year!
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
Wonderful! It’s hard to find live performances of music from this period. I smile when I think about last night’s event.
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
Really wonderful showmanship. I was thoroughly enthralled by the range of Max Raabe’s voice and the musicians abilities to shift positions, instruments and configurations. The lighting and staging were elegant and illuminating, setting moods and tones without being overbearing or calling attention to technics.
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
Will the actual program be posted somewhere? I’d love to have a list of the pieces they performed so I can find them on Youtube/iTunes.
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
Agreed! Thank you, Michael, for bringing back Max and his gang.
Absolutely one of the most entertaining events of the season.
"by Barbara Eichmuller
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
Enjoyed it very much!
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
Absolutely one of the most entertaining events of the season.
People Are Talking: UMS presents Max Raabe and the Palast Orchester at Hill Auditorium:
I had a friend who toiled well over a decade to earn a PhD in German. He said one day he stumbled over the shortest book ever written, Five-Hundred Years of German Humor. Well, Max Rabbe proved him wrong. The deadpan commentary was spare and hilarious. The Orchester was very talented too. I fear I mentioned a long time ago in a Lobby post that I sat and watched Lawrence Welk in pajama’s with footies with a small bowl of popcorn every Saturday. The encore could have been David Bowie’s Golden Years…My memories of Europe are clouded with bad pop music at the discotheques. The real music came beforehand, Das Ist Der Deutscher Puntlieschkeit!
People Are Talking: UMS presents Gilberto Gil at Hill Auditorium:
Hi, Mark Jacobson from UMS Programming here. The set list from Gilberto Gil’s solo concert on Saturday, April 4, 2015 at Hill Auditorium is below:
GILBERTOS SAMBA
Aos Pés da Cruz (Marino Pinto and Zé Da Zilda)
Você e Eu (Carlos Lyra and Vinicius de Moraes)
Tim Tim por Tim Tim (Haroldo Barbosa and Geraldo Jacques)
Rosa Morena (Dorival Caymmi)
Desde Que O Samba É Samba (Caetano Veloso)
Rio, Eu Te Amo (Gilberto Gil)
O pato (Jayme Siolva and Neuza Teixeira)
Doralice (Dorival Caymmi)
Abraço no Bonfá (João Gilberto)
Abraço no João (Gilberto Gil)
Gilbertos (Gilberto Gil)
Carinhoso (Pixinguinha; lyrics by Braguinha)
Máquina de ritmo (Gilberto Gil)
Milagre (Dorival Caymmi)
Eu samba mesmo (Janet Almeida)
Chiclete com Banana (Jackson do Pandeiro and Almira Castilho)
Meio de Campo (Gilberto Gil)
Desafinado (Antônio Carlos Jobim and Nilton Mendonça)
Eu Vim da Bahia (Gilberto Gil)
É Luxo Só (Ary Barroso)
Thank you for joining the post-concert conversation!
-Mark Jacobson, UMS
People Are Talking: UMS presents Gilberto Gil at Hill Auditorium:
I was fun to sit with such an appreciative audience.
People Are Talking: UMS presents Gilberto Gil at Hill Auditorium:
Great concert by a true hero! Aquel Brasil
People Are Talking: UMS presents Chicago Symphony Winds at Rackham Auditorium:
Many thanks for your nice remarks! We at the Chicago Symphony Winds are appreciative of the sophisticated and welcoming audience at UMS. We, as you, were especially delighted to have our dear colleague Liz Tiscione, Principal Oboist of the Atlanta Symphony, join us for this performance. The other repertoire you speak of is wonderful, and we hope to present it in future seasons. HONK.
Mozart was never at a loss for musical ideas. He could toss off a brilliant quartet while he was waiting for the breakfast toast to pop. So he rarely ever had to use the same material twice. But both of these works served him again in composing string quintets; he knew when he had a good thing. Indeed. they are both gems.
The performances were luminous and gorgeous – transparent as only wind ensembles can be. Everyone I spoke with loved the first oboe especially.
So, these works and the performances could not have been more satisfying.
But in this space we never talk about programming; we seem to treat this as a taboo topic. Well, here goes.
Much as we’d hate to let go of either of these Mozart works, would you have preferred a stylistically somewhat more diverse program — works that were not written a mere few years apart? Many other composers have written wonderful stuff for winds. Would you perhaps have liked to hear something by Dvorak or Richard Strauss or even Stravinsky or Poulenc along with one Mozart Serenade – and saved the other for next year? Honk if you vote yes.
"by Music Lover
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
This concert was a real treat! After years of listening to their recordings to hear and see them in person was inspiring.
Mr Denk, the man is a Wizzard in full command of his craft, there was so much joy in his playing it’s almost as if he could have willed the piano to play on its own.
The only done side to this lovely concert in this lovely hall were the two students seated a few rows behind me and to my right.
I heard every word of their whispered conversation during every second of the performance.
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
It was the final movement from an early Mozart divertimento, K. 116.
The encore they played last was fantastic! It definitely sunds like Mozart. Anyone knows exactly what piese was that? Thanks
"by Fei
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
It was No. 13
Does anybody know the encore that he played? I think it was one of the Goldberg Variations, but which one?
"by Ken Posner
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
Isabel, I agree with your review. I also loved the second movement. I thought that his contemplative approach to the Bach really came through in this section. In that regard I thought that his Goldberg Variation encore was spectacular (and my most enjoyable part of his performance).
I also concur that the tempi were troubling to me, at first. My initial reaction was tempered, however, as the movements continued. I found the each tempo helped to drive the energy of the piece faster and harder. I guess that the speed grew on me and that I ended up finding what was, at first, jarring, to be exhilarating.
Hello- I’m Isabel Park, a first-year U-M piano student attending several UMS piano performances this season and sharing my thoughts here on UMS Lobby after. If you’d like to read more: http://www.umslobby.org/index.php/2014/11/student-spotlight-u-m-first-year-student-isabel-park-sets-out-to-explore-piano-15982 I’d love to hear your responses!
I had to wonder: would Mr. Denk’s playing be as thoughtful and engaging as his writing? He certainly surpassed my hopes, to say the least. The opening movement of the Bach concerto was nothing short of breathtaking. There was a contagious energy that was viscerally stimulating throughout the duration of the performance. Bach is difficult in that sense – to add a dimension of emotional appeal without tarnishing its paradoxically complex simplicity. But Mr. Denk played with such a conviction that undoubtedly did the concerto justice.
Each individual melody was attentively crafted, and delivered with eloquent contour. He was clearly aware of the homophony as shown through his well-executed decisions to bring specific lines to the forefront of his sound. The only aspect that I didn’t fully agree with were the tempi, which seemed rather fast in the quicker movements, but it was relatively minor and didn’t present much of an issue.
The second movement was contemplative and introverted in just the appropriate ways. It was sensitively played, yet uninhibited in terms of artistic flourish and expression. He didn’t fall into the tendency to polarize Bach by either oversimplifying it, or unnecessarily complicating it. Personally, it was my favorite movement – although the final movement was also phenomenal.
There was a relentless focus as Mr. Denk played the last movement. The result was a more channeled, directed energy which reflected in the intimacy of the ensemble. Unlike many concerto performances, the soloist didn’t seem to be isolated but rather a featured member of the group. The result was a special effect that was especially memorable during an interlude in which the orchestra held various harmonies under Mr. Denk’s technical passages. The members of the Academy of St. Martin in the Fields only augmented the performance with their seamless ensemble. Not to mention, their sound was incredibly full and satisfying without any excess thickness or residue that enabled them to create the intimacy of a string quartet while delivering the depth of sound of a bigger orchestra.
For me personally, the most admirable thing about Mr. Denk tonight was his dual role as both a soloist and ensemble director. His depth of understanding for the music was enviable and his unique musical intelligence really shone through today’s performance. Tonight, I left Hill Auditorium very inspired as a pianist.
"by Isabel Park
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
The encore they played last was fantastic! It definitely sunds like Mozart. Anyone knows exactly what piese was that? Thanks
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
Great concert though I am a bit of an “original constructivist” here: Tony Scalia move over! I loved Denk’s playing and the strings’ playing, but I prefer a harpsichord for the combination. My favorite pieces were the Stravinsky Concerto and the encore from the Goldberg Variations (Denk *solo*). Bought the GV CD afterwards, have to stack it up against Glenn Gould. This guy (Denk) is really serious!!
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
I had not seen or heard of Jeremy Denk previously. Hearing him play the Bach concertos on a concert grand brought a vitality and excitement to the concert that was the experience of a lifetime! His exquisite and powerful rendering of these concertos blended perfectly with the string orchestra, as no rendering on original instruments could hope to achieve. The evening was positively thrilling!
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
A most elegant and satisfying concert, imaginatively programmed. It’s fascinating to watch the changing tastes in approaches to Bach playing, from the revolution (at the time) of Glenn Gould, through the original instrument movement, and now to Mr. Denk, who brings scholarship infused with passion and incredible pianism. I heard things in these pieces that were new to me. The orchestra’s grace, polish and seemingly effortless ensemble gave all the music a winning immediacy.
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
I really enjoyed the concert especially the Bach and as others have mentioned an interesting contrast ! I though Mr. Denks playing was very energetic and respectfully playful. One could see he was having fun up there and certainly had a command of the music. In closing I thought he really portrayed the musicality of Bach in a manner that most other performers are unable to do!
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
Hello–this is Shannon Fitzsimons from the UMS Education and Community Engagement Department. The Academy’s group encore this evening was the final movement from Mozart’s Divertimento in D. As my colleague Mark mentioned, Mr. Denk’s encore was the 13th variation of J.S. Bach’s Goldberg Variations.
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
Hi, Mark Jacobson from UMS Programming, here.
Jeremy Denk’s mid-concert solo piano encore was “Variation 13 (a 2 Clav.)” of J.S. Bach’s Goldberg Variations, BWV 988.
Thanks for joining the post-concert conversation.
-Mark Jacobson, UMS
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
Hello- I’m Isabel Park, a first-year U-M piano student attending several UMS piano performances this season and sharing my thoughts here on UMS Lobby after. If you’d like to read more: http://www.umslobby.org/index.php/2014/11/student-spotlight-u-m-first-year-student-isabel-park-sets-out-to-explore-piano-15982 I’d love to hear your responses!
I had to wonder: would Mr. Denk’s playing be as thoughtful and engaging as his writing? He certainly surpassed my hopes, to say the least. The opening movement of the Bach concerto was nothing short of breathtaking. There was a contagious energy that was viscerally stimulating throughout the duration of the performance. Bach is difficult in that sense – to add a dimension of emotional appeal without tarnishing its paradoxically complex simplicity. But Mr. Denk played with such a conviction that undoubtedly did the concerto justice.
Each individual melody was attentively crafted, and delivered with eloquent contour. He was clearly aware of the homophony as shown through his well-executed decisions to bring specific lines to the forefront of his sound. The only aspect that I didn’t fully agree with were the tempi, which seemed rather fast in the quicker movements, but it was relatively minor and didn’t present much of an issue.
The second movement was contemplative and introverted in just the appropriate ways. It was sensitively played, yet uninhibited in terms of artistic flourish and expression. He didn’t fall into the tendency to polarize Bach by either oversimplifying it, or unnecessarily complicating it. Personally, it was my favorite movement – although the final movement was also phenomenal.
There was a relentless focus as Mr. Denk played the last movement. The result was a more channeled, directed energy which reflected in the intimacy of the ensemble. Unlike many concerto performances, the soloist didn’t seem to be isolated but rather a featured member of the group. The result was a special effect that was especially memorable during an interlude in which the orchestra held various harmonies under Mr. Denk’s technical passages. The members of the Academy of St. Martin in the Fields only augmented the performance with their seamless ensemble. Not to mention, their sound was incredibly full and satisfying without any excess thickness or residue that enabled them to create the intimacy of a string quartet while delivering the depth of sound of a bigger orchestra.
For me personally, the most admirable thing about Mr. Denk tonight was his dual role as both a soloist and ensemble director. His depth of understanding for the music was enviable and his unique musical intelligence really shone through today’s performance. Tonight, I left Hill Auditorium very inspired as a pianist.
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
We agree with Music Lover that Sunday’s performance of the Chicago winds was superb….it was; proving again the power of up close and personal performances.
Richard & Marian
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
This was a superior concert for many reasons. For Marian and me, however, sitting in the middle of the second row and just 15 feet away from the closest musicians, we were able to sense their joy in performance in a way that made these pieces come alive. It is wonderful to witness in such an intimate way how dedicated artists engage with each other during a performance and how they seem to have such a good time with the music.
Richard Douglass & Marian Horowitz
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
Clever program – Baroque and neo-Baroque. We need clever programs.
The tempi in the Back were on the fast side. But mostly Mr. Denk made them work.
The St. Martin group is a miraculous ensemble. Played the rhythmically complicated ballet score with balance, virtuosic compaactness, and subtle colors (also in the Concerto).
This concert and the Mozart concert by the Chicago Winds the other day are something to remember over the summer and beyond.
People Are Talking: UMS presents Academy of St. Martin in the Fields and Jeremy Denk, piano at Hill Auditorium:
Does anybody know the encore that he played? I think it was one of the Goldberg Variations, but which one?
People Are Talking: UMS presents Chicago Symphony Winds at Rackham Auditorium:
A marvelous concert! — incomparable sonority throughout, setting forth incomparable creative genius.
I was moved to tears when the musicians began the Finale of the second Serenade we were privileged to hear.
Thanks to the Chicago Symphony Winds and to UMS, especially Ken Fischer and Michael Kondziolka!
People Are Talking: UMS presents Chicago Symphony Winds at Rackham Auditorium:
Mozart was never at a loss for musical ideas. He could toss off a brilliant quartet while he was waiting for the breakfast toast to pop. So he rarely ever had to use the same material twice. But both of these works served him again in composing string quintets; he knew when he had a good thing. Indeed. they are both gems.
The performances were luminous and gorgeous – transparent as only wind ensembles can be. Everyone I spoke with loved the first oboe especially.
So, these works and the performances could not have been more satisfying.
But in this space we never talk about programming; we seem to treat this as a taboo topic. Well, here goes.
Much as we’d hate to let go of either of these Mozart works, would you have preferred a stylistically somewhat more diverse program — works that were not written a mere few years apart? Many other composers have written wonderful stuff for winds. Would you perhaps have liked to hear something by Dvorak or Richard Strauss or even Stravinsky or Poulenc along with one Mozart Serenade – and saved the other for next year? Honk if you vote yes.
People Are Talking: UMS presents Kyle Abraham / Abraham.In.Motion at Power Center:
This performance was fabulous. This is an important emerging star of modern dance/choreography. I was very excited to see this, and my expectations were exceeded. Saturday night’s program was outstanding. PLEASE UMS INVITE KYLE ABRAHAM/ABRAHAM IN MOTION BACK AGAIN IN FUTURE YEARS!!!
People Are Talking: UMS presents Kyle Abraham / Abraham.In.Motion at Power Center:
We attended the Saturday performance and were in awe of the grace and athleticism of the dancers and the creativity of movement. The underlying political and social message was timely and the music haunting. Loved it!
People Are Talking: UMS presents Kyle Abraham / Abraham.In.Motion at Power Center:
Terrific show. Bring him back
People Are Talking: UMS presents Kyle Abraham / Abraham.In.Motion at Power Center:
Fresh and innovative, but not died avant guard that it’s inaccess. The dance tells a story
People Are Talking: UMS presents Kyle Abraham / Abraham.In.Motion at Power Center:
Kyle Abraham was just great! What a breathe of fresh air….it seemed like a day with fresh young talent from the U of M softball game, to strolling on Liberty St., to this action packed dance performance. I though the anguish in some of the recorded music was a little over the top but the dancing was spectacular.
Job well done!
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
It was a clever idea to have a performance based on music associated with film. The composition of the group was enjoyable with a proper mix of vocals or instrumentals. I was impressed with the guitar/viola dialogue and found the performance enjoyable.
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
Hi, all, Mark Jacobson here from UMS Programming, again, on night two of Bill Frisell’s UMS Americana Celebration residency.
Friday night’s set list was as follows:
Bill Frisell’s When You Wish Upon A Star
Music for Film & Television
“Americana Celebration”
Lydia Mendelssohn Theatre
Friday, March 13, 2015
Ann Arbor
When You Wish Upon A Star (Leigh Harline and Ned Washington; from “Pinocchio” and “Walt Disney’s Wonderful World of Color”)
The Days of Wine and Roses (Henry Mancini)
Medley:
Once Upon A Time in the West/
As A Judgement/
Farewell To Cheyenne (all written by Ennio Morricone)
Windmills Of Your Mind (Michel Legrand; from “The Thomas Crown Affair”)
Moon River (Mancini and Johnny Mercer; from “Breakfast at Tiffany’s”)
Tales From The Far Side (Bill Frisell; from “Gary Larson Cartoon Special”)
Medley:
Goldfinger/
You Only Live Twice (both written by John Barry)
Medley:
Psycho 1/
Psycho 2 (both written by Bernard Herrmann; from “Psycho”)
Medley:
Alfie (Burt Bacharach)/
Alfie’s Theme (Sonny Rollins)
The Shadow Of Your Smile (Johnny Mandel; from “The Sandpiper”)
The Godfather (Nino Rota)
Batman Theme (Neal Hefti)
Encores:
Theme from the Andy Griffith Show (Earle Hagen)
Somewhere Over The Rainbow (Harold Arlen/E.Y. Harburg)
Thank you for joining us for this week’s memorable concerts with Mr. Frisell and hope to see you at future UMS events!
-Mark Jacobson, UMS
A Bill Frisell Americana Celebration 3/12-13:
Hi, all, Mark Jacobson here from UMS Programming, again, on night two of Bill Frisell’s UMS Americana Celebration residency.
Friday night’s set list was as follows:
Bill Frisell’s When You Wish Upon A Star
Music for Film & Television
“Americana Celebration”
Lydia Mendelssohn Theatre
Friday, March 13, 2015
Ann Arbor
When You Wish Upon A Star (Leigh Harline and Ned Washington; from “Pinocchio” and “Walt Disney’s Wonderful World of Color”)
The Days of Wine and Roses (Henry Mancini)
Medley:
Once Upon A Time in the West/
As A Judgement/
Farewell To Cheyenne (all written by Ennio Morricone)
Windmills Of Your Mind (Michel Legrand; from “The Thomas Crown Affair”)
Moon River (Mancini and Johnny Mercer; from “Breakfast at Tiffany’s”)
Tales From The Far Side (Bill Frisell; from “Gary Larson Cartoon Special”)
Medley:
Goldfinger/
You Only Live Twice (both written by John Barry)
Medley:
Psycho 1/
Psycho 2 (both written by Bernard Herrmann; from “Psycho”)
Medley:
Alfie (Burt Bacharach)/
Alfie’s Theme (Sonny Rollins)
The Shadow Of Your Smile (Johnny Mandel; from “The Sandpiper”)
The Godfather (Nino Rota)
Batman Theme (Neal Hefti)
Encores:
Theme from the Andy Griffith Show (Earle Hagen)
Somewhere Over The Rainbow (Harold Arlen/E.Y. Harburg)
Thank you for joining us for this week’s memorable concerts with Mr. Frisell and hope to see you at future UMS events!
-Mark Jacobson, UMS
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
This completes two nights of Bill Frisell for me and many others I spoke with. I consider him one of the most important artists of my generation, or any generation, for that matter. Alfie, Over The Rainbow, Batman, Moon River, Psycho…. I never wanted it to end. Thanks Bill & Company.
A Bill Frisell Americana Celebration 3/12-13:
amazing
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
I am absolutely MESMERIZED by Bill Frisell’s style and the personality that he brings to the stage through his music. His solo playing is soulful, soothing, quirky, hypnotic, and spontaneous all at the same time, and he manages to bring such a liveliness and freshness to the American classics that he presents. He combines unique technique and effortless execution to intertwine a personal creative touch into familiar melodies, making them accessible to any musical taste. His style is only complimented by his witting and charming personality!
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
What an amazing concert––my sister and I sat entranced the whole time. It’s amazing how his music flows so seamlessly between genres. Last night’s set is what Americana should be (and thanks to Bill Frisell, is becoming).
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
Had the extreme pleasure of enjoying last nights performance with my 12 year old son. I’ve been fortunate enough to see Bill many times over a span of 30 years. Hearing sound check with curtain closed at a Bass Desires show 30 years ago hooked me for life. Besides having the opportunity to enjoy the show with my son, I will remember the absolutely stunning sound. The sound man deserves an award. I can only liken it to hearing the best stereo I’ve ever heard. So happy to see Bill solo. Honestly never thought that I’d ever get that opportunity. Many thanks to Mark Jacobson for pulling it off. Can’t wait for this evenings show!
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
Hi, again!
This morning, Mr Frisell remembered the inclusion of
Bumpin’ on Sunset (Wes Montgomery)
…following “Cannonball Rag” and preceding the first acoustic portion of Thursday evening’s solo concert.
-Mark Jacobson, UMS
For further clarity regarding my above posting, Thursday evening’s set list was not written down or planned in advance of the concert by Mr. Frisell, but rather was created and determined in the moment from the stage.
-Mark Jacobson, UMS
"by Mark Jacobson
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
For further clarity regarding my above posting, Thursday evening’s set list was not written down or planned in advance of the concert by Mr. Frisell, but rather was created and determined in the moment from the stage.
-Mark Jacobson, UMS
Hi, all…Mark Jacobson here from UMS Programming.
To the best of our investigative abilities while delving deep into our collective memory, below is Thursday night’s set list from Bill Frisell’s solo concert.
Bill Frisell Solo
“Americana Celebration”
Lydia Mendelssohn Theatre
Thursday, March 12, 2015
Ann Arbor
I’m So Lonesome I Could Cry (Hank Williams)
It Should’ve Happened a Long Time Ago (Paul Motian)
Crepuscule With Nellie (Thelonius Monk)
Cannonball Rag (Merle Travis)
—–
[Playing 1967 Martin (acoustic):]
My Man’s Gone Now (George Gershwin)
Misterioso (Monk)
—–
[Playing electric guitar:]
Poem for Eva (Bill Frisell) segue into “Free improvisation”
Medley:
Shenandoah (Traditional)/
In My Life (John Lennon-Paul McCartney)
——
ENCORE #1:
Medley:
A Change Is Gonna Come (Sam Cooke)/
Masters of War (Bob Dylan)/
What the World Needs Now (Burt Bacharach)
Encore #2:
[Playing 1967 Martin (Acoustic):]
Casey Jones (Mississippi John Hurt)
Please let us know if you heard any other pieces in the set! Thanks for attending tonight’s concert…and hope to see you again Friday night.
-Mark Jacobson, UMS
"by Mark Jacobson
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
Hi, all…Mark Jacobson here from UMS Programming.
To the best of our investigative abilities while delving deep into our collective memory, below is Thursday night’s set list from Bill Frisell’s solo concert.
Bill Frisell Solo
“Americana Celebration”
Lydia Mendelssohn Theatre
Thursday, March 12, 2015
Ann Arbor
I’m So Lonesome I Could Cry (Hank Williams)
It Should’ve Happened a Long Time Ago (Paul Motian)
Crepuscule With Nellie (Thelonius Monk)
Cannonball Rag (Merle Travis)
—–
[Playing 1967 Martin (acoustic):]
My Man’s Gone Now (George Gershwin)
Misterioso (Monk)
—–
[Playing electric guitar:]
Poem for Eva (Bill Frisell) segue into “Free improvisation”
Medley:
Shenandoah (Traditional)/
In My Life (John Lennon-Paul McCartney)
——
ENCORE #1:
Medley:
A Change Is Gonna Come (Sam Cooke)/
Masters of War (Bob Dylan)/
What the World Needs Now (Burt Bacharach)
Encore #2:
[Playing 1967 Martin (Acoustic):]
Casey Jones (Mississippi John Hurt)
Please let us know if you heard any other pieces in the set! Thanks for attending tonight’s concert…and hope to see you again Friday night.
-Mark Jacobson, UMS
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
Wonderful concert – thanks Bill, for stepping outside of your comfort zone and “going solo”! I admit to having second thoughts in the early part of the evening but as I got to know Bill a little better (or more accurately his performance style) and he began doing some amazing things with his hands and his “electronic assistants”, I was in heaven! He strikes me as both a cerebral and a sentient musician, which is a great combo. Another musical genius-virtuoso not unlike Chris Thile and Edgar Meyer, who UMS brought to town last fall. Looking forward to Friday’s performance!
People Are Talking: UMS presents A Bill Frisell Americana Celebration at Lydia Mendelssohn Theatre:
Another masterful performance by Bill Frisell This was the 6th time I’ve seen him, and the first solo setting. From Hank Williams to John Lennon and everything in between, Bill can cover any genre, with his own unique touch.
People Are Talking: UMS presents Trisha Brown Dance Company at Power Center:
I loved it. To me this is what dance should be. Long Time No See was light and effortless, and Newark had all that wonderful, counter intuitive work with the floor. I also like the fact that her dances are clearly made without any relationship to the music. They can be viewed without music all together. Pure dance.
People Are Talking: UMS presents The Campbell Brothers at Michigan Theater:
Hi, Mark Jacobson from UMS Programming, here. Friday night’s set list at the Michigan Theater was as follows:
Wade In the Water – trad., arranged Chuck Campbell
Morning Train – trad., arranged Chuck Campbell, Phillip Campbell
Hell No, Heaven Yes! – Phillip Campbell
A Change Is Gonna Come – Sam Cooke, arranged, Darick Campbell, Chuck Campbell, Phil Campbell
A Love Supreme – John Coltrane, arranged Chuck Campbell, Phillip Campbell
I. Acknowledgement
II. Resolution
III. Pursuance
IV. Psalms
Lord I just Want To Thank You – trad., Darick Campbell, Phillip Campbell
Jump For Joy! – Charles Flenory
Thanks for attending The Campbell Brothers’ UMS debut!
Mark Jacobson, UMS
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
It’s okay, I wasn’t offended by anything that was said about me. I also clearly stated that I am not criticizing anyone personally. I’m curious what it was that you thought warranted oversight of a conversation between adults?
This is the second time in recent memory that you guys have chimed in and invoked your “guidelines”, thus bringing to a halt any interesting bits that may have followed in the thread. I guess a thread where everyone agrees is acceptable, but one where there is a lively debate is stamped out in the name of “community”.
Don’t get so hung up on comment guidelines, which only puts you at risk of censoring honest reactions. This was a true conversation among people who were affected on multiple levels by a masterful work about a profound subject. If you’re interested in feedback from the audience, in this situation you’d do better to listen than to invoke guidelines.
"by Chris
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Thank you for your post, Chris. We are absolutely interested in honest reactions and true conversation, but when that starts to veer in the direction of criticism/attacks of a personal nature, we step in to remind people of our guidelines. Annick, UMS
Don’t get so hung up on comment guidelines, which only puts you at risk of censoring honest reactions. This was a true conversation among people who were affected on multiple levels by a masterful work about a profound subject. If you’re interested in feedback from the audience, in this situation you’d do better to listen than to invoke guidelines.
"by Chris
People Are Talking: UMS presents Trisha Brown Dance Company at Power Center:
It is too bad the Trisha Brown performance was under appreciated by some. She was, after all, billed as part of the UMS Renegade series. She has been a renegade for half a century collaborating with avant-garde visual artists, musicians, composers and even choreographing for opera. I commend UMS and its Renegade program for bringing us work that challenges our conventional sensibilities. Keep it up and thanks for bringing renegades to our doorstep.
People Are Talking: UMS presents Trisha Brown Dance Company at Power Center:
By far the worst performance of any genre I’ve seen from UMS in at least three years. Cerebral, sterile, sonically offensive, incoherent, uninventive, slow and simply boring. The work of an artist long past her prime. Rarely have I seen such a lukewarm, almost embarrassed, response from a (small) audience. I assume they’ll never be invited back.
People Are Talking: UMS presents Trisha Brown Dance Company at Power Center:
I think the dancing was excellent, but the Music was just awful. If I were a dancer in that company and had to listen and rehearse to that music, I would quit. It was very annoying, hard to listen to and distracted from the beautiful dancing. I won’t attend any more of Trisha Brown’s concerts because of the poor choice of music.
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Don’t get so hung up on comment guidelines, which only puts you at risk of censoring honest reactions. This was a true conversation among people who were affected on multiple levels by a masterful work about a profound subject. If you’re interested in feedback from the audience, in this situation you’d do better to listen than to invoke guidelines.
Hi there! Annick from UMS here. Just wanted to step in with a quick reminder of our community conversation guidelines, which are available here: http://www.umslobby.org/index.php/2009/01/ums-lobby-guidelines-12346
"by Annick Odom
People Are Talking: UMS presents Compagnie Non Nova: Prelude to the Afternoon of a Foehn:
Watching the interplay between the performer, bag people, wind and music inspired awe in me. It was truly beautiful and opened my heart. It seemed pointlessly shocking and cruel to me to then murder it all in front of us and send us home on that note. Ouch.
UMS Night School: Curious About Dance – Session 2 Recap:
Too bad the program notes didn’t mention Trisha Brown’s ground breaking performance with Ann Arbor’s own Once Group in 1965.
Check it out here: http://oldnews.aadl.org/node/79964
People Are Talking: UMS presents Trisha Brown Dance Company at Power Center:
Too bad no mention was made in the program notes of Trisha Brown’s appearance with Ann Arbor’s own Once Group in 1965.
Check it out here. http://oldnews.aadl.org/node/79964
People Are Talking: UMS presents Rotterdam Philharmonic Orchestra at Hill Auditorium:
Wonderful evening. Thank you for the concert. sb
People Are Talking: UMS presents The Campbell Brothers at Michigan Theater:
In a year I’ll remember Michigan Theater full of people all sizes, ages and colors jumping for joy and bouncing up and down on their feet as the Campbell Brothers performed ‘Jumping for Joy’ – and I’ll remember what fantastic musicians they each were solo and in their very tight, high energy group. Thank you, UMS, for introducing the Campbell Brothers to AA and for bringing them here to celebrate John Coltrane.
People Are Talking: UMS presents The Campbell Brothers at Michigan Theater:
That was fun. It seemed like they took an interest in us and knew about out sports and weather and such. The Love Supreme was like one of those giant burritos, they all most had to serve it in a bowl….Wow! UMS turned me on to something new! I lived in Chicago when my kid brother lost his room mate. We’d go to Blues Etc. On Belmont at the first of the month….pay cover….get a slip on the way out for the sister club across from Kingston Mines on Halstead. Go over there and get a slip on the way out for Blues Etc. I was glad to catch these brothers from Rochester, NY, that city has a rich musical tradition. Do I know what I’m talking about, probably not, but I had a good time.
People Are Talking: UMS presents Compagnie Non Nova: Prelude to the Afternoon of a Foehn:
Very interesting both for the physics of air movement creating a column of ascending air and for the ability of plastic bags to perform ballet. The program warns us that the piece is also about destruction by man, hence the ending. Charlie Chaplin and Marcel Marceau would have had a better ending but still poignant. That is my challenge to Phia Menard. Think again!
People Are Talking: UMS presents Rotterdam Philharmonic Orchestra at Hill Auditorium:
Hello- I’m Isabel Park, a first-year U-M piano student attending several UMS piano performances this season and sharing my thoughts here on UMS Lobby after. If you’d like to read more: http://www.umslobby.org/index.php/2014/11/student-spotlight-u-m-first-year-student-isabel-park-sets-out-to-explore-piano-15982 I’d love to hear your responses!
It was interesting to hear Ravel juxtaposed with Tchaikovsky. I have to say, the former half of the concert was more appealing than the latter. It was my first time hearing Ravel’s Mother Goose Suite live, and I wasn’t disappointed. Nézet-Séguin and the Rotterdam Philharmonic really did justice to the artistic nature of Ravel’s music. French music is especially distinguished in the way it paints vivid scenes. A lot of it is inspired by nature, contrary to the music of the Russians and Germans, which typically invokes a more emotional response.
Nézet-Séguin conducted the Suite with a sophisticated artistry to convey contained drama, to effective success. He was clearly aware of the subtler harmonic depth, both as written in the score and aurally. There was a transparency in the sound throughout the suite, which I thought was appropriate overall, but personally, distastefully timed on a few occasions. For example, I thought the thinner texture would have been really magical in the opening of the final movement, but instead it was carried out with a thicker, too-complicated sound. It somehow came across as too jumbled and I couldn’t focus on any one line, or perceive it as a collective one either. However, it was extremely effective in the climax of the final movement, which made the ending truly satisfying. Also, the animalesque noises added a complete touch to the various scenes they attempted to portray – my personal favorite was final movement: Le Jardin Féerique, or the Enchanted Forest.
The concerto, featuring pianist Ms. Grimaud, was nice in that it is not nearly as overplayed or as heavy as most other piano concertos. The opening was charmingly nonchalant, and she seemed to comfortably and confidently dominate the piano. For the most part, the genuine simplicity of the music was honored through the character and sound that she delivered; but in a couple sections, it seemed tarnished with unnecessarily excited bodily movement or thickened texture. The ends of phrases sometimes lacked the grace and elegance they called for, which made them seem carelessly terminated. Nevertheless, the highlight features of her playing – relentless power and undeniable clarity – shone throughout the movement.
There was something unsettling about the jointness of Ms. Grimaud and the orchestra throughout. I couldn’t quite place my finger on it, but the soloist seemed too “separate” from the rest of the ensemble and conductor. I think there was a lack of communication, or perhaps just that Ms. Grimaud was so focused and immersed in her own playing. Of course, this goes beyond simply “good music,” is a lot to ask for from a performer. It may even be a problem innate in the nature of the concerto’s orchestration, but I felt that it could’ve been a more unified performance.
Again, the opening of the middle movement had some complications that could’ve been avoided, given the beautiful simplicity that she could’ve chosen to bring to the forefront of her playing. The attempt to deliver depth sometimes came across as plodding and just seemed unnecessary. Only two or three times did both her hands align time-wise, so that a lot of “ba-dunk” was happening. The orchestra entrance was also not too convincing. I would say the main attraction of this movement was Ms. Grimaud’s intimate interaction with the bassoonist, which I truly had nothing to say about. The sound was pure and lucid, and the key change was nothing short of beautiful.
The final movement was an exciting finish to the first half of the concert.
As mentioned earlier, the Tchaikovsky naturally called for a more emotional focus, rather than an aesthetic or visual one. I felt that Nézet-Séguin’s strength was really in the aesthetic aspect of music, which is why the French part of the program was so much more effective. The Tchaikovsky symphony was very dramatic, and well executed technically, but there was something missing… I don’t think it was visceral enough. At no point did I think that the performers crossed the bounds of what constitutes “musical” and aesthetically pleasing in order to give the audience a real jab in the chest, which I think music of composers like Tchaikovsky ought to do at one point or another. Besides that, it was a thrilling evening of great music.
People Are Talking: UMS presents Rotterdam Philharmonic Orchestra at Hill Auditorium:
I enjoyed it all. What is the name of the encore?
People Are Talking: UMS presents Rotterdam Philharmonic Orchestra at Hill Auditorium:
Encore:
“Polonaise” from Tchaikovsky’s Eugene Onegin
People Are Talking: UMS presents Rotterdam Philharmonic Orchestra at Hill Auditorium:
What a marvelous concert! Another memorable gift from UMS.
The combination of composers–Ravel, the supreme colorist, Tchaikovsky, the master of sweeping musical themes; Netzit-Seguin, perhaps the rising star of the world’s younger conductors, bringing forth magic from strings, woodwinds and brass; and Helene Grimaud, a brilliantly accomplished pianist in perfect mastery and harmony with the orchestra–all made for an unforgettable evening.
Thank you UMS!
People Are Talking: UMS presents Rotterdam Philharmonic Orchestra at Hill Auditorium:
I’d be content if I could take this performance of the Mother Goose Suite to my grave and hear it whenever I want to.
This evening’s concert demonstrates that you don’t really need the august Big Name orchestras from Berlin or St. Petersburg to please audiences; there are so many other less well-known groups who perform as well or better and are even more enthusiastically appreciated.
And, of course, I could go on and on about Mme Grimaud …
People Are Talking: UMS presents Rotterdam Philharmonic Orchestra at Hill Auditorium:
Fantastic concert!
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
Absolute magic….arrangements were in proper sequence for a true jouney in jazz and the finale was over the top will be in the second roll from the stage again next year….
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Elijah was fantastic the only thing it was so late by the time it was done it was 11 is there a way you could make it earlier so injoyed handles messiah fantastic sorry to see Jerry Blackstone leave hope you get a good conductor but will be hard to get anyone to feel his shoes thanks again
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
This was an outstanding performance by an incredible group of musicians. Each piece was preceded by an informative introduction which gave the music it’s proper historical and musical context. Wynton’s comments were always right on the money.
Every musician in the orchestra is a genius on his instrument(s). They also had great arrangements and the collective band chemistry that comes from years of playing together. You can only earn that, there’s no other way to get it.
An inspiring and powerful concert. Kudos to every member of the band for playing so well. Your dedication to the art is much appreciated. I look forward to hearing you next year!
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Glad to see I wasn’t the only one. I stayed the whole time, but by the end I wished I hadn’t. It seemed everyone stood for an ovation at the end, except for me. Normally I’m very generous with my applause, bravo’s and ovations, but I didn’t feel they deserved it – only a normal clap for a mediocre performance.
Before I begin criticizing the soloists, let me say that I thought the soprano did a great job. She was the only one who I could tell had the voice and the confidence to do the job well. If she came back to give a solo recital I would not complain.
I thought the Tenor could have been great, but he just had volume issues. It seemed like maybe he had lots of musical experience, because he was hitting all the right notes and had great expressions, but he just didn’t project very well.
The baritone was also a weak projector. A good, loud baritone voice is one of my favorite things to listen to, but for whatever reason his voice was not resonating like a good operatic baritone (although he gets an A for effort).
I got very nervous vibes from the Mezzo. I think she was probably very uncomfortable because her voice seemed very tense. At one part I could barely hear her and I was only 15 rows back. After a little while she eventually found her volume, but she never made it sound easy.
I found the performance to be a drag, the soloists failed to engage me, in fact I thought there were places where the tenor seemed off key in the beginning pieces. The entire group seemed tensed, if you don’t enjoy presenting, why should the listener enjoy what you’re presenting?! It became uneasy to sit through and we left during the intermission. By all means, there will be others who think highly of the performance; different people have different tastes and understanding, I respectfully differ.
"by Lopa R
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
This was a great show in a season of great jazz shows. Loved the extra encore song, which seemed like a nice gesture after last year’s abbreviated performance. Bravo! Please bring Wynton back next year. I am so glad I subscribed this year and will certainly be renewing next year.
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Hi there! Annick from UMS here. Just wanted to step in with a quick reminder of our community conversation guidelines, which are available here: http://www.umslobby.org/index.php/2009/01/ums-lobby-guidelines-12346
I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
"by George
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
“O rest in the Lord, wait patiently for him, and he shall give thee thy heart’s desires. Commit thy way unto him, and trust in him, and fret not thyself because of evil doers.”
“He that shall endure to the end shall be saved.”
“Lord, our creator, how excellent thy name is in all the nations!”
Thank you, Jerry Blackstone, for introducing so many of us to this incredible work. But even more, thank you for sharing your faith. From my first Messiah performance under your direction the great religious works we’ve performed have felt like a worship service! What a grand finale of your service to the Choral Union!
People Are Talking: UMS presents Compagnie Non Nova: Prelude to the Afternoon of a Foehn:
I really enjoyed this performance. I always love when Art and Science share the stage. The shadows on the ceiling were so very cool. I do wish it was longer. For me the 25 minutes went by in a blink. I was quite mesmerized.
Personally, the fact that the puppets were torn apart was critical to the piece. To me, that moment represented the lost of innocence that naturally occurs in the cycle of life. And the aftermath showed the beauty that life can still provide once we are ‘torn to shreds” by forces greater than ourselves.
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
As mentioned by one of my friends, I was very lucky guy. Indeed, such an once in a life experience to have such opportunities.
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Scott,
It’s all about getting out and seeing/hearing things that I’ve never heard before. I like to expose myself to new things on a regular basis, without regard to whether or not it has a religious theme. For me it’s fine art, but apparently for you it’s much more than that. Quite honestly, if your church is as inclusive and welcoming as you are to outsiders, then I for one want nothing to do with it. I had criticized some of the musicians, the score, and the demeanor of the event, not the content of the libretto and certainly not you or your belief system.
I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
"by George
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Most people live their daily lives in a rather circumscribed routine that visits only a small fraction of the wide breadth of human emotion. Although some may be thankful for this, I count myself fortunate to be able to be part of an enterprise where I get the chance to regularly explore a wide emotive range but without necessarily risking life and limb. Surrendering to the masterful direction of Maestro Blackstone as a UMS Choral Union singer is a wonderful way to let the soul plunge in a wide range of emotions. Performing Elijah was a truly moving experience especially since it was our last under the direction of Maestro Blackstone. As he concludes his tenure with the Choral Union, I can only be thankful for the time I have been able to share with him. He opened astonishingly beautiful opportunities to perform with some of the best musicians in the world and revel in the widest realm of emotions. I am fortunate indeed. Thank you Maestro!
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
George
Sorry for you that you think we are a “secular society”. Curious why you would want to attend a deeply religious (ie old testament filled) performance if other than to rip on God and those of us who follow him?
I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
"by George
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
Not my cup of tea at all. I didn’t expect such confused and off key music. I know this is a type of jazz that many many people love, but I never have.
I left early. Couldn’t take it.
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
What a wonderful afternoon with JLCO.It is the first time I watch and listen to JLCO live, although I tried to make it when I travelled to NY. The music was great! Bravo, Wynton!
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
Hi, Mark Jacobson here from UMS Programming.
Sunday afternoon’s set list was as follows:
Mexican Moods (excerpt), Mvt. I: “Dizzy Moods “(Charles Mingus)
Latin American Suite (excerpt), Mvt. V: “Oclupaca” (Duke Ellington)
Fiesta Mojo (Dizzy Gillespie)
Alabama (John Coltrane)
Unsquare Dance (Dave Brubeck)
Mexican Moods (excerpt), Mvt. IV: “Los Mariachis” (Mingus)
Island Virgin (Ellington/Billy Strayhorn)
Olé (Coltrane)
———–
Encore:
Knozz Moe King (Wynton Marsalis)
Thanks for joining the conversation,
-Mark
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
I believe that UMS should start granting college credit for attendees to JLCO and Wynton concerts! ALWAYS ALWAYS ALWAYS does teaching come hand in hand with stellar performance quality with every JLCO performance. Watching the members of the orchestra play with such joy and being able to share in the experience is such a gift. THANK you, UMS, for bringing these moments of joy to my back yard.
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
What a great concert with pieces from several titans of jazz!!!
Wynton was outstanding once again. He is a true artist and every time you hear him, you hear something you’ve never heard before.
Thank you Ken Fisher for making another wonderful evening possible.
People Are Talking: UMS presents Wynton Marsalis and Jazz at Lincoln Center Orchestra at Hill Auditorium:
In the coldest imaginable WX we are treated to the hottest imaginable jazz. Thanks to WEMU for preparing us for this concert like they do with so many others. It was good to see some young families in the audience, this kind of music is fine for tender ears. I remember when my Dad would play Big Band music on Saturday afternoons when my Mom was grocery shopping. The stores closed at six and were not open on Sundays.
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
It is not unusual for a composer to reflect a reaction to events of the times. As a Lutheran with a Jewish background, the conservative M expressed his displeasure with such events in a manner most suitable considering his background and talents. I have sung Elijah several times over the last 60 years and enjoyed listening instead of being part of the chorus. I did find myself mentally singing along with the altos as I tend to do any time I attend a performance of a work I have sung. It is preferable to sit back and enjoy Elijah for what it is.
I would have liked a little background in the program on the boy soprano. He was wonderful.
I was unhappy with the program note that said M. was “troubled by the moral decay that was sweeping across the European continent.” First, I don’t know that there was any moral decay, even if M. thought there was. And politically isn’t M. thought to have been mildly liberal–in favor of constitutional reform?
It’s not my favorite piece, but I liked the soloists.
"by Ruth Scodel
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Overall, it was an amazing performance. The soloists were phenomenal, and Dr. Jerry Blackstone was super engaging. The Hill Auditorium was the perfect venue for a piece such as this. Bravo!
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
I found the performance to be a drag, the soloists failed to engage me, in fact I thought there were places where the tenor seemed off key in the beginning pieces. The entire group seemed tensed, if you don’t enjoy presenting, why should the listener enjoy what you’re presenting?! It became uneasy to sit through and we left during the intermission. By all means, there will be others who think highly of the performance; different people have different tastes and understanding, I respectfully differ.
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Glad to have braved the weather and heard Jerry Blackstone’s last UMS performance. The Elm City Choir was fantastic, as well as the young lad and female choral soloists. Not as much of a fan of the professional soloists tonight. Great evening.
People Are Talking: UMS presents Compagnie Non Nova: Prelude to the Afternoon of a Foehn:
My wife and I LOVED this performance. So creative and fun! I did feel, however, that the destruction of the puppets at the end was violent and unnecessary. I think that it was already clear that he was “creator” and “animator” of the puppets. I did not need to see him rip them to shreds to fully understand that. I thought that the destruction of the puppets gave a kind of fake gravitas to what otherwise was a thought provoking and very stimulating performance
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Excellent. Prior to this performance I would have said I preferred Mendelssohn’s 1st oratorio Paulus but now I’m converted. This is a more mature work. A definite wow.
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
My friend and I were familiar with the music from several years ago and really enjoyed hearing it again. I was especially impressed with the endurance of the conductor and performers over the 2 and a half hours. The choir were enthusiastic, in tune , and (mostly) in time with the orchestra. It was obviously well rehearsed and – and even if the instrumentalists made any mistakes I did not hear any. I liked the brass in the dramatic prayers to Baal, and wondered how the percussionist retuned his drums with the many key changes (he uses pedals).
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
I was unhappy with the program note that said M. was “troubled by the moral decay that was sweeping across the European continent.” First, I don’t know that there was any moral decay, even if M. thought there was. And politically isn’t M. thought to have been mildly liberal–in favor of constitutional reform?
It’s not my favorite piece, but I liked the soloists.
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Kate, I should also mention that I didn’t find the score particularly interesting or musically unique. Like I said, I am no stranger to grand opera and classical music in general. I found the score very repetitive and actually quite boring, save for a few parts like the boy soprano and some of the climaxes. Better soloists would have made it better, but I still much prefer Wagner, Verdi, Puccini and even Handel – I guess there’s a reason Mendelsohn’s works are not very well known…
Sorry I can’t share in your joy over the performance, and that I use different vocabulary than you, but if my opinions are “outtakes” then I’m afraid for the future of free speech in this country.
I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
"by George
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Fantastic performance! It was definitely worth braving the sub-zero temps. Bravo!!
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
While I am glad you were able to witness this grand performance, I find your outtakes fascinating. First, Elijah is not a “show,” it is a classical Oratorio. Second, the conductor stepped off the podium not to “ponder God” but to allow for late seating. Third, it is not church tradition or religious practice to save your clapping to the end of a classical music performance. Fourth, you are correct, “little dude” was exceptional! Fifth, do come back again, you might find that classical music will grow on you.
I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
"by George
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
Wonderful performance! Beautiful score. Wonderful artists.
And to think that I almost let the first version on YouTube, not to mention the weather, discourage me from attending.
I appreciated the words being printed, but did not have enough light to read them during the production. Fortunately, I often carry a tiny flashlight.
People Are Talking: UMS presents Mendelssohn’s Elijah at Hill Auditorium:
I’m sure a lot of people liked this show, and it was indeed good, but not great. The A2 symphony orchestra was in great form, and the choir sounded great, but I mainly go to these things for the vocal soloists, and I felt that they were lacking. With the exception of the soprano and the boy soprano (great job litlte dude!) I felt the soloists did not have a full sound. They all sounded better in the second part, but I still wanted more from them. I liked the soloists who did the Messiah this year a lot better, and they were more well-known.
Also, for someone who is not religious, I found it hard to sit quietly for 2.5 hours without so much as a single round of applause during the show, even when they deserved it and there was ample time to do it. In the first part the conductor even steps off the podium for a whole minute and we’re supposed to sit there quietly as if pondering God or something. I know it’s tradition, but come on, we’re a secular society so why do we have to follow these hundreds-year-old traditions? It really felt like sitting through a church service. For someone who goes to grand opera a lot, this was a unique experience, but not one that I’m likely to repeat in the near future.
People Are Talking: UMS presents Compagnie Non Nova: Prelude to the Afternoon of a Foehn:
Just finished working Compagnie Non Nova and in addition to the smiles on the faces of both adults and children, Maxine Frankel shared: “What a great performance! My kids LOVED it! This is definitely a show that parents should bring their kids to see.”
School Day Performance with JLCO:
There will be a CD signing after the concert that would be a great way for young artists to see Wynton post-show!
Annick Odom, UMS
Will Wynton Marsalis have scheduled to have time to talk with young artist during his visit on the 15th of February? If so where and what time. Thank you
"by Joannr Brown
School Day Performance with JLCO:
Will Wynton Marsalis have scheduled to have time to talk with young artist during his visit on the 15th of February? If so where and what time. Thank you
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
My wife and I enjoyed the concerts very much, to our subsequent embarrassment. I had always thought that artists should be judged on the merit of their work alone, and not for their moral or political views. But Lisa Batiashvili, in her comments on Gergiev in the NY Times on Feb 1, has persuaded me that I was wrong.
It is one thing to attend performances of Wagner’s “Ring,” setting aside qualms about his antisemitism, and quite another to support a contemporary artist who allows himself to be the instrument of a politician bent on dominating neighboring countries who want their independence.
According to the Times, Ms. Batiashvili argued that Western audiences and arts presenters, by attending and booking concerts by Russian artists who are vocally loyal to Mr. Putin’s policies, are complicit in the repercussions of those policies. Why, she asked, is Mr. Gergiev such an important figure in the music world? “Because the Western countries have been so supportive of him,” she said. And that fame, she added, is exploited by Mr. Putin.
I cannot in good conscience attend any more concerts which Mr. Gergiev conducts. For all his great talent, I am embarrassed that my university chose to honor him in the way it did.
People Are Talking: UMS presents Jennifer Koh at Rackham Auditorium:
Thank you to everyone at UMS for inviting me and supporting Bach and Beyond through your co-commission of Harbison’s new work, For Violin Alone! And thank you to the great players in the masterclass at UM and thank you to the amazing audience members! It was a great pleasure to meet everyone. I loved being back in Ann Arbor!
People Are Talking: UMS presents Jennifer Koh at Rackham Auditorium:
I came for the Berio and wasn’t disappointed. The Bach was sensitively played. None of the dry mechanical playing that plagues so many Bach performance (it’s music not an algorithm). I took me awhile to get my bearings in the Harbison, but I enjoyed it and think it would be good to hear again.
People Are Talking: UMS presents Jennifer Koh at Rackham Auditorium:
A wonderful concert! Koh’s faultless technique — not a scratch all evening! — allows her to give herself wholly to the music as music, and she does so with impeccable tast and none of the fashionable mannerisms whatsoever – tasteful all the way. Both Bach works were simply – what? – luminous. Did you hear that fugue in the final sonata? I am grateful to have been introduced to the Sequenza by Berio. (I’ve never heard anything by Berio that I did not like; but, then again, one doesn’t get to hear his music much.) To repeat, a wonderful concert. I think I’m not the only one who enjoyed it: there was very little coughing. Yes, that’s what coughing in concert halls is about, not the flu.
People Are Talking: UMS presents Tomasz Stańko at Lydia Mendelssohn Theatre:
I’ve never seen so many people book it out of a show before the encore as fast as last night. Hilarious! That aside, really great show. I love all the meet and greets that UMS manages to set up after shows as well.
People Are Talking: UMS presents Tomasz Stańko at Lydia Mendelssohn Theatre:
I brought my daughter, a high school trumpet player, to see Tomasz Stanko, because I thought it would be a new and different experience for both of us. Stanko and the other musicians did not disappoint! Thanks to UMS for bringing him here!
People Are Talking: UMS presents Tomasz Stańko at Lydia Mendelssohn Theatre:
Terrific concert in a surprisingly intimate setting. There was plenty of room for each of the musicians to showcase their talents & creativity, and this they did. Stanko is one of the two or three great living jazz trumpet players and it speaks well of UMS and Ann Arbor to host him here.
Thanks!
Marian
People Are Talking: UMS presents Tomasz Stańko at Lydia Mendelssohn Theatre:
Mark Jacobson, here, from UMS Programming.
The set list from last night’s concert at Lydia Mendelssohn Theatre is as follows:
New Balladyna Quartet
(All compositions by Tomasz Stańko unless otherwise indicated)
First Song
Quintet’s Time
Cain’s Brand
Tales For A Girl, 12
Last Song
Balladyna
Mikrokosmos
December Avenue
——-
Encore:
Litania (composed by Krzysztof Komeda)
People Are Talking: UMS presents Dawn of Midi at Trinosophes:
We are big fans of DOM, thrilled to see them on the UMS season! Totally great show, loved the venue, so glad to see UMS in the D!
People Are Talking: UMS presents Dawn of Midi at Trinosophes:
Really enjoy their music. Would have preferred some seating for the event. Glad to see UMS bringing in a group like this, and doing an event in Detroit
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Thank you for a wonderful concert on Sunday afternoon.
“Pictures” was thrilling and the orchestra played spectacularly. They reminded me of the Cleveland Orchestra in their glory days under George Szell.
Matsuev was a brilliant soloist. I look forward to hearing him play less bombastic music (I am not a big fan of the Tchaikovsky concertos), like Brahms, Beethoven, etc.
Gergiev certainly deserves great honors for preparing and leading such a fine orchestra. However, he made a free choice to speak out politically and to take stands that are anathema to many of us. He must also take responsibility for those actions.
It was an exciting afternoon of music. Thank you!
People Are Talking: UMS presents Compagnie Marie Chouinard at Power Center:
I have to second the comment on excessive volume of the music for the post-intermission piece. I would have enjoyed it but for that. The volume level was unnecessary. We noticed a box of ear plugs near the entrance so we asked the usher. She said “we have been told that there is a brief period of loud noise, but only brief.” She was definitely misinformed. We like this group, have seen them before, and would see them again, but we will definitely have earplugs handy next time
People Are Talking: UMS presents Jake Shimabukuro, ukulele at Hill Auditorium:
Months later, I still find myself thinking about this performance- how fun! Jake is so personable and gracious, and I certainly hope UMS brings him back, to brighten up a Michigan winter!
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Thank you for clearing that up. Honestly I’m very disappointed, but maybe they’re not used to such acoustics at Hill auditorium. I, for one, did not find it amusing, and I would like to convey to Maestro Gergiev that it was a blight on the performance, but I’ll forgive him if he comes back next year.
I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
"by George
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
George,
In both instances it was confirmed by musicians in the orchestra and by audiences members sitting in the front row of the main floor as well as by others sitting in the dead-center back of the balcony where it is very easy to hear in a clear and delineated way. Those are the only facts I have to support what I wrote earlier.
I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
"by George
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
George, I sat in the front row, right underneath him on Sunday. He sang and hummed the entire time in various ways. It was amusing, because he would hum and buzz just before cueing a violin entrance, often with his eyes closed. I was amused by it.
I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
"by George
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Michael,
Just curious, how do you know that, for a fact, without proceeding to back it up with anything? Why were the “vocalizations” so much worse the second night? Are they so oblivious that they don’t realize high frequency artifacts detract from the audio quality of their performance? What kind of vocalization would make that sound? He wasn’t humming along, because it was roughly the same frequency the whole time. So…he was grunting in an obnoxious, non-human type of way during some of the most gorgeous music. You would think someone in the orchestra would tell him it’s annoying.
Can you elaborate on what your “facts” are?
I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
"by George
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
With all due respect George, I know for a fact that the noises were indeed both Maestro Noseda and Maestro Gergiev’s vocalization while conducting their respective orchestras. For some it may be a problem….for me, I find it rather interesting and accept it as a possible part of the live concert experience. There are many examples of this phenomenon over the years….even on recording, Glenn Gould being the most famous example. I guess is all ends up being a great example of how clear and quick the acoustic is in certain areas of Hill Auditorium. Thanks for being at all three concerts !!
I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
"by George
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
I was also at the William Tell performance, and both Mariinsky performances. I heard the same acoustic artifacts described above, but I can assure you they’re not vocalizations from anyone (especially not the conductor!) The acoustics in Hill Auditorium are so great that you can hear every little thing. It could have been any one of the instruments, or even a panel on the wall that resonates with certain frequencies. I was also trying to figure out what it was, and I’m an audio engineer.
Nobody goes to a symphony to hear the conductor hum along with the piece, and these are very distinguished artists we’re dealing with, so they know better than to detract from their own show by humming (and if it was humming, that person sure can’t follow a tune!) It must be embarrassing for them that anyone even thinks that’s what it was. I really hope it’s not a problem with the Hill auditorium, but in fact I’ve heard it in several performances now (on Sunday it was the worst I’ve ever heard), so I’m starting to think it is.
Indeed…they were audible vocalizations by Maestro Gergiev. I noticed odd noises during Teatro Regio Torino’s performance of William Tell while I was sitting up in the back of the mezzanine and finally figured out that it was Maestro Noseda’s vocal expressions. Certain spots in Hill, even all the way upstairs, can catch different sounds from stage! It’s odd, but kind of cool to hear the conductor’s expressions, beyond what you can usually only see.
"Liz, UMS
by Liz
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Indeed…they were audible vocalizations by Maestro Gergiev. I noticed odd noises during Teatro Regio Torino’s performance of William Tell while I was sitting up in the back of the mezzanine and finally figured out that it was Maestro Noseda’s vocal expressions. Certain spots in Hill, even all the way upstairs, can catch different sounds from stage! It’s odd, but kind of cool to hear the conductor’s expressions, beyond what you can usually only see.
Liz, UMS
We heard it back in the balcony, so it could not have been any vocalizations by the conductor. I agree that it was annoying and distracting, but fortunately didn’t last very long.
"by Aysenur Unal
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
What a beautiful reflection, David, As Michael K notes, sitting in the audience and hearing music from our past brings up deeply personal memories for many. as it did for you. As my wife Penny and I sat listening to the Tchaikovsky piano concerto #1, our minds and hearts went back to the summer we met at Interlochen (1961) when we had the privilege of accompanying Van Cliburn as members of the National H.S. Orchestra when Cliburn performed on the Kresge
Auditorium stage the same concerto we heard Sunday — the one that brought him the Tchaikovsky Competition first place prize in 1958 and the NYC tickertape parade that followed.
Ken and Michael,
Just a short note of thanks to you both for this wonderful weekend of Russian classical music. It had special meaning for me, especially during yesterday afternoon’s program. I have heard “Pictures” many times, but yesterday it triggered one of those flash backs that I suppose is associated with being 72 years old and beginning to savor reflections about what has been so valuable in my life so far. So the flash back was to the very first classical music I heard, as a 7 or 8-year-old kid. It was an early 1950s Radio Moscow broadcast, over short wave radio band, on a war surplus radio my father purchased–something like he’d monitored as communications officer on a Merchant Marine ship plying the Atlantic for most of my first 7 years. We’d set the radio up (to receive only) in my bedroom where we’d taped a National Geographic map of the world on the wall. I pasted gold stars on places where I picked up transmissions (other than in the US), and the first gold star was atop Moscow. Wearing my father’s naval earphones, each night after homework I listened to Russian classical music, probably beamed toward North America as part of the Cold War just as Radio Free Europe did in return, with fascination. It was not to my father’s taste so we had no classical recordings and my grade school had no musical education in the first grades. And so yesterday I remembered that late each night, before the triumphant sounds of Tchaikovsky or the forceful romanticism of Moussorgsky went sent silent, I listened in awe to the muscular voices of the Chorus of the Soviet Red Army and finally to their rendering of the Russian national anthem. Turns out that Radio Canada (stars on Ottawa, Toronto and Montreal) also broadcast classical music–French, German, English and US composers–probably not by chance on a band close to Radio Moscow’s I think. So I learned the words to O Canada; never did master the Russian, but it was the language of Russian music that first stirred what was to become a lifelong musical passion.
Thanks again. David
"by David L Featherman
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Thank you. Those were wonderful.
The encores on Sunday were Lyadov’s The Music Box (performed by Denis Matsuev) and the Prelude to Act I of Lohengrin by Richard Wagner (performed by the Mariinsky Orchestra).
"by Sara, UMS
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
What a wonderful reflection David…and how great is it to be reminded, through such vivid example, of the complex and powerful experiences that audience members are reliving as they sit in their seats at a UMS concert? I suspect that these moments of deeply personal reflection are occurring all the time for different reasons — and at different trigger moments — for a broad cross-cut of our audience over the course of any given UMS season. I do know that it happens for me! Thank you so much for taking the time to share it with everyone.
Ken and Michael,
Just a short note of thanks to you both for this wonderful weekend of Russian classical music. It had special meaning for me, especially during yesterday afternoon’s program. I have heard “Pictures” many times, but yesterday it triggered one of those flash backs that I suppose is associated with being 72 years old and beginning to savor reflections about what has been so valuable in my life so far. So the flash back was to the very first classical music I heard, as a 7 or 8-year-old kid. It was an early 1950s Radio Moscow broadcast, over short wave radio band, on a war surplus radio my father purchased–something like he’d monitored as communications officer on a Merchant Marine ship plying the Atlantic for most of my first 7 years. We’d set the radio up (to receive only) in my bedroom where we’d taped a National Geographic map of the world on the wall. I pasted gold stars on places where I picked up transmissions (other than in the US), and the first gold star was atop Moscow. Wearing my father’s naval earphones, each night after homework I listened to Russian classical music, probably beamed toward North America as part of the Cold War just as Radio Free Europe did in return, with fascination. It was not to my father’s taste so we had no classical recordings and my grade school had no musical education in the first grades. And so yesterday I remembered that late each night, before the triumphant sounds of Tchaikovsky or the forceful romanticism of Moussorgsky went sent silent, I listened in awe to the muscular voices of the Chorus of the Soviet Red Army and finally to their rendering of the Russian national anthem. Turns out that Radio Canada (stars on Ottawa, Toronto and Montreal) also broadcast classical music–French, German, English and US composers–probably not by chance on a band close to Radio Moscow’s I think. So I learned the words to O Canada; never did master the Russian, but it was the language of Russian music that first stirred what was to become a lifelong musical passion.
Thanks again. David
"by David L Featherman
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Ken and Michael,
Just a short note of thanks to you both for this wonderful weekend of Russian classical music. It had special meaning for me, especially during yesterday afternoon’s program. I have heard “Pictures” many times, but yesterday it triggered one of those flash backs that I suppose is associated with being 72 years old and beginning to savor reflections about what has been so valuable in my life so far. So the flash back was to the very first classical music I heard, as a 7 or 8-year-old kid. It was an early 1950s Radio Moscow broadcast, over short wave radio band, on a war surplus radio my father purchased–something like he’d monitored as communications officer on a Merchant Marine ship plying the Atlantic for most of my first 7 years. We’d set the radio up (to receive only) in my bedroom where we’d taped a National Geographic map of the world on the wall. I pasted gold stars on places where I picked up transmissions (other than in the US), and the first gold star was atop Moscow. Wearing my father’s naval earphones, each night after homework I listened to Russian classical music, probably beamed toward North America as part of the Cold War just as Radio Free Europe did in return, with fascination. It was not to my father’s taste so we had no classical recordings and my grade school had no musical education in the first grades. And so yesterday I remembered that late each night, before the triumphant sounds of Tchaikovsky or the forceful romanticism of Moussorgsky went sent silent, I listened in awe to the muscular voices of the Chorus of the Soviet Red Army and finally to their rendering of the Russian national anthem. Turns out that Radio Canada (stars on Ottawa, Toronto and Montreal) also broadcast classical music–French, German, English and US composers–probably not by chance on a band close to Radio Moscow’s I think. So I learned the words to O Canada; never did master the Russian, but it was the language of Russian music that first stirred what was to become a lifelong musical passion.
Thanks again. David
People Are Talking: UMS presents Mariinsky Orchestra of St. Petersburg at Hill Auditorium:
Ken and Michael,
Just a short note of thanks to you both for this wonderful weekend of Russian classical music. It had special meaning for me, especially during yesterday afternoon’s program. I have heard “Pictures” many times, but yesterday it triggered one of those flash backs that I suppose is associated with being 72 years old and beginning to savor reflections about what has been so valuable in my life so far. So the flash back was to the very first classical music I heard, as a 7 or 8-year-old kid. It was an early 1950s Radio Moscow broadcast, over short wave radio band, on a war surplus radio my father purchased–something like he’d monitored as communications officer on a Merchant Marine ship plying the Atlantic for most of my first 7 years. We’d set the radio up (to receive only) in my bedroom where we’d taped a National Geographic map of the world on the wall. I pasted gold stars on places where I picked up transmissions (other than in the US), and the first gold star was atop Moscow. Wearing my father’s naval earphones, each night after homework I listened to Russian classical music, probably beamed toward North America as part of the Cold War just as Radio Free Europe did in return, with fascination. It was not to my father’s taste so we had no classical recordings and my grade school had no musical education in the first grades. And so yesterday I remembered that late each night, before the triumphant sounds of Tchaikovsky or the forceful romanticism of Moussorgsky went silent, I listened in awe to the muscular voices of the Chorus of the Soviet Red Army and finally to their rendering of the Russian national anthem. Turns out that Radio Canada (stars on Ottawa, Toronto and Montreal) also broadcast classical music–French, German, English and US composers–probably not by chance on a band close to Radio Moscow’s I think. So I learned the words to O Canada; never did master the Russian, but it was the language of Russian music that first stirred what was to become a lifelong musical passion.
Thanks again. David Featherman
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
An incredible pair of concerts, with two unbelievable pianists. Matsuev has become one of our favourites, and Abduraimov is someone we want to hear much more of. Between the orchestra and him, we heard things we’d never heard before in the Prokofiev. The Mariinksy with Gergiev probes the music with such in-depth character and passion–they play as if their lives depended on it–and, after all, isn’t that what it’s all about? All very exciting and deeply moving.
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
The best part for me was at the end when they did an encore, which happened to be the overture from Lohengrin – Wagner is my alltime favorite! What a pleasant surprise!
I went both nights and the pianists were both fantastic.
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
The acoustics at the back of the balcony are superb! Better than many places in the auditorium that are much closer to the stage. You can’t see, but you sure can hear.
We heard it back in the balcony, so it could not have been any vocalizations by the conductor. I agree that it was annoying and distracting, but fortunately didn’t last very long.
"by Aysenur Unal
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Sundays concert was so intense, I really enjoy the Russian Orchestra performances. They are the best interpreters of russian composers.The piano concerto was excellent as was Pi tures at an Exibition but the surprise of the afternoon came with the opening work by Shederin !!!BRAVO UMS AND THANK YOU AGAIN for bringing world class orchestras to Hill Aud.
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
I was fortunate to see both performances by this wonderful orchestra! I have to admit that I was much more enthralled by the Sunday concert, but then, I am a great fan of Tschaikovsky! I am very familiar with Mussorgsky’s “Pictures at an Exhibition”, and was very surprised to hear some passages played in an unfamiliar manner. Then it struck me; Mr. Gergiev was conducting with a Russian sense! What amazing good fortune to hear such an amazing concert!
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Thank you! I thought the orchestra encore sounded like Wagner, but was so sure they’d only perform works by Russian composers that I was driving myself crazy trying to think of a Russian contemporary of Wagner!
The Lyadov piece was a delight, wasn’t it?
The encores on Sunday were Lyadov’s The Music Box (performed by Denis Matsuev) and the Prelude to Act I of Lohengrin by Richard Wagner (performed by the Mariinsky Orchestra).
"by Sara, UMS
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
We heard it back in the balcony, so it could not have been any vocalizations by the conductor. I agree that it was annoying and distracting, but fortunately didn’t last very long.
My friend and I attended Sunday afternoon’s concert – wow! The “Concerto” by Rodion Shchedrin was so interesting and fun, and the following “war horses” were both marvelous. To hear Tchaikovsky’s 1st piano concerto in person, played with such precision and energy was a treat, and I very much enjoyed the grandeur and sensitivity that Gergiev drew from the orchestra for Mussorgsky’s “Pictures…”
BUT… WHAT was that weird buzzy noise that we heard when the orchestra played?? It was horribly distracting. We were sitting on the Main Floor, far left, Section 5, and my friend and I both noticed it, so it wasn’t just a voice in my head… Some weird acoustical issue either from the hall (emanating from the stage, it sounded like) or from the orchestra? Really strange.
"by Margaret Petersen
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
I was sitting in the front row and it was the conductor. Mr. Gergiev hummed the entire time and breathed in an audible way, exhaling while vocalizing. He also made a buzzing “zish” sound much of the time when cueing the violinists on entries. It reminded me of some old Glenn Gould recordings.
My friend and I attended Sunday afternoon’s concert – wow! The “Concerto” by Rodion Shchedrin was so interesting and fun, and the following “war horses” were both marvelous. To hear Tchaikovsky’s 1st piano concerto in person, played with such precision and energy was a treat, and I very much enjoyed the grandeur and sensitivity that Gergiev drew from the orchestra for Mussorgsky’s “Pictures…”
BUT… WHAT was that weird buzzy noise that we heard when the orchestra played?? It was horribly distracting. We were sitting on the Main Floor, far left, Section 5, and my friend and I both noticed it, so it wasn’t just a voice in my head… Some weird acoustical issue either from the hall (emanating from the stage, it sounded like) or from the orchestra? Really strange.
"by Margaret Petersen
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
My friend and I attended Sunday afternoon’s concert – wow! The “Concerto” by Rodion Shchedrin was so interesting and fun, and the following “war horses” were both marvelous. To hear Tchaikovsky’s 1st piano concerto in person, played with such precision and energy was a treat, and I very much enjoyed the grandeur and sensitivity that Gergiev drew from the orchestra for Mussorgsky’s “Pictures…”
BUT… WHAT was that weird buzzy noise that we heard when the orchestra played?? It was horribly distracting. We were sitting on the Main Floor, far left, Section 5, and my friend and I both noticed it, so it wasn’t just a voice in my head… Some weird acoustical issue either from the hall (emanating from the stage, it sounded like) or from the orchestra? Really strange.
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
My wife and I were sitting in the middle of X row and heard humming singing during some of the portions in the performance. Did somebody else has noticed this or is it the Hall’s aucustics had played a trick on us?
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Sunday’s experience was beyond moving. I heard more than one person say that they were nearly brought to tears during the incredibly gorgeous concert. We were treated to two encores that seemed to convey the mutual admiration between audience and performers. Additionally, the elegant Ford Honors dinner and program brought home the universal power of the arts and the importance of sharing arts experiences with our youth–world wide. Thanks to all who made this evening possible!!
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
My dream finally came true! I adore Valery Gergiev & Mariinsky Orchestra. It was utterly exquisite! Thank you so much!
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
The encores on Sunday were Lyadov’s The Music Box (performed by Denis Matsuev) and the Prelude to Act I of Lohengrin by Richard Wagner (performed by the Mariinsky Orchestra).
Very much enjoyed Sunday afternoon concert.
"Please, what is the name of the encore played by the orchestra?
by Richard Slama
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Very much enjoyed Sunday afternoon concert.
Please, what is the name of the encore played by the orchestra?
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Wonderful evening of music, simply beautiful. Looking forward to Sunday’s performance . sb
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Somebody should have yelled UKRAINE during the long silence at the end. That would have been an even more delicate final stroke than that long cymbal note that ends the symphony.
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
I’ve never been particularly fond of Shostakovich, but thought this performance was spectacular!
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Mr. Abduraimov performed Scriabin’s c-sharp minor Etude following the Prokofiev concerto.
Liz Stover Rosenthal, UMS
What was the encore?
"by Donna Wessel Walker
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
We heard an electrifying performance of Prokofiev’s most popular piano concerto by a pianist of great accomplishment despite his youth. Over the years we‘ve gotten used to the polished playing of this orchestra. Tonight was no exception. That they often produced shrill and bang-y sounds must be debited to the conductor.
The rare Shostakovich symphony is a shapeless, overlong work in which many ideas are touched on but mostly not developed. An unimpressive, justly neglected work — but well played.
I can’t say that I’m terribly excited about tomorrow’s warhorses. But who knows…….
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
Wonderful music.I came away refreshed.And the long silence at the end allowed the experience to be savored.
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
My friend from out of town came with me, not knowing what to expect. I thought I did. We both left in awe.
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
The Olympics last year were supposed to elevate Russia to a higher standing among the developed world. Little did we know that Putin would go on a rampage, Obama would cream their economy with sanctions, & Saudi Arabia would pump as much oil as it would take to level prices. So I was glad to just escape it all with a long show of music. The young man who played piano was simply spectacular and he will continue to grow. I wore blue jeans and a golf shirt, was that warm today. I may put on something nicer tomorrow. Great show!
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
That was spectacular. I am so proud of the audience for making the final silence so special. That was an unbelievable night of music
People Are Talking: UMS presents Mariinsky Orchestra at Hill Auditorium:
What was the encore?
People Are Talking: UMS presents Compagnie Marie Chouinard at Power Center:
Magnifique. We were not sure what to expect, but the performance of both pieces was incredible. The choreography and the dancers were fantastic and profound. One of the best dance performances at UMS over the years
People Are Talking: UMS presents Compagnie Marie Chouinard at Power Center:
I liked both sets. I am not a dance expert but I do see the NY ballet a few times per year. So this was not “beautiful” like ballet but I felt the animal spirits, the “primitive” was in full swing, with humor and subtlety in the first set and connection to the intellect/reason (words) in the second. Like 8th Blackbird, Marie Chouinard is a young group bringing disruptive art to the stage. That’s a good thing.
People Are Talking: UMS presents Compagnie Marie Chouinard at Power Center:
I couldn’t disagree more.
Very edgy performance. First part was very special, I did not enjoy it tremendously from an artistic point of view, but I like the way the sexual game was presented and I enjoyed the way the compagnie played with the audience and the audience’s reactions and all the theater’s norms and rules.
"I think some of the means used are not really novel (dancing among the audience, use of electronic means) but the message conveyed was penetrating and aimed to make people feel not at ease.
The second part was absolutely great. Overwhelming, strong, powerful, full, with volume, fierce, tribal, industrial, modern, deep, marvelous.
Great choice to bring this compagnie in AA. Thanks.
by Eleni
People Are Talking: UMS presents Compagnie Marie Chouinard at Power Center:
Very edgy performance. First part was very special, I did not enjoy it tremendously from an artistic point of view, but I like the way the sexual game was presented and I enjoyed the way the compagnie played with the audience and the audience’s reactions and all the theater’s norms and rules.
I think some of the means used are not really novel (dancing among the audience, use of electronic means) but the message conveyed was penetrating and aimed to make people feel not at ease.
The second part was absolutely great. Overwhelming, strong, powerful, full, with volume, fierce, tribal, industrial, modern, deep, marvelous.
Great choice to bring this compagnie in AA. Thanks.
People Are Talking: UMS presents Compagnie Marie Chouinard at Power Center:
While I could spend paragraphs discussing why this embarrassing performance was incompetent, ignorant, and juvenile, and how appalled I am that you would allow this on the same stage where Cunningham, Taylor and Sankai Juku onced performed, let me just bluntly state that if Koh’s Berio, AASO’s Elijah, and Trisha Brown do not make up for all the tedious, pretentious, idiocy I’ve seen on your stages in recent years, I won’t be wasting any more time or money on USM.
People Are Talking: UMS presents Compagnie Marie Chouinard at Power Center:
I enjoyed the performance, but the excessive volume of the music was a huge distraction and completely unnecessary.
People Are Talking: UMS presents eighth blackbird at Rackham Auditorium:
We saw eighth blackbird perform last Friday night at Rackham and we were pleased to see they continue making chamber music fun and exciting. Their performance was great. While we’ve seen Lisa’s Whirligig before, we weren’t disappointed, because they changed it up and made it new. We’re really excited and can hardly wait to hear them perform the new Sleeping Giant piece, Hand Eye, http://www.sleepinggiantcomposers.com/2015/01/introducing-hand-eye/ which was commissioned by the Great Lakes Chamber Music Festival, http://greatlakeschambermusic.org/ and was funded by Maxine and Stuart Frankel and Carnegie Hall. But wait it is until June.
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
We saw the Pirandello piece, a production of the Theatres de la Ville du Luxemburg, Six Characters in search of an author. We came to the conclusion that a theatre piece of the absurd does not lend itself easily to translation. The dialogue in French moved too fast for the English translation to keep up with. I had read it in French before and it was still difficult. You just about had to be a native speaker to keep up. Also, we thought the decibel of the first half was too loud. However , we appreciated the acting.
People Are Talking: UMS presents Chris Thile and Edgar Meyer at Michigan Theater:
The concert was amazing! His voice is incredible and the songs, inspiring and touching. He really knows how to pull an audience together and have it be a transcendent experience–powerful and talented band members, too.
People Are Talking: UMS presents eighth blackbird at Rackham Auditorium:
8th blackbird, a kind of modern polyphony. Having sung Gesualdo’s songs in college I know what it sounds like alone. There is a bit of Sondheim in them, refusing to resolve. Musicianship highest caliber. Numbered emotions; great. A sort of list of infinitely possible interpersonal emotions. Love to hear them intermix REINCARNATIONS with MOTHERLESS CHILD and I GOT SHOES.
People Are Talking: UMS presents Helen & Edgar at Arthur Miller Theatre:
I absolutely love Edgar Oliver and his storytelling!!! Edgar’s childhood story was both heartbreaking and mesmerizing!!! I could listen to him again and again!!!
People Are Talking: UMS presents Helen & Edgar at Arthur Miller Theatre:
THIS is what theatre is about. A truly moving and masterful performance. If you wonder about the health of American theatre, go experience Mr. Oliver’s tour de force–it will make you believe!
People Are Talking: UMS presents Helen & Edgar at Arthur Miller Theatre:
Brilliant storytelling, enthralling, thought-provoking performance. I’m so glad we tried something new.
People Are Talking: UMS presents Helen & Edgar at Arthur Miller Theatre:
I cannot wait for tonight’s show. Edgar used to perform at the Bennington College July Program when I worked there and we were all fascinated and charmed by him. It was my job to pick him up at the airport and those rides were phenomenal. He is a brilliant storyteller and interesting person. We’re lucky to have him in town!
People Are Talking: UMS presents Helen & Edgar at Arthur Miller Theatre:
We thought this was wonderful storytelling and loved the experience.
People Are Talking: UMS presents Helen & Edgar at Arthur Miller Theatre:
What pretentious nonsense. Accents made no sense, the story dragged. We walked out at intermission.
People Are Talking: UMS presents Helen & Edgar at Arthur Miller Theatre:
What an amazing show! Edgar Oliver casts an atmosphere that sticks with you long after you’ve left the theater. The slides accompanying the performance were a perfect backdrop for the incredible story of his childhood.
People Are Talking: UMS presents Helen & Edgar at Arthur Miller Theatre:
An almost unbelievable story masterfully presented. See it!
People Are Talking [and Video Booth]: Einstein on the Beach at Power Center:
I had the same feeling–at first–“oh, I’m late”; but of course the libretto specifies the “the performance already in progress”–this is quoting the comment rather than the libretto. Another commenter may have made that observation
December is a Great Month to Give!:
blueday is great day for everyone thank you very much
http://www.spirituelquotes.com
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
There they were. Two virtuosos at the top of their game. Kavakos, the Gramophone artist of the year, the man the Strad named the Violinist of Violinists when he was still in the beginning of his now mature career. Ascetic, tall, dark and somber. Yuja Wang, the young rising star of the piano, diminutive and beautiful in her green long gown, flamboyant but no less serious in her approach to music.
What followed were two hours of utter delight. Among the comments overheard from the audience exiting were: “What a treat!” and “forget everything you ever knew about bow distribution. It does not matter where his bow lands, he can do anything he wants with it and more than can be imagined.”
Blocking all visual input one could hear the music of two rising in perfect unity as one song where the singing voice of the violin was lifted to heavenly skies of beauty by the ebbing and flowing motion of the piano keys. Music was of a quality never heard before in the Hill auditorium coming from violin and piano. We enjoyed Mutter’s and Bell’s and Perlman’s performance but when you have two performers of this high caliber, at the peak of their game, the level of the music as a whole rises above. We are reminded of Kavakos words: “in the end it’s all about the music, not the performer.” Yet the music is not created without the wondrous creativity of the musicians. It is to the immense credit of these two soloists that they chose to make music as partners and an amazing gift to the listeners to be able to experience such music and to know that such beauty is possible.
Mr Kavakos, ascetic and solemn though he may look, was carefully watching his audience at times speaking with his face to a young listener in the front row as if asking: “how was this phrase?” and “nice, no?” Ms Wang’s face was speaking the feeling of the music on every note. The clarity of Mr Kavakos’ violin’s singing, its perfect intonation rose ever more pure over the crystalline quality of Ms Wang’s piano voice.
The program was not your run-of-the-mill people pleasers, yet it was one where no dissonance was heard. Just as the harmony between Kavakos and Wang unfolded so did the consonance of their sound. And the crowd was pleased. They were so pleased they applauded between movements. The applause could be taken as ignorance but our Ann Arbor audience is not ignorant, and our UMS booklet programs can be easily followed. No! distracting as it might have been to the artists, the applause signified the audience was being swept by the emotional journey the soloists had embarked on. We were all passengers on a sea of feeling, the flowing waves created by Ms Wang’s caresses of the piano keys, the ship of our trip floating over the waves shaped by the singing of Mr Kavakos’ violin. To my own surprise and drawing a stunned look of my husband even I forgot myself once and applauded out of line.
When there is such heartfelt purity and authenticity in the music-making, the audience follows back to the beginning, back to the time when the music was written, when audiences were loud participants in the concerts and not solemn watchers in a museum.
Our journey started on calm and safe, solemn waters with Brahms second sonata for violin and piano. The Brahms was infinitely heartfelt and delicate, touching all the chords of delicacy one may access.
The second violin sonata of Shumann was a discovery to be made. Shifting to a more dynamic and tortuous mood, it possessed no clear memorable themes and yet it was full of clear articulate melodic phrases, an elegiac oratory over rolling, darker waters, with plenty of moments of restful peace interspersed. The ending notes of the third part left us in perfect peace and breathless for a moment, then the audience did not withhold their between-movements praise. The “Bewegt” fourth part of the piece ended the whole dynamically, leaving us in perfect catharsis.
The applause was loud and brought the musicians in for second bows. We would have taken third if they gave it to us. They walked as a unit, walking close to each other with Mr Kavakos, (whose violin skills will be forever a gift to the world), seeming protective of Ms Wang and she (always the rockstar) being willing to count on him.
We wished the Ravel would never end. The sonata was premiered for the UMS. The jazzy opening notes, as crooning as the voice of Ella Fitzgerald on a good day, started our slow strolls among the trees of French forests. We walked with the violin and watched the sunlight sparkle and play with the leaves as Ms Wang softly touched the keyboard. It was a rejuvenating stroll, one of those that clear the head and make the focus of the thought sharp.
Yet the best was yet to come. The Mediterranean sea of Ottorino Respighi may have more light than the Black Sea of Brahms and Shumann but it is full of varying moods and dangerous, deep waters. The waters flowing from Wang’s fingers running on the piano board rose up a tempest in the first part of Respighi’s sonata. Again there were moments of peace and light as the violin rose above the waves. There were dialogues, challenges, a love affair between the ship and the sea even in the clashes, even in the stormiest moments of the fourth part when the voices of the two instruments rose strong together.
The infinite poetry of the second part of the sonata rang with a truly Italian melancholy. It was a truly expressive Andante, which appears to be Mr Kavakos unparalleled specialty, attested also in his award-winning recordings of the Mendelsohn and Mozart concertos under Sony, his previous label. The Andante set the stage and mood for the Passacaglia where both piano and violin shone. But maybe this was the only part where the dynamics were not well-tuned. Our ship, our voice on the violin seemed crashed against the waves. Yet that was the tone in which the piece ended: high drama.
When the curtain fell, the audience rose in rupture and made Mr Kavakos and Ms Wang bow thrice before they were rushed off to their ride to the airport.
The scheduling was so tight they had no time for an encore – never mind autographs. At first people were shocked. They felt brushed off by the performers. Were they being punished for clapping out of line? Did they do something wrong and Mr Kavakos and Ms Wang did not like us as audience? When word came around about the performers schedule we wished them safe sailing and to find their way back to our town at another time. Thank you both for a great journey.
People are Talking: National Theatre Live: David Hare’s Skylight:
We loved this! The play was extremely well-written and all three of the actors were superb.
I was also really happy that, unlike some other live theater broadcasts, it wasn’t on Sunday night.
People Are Talking: UMS presents Rossini’s William Tell at Hill Auditorium:
It seems to happen at least once a season–UMS snares a performance that’s only happening in a handful of venues in North America, if that. Teatro Regio’s William Tell was this year’s stealth thriller. Like a fair-weather football fan, I’d planned to escape at the half. But the irresistible energy and precision of Noseda and his musicians held me to the end. I learned from this performance (unfamiliar piece and performers, a story I thought I’d known but didn’t), as is so often the case with UMS offerings. And what a treat to have something so radiant in the otherwise list-ridden, shopaholic, gray-skied month of December. Thank you!!
People Are Talking: UMS presents Rossini’s William Tell at Hill Auditorium:
This was one of the greatest performances of an opera I’ve ever heard or seen. The caliber of singing is matched only perhaps in Chicago or New York (I would know, I’m a Lyric Opera subscriber). In fact these same guys just played Carnegie Hall before coming to little ol’ Ann Arbor, what a treat!
The conductor, Gianandrea Noseda, was top-notch, masterly keeping everyone together and producing a wonderful sound. He had so much energy and obvious rapport with everyone on stage. The orchestra had amazing musicians, especially the lead cellist and concert master, but also the flotist had a great solo part. I can’t forget to mention the chorus was also great. You could tell everyone on stage was a pro.
The cast were all-stars; there was not a weak voice in the bunch. Even the minor roles were cast with superb voices. The soprano, Angela Meade, stood out for her power and tone, and she dominated the coloratura. I think I was most impressed by the tenor, John Osborn. He opened a little weak but by the end he was overpowering the entire orchestra with his high C’s, it was really impressive the control he showed over his voice. Luca Spotti, who sang William Tell, was also sang superbly (although part of me thought one or two of the other baritones could have sung it better, but I was not disappointed!).
And finally, the Ann Arbor audience deserves mention for their enthusiasm and obvious love for the arts. Newcomers to opera don’t know that the audience is a big part of the show. I was at Handel’s Messiah this weekend, and it was 3 dry hours of nobody clapping, like sitting through a church service. Last night at William Tell, however, we had the opera crowd representing, and man was it refreshing. By the start of the second act, every break in the score was met with roaring applause and “Bravo!”s, and by the end everyone was quick to their feet for the final ovation that they so expertly deserved. Even though the show lasted 4 hours it was never dull. I didn’t want it to end!
I really hope they come back to Ann Arbor, and the Hill Auditorium was such a great venue for a thing like this. UMS should really do this kind of thing more often! I agree there should have been more students. Although by no means sparse, the audience did not completely pack the house and there were not enough young people in my opinion. But hey, it’s a Tuesday night at the opera, what should I expect?
Bravo, everyone involved!
People Are Talking: UMS presents Rossini’s William Tell at Hill Auditorium:
Truly outstanding, streamlined performance by all participants of a work featuring long stretches of musical banalities and Rossinian clichés, but punctuated by several inspired passages – also occasional harbingers of early Verdi. A full staging helps almost any bel canto opera because the music itself is evenly declamatory and lacks an arc. When it’s staged, you see the plot — the conflicts and affinities — before your eyes. After the over-the-top reception these folks got, they would surely love to return — perhaps with Cosi or Don Carlo or Sonnambula.
People Are Talking: UMS presents Rossini’s William Tell at Hill Auditorium:
This is one of the top performances I’ve heard in nearly 50 years of attending concerts. Bravo to UMS for bringing an extraordinary event to Ann Arbor. I can’t wait for their return engagement!
People Are Talking: UMS presents Rossini’s William Tell at Hill Auditorium:
Bugs Bunny! There, I got it out of my system….The opening was tremendous. William Tell remained interesting throughout but it began to resemble The Hunger Games by the second intermission. I found myself dreaming of the Toblerone that is in my stocking every year. It wasn’t Katniss Everdean on stage but the singing was terrific. I’m sorry that exams are this week and only a few students made it out. Such a rare event is to be savoured.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I know I’m late to the party but wanted to say that this show was absolutely thrilling. I’m familiar with Ikeda and would’ve driven across state lines to see him. I had no clue he was performing here. A friend posted on Facebook after attending the previous night’s performance and I rushed online to buy tickets and arrange for a sitter.
What an amazing, arresting, astounding multimedia experience. We are seriously behind the new media curve in the United States due to lack of awareness, poor funding for new media art, and other influencing factors. I thank everyone involved for making this performance possible. It was seriously a one of a kind thrill of a lifetime. I would go to shows like this every weekend if they were happening.
David
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
I’ve been wanting to attend for a few years now and as I’m leaving Ann Arbor this year I am so glad I finally made it out! Really amazing performance from all involved.
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
Hi there! Anna from UMS here. Just wanted to step in with a quick reminder of our community conversation guidelines, which are available here: http://www.umslobby.org/index.php/2009/01/ums-lobby-guidelines-12346
I fear for society…this derision you have for “old people”. I get that sometimes tradition can seem stuffy and pretentious. But there is also a lot of respect in tradition. Something lost in our current generation. I’m not sure I see the problem with “fancy clothes”…what greater way to show respect to the performers than to dress in a way that gives credence to their work. And I see the interrupting the performance to clap is highly disrespectful, it is saying that my opinion of your work is of greater importance than your work. So here allow me to interrupt you so I can tell you what a good job you’re doing. Instead of allowing the performers to complete their pieces as intended and then lavishing on them the praise without break their focus. I’m not sure where you get off determining the etiquette of a performance. According to your logic a toddler should be able to determine how a courtroom should feel or middle schoolers a senate session. Also not sure what church you’ve visited but most I have are much louder than any opera. Glad to know you have been to so many different performances and places-kudos to you for being well educated in the arts. If only you were as well versed in respect. And PS I’m also not one of those “old people” you seem to be in such derision of…
"by Monica
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
I fear for society…this derision you have for “old people”. I get that sometimes tradition can seem stuffy and pretentious. But there is also a lot of respect in tradition. Something lost in our current generation. I’m not sure I see the problem with “fancy clothes”…what greater way to show respect to the performers than to dress in a way that gives credence to their work. And I see the interrupting the performance to clap is highly disrespectful, it is saying that my opinion of your work is of greater importance than your work. So here allow me to interrupt you so I can tell you what a good job you’re doing. Instead of allowing the performers to complete their pieces as intended and then lavishing on them the praise without break their focus. I’m not sure where you get off determining the etiquette of a performance. According to your logic a toddler should be able to determine how a courtroom should feel or middle schoolers a senate session. Also not sure what church you’ve visited but most I have are much louder than any opera. Glad to know you have been to so many different performances and places-kudos to you for being well educated in the arts. If only you were as well versed in respect. And PS I’m also not one of those “old people” you seem to be in such derision of…
Lol, my indiscretion. The only thing I feel bad about is participating in such a cold audience. If you want to sit through 3 hours of church music in silence, you can either go to church or buy one of many recordings of the Messiah and play it at home where it sounds the same every single time and there are no annoying people clapping in between arias. Others, like myself, prefer to go to live shows, where there is active audience participation. If I was one of those singers, I would never want to come back to Ann Arbor again; I think we were the worst, most cold and stuffy audience they could have performed for. They were just such professionals and did a great job in spite of us, but I think we could have heard a better show if we showed them a little more love!
And FYI I’m under 30 and buying front row tickets, so I represent the future patronage of opera, choral series and the arts in general. You should know it’s only going to get worse as more people my age come to these shows. I give a rip about your traditions and your fancy clothes.
I’ll see you at William Tell on Tuesday night. I’ll be the guy clapping and shouting Bravo! 😉
"by George
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
Actually my point was that if you go to the Metropolitan Opera in NYC (where Mr. Daniels and Ms. Bruegger sing sometimes) they are far more gracious and forthcoming with their applause. It is not uncommon for them to interrupt the show entirely, forcing the orchestra and singers to wait until the applause dies down before continuing. I’ve seen them clap for 10 minutes straight right in the middle of the show. I’m not saying everywhere should be like it is in NYC, but we could learn from their hospitality. The time to make the singers comfortable is at the beginning and throughout the middle of the show, not the very end.
Everyone is too afraid of “old person scorn” to challenge tradition. That is why the arts will die unless old people let go of this pretentiousness. Honestly if every recital of the Messiah is as dry as this one then I don’t want to come back. This is coming from a man who saw Parsifal live in Chicago twice in the same week (that’s 5.5 hours per show!) and I’m going to Die Meistersinger in NYC on 12/20 (that’s also more than 5 hours long).
I have read somewhere that there is actually a trend beginning toward applause in the middle of a piece. But, it’s certainly not commonplace, at least not yet. The applause and cheering at intermission and at the end were very enthusiastic, and I highly doubt that the performers found the audience “cold and stuffy” or were insulted. The soloists are used to performing in places like NYC where applause is likely to be, if anything, more sparing.
"by Chipper
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
I completely agree, Dennis. I thought the pacing was exquisite!
Wasn’t it compelling how beautifully and smoothly the musical baton was passed between the soloists and the chorus throughout? I think the pace is a testament to the skill of the musicians. Those 8th and 16th notes were coming fast and furious and I never heard a flaw. Amazing! I could barely contain my emotions by the end when the first chords were struck for Worthy is the Lamb. Jerry Blackstone has ruined most Messiah recordings for me. They all sound so ponderous and pretentious in comparison!
Didn’t think I could be surprised by The Messiah but I was. Slow was fast, and fast was slow. Long notes were played staccato, and parts typically played on a clipped manner were played lugibriously. Aside from the highly stylistic performance, the unexpected treatment of many sections compelled one to listen far more carefully than might otherwise happen, and what one hears is well worth it. The text takes on new meaning. And even things like a parts played by the bassoon pops out which usually is obscured. Total delight. And we enjoyed the gusto with which the harpsichord player demonstrated. It’s totally fun watching players so into their music.
"by Dennis
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
I have read somewhere that there is actually a trend beginning toward applause in the middle of a piece. But, it’s certainly not commonplace, at least not yet. The applause and cheering at intermission and at the end were very enthusiastic, and I highly doubt that the performers found the audience “cold and stuffy” or were insulted. The soloists are used to performing in places like NYC where applause is likely to be, if anything, more sparing.
Lol, my indiscretion. The only thing I feel bad about is participating in such a cold audience. If you want to sit through 3 hours of church music in silence, you can either go to church or buy one of many recordings of the Messiah and play it at home where it sounds the same every single time and there are no annoying people clapping in between arias. Others, like myself, prefer to go to live shows, where there is active audience participation. If I was one of those singers, I would never want to come back to Ann Arbor again; I think we were the worst, most cold and stuffy audience they could have performed for. They were just such professionals and did a great job in spite of us, but I think we could have heard a better show if we showed them a little more love!
And FYI I’m under 30 and buying front row tickets, so I represent the future patronage of opera, choral series and the arts in general. You should know it’s only going to get worse as more people my age come to these shows. I give a rip about your traditions and your fancy clothes.
I’ll see you at William Tell on Tuesday night. I’ll be the guy clapping and shouting Bravo! 😉
"by George
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
What a spectacular performance. I’ve been to several presentations of the Messiah in other cities and venues and none compare. Our daughter works with UMS and when she invited us, I had no idea how truly amazing the performance would be. While we live in Chicago, this is likely to become an annual tradition.
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
This Messiah was as fresh and as exciting as if being performed for the first–rather than the 427th—time! The chorus was amazing–such wonderful articulation and expression! You could understand every word. And the soloists were outstanding–a special treat was David Daniels.
Many thanks to UMS or an overwhelming musical and spiritual experience.
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
Fancy dress is part of the festive event for which _Messiah_ makes a splendid main course. And dressing also shows respect for the performers, composer, and fellow concert-goers.
Clapping between arias breaks up the mood. Opera is a different species of animal. Not only is this oratorio, it is a non-dramatic, contemplative oratorio. As one splendid piece give way to the next, not only does reverence build up, so does excitement. Applause breaks other than at the ends of major sections tend to drain that energy.
I and my companion were very happy with this year’s performance! But I was a little disappointed that the opening was played with some of the excesses of the early-music movement, meaning rather quickly, and with that darned over-dotting. From now on play it straight, please.
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
Lol, my indiscretion. The only thing I feel bad about is participating in such a cold audience. If you want to sit through 3 hours of church music in silence, you can either go to church or buy one of many recordings of the Messiah and play it at home where it sounds the same every single time and there are no annoying people clapping in between arias. Others, like myself, prefer to go to live shows, where there is active audience participation. If I was one of those singers, I would never want to come back to Ann Arbor again; I think we were the worst, most cold and stuffy audience they could have performed for. They were just such professionals and did a great job in spite of us, but I think we could have heard a better show if we showed them a little more love!
And FYI I’m under 30 and buying front row tickets, so I represent the future patronage of opera, choral series and the arts in general. You should know it’s only going to get worse as more people my age come to these shows. I give a rip about your traditions and your fancy clothes.
I’ll see you at William Tell on Tuesday night. I’ll be the guy clapping and shouting Bravo! 😉
George, George, George. This was your first time. So we will forgive you your indiscretion…
"by Monica
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
George, George, George. This was your first time. So we will forgive you your indiscretion…
This was my first time at a Messiah performance, although I’ve heard it several times on the radio. It was a great performance but felt like I was in church. Nobody clapping, just sitting there until they say amen. I’m a frequent opera goer, so I’m used to showing appreciation to the performers before the show is over. It makes their job easier when they know we like what we hear. I tried to get people clapping after the tenor opened the show spectacularly but it seems people are too timid or think you can’t clap in the middle of a performance. Watch anything from the metropolitan opera and see how often they clap.
And the countertenor, David Daniels, is one of the best in his field. We should be so lucky that he keeps coming back to Ann Arbor. I saw him sing Julius Caesar in New York and Detroit and he’s fantastic. The tenor and soprano were also great, but I wasn’t hot on the baritone. He sure tried though and gets an A for effort.
"by George
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
This years performance was one of the best I have ever heard! Ms Brugger is by far the Best Soprano! Sang with feeling, hitting every note so perfectly without being over the top. SO GOOD.
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
This was my first time at a Messiah performance, although I’ve heard it several times on the radio. It was a great performance but felt like I was in church. Nobody clapping, just sitting there until they say amen. I’m a frequent opera goer, so I’m used to showing appreciation to the performers before the show is over. It makes their job easier when they know we like what we hear. I tried to get people clapping after the tenor opened the show spectacularly but it seems people are too timid or think you can’t clap in the middle of a performance. Watch anything from the metropolitan opera and see how often they clap.
And the countertenor, David Daniels, is one of the best in his field. We should be so lucky that he keeps coming back to Ann Arbor. I saw him sing Julius Caesar in New York and Detroit and he’s fantastic. The tenor and soprano were also great, but I wasn’t hot on the baritone. He sure tried though and gets an A for effort.
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
Best performance ever. Of course I say that every year, and it is always true
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
Thanks for a gorgeous performance! I first attended UMS’s “Messiah” in 1978 and have gone many times since then. This was one of the very best. The Choral Union and orchestra were wonderful; the trumpeter in particular was absolutely spectacular (I am not in the habit of applauding before the end of a piece, but I felt compelled to join in the applause after “The trumpet shall sound”). I had not heard David Pittsinger or Janai Brugger sing before, and was extremely impressed with both of them. While it’s true that David Daniels doesn’t have the loudest voice, his singing is beautifully nuanced; “he was despised and rejected” was especially lovely.
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
Excellent bass, very good tenor. Countertenor was certainly weaker than in past years and soprano performed nicely but was not as superb as bass and tenor. The basso continuo -harpsichord, bass, cello-as always, made the performance. Great job!
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
I thoroughly enjoyed the Messiah performance with the A2 Sumphony, CU and Jerry Blackstone and the 4 wonderful soloists. I am so happy I was able to hear the Messiah under JB’s leadership. Thank you Jerry Blackstone, A2 Symphony and the Choral Union for this treasure. The 4 soloists were much stronger than in the past.
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
The Messiah like I had not heard before. The soloists were unexpected and just outstanding. The energy from the entire orchestra was palpable. What a great afternoon!
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
I have attended every one of the Messiah performances conducted by Jerry Blackstone (12 years of them), including today’s (12/7/14). The CU and all of us will miss his extraordinary leadership of this group. Every year of his 12 year directorship one thought the CU couldn’t get any better–and then they DID! JB brought us 12 years of beautiful Messiah performances–as well as other CU musical triumphs–each “Messiah” with subtle dynamic changes, increased lyricism, wonderful blending of voices. and a surprise each year. That first JB-conducted post-TS Messiah was a revelation and this last a wonderful parting gift to all of us. The soprano was wonderful and the violin and cello accompaniment moving and lovely.. The trumpet was outstanding EP’s and the A2SO very fine as usual. THANK YOU, JERRY and THANKS to everyone who took part.
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
I thought the soloists were stronger this year; I enjoyed all of them!
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
Someone who had never attended the Handel Messiah performance before.
Who was the person that clapped in the middle of the first part. Awkward interruption to an otherwise beautiful performance. Hearing the entire Choral Union sing in Hill Auditorium is so impressive!
"by Sarah
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
We had a fabulous time. The performance was outstanding, particularly the one by Ms. Brugger. Just a total delight and a wonderful way to celebrate the holiday season!
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
Didn’t think I could be surprised by The Messiah but I was. Slow was fast, and fast was slow. Long notes were played staccato, and parts typically played on a clipped manner were played lugibriously. Aside from the highly stylistic performance, the unexpected treatment of many sections compelled one to listen far more carefully than might otherwise happen, and what one hears is well worth it. The text takes on new meaning. And even things like a parts played by the bassoon pops out which usually is obscured. Total delight. And we enjoyed the gusto with which the harpsichord player demonstrated. It’s totally fun watching players so into their music.
People Are Talking: UMS presents Handel’s Messiah at Hill Auditorium:
Who was the person that clapped in the middle of the first part. Awkward interruption to an otherwise beautiful performance. Hearing the entire Choral Union sing in Hill Auditorium is so impressive!
Michael Tilson Thomas Conducting Master Class: Win Your Seat!:
Every since 4th grade when my class took a field trip to Orchestra Hall here in Minnesota, I’ve wanted to conduct a Traditional Orchestra, really really bad!
I can still remember my first time going in front of my Concert Band in 8th grade and conducting “Tiger Rag”. It was a very frightening moment, but also a magical one for me.
Ever since I’ve been trying to conduct when ever there is Music around, much to the annoyance of the people around me. But its a passion, and now being a Sophomore in High School, the world of Music has opened up to me completely.
My teacher, Mr. Dennis Lindsay, allowed me to start a club called ‘Stillwater Pops’, where once a week I get up in front of a group of 20 high school band musicians, and conduct/teach/help them get through various pieces of music. So far it’s been a dream come true and I’ve learned that the old saying is very true; “For every hour your up on the podium, its at least 2 hours of extra work” [AKA printing, organizing, and transposing various parts]
I’ve been to Shell Lake Center for the Arts, and am currently taking private lessons for my primary instrument(s), percussion from Randy Martins.
I own 4 batons, one (my first I got in 8th grade) made by the masters at PaGu Batons. Another from the fantastic makers over at Mollard Conducting Batons. And the rest are just practice batons I got for 20 dollars online.
Online I got study scores of various pieces for Concert Band. My favorite is First Suite in Eb for Military Band; Chaconne composed by Maestro Gustav Holst.
In 9th grade I was in the highest band at Oak-Land Jr. High called Raider Band. [Yes Band President as well] My teacher, Robin Vought decided we should play Chaconne and so we did! I had a small part, crash cymbals, but still very important for the climactic flowing energy of the end. Only using my talents a couple times I had a lot of rests in which I watched my director. The way she conducted was beautiful and that inspired me to want to become a teacher of Music.
The Orchestra teacher at my High School, Jerry Jones allowed me to borrow the standard or ‘Bible’ of conducting, “The Grammar of Conducting”. Which has taught me that the true meaning of conducting is to convey the music to the audience, physically.
But of course its not just that, its also about trying to figure out what the hidden meaning is. The meaning that the composer is trying to say through music. Doctor Kristin Tjornehoj of River Falls University, taught me those wise words.
I really love music, its the only real magic in life. This would be a really amazing experience for me on multiple levels. I’m more than positive that this would help my conducting technique grow from where it is now. And I’m also more then positive this would be a once in a lifetime experience for a student like me.
Thanks for your consideration and time!
~ James J. Cardenas~
Stillwater Area High School Wind Ensemble Band President
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
Sometime has elapsed, however I thought I would chime in here.
In 1993 I was invited to perform at The World Accordion Festival in Montmagny Quebec. It was an honor to be presented with the elders of the art form, many of whom have since passed on. The recent Hill Auditorium event in some ways eclipsed the Quebec concert in it’s youthful refreshing angle at accordion virtuosity. The pleasure was ours, and I’ll briefly list what Liz Carroll and I performed in the Irish duo segment. Thanks again!
#1:The New Custom House, Reel de Set Americain, & Harris Dance Tune; #2 Danny Boy; #3 Bill Harte’s Reel, Rolling Down the Hill & John Brady’s Reel; #4 John Brady’s Jig, The Hawk from Dundalk & the Diplodocus Jig. John Williams
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
May I also add..if I wanted to see a rockstar, I’d go to a rock concert, though I never would since I’ve grown out of them.
To UMS Lobby: Please don’t ask such silllllly questions on a poll as “which artist did you like more” etc. In this case both are clearly supreme artists at the top of their powers, each in their own right, and even more substantially in their entity as a duo. This concert was poetry, not a poetry slam! It was not a contest! Even having a poll of this nature implies that it’s a valid question.
"Maybe before concerts, we need to disseminate more information about the music and the process and magic of music making, so people who are curious but aren’t sure what to listen for, can learn to enjoy collaborations of this quality at much fuller and more gratifying levels of listening.
It would sure make the price of the ticket and the time spent at the concert hall, even more worthwhile!!!
by Wendy
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
Hello- I’m Isabel Park, a first-year U-M piano student attending several UMS piano performances this season and sharing my thoughts here on UMS Lobby after. If you’d like to read more: http://www.umslobby.org/index.php/2014/11/student-spotlight-u-m-first-year-student-isabel-park-sets-out-to-explore-piano-15982 I’d love to hear your responses!
I was curious how Yuja Wang’s soloistic performance style would play out in a chamber music setting; last night, she proved that her versatility as a musician falls nothing short of professional. The opening of the Brahms was presented so intimately, which set up a proper atmosphere for the duration of the concert. The tones of both Wang and Kavakos complemented each other in such a way that the warmth of Brahms was undeniably present. Despite the thick textures of Brahms, the duo’s interpretation was subtly adorned with tasteful rubato, a contained excitement, and flawless accuracy that ultimately provided what seemed to be an effortlessly simple performance of the sonata.
The recurring descending melody in the Ziemlich langsam — Lebhaft of the Schumann was beautiful and perhaps the most memorable part of the entire concert. The contained excitement built up in the Brahms seemed to bloom in the final movement and even more so in the coda, which was so dramatically Schumann-esque.
Ravel’s sonata, again accumulated a refined energy — which was diffused only slightly in the subtle, but satisfying final chord. The energy sustained the duo through a thrilling delivery of their final piece, Respighi’s b minor Sonata. Wang took advantage of the piece to showcase her unmatched finger power and the clarity with which she can play difficult passages that challenge even the most adequate player’s technical facility. Throughout, she was able to give the audience an impressive soloistic sound while maintaining a tight-knit sense of ensemble.
As a pianist myself, this chamber performance reminded me of the intimate interaction that goes on through music, both amongst the performers and between the performers and the audience. I think this connection is crucial to a good performance, despite all the objective aspects. I will certainly be looking for this in the upcoming performances that I attend.
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
Bravo Wendy! You are a star! You are so right! And what a wonderful review! Except I thought the applause in the end was thunderous and demanding. It stopped because people got upset the players left without an encore but then everyone sympathized when they found out they had to run to the airport. The response of the public was atypical because each movement was so good. Even I got carried out once in between movements and my husband was shocked.
To UMS Lobby: Please don’t ask such silllllly questions on a poll as “which artist did you like more” etc. In this case both are clearly supreme artists at the top of their powers, each in their own right, and even more substantially in their entity as a duo. This concert was poetry, not a poetry slam! It was not a contest! Even having a poll of this nature implies that it’s a valid question.
"Maybe before concerts, we need to disseminate more information about the music and the process and magic of music making, so people who are curious but aren’t sure what to listen for, can learn to enjoy collaborations of this quality at much fuller and more gratifying levels of listening.
It would sure make the price of the ticket and the time spent at the concert hall, even more worthwhile!!!
by Wendy
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
To UMS Lobby: Please don’t ask such silllllly questions on a poll as “which artist did you like more” etc. In this case both are clearly supreme artists at the top of their powers, each in their own right, and even more substantially in their entity as a duo. This concert was poetry, not a poetry slam! It was not a contest! Even having a poll of this nature implies that it’s a valid question.
Maybe before concerts, we need to disseminate more information about the music and the process and magic of music making, so people who are curious but aren’t sure what to listen for, can learn to enjoy collaborations of this quality at much fuller and more gratifying levels of listening.
It would sure make the price of the ticket and the time spent at the concert hall, even more worthwhile!!!
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
Of course Schumann couldn’t have been there listening to the salon concert of the Brahms A Major, but his spirit could have been! 😉
I wasn’t aware that they “couldn’t wait to go”…, but I was hoping for an encore but it seemed to me that the audience applause died out way too soon for the quality of performance to which we’d been treated. Ironically, the applause was not wanting throughout the performance, where a substantial segment of the audience at Hill was providing polite applause after every movement of each sonata.
Kavakos, after a while, took to holding his bow up on his strings after completion of a movement, and turning his page with his left hand just to keep the applause from breaking the spell of mood, or to enable a key change to be savoref, etc.
Therefore, I wondered, in light of their fast escape, which I heard was to catch a plane, whether perhaps what added to their hasty retreat from the stage was the audience behavior, so atypical for the Hill crowd.
But now, as to the playing, I was swept into reverie by a rendering of the Brahms op. 100 such as I’ve never encountered; entreating, sultry, inviting, velvety, rhapsodic, and understated, leaving a hunger to hear more. Both spoke in tones of powerful but hushed passion, a portraying of Brahms’ love of Clara while both held beloved Schumann in their embrace. And then, this emotive sonata of Schumann, with rapturous themes and hidden romantic embedded messages in the name note letter spelling, hidden musical emoticons as these dear friends so often used in their compositions. It was perfectly performed by the consummate artists on stage. I felt for the first half that I was privy to an intimate salon concert of Brahms and Clara in turns at the piano, with Ferdinand David on violin, and Robert a very pleased and approving listener. I was a delighted listener too, never having heard this gem performed before. All the sonatas of Schumann deserve to be enjoyed, they are part of his great outpouring of love and song at the peak of his creative genius, just before the curtain of madness fell around him.
Now jump to the second half. New air! Extroverted! Openly impassioned! I was not familiar with the early Ravel, but I loved it! Only too short… Both Kavakos and Wang made the transition to Frrrench sound and sensibility and I was transported southward. The Respighi opened in fireworks of sound, color painting in full warm Italian splendor! The playing of Kavakos kept opening up as the Respighi demanded it. This piece was another great treat and surprise for me, having never heard it performed live before. Both artists played with deep, rich colors of sound, always refined and velvety, never scratchy or bangy, even when playing at full throttle and fully emotive. To this listener, their musical rapport was so complete that it felt like a single genius heart and mind had given life to each sonata on this program.
"Thank you, UMS, for bringing this incredible duo to Ann Arbor!
by Wendy
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
I’m more able to write about jazz but the concert had a certain fury that was incredible. Someone mentioned a salon concert, it was a bit of that. In jazz it’s the art of surprise and that applies a little bit to classical too. UMS sponsored a pop up concert in Barnes & Noble of Bela Fleck & the Brooklyn Riders about a year ago…that was great. In West Coast parlance last evening was a Happening!
I wasn’t aware that they “couldn’t wait to go”…, but I was hoping for an encore but it seemed to me that the audience applause died out way too soon for the quality of performance to which we’d been treated. Ironically, the applause was not wanting throughout the performance, where a substantial segment of the audience at Hill was providing polite applause after every movement of each sonata.
Kavakos, after a while, took to holding his bow up on his strings after completion of a movement, and turning his page with his left hand just to keep the applause from breaking the spell of mood, or to enable a key change to be savoref, etc.
Therefore, I wondered, in light of their fast escape, which I heard was to catch a plane, whether perhaps what added to their hasty retreat from the stage was the audience behavior, so atypical for the Hill crowd.
But now, as to the playing, I was swept into reverie by a rendering of the Brahms op. 100 such as I’ve never encountered; entreating, sultry, inviting, velvety, rhapsodic, and understated, leaving a hunger to hear more. Both spoke in tones of powerful but hushed passion, a portraying of Brahms’ love of Clara while both held beloved Schumann in their embrace. And then, this emotive sonata of Schumann, with rapturous themes and hidden romantic embedded messages in the name note letter spelling, hidden musical emoticons as these dear friends so often used in their compositions. It was perfectly performed by the consummate artists on stage. I felt for the first half that I was privy to an intimate salon concert of Brahms and Clara in turns at the piano, with Ferdinand David on violin, and Robert a very pleased and approving listener. I was a delighted listener too, never having heard this gem performed before. All the sonatas of Schumann deserve to be enjoyed, they are part of his great outpouring of love and song at the peak of his creative genius, just before the curtain of madness fell around him.
Now jump to the second half. New air! Extroverted! Openly impassioned! I was not familiar with the early Ravel, but I loved it! Only too short… Both Kavakos and Wang made the transition to Frrrench sound and sensibility and I was transported southward. The Respighi opened in fireworks of sound, color painting in full warm Italian splendor! The playing of Kavakos kept opening up as the Respighi demanded it. This piece was another great treat and surprise for me, having never heard it performed live before. Both artists played with deep, rich colors of sound, always refined and velvety, never scratchy or bangy, even when playing at full throttle and fully emotive. To this listener, their musical rapport was so complete that it felt like a single genius heart and mind had given life to each sonata on this program.
"Thank you, UMS, for bringing this incredible duo to Ann Arbor!
by Wendy
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
I wasn’t aware that they “couldn’t wait to go”…, but I was hoping for an encore but it seemed to me that the audience applause died out way too soon for the quality of performance to which we’d been treated. Ironically, the applause was not wanting throughout the performance, where a substantial segment of the audience at Hill was providing polite applause after every movement of each sonata.
Kavakos, after a while, took to holding his bow up on his strings after completion of a movement, and turning his page with his left hand just to keep the applause from breaking the spell of mood, or to enable a key change to be savoref, etc.
Therefore, I wondered, in light of their fast escape, which I heard was to catch a plane, whether perhaps what added to their hasty retreat from the stage was the audience behavior, so atypical for the Hill crowd.
But now, as to the playing, I was swept into reverie by a rendering of the Brahms op. 100 such as I’ve never encountered; entreating, sultry, inviting, velvety, rhapsodic, and understated, leaving a hunger to hear more. Both spoke in tones of powerful but hushed passion, a portraying of Brahms’ love of Clara while both held beloved Schumann in their embrace. And then, this emotive sonata of Schumann, with rapturous themes and hidden romantic embedded messages in the name note letter spelling, hidden musical emoticons as these dear friends so often used in their compositions. It was perfectly performed by the consummate artists on stage. I felt for the first half that I was privy to an intimate salon concert of Brahms and Clara in turns at the piano, with Ferdinand David on violin, and Robert a very pleased and approving listener. I was a delighted listener too, never having heard this gem performed before. All the sonatas of Schumann deserve to be enjoyed, they are part of his great outpouring of love and song at the peak of his creative genius, just before the curtain of madness fell around him.
Now jump to the second half. New air! Extroverted! Openly impassioned! I was not familiar with the early Ravel, but I loved it! Only too short… Both Kavakos and Wang made the transition to Frrrench sound and sensibility and I was transported southward. The Respighi opened in fireworks of sound, color painting in full warm Italian splendor! The playing of Kavakos kept opening up as the Respighi demanded it. This piece was another great treat and surprise for me, having never heard it performed live before. Both artists played with deep, rich colors of sound, always refined and velvety, never scratchy or bangy, even when playing at full throttle and fully emotive. To this listener, their musical rapport was so complete that it felt like a single genius heart and mind had given life to each sonata on this program.
Thank you, UMS, for bringing this incredible duo to Ann Arbor!
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
We were really lucky to have one of the best violinists in the world, and an extremely good pianist. The music they played was amazing, though sometimes the piano was a bit t loud.
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
I had a very pleasant evening but it seemed to me that Yuja Wang didn’t look like she really wanted to be there. Perhaps tired from her busy schedule.
Certainly not what I expected from the various images I have seen of her dynamic playing elsewhere. Particularly near then end when it looked like they could’nt wait to leave.
Keith
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
Mr. Kavakos excels in delicacy and sweetness of tone. I am so glad that he threw off the shackles after intermission that had seemed to hold him back before. His playing now became a lot more con amore. If you’re going to play duets with the passionate Ms. Wang, you mustn’t get too shy and meditative. She dominated through much of the evening (and not only in the billing on the program or in the curtain calls.) She, too, produced a warm round sound — even when she played too loud and covered up her partner.
The program was a model – familiar as well as fresher pieces and, for a welcome change, skipping over the Beethoven sonatas which have become practically obligatory in our day. Only heard that Respighi once before. Want to hear it again. Never heard the Schumann. Expected to hear the other Ravel sonata. But happy with this one.
And do y’all remember how in the olden days Heifetz, Milstein, Elman, Ricci, Francescatti, and the rest of the gang used to play some serious sonatas in the first half of every program before regaling us with a slew of fireworks after intermission – Paganini, Sarasate, Wieniawsky. A lot of fun stuff! But not this pair! Nah, all serious nourishing stuff. Very fine program and concert.
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
Correction, Ms. Wang played Carnegie Hall last night. Stands to reason that such a talent would be Saturday night in New York fare. She is off to San Francisco Dec. 1. Sorry for the fuzzy logic.*
People Are Talking: UMS presents Yuja Wang and Leonidas Kavakos at Hill Auditorium:
This kind of music really hit the spot. I’m watching 60 Minutes with dissaster after dissaster….but what me worry? I live by the river! On a serious note I understand the performers skipped through Michigan for a matter of hours on their way to play Carnegie Hall. They looked a bit jet lagged by my goodness could they play. Perhaps they could return some Spring weekend & stretch their legs in the peony garden or such.
People Are Talking: UMS presents Jake Shimabukuro, ukulele at Hill Auditorium:
Fantastic! Incredible! + all below!
Bring him again.
People Are Talking: UMS presents Jake Shimabukuro, ukulele at Hill Auditorium:
Absolutely fantastic and fun performance that challenges our assumptions of an instrument for a genre. JakeShimabukuroRocks!
People Are Talking: UMS presents Jake Shimabukuro, ukulele at Hill Auditorium:
Wonderful performance – incredible really! And all by an artist with such warmth, grace, humility, passion…..an honor to be in his audience. Highly recommend watching his documentary Four Strings.
People Are Talking: UMS presents Jake Shimabukuro, ukulele at Hill Auditorium:
It was a really awesome show. Jake is very talented. I could not listen to the Ukulele all the time, but it was a great experience and I would recommend it to everyone.
That said, I did have one gripe, and tip for the artist: Limit the chatter. Some is good, but often I didn’t really care what you were talking about and just wanted to hear more uke. Also we don’t care that you don’t do drugs, because we’re all an drugs. That’s the best way to hear a ukulele concert!
People Are Talking: UMS presents Bob James at Hill Auditorium:
First heard Mr. James in 1976 – his music with Earl Klugh was a popular request at the Kunsan AFB Korea radio station. Still love his music!
People Are Talking: UMS presents Jake Shimabukuro, ukulele at Hill Auditorium:
Muy divertido! Just when seasonal affective dissorder is creeping in we get a booster shot from Jake S.! Wonderful mastery of the ukelele. I saw a Todd Rundgren show the other year and he played ukelele most of the way through….denied us A Wizard A True Star and all those Rock Hall favorites. Mr. Rundgren lives in Hawaii these days….but a guy who would play all the instruments on his L.P.’s. But tonight, real ukelele. Great presentation too, he seemed genuinely enthused in the midst of his 30 city tour.
People Are Talking: UMS presents Jake Shimabukuro, ukulele at Hill Auditorium:
Jake was amazing! Generous, gracious, passionate and such a delight! His virtuosity is beyond anyone I have seen! Enjoyed both shows…the kids were inspired and in awe! What a great day!!! Thank you Jake and UMS for bringing him to Ann Arbor!
People Are Talking: UMS presents Jake Shimabukuro, ukulele at Hill Auditorium:
Can’t play the uke any better than that –thanks Jake for an enjoyable performance!
People Are Talking: UMS presents Bob James at Hill Auditorium:
A huge thank you to my colleague Mark Jacobson for bringing Bob James and the incredibly talented musicians who joined him on stage to Ann Arbor for a UMS performance at Hill. Hill Auditorium is really large but the whole setting together with Bob’s comments from the stage made it feel as thought I was sitting in a jazz club in Manhattan which made it a great date night with my husband!
People Are Talking: UMS presents Bob James at Hill Auditorium:
This was a WONDERFUL concert. I discovered Bob James many years ago through the theme song for the TV series, “Taxi”. I was absolutely thrilled when I heard about the other fantastic artist that would be performing with him. Keep bringing in these great jazz artists UMS!
People Are Talking: UMS presents Bob James at Hill Auditorium:
Back in the 80s, living in the UP, a friend told me I had to give BJ a listen. Been listening ever since. Glad I got a chance to see him perform live. What a great performance. fantastic group. 90 minutes never went so fast! Encore was terrific!
People Are Talking: UMS presents Bob James at Hill Auditorium:
Wow what a great performance and excellent concert. His band was superb and the quality of the music was awesome. Very glad I went with friends who were also very impressed. I saw him with the World Youth Symphony many years ago outdoors at Interlochen! He is still going strong and a great member of the JAZZ community. Thanks much UMS!!
People Are Talking: UMS presents Bob James at Hill Auditorium:
First heard him with Earl Klugh back in the early 80’s and have been a fan ever since. Last night’s performance was a treat – – incredibly talented musicians at the top of their craft, feeding off of each other’s energy and exuding pure joy!
People Are Talking: UMS presents Bob James at Hill Auditorium:
Bob James & Co were amazing. Their performance was so tight. Thoroughly enjoyed it! Meeting Bob James after the concert was so awesome – what a great guy! Thanks for having him and bring him back again.
People Are Talking: UMS presents Bob James at Hill Auditorium:
The concert was outstanding.
I was pleasantly surprised that he began the set with “Touchdown”
I attended his summer concert at Chene Park where he featured new music with David Sanborn, and I must say I really preferred
this show with some of his vintage repetoire
People Are Talking: UMS presents Bob James at Hill Auditorium:
The Bob James last night was fantastic it. His band was amazing. Aaron Heick was awesome on the sax. I got goosebumps when they performed Angela. Very enjoyable night.
People Are Talking: UMS presents Bob James at Hill Auditorium:
I thoroughly enjoyed this show!!
People Are Talking: UMS presents Bob James at Hill Auditorium:
Hi everyone. Here is the set list from last night:
Touchdown
Skid Away
Jody Grind
Better Not Go to College
Follow Me
Avalabop
Angela (Theme song to Taxi)
Nardis
Sea Goddess
Encore:
Westchester Lady
People Are Talking: UMS presents Bob James at Hill Auditorium:
Never disappoints! Bob James is truly talented. Had the pleasure of hearing a Fourplay jam session in a little coffee house in Pacific Grove, CA on a Sunday night right after the release of their first CD. I’ve been a fan since 1991.
People Are Talking: UMS presents Bob James at Hill Auditorium:
I’m a fan of Bob James and I thought the concert was great. Glad I went , Thanks UMS
People Are Talking: UMS presents Bob James at Hill Auditorium:
Bob James puts on a quality show. I knew little of his work before this Fall. WEMU filled me in this this month. Iwas thinking today of how I would like 2014 to end….tonight would have been perfect.
It seems the Dream of the 90’s is alive in both Portland and Hill Auditorium. I’d write more but I have a club sandwich in front of me.
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
Matter of taste. The Prokofiev is very, um, Prokofiev from beginning to end – lyrical, rhythmically complex, and full of humor. I do wish the soloist had given us a little more tone. Analogy: good stage actors know how to do a stage whisper – soft but audible. The same holds for instrumental performers: what’s needed is audible softness. Daphnis and Chloê has terrific lush orchestral and ch9oral writing, harmonic and rhythmic surprises galore, and breathtaking sonorities. And the SFO and choir more than rose to the occasion. But as s veteran Mahler fan, I understand your preference.
However, what seems to me not a matter of taste is the fact that there were fewer empty seats on Friday than on Thursday. My thought is that the public at large is more strongly and widely attracted to programs that mix styles and periods than to ones that feature a single work, no matter how august. Perhaps more of these would help preserve this tradition from its gradual decline. Rather than combining jazz with classical music, let’s see if we can’t raise a larger audience with internal diversity! Honk if you think so, too.
From sublime heights Thursday night to the trivial pits on Friday. What a huge comedown.
"by Bob
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
Outstanding performances of interesting and seldom played music both Thursday and Friday.
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
Sorry. I meant Victrola-looking, not Victoria (the computer thinks it knows best and corrects me).
What is the name of the Victoria-looking instrument? It sounds like wind but doesn’t match the photos I found of “wind machines.”
LT
"by Louise Townley
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
What is the name of the Victoria-looking instrument? It sounds like wind but doesn’t match the photos I found of “wind machines.”
LT
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
From sublime heights Thursday night to the trivial pits on Friday. What a huge comedown.
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
I haven”t been to a concert in 11 years but tonight I experienced Michael Tilson Thomss and the SFO .The performance was exceptional and the Ravel Daphnes with the full orchestra and choral wss a spectacle you dream of hearing and experiencing.I told my friend who went with me that I”m so thankful for the mothrrs who made their kids pralctice because they grow up to be great musicians!Thank you UMS FOR A WONDERFUL EVENING.
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
As a lifelong Mahler fan, I couldn’t agree with you more. Neurotic is the perfect description. The fourth movement was beautiful though.
We heard a model performance of Mahler’s Seventh – and one that makes clear why this work is so rarely performed: it’s surely Mahler’s most haunted and pained document and that makes it painful to listen to at times.
A neighbor complained that the sound was often shrill and that there was not enough build-up within each movement. True — but that’s in the composition, not the performance.
Mahler’s Sixth Symphony was called the “Tragic” (though not by him, as I recall.) The Seventh might well be called the “Neurotic”. It’s filled with one long and eventually unresolved struggle between chaos and the yearning for order, turmoil and a longing for some calm. Episodes of agony and naïve bucolic peace follow each other in headlong cascades. Since it is an undecided struggle, there is no build-up to a destination; rather, each movement stops where it does only because the struggling hero is exhausted. Even the two Night Musics are the tunes of troubled sleep.
So, yes, shrill and pointedly static — recycling the same screams and painful episodes. And in the center movement Mahler is looking over his own shoulder and giving us his sarcastic smirk; this is his danse macabre.
"by Music Lover
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
This is my first time listening to Mahler’s Seventh Symphony. Unique in style, full with sophistication and changing techniques, and more of an “interesting” piece rather than an euphonious one.
The intriguing part is that the melody refuses to come out as expected; it takes on refreshing new traits every little while, but keeps a rate of delicacy and never truly run into chaos. The playful techniques may be disturbing for ole who prefer quiet music, though.
The performance was amazing! although the music itself is complex and sometimes thrilling, there’re several serene moments when beautiful timbre comes out, clean, and elegantly in concord.
Love the performance, and the music!
Michael Tilson Thomas at 1988 UMS May Festival:
Is the violinist with the curly hair the same violinist from tonight’s performance?
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
It was kind of a surreal day with the sun and snow showers intermitent. I found myself imagining Star Trek episodes behind the orchestra where the pipe organ is. I kept seeing the stars in the galaxy and wondering which one would burst forth and become the Starship Enterprise. I find that wicked daydreams are the best part of going to the symphony. It was not a boring piece. I’m glad heard such a fine orchestra….beats watching some new chef program on the telly.
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
We heard a model performance of Mahler’s Seventh – and one that makes clear why this work is so rarely performed: it’s surely Mahler’s most haunted and pained document and that makes it painful to listen to at times.
A neighbor complained that the sound was often shrill and that there was not enough build-up within each movement. True — but that’s in the composition, not the performance.
Mahler’s Sixth Symphony was called the “Tragic” (though not by him, as I recall.) The Seventh might well be called the “Neurotic”. It’s filled with one long and eventually unresolved struggle between chaos and the yearning for order, turmoil and a longing for some calm. Episodes of agony and naïve bucolic peace follow each other in headlong cascades. Since it is an undecided struggle, there is no build-up to a destination; rather, each movement stops where it does only because the struggling hero is exhausted. Even the two Night Musics are the tunes of troubled sleep.
So, yes, shrill and pointedly static — recycling the same screams and painful episodes. And in the center movement Mahler is looking over his own shoulder and giving us his sarcastic smirk; this is his danse macabre.
People Are Talking: UMS presents San Francisco Symphony at Hill Auditorium:
Michael Gilson Thomas literally “squeezes” everything out of Mahler! Bravo!!
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
Those musicans were phenomenal. Accordion rebirth is way past due. In the hands of a top musician it can do things that no other instrument can. Looking forward to more accordion concerts down the road. Thanks to UofM (go Blue) for supporting music of this caliber. In many countries the accordion is a serious concert instrument with artists at the level of the finest musicians on other instruments. Check out Youtube for many terrific videos featuring accordion.
People Are Talking: UMS presents Quatuor Ebène at Rackham Auditorium:
I agree the standing ovation happens so often now it has lost all meaning.
Sorry to be a downer, Ken, but Ann Arbor audiences always leap to their feet. It has become as common as applauding. I do agree that it was a wonderful, memorable concert and that it deserved the standing ovation.
"by Gretta
People Are Talking: UMS presents Quatuor Ebène at Rackham Auditorium:
Yes indeed, Ken!
Stunning technique, cohesive blend, creative intelligence–
As examples from the beginning of the Mozart no vibrato until just a hint of it on the next-to-the last note of the opening unison phrase. Then a full-throated series of chords, with the third one–a dissonance–slightly softer than the first two.
And as much attention to expressive rhetoric “from that moment on”–
Thanks to the Stern Endowment and to UMS!
People Are Talking: UMS presents Quatuor Ebène at Rackham Auditorium:
Sorry to be a downer, Ken, but Ann Arbor audiences always leap to their feet. It has become as common as applauding. I do agree that it was a wonderful, memorable concert and that it deserved the standing ovation.
For me, Sunday’s UMS concert by the Quatour Ebène will go down as one of the most exquisite and memorable in the 52-year history of the UMS Chamber Arts Series and in my 27 years of attending these Rackham concerts. The appreciative Ann Arbor audience lept to its feet at the conclusion of Mendelssohn’s Quartet in a minor, Op. 13 as the first half closed, sharing its collective awe in the superb quality of the quartet’s performance of the work. If you were there, you know how special that piece was as well as the opening Mozart and the improvised jazz and crossover pieces announced from the stage in the second half. If you missed the concert, learn more about this unique string quartet from France at http://ums.org/performance/quatuor-ebene/. That the concert was made possible by the Candis J. and Helmut F. Stern Endowment Fund, whose gift to UMS was announced on stage at the beginning of the concert, makes the event even that much more special. The Stern endowment will fund a UMS Chamber Arts Series concert each season going forward. Thank you, Candis and Helmut.
"by Ken Fischer
People Are Talking: UMS presents Quatuor Ebène at Rackham Auditorium:
For me, Sunday’s UMS concert by the Quatour Ebène will go down as one of the most exquisite and memorable in the 52-year history of the UMS Chamber Arts Series and in my 27 years of attending these Rackham concerts. The appreciative Ann Arbor audience lept to its feet at the conclusion of Mendelssohn’s Quartet in a minor, Op. 13 as the first half closed, sharing its collective awe in the superb quality of the quartet’s performance of the work. If you were there, you know how special that piece was as well as the opening Mozart and the improvised jazz and crossover pieces announced from the stage in the second half. If you missed the concert, learn more about this unique string quartet from France at http://ums.org/performance/quatuor-ebene/. That the concert was made possible by the Candis J. and Helmut F. Stern Endowment Fund, whose gift to UMS was announced on stage at the beginning of the concert, makes the event even that much more special. The Stern endowment will fund a UMS Chamber Arts Series concert each season going forward. Thank you, Candis and Helmut.
People Are Talking: UMS presents Quatuor Ebène at Rackham Auditorium:
Can’t vote two things… too bad… because I equally enjoyed the Mendelssohn… which was the best I have EVER heard… and the talent displayed in the Jazz and popular section was fabulous!
This is a talented group!
Barbara
People Are Talking: UMS presents Quatuor Ebène at Rackham Auditorium:
The second half of this evening’s program by Quatuor Ebène included arrangements of the following:
“Misty” – Erroll Garner
“Nature Boy” – eden ahbez
“Misirlou Twist” – Dick Dale
“Max Mon Amour” – Michel Portal
“All Blues” – Miles Davis
“Come Together” – John Lennon / Paul McCartney
” Libertango” – Astor Piazzolla
Mary, UMS
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
Thank you all for being such a wonderful audience for us! You might like to see this review of the concert, which appeared in today’s Cleveland Plain Dealer. (The PD music critic drove to Ann Arbor to review the concert.)
“Apollo’s Fire on tour give Ann Arbor a glorious night”
http://www.cleveland.com/musicdance/index.ssf/2014/11/apollos_fire_on_tour_gives_ann.html
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
Agreed — more early music! And though there are a number of choirs on campus, I would love to get some professional groups here as well.
Awesome! I wish UMS had early music or choral concerts every week. I’d go to all of them!
I also really appreciated the Q&A afterward. It’s a great opportunity to gain knowledge and hear the musicians talk and get a sense for their personalities. I hope UMS is able to arrange more of those.
"by Andrew
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
I agree with the commentators questioning the choice of venue, and will add that it was very difficult for students to get to and leave from compared to other venues that are closer to campus.
The music however, was beyond compare. Apollo’s Singers in particular completely blew me away with their seemingly impossible blend, consistently perfect tuning, and constant energy. Quite honestly it was the best early music performance I have ever attended. I went back and compared the experience to some of the recordings I have of the Vespers, and it puts even Gardiner to shame.
Bravo the the Apollos, and I hope they will return to the UMS schedule very soon!
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
Worst UMS concert I have ever attended since 1982! I love Apollo’s Fire but the acoustics last night were terrible and the seats made my back hurt–never mind the impossible parking. Why UMS would schedule any concert in St. Francis is totally incomprehensible when we have Hill Auditorium! I cannot comment on the performance since I could not hear it clearly–I plan to buy the disc and listen in my comfortable living room. Very disappointed.
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
Awesome! I wish UMS had early music or choral concerts every week. I’d go to all of them!
I also really appreciated the Q&A afterward. It’s a great opportunity to gain knowledge and hear the musicians talk and get a sense for their personalities. I hope UMS is able to arrange more of those.
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
Fabulous fabulous sounds! Both tenors were superb!
The instrumentation was mellow and the singers had good energy
I love the setting for such music.
Indeed… bring them back!
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
The music was sublime but we were appalled to find the parking lot full more than 20 minutes before the performance. We parked on a side street but we couldn’t find our car afterwards. What a horrible end to an otherwise glorious evening.
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
I was relieved to find that the ensemble included singers capable of a quite full sound. So often in the authentic music culture the choirs are as thin as they probably were in the days back when.
It was good to hear this music with its mélange of genres – traces of plainchant, Renaissance mass writing, and early forays into imitative polyphony. Still, despite having left us a mix of styles, Monteverdi, who was not only a composer, but a Catholic priest, would have been mighty astonished to see his Vespers presented in what UMS calls a Renegade concert.
The tenor who sang in the first section after intermission was superb: no problems with the high pitches and some breathtaking pianississimos. Some other soloists occasionally sang with uncertain intonation, and quite a few crescendos in the sopranos culminated in whoops.
A relative who is very fond of liturgical music declined to attend this concert when she found out it was presented at St. Francis – not on sectarian grounds, but because her toosh and the hard pews don’t get along well with each other. Are there churches in AA with more comfortable seating?
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
Once the man in front of me stopped play conducting, the music enveloped me completely..
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
Sublime performance – agree with David about the seats. Love Apollo’s Fire – please keep bringing them back!
People Are Talking: UMS presents Apollo’s Fire Baroque Orchestra at St. Francis of Assissi:
Great music. Butg arguably the least comfortable concert venue seats in SE Michigan. . . .
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
These comments are very entertaining.
I liked the cascading white TV screens in the beginning, the nicely orchestrated morse code songs, and the “superposition” of different related phrases (what is mind / never matter / what is matter / never mind). My favorite part was probably the display stretching out different scales of measure while displaying on the TVs different particles/objects/forces that operate at each scale.
I first fell in love with abstract art when Yayoi Kusama did an installation called “Dots Obsession” at my university. it was fun. I had fun with Superposition as well. Partly because I put in my earplugs.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Hi ASL,
I think one interpretation of Superposition could be that it is impossible and unnecessary to derive meaning from endless amounts of data. Perhaps that was one of the functions of the loud, random noises and bright flashing lights at unpredictable intervals. The performance was not supposed to make sense; its meaning was simply that one cannot and should not attempt to derive an overall meaning from the vast, random ocean of data. Maybe this is why the performance was so disorienting for some people. In traditional performances, there is a usually an apparent meaning and order. In Superposition, the audience searched for meaning, but could not find any obvious significance.
~KD
My feelings on superposition are as mixed as the technicolored screens.
It felt like my senses were under attack; most of the time I plugged my ears and strategically opened and closed my eyes to avoid being visually insulted by screaming light. Was it really necessary to make it that loud?
Although the experience itself was like torture, it stimulated profound thought. What stuck with me and shaped my understanding was the message: “INFORMATIONISNOTKNOWLEDGE. INFORMATIONISTHERESOLUTIONOFUNCERTAINTY.” I loved the episode with the marbles because it showed that an infinite amount of data can be accumulated and manipulated, but it will never fully capture a natural phenomenon. Which should we say is more sophisticated: the simple yet chaotic incapturable phenomenon, or the ridiculously complex methods of describing it?
"by ASL
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
It is interesting that you would use the word “madness” to describe the performance. I shared similar feelings as you did regarding the performance, but for me, I felt that the performance wasn’t a random amalgamation of sounds, but rather a carefully arranged collection of tones that were not pleasant to listen to. As everything was arranged so precisely, the idea of the performance not being aurally pleasing carried even less weight than simply an interactive sound experiment.
Superposition was madness. Utter madness. And I hated it. I came in expecting something different and abstract, though I didn’t realize just how out there it was going to be. I felt that the performance transitioned between the incomprehensible and the self-consciously abstract. I was also expecting more musicality out of the performance. Sure, noises were made in a fashion that could be described by the generous as musical, but if it was music it certainly was not any type of music that I would ever deem fit for listening. Superposition was an overly absurd and mysterious performance that had a few saving graces in the realm of the visual – though these were few and far between.
For me, the majority of Superposition seemed like a random collection of jarring computerized images and sounds that seemed to have no other function than to disorient the audience. At times I thought I might begin to make sense of them or the meaning of the piece, primarily during the sequence that involved scrolling through the newspaper pages, though nothing ever clicked for me. Perhaps it was because I wasn’t working hard enough to create my own connections – Superposition was a sort of “choose your own performance” in this sense. Though, I do not believe this to be any fault of my own. Any great performance should engage its audience and make it so that the audience wants nothing more than to be in the midst of the experience. This was not the case for me and my experience with Superposition.
Perhaps the most impressive thing about Superposition was its pacing – it succeeded in effectively lulling me to sleep with its slower bits and then jarringly and unpleasantly shaking me from my intermittent slumber (which, may I add I was fighting through, to the best of my ability). Superposition was a performance that seemed as if it craved for me to have an unpleasant experience. It seemed as if it was a parody of bad performance art. Perhaps if I had thought of the performance as that before seeing it, I could have had an experience reminiscent of a good time.
"by Josh Hasler
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Hi Jocelyn,
What an interesting analogy! You raise the fascinating question of: for what reasons should we enjoy art? Is the reception (and production) of art worthwhile solely because of its intrinsic beauty, its direct informational pleasure? Or can there be more indirect benefits as well?
We might extend the SAT-superposition analogy to answer some of these questions, so first I’ll make explicit the SAT side. I think the situation is this:
(i) We want to work because of $$$, and furthermore we want to work in something we intrinsically enjoy.
(ii) So we want to go to school because it changes us to become better suited to such work, and also because a degree yields information to employers about our aptitude for hard work / being smart / etc.; and, of course, since learning’s fun!
(iii) Similarly, we want to take the SAT’s because they yield information to school admissions.
These examples highlight some indirect paths to happiness; applied to art, they might be something like:
* fundamentally uncorrelated reasons to watch Superposition (e.g. class requirement), but more interestingly:
* does superposition change us for the better? Perhaps by “stretching” our ears and eyes and sensory pathways of perception? Might it, perhaps more like a crossword puzzle or homework than an SAT, or — aha! — a converse etude, develop skills necessary for the enjoyment of more relatable art?
* does superposition, independent of whether it changes us, signal to us or to others our otherwise hidden properties? For example, might it get someone interested in electronic music, despite itself perhaps not being a prime example? A sampler of sights and sounds? A buffet of appetizers?
Indeed, _I_ sure was left unsatisfied, perhaps even exceptionally hungry at the end!
-Samuel
Personally, I would rather have to sit through the SAT exam again than be subjected to another hour of “Superposition.” When I think of the stress of taking the exam that would decide my fate for my college career and future prospects, it was not nearly as physically taxing as sitting through the performance of Ryoji Ikeda’s work. That being said, just like taking the SAT is necessary, I do feel as if watching the show gave me a new experience. While I consider myself to be fairly well versed in the world of performance (my parents filled my childhood with opera and Broadway and modern dance rather than cartoons), I have never seen anything quite like “Superposition.” The trouble I find with this is that I am not sure that I can personally find merit in watching a show for “the experience” rather than for joy or entertainment.
"During Ryoji’s lecture on Saturday, November 3rd, he mentioned that some people “refuse to call his composition music because it is too loud.” This would lead one to believe that those who do not enjoy the piece are simply looking down on it for being new. The alternative might be that those who enjoy the work look down on those who do not for not appreciating modern art. Does anyone else who did not enjoy the performance have trouble deciding whether or not they are being too critical or if the supporters of modern art are asking too much in trying to enjoy such a sensory overload like “Superposition”?
by Jocelyn A.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I just noticed that this is now the most “talked about” UMS show of the year! (at least on this site)
If the Michigan Theater had been available, I think that might have been a better venue in terms of the seating/viewing angles. It also could have been LOUDER there (which I know would have made some people hate it more, lol).
But I know the Michigan has lots of constraints because of being a commercial movie theater as well as a stage theater.
At any rate, I REALLY hope UMS brings more extremely edgy stuff like this show to Ann Arbor! I get updates on facebook all the time about shows similar to this one that happen all over Europe, but very little of this sort of thing even makes it to coastal US cities, much less little ol’ Ann arbor.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Perhaps you’re right; maybe it would be too difficult for the members of the audience to see the vibrations of the fork. However, as I stated earlier I thought it would be interesting to see the vibrations of the tuning fork in addition to the sound waves being projected up on the screen. Through showing the tuning forks, I thought the idea of superposition could have been underscored further. While the tuning forks cannot be superposed the sound waves that they produce can be.
I really enjoyed the tuning fork demonstration as well. It transported me to a new kind of consciousness, because I usually don’t think about the fact that what I hear is fluctuating waves–I just call it sound. It’s interesting that you want to see even closer images of the forks vibrating–why is that? I can tell you from experience that there not much to see, unless you put the vibrating fork into a bowl of water. Then the vibrations cause the water to splash out of the bowl with the range corresponding to the pitch and size of the fork.
"by ASL
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Uli,
I too attended this performance because of my class, but I believe that students are just not aware of this performance. I know my friends and I will be attending Sweeny Todd, and are excited to. UMS did a very good job advertising that by putting a barber chair in the middle of the Diag. More open advertisements like these will broaden the audience of these performance to more undergraduate students. I am also impressed that your 15 year old enjoyed it so much! It is not easy to take in so much sensory input and be able to translate it into meaning, thereby finding some value in this great performance.
Krsna Kothari
I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
"by Uli Reinhardt
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Hi Emily,
I completely agree with you about the importance of letting go of the mindset of trying to understand and analyze the performance. When I’m too preoccupied with figuring out the deeper meaning of a show, I find myself distracted from the show itself. It was somewhat comforting to know that it’s okay to not understand anything from the show. One does not necessarily need to comprehend it in order to enjoy the experience.
I really like that you described the performance as an experience rather than a performance. Based on the comments here, I got the sense that a great proportion of the audience did not consider Superposition as a performance. However, no one can argue that it wasn’t an experience.
I think of Ryoji Ikeda’s Superposition more as an experience than a performance. I attended this show as part of a class I’m currently taking. In this class I’ve seen three other performances, all of which I was asked to analyze and write about. I entered this performance with the same mindset, determined to create an understanding about what was going on in front of me, and for the first time I was unable to do so. Images flashed so quickly on screen I barely had time to process them. Sentences were typed out in a way that, once I could read the entire thought, it disappeared and a new sentence was begun. The visualization of data was an assault on my senses, and it seemed determined to wear me down until I gave in. At one point in the beginning of the show bright images flashed on screen in a seemingly seizure-inducing frenzy. I closed my eyes but still could not escape the incessant sound. After a while, I realized the pen and notebook I’d brought with me were essentially useless. Once I gave up trying to understand what was happening, everything was less stressful and I was able to take in the wonder of this performance. I was awestruck when I reminded myself that the images of the impossibly deft hands I was seeing were actually the performers typing out the words on screen. I realized I had also forgotten that these “random” images flashing on the screen were pieces of scientific data, being woven into art. Although this performance wasn’t my favorite, I found much of its beauty in being forced to simply experience the show, rather than trying to analyze it. I’m sure some members of the audience went home having found some meaning to the show, but I’m content with having taken it for what it was and simply having the experience.
"by Emily
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Uli,
I believe the dizziness and the confusion of the performance was intended. After talking about the term “superposition” in class, I found out that it means when two things exist simultaneously. Ikeda was illustrating this very well, but along with this phenomenon comes confusion and disturbance. It is hard for our brains to process two different things happening at the same time, which causes the confusion. The intensity of the performance made it great, but it also caused the dizziness which is why many people, including myself, did not like it overall.
S.P.
I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
"by Uli Reinhardt
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Wow, I was really swayed by your interpretation of Superposition! I think that your description of Superposition as something unjustifiably random is a great way to avoid the headache of trying to piece together some unifying meaning to the entire performance.
To me, there are some things to the performance which did make a bit of sense, such as having the newspaper scene follow the scene pitting science against religion, or having the first batch of flashing “colorful” images follow the scene that zooms in on various parts of the visible spectrum of light.
But I had trouble finding an overarching meaning behind the performance, besides the obvious one of “superposition.” Having read your comment, I now don’t believe there has to be, and have accepted the fact that perhaps I had been looking for meaning where there was none, in a performance which was much louder and flashier than it needed to be.
“Superposition” or Superconfusion
It is possible that I have never enjoyed myself less than I did last night, 8:00pm, Power Center. Sitting in that freezing auditorium, my head pounding, the white noise reverberating off the walls as incoherent images of sinusoidal lines wriggled across an effervescent screen. Terrified, I sat shaking both from the cold and from the fear of what was coming. The ever-present thought running through my mind was “How could anybody actually be enjoying this?”
In collecting my thoughts on “Superposition,” I will split the performance up into the five most memorable parts for me. The first part is titled “Scare You to Death with Flashing Lights,” which is somewhat self-explanatory. During the majority of this portion, my face was partially covered by my scarf as I anticipated the next burst of light to explode. I transitioned between holding the scarf over my eyes and plugging my ears as the loud “dog whistle” beeps pierced the air. Beep, Flash, Beep, Flash in continuum for what seemed like eternity.
The second part is titled “MRI.” During this section I felt myself moving through the giant cylindrical machine surrounded by mechanical jackhammers and ear splitting high-toned beeps. I was paralyzed in my seat just as I was paralyzed in that horrible machine, the waves of light travelling across the screen just as the waves of radiation technology had created a visual representation of my neural activity.
The third part is titled “Confusing Newspaper Images.” Honestly, this section seemed entirely random and misplaced amongst the others. What exactly was the significance of these images? And why was “ The Start” so recent in human history? This section transgressed into the crossword puzzle section, during which the performers scribbled out letters and numbers on long sheets of random data sets. At this point in the performance, I stopped attempting to grasp what the artist was trying to communicate and succumbed to complete confusion.
The fourth section is titled “Marbles” and the fifth is titled “Apocalypse.” The former involved the performers sprawling out the marbles and the computer targeting their positions. The targets created the image that transferred into the finale. Floating around between the different hypothetical spheres of quantum physics was somewhat of a relief. There weren’t as many loud noises, and before it was dragged out for far too long, it was actually somewhat intriguing. Of course, the floating dots got old pretty quickly, but once again I was awoken by violent snaps of light configured into geometric 3D forms. The spheres were converging and the universe was breaking apart. I have never been happier for the end of the world, because it meant my headache would soon be over, and “Superposition” would come to a close.
"by Isabella Neihardt
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Eliana, I agree with you!! I thought the musicality of the performance was really important because it brought the audience’s attention to just the surrounding and just the screens. It was definitely not louder or more uncomfortable than any concert I have been to, and it really did a good job of pulling you in.
I really enjoyed the “abstract” and “strangeness” of the piece. It really resonated important themes with me because of the different experience that it encompassed. I am glad I saw the performance because now I will now try to go to more UMS shows that are outside of my comfort zone. It was truly a positive experience.
I strongly agree that the experience was torturous for me at times, but incredibly thought-provoking. Amidst all the cringing from visual and auditory overload, my thoughts were racing. I thought about things that I think were and weren’t related to what was happening in front of me, but I think that is a very powerful and important effect of a well-executed performance: to open up one’s mind and stimulate thoughts originating from the production, but then branching out to broader ideas. Even after the performance ended, certain images and phrases resonated in my mind and still prompt me to ponder vague yet profound questions that I think recurrently echo in many people’s minds. Lastly, I did not know what to make of the marbles, but your insight is intriguing and I think very sensical. I agree that we, as humans, try to quantify and analyze everything around us. But certain things, especially natural phenomena, cannot be fully explained or portrayed by our formulas and calculations and simulations.
"by LS
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I think your discussion of perception is exactly what is at stake with this performance. The popular misunderstanding and confusion of Ikeda’s performance, as you (and I and many others) initially experienced is because we cannot (could not) conceive of a mind so imaginative that it can perceive the concepts of quantum science as philosophy and art. In short, we are so trained to think about science and perceive the world of science in such a limited way as to not be able to see the world as Ikeda sees it. Like you said, it is a matter of our limited perception. We, the audience, and Ikeda live in different worlds, see through different eyes, comprehend science in vastly different ways, so different in fact, that we can’t find meaning in his performance and we never will unless we perceive the world the way he does. But as our perception is limited, so is Ikeda’s: the frustration we feel comes from this dissonance, he can’t, with his perception, communicate with the vast majority of the audience. This idea of an infinite nature we reach out to and attempt to perceive is such a fascinating one, its a shame we cannot talk to Ikeda about his world because for once I’d like to participate in the world of science in such a subjective and poetic way.
How can you represent what there are no words or images for? It’s easy to become frustrated when looking for the artistic “profoundness” of Ikeda’s work. I, personally, saw the unpredictable, blinding pattern of strobes on stage and tried to make sense, to find a pattern. I heard all the white noise, the atonal tuning forks, and grimaced as I silently pleaded for some resolution, for some tonal concord to satisfy my expectations. The more I searched, the more Ikeda’s work failed to satisfy; the more I tried to lump the piece into my conceptions of what makes “sense,” the more I found that it simply does not. My trouble, like the trouble many others were having, is that I could not come to terms with, to accurately describe, Ikeda’s greater “meaning.”
"As I look back on it now, however, I can see how this supposed issue with Ikeda’s work is, in fact, its genius. Ask yourself, if you will, how you can represent something without words, without symbols. This is, in actuality, a pressing question for both technology and art. We can represent “0” and “1” and “tonal” and “sensible,” but how can we represent something such as Ikeda’s work, which does not fit into our defined categories?
Think of performance in terms of quantum numbers or Schrodinger’s cat; a number can be both “0” and “1” just like the cat is both alive and dead. The moment we try to look in Schrodinger’s box, the moment we try to identify and term the cat as alive of dead, we force it to be either one or the other. In using quantum numbers, we can store “infinitely” more knowledge than with simple binary-code, but the second we try to examine that stored knowledge, to categorize it, we force it to limit itself to either a “0” or a “1.” We simply cannot comprehend something being “un-representable,” we try so hard to represent and comprehend that we will confine something until it can be so. This is the paradoxical idea of Ikeda’s proposal. Our senses are infinite as proved by Superposition; we can sense each nuance of light and sound of Ikeda’s creation, but our perception is fallible. The moment we try to come to terms with what we sense, we limit it, force it to put itself in terms we can comprehend. “If the doors of perception were cleansed, everything would appear to man as it is, infinite.”
This speaks not only to Ikeda’s work, but I believe it speaks to art as a whole. We recognize that our perceptions are unique; but inherent to this idea, they must also be limited. By spending our time in the theater trying to perceive and comprehend each detail of a performance, such as Ikeda’s work, we shut off all other possibilities. We force it to become zeroes and ones. I think Ikeda’s work is more profound after the fact; I spent too long in the theater trying to understand it, and it made me frustrated. Looking back, I see the poetry in just letting the cat be both alive and dead, letting the white noise be nothing but white noise.
by Gabe
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I also seemed a bit dizzy at some points, but also riveted by the performance! I had to attend the performance because it was mandatory for my class, but if i hadn’t been in the class, I probably wouldn’t have gone. I do feel that UMS may not be advertising enough among students and maybe should find more performances that the students would be interested in. However, I do feel that the performance was worth going to as it opened my eyes to different types of performances that are possible that I wouldn’t have known about.
I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
"by Uli Reinhardt
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
The idea of the two performers “singing” to one another (and the audience) is a strangely imaginative and metaphorical concept, frankly, a way of perception I was unable to manage, but can appreciate. I think that is something this performance did best: to allow us to examine and perceive our world in a slightly (or vastly) different way. I too found the two performers to be the most interesting aspect of the performance; they were also the only performing and unscripted part. At the same time though, I wasn’t sure why they are made to be so distinct from one another and the stage. I’m sure you also noticed that their pacing was slightly off when tapping out their messages so that one had to wait for the other and as you pointed out, one is male while the other is female, which are clearly important details, but why? I’m curious as to what you (or anyone) thinks about this very deliberate decision when so much of the performance is scripted or otherwise mechanical. Again, this gap between the the performance and the audience appears when you mention that the performance is deeply rooted in “the concepts of universality, beauty, humanity, and the art and science”, which I saw (or knew that I was supposed to see). That’s a great observation and I agree that those appear to be the main themes of the performance but there are no details for me, what exactly does Ikeda have to say about those things? So much of this performance is vague and there appears to be such a disconnect with the audience I can’t seem to agree that this was indeed a “great” performance.
I thought the performance was truly spectacular! Watching the performance reminded me of being in a planetarium where all the images move around you. You are simultaneously in awe and feel small, while feeling quite transcendent. A lot of the performance was accompanied by celestial white noise, which I enjoyed.
Surprisingly, one of the most stimulating features for me was the text on the right and left sides of the screen. The sentence structure and text were often very similar, however the meanings both complemented and contradicted each other. I viewed the text almost as lyrics to a song, which seemed most appropriate, as the two performers used their telegraphic contraptions as voice boxes to “sing” the text on the screen. I felt as if it were very important for there to be both a male and female performer on the stage. The performers tapping and the background sound were both very succinct and simplistic in their tonal qualities, although sometimes I felt as if the visual and auditory stimuli combined were meant to overwhelm the audience. There were times in the performance when I felt uncomfortable with the stimuli and was compelled to close my eyes or cover my ears. That would be appropriate in light of the performance’s deep involvement with the concepts of universality, beauty, humanity, and art and science. I think Ikeda wanted to convey the discomfort we have with grand universal truths through this overwhelming stimulus and discomfort, but it is just a thought.
"by Yimeng Zhao
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I can relate to your feeling of just being a spectator. I spent a good portion of the beginning of the show trying to put some meaning or theme to what was going on, and eventually gave up. I think this was something to be taken as an experience and thought about as a whole. Interesting that you commented on the sense of fear in the room, because it was definitely noticeable within the audience. I wondered why an artist would try to strike fear into his audience, as it was obviously too much for some people who walked out. But for those who stayed I think the fear and assault on our senses almost paralyzed us into watching the rest of it simply because we were so bewildered by what was happening. I agree with you that this performance was to be taken as an experience, but whatever truth Ikeda was trying to reveal was lost on me. The experience, however, is not one I will soon forget.
Superposition was an experience unlike any other I have had before. When the lights slowly faded and the room was blanketed in darkness, I was unaware of how Ikdea would communicate his themes and his artistic vision; when the counters in the front of the stage began to beep and flash sporadically, all united by a mechanized harmony and a driving bass, I knew that I would just have to be a spectator. Through various physics demonstrations, such as a back-and-forth with Morse code and vibrations from tuning forks, we were given a beautiful artistic representation of science. However, the entire production was coated with an air of mystery and a tangible sense of fear. At multiple times in the production, the shrill tones of the machine would swell and crescendo to a point in which it could be contained no longer, and those moments of absolute tension provoked the horror of uncertainty and a loss of control. Taken as an experience, Superposition seemed to take us to a world in which the line between religion and science is blurred, and the only thing that is certain is the pulsing beat of Ikeda’s visions. The spanning cosmos is revealed to be individual planes of understanding; the random rhythms of dots and dashes are revealed to be communications of truth. At times it was blinding, at times it was deafening, and at times it was uncomfortable to even be in the room. However, the end result of this performance was a glimpse into one artist’s view of the world, and it is a superposition between machine and man.
"by Sam
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I too only heard of this performance because it was mandatory for my class. Imagine how small the audience would have been if an entire class wasn’t required to attend! I definitely think many U of M students would’ve enjoyed this experience, and that UMS did not do a good job advertising it. My music major friend did hear about this performance through the music school, but I don’t think the general population knows about the awesome performances UMS puts on! Although, in their defense, it is difficult to advertise something that is so audio/visual heavy.
I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
"by Uli Reinhardt
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I think of Ryoji Ikeda’s Superposition more as an experience than a performance. I attended this show as part of a class I’m currently taking. In this class I’ve seen three other performances, all of which I was asked to analyze and write about. I entered this performance with the same mindset, determined to create an understanding about what was going on in front of me, and for the first time I was unable to do so. Images flashed so quickly on screen I barely had time to process them. Sentences were typed out in a way that, once I could read the entire thought, it disappeared and a new sentence was begun. The visualization of data was an assault on my senses, and it seemed determined to wear me down until I gave in. At one point in the beginning of the show bright images flashed on screen in a seemingly seizure-inducing frenzy. I closed my eyes but still could not escape the incessant sound. After a while, I realized the pen and notebook I’d brought with me were essentially useless. Once I gave up trying to understand what was happening, everything was less stressful and I was able to take in the wonder of this performance. I was awestruck when I reminded myself that the images of the impossibly deft hands I was seeing were actually the performers typing out the words on screen. I realized I had also forgotten that these “random” images flashing on the screen were pieces of scientific data, being woven into art. Although this performance wasn’t my favorite, I found much of its beauty in being forced to simply experience the show, rather than trying to analyze it. I’m sure some members of the audience went home having found some meaning to the show, but I’m content with having taken it for what it was and simply having the experience.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Although I agree with you that science does follow a certain “formulaic” structure, I would argue that music does also and that is the distinct reason why they can work harmoniously with one another. Additionally, it all depends on the extent to which a person understands either discipline. I, for example, am trained musically and have a greater knowledge of musicality whereas I know almost nothing about quantum physics and thus I interpret it differently than a physicist would. My interpretation of superposition from a scientific viewpoint would be considered “wrong” because I have no knowledge of its scientific significance.
Ryoji Ikeda’s “Superposition” is defined by the dictionary as the “overlapping of waves.” In the most basic sense, this is certainly true. However, the waves this performance is concerned with are not those of displayed on the screen, but rather the clashing of two seemingly different disciplines: science and music.
Science is universally understood to be a formulaic discipline. There are laws that must be followed and equations that must be used, leaving little room for interpretation. Music, on the other hand, lends itself to more diverse interpretation. Each musician can communicate a unique message to his or her audience as they sit enraptured by the sound. “Superposition” draws upon both of these elements.
There is no denying the formulaic element of the performance before our eyes. The catalysts for much of the noise, the two humans, sit motionless as they surgically tap rhythm after rhythm. After each tap, waves appear on the large screen behind them, overlapping each other as they run from both sides of the monitor. Graphs and charts flash quickly before our eyes, followed by more pictures.
At the same time, we are aware of the musicality of the performance: the ever-present metronomic beeping in the background, the Dubstep-esque finale that blinds both our eyes and our ears, and the noises in general that are impossible to ignore.
“Superposition” is not only speaking of the overlapping waves that the two performers on stage are creating with their endless tapping, it is asking us to look even broader at the overlapping waves of music and science. It forces us to consider sound from a different perspective. The sounds on the stage, particularly the beeping from the data input, can be heard in many variations in our everyday life. How much music do we fail to acknowledge everyday and how much music do we unwittingly create?
"by Chris
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Actually superposition isn’t “one on top of the other” – it’s two things occupying the exact same point in space-time. Which actually makes your idea make even more sense, in a way. Superposition enables a beautiful theory of interconnection between two seemingly separate things, and allows for the idea that all things are part of one grand whole, and all time is part of one grand total. So, if this was Ikeda’s intention, it would make sense to use ideas from different time periods – because with superposition, there is no difference. There is what has always been, just in a different form. Superposition allows the connection between past, present, and future in a way.
So, in essence, I think the ‘contrast between the old and new’ is a fantastic observation – but based on the theory of superposition, it’s not actually a contrast at all. It states that they’re one in the same.
That would be one way of looking at it. Personally, I don’t think that was the goal – if I could pick out a theme, it would have been the limits of human understanding. And based on this, I think Ryoji’s old vs. new idea was to show the growth of technology, and then contrast by making it known that there are still infinitely many more things to learn, discover, and create. Of course, this is all just my speculation. But it’s certainly an interesting thought,
Superposition is defined as “the act of superposing or state of being superposed.” Superpose means to place above or upon something else, or one upon another. This definition brings forth images of layers to my mind, most likely because this idea of superposition is apparent in my Earth 103 class- discussing fossils in layers of rock. In geology, this idea of superposing means that the older layers are on the bottom, while the newer layers are on top. I found this idea to also be apparent in Ryoji Ikeda’s Superposition. The performers on stage were communicating with the telegraph key – a device that transmits electric signals over wires. The first non-electrical telegraph key was invented in 1794 and was improved upon until Samuel Morse successfully utilized the electromagnetic telegraph key somewhere around 1838. So, this is not cutting age technology that Ikeda was implementing. His light show and graphics, however, were quite the opposite – Ikeda’s graphics were almost futuristic in light and shape and color. I’m not sure why Ikeda decided to use the telegraph key as opposed to other forms of communication, but the contrast between his futuristic graphics and the outdated tool for communicating definitely had me thinking for hours after the performance, and I’ve still yet to come to a conclusion. I know the performance was meant to make me think about the way we understand the reality of nature on an atomic scale based on the concept of superposition in quantum physics, but I couldn’t stop thinking about the evident contrast between the old and the new. I’m still not confident that I’ve come to a conclusion about the question Ikeda was posing or if I’m even supposed to come to a conclusion at all.
"by Taylor
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Becky,
I’m sorry but I have to disagree with you and the others who also commented that the loud noises were distracting and/or took away from the performance. I do agree that Ikeda’s loud, abnormal noises were uncomfortable, but I think that was the whole point.
By pushing the audience so far out of our comfort zone of what a performance usually is, Ikeda forced us to change our way of thinking. Without the jarring sound effects, I do not think we would have been as affected by his work.
If the performance had only been images it would have been marginally less effective, and more like other performances. In other words, I think Ikeda’s sound is unique, and cannot effectively be separated from his images.
Eliana
ASL,
I completely agree as well. I found the loud noises and lights incredibly off-putting and headache inducing. I guess these production choices did keep people alert, but I found them incredibly distracting. I wish I had been more able to be sucked into the work instead of alarmed and uncomfortable for the majority of the performance.
I completely agree that that information line was very thought provoking, but I found many of the others that discussed science and religion to be rather trite. I wish there was more complexity to the few words written on the screen. These were moments to really inspire the viewers, but they did not fully accomplish the level of wisdom of which they aspired.
"by Becky
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree with you, especially on the ringing ears and flashing lights. It was very loud, and the lights were excessive, especially at the end. However, I think this is the point that the performance was supposed to make. The concept of superposition is very complex, and the entire audience cannot possibly be expected to understand all the principles behind it. Therefore, a lot of audience members are going to be left very confused by the performance. The flashing lights and loud noise just add to this confusion.
Similarly, I also enjoyed the tuning fork section. I believe it provided a welcome break from the constant heavy noise and provided an easily accessible, yet still complex, representation of sound waves both in a audible and visual sense.
I am wondering if you gave any thought to how the quantum physics concept of superposition fits into this show? Like I said, everyone cannot be expected to fully understand the concept, but the brief explanation in the program provides some idea of the concept. For me, trying to find this within all the noise helped to to be more palatable. Personally, I think after just one experience with this type of music, you can’t judge all computer music, and I’ll give the genre another chance to prove itself.
This performance really demanded the audience’s attention. The deep bass at the beginning was a constant, uncomfortable ringing in my ears. The flashing lights forced me to avert my eyes at certain times and I was seriously worried about having a seizure. Personally, I did not understand nor enjoy this performance. I think I would have appreciated it more if I had known about the mathematics and the inspiration behind each part. For example, my favorite section was when the human performers were using the tuning forks, because I actually understood that they were causing the sound vibrations that correlated with the visuals. However, for most of the other sections, I did not know what the visuals meant or how the sounds were being made.
Despite my first impression, I do appreciate the hard work of the human performers. It takes a lot of concentration and coordination to type the Morse Code patterns. I also enjoyed the thought-provoking questions and comments that were being typed on the big screen. However, being on the balcony, the projects obstructed my view of the messages, so a lot of the time, I couldn’t comprehend the sentences.
Personally, I would never have thought that computer-generated visuals and sounds would be considered a “performance.” I also would never have gone to this performance if it hadn’t been required for a class. Since it was so different and out-of-the-box, I am glad that I was able to experience it, however, I do not believe I will be attending similar shows.
"by HE
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I believe your comment really captures the typical audience response for Ikeda’s work.
At its most superficial, the performance bombards the audience with a sensory overload of sound and light; such a blatant and relentless display comes off as offensive when a deeper purpose isn’t made clear. I think this is the jumbling of thoughts that you describe; while we are searching for a meaning, we only become more frustrated at the distractions and added stimulation on the stage.
I think, unlike most performances, the meaning and profoundness of Ikeda’s work comes entirely after-the-fact, and that is exactly what Ikeda wants. Much like you and your analysis of the performance, many people only begin to form coherent thoughts about the performance after they leave and are no longer pummeled by new input. In a sense, we would have been better off if we didn’t waste our time during the performance searching for answers and, instead, focused on taking in everything Ikeda had to offer. Perhaps this is what Ikeda meant to come across in his presentation; we get so distracted by our own thoughts during performances that we miss out on the objective performance itself.
In a way, then, I think your “zoning out” may have been the best way to appreciate such a performance.
A visceral and out of this world performance that you should experience once (and no more than once) in your life.
Did Superposition challenge my perceptions of art and the relationship between technology and the performer while at the same time providing philosophical underpinnings through the medium of collected data and physical sensations? Yes.
Did the performance make me feel physically unwell through a myriad of overwhelming physical sensations that ranged from the bombardment of high-pitched noises to flashing lights darting across the screen faster than the eye can follow? Also yes.
This was one of those strange nights where members of the audience both stood up and left twenty minutes into the show and gave a near standing ovation to a bowing Ikeda at the performance’s end. Never have I been apart of an experience so polarized. It was clear that while the audience left with a mixed sense of confusion and curiosity, the allure of Ikeda’s artistic rendering (performance?) was not only intriguing but respectable.
Sure, I could have used an explanation or maybe even a hint at the meaning of the piece, like how does the art and the science and the stage come together to create something more meaningful? Or why does Ikeda employ live performers when so much of the show is mechanized? Or perhaps even what the title Superposition has to do with the physics term “superposition”? To me, so much of the piece was confusing and perplexing and otherwise strange I had a difficult time un-jumbling my thoughts and putting an answer to those questions.
The performance, if anything, was strangely therapeutic to me. It was a trance-like experience of epic proportions, something of a hypnotists fever dream. At some point I became oddly distanced from the whole ordeal, zoned out if you will, becoming unthinking about a performance that asks you to think about thinking, and while I’m unsure about what that entails, it was certainly an experience to remember.
Did I enjoy my evening with Superposition? Not exactly, but the performance does compel and force you to talk about it, to question it, to think through it and perceive the world in a way never before done, and that’s a rare kind of magic, in both art and science.
"by Wilson
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree that when I tried to analyze this performance like I did for Medea or other performances we’ve seen this year, I was completely at a loss. I think it’s good for us students to experience something like this that can’t be so meticulously analyzed through close reading. At the same time, however, it did leave me anxious because I did not come up with a solid interpretation of this piece.
While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
"by Sarah
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Ning,
I definitely agree with your statement on looking for patterns. Throughout the performance, I kept trying to look for patterns or trends that I could follow to help me understand or interpret what was going on. Unfortunately I found many times that once I caught on to some inkling of a pattern, it would disappear back into chaos. I felt almost as if Ikeda was kind of teasing the audience by offering some bit of order that we could attempt to make sense of but then he completely obliterates that and we are once again lost. Although this was frustrating from the viewpoint of trying to enjoy the performance, if he was trying to point out that people should stop trying to find meaning in everything we perceive, it was a very effective.
Superposition is precisely about the “encounter of randomness and control” which was specifically mentioned by Ryoji Ikeda in his interview with Peter Weibel on July 31, 2012. Ikeda purposely creates randomness with an intention to distinguish its counterbalance. With this expectation already instilled in my mind, I was able to detect several nuances that changed my aesthetic view of digital art.
The first encounter of randomness, perhaps, was unpleasantly “shocking” for many people. I have to admit that I also experienced some unease by the white and black slides blasting relentlessly in high frequencies. However, I noticed something structured and organized, apart from this mosaic chaos. Effacing all the cacophonies from the electric shocks and heeded closely at the time-clicking sound at the background, I was able to see sinusoidal waves. They were delineated by black screens aligned at discrete positions at certain time increments. Like the phi phenomenon ascribing the path of a fast-moving flashlight to our cognitive activities, the waves seemed to stimulate similar responses in our brains. Suggestively, Ikeda wanted to underline the fact that our minds are prewired to search for patterns in random dynamics of nature.
Another conclusion I drew from this episode is the quantum theory of wave-particle dualism. In analogy to this concept, each screen represents particulate property of light; but when you see them as a collective body, its wave-like quality becomes readily perceivable.
If Ikeda was playing a slot machine with the blasting screens, he would never wait for his prize to happen by chance. Instead, he would rather take control over time and make sure every figures will align with one another at his discretion just like he demonstrated here.
If you are interested in the Ryogi Ikeda’s interview with Peter Weibel, here is a link that will direct you to the article adapted by UMS: http://www.umslobby.org/index.php/2014/10/artist-interview-ryoji-ikeda-creator-of-superposition-16077
"by Ning Kuo
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Hi Ty, I also really incredibly struggled to read and understand much of the text from the balcony, which was really unfortunate because Ikeda’s prowess emerges almost solely through visual artistry.
I would even go so far as to agree with you that those “dot patterns” looked like star patterns – in fact I would go even further to say that they represented galaxies, which presents a lot of ideas and interesting concepts to viewers, but beyond that know that you are not alone in your struggle.
Aside from the interlude of tuning forks and oscilloscopes, Ikeda seems to sprint through an hour and a half of material. I was in a position, in which I could read a fair amount of it, although my view was also obstructed as well, and information seemed to be thrown at you faster and faster, unfortunate because some of it seemed to be incredibly poetic and relevant. All of this is worsened by the fact that there is extremely little time to interpret the information and understand what you’re seeing and hearing.
Ikeda makes a solid performance and I was deeply impressed by many of the ideas that he does communicate as he pushes the bounds of modern expression, but I believe that not being able to acquiesce is just one of a lot of problems with this performance.
Excellent show!
I just cannot stop thinking about that intro. It was like the universe of digital media was being created before our very eyes—like the Big Bang except with binary defined the universe instead of physics.
The progression from the singular light blips to the grids to the three-dimensional digital landscape had given me great hopes for comparing the realm of the digital with our own world, especially with those grids that looked a lot like star patterns.
As it turned out, my expectations seemed a lot different from what Ikeda had to say . He lost me somewhere in the middle, though, and I had a hard time trying to sort out what was going on past the session with the Morse code.
From a technical perspective, I had a lot of trouble trying to pick up on all the text that was being presented. Sometimes it was difficult to follow the long strings of Morse, and at other times the text appeared and disappeared so fast that comprehension was impossible. At one point I also remember text that too small for me to read at all, but that was probably due to my distance from the stage. I also had the misfortune of sitting in a position that blocked my view of one of the screens with a speaker, making it even more difficult to pick up on all that Ikeda was trying to communicate. Has anyone else had a similar problem? (I was sitting in the mezzanine during the performance).
All of that aside, I found the performance quite beautiful and can honestly say that I quite enjoyed it.
"by Ty
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I was also anticipating a great explosion at the end. When the performance ended in silence, I was waiting for that moment when everyone begins to stand up and then suddenly the lights, pictures, and sounds come back full force. So when the lights were raised in the theater, I was very disappointed.
I, however, felt very different about the “sensory overload” in that I could not stop think or analyzing. I was driven to try to take in everything and find meaning in the piece, but that never happened. Thus, I left very dissatisfied.
Wow, what a performance. In the 19 years of my life never have I seen or experienced anything like this. Sitting in my seat up on the balcony, I felt all of my senses being attacked in ways they haven’t been before. The flashing lights and piercing sounds definitely forced me out of my comfort zone. I remember being legitimately worried that my eyes would get damaged. With that being said, I actually really enjoyed the performance. Sure, there were moments when I thought the visual and auditory stimulation were excessive. For instance, the seemingly never ending flashes of lights caused me physical discomfort. But overall, I really appreciated the show. I didn’t understand anything about it, but it was still one of the coolest things I have experienced by far. I personally loved it when the mechanic sounds crescendoed to an unbearable volume until instead of exploding like expected, everything went dead silent and pitch black. The sudden silence was deafening and I could feel the whole audience holding their breaths until something broke the silence. The overload of visual and auditory stimulation definitely made it difficult for me to form any coherent thoughts, which was actually kind of nice. It was refreshing to sit without thinking about anything and simply take in what is happening around me. If there was a theme or message to this performance, I missed it completely. This performance was meant to be chaotic and confusing, and it is totally okay to not understand it.
"by HK
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
This is a very nice comment. I really like the way your metacomment address the points that Maya presents in her initial comment. I agree with what you have to say, it was a very confusing show.
I agree with your analysis in that it was hard to see how all of the pieces fit together and as someone who likes to search for coherent themes and meanings this was very hard for me. That being said, I do think your enjoyment of Superposition hinges upon your perspective. As you mentioned, it is so easy to get lost in each segment and confuse yourself trying to put them together but really it seems like each part should be viewed as a separate installation that serves as examples of a broader concept. With this mindset I think we both could benefit from seeing the show a second time. All in all I think you did a nice job of summing up what we witnessed to someone who’s brain and ears are still a bit discombobulated after the performance so props to you.
"by Scott Tsangeos
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I strongly agree that the experience was torturous for me at times, but incredibly thought-provoking. Amidst all the cringing from visual and auditory overload, my thoughts were racing. I thought about things that I think were and weren’t related to what was happening in front of me, but I think that is a very powerful and important effect of a well-executed performance: to open up one’s mind and stimulate thoughts originating from the production, but then branching out to broader ideas. Even after the performance ended, certain images and phrases resonated in my mind and still prompt me to ponder vague yet profound questions that I think recurrently echo in many people’s minds. Lastly, I did not know what to make of the marbles, but your insight is intriguing and I think very sensical. I agree that we, as humans, try to quantify and analyze everything around us. But certain things, especially natural phenomena, cannot be fully explained or portrayed by our formulas and calculations and simulations.
My feelings on superposition are as mixed as the technicolored screens.
It felt like my senses were under attack; most of the time I plugged my ears and strategically opened and closed my eyes to avoid being visually insulted by screaming light. Was it really necessary to make it that loud?
Although the experience itself was like torture, it stimulated profound thought. What stuck with me and shaped my understanding was the message: “INFORMATIONISNOTKNOWLEDGE. INFORMATIONISTHERESOLUTIONOFUNCERTAINTY.” I loved the episode with the marbles because it showed that an infinite amount of data can be accumulated and manipulated, but it will never fully capture a natural phenomenon. Which should we say is more sophisticated: the simple yet chaotic incapturable phenomenon, or the ridiculously complex methods of describing it?
"by ASL
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I, too, found that Ryoji Ikeda’s show was confusing at times, often lacking a sense of direction. However, have you considered that maybe this was a conscious decision on Ikeda’s part? In this nonsensical design there could be meaning. Maybe Ikeda wanted to examine the dangers of data processing. He is saying that while most people think organizing everything into graphs and charts removes some of the chaos, in actuality it only adds to the incomprehension of the world.
I do not know specific dangers, but the idea of knowing EVERYTHING seems dangerous to me. Ikeda’s superposition makes note of the fact that there are limits to what kind of data can be collected, graphed, and analyzed. Yet, there are people in this world who crave to know everything. Look at Google, for example. The creators of Google want to know everything and they are trying their best to acquire such knowledge.
You were trying to find meaning in Ikeda’s work of art. Maybe the meaning is hidden amongst the mess.
Entering the performance I believed I had a general idea of what I was about to experience, but what you watch on a computer screen compared to what you watch live is always usually completely different. The visual and audio stimulation kept you on edge and forced you to focus on everything that was happening on stage. The loud sharp noises made you feel uneasy and the jolts of flashing lights made your eyes feel unbelievably uncomfortable. At some point the sounds became too harsh and obnoxious in a way that it became distasteful and difficult to enjoy.
"This stimulation was chaotic, and for most of the time it was somewhat hard to comprehend what was happening. It made me question if there was supposed to be a meaning or theme for this performance. I didn’t know how to comprehend the it because to me it lacked a sense in direction. The entire experience was orderly components that were forced together in an attempt to create a coherent performance, which instead resulted in a hectic assortment that never lined up. Some of the phrases that were typed on the screen were ambiguous and made very little sense and the transitioning from topics, such as science to religion, were difficult to follow and understand.
But I was still overall incredibly impressed by the fusion of music, science, and technology. It was a modern style that makes the world of live performance unique. What most might not consider music is different for these two performers on stage with classical music backgrounds. The application of live performers gave the performance a different vibe, because it allowed us as the audience to connect with the performance. Technology and humans are on two different levels and the human manipulation of technology shows that these two levels are constantly impacting each other in some way shape or form. When the performers were not present on stage the lights and sounds became more disorganized, and when the performers were present, the stimulation became more balanced and coherent.
by Uriel
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
SUPERPOSITION
I was excited when I heard about this new techno-musical experience Superposition, inspired by Quantum Mechanics. For a physics-lover like me, the notion was certainly intriguing, and I kept wondering how the weirdness of nature would show up in the performance.
NATURE
First, though, let me emphasize: Nature’s _really_ weird!
It’s like she’s playing freeze tag, and we’re it: we hear electrons messing around behind our backs — climbing across insurmountable fences, forgetting to obey gravity and whatnot — but when we whip around to catch them in the act, they’re all standing politely, all well-behaved!
SUPERPOSITION
Superposition attempted to capture this mischievous character of nature, this hiddenness, in everything from its scrambled text to the position of its human performers unseen in the dark — then suddenly revealed in a blinding flash of light! Yes! While the things revealed were not consistently uncertain (e.g. the text: it would’ve been cool if each flash had revealed different text.), I felt the dark/light structure worked well to keep me engaged.
Indeed, as in a traditional narrative, this device of suspense and revelation kept the observer’s attention — but here is a suspense distilled away of goals and of objective meaning: here is a residue of merely _informational_ surprise!
Mere? No! Superposition emphasized that information is not mere; on the contrary, I view Superposition, in its stimulus-overload of sights and sounds, as a celebration of raw data, of light after darkness! To quote from Ikeda’s text, then: “Information is not knowledge; it is the resolution of uncertainty,”
NATURE
So we don’t know what we’ll see until we look. But it gets even worse, for nature herself doesn’t know either!
There’s a story about a king, surrounded by a horde of advisors on the barbarian threat, one urging him to wage war, another suggesting he pay their ransom, one promoting the construction of a massive wall, another recommending a shrewdly-timed Caribbean vacation, and so on, who, flustered by indecision, has ‘em all beheaded, and does nothing.
Likewise is reality pulled from all directions by interfering possibilities. And sometimes, these possibilities cancel. Sometimes, if you give an electron more ways to get somewhere, it won’t get there at all!
SUPERPOSITION
Interference. Now, to me, that’s the essence of quantum mechanics, so I was disappointed not to find much exploration of the idea in Superposition. Yes, we could sometimes hear interference between the music’s sound waves. And yes, elements of the performance were superposed in many ways — but where was the interference _between_ those elements, the mixing, the essential cancellations and enhancements of reality?
Of course, to represent interference in our classical, highly-observed macro-world would be a great challenge. But that was precisely the challenge I hoped to see tackled in Superposition. For without interference, the performance simply becomes about probability — about uncertainty, measurement, and freeze tag. But classical mechanics, too, effectively plays that game: even without quantum uncertainty, for instance, there’s no way we can keep track of all ten trillion trillion molecules in a glass of water!
UNCERTAINTY
Before the performance, I indulged in speculation over whether and how interference would play a role. If a spork is a superposition of fork and spoon — collapsed by the foodstuff it interacts with — then might two different sporks interfere to become pure forks? Perhaps our two performers would have dinner on their IBM punch-cards, rotating their utensils to emphasize different ends of the fork-spoon duality, tapping out a beat as they synchronized and unsynchronized their forkfulness. . .
Or perhaps, more abstractly, the music’s chords would be left unresolved, suggesting a whole distribution of continuations, only to have multiple such distributions eventually interfere, resulting in a richly-developed resumption of the music? . . .
MEASUREMENT
Well, before I speculated, but now I’ve made my measurement. And I’m sad to report that Superposition was, on the whole, an intellectual disappointment.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Ben, I agree with your perspective on religion, science, and mathematics as human attempts to make sense of the unknown, and I have something to add on the concept of the performance as a “pure experience.” Although paradoxical, my initial thought was that the intense visual and auditory stimuli was simultaneously nonsensical and transcendent. It is similar to the way humans attempt to organize what they do not know, and the discomfort many of the audience members felt seemed to me the same discomfort we have with what we cannot comprehend.
I was exhilarated by Ryoji Ikeda’s superposition. Having walked into the Power Center not knowing exactly what to expect, I left the performance awestruck and enamored by the dazzling display of images, lights, sounds, and the actors’ interaction with technology. This reaction was one that did not seem to be shared by the majority of my classmates. One aspect of this piece which I found fascinating was its exploration of the relationship between order and chaos. This was evident from the very beginning when points were being plotted on a graph. At first, this occurred slowly: each point plotted was easily distinguished by sight as well as by sound (with its accompanying “beep”). The rate at which points were being plotted as well as the number of graphs eventually began to increase. The sound crescendoed, the visuals became overwhelming, and apparent chaos ensued; however, the audience knew that this apparent randomness came from the highly ordered plotting of Cartesian coordinates. Later in the piece, the opposite of this chaos-from-order occurred: the apparent randomness of rolling marbles was superimposed with calculated graphs of their distance from a central point and relative angles. This could be interpreted as an attempt to derive highly logical, calculable, mathematical meaning from a disorderly incident. Ultimately, I saw superposition as a criticism of humanity’s constant attempt to mediate the world to make it more intelligible. Religion, science, and mathematics are all artificial frames created to resolve fear of unknowability. The visual and auditory assaults throughout superposition force the audience to have a pure experience – sheer intensity, no mediation.
"by Ben Iuliano
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Josh,
I understand your position, and I agree that there should have been a more public announcement about the visual and sonic effects used. There were notes taped to all the doors that people went in, but I think we can all agree that those are easy to miss, especially in a large group of people. That being said I disagree with your point that this performance was flashy and loud simply for the sake of it. This performance, as stated in a portion of the program written by Ryoji Ikeda, was designed to communicate the idea of quantum superposition, which is complex and overwhelming. So the volume and the lights were necessary to communicate the point. And I think you’re right, it did alienate people, but I also think that that was Ryoji’s intention. So in that, I feel that the decisions were justified.
I completely agree. This performance seemed to be flashy and loud simply for the sake of being flashy and loud. I also agree that we should have been notified of how intense the display would be. I’m just glad that no one – to my knowledge – had any extremely adverse reactions. I understand that the performers may not have wanted the show to start with a warning of potential seizures or something like that, but I think it’s a small price to pay for safety. When an artist puts out a work such as this that alienates so many – either from its sheer abstractness or hazardous conditions – one has to wonder whether they’re putting on the performance for the audience or for him or herself. I’m sure it all made sense in Mr. Ikeda’s mind, but certainly not in mine or in the minds of everyone I’ve talked to about it.
"by Josh
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree with your analysis! The human performers were absolutely essential—without them, I think the audience would have been too quick to deem the piece unapproachable or too detached. Adding that human presence almost forced us to find something to connect with.
Ryoji Ikeda’s work was overwhelming, disorienting, even at times anxiety-producing. This probably turned off many viewers. But what better way to represent mass data and modern technology and science? The modern world is disorienting to say the least, particularly when it comes to the ever-expanding tech world. To Superposition’s detractors, I can only say that every emotion I felt during the performance, every confused thought or feeling of bafflement, was only a heightened version of those experienced when confronted with the bewildering, awe-inspiring world of contemporary science.
"And yet there was structure to Ikeda’s chaos. He did not create the hectic, mind-boggling moments of the performance to reflect modern science without comment. The more “peaceful” intervals of the piece served to illustrate the connections and overlaps between man and big data. While Superposition begins and ends with the all-consuming presence of data—the screens filled with numbers and images incomprehensible to the average viewer, waves of impersonal tech sound coming at the audience from all directions—but the human element is essential to the show, and made a huge impact on my experience. Ikeda is not placing man and machine (or data) on opposite poles, struggling against each other. The human “performers” are placed in the midst of the levels of technological visual representation, playing with various ways of manipulating the technology that surrounds them. Neither man nor machine is supposed to win, that’s beside the point. The human presence, at least for me, made sense of the staggering crush of information and representation that the show contained.
Superposition brought up dozens of fledgling thoughts lodged in the back of my mind, and articulated them in more engaging, challenging way than I would have thought possible. This wasn’t a performance intended to be easy to understand, or perhaps even to like (many reacted strongly to strobe-type lighting and the technological, often ear-splitting noise). But for me, it was one of the most unique, revelatory, and genuinely enthralling events I’ve ever experienced.
by Merin
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I like that you mentioned how you felt the vibrations of the notes. It adds another “feeling” dimension to what most people are categorizing as an auditory and visual experience.
Blinding white light, a trembling theater, and the fear rushing into my body, all these things and more were what I felt at Ryoji Ikeda’s Superposition. This performance was beyond complicated and very different from anything I have seen before, but it was not something I can truly claim to have understood. For me, Superposition did not convey a deeper meaning nor enlighten me to anything, but rather serve to stir two very primal emotions, fear and wonderment.
The whole production began with a deep bass note flooding the theater. This bass note was a reoccurring sound and each time it played I could feel my seat and vocal cords vibrating along. This unnatural and intense feeling was the first thing that instilled a sort of fear in my body. The high-pitched note that followed and also continued throughout the production cause my ears pain, once again causing fear. The sudden and rapid flashing of bright white lights on the screen also continued to play with my fear. The entire performance was filled with this music and lighting whose main purpose seemed to be to make me afraid.
Despite the many moments that caused me fear, there were also moments of pure beauty and wonderment in this performance. In these scenes calmer music or no music was playing. The two scenes that most vividly caused my wonderment were the shots of nature with the questions and answers, such as “What is love? Never ask” and “What is peace? Never answered,” and the moment when they were tones played and we watched the sound waves. Unlike the other scenes these ones fed on my emotion of wonderment. In these moments, I felt more of a connection with the performance and felt there was more of a philosophical tone.
Overall, I cannot conclude whether I liked this performance or not, or if it was good or not. There are too many questions left unanswered for me and I didn’t take enough away to feel like I gained something from seeing this performance. All I can definitely say is that Ikeda caused the arousal of two emotions without too many words.
"by Bianca Winward
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
That line also lingers in my memory! I found the text very thought provoking and intellectually challenging, and I have to agree the sensory stimulation was very intense. I saw many people covering their ears during the performance.
I also find it interesting how a performance that I enjoyed failed to impress many others; I have heard responses deprecating the sound qualities as “unimpressive” and the performance as confusing.
Personally, I felt the obligation to endure any sensory discomfort that I felt during the performance. I almost felt as if I owed something to the performance.
“What is love? Never ask. What is peace? Never answered.” This is the line that lingered most vividly in my mind after watching the performance. The concise and pointed dichotomy of the two phrases is probably what caught my attention. However, these paired questions tempted me to extend the ideas behind them to the greater meaning of “Superposition.” But as several other commenters have noted, this performance does not aim to convey a single meaning that can be articulated into a neat package of two or so phrases. To be honest, I don’t know what “the point” of the performance was. Intense, and at times overwhelming, auditory and visual stimulation? If so, then it succeeded. But if its goal was to express a particularly profound and thought-provoking message, then maybe it could be considered a success to some people, but I’m not sure it can for myself.
"by Lily Seo
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Similar to you, I had a difficult time determining what exactly it was I was supposed to take away from “Superposition.” The lack of definite patterns as to what was occurring on the screens made it challenging to understand what was going on at any given moment. I also sympathize with the trouble you had in interpreting the stimulus of the show. However, after some further contemplation, I came to the realization that perhaps something that I could take away from the show was the idea that the difficulty in interpreting it was an intentional side effect of what occurred. Perhaps the simultaneous presentation of an assortment of concepts and subjects made this performance “superposition” or “two things in literally the same place at the same exact time.”
My opinion on philosophy is ambivalent – although I thoroughly enjoy provocative questions, I am unsatisfied with the indefinite conclusion. Ryoji Ikeda’s Superposition explores the idea of nature and physics in a universal scope through the unique combination of technology and live performance, but this concept left me bewildered and disappointed with its anticlimactic, inconclusive answer that matches its philosophical roots.
My class had the pleasure of having the two performers Stephane Garin and Amelie Grould to discuss their experiences, and I learned that they were musicians, so going into the show I was anticipating a message to be conveyed through sound. However, immediately after the performance started, I knew I would not enjoy it – the loud buzzing in the background combined with the beeping and bright lights was a painful experience, and any nuance the music was supposed to carry was lost to me.
I thought the show did an excellent job utilizing the two larger screens to juxtapose ideas; the arguments between science and religion were well done. I also I enjoyed its spontaneity.
Although math was integrated into the show, it was anything but formulaic. The screens were erratic, which made it difficult to predict the next direction this show would take. This kept my attention as I tried desperately to process what was being displayed on the multiple screens. However, this was also something that I found distracting and frustrating. The screens flashed by at a rapid pace, so I had trouble perceiving the stimulus of the show, much less interpreting it.
Although I appreciate this venture into contemplative questioning in art form, it was not something I enjoyed. I found the performance disorienting and it wasn’t as mentally stimulating as I had hoped it would be.
"by Angela
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I thought the performance was truly spectacular! Watching the performance reminded me of being in a planetarium where all the images move around you. You are simultaneously in awe and feel small, while feeling quite transcendent. A lot of the performance was accompanied by celestial white noise, which I enjoyed.
Surprisingly, one of the most stimulating features for me was the text on the right and left sides of the screen. The sentence structure and text were often very similar, however the meanings both complemented and contradicted each other. I viewed the text almost as lyrics to a song, which seemed most appropriate, as the two performers used their telegraphic contraptions as voice boxes to “sing” the text on the screen. I felt as if it were very important for there to be both a male and female performer on the stage. The performers tapping and the background sound were both very succinct and simplistic in their tonal qualities, although sometimes I felt as if the visual and auditory stimuli combined were meant to overwhelm the audience. There were times in the performance when I felt uncomfortable with the stimuli and was compelled to close my eyes or cover my ears. That would be appropriate in light of the performance’s deep involvement with the concepts of universality, beauty, humanity, and art and science. I think Ikeda wanted to convey the discomfort we have with grand universal truths through this overwhelming stimulus and discomfort, but it is just a thought.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
“Superposition” or Superconfusion
It is possible that I have never enjoyed myself less than I did last night, 8:00pm, Power Center. Sitting in that freezing auditorium, my head pounding, the white noise reverberating off the walls as incoherent images of sinusoidal lines wriggled across an effervescent screen. Terrified, I sat shaking both from the cold and from the fear of what was coming. The ever-present thought running through my mind was “How could anybody actually be enjoying this?”
In collecting my thoughts on “Superposition,” I will split the performance up into the five most memorable parts for me. The first part is titled “Scare You to Death with Flashing Lights,” which is somewhat self-explanatory. During the majority of this portion, my face was partially covered by my scarf as I anticipated the next burst of light to explode. I transitioned between holding the scarf over my eyes and plugging my ears as the loud “dog whistle” beeps pierced the air. Beep, Flash, Beep, Flash in continuum for what seemed like eternity.
The second part is titled “MRI.” During this section I felt myself moving through the giant cylindrical machine surrounded by mechanical jackhammers and ear splitting high-toned beeps. I was paralyzed in my seat just as I was paralyzed in that horrible machine, the waves of light travelling across the screen just as the waves of radiation technology had created a visual representation of my neural activity.
The third part is titled “Confusing Newspaper Images.” Honestly, this section seemed entirely random and misplaced amongst the others. What exactly was the significance of these images? And why was “ The Start” so recent in human history? This section transgressed into the crossword puzzle section, during which the performers scribbled out letters and numbers on long sheets of random data sets. At this point in the performance, I stopped attempting to grasp what the artist was trying to communicate and succumbed to complete confusion.
The fourth section is titled “Marbles” and the fifth is titled “Apocalypse.” The former involved the performers sprawling out the marbles and the computer targeting their positions. The targets created the image that transferred into the finale. Floating around between the different hypothetical spheres of quantum physics was somewhat of a relief. There weren’t as many loud noises, and before it was dragged out for far too long, it was actually somewhat intriguing. Of course, the floating dots got old pretty quickly, but once again I was awoken by violent snaps of light configured into geometric 3D forms. The spheres were converging and the universe was breaking apart. I have never been happier for the end of the world, because it meant my headache would soon be over, and “Superposition” would come to a close.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I completely agree with you about appreciating the quieter scenes more because we were not being bombarded with the stress inducing noise and flashes. I also was asking myself what the point of this performance was, and I am still unable to quite grasp it. It is an interesting idea of yours that you say humans crave a theme, because I too believe that to be true. However, I do think Ikeda had a specific goal or theme and we were just unable to figure it out.
Confusion, intimidation, and pain swirled though my mind as I exited the Power Center. I respect Ikeda’s ingenuity, as he layers music, visual stimulation, and live actors to both confuse and draw out thought from his audiences, but why does he have to do so while blasting eardrums and damaging eye retinas? In fact, the parts with these dramatic effects were the most confusing and the least thought provoking (i.e. the beginning and the end). I found the parts such as the typing with scenic backgrounds (“What is love..?” “What is matter. Never Mind”) and the newspaper scene the most interesting because my mind was not constantly being hammered with screeches and strobe lights. This allowed me to ponder the meaning behind these scenes as they were performed. The details of both the sound and visual effects were more apparent because I was not constantly plugging my ears and squinting my eyes in fear.
Throughout the performance, I was constantly asking myself what the overarching theme was. What was Ikeda’s message for Superposition? Was it about the layering of different sensual variables, or is he comparing the human versus the computer. But then I thought, what if there is no real overarching meaning? What if Ikeda wants to prove to his audience that human’s have an irrational craving to create patterns and themes for artistic expression? What if there is no real meaning, just random scenes and words put on a screen, yet we humans cannot but help to brand this performance with some type of class or genre? Just wondering if anyone felt the same way.
"by Krsna Kothari
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I never thought about the performance in this way. Now that you point out the relationship between chaos and order, I see the performance in an entirely new way! The performance placed a heavy emphasis on the difference between chaos and order in the various visual elements. By constantly switches between the two, Ikeda was able to accurately illustrate how order can so quickly become immense chaos and disorder. This comparison of chaos and order was particularly evident during the scene with the several round beads that rolled across the projector. At first there was a few beads and soon enough there were too many to count. The scene began calm and almost soothing, but soon grew to become chaotic and quite overwhelming.
I was exhilarated by Ryoji Ikeda’s superposition. Having walked into the Power Center not knowing exactly what to expect, I left the performance awestruck and enamored by the dazzling display of images, lights, sounds, and the actors’ interaction with technology. This reaction was one that did not seem to be shared by the majority of my classmates. One aspect of this piece which I found fascinating was its exploration of the relationship between order and chaos. This was evident from the very beginning when points were being plotted on a graph. At first, this occurred slowly: each point plotted was easily distinguished by sight as well as by sound (with its accompanying “beep”). The rate at which points were being plotted as well as the number of graphs eventually began to increase. The sound crescendoed, the visuals became overwhelming, and apparent chaos ensued; however, the audience knew that this apparent randomness came from the highly ordered plotting of Cartesian coordinates. Later in the piece, the opposite of this chaos-from-order occurred: the apparent randomness of rolling marbles was superimposed with calculated graphs of their distance from a central point and relative angles. This could be interpreted as an attempt to derive highly logical, calculable, mathematical meaning from a disorderly incident. Ultimately, I saw superposition as a criticism of humanity’s constant attempt to mediate the world to make it more intelligible. Religion, science, and mathematics are all artificial frames created to resolve fear of unknowability. The visual and auditory assaults throughout superposition force the audience to have a pure experience – sheer intensity, no mediation.
"by Ben Iuliano
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Your commentary on the performance regarding it’s balance of science and music is very unique and refreshing. I think the idea of music and science being intertwined is a valid one; after all, music is simply just a lovely production of sound waves. The gray area between artistry and scientific thought may not be as large as we typically perceive it to be then?
Ryoji Ikeda’s “Superposition” is defined by the dictionary as the “overlapping of waves.” In the most basic sense, this is certainly true. However, the waves this performance is concerned with are not those of displayed on the screen, but rather the clashing of two seemingly different disciplines: science and music.
Science is universally understood to be a formulaic discipline. There are laws that must be followed and equations that must be used, leaving little room for interpretation. Music, on the other hand, lends itself to more diverse interpretation. Each musician can communicate a unique message to his or her audience as they sit enraptured by the sound. “Superposition” draws upon both of these elements.
There is no denying the formulaic element of the performance before our eyes. The catalysts for much of the noise, the two humans, sit motionless as they surgically tap rhythm after rhythm. After each tap, waves appear on the large screen behind them, overlapping each other as they run from both sides of the monitor. Graphs and charts flash quickly before our eyes, followed by more pictures.
At the same time, we are aware of the musicality of the performance: the ever-present metronomic beeping in the background, the Dubstep-esque finale that blinds both our eyes and our ears, and the noises in general that are impossible to ignore.
“Superposition” is not only speaking of the overlapping waves that the two performers on stage are creating with their endless tapping, it is asking us to look even broader at the overlapping waves of music and science. It forces us to consider sound from a different perspective. The sounds on the stage, particularly the beeping from the data input, can be heard in many variations in our everyday life. How much music do we fail to acknowledge everyday and how much music do we unwittingly create?
"by Chris
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree with you Allison. I was taken aback by the beginning of the performance. Now I understand why there were signs in the theater’s lobby offering locations to pick up ear plugs! I also began to lose interest in the plotting of dots after a couple minutes. I tried to read the numbers on the smaller screens during the introduction, but it was difficult to discern anything from a balcony seat.
The morse code portion was my favorite aspect of the performance. I had difficulty following the decoded messages, because of the lack of spaces between words, so I enjoyed the contrasting messages when spaces were used. I was especially intrigued by the messages comparing religion and science. Religion, which lacks concrete evidence and precision in favor of faith, contrasts the technological and mechanical aspects of the performance.
I personally would not see the performance again, but I am glad I was able to experience something outside my comfort zone.
Are you familiar with the intense alertness you experience when entering and experiencing a haunted house? This was my exact reaction during the entirety of Superposition. The very minute in which the performance began, I shot out of my seat because the loud, sudden noises took me by surprise. Not knowing what to expect whatsoever from Superposition, I first watched the plotting of dots on the graph with enthusiasm. Yet, what I did not know was that very loud, ear-splitting noises were soon to follow. Having understood how the rest of the performance was to go, though, I prepared myself for whatever was going to occur. Also, the plotting of the dots was the attention of this production for far too long in the beginning. I lost interest after about 10 minutes of just plotting dots, loud noises, and strobe lights. Something else I was also concerned about was there a disclaimer anywhere that warned people who are prone to epilepsies not to come? I honestly did not see one anywhere.
Contrasting from my negative ideas about the performance, I actually did enjoy the use of Morse code and the graphical representation of sound waves. The decoded messages typed out onto the large screen were really interesting. Their meanings were quite quizzical and stimulating, and anticipation was built up while the actors were decoding these messages that really drew me further into the performance. My favorite messages typed out were the ones that contrasted two similar-looking sentences to one another that revealed a different meaning in each. The sound waves experiment was extremely interesting at first, but I think it went on for far too long. It was so relaxing to listen to that I, honestly, almost fell asleep but was abruptly woken up by the extremely loud, sudden noises that followed.
Overall, I thought the performance was overly stimulating and interesting to watch. I personally do not think I would go to see it again because it gave me a headache with the flashing lights and the excruciatingly loud noises.
"by Allison Surma
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
It’s a genre alright.
The label Ikeda is currently on, raster-noton, is one of the main purveyors of the genre, which often does lean into IDM (moreso than EDM, though the distinction is a very thin one).
Mika Vainio is another high profile (and more prolific) artist in this genre, which has been around for about 30 years at this point.
Not sure what this page will do when I post a link, but here’s one for raster-noton:
http://www.raster-noton.net/
I like what you did here with comparing Superposition to a progressive EDM concert. They are very similar, especially in terms of the loud bass, the visuals, and even some of the musical structure. I do think it would take an advanced listener to find commonplace enjoyment in this kind of experimental, arhythmic “music” however (especially if it were to be coupled with the intense visuals and bass every single time). I agree with your claim this this may become a genre in the future, that is, if it already hasn’t become one yet. I think it is interesting that people can make music out of virtually anything. In this case, even the simplest of sounds were engineered into a complex soundtrack. You also bring up a good point about how people would miss the vibing-out aspect of the performance if they were to have watched a recording of it for instance. I feel like this is especially true of most concerts that involve any kind of music now-a-days since much of our music is so bass-heavy. Interesting you picked up on these connections!
Jordan
"by Jordan
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Andy,
I agree that
Before the performance, I had a chance to briefly educate myself on what quantum superposition was and why it might be difficult to illustrate as a real-life phenomenon. Although this helped me connect the images you described as “epileptic” to the riddle of the physics phenomenon, I (and apparently many others) agree that I was left unsatisfied trying to define the performance’s message or meaning.
I don’t think this is due to an incapacity to think abstractly enough, like you suggested. Rather, the ideas that Superposition attempted to illustrate are highly complex, and I’m guessing one has to appreciate how difficult they are to convey through language before sitting down for a alternative-medium experience like this. As such, while I laud your statement that one must be careful not to confuse uniqueness with ingenuity, I also believe many of us students who are conditioned to finding the meaning in a work must appreciate the fact that we might not be able to appreciate the ingenuity and risks taken in Superposition.
Ikeda’s “Superposition” was anything but super. I normally attempt to find the silver linings of even the most unenjoyable of performances, but simply put on Saturday evening I was unable to find anything of substance to take away from this “performance.”
As far as I’m concerned, what I witnessed was not much more than a cacophony of jarring noises coupled with dizzying graphics and occasional lines of text that were meant to induce thought but that were in reality irrelevant. I was at times legitimately concerned for the wellbeing of my ears (I would rather have listened to a fire alarm) and found myself continuously wondering if this performance would be the cause of my first epileptic seizure (it must be mandated that a warning be put on the ticket). While I concede that I have never viewed anything like that of Ikeda’s “Superposition” and that I might when feeling generous even describe the spectacle as “cool,” I am not so sure that an hour of such novelty without a real pointed direction is in this case a good thing. One must be very careful to not mistake uniqueness for ingenuity. I searched all hour for an “Aha!” moment, one that would give the performance a sliver of meaning, but found myself sitting empty-handed and in the dark at the conclusion of the show.
Perhaps I am simply just not an abstract-enough thinker, but I had a difficult time gleaning significance from any part of “Superposition” – though the theme of infinity was very prominent and the representations of big data and technology very obvious, I realized I kept asking “So what?” Anyone can repeatedly dot a black background with white spots and display fluctuating numbers in scientific notation as Ikeda did. These were familiar images to me, and I could not derive any new meaning. The performance did not introduce to me any notions that I had not already been aware of – where was the enlightenment?
My only hope and potential consolation is that perhaps a performance of this nature cannot be sufficiently analyzed in such explicit terms. If I had the opportunity to redo my Saturday evening, I would rather invest my time in learning actual concepts in the fields of quantum physics or big data – not in this disappointing attempt at representing these subjects.
"by Andy
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I like what you did here with comparing Superposition to a progressive EDM concert. They are very similar, especially in terms of the loud bass, the visuals, and even some of the musical structure. I do think it would take an advanced listener to find commonplace enjoyment in this kind of experimental, arhythmic “music” however (especially if it were to be coupled with the intense visuals and bass every single time). I agree with your claim this this may become a genre in the future, that is, if it already hasn’t become one yet. I think it is interesting that people can make music out of virtually anything. In this case, even the simplest of sounds were engineered into a complex soundtrack. You also bring up a good point about how people would miss the vibing-out aspect of the performance if they were to have watched a recording of it for instance. I feel like this is especially true of most concerts that involve any kind of music now-a-days since much of our music is so bass-heavy. Interesting you picked up on these connections!
Jordan
The first words I said after watching Ryoji Ikeda’s Superposition was “…..What did I just watch…”
Maybe it was the spirit of Halloween weekend, but the very beginning of the performance scared me. It sounded like the soundtrack to a horror movie. The sudden bursts of white light and static were very jump-scare-esque. As the performance progressed, I couldn’t help but notice its similarity to EDM (electronic dance music) and their well known concerts. They had the flashing lights and the build, pause, and drop structure of most EDM. But since the sounds created by Ikeda were all found naturally in the world, it made me think of it as an almost “organic brand” of music. And since the performance definitely had a science fiction quality to it. I wouldn’t doubt it if, in the future, this “organic” EDM like music was a genre. However, I did notice the male actor tapping his foot to a steady rhythm, so maybe the sounds created by the Morse code was not entirely “organic” but manipulated.
"The bass was also very good at the Power Center. I was sitting in the balcony in the far left and could still feel the vibrations deep inside my bones. In one of my classes, we have been discussing why people pay huge amounts of money to watch a performance versus watch a recording on Youtube for free. If I watched a recording of “Superposition”, I would definitely have missed out on the all lights and images that filled the entire auditorium and the vibrations of the music. I think people go pay money for live concerts to “vibe-out”, or literally feel the vibrations from the music and attitudes of the venue/other people.
by Susanna
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I completely agree with every argument made here.
The performance may have introduced a new and original perspective on the relationship between life and technology, but I was so physically uncomfortable I couldn’t bring myself to look into it.
And yes, Ikeda could have made it a bit easier for his audience to understand his point of view. Some lucky viewers may have easily been able to understand exactly what he was trying to convey, but for many of us, it was just too difficult to relate the lights and sounds and images to something beyond them.
A visceral and out of this world performance that you should experience once (and no more than once) in your life.
Did Superposition challenge my perceptions of art and the relationship between technology and the performer while at the same time providing philosophical underpinnings through the medium of collected data and physical sensations? Yes.
Did the performance make me feel physically unwell through a myriad of overwhelming physical sensations that ranged from the bombardment of high-pitched noises to flashing lights darting across the screen faster than the eye can follow? Also yes.
This was one of those strange nights where members of the audience both stood up and left twenty minutes into the show and gave a near standing ovation to a bowing Ikeda at the performance’s end. Never have I been apart of an experience so polarized. It was clear that while the audience left with a mixed sense of confusion and curiosity, the allure of Ikeda’s artistic rendering (performance?) was not only intriguing but respectable.
Sure, I could have used an explanation or maybe even a hint at the meaning of the piece, like how does the art and the science and the stage come together to create something more meaningful? Or why does Ikeda employ live performers when so much of the show is mechanized? Or perhaps even what the title Superposition has to do with the physics term “superposition”? To me, so much of the piece was confusing and perplexing and otherwise strange I had a difficult time un-jumbling my thoughts and putting an answer to those questions.
The performance, if anything, was strangely therapeutic to me. It was a trance-like experience of epic proportions, something of a hypnotists fever dream. At some point I became oddly distanced from the whole ordeal, zoned out if you will, becoming unthinking about a performance that asks you to think about thinking, and while I’m unsure about what that entails, it was certainly an experience to remember.
Did I enjoy my evening with Superposition? Not exactly, but the performance does compel and force you to talk about it, to question it, to think through it and perceive the world in a way never before done, and that’s a rare kind of magic, in both art and science.
"by Wilson
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I thought it was nice to be able to visualize some of the abstractions found in nature and physics, and I personally found Ryoji Ikeda’s “Superposition” highly stimulating and thought provoking. Ryoji takes the audience on a unique trip – at times I felt like I was inside a computer watching raw data fly by, while at others I was sitting at the edge of the universe watching a supernova turn into a black hole. He does a fine job incorporating all of these different elements into the performance.
I found that the performance allowed me to enter a sort of melodic trance of abstract thought and introspection. There was never a time when my mind was not preoccupied – my senses were constantly being stimulated. Though at times, there were a few moments in the performance that were overly stimulating, and I felt that my sensory perception was being put to the limit. The migraine inducing flashing and the loud, continuous tonal sounds were somewhat disconcerting, as I feel many other people would agree.
The performance does a good job visually representing, for example, the superimposed images of the sine waves and the quantum mechanical aspects of superposition. At some of these points I felt that there was so much stimulation that there was no possible way for me to pick up on every detail – is it possible Ryoji incorporated this on purpose to add another layer of “superposition”? Likewise, I feel like the title does a good job describing how everyone has his or her own, unique “takeaway” from the performance, as well as the notion that the true meaning of the performance is still to be determined.
Superposition as an art form is rather novel and contemporary. Even with its moments of discomfort, I felt the performance was worthwhile and enjoyable.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Excellent show!
I just cannot stop thinking about that intro. It was like the universe of digital media was being created before our very eyes—like the Big Bang except with binary defined the universe instead of physics.
The progression from the singular light blips to the grids to the three-dimensional digital landscape had given me great hopes for comparing the realm of the digital with our own world, especially with those grids that looked a lot like star patterns.
As it turned out, my expectations seemed a lot different from what Ikeda had to say . He lost me somewhere in the middle, though, and I had a hard time trying to sort out what was going on past the session with the Morse code.
From a technical perspective, I had a lot of trouble trying to pick up on all the text that was being presented. Sometimes it was difficult to follow the long strings of Morse, and at other times the text appeared and disappeared so fast that comprehension was impossible. At one point I also remember text that too small for me to read at all, but that was probably due to my distance from the stage. I also had the misfortune of sitting in a position that blocked my view of one of the screens with a speaker, making it even more difficult to pick up on all that Ikeda was trying to communicate. Has anyone else had a similar problem? (I was sitting in the mezzanine during the performance).
All of that aside, I found the performance quite beautiful and can honestly say that I quite enjoyed it.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I’m glad someone else was terrified by this performance. I talked to some of my friends who also saw superposition and a lot of us experienced a very physical and visceral reaction (i.e. sweating, heavy breathing). I think what terrified me the most was the apparent chaos of the performance. At times it felt like everything was falling apart and I honestly felt like I was witnessing the end of the universe. I agree with your belief that this is the intention of art: to push boundaries and help us to see the world in a different way. Superposition definitely accomplished this goal.
When the lights went out at Power Center this Saturday a little after 8pm, my heart began to race. And, if I am being honest, my palms were sweating. Why would I react like this? I’ve been to tons of performances; musicals, concerts, plays, uncomfortable drunken songs from my grandpa, but I have never felt nervous before any of those performances began. In the moment after the auditorium went dark and before Ryoji Ikeda’s screens turned on I knew the answer. I had never been to a performance like Ikeda’s Superposition and I was afraid. It turned out I had good reason to be. Superposition scared me because it forced me to think about the world in a way I had never fathomed before. I believe that is the purpose of art. To me, Superposition was not just a statement about the movement towards quantum mechanics, and I don’t think Ikeda intended it to be. It really made me think about the whole world, about how everything is infinitely happening and changing and it is almost impossible for people to understand, and yet because life is so mysterious that is why it is worth living; so we can chase the mystery, and move forward in our limited understanding. Ikeda’s work does not set out to answer all of life’s questions, because that would just be impossible. His screens and flashing images and non-traditional music place the questions in the audiences’ hands, and allows us to think about them- allows maybe even to change the way we think.
"by Eliana
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Your description of how humans try to make sense of randomness reminds me of something I learned in a psychology class while we were talking about entropy. We learned that the main purpose of the human mind is information processing and in a sense, information is the opposite of entropy. The world tends towards chaos, therefore it takes energy to oppose this chaos. I believe that superposition could have been pointing out humans’ ability to oppose entropy through information processing.
I really like your observation about the presence of human performers on the stage because I hadn’t noticed that at the time. The way I interpret it would be that data is random; however, humans want to try and make sense of this randomness. When humans aren’t around, data is chaotic and can mean anything, When humans are present, then they take control and try to find meaning in the data. Using this perspective, these contrasting situations are portrayed on the stage with the different segments. As a result, humans should be in control of technology, but the vast amount of data available makes this hard.
"by Melissa
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Thanks for your interest. I’ll give this a shot…
One of the things I have have always found fascinating about abstract art is its very *abstraction*. There was apparently a very long period of human history when “abstraction” wasn’t really a thing, and abstract art is something that now has tradition of being easy to mock, deride, etc. That tradition exists – at least to some extent – because the “meaning” of abstract art is difficult to formulate in words.
Difficult, but not impossible. People have built careers on putting the meaning of abstract art into words.
I’ll address your question more directly below, but allow me a digression first…
For me, abstract art pretty much always points back to something I learned when I was maybe 18 or so, and a freshman in college taking my first super 8 film production course. The instructor put it to us to, when making a film, always ask ourselves the question, “Does this *need* to be a *film* to convey what it conveys?”
The corollaries to this are antonymic questions along the lines of, “Could the same thing be conveyed by a novel, a play, a sculpture, a song, etc.?”
If the answer to that second question comes back affirmative, then you could probably guess that the next question coming is always going to be, “Then why make it as a film, instead of one of those other things?”
Insofar as they address a creator of artworks, these questions help that creator maintain an awareness of not only his or her intentions (what s/he hopes to communicate), but also the specific tools at her or his disposal within the medium of choice.
Now, of course, on the spectator side this line of thinking threatens to look like an attempt to negate the value of any and all written or spoken critique/criticism of any of the arts. But it isn’t really meant to do that. Rather it’s meant to form a kind of touchstone to help make sure that any understanding-through-words doesn’t confuse itself with understanding through direct experience of the work examined.
So, finally, to your questions…
For art that is not abstract, but rather: representational, I think one can distill the majority of “meaning” pretty effectively with written or spoken words. Even so, there is something to be said still for having a direct experience of those works, as opposed to functionally acquiring the distilled meaning through a critical resource of some kind (like through “Cliff’s Notes” if those still exist, for example).
This is to say that even with representational art, there is a very strong and valuable component of meaning that is viscerally experienced, that resists being put into words. There is a saying: “the menu is not the meal” (and, yes, I would say that there is a certain kind of “meaning” even in a meal).
With abstract art this effect can be magnified greatly. In our 21st Century drive to get the most out of things in as densely distilled a way as is possible, it can be difficult to let ourselves deeply experience, on a pre-verbal, visceral level, this kind of meaning.
One of the reasons I think that abstract art even became a thing starting in the late 19th, developing mainly in the 20th Century, was that there was a kind of rebellion against the increasing speed and density of meaning that was communicated through increasingly global systems of communications, travel, finances, politics, the sciences etc.
The science of psychoanalysis was even born during this period, and so the meaning of our very dreams was being codified and translated into words on paper.
So here comes Ryoji Ikeda creating these kinds of collisions between science, music and visual arts, and then kind of refusing to discuss in detail what they “mean.” And he’s just one of many artists who’ve done this in what I see as a lineage that runs back a few decades and more all the way back to the beginnings or Dada and Surrealism, through John Cage and the Burroughs/Gysin branch of the Beat Poets as well as the emerging (in the late ’40s and early ’50s) American Avant Garde film movement, to the Viennese Actionists and Warhol’s “Exploding Plastic Inevitable” in the ’60s, to the global “industrial” music movement that began in the late ’70s and early ’80s with artists/bands like Throbbing Gristle, SPK, P16.D4, Cabaret Voltaire, Einsturzende Neubaten, and Esplendor Geometrico.
Burroughs himself popularized (at least among those influenced by him) the phrase “rub out the word.”
Okay, so I hope I’ve at least scratched the surface of addressing the things you were hoping I’d address. I think I’ve been pretty oblique, but hopefully not completely opaque in my response.
I’ll leave you with a few questions of my own:
To what degree do you feel feelings that are meaningful to you without having words directly associated with those feelings?
Are you able to silence your mind so that your internal monologue (of words) stops?
Do you think it is possible to think thoughts without using words?
When you try to tell others about your dreams, do you find that there are aspects of the dreams that “made sense” or “had meaning to you” within the experience of dreaming, that become difficult or impossible to convey to others through spoken or written language?
(also, my real name is Jim – nice to meet you, Andy, and Melanie too – I initially posted under my “artist” name as a shameless plug to perhaps get a few people to seek and find my work which is available to hear online for free)
Hello The Fleshy Timeclock,
I mean no offense to you but I am slightly befuddled by your claims and would appreciate some explanation.
After reading your comment I believe you are in essence saying that the meaning of “Superposition” is difficult to characterize through language, the only medium I have ever believed meaning could be described through. This seems very puzzling to me. Are you implying that there exists a better alternative to “distill” meaning from this performance? How do you put something into words if you deny yourself access to those words? This is highly paradoxical.
You recall that it was difficult for you to “turn off [your] internal monologue that kept asking ‘what does this mean?!'” I am sure you are aware it is human nature to wonder about those entities we are confused about. It seems to me you are claiming that only by defying logic and ignoring one’s own thoughts can “Superposition” be successfully viewed as an “experience of sublime nature.” I understand the graphics may have been “cool,” but where was the profoundness in the piece?
Elucidation would be much appreciated as I am genuinely interested in your perspective.
Best,
Andy
"by Andy
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
The first words I said after watching Ryoji Ikeda’s Superposition was “…..What did I just watch…”
Maybe it was the spirit of Halloween weekend, but the very beginning of the performance scared me. It sounded like the soundtrack to a horror movie. The sudden bursts of white light and static were very jump-scare-esque. As the performance progressed, I couldn’t help but notice its similarity to EDM (electronic dance music) and their well known concerts. They had the flashing lights and the build, pause, and drop structure of most EDM. But since the sounds created by Ikeda were all found naturally in the world, it made me think of it as an almost “organic brand” of music. And since the performance definitely had a science fiction quality to it. I wouldn’t doubt it if, in the future, this “organic” EDM like music was a genre. However, I did notice the male actor tapping his foot to a steady rhythm, so maybe the sounds created by the Morse code was not entirely “organic” but manipulated.
The bass was also very good at the Power Center. I was sitting in the balcony in the far left and could still feel the vibrations deep inside my bones. In one of my classes, we have been discussing why people pay huge amounts of money to watch a performance versus watch a recording on Youtube for free. If I watched a recording of “Superposition”, I would definitely have missed out on the all lights and images that filled the entire auditorium and the vibrations of the music. I think people go pay money for live concerts to “vibe-out”, or literally feel the vibrations from the music and attitudes of the venue/other people.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
“Ah, quantum mechanics. That makes sense.”
Said nobody ever.
Ryoji Ikeda’s performance of Superposition this past Saturday was a lot of things – beautiful, thought-provoking, overwhelming, etc. But with so much to focus on, the struggle to understand became very real.
If there was a visible theme that I could latch on to, it was that – humans are horrendously limited. The scope of our knowledge is only a fraction of what exists, and no matter how deeply our education may go into a subject, there is always infinitely more to understand about it. That’s a beautiful thought, no matter how soul-crushingly disappointing.
Most of the performance, I was struggling to keep up – my eyes jumped from screen to screen (and being that there were around twenty four screens on the stage, this would have been an impressive feat if I had managed well), my ears working to comprehend the overwhelming, albeit beautiful, music of science, my brain working to process statements like “What is matter? Never mind.” juxtaposed with “What is mind? Never matter.”
No matter how hard I tried, though, Ryoji Ikeda’s meaning was intangible to me – completely unreachable. Maybe that was the point – “Let’s make a performance about quantum mechanics and make it as confusing as possible to highlight the limits of human understanding.”
However, the main difference between that potential meaning of the performance and the reality of human understanding is that with human understanding, when a discovery is made, one feels satisfied with themselves and excited for more discoveries. Yet with Ikeda’s performance, I left feeling confused, overwhelmed, and hopeless.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Wow, what a performance. In the 19 years of my life never have I seen or experienced anything like this. Sitting in my seat up on the balcony, I felt all of my senses being attacked in ways they haven’t been before. The flashing lights and piercing sounds definitely forced me out of my comfort zone. I remember being legitimately worried that my eyes would get damaged. With that being said, I actually really enjoyed the performance. Sure, there were moments when I thought the visual and auditory stimulation were excessive. For instance, the seemingly never ending flashes of lights caused me physical discomfort. But overall, I really appreciated the show. I didn’t understand anything about it, but it was still one of the coolest things I have experienced by far. I personally loved it when the mechanic sounds crescendoed to an unbearable volume until instead of exploding like expected, everything went dead silent and pitch black. The sudden silence was deafening and I could feel the whole audience holding their breaths until something broke the silence. The overload of visual and auditory stimulation definitely made it difficult for me to form any coherent thoughts, which was actually kind of nice. It was refreshing to sit without thinking about anything and simply take in what is happening around me. If there was a theme or message to this performance, I missed it completely. This performance was meant to be chaotic and confusing, and it is totally okay to not understand it.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Personally, I would rather have to sit through the SAT exam again than be subjected to another hour of “Superposition.” When I think of the stress of taking the exam that would decide my fate for my college career and future prospects, it was not nearly as physically taxing as sitting through the performance of Ryoji Ikeda’s work. That being said, just like taking the SAT is necessary, I do feel as if watching the show gave me a new experience. While I consider myself to be fairly well versed in the world of performance (my parents filled my childhood with opera and Broadway and modern dance rather than cartoons), I have never seen anything quite like “Superposition.” The trouble I find with this is that I am not sure that I can personally find merit in watching a show for “the experience” rather than for joy or entertainment.
During Ryoji’s lecture on Saturday, November 3rd, he mentioned that some people “refuse to call his composition music because it is too loud.” This would lead one to believe that those who do not enjoy the piece are simply looking down on it for being new. The alternative might be that those who enjoy the work look down on those who do not for not appreciating modern art. Does anyone else who did not enjoy the performance have trouble deciding whether or not they are being too critical or if the supporters of modern art are asking too much in trying to enjoy such a sensory overload like “Superposition”?
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Ryoji Ikeda Presents: Epilepsy: The Musical
Why? This is the question that the audience often finds themselves asking at any performance. Can this be said, however, for Ryoji Ikeda’s latest experiment/performance, Superposition?
The performance begins with a wonderfully awful display of flashing lights and cacophony of piercing noise. One almost wonders if pharmaceutical corporations have contracted Ryoji Ikeda, having him create music that intentionally gives the viewer a headache in order to sell more painkillers.
Conspiracy theories aside, Superposition attempts, through a sixty-minute presentation of various images and noises, to “understand the reality of nature on an atomic scale.” Whether this is successful relies entirely on the audience member’s ability to enjoy avant-garde sound performances.
If anything, the show is an exercise in the imperfection of humanity, as the two performers perform tasks that could be done by a machine with almost perfect precision. Perhaps some of the most exciting moments in the performance came not with through piercing sounds set to the images of a mid 2000s PC tech demo, but from the occasional missteps from the human performers. There are multiple layers of irony in a performance in which a human makes a mistake (such as adding an extra period at the end of a sentence) while taking part in a highly technologically influenced attempt to explain the reality of nature.
My experience of this performance can be accurately summated through the section in which the two performers are typing opposing statements on opposite sides of a screen to footage of what appears to be weather diagrams. The line that sticks out in the procession of statements meant to provoke the mind is “What is mind? Never matter. What is matter? Never mind.” The quote, by George Berkeley, manages to render insignificant the statements following it. In another moment of irony, the only image that provoked a genuine response, that made me ask the all-important question of why, was lifted wholesale from an 18th century philosopher.
Was this performance original? Yes. I have never seen anything like it, and may not for the rest of my life. Was it successful? No. I didn’t find myself asking why at the end of the performance. In fact, I asked nothing at all.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
After having a brief introduction to superposition, I knew I would be hard-pressed to find any obvious meaning in this performance. So, I went into the show expecting a sensory experience where I maybe picked up some “meaning” along the way.
The sensory aspect was overwhelming, to the say the least. I found many of the visual aspects calming in their mathematical and scientific processes—the graphing and tuning fork segments come to mind. The black and white blocks that fell down all the screens at an increasing rate and the sounds behind it reminded me of a train. Other times, I was reminded of planes and airports.
I didn’t mind the flashing lights and sudden changes but I do wish the volume wasn’t quite so high for those jarring high-pitched sounds that reoccurred throughout. I think the essence of the effect could have been relayed without making people uncomfortable to the point of leaving the theatre (which is a shame especially since the most disconcerting part, in my opinion, was the beginning and that seemed more for shock value than anything else).
From reading other comments, I get a sense that people were searching for a blatant meaning but I am drawn to think that the inconclusive nature of the piece was exactly the point. I’m not sure if I grasp the concept of superposition correctly but from what I understand: a system exists in every state simultaneously and only when it is observed is it subject to the limitations of one state. By trying to attach one meaning to the piece, are we erasing all the other possible meanings it could have? Maybe we should just let the system (the performance) exist as it is and simply appreciate it in its entirety and acknowledge that we will never know the true state (meaning)? The text in the performance offered some interesting tidbits to ponder but overall, I think the message was that there isn’t always one clear message. If you spent the performance trying to find one, I would imagine that it was not a very enjoyable experience.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
“What is love? Never ask. What is peace? Never answered.” This is the line that lingered most vividly in my mind after watching the performance. The concise and pointed dichotomy of the two phrases is probably what caught my attention. However, these paired questions tempted me to extend the ideas behind them to the greater meaning of “Superposition.” But as several other commenters have noted, this performance does not aim to convey a single meaning that can be articulated into a neat package of two or so phrases. To be honest, I don’t know what “the point” of the performance was. Intense, and at times overwhelming, auditory and visual stimulation? If so, then it succeeded. But if its goal was to express a particularly profound and thought-provoking message, then maybe it could be considered a success to some people, but I’m not sure it can for myself.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
As expected, Superposition was an experience that deviated greatly from your typical concert, and although I enjoyed the performance, my high expectations clashed with my occasional inability to synthesize meaning from the dancing lights before my eyes, and I was left frustrated by my inability to find the artistic merit that I hoped to see in a novel work like this.
I do think that Ikeda did a fine job matching the title to the performance. While the randomized grid number-and-picture spectacles could be taken as merely flashy, they cleanly elucidated the notion that a physical object theoretically exists everywhere or in every state it can be found until one measures it. In Superposition, I could measure an image presented simply by looking at it and remembering the box it had popped up in while still being inundated with thousands of other “possibility images” on the rest of the screen. This was, unfortunately, the only real meaning I was struck by over the course of the hour.
Perhaps part of Superposition’s power was lost upon me due to my seating. Unlike a regular concert or play, which can be viewed and understood at all angles, an immersive experience like this that relies heavily on sound and light is simply not as well-received on the side of the balcony. I felt like a spectator to the spectators, as if the work was only aimed at those with central seats, and the stage structures obscuring the typed messages did not help either.
The part I was most confused by was the end. Although it was sensually appealing, I could not extract meaning from the rolling and pulsing grey waves like I could from the dichotomous black-and-white flashes used at the beginning of the performance. Frankly, it seemed less like an artistic statement and more like something I walked into at Universal Studios. I’d appreciate anyone explaining what the point of that was.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
On Ryoji Ikeda’s website, “Superposition” is described as being about “the way we understand the reality of nature on an atomic scale.” From what I saw at the performance, we must not understand nature on an atomic scale very well because I left the performance more confused than when I had walked in. What kind of reaction was Ikeda expecting from the audience? The performance was very chaotic with its flashing lights and loud beeping. It went from plotting points on a graph to asking philosophical questions. I am assuming that I have the wrong impression of this performance because I highly doubt that Ikeda’s motive was to have the audience dislike the performance the way that I did. I feel like the meaning of the performance is beyond my level of comprehension. I noticed people giving Ikeda standing ovations when he bowed at the end of the performance, which confirmed my assumption that I simply did not understand the performance enough to appreciate its beauty.
This is not to say that I completely hated the performance. I actually really enjoyed the philosophical aspect of it, when comparisons were being made. Life versus death. Science versus religion. “Information is not knowledge. Information is the resolution of uncertainty.” These were such interesting claims; I wish that Ikeda delved more into the deeper meanings behind his theories. Perhaps he kept this part vague on purpose, so that we, as the audience, could use our own reasoning to agree or disagree with what he was saying.
Nonetheless, this performance was very confusing and even disturbing at times. I think the beauty of it comes from the fact that only a small group of individuals were able to appreciate Ikeda’s masterpiece.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I will not sugarcoat this: I absolutely hated the performance. I did not hate the idea of the performance, which was to show that two completely different disciplines like the performing arts and the sciences could be intertwined. I hated the way in which these disciplines were intertwined. Between the dull moments with crossword puzzles and the unnecessarily loud, high-pitched music and strobe lights, the audience was constantly assaulted all night long to the point where it was not uncommon to see people look away or cover their ears in obvious discomfort or boredom. The music (if you could call it that) was not even remotely pleasing to the ears, and lacked any rhythm or order, which are the fundamental concepts of science. Also, the part where science and religion were juxtaposed on the screen just came off as brainwashing the audience to believing that science is unlimited in its boundaries while religion is restricting, and I was completely baffled as to what this had to do with the performance.
That being said, there were some positive aspects to the play. While the part where the newspaper clippings are examined under a microscope was extremely drab and agonizing to sit through, it was interesting to see the small numbers in each clipping that shows how mathematical and scientific formulas are present and underlying in just about everything in our modern world. However, even that was not enough to salvage the performance for me. The show was simply too difficult to understand, too forced in its sound and light effects during the excitable moments, and too dull in the quieter moments.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
One bright flicker is harmless. Two loud wails would be tame. But over an hour of relentlessly flashing lights combined an audio track that should be measure in elephants rather than decibels is usually called a lightning storm, which may be the point.
In more ways than one, Superposition showed me the snowballing complexity and power of data sets built up from short, deceptively simple components. You don’t have to be a seasoned mathematician to see the cumulative intricacy in plotting the position of marbles or linking up dots and dashes into Morse code. While one glass orb is quite unremarkable and one dot doesn’t convey much, the graph of a cascade of marbles reveals surprising patterns in motion, while the right combination of dots and dashes can pose controversial claims about science and religion alike. One of the segments in the performance even shows how this complexity can increases by magnitudes, all through the simple action of zooming in and zooming out.
Superposition presents both the beauty and power of data, and it achieves this by overloading the audience’s senses with it. It brings to my mind some of some typical, yet non-trivial questions about data, such as if too much is dangerous or unethical, if all data has to have some quantitative meaning, and if information can be used as a form of art. While the hypnotically charming strings of Morse code tapped out to the beat of a metronome can convey information critical to the survival of Country A, it may just as well be avant-garde music for Teenager B, or the finishing strike on queasy audience member C.
Although I cannot say my experience of this performance was particularly “comfortable,” it was certainly illustrative of the beauty and power of the data which most people blissfully take for granted on a day-to-day basis.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I like to consider myself an open-minded person when it comes to the arts, but when it came to Ryoji Ikeda’s Superposition…I just didn’t get it. I often found myself wondering during the show if I was the only one in the audience that didn’t get it, or if I was missing something huge. I just didn’t understand how someone could ever enjoy being subjected to such awful sounds and such offensive, flashing lights. This is the first performance I’ve ever been to that made me so physically uncomfortable. The headache I got from the constant, awful sounds distracted me from whatever meaning Ikeda was actually trying to portray.
The show made me feel like perhaps Ikeda is some genius too smart for his own good, and he knows the secret to saving the world but can only tell it to someone as smart as him…so he creates this Superposition show and threads a secret code or message throughout and only those who are worthy are able to pick it up and understand what he is trying to portray. I was not that person. I honestly would have loved to understand exactly what Ikeda was trying to say, because I do believe that he has some interesting perspective on the world and I am always up for seeing life from someone else’s point of view. However, his show just gave me too big of a headache to be able to even try to understand what he was looking to do.
Often, when I don’t understand something and I wish to, I am able to do enough research on the topic to get the facts and better my comprehension. I have read many articles and interviews about and of Ikeda and Superpostion, but I don’t think I will ever be able to understand it. This performance was simply just beyond me.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I shared a very similar experience. I came in with the expectation that it would be a poorly received performance. However, even though I disliked the jarring music and strobing visual effects, there was something almost hypnotic about the performance. Even if I didn’t understand it or fully appreciate it, my attention was glued to the mesmerizing screens. Leaving the power center, I also didn’t know how to react, but I definitely left feeling that performance changed the way I view the world and complex nature.
Ryoji Ikeda’s Superposition entirely surprised me. I’ll admit that I went to the Power Center expecting nothing more than a headache invoking sequence of bright lights and beeping. With the extremely high pitched noted at the beginning of the performance, I at first thought that my expectations would be confirmed.
However, my attitude toward the performance quickly changed. Ikeda managed to take noises and images that are generally written off simply as dry, confusing, data and turn them into an overpowering experience. Although the sounds and images were harsh, I found myself completely enthralled by the performance, drawn in so much that I couldn’t separate myself from the sound. I was incredibly impressed that the traditionally opposed realms of science and art were linked so flawlessly. Art relies on the artistic to relay meaning while the sciences relay on the scientific. Superposition blurred this distinction in a way I previously thought impossible. I never expected that data could participate in creativity.
The harsh sounds and piercing lights compelled me to turn away and plug my ears, but at the same time paralyzed me so that all I could do was direct my attention to the stage. It almost seemed that Superposition had a kind of hypnotic power. I was unable to analyze the performance; much like the sciences which Ikeda’s data and images are associated with it lay totally outside my realm of understanding. Despite this however, I left the Power Center feeling that whatever was being portrayed by Ikeda’s performance was relevant to me. Ikeda’s Superposition relayed some sort of artistic interpretation of the world that I previously expected could only be represented by traditionally artistic means. While the components of the performance seemed like utter chaos to me, there certainly existed an order, an explanation within the chaos. This paradox drew me into the performance, and left me with an impression of confusion, surprise, and amazement.
"by Faith
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I too noticed how the squares looked like falling raindrops. In a way, it was almost as if Ryoji Ikeda was trying to show that science and nature are intertwined; science is present in even the smallest aspects of nature and vice versa.
Also, regarding your comment about how human minds can all relate to order and familiarity and how it was simpler to view the performance by not searching for these aspects, i must disagree. Science is a result of that human desire to seek out order in the universe; therefore, it would have made more sense for the performance to have a noticeable order or rhythm to it. The fact that so many in the audience were completely baffled by the performance shows that the director fails to incorporate the fundamental concepts of science.
While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
"by Sarah
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
How does a tangent line make you feel? Do arrays of positions in space relative to fixed values supported by a formula derived from the behavior of marbles make you think of data in a new way? Superposition by Ryoji Ikeda incorporates data in a televisual and “live” medium to present a new, thought-provoking way to consider data’s position in today’s world—more specifically in performance and the arts. Overall, I have to confess: I found the performance confusing. It seemed like a mix of a crazy club strobe light loosing control against the backdrop of epilepsy-inducing screens and jarring techno music. It almost seemed like something out of a very futuristic club where people met to discuss the latest technological advancements or the latest controversy in the physics field. However, even if I couldn’t fully understand or appreciate it, the performance itself was stunning in its visual effects and display of different data themes. The one that caught my eye the most was perhaps the Morse code section. Each performer typed out his or her messages to a distinct underlying beat. Each message although similar in rhythm and words, had parallel meanings. One side spoke about data as an entity, describing its flaws and pitfalls as well as its triumphs and potencies. The other side viewed data as a tangible concept used by the world as a tool, device, or medium in which to explain things. The dual messages coupled with artistic representation via multiple screens, heavy pounding music, and visual effects served to broaden my horizons. Although I could never fully appreciate the performance for its artistic vision, I came to understand the different ways data could be presented and how it relates to the bigger picture.. Data can make people feel emotions just as much as paintings, songs, words, or other art tools. The trick is to present it in an eye opening way like Ikeda did during Superposition. The title says it all: Superposition- a challenging way to think about the behavior of matter and its nature at a small level. How did it change your perception?
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
MIND BLOWN, but in a horrible way. Superposition literally made me feel as though I had been the victim of an extreme explosion. Honestly, I am unsure as to whether or not this performance could have been equated to anything other than such. From the very beginning, I watched as audience members, including class instructors, exited the theater, and I was quite tempted to follow them. I remained in my seat, however, in hopes that there would be an eventual calm after the storm, a moment where everything suddenly made sense. Unfortunately, the storm just kept going, and I became increasingly more uncomfortable. Having been fortunate enough to talk with the two on-stage actors, I was excited to get to the end, as it is supposedly their favorite part. When I reached the end, however, I was met with only more extreme noise and enough flashing lights and pictures to make me feel nauseous.
I should have been warned when ushers were offering earplugs to audience members as they took their seats. I, mistakenly, kindly rejected, as I was under the assumption that I had come to listen to a new form of music. To some, I suppose this could have been considered music, as it was a “unique” combination of (obnoxiously loud) noises; however, the only reliable sense of rhythm, time, or beat that I could find was the metronome which seemed to tick for the entirety of the show.
Superposition was certainly “super”, in that it was TOO much. Too many screens, too many sounds, too loud, too bright, TOO much. I could not focus, I could not think, and thus I could not in any way enjoy what I experienced. Maybe this form of music, art, or whatever it was exactly, just was not quite suited for me, but I know that another Ryoji Ikeda piece is not in my future, and if I gained any knowledge from Superposition, that is it.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Rioji Ikeda’s experimental designs strike a horrifying chord of veracity!
Throughout the performance I was constantly daring to deepen wave equations, ciphers, and molecular models, wondering what could Superposition’s design entail?
Personally, the concept of superposition presents one with the impression that there are many possible perceptions of the same object; such that exists inherently many versions of the same truth and thus no dearth of methods of reaching the central idea they encompass.
The constant usage of ciphers, visually speaking, presents one with the notion that there exists a truth – buried, veiled. Rioji reinforces this idea with syncopated music and extensive use of progressively cryptic wave equations and variable analyses. Additionally, I believe that it is through the examination of the enzymes, quarks, and galaxy arrangement that begins to demonstrate that Rioji is presenting the concept of ultimate and universal truth. This alone is heavily disputable and subject to a diverse spectrum of critique. However, I extended my theory upon the fact that this is Rioji’s first performance with live performers. Ultimately, leading one to believe that this is an ‘organic’ truth, causing one to arrive at the concept – Rioji Ikeda is questioning, or presenting depending upon the spectator, the nature of human existence.
Through this idea we are able to connect the rapid images that scan the earth, examination of electromagnetic radiation (which heavily focused on visible light, the only one perceivable to humans), and even connect it to the ideas of the human concept of nature, from the earliest portions of the work.
Although, presenting this deeply philosophical concept can be horrifying enough to many – the most intense moment of the work, the coda, extends the terror I felt though this question. Through deeply chromatic chords, chaotic presentations of light, rising, heavily dissonant, harmonies presented in extreme dynamics the audience is presented with a notion that the answer to the question posed is exceedingly disturbing – which left me in perplexing stasis with rattled convictions.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
A visceral and out of this world performance that you should experience once (and no more than once) in your life.
Did Superposition challenge my perceptions of art and the relationship between technology and the performer while at the same time providing philosophical underpinnings through the medium of collected data and physical sensations? Yes.
Did the performance make me feel physically unwell through a myriad of overwhelming physical sensations that ranged from the bombardment of high-pitched noises to flashing lights darting across the screen faster than the eye can follow? Also yes.
This was one of those strange nights where members of the audience both stood up and left twenty minutes into the show and gave a near standing ovation to a bowing Ikeda at the performance’s end. Never have I been apart of an experience so polarized. It was clear that while the audience left with a mixed sense of confusion and curiosity, the allure of Ikeda’s artistic rendering (performance?) was not only intriguing but respectable.
Sure, I could have used an explanation or maybe even a hint at the meaning of the piece, like how does the art and the science and the stage come together to create something more meaningful? Or why does Ikeda employ live performers when so much of the show is mechanized? Or perhaps even what the title Superposition has to do with the physics term “superposition”? To me, so much of the piece was confusing and perplexing and otherwise strange I had a difficult time un-jumbling my thoughts and putting an answer to those questions.
The performance, if anything, was strangely therapeutic to me. It was a trance-like experience of epic proportions, something of a hypnotists fever dream. At some point I became oddly distanced from the whole ordeal, zoned out if you will, becoming unthinking about a performance that asks you to think about thinking, and while I’m unsure about what that entails, it was certainly an experience to remember.
Did I enjoy my evening with Superposition? Not exactly, but the performance does compel and force you to talk about it, to question it, to think through it and perceive the world in a way never before done, and that’s a rare kind of magic, in both art and science.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I too found myself trying to find the deeper meaning of the performance, and really like you’re idea that maybe there wasn’t meant to be one. The fact that a lot of us were trying to find the deeper meaning shows that we do “have an irrational craving to create patterns and themes for artistic expressions”. Ryoji Ikeda targeting this idea totally makes sense.
Confusion, intimidation, and pain swirled though my mind as I exited the Power Center. I respect Ikeda’s ingenuity, as he layers music, visual stimulation, and live actors to both confuse and draw out thought from his audiences, but why does he have to do so while blasting eardrums and damaging eye retinas? In fact, the parts with these dramatic effects were the most confusing and the least thought provoking (i.e. the beginning and the end). I found the parts such as the typing with scenic backgrounds (“What is love..?” “What is matter. Never Mind”) and the newspaper scene the most interesting because my mind was not constantly being hammered with screeches and strobe lights. This allowed me to ponder the meaning behind these scenes as they were performed. The details of both the sound and visual effects were more apparent because I was not constantly plugging my ears and squinting my eyes in fear.
"Throughout the performance, I was constantly asking myself what the overarching theme was. What was Ikeda’s message for Superposition? Was it about the layering of different sensual variables, or is he comparing the human versus the computer. But then I thought, what if there is no real overarching meaning? What if Ikeda wants to prove to his audience that human’s have an irrational craving to create patterns and themes for artistic expression? What if there is no real meaning, just random scenes and words put on a screen, yet we humans cannot but help to brand this performance with some type of class or genre? Just wondering if anyone felt the same way.
by Krsna Kothari
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Want to escape reality? Superposition will leave you at the edge of your seats and make you forget what world you are in. Superposition was a very compelling, engaging, and unique performance, presenting an audiovisual experience that left me confused and searching for a deeper meaning.
The flashing lights and music create suspense by always leaving the viewer unsure of what will happen next. In the opening scene and many scenes after, a picture would flash on the screen for a quick second, followed by a black screen or white flash, so I was always anticipating what the next image would be. This gave the performance an unpredictability to it that makes it suspenseful. The music, or beeps, provides more structure, helping the audience follow the performance to some extent. In the opening scene, I noticed a pattern of a sequence of beeps followed by a single beep, and the single beep accompanied by a white flash or a black screen.
Adding to the suspense and uncertainty is the wide-ranging aspect of Superposition. Not only are images and designs flashed on the screen, but also crossword puzzles and Morse code. The words typed by the performers reference multiple ideas such as intelligence, religion, and nature. The presence of these scenes represents the audience trying to understand and make sense of everything, but the fact that the two performers are typing different things at any given time shows that perhaps we can’t. I tried to follow their ideas, which added to the suspense because I was engaged.
Numerous ‘scenes’ include galaxy-like images that made me feel like I was a part of something greater. Images were changing rapidly or were shown with different perspectives. Switching between scenes with the two performers and scenes that displayed flashing visuals made me feel like perhaps there is a message hidden in the performance. I left with the idea that I can’t escape uncertainty or the technology that have become our world.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Superposition is defined as “the act of superposing or state of being superposed.” Superpose means to place above or upon something else, or one upon another. This definition brings forth images of layers to my mind, most likely because this idea of superposition is apparent in my Earth 103 class- discussing fossils in layers of rock. In geology, this idea of superposing means that the older layers are on the bottom, while the newer layers are on top. I found this idea to also be apparent in Ryoji Ikeda’s Superposition. The performers on stage were communicating with the telegraph key – a device that transmits electric signals over wires. The first non-electrical telegraph key was invented in 1794 and was improved upon until Samuel Morse successfully utilized the electromagnetic telegraph key somewhere around 1838. So, this is not cutting age technology that Ikeda was implementing. His light show and graphics, however, were quite the opposite – Ikeda’s graphics were almost futuristic in light and shape and color. I’m not sure why Ikeda decided to use the telegraph key as opposed to other forms of communication, but the contrast between his futuristic graphics and the outdated tool for communicating definitely had me thinking for hours after the performance, and I’ve still yet to come to a conclusion. I know the performance was meant to make me think about the way we understand the reality of nature on an atomic scale based on the concept of superposition in quantum physics, but I couldn’t stop thinking about the evident contrast between the old and the new. I’m still not confident that I’ve come to a conclusion about the question Ikeda was posing or if I’m even supposed to come to a conclusion at all.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I was very surprised by how much I enjoyed the show. Perhaps I had been sufficiently tired of the monotony that many college students find themselves experiencing, because Superposition’s seemingly disorderly compilation of abstruse images and electronic sounds was a shocking and refreshing change of pace for me. Though it did elicit a familiar feeling of total confusion that I occasionally experience during my studies, I did not feel the need to understand everything that was going on in the performance. I was particularly intrigued during the set in which the performers rung tuning forks and some kind of microphone picked up the sounds, which were then translated into visual waves projected on the back screen. Back and forth, the musicians shot visually directional sounds of varying frequencies toward each other. I was struck by the beauty of the interaction of the waves. The rapid periodically oscillating lines transformed into active, changing, entities, once exposed to a wave of a different frequency. The performance inspired me to gain some superficial knowledge of quantum mechanics, but upon initial internet exposure to the subject of quantum superposition my mind was uncomfortably sore and overwhelmed, leaving me flustered and frightened. I will attempt again one day, once my intellect has matured and my nerves have been restored. I thoroughly enjoyed the show, and would definitely recommend this eye-opening experience. Though I am aware of its infeasibility, I was displeased by the noticeable lack of cats featured in the performance. Other than this, I have no complaints about the show.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I went into Ryoji Ikeda’s Superposition knowing it was going to be unlike any performance I had ever seen before, and it was definitely a completely new experience. One I did not really happen to enjoy or understand in its entirety though. As a member of the audience for the majority of the performance I felt like I was a part of some cruel and unusual punishment that was the overwhelming sound and light displays. That being said however, it was an interesting performance that will be forever memorable, I am just not sure I knew how to appreciate it. I particularly enjoyed the segments that were somewhat quieter and less offensive to my ears and eyes like the marble segment. Throughout the entire performance, to be honest, I was extremely confused and was asking myself questions like “ What does this mean?” and “Why must the telegram sound be so headache inducing?” I also felt as though the entire performance was in this language I did not understand and with every passing minute I still could not comprehend what Ikeda was trying to portray. But maybe that was the point? I am somewhat curious about the other performances of Ikeda, I wonder if they are as intense as Superposition or if their message is clearer. However, because of my mostly negative experience at Superposition, my desire to investigate more into Ikeda is not that strong. The performance of Superposition was successful in making me feel something, even if those feelings were utter confusion and somewhat angry.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I was one of those people that plugged their ears during parts of the performance. I found the harsh sounds unnecessary and detracted from the overall impact of the piece. I would have preferred to stick with what is comfortable to me, like you mentioned earlier about your college life.
Ryoji Ikeda’s “Superposition” pushed the boundaries of performance in a way that I have never seen done before. It was far more than just a visual experience, for it was almost tangible. As a college student, I tend to stick with what is comfortable for me, which is seeing mainstream pop or rock artists perform live or watching theater productions put on by my school. While those shows are entertaining in their own right, few have been as thought provoking for me as “Superposition”. It was a show different than all others, and it actually made me very excited to see what is to come in the future of performance. The way that Ryoji Ikeda mixed the elements of sound and sight created a futuristic atmosphere. He is definitely ahead of his time.
While Ryoji Ikeda’s play on sight and sound pushed boundaries and was surely inventive, what was the cost? There was no spectrum of sound or sight in this piece. It was either utterly silent or sounds pierced and vibrated through one’s ears. The same can be said for the images flashing before the audience. It was either pitch black or harsh/bright color combinations were presented before us. Personally, I found it riveting and breathtaking, but I noticed that others did not feel the same way. People around me seemed to be very uncomfortable for the most part. I noticed that many people had brief moments of discomfort where they had to look away or plug their ears, but some even felt like it was necessary to leave. The way that the performance heightened the audience’s senses may have been overwhelming to many, but I actually think that the layer of discomfort added to the effect of the piece. I thoroughly enjoyed it.
Maya
"by Maya
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Confusion, intimidation, and pain swirled though my mind as I exited the Power Center. I respect Ikeda’s ingenuity, as he layers music, visual stimulation, and live actors to both confuse and draw out thought from his audiences, but why does he have to do so while blasting eardrums and damaging eye retinas? In fact, the parts with these dramatic effects were the most confusing and the least thought provoking (i.e. the beginning and the end). I found the parts such as the typing with scenic backgrounds (“What is love..?” “What is matter. Never Mind”) and the newspaper scene the most interesting because my mind was not constantly being hammered with screeches and strobe lights. This allowed me to ponder the meaning behind these scenes as they were performed. The details of both the sound and visual effects were more apparent because I was not constantly plugging my ears and squinting my eyes in fear.
Throughout the performance, I was constantly asking myself what the overarching theme was. What was Ikeda’s message for Superposition? Was it about the layering of different sensual variables, or is he comparing the human versus the computer. But then I thought, what if there is no real overarching meaning? What if Ikeda wants to prove to his audience that human’s have an irrational craving to create patterns and themes for artistic expression? What if there is no real meaning, just random scenes and words put on a screen, yet we humans cannot but help to brand this performance with some type of class or genre? Just wondering if anyone felt the same way.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
My opinion on philosophy is ambivalent – although I thoroughly enjoy provocative questions, I am unsatisfied with the indefinite conclusion. Ryoji Ikeda’s Superposition explores the idea of nature and physics in a universal scope through the unique combination of technology and live performance, but this concept left me bewildered and disappointed with its anticlimactic, inconclusive answer that matches its philosophical roots.
My class had the pleasure of having the two performers Stephane Garin and Amelie Grould to discuss their experiences, and I learned that they were musicians, so going into the show I was anticipating a message to be conveyed through sound. However, immediately after the performance started, I knew I would not enjoy it – the loud buzzing in the background combined with the beeping and bright lights was a painful experience, and any nuance the music was supposed to carry was lost to me.
I thought the show did an excellent job utilizing the two larger screens to juxtapose ideas; the arguments between science and religion were well done. I also I enjoyed its spontaneity.
Although math was integrated into the show, it was anything but formulaic. The screens were erratic, which made it difficult to predict the next direction this show would take. This kept my attention as I tried desperately to process what was being displayed on the multiple screens. However, this was also something that I found distracting and frustrating. The screens flashed by at a rapid pace, so I had trouble perceiving the stimulus of the show, much less interpreting it.
Although I appreciate this venture into contemplative questioning in art form, it was not something I enjoyed. I found the performance disorienting and it wasn’t as mentally stimulating as I had hoped it would be.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree with your analysis in that it was hard to see how all of the pieces fit together and as someone who likes to search for coherent themes and meanings this was very hard for me. That being said, I do think your enjoyment of Superposition hinges upon your perspective. As you mentioned, it is so easy to get lost in each segment and confuse yourself trying to put them together but really it seems like each part should be viewed as a separate installation that serves as examples of a broader concept. With this mindset I think we both could benefit from seeing the show a second time. All in all I think you did a nice job of summing up what we witnessed to someone who’s brain and ears are still a bit discombobulated after the performance so props to you.
Blinded by strobe lights and kept on edge by music that seemed to emulate a horror movie soundtrack, I found myself uneasily attempting to extract meaning from a performance presented in a language I could not comprehend. Initially, I felt over stimulated by the amount of images that were on the screen at a given time. However, when I stopped trying to focus on the images individually and just let the stream of lights overcome me as a whole, I found the performance to be much more meaningful. Early on in the show the sentence, “everything is written in the immense book of nature which is constantly in before our very eyes” was written on the screen. It continued to explain that unless we have access to the language of nature we cannot understand this book. The entire show paralleled this idea. It constantly seemed to be relaying a deeper message yet, unless the audience had an understanding of computer coding and was able to look at every image at once, it was incomprehensible. The beauty of the show came from the fact that it was always slightly undecipherable. Even when sentences appeared on the screen, there was no spacing between the words, which made it hard to read. There was always the opportunity to understand bits and pieces, but the audience could never grasp the full picture. The whole show seemed to center around giving us several different opportunities to read the definition of “superposition”, yet it never allowed the words to appear fully on the screen. The actors seemed to constantly be highlighting all the missing letters, but never directing the audience to where the letters fit. It’s this incomprehensibility that constantly surrounds us in the natural world and was portrayed in this digital piece. Despite the fact that we make constant improvements in science and technology, the world of nature always remains somewhat out of reach.
"by Maya
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Confusion, intimidation, and pain swirled though my mind as I exited the Power Center. I respect Ikeda’s ingenuity, as he layers music, visual stimulation, and live actors to both confuse and draw out thought from his audiences, but why does he have to do so while blasting eardrums and damaging eye retinas? In fact, the parts with these dramatic effects were the most confusing and the least thought provoking (i.e. the beginning and the end). I found the parts such as the typing with scenic backgrounds (“What is love..?” “What is matter. Never Mind”) and the newspaper scene the most interesting because my mind was not constantly being hammered with screeches and strobe lights. This allowed me to ponder the meaning behind these scenes as they were performed. The details of both the sound and visual effects were more apparent because I was not constantly plugging my ears and squinting my eyes in fear.
Throughout the performance, I was constantly asking myself what the overarching theme was. What was Ikeda’s message for Superposition? Was it about the layering of different sensual variables, or is he comparing the human versus the computer. But then I thought, what if there is no real overarching meaning? What if Ikeda wants to prove to his audience that human’s have an irrational craving to create patterns and themes for artistic expression? What if there is no real meaning, just random scenes and words put on a screen, yet we humans cannot but help to brand this performance with some type of class or genre? Just wondering if anyone felt the same way.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Ryoji Ikeda’s superposition was quite the eye-opener.
Never before had I thought that art and physics could be combined in such harmony and with such beauty. In only a 65-minute show, Ikeda was able to reflect the immense amount of knowledge acquired by contemporary data processing mechanisms. The very first scene, in which the graphs moved down the screens in columns with increasing speed and every few seconds one screen would seem to explode, represented the limits to the amount of data that can be collected and plotted by computers.
At the same time that this was flashing before our eyes, a low bass was humming in the background. Throughout the performance a lot of the sound ended up turning into white noise, which to me represented the data that exists in the world that either has yet to be recorded or is unable to be recorded. The limits to data processing come from the endless amount of data that are created every nanosecond that the world keeps turning.
The combination of complex noises and strobe-like flashing images created an unsettling tone throughout the show, but I believe that maybe this was a valuable sensation to create so the audience could understand the dangers of having too much data. With the introduction of each new piece of technology—for example the computer, then Google, and then the smart phone—people begin to crave more and more information. They want to know everything, and they almost can with the touch of a few buttons of a hand-held device. However, people do not realize the danger that too much knowledge generates. As technology and the craving for data increasingly takes over our lives, we lose a sense of privacy. Data processing mechanisms have the power to gather data from our search histories and can link our names to the seemingly endless amounts of archives that exist in cyberspace, thus piecing together our unique stories in a way that we might have wanted to keep private.
Thank you UMS for bringing such a unique performance to the city of Ann Arbor and allowing me to experience an innovation.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I completely understand the frustration you’re talking about. You sit through the performance and then by the end you’re wondering “why?” What did you learn, what did the artist tell you, what connection do you have? It’s natural that we, as humans, will just always instinctively crave and search for meaning. That’s why Ikeda’s work will absolutely always frustrate people. We’re not able to “understand” it and hence often get frustrated and abandon it as not worth it. Yet you’re right in saying it has to be appreciated. And if appreciated is a stretch, it has to be respected. He makes something complete out of nothing tangible or familiar. What he does is truly amazing, whether you enjoy it or not.
How can you represent what there are no words or images for? It’s easy to become frustrated when looking for the artistic “profoundness” of Ikeda’s work. I, personally, saw the unpredictable, blinding pattern of strobes on stage and tried to make sense, to find a pattern. I heard all the white noise, the atonal tuning forks, and grimaced as I silently pleaded for some resolution, for some tonal concord to satisfy my expectations. The more I searched, the more Ikeda’s work failed to satisfy; the more I tried to lump the piece into my conceptions of what makes “sense,” the more I found that it simply does not. My trouble, like the trouble many others were having, is that I could not come to terms with, to accurately describe, Ikeda’s greater “meaning.”
"As I look back on it now, however, I can see how this supposed issue with Ikeda’s work is, in fact, its genius. Ask yourself, if you will, how you can represent something without words, without symbols. This is, in actuality, a pressing question for both technology and art. We can represent “0” and “1” and “tonal” and “sensible,” but how can we represent something such as Ikeda’s work, which does not fit into our defined categories?
Think of performance in terms of quantum numbers or Schrodinger’s cat; a number can be both “0” and “1” just like the cat is both alive and dead. The moment we try to look in Schrodinger’s box, the moment we try to identify and term the cat as alive of dead, we force it to be either one or the other. In using quantum numbers, we can store “infinitely” more knowledge than with simple binary-code, but the second we try to examine that stored knowledge, to categorize it, we force it to limit itself to either a “0” or a “1.” We simply cannot comprehend something being “un-representable,” we try so hard to represent and comprehend that we will confine something until it can be so. This is the paradoxical idea of Ikeda’s proposal. Our senses are infinite as proved by Superposition; we can sense each nuance of light and sound of Ikeda’s creation, but our perception is fallible. The moment we try to come to terms with what we sense, we limit it, force it to put itself in terms we can comprehend. “If the doors of perception were cleansed, everything would appear to man as it is, infinite.”
This speaks not only to Ikeda’s work, but I believe it speaks to art as a whole. We recognize that our perceptions are unique; but inherent to this idea, they must also be limited. By spending our time in the theater trying to perceive and comprehend each detail of a performance, such as Ikeda’s work, we shut off all other possibilities. We force it to become zeroes and ones. I think Ikeda’s work is more profound after the fact; I spent too long in the theater trying to understand it, and it made me frustrated. Looking back, I see the poetry in just letting the cat be both alive and dead, letting the white noise be nothing but white noise.
by Gabe
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I really wish that I was the type of person who could watch something like Superposition and walk away feeling inspired, intellectually stimulated, or accomplished. I wish I could feel as if I truly understood or gained something from it. Instead, I just found myself very confused. I felt as if the entirety of the performance went completely over my head and I was an outsider who wasn’t in on the joke. That being said, I didn’t necessarily dislike it. It was impressive. Some of the images were stunning and linked beauty and math/physics in a very interesting way. Certain segments were truly stimulating to watch, such as when the rainbow spectrum streaked across the middle set of screens and whichever color ended up being over the red indicator line was flashed on the rest of the screens. During that section, I was interested, intrigued and found myself wondering whether this was identical every performance or whether someone was controlling when the spectrum froze in the moment. How “live” was it? The other part that I especially enjoyed was when both of the performers were typing separate, corresponding yet contrasting phrases. “What is matter? Never mind.” “What is mind? Never matter.” However, while this point in the show was captivating, it did not last for very long at all. Conversely, other segments of the show such as countless graphs scrolling through the screens lasted for what I personally perceived as far too long. Superposition was a truly impressive performance in both its execution and the ideas behind its creation. I respect it completely, but I cannot say that it was something that I particularly enjoyed or would recommend to others. I crave being able to see a point or understand a message in a performance; that is how I am able to connect and engage. Superposition did not allow me that connection.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
How can you represent what there are no words or images for? It’s easy to become frustrated when looking for the artistic “profoundness” of Ikeda’s work. I, personally, saw the unpredictable, blinding pattern of strobes on stage and tried to make sense, to find a pattern. I heard all the white noise, the atonal tuning forks, and grimaced as I silently pleaded for some resolution, for some tonal concord to satisfy my expectations. The more I searched, the more Ikeda’s work failed to satisfy; the more I tried to lump the piece into my conceptions of what makes “sense,” the more I found that it simply does not. My trouble, like the trouble many others were having, is that I could not come to terms with, to accurately describe, Ikeda’s greater “meaning.”
As I look back on it now, however, I can see how this supposed issue with Ikeda’s work is, in fact, its genius. Ask yourself, if you will, how you can represent something without words, without symbols. This is, in actuality, a pressing question for both technology and art. We can represent “0” and “1” and “tonal” and “sensible,” but how can we represent something such as Ikeda’s work, which does not fit into our defined categories?
Think of performance in terms of quantum numbers or Schrodinger’s cat; a number can be both “0” and “1” just like the cat is both alive and dead. The moment we try to look in Schrodinger’s box, the moment we try to identify and term the cat as alive of dead, we force it to be either one or the other. In using quantum numbers, we can store “infinitely” more knowledge than with simple binary-code, but the second we try to examine that stored knowledge, to categorize it, we force it to limit itself to either a “0” or a “1.” We simply cannot comprehend something being “un-representable,” we try so hard to represent and comprehend that we will confine something until it can be so. This is the paradoxical idea of Ikeda’s proposal. Our senses are infinite as proved by Superposition; we can sense each nuance of light and sound of Ikeda’s creation, but our perception is fallible. The moment we try to come to terms with what we sense, we limit it, force it to put itself in terms we can comprehend. “If the doors of perception were cleansed, everything would appear to man as it is, infinite.”
This speaks not only to Ikeda’s work, but I believe it speaks to art as a whole. We recognize that our perceptions are unique; but inherent to this idea, they must also be limited. By spending our time in the theater trying to perceive and comprehend each detail of a performance, such as Ikeda’s work, we shut off all other possibilities. We force it to become zeroes and ones. I think Ikeda’s work is more profound after the fact; I spent too long in the theater trying to understand it, and it made me frustrated. Looking back, I see the poetry in just letting the cat be both alive and dead, letting the white noise be nothing but white noise.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Nothing you read or hear can prepare you for the piece that is Superposition. The futuristic cross between an electronic concert and a hypnosis experiment left me both mesmerized and confused. The images of shifting graphic planes and the visual relationship between two sound waves kept my eyes glued to the screen while simultaneously serving as a break preparing me for when they would have to be laser focused in order to catch the words that passed quickly on the screen.
The biggest thing that Superposition did was facilitate conversation after the show. As soon as my friends and I left the theatre we wanted to increase our knowledge of what “Superposition” actually meant. For those interested it is a complex quantum physics concept that has been explained by Schrödinger’s Cat. Imagine there is a cat in a box that we can’t see and if even one atom of a certain chemical is detected the cat will be killed. But because we cannot see any of this we can’t know if the chemical was detected and the cat was killed making the cat simultaneously dead and alive. This unknown state of life and death serves as the basis for quantum superposition, which applies to all atoms and is mathematically backed.
Now the obvious question is how does this have anything to do with what we witnessed in the show and to be honest I am still not entirely sure. Perhaps the fusion of human input and technology represents this fusion of life and death because we don’t know which one is in control of the other. Then again I could be completely wrong and the beauty of the performance is in its convolution and is purposely made to make us wonder because that is what superposition is currently doing to physicists.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I am invigorated to find someone who shares the same insights that I have from Superposition. I totally think the part involved rolling marbles a “marblelous” portrayal of order versus chaos. The marbles at some point appeared scattered around the platform in disorder, yet when the actors start retrieving the marbles and roll them again, it cannot be more explicit that humans exert some control over the marbles’ relative locations. Indeed, the chance to predict each marble will end up is infinitesimal; however, we do know that the marbles will be somewhere within this closed system defined by a coordinate system. Certainly, this episode illustrated “an attempt to derive highly logical, calculable, mathematical meaning from a disorderly incident.”
A follow up example of humans exerting control over randomness occurred when the performers superimposed a grid on a piece of writing. Just like that, Ikeda simply engendered a cluster of alphabets listed in disarray. So, how did the performers restore order? Just simply crossed out the blanks or filled the blanks in black to create a new crossword puzzle. Once again, Ikeda laid out a completely arbitrary problem only to be solved by his human programmers.
In response to the last part of your comment, I hold a different view. Rather than criticizing the “attempt to mediate the world to make it more intelligible,” I think Ikeda actually advocates the practice of incessant exploration of the world. Here is a fraction of message excerpted from the words that were typed along the dark line amid the large screen: “All unstable processes we should control. All unstable problem we should solve. All unstable program we should determine.” As succinctly and clearly conveyed by the words, Ikeda is adherent to the activism in controlling, solving, and determining uncertainty. However, I agree that I sensed a somewhat contentious, if not rhetorical, tone when the words mention religion. In deliberate repetition and rhyme, the phrases emerged in sequence: “Religion is a boundary conviction. Religion is a divisionary confliction. Religion is a sanctuary compulsion. Religion is a country comparison. Religion is a supercountry constitution.” Somehow, I felt diverted from the mainline, which should be about the interaction between Science and Art, Randomness and Control rather than introducing another gigantic theme Religion. I wish to take no further part in discussing religion since I believe it is a distraction to this work. Nevertheless, I am convinced that Ikeda exemplifies, and thus supports, the merit of gazing the world through the lens of science and technology.
I was exhilarated by Ryoji Ikeda’s superposition. Having walked into the Power Center not knowing exactly what to expect, I left the performance awestruck and enamored by the dazzling display of images, lights, sounds, and the actors’ interaction with technology. This reaction was one that did not seem to be shared by the majority of my classmates. One aspect of this piece which I found fascinating was its exploration of the relationship between order and chaos. This was evident from the very beginning when points were being plotted on a graph. At first, this occurred slowly: each point plotted was easily distinguished by sight as well as by sound (with its accompanying “beep”). The rate at which points were being plotted as well as the number of graphs eventually began to increase. The sound crescendoed, the visuals became overwhelming, and apparent chaos ensued; however, the audience knew that this apparent randomness came from the highly ordered plotting of Cartesian coordinates. Later in the piece, the opposite of this chaos-from-order occurred: the apparent randomness of rolling marbles was superimposed with calculated graphs of their distance from a central point and relative angles. This could be interpreted as an attempt to derive highly logical, calculable, mathematical meaning from a disorderly incident. Ultimately, I saw superposition as a criticism of humanity’s constant attempt to mediate the world to make it more intelligible. Religion, science, and mathematics are all artificial frames created to resolve fear of unknowability. The visual and auditory assaults throughout superposition force the audience to have a pure experience – sheer intensity, no mediation.
"by Ben Iuliano
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I would agree with you about the headache. Every time the music increased in intensity, I could feel it pounding with my heart and my head. I also agree with the way you described the performance as episodes.
I did not think there was necessarily chaos in the performance though. To me, data has some structure no matter what so the “chaos” that follows when the intensity of the music and the flashing of images on the screens increases does not make the data seem chaotic or disorderly. The data still shows some pattern or sense of structure and meaning but is sped up to a level beyond understanding.
Superposition left me with a pounding headache and a lot of mixed emotions. There was a part of me that really hated what I saw. The performance was visually and aurally overwhelming, giving it a sense of surprise and incomprehensibility. Most of the time, it left me feeling confused, adulterated, and worried about my mental state.
On the other hand, the visuals were quite stunning and in the seeming discord, there was an intricate balance and clockwork-like mechanism to “Superposition.” Each time, almost every episode started small and then expanded to something greater and larger, then abruptly ended. And in each of these episodes, there were numerous orderly patterns being played out, all interwoven with one another. For example, the one part of the performance with tuning forks seemed to show how pitches are additive, coming together to make a larger, succinct harmonic. For there to be order, smaller parts are built upon one another.
However, the chaos and pandemonium of “Superposition” that made me so uncomfortable was born through the overwhelming compilation of so many different orderly and finite patterns interweaving and connecting to one another so rapidly. For order in any kind of system, smaller parts add to and build upon one another. However, once too many things come together and connect too rapidly, the neatness of the system is lost. From too much organization comes a perceived disorder.
Looking at it in that light, I was able to understand how genius Superposition is. Though I didn’t particularly like his work, Ryuji Ikeda was able to create this remarkable paradox. Yes, I left with a pounding headache and momentary deafness, but a greater perspective into how the human mind works and a distinction between order and chaos.
"by YJK
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
What makes a truly great performance? Audiences consider Ryoji Ikeda’s “Superposition” a great performance, indicative by the rave reviews and its presence at many prestigious venues including the Metropolitan Museum of Art and the University of Michigan. However, I spent the entirety of the show’s sixty-five minutes in utter confusion wondering how this multimedia presentation was considered profound art.
I had difficulty grasping a deep meaning behind the actions on the stage. In particular one of the actors mentioned in an in-class interview that the ending to “Superposition” was deeply moving, something not to be missed. The sensory overload of flashing screens and high-pitched sounds did not have this profound effect on me, but rather made me feel utterly lost. I left the theater feeling defeated, because I could not connect to this performance. Was the performance so deeply rooted in its abstract concepts that I could not comprehend it with my limited knowledge of art? I began to question whether others experience this same sense of defeat. The people leaving the theater expressing their love for the show might be hiding the sense of confusion I felt to appear more knowledgeable in art.
Despite my hesitations about the performance, I am glad I could experience something completely out of my comfort zone. “Superposition” truly embodies the idea of a renegade production. I felt fearful, calm, confused, and stressed all within the short performance. Ikeda’s multimedia show has changed my definition of a stage production, and opened a whole new world of fine arts performances for me to discover.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree with the seating issue. I sat on the very left-side balcony of the Power Center and it crushed the full experience of the performance as I had to lean over to the right on top of the person sitting next to me just so that I could read what was being blocked by a huge speaker. I think not being able to see the whole entity of the performance hindered our ability to comprehend and process what was happening.
I caught myself tired by the end of the performance because during it I tried so hard to analyze what the visuals and the audio were supposed to portray. There was so much going on during the entire performance that it just wore me out.
In my opinion, there is no other way to sum up Ryoji Ikeda’s “Superposition” in one word than simply kaleidoscopic. The barrage onscreen of images when combined with the background sound score led to an enjoyable performance that appeals to both the visual and auditory senses. For the most part, I thought the performance was spectacular, reflecting the beauty in data, although there were three aspects of the performance I did not enjoy as much.
The aspect that lessened my enjoyment of the performance the most was my seat. My seating in the right-side balcony of Power Center involved a view of the stage that was partially blocked by a suspended stage light from the ceiling. This partially blocked my view of the left side of the giant screen, preventing me from seeing a little bit of the data and images that would pop up on the right side of the screen. For instance, there were times when words would appear onscreen and I was unable to keep up long enough to read what the words were saying collectively.
Another aspect was that the few times that words did show up on screen forming actual sentences, I did not have enough time to let the message behind the words sink in. I think I would have to see “Superposition” again in order to understand this more. Additionally, at one point when into more than three fourths of the performance, I found myself feeling sleepy with the quietness of the music. It was not until the thundering of the finale that I was jerked wide awake by the flashing of all the screens. If the rhythmic change or flow of the performance did not vary so much with highs and lows, I think I would not have felt sleepy later in the performance. Ikeda could potentially share his message on the beauty of data in his work without having it be so long of a performance-the repetition that occurred in each section of the performance could have been shorter and still gotten Ikeda’s message across. Overall, I think “Superposition” is a performance that one should see at least once because the sensory overload and shifts in energy truly makes data seem more alive and artistic.
"by Nisha Patel
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Entering the performance I believed I had a general idea of what I was about to experience, but what you watch on a computer screen compared to what you watch live is always usually completely different. The visual and audio stimulation kept you on edge and forced you to focus on everything that was happening on stage. The loud sharp noises made you feel uneasy and the jolts of flashing lights made your eyes feel unbelievably uncomfortable. At some point the sounds became too harsh and obnoxious in a way that it became distasteful and difficult to enjoy.
This stimulation was chaotic, and for most of the time it was somewhat hard to comprehend what was happening. It made me question if there was supposed to be a meaning or theme for this performance. I didn’t know how to comprehend the it because to me it lacked a sense in direction. The entire experience was orderly components that were forced together in an attempt to create a coherent performance, which instead resulted in a hectic assortment that never lined up. Some of the phrases that were typed on the screen were ambiguous and made very little sense and the transitioning from topics, such as science to religion, were difficult to follow and understand.
But I was still overall incredibly impressed by the fusion of music, science, and technology. It was a modern style that makes the world of live performance unique. What most might not consider music is different for these two performers on stage with classical music backgrounds. The application of live performers gave the performance a different vibe, because it allowed us as the audience to connect with the performance. Technology and humans are on two different levels and the human manipulation of technology shows that these two levels are constantly impacting each other in some way shape or form. When the performers were not present on stage the lights and sounds became more disorganized, and when the performers were present, the stimulation became more balanced and coherent.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
In my opinion, there is no other way to sum up Ryoji Ikeda’s “Superposition” in one word than simply kaleidoscopic. The barrage onscreen of images when combined with the background sound score led to an enjoyable performance that appeals to both the visual and auditory senses. For the most part, I thought the performance was spectacular, reflecting the beauty in data, although there were three aspects of the performance I did not enjoy as much.
The aspect that lessened my enjoyment of the performance the most was my seat. My seating in the right-side balcony of Power Center involved a view of the stage that was partially blocked by a suspended stage light from the ceiling. This partially blocked my view of the left side of the giant screen, preventing me from seeing a little bit of the data and images that would pop up on the right side of the screen. For instance, there were times when words would appear onscreen and I was unable to keep up long enough to read what the words were saying collectively.
Another aspect was that the few times that words did show up on screen forming actual sentences, I did not have enough time to let the message behind the words sink in. I think I would have to see “Superposition” again in order to understand this more. Additionally, at one point when into more than three fourths of the performance, I found myself feeling sleepy with the quietness of the music. It was not until the thundering of the finale that I was jerked wide awake by the flashing of all the screens. If the rhythmic change or flow of the performance did not vary so much with highs and lows, I think I would not have felt sleepy later in the performance. Ikeda could potentially share his message on the beauty of data in his work without having it be so long of a performance-the repetition that occurred in each section of the performance could have been shorter and still gotten Ikeda’s message across. Overall, I think “Superposition” is a performance that one should see at least once because the sensory overload and shifts in energy truly makes data seem more alive and artistic.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
When the lights went out at Power Center this Saturday a little after 8pm, my heart began to race. And, if I am being honest, my palms were sweating. Why would I react like this? I’ve been to tons of performances; musicals, concerts, plays, uncomfortable drunken songs from my grandpa, but I have never felt nervous before any of those performances began. In the moment after the auditorium went dark and before Ryoji Ikeda’s screens turned on I knew the answer. I had never been to a performance like Ikeda’s Superposition and I was afraid. It turned out I had good reason to be. Superposition scared me because it forced me to think about the world in a way I had never fathomed before. I believe that is the purpose of art. To me, Superposition was not just a statement about the movement towards quantum mechanics, and I don’t think Ikeda intended it to be. It really made me think about the whole world, about how everything is infinitely happening and changing and it is almost impossible for people to understand, and yet because life is so mysterious that is why it is worth living; so we can chase the mystery, and move forward in our limited understanding. Ikeda’s work does not set out to answer all of life’s questions, because that would just be impossible. His screens and flashing images and non-traditional music place the questions in the audiences’ hands, and allows us to think about them- allows maybe even to change the way we think.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Blinded by strobe lights and kept on edge by music that seemed to emulate a horror movie soundtrack, I found myself uneasily attempting to extract meaning from a performance presented in a language I could not comprehend. Initially, I felt over stimulated by the amount of images that were on the screen at a given time. However, when I stopped trying to focus on the images individually and just let the stream of lights overcome me as a whole, I found the performance to be much more meaningful. Early on in the show the sentence, “everything is written in the immense book of nature which is constantly in before our very eyes” was written on the screen. It continued to explain that unless we have access to the language of nature we cannot understand this book. The entire show paralleled this idea. It constantly seemed to be relaying a deeper message yet, unless the audience had an understanding of computer coding and was able to look at every image at once, it was incomprehensible. The beauty of the show came from the fact that it was always slightly undecipherable. Even when sentences appeared on the screen, there was no spacing between the words, which made it hard to read. There was always the opportunity to understand bits and pieces, but the audience could never grasp the full picture. The whole show seemed to center around giving us several different opportunities to read the definition of “superposition”, yet it never allowed the words to appear fully on the screen. The actors seemed to constantly be highlighting all the missing letters, but never directing the audience to where the letters fit. It’s this incomprehensibility that constantly surrounds us in the natural world and was portrayed in this digital piece. Despite the fact that we make constant improvements in science and technology, the world of nature always remains somewhat out of reach.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree, I also felt the performance itself left me with a headache. It was a little too hard to follow and the beeps and flashes disoriented me in an unpleasant way.
It is important to go into new experiences with an open mind. I attempted to do this while watching “Superposition” at the Power Center on Saturday. After hearing commentary from the actors and reading reviews on the piece I was hesitant but willing to be engrossed in the production. Part of me knew that this production was not my taste, but I was hoping my mind would be changed after watching it in person. It, unfortunately, did not. Although technically advanced and accurate, the piece itself was painful to watch and listen. With seemingly never-ending flashing lights, loud, monotonous beeps, and moving lines of words, I worried for those who are seizure prone in the audience. As the play progressed I waited for that pivotal moment where I would finally be engrossed in the work, but that climax never came. Instead was a flood of cliché phrases about science and religion that tried to be more sagacious than they were in actuality. I do understand the premise of the piece and that it is a complex work of performance art. I respect it as such, but I did not enjoy a minute of it. Had I not had to stay for a class, I would never have finished the performance. I did not leave changed or inspired, like I hope to after a performance. I left with a migraine and a deep sense of confusion. I truly hope to never have to witness anything remotely similar to “Superposition” ever again.
"by Becky
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
The formatting of e. e. cummings poem didn’t work 🙁 but google “r-p-o-p-h-e-s-s-a-g-r” and you’ll be able to see
Though I personally could not enjoy Ryoji Ikeda’s performance of superposition because the loud noise and flashing lights gave me headaches, I appreciated Ikeda’s attempt to push the boundaries of what is a “performance.”
My favorite poet, e. e. cummings, came to the forefront of American poetry for his unorthodox and revolutionary use of grammar, punctuation and diction to write his poetry.
For example, this is what his poem r-p-o-p-h-e-s-s-a-g-r looks like:
r-p-o-p-h-e-s-s-a-g-r
who
a)s w(e loo)k
upnowgath
PPEGORHRASS
eringint(o-
aThe):l
eA
!p:
S a
(r
rIvInG .gRrEaPsPhOs)
to
rea(be)rran(com)gi(e)ngly
,grasshopper;
What interests me about cummings is that, though his poetry seems obscure and unnecessarily obtuse, he frequently uses ancient, structured poetry forms like sonnets and villanelles, but just breaks apart the grammar and line structure. Furthermore, the ideas and themes he conveys are similarly time-honored: love, death, family and what it means to be alive.
I believe Ryoji ikeda’s performance is the same. I think that he pushed the boundaries of what his performance using arresting light and sound, confusing motifs like binary and morse code, and employing both live performers and a digital background, but after stripping away these things, I believe he was simply talking about what it means to be alive in this ever-expanding universe with science and technology.
For me, however, the performance itself was unpleasant. I get migraines/headaches easily and the sounds and strobe lights were too much for me at times. I respect Ikeda’s medium of pushing the boundaries of what is performance like the way e. e. cummings does, but it’s easier for me to read poetry than to sit through an anxiety-producing performance.
"by Allana
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Though I personally could not enjoy Ryoji Ikeda’s performance of superposition because the loud noise and flashing lights gave me headaches, I appreciated Ikeda’s attempt to push the boundaries of what is a “performance.”
My favorite poet, e. e. cummings, came to the forefront of American poetry for his unorthodox and revolutionary use of grammar, punctuation and diction to write his poetry.
For example, this is what his poem r-p-o-p-h-e-s-s-a-g-r looks like:
r-p-o-p-h-e-s-s-a-g-r
who
a)s w(e loo)k
upnowgath
PPEGORHRASS
eringint(o-
aThe):l
eA
!p:
S a
(r
rIvInG .gRrEaPsPhOs)
to
rea(be)rran(com)gi(e)ngly
,grasshopper;
What interests me about cummings is that, though his poetry seems obscure and unnecessarily obtuse, he frequently uses ancient, structured poetry forms like sonnets and villanelles, but just breaks apart the grammar and line structure. Furthermore, the ideas and themes he conveys are similarly time-honored: love, death, family and what it means to be alive.
I believe Ryoji ikeda’s performance is the same. I think that he pushed the boundaries of what his performance using arresting light and sound, confusing motifs like binary and morse code, and employing both live performers and a digital background, but after stripping away these things, I believe he was simply talking about what it means to be alive in this ever-expanding universe with science and technology.
For me, however, the performance itself was unpleasant. I get migraines/headaches easily and the sounds and strobe lights were too much for me at times. I respect Ikeda’s medium of pushing the boundaries of what is performance like the way e. e. cummings does, but it’s easier for me to read poetry than to sit through an anxiety-producing performance.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree that physically the “performance” could have been done without the use of the actors. However, I feel that would have destroyed what little semblance of meaning the piece had. As a bridging between the human and the artificial, the electronic, the actors to me were that anchor to reality.
I do very much agree however that it challenged the true meaning of “performance.” Assuming the actors inputs were actually affecting the visuals on screen, then each iteration of Superposition would be unique. What’s remarkable to me is the marble scene. The composite created at the end with the polar coordinates of each marble taken at the intervals would be a unique picture. More so, it would be so unique that it would never again be reproducible in any other iteration. To me, thats what makes it a performance. Despite all the static elements, at the end it is unique each and every time.
After having seen Ryoji Ikeda’s “Superposition,” I found myself contemplating whether or not what I had seen was a “performance.” In the week prior to seeing “Superposition,” the term that I had most often heard used to describe “Superposition” was the term “art-installation.” After seeing “Superposition,” it makes sense as to why there was a certain tentativeness to describe it as a “performance.” The two “actors” that were used in the production were not on stage for the entire show, only coming on the stage for certain segments. As such, during long periods of the show, there were only images and sound that had been recorded and created previously. The images and sounds were indeed impressive in the degree to which they were in synchronous, for example the high pitched sounds that seemingly perfectly coincided with white flashing screens in the beginning of the show. However, due the fact they were previously created, these parts of the show were not performed but, rather, were merely presented. Even when the actors were on stage seemingly affecting the sounds and images within the show, it was impossible to tell whether or not they were actually affecting anything. The images and sounds could have just as easily been previously created, even if it looked as though the actors were creating them.
"“Superposition” ranged upon being a “performance” when the actors dropped marbles in front of a camera and then the marbles were placed on a Cartesian plane on the screen behind the actors. However, even though I felt that this was actually happening real-time, the doubt from previous segments as to the validity of the actors’ role in the creation of images and sounds mitigated the potential of this moment to be “live performance.” As such, I largely perceived “Superposition” to be more of a presentation of art rather than a performance. Though the art being presented was fascinating, it wasn’t necessarily something that needed to be done in a theater as a “live” event.
by Alex Kellner
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I completely relate to how your “mind became bored and tired.” I could not divert my attention due to the loud noises and flashing lights, however, my mind was not completely focused. Since I did not fully understand the mathematics behind the performance, it was hard for me to concentrate on the message that Ikeda was trying to portray. I similarly enjoyed the peaceful break when the human performers were using the tuning forks. It gave my ears and eyes a break from the other intense stimulations. In general, I had a very similar reaction as you throughout the whole performance.
I came to “Superposition” open-minded and very curious. Never before had I experienced anything even remotely similar to this performance. I actually expected to like it, because it was so different and seemed interesting. I was intrigued in the beginning, with the progression of the music and interaction of the different levels of screens. As time went on however, I became disconnected.
Ironically, my mind became bored and tired. The fact that one needed to clear the mind and remain open had an opposite effect on me. Because I could not understand what was happening and how it was connected I was disengaged and waiting for it to end. The noises were random and sometimes close to painful to hear. The combination of erratic visuals, sounds vibrating my seat, and sitting high above in the balcony, created a slightly sick feeling in my stomach. I found relief in the segment with the two performers creating sine like waves on the screen. The peaceful noise reminded me of something one would listen to when falling asleep.
Probably the thing that upset me the most was how the Morse code part was executed. I was excited to actually have a way to connect to the performance. However, I could barely see what was being spelled out, partly because it was lacking spaces between words and because a speaker blocked most of my view of the left screen. What I did notice was very interesting, such as “Information is not Knowledge.” I just wish I could have been able to decipher more.
Looking back at the experience now, I only recall a blur of bright lights and loud noises. Overall I did not enjoy this performance.
"by Ali Smith
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
My post regarded how I felt really confused by the performance, simply because I lack a backgorund in physics so as much as I tried to read up on the inspiration for Superposition, I still felt lost. However, this post really clarified things for me, in revealing that things don’t necessarily have to be clear. While science often times is about facts and specific interpretations, this explanation be a unique, almost musical, interpretation of the laws of physics, thus being a complete parallel to the musical interpretation itself. The lack of clarity may be okay, after all, however I still feel unsatisfied with accepting this simply because of my own personal desire to know what I am watching and not feel unintelligent. Nonetheless, the focus on looking at things as a whole of bombardment and confusion is more successful in leading to musical appreciation I think, instead of trying to nitpick every detail.
In physics, the basic principle of superposition claims that we do not know the state of any object; it is actually in all possible states simultaneously as long as we don’t look to check. I felt that Ryoji Ikeda’s superposition demonstrated this in a way throughout the performance. There were numerous times when I felt like I had no idea what was going on, but maybe that was the point. The audience is bombarded with loud noises and chaotic bright images, and I found myself at times attempting to discern the individual pictures or words when they were presented on the screens. A lot of times, the images started moving faster and faster, and it became difficult to focus on any one figure. There was one part with black tiles that would alternate flashing white as they scrolled down the screen; every time one of the tiles turned white, I would look towards that spot, but by then, other tiles in other places were flashing too. That’s when I stopped trying to concentrate on the smaller things, and I looked at the performance as a whole. Instead of focusing on any kind of order, I focused on the disorder. The individual squares blurred together and formed a stream of black, white, and gray, resulting in a unique kind of beauty. I began to appreciate the motion of the images and the blending of the different sounds, even if it was harsh and overwhelming at times. The more we try to focus on the state of things, the less we can know about it, and these ideas of uncertainty and randomness are what I believe Ryoji Ikeda was trying to portray with the chaotic display of data. Maybe we should stop trying to make sense of everything, and instead, we should just appreciate the experience.
"by Melissa
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
If this is where art is heading, count me out.
I view this performance not as an exercise in art but as an exercise in elitism. Despite having next to no discernible meaning and being jarring, I personally was left not in awe but with a headache, the house was near packed with people waiting with bated breath for a grand performance. Instead, we were met with an incoherent jumble of cacophonous sounds effects coupled with repetitive and often uninteresting visuals.
But afterwards, when discussing the performance with friends, the general feeling was not that the performance failed but that we failed by not understanding it. I feel this is an unsettling trend with many modern performance art pieces: the audience is left without any understanding of the piece yet feels they must still laud it as great because they do not want to feel uneducated.
The only part of the performance I did enjoy was the portion with the superposition of the sonic oscillations produced by the tuning forks. This was a pleasant ray of hope that brought me back from the verge of sleep. What stood out about this portion from the rest of the performance was the fact that it featured both visual and auditory stimuli working together, and not warring in disharmonious conflict.
One additional comment that might have helped the performance- UMS should not have sold seats in the balcony knowing that the massive speakers added for the performance as well as the projectors would block significant portions of the screens for many viewers.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
After watching superposition, I was honestly left feeling a little confused. While the performance was overwhelmingly unique and intriguing, as someone who is pretty un-versed in scientific concepts, I was unaware as to how to identify the parts of the perform inspired by the mathematical notions of quantum mechanics. While the loud decibels and flashing lights made for an extremely provocative performance, made even more exciting by the fact that two silent musicians controlled it on stage, I had trouble distinguishing between parts of the performance. In other words, the entire 75 minutes felt like a repetition of a 10 second compilation of various noise and light combinations. The extremity of the performance and its overwhelming nature made it easy to not even question the inspiration for the performance, simply because a questioning of all of the variables could put a person at risk for seeming unintelligent or naïve. I, however, have no shame in saying that even after reading various reviews of the show before and after, I still am left feeling lost, and like a lot of the message went over my head, simply because of the lack of my scientific background. Nonetheless, I can appreciate the scientific thought that went into making the performance, and found pleasure in listening to the performance, especially the contrasts between the severe builds and sudden shut offs. However, I feel that successful musical performances should not discriminate its audience based off of who can successfully understand the quantum background, for example. Music should be universally appreciated, across age groups and cultures, and while this performance was enjoyable to watch, I feel I did not receive the full effect that I could have if I was a physics major, perhaps.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
This performance really demanded the audience’s attention. The deep bass at the beginning was a constant, uncomfortable ringing in my ears. The flashing lights forced me to avert my eyes at certain times and I was seriously worried about having a seizure. Personally, I did not understand nor enjoy this performance. I think I would have appreciated it more if I had known about the mathematics and the inspiration behind each part. For example, my favorite section was when the human performers were using the tuning forks, because I actually understood that they were causing the sound vibrations that correlated with the visuals. However, for most of the other sections, I did not know what the visuals meant or how the sounds were being made.
Despite my first impression, I do appreciate the hard work of the human performers. It takes a lot of concentration and coordination to type the Morse Code patterns. I also enjoyed the thought-provoking questions and comments that were being typed on the big screen. However, being on the balcony, the projects obstructed my view of the messages, so a lot of the time, I couldn’t comprehend the sentences.
Personally, I would never have thought that computer-generated visuals and sounds would be considered a “performance.” I also would never have gone to this performance if it hadn’t been required for a class. Since it was so different and out-of-the-box, I am glad that I was able to experience it, however, I do not believe I will be attending similar shows.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
That’s interesting, I had a somewhat opposite reaction. I felt like I was able to find some specific meaning to write about in my post by making the piece “break its superposition”– observing parts closely so they stopped being such a blur of a bunch of intense experiences and instead resolved into something with definite value or meaning.
I think you make a good point that perhaps Ikeda is trying to tell us to stop trying to make sense of everything; another way to look at it is that perhaps Ikeda is simply trying to communicate to us how huge and complex the world is, perhaps (some wide-eyed optimism here) commend us for taking up the incredible task of understanding it all.
In physics, the basic principle of superposition claims that we do not know the state of any object; it is actually in all possible states simultaneously as long as we don’t look to check. I felt that Ryoji Ikeda’s superposition demonstrated this in a way throughout the performance. There were numerous times when I felt like I had no idea what was going on, but maybe that was the point. The audience is bombarded with loud noises and chaotic bright images, and I found myself at times attempting to discern the individual pictures or words when they were presented on the screens. A lot of times, the images started moving faster and faster, and it became difficult to focus on any one figure. There was one part with black tiles that would alternate flashing white as they scrolled down the screen; every time one of the tiles turned white, I would look towards that spot, but by then, other tiles in other places were flashing too. That’s when I stopped trying to concentrate on the smaller things, and I looked at the performance as a whole. Instead of focusing on any kind of order, I focused on the disorder. The individual squares blurred together and formed a stream of black, white, and gray, resulting in a unique kind of beauty. I began to appreciate the motion of the images and the blending of the different sounds, even if it was harsh and overwhelming at times. The more we try to focus on the state of things, the less we can know about it, and these ideas of uncertainty and randomness are what I believe Ryoji Ikeda was trying to portray with the chaotic display of data. Maybe we should stop trying to make sense of everything, and instead, we should just appreciate the experience.
"by Melissa
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Superposition is an interesting blend of science and arts, perfect for today’s university student.
This performance was difficult for me to comprehend. I focus a lot of energy on classical music, which is generally very tonal, and this performance was nothing like that. To me, it seemed more like a systematic organization of noise. From the opening clicks to the final screeching apocalyptic ending, I was engaged yet confused by this sound. The performance also seemed awfully loud to me. I think I could have gotten the same effect from a 20% volume reduction and saved my eardrums.
That said, I really enjoyed the tuning fork scene. It was really intense without all the volume. Watching the performers scramble around on the table for the correct fork amidst a sea of similarly sized objects was very exhilarating, like the experience of a near miss in a soccer match, as they frantically grabbed the next pitch. The visual was also very helpful in this scene, and it incorporated some of the physics of the music without being too technical.
A lot of the references to quantum mechanics and physics were out of reach of my comprehension, and I wish I had more background in physics so I could better understand the performance. However, I think that the one scene with the marbles can be related to the uncertainty principle described in the program. We either know the speed or location of the particle, but not both. Similarly, as the computer took snapshots of the marbles rolling around, we know the position of the marble at that specific moment, but by the time we calculate and visualize the marble in that location, it has already rolled on to a new spot on the board. It is quite interesting to think that the moment we know one thing, it has already changed and moved on.
Overall, this performance was quite the new experience for me. Although it was a little too loud and flashy for my taste, I enjoyed it in moderation.
Laurel
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Hi Mac, thanks for sharing your insights. There are many ways to put together…what we saw yesterday evening into a message with meaning, and I’ve been trying to figure it out. I like your explanation of the part where he displayed concealed definitions of “superposition.” This interpretation fits the idea of Ikeda’s art expressing concepts in science, which involves much more uncertainty than many people think. We often don’t “know” as much as we believe we do.
Also, it didn’t occur to me that the incomprehensibility of the data and visuals might be part of the meaning of the scene itself. However, do you think that maybe Ikeda didn’t want us to even try to understand the flood of random data? I imagine that he may have wanted us to focus on the sensory aspect (provided that we weren’t completely overwhelmed). I can only guess, but this performance seems like it could be an art-for-art’s-sake kind of work.
This Saturday, I walked out of the Power Center thinking to myself, “what did I just watch?” However, after periods of deep reflection, I truly appreciated Ikeda’s “Superposition.”
Ikeda’s performance provided an interesting social commentary on our understanding of the world we live in and how we perceive it.
The show begins with a discussion of how being unable to comprehend a language (spoken, written, physical, or visual) hinders our ability to take in information. He exemplifies his argument through his use of telegraphic waves and sounds, illegible graphs, incomprehensible visuals, blacked out crosswords, and coded definitions of superposition. Ikeda purposefully made it so that the audience could not understand every component of the performance in order to illustrate his point.
He then discusses knowledge versus fact and understanding versus uncertainty. This idea was best displayed through the redacted definitions of superposition. At several points during the performance, the definitions of superposition appear on the two largest screens; however, they are missing several words from their definition. The audience inferred that the blocked sentences on the screens were due to the organization. Yet, the audience did not know what the exact definitions were. The audience had the knowledge of what the screens said but they did not know all the facts, and the audience understood what the words on the screen said but they were uncertain of the exact definitions. Just as we go through life knowing and understanding what we are told and experience, but not necessarily knowing the whole story behind the information we know.
This performance, although overwhelming for one’s sense, was an exciting and unique experience that I am glad I had the opportunity to engage.
"by Mac B.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I think a lot of people will agree when I say this: I’m not sure I enjoyed Superposition, but it was certainly interesting. The physical experience itself was moderately unpleasant, the loud and often discordant music, coupled with the quickly flashing images was quite overwhelming. I was uncomfortable right away—the performance felt like something new as soon as it started.
However, Ikeda raised some very interesting points, or at least, that’s what I got out of it. I’m going to reference the “definition of superposition” part, just as an example. I liked that all the “important” words—those that made the definition unique—were unreadable, except for in brief flashes. I was trying to read as much as I could, but I could only get a word or two in each flash, which I found uniquely infuriating. It was like Ikeda was playing with our sense of curiosity, our overwhelming desire to learn more: deliberately intriguing us and then preventing us from finding any answers.
This idea seems to be a commentary on the nature of our knowledge and how we search for it. We are definitely curious creatures, and we look to art and science to help us find answers about the world. However, we are far from finding everything we want, so perhaps Ikeda is trying to put the audience in the place of an artist or a scientist. He gives us a torrent of experiences we cannot possibly absorb and we are left reeling, trying to understand what we just saw.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
After having seen Ryoji Ikeda’s “Superposition,” I found myself contemplating whether or not what I had seen was a “performance.” In the week prior to seeing “Superposition,” the term that I had most often heard used to describe “Superposition” was the term “art-installation.” After seeing “Superposition,” it makes sense as to why there was a certain tentativeness to describe it as a “performance.” The two “actors” that were used in the production were not on stage for the entire show, only coming on the stage for certain segments. As such, during long periods of the show, there were only images and sound that had been recorded and created previously. The images and sounds were indeed impressive in the degree to which they were in synchronous, for example the high pitched sounds that seemingly perfectly coincided with white flashing screens in the beginning of the show. However, due the fact they were previously created, these parts of the show were not performed but, rather, were merely presented. Even when the actors were on stage seemingly affecting the sounds and images within the show, it was impossible to tell whether or not they were actually affecting anything. The images and sounds could have just as easily been previously created, even if it looked as though the actors were creating them.
“Superposition” ranged upon being a “performance” when the actors dropped marbles in front of a camera and then the marbles were placed on a Cartesian plane on the screen behind the actors. However, even though I felt that this was actually happening real-time, the doubt from previous segments as to the validity of the actors’ role in the creation of images and sounds mitigated the potential of this moment to be “live performance.” As such, I largely perceived “Superposition” to be more of a presentation of art rather than a performance. Though the art being presented was fascinating, it wasn’t necessarily something that needed to be done in a theater as a “live” event.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Superposition is the strangest thing I have ever watched. The performance encompassed a lot more layers than I expected, and I was a little overwhelmed. At each part, I could not stop myself from looking for the bigger picture. Every aspect of Superposition contained some medium of art and science. The performance focused on the former and the latter’s juxtaposition. The performance’s musicality mostly mimicked the informational age’s beeps and tones. We have all heard the sound of an incoming text, the sound of an error message on a computer, the sound a programing software, and the sound our keyboard makes on our phones. Ikeda puts all those tones together, blending what need not be blended. Out of the sound of scientific age, he creates music. The first segment of the performance split the screen into smaller displays that each showed the multiplication and explosion of bright dots. This segment gained speed with time that near the end of it, it just looked like the screen was flashing in different parts. After the intro, the performers came out. As they sat still, they created both visual and auditory rythms. They split the screen into two, and presented, in words and pictures, the differences between concrete science and the ambiguous life. Every thing they did from there, was some kind of contrast. A lot of it passed too quickly to analyze or comprehend, which only added to the performance. Knowledge has to be overwhelming—there is so much of it. The performance really stressed that. There was so much to it, that even now, only a day later, I cannot remember all of it. Ryoji Ikeda managed to address so many themes and ideas in an hour, making it blindingly beautiful.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Hi Zita,
I agree with you wholeheartedly that the performance was challenging to view and am glad that I am not the only one who left the theater feeling differently than they had while walking in.
However, I would just like to say that there is a difference between novelty and ingenuity that we all must respect and not commit the mistake of overlooking — though I do admit there is indeed room to argue on both sides for Superposition being merely novel versus actually ingenius.
Best,
Andy
I was amazed, challenged, transformed. It felt like my brain was turned inside out and back again, but not quite the way it started.
"by Zita
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Hello The Fleshy Timeclock,
I mean no offense to you but I am slightly befuddled by your claims and would appreciate some explanation.
After reading your comment I believe you are in essence saying that the meaning of “Superposition” is difficult to characterize through language, the only medium I have ever believed meaning could be described through. This seems very puzzling to me. Are you implying that there exists a better alternative to “distill” meaning from this performance? How do you put something into words if you deny yourself access to those words? This is highly paradoxical.
You recall that it was difficult for you to “turn off [your] internal monologue that kept asking ‘what does this mean?!'” I am sure you are aware it is human nature to wonder about those entities we are confused about. It seems to me you are claiming that only by defying logic and ignoring one’s own thoughts can “Superposition” be successfully viewed as an “experience of sublime nature.” I understand the graphics may have been “cool,” but where was the profoundness in the piece?
Elucidation would be much appreciated as I am genuinely interested in your perspective.
Best,
Andy
Great show!
I wish I could come tomorrow night as well.
One of the things that is difficult, and also very rewarding about an experience like this show is how it resists traditional analysis in terms of being able to distill the “meaning” of the experience into verbal or written language.
Much like the 7 hour long album of very precisely designed minimalist electronic compositions I released last year to an almost nonexistent audience (what *is* the audience for such a thing, after all?), Superposition’s meaning is entirely rooted in the visceral experience itself.
Even for me as a very longtime fan of Ikeda’s work, I found it difficult to turn off my internal monologue that kept asking “what does this mean?!” When I succeeded, however, the raw experience itself flooded into me like the experience of sublime nature that I think it was intended to reflect in it’s glitchy, high tech mirror.
"by The Fleshy Timeclock
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Well, going through the comments here and seeing most of them hailing on how great it was the experience, I’m definitely sure that I missed to smoke the same thing than you all.
Indeed it was very unique with nice video and audio features, but too abstract for me, without a clear line on what was the intention.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Walking through a haunted house and experiencing the scares is exactly how I felt during the performance as well! I found myself jumping out of my seat during the intense moments, but calmed by the sound waves from the tuning forks. Nevertheless, as the intensity during the performance was building up, I constantly found myself in a state of anxiety, searching for a climax. At times, I was also struggling to focus on the performance, but I had no trouble doing so during moments of loud sounds and overwhelming imagery.
The contrasting messages typed using Morse code were particularly intriguing, especially the ones about love and peace. Even more, the use of the tuning forks were interesting because it was as if the performers were sending messages to each other through sound waves. Although I enjoyed bits and pieces of the performance, I would not attend this type of performance again.
Are you familiar with the intense alertness you experience when entering and experiencing a haunted house? This was my exact reaction during the entirety of Superposition. The very minute in which the performance began, I shot out of my seat because the loud, sudden noises took me by surprise. Not knowing what to expect whatsoever from Superposition, I first watched the plotting of dots on the graph with enthusiasm. Yet, what I did not know was that very loud, ear-splitting noises were soon to follow. Having understood how the rest of the performance was to go, though, I prepared myself for whatever was going to occur. Also, the plotting of the dots was the attention of this production for far too long in the beginning. I lost interest after about 10 minutes of just plotting dots, loud noises, and strobe lights. Something else I was also concerned about was there a disclaimer anywhere that warned people who are prone to epilepsies not to come? I honestly did not see one anywhere.
Contrasting from my negative ideas about the performance, I actually did enjoy the use of Morse code and the graphical representation of sound waves. The decoded messages typed out onto the large screen were really interesting. Their meanings were quite quizzical and stimulating, and anticipation was built up while the actors were decoding these messages that really drew me further into the performance. My favorite messages typed out were the ones that contrasted two similar-looking sentences to one another that revealed a different meaning in each. The sound waves experiment was extremely interesting at first, but I think it went on for far too long. It was so relaxing to listen to that I, honestly, almost fell asleep but was abruptly woken up by the extremely loud, sudden noises that followed.
Overall, I thought the performance was overly stimulating and interesting to watch. I personally do not think I would go to see it again because it gave me a headache with the flashing lights and the excruciatingly loud noises.
"by Allison Surma
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Ikeda’s “Superposition” was anything but super. I normally attempt to find the silver linings of even the most unenjoyable of performances, but simply put on Saturday evening I was unable to find anything of substance to take away from this “performance.”
As far as I’m concerned, what I witnessed was not much more than a cacophony of jarring noises coupled with dizzying graphics and occasional lines of text that were meant to induce thought but that were in reality irrelevant. I was at times legitimately concerned for the wellbeing of my ears (I would rather have listened to a fire alarm) and found myself continuously wondering if this performance would be the cause of my first epileptic seizure (it must be mandated that a warning be put on the ticket). While I concede that I have never viewed anything like that of Ikeda’s “Superposition” and that I might when feeling generous even describe the spectacle as “cool,” I am not so sure that an hour of such novelty without a real pointed direction is in this case a good thing. One must be very careful to not mistake uniqueness for ingenuity. I searched all hour for an “Aha!” moment, one that would give the performance a sliver of meaning, but found myself sitting empty-handed and in the dark at the conclusion of the show.
Perhaps I am simply just not an abstract-enough thinker, but I had a difficult time gleaning significance from any part of “Superposition” – though the theme of infinity was very prominent and the representations of big data and technology very obvious, I realized I kept asking “So what?” Anyone can repeatedly dot a black background with white spots and display fluctuating numbers in scientific notation as Ikeda did. These were familiar images to me, and I could not derive any new meaning. The performance did not introduce to me any notions that I had not already been aware of – where was the enlightenment?
My only hope and potential consolation is that perhaps a performance of this nature cannot be sufficiently analyzed in such explicit terms. If I had the opportunity to redo my Saturday evening, I would rather invest my time in learning actual concepts in the fields of quantum physics or big data – not in this disappointing attempt at representing these subjects.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I have to admit, I was disappointed and frustrated by the performance. Walking into the auditorium, I was excited and was anticipating to be blown away by whatever I was about to witness, even though I did not know exactly what to expect of Ryoji Ikeda’s “Superposition.” Nevertheless, there was no way I could have prepared for how I felt during the entire performance: overwhelmed.
All forms of art are designed to make the audience feel a certain way. I do not know what Ikeda intended his viewers to experience, but through most of the show, I was anxious and confused; only during a few fractions of the show, including when scenes of nature moved across the screen or when the performers beautifully incorporated the tuning forks, did I experience a sense of calmness and relief. In contrast, the majority of the show consisted of obnoxious high-pitched, ear-splitting sounds, which forced many people around me to cover their ears in an attempt to shield themselves from the pain or to leave altogether, as well as a deep, powerful base, of which I felt the vibrations through the ground and seat.
Throughout the performance, I often found myself anxiously waiting for something, but for what? It finally hit me when I realized that the flashing screens and increasingly sharp music was building up an intensity that, surprisingly, turned out to be anticlimactic. At one point towards the end of the show, however, the intensity led to an unexpected explosion, causing me to jump out of my seat. I tried to regain composure but ultimately failed to do so, especially because at end of the show, we were bombarded with a combination of loud noises and flashing images that made my heart beat faster with each passing second.
Looking back at the performance has made me realize that maybe this was Ikeda’s intention, to force the audience onto an emotional roller coaster. If this was the case, it was a job well done.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I really like your observation about the presence of human performers on the stage because I hadn’t noticed that at the time. The way I interpret it would be that data is random; however, humans want to try and make sense of this randomness. When humans aren’t around, data is chaotic and can mean anything, When humans are present, then they take control and try to find meaning in the data. Using this perspective, these contrasting situations are portrayed on the stage with the different segments. As a result, humans should be in control of technology, but the vast amount of data available makes this hard.
After watching superposition I didn’t know what to feel. I felt like I had just witnessed the end of the universe. I had the opportunity to meet the actors before watching the show and they talked a lot about the contrast between the human and technological elements of the performance. This contrast became very apparent while I watched the show. I noticed that scenes where the humans were present, everything was much more organized. The Morse code scenes, the marble scene, and the crossword scene, for example, were all relatively calm and well put together. However, as soon as the humans left the stage, everything started going haywire, culminating in the explosion of light at sound that ended the show and terrified me. This distinction between humans and machines made me wonder if the humans were slaves to the computers or if the humans only existed because of the computers. This question of who controls whom is a problem that I think plagues our own society. People are so dependent on technology in today’s world that it’s hard to imagine a life without it, but at the same time, technology would never exist without humans.
"superposition brought up many other issues besides human versus machine. It presented conflicts like science versus religion and order versus chaos. However, these topics felt somewhat under developed. The phrases that were typed out by the actors like “science is a differential equation” and “religion is a boundary condition” were complex and hard to follow and they switched between topics so quickly that it seemed, at times, that they were complex for the sake of being complex and not to make an actual point.
by Tyree Cowell
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I felt the same way about not being able to identify a particular message that the piece was trying to send. I was also in the balcony, so at some parts of the performance I tried my best to focus intently on the typed messages because I thought I could find a particular message that was being sent in those. I still don’t know if I did, but I gave up about halfway through the show. I don’t know that the piece was meant to convey a certain message, but I think that if anything the audience could have just taken away from it a new way to view performance. Watching this kind of performance was new and unfamiliar to many of us, so if anything at least we broadened our horizons.
This performance left me more conflicted than anything else. Leaving the Power Center, I could not decide whether I was intrigued or confused. Part of me really enjoyed the ingenuity and creativity of Ikeda’s production. The performance was unlike anything I had ever seen before. I did not know what to expect and was, for the most part, always entertained. The various scenes and constantly changing sounds and visuals assured entertainment. The fact that the two actors controlled most of the visuals was incredibly enticing, as it was as if our reality was being fused with the apparent reality of the performance. Seeing individuals influencing the performance so significantly made it feel more real and applicable to the reality of the audience.
"Another part of me was confused the entire time, as I continually was trying to understand what the performance was actually about. I spent most of the performance thinking about what I was supposed to take away from the performance. In the beginning, I thought that all the numbers and patterns were supposed to symbolize the repetition and randomness in life. Then when the actors typed the long messages of Morse code, I thought that Ikeda was trying to convey a certain point when in reality the messages made little to no sense to me. This might have been due to my view, as I was sitting in the balcony and one of the large screens was partially blocked by the large speakers. Never the less, I became more confused, and in turn more frustrated that I did not understand the purpose. Later, when the various satellite images appeared, I was more intrigued but still confused about the objective of the performance.
In general, I am happy I attended Superposition. Although I left thoroughly confused, I was able to see a truly contemporary performance that exceeded my expectations.
by Carolyn
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I was exhilarated by Ryoji Ikeda’s superposition. Having walked into the Power Center not knowing exactly what to expect, I left the performance awestruck and enamored by the dazzling display of images, lights, sounds, and the actors’ interaction with technology. This reaction was one that did not seem to be shared by the majority of my classmates. One aspect of this piece which I found fascinating was its exploration of the relationship between order and chaos. This was evident from the very beginning when points were being plotted on a graph. At first, this occurred slowly: each point plotted was easily distinguished by sight as well as by sound (with its accompanying “beep”). The rate at which points were being plotted as well as the number of graphs eventually began to increase. The sound crescendoed, the visuals became overwhelming, and apparent chaos ensued; however, the audience knew that this apparent randomness came from the highly ordered plotting of Cartesian coordinates. Later in the piece, the opposite of this chaos-from-order occurred: the apparent randomness of rolling marbles was superimposed with calculated graphs of their distance from a central point and relative angles. This could be interpreted as an attempt to derive highly logical, calculable, mathematical meaning from a disorderly incident. Ultimately, I saw superposition as a criticism of humanity’s constant attempt to mediate the world to make it more intelligible. Religion, science, and mathematics are all artificial frames created to resolve fear of unknowability. The visual and auditory assaults throughout superposition force the audience to have a pure experience – sheer intensity, no mediation.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Ryoji Ikeda’s “Superposition” pushed the boundaries of performance in a way that I have never seen done before. It was far more than just a visual experience, for it was almost tangible. As a college student, I tend to stick with what is comfortable for me, which is seeing mainstream pop or rock artists perform live or watching theater productions put on by my school. While those shows are entertaining in their own right, few have been as thought provoking for me as “Superposition”. It was a show different than all others, and it actually made me very excited to see what is to come in the future of performance. The way that Ryoji Ikeda mixed the elements of sound and sight created a futuristic atmosphere. He is definitely ahead of his time.
While Ryoji Ikeda’s play on sight and sound pushed boundaries and was surely inventive, what was the cost? There was no spectrum of sound or sight in this piece. It was either utterly silent or sounds pierced and vibrated through one’s ears. The same can be said for the images flashing before the audience. It was either pitch black or harsh/bright color combinations were presented before us. Personally, I found it riveting and breathtaking, but I noticed that others did not feel the same way. People around me seemed to be very uncomfortable for the most part. I noticed that many people had brief moments of discomfort where they had to look away or plug their ears, but some even felt like it was necessary to leave. The way that the performance heightened the audience’s senses may have been overwhelming to many, but I actually think that the layer of discomfort added to the effect of the piece. I thoroughly enjoyed it.
Maya
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
After watching superposition I didn’t know what to feel. I felt like I had just witnessed the end of the universe. I had the opportunity to meet the actors before watching the show and they talked a lot about the contrast between the human and technological elements of the performance. This contrast became very apparent while I watched the show. I noticed that scenes where the humans were present, everything was much more organized. The Morse code scenes, the marble scene, and the crossword scene, for example, were all relatively calm and well put together. However, as soon as the humans left the stage, everything started going haywire, culminating in the explosion of light at sound that ended the show and terrified me. This distinction between humans and machines made me wonder if the humans were slaves to the computers or if the humans only existed because of the computers. This question of who controls whom is a problem that I think plagues our own society. People are so dependent on technology in today’s world that it’s hard to imagine a life without it, but at the same time, technology would never exist without humans.
superposition brought up many other issues besides human versus machine. It presented conflicts like science versus religion and order versus chaos. However, these topics felt somewhat under developed. The phrases that were typed out by the actors like “science is a differential equation” and “religion is a boundary condition” were complex and hard to follow and they switched between topics so quickly that it seemed, at times, that they were complex for the sake of being complex and not to make an actual point.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree that I did not enjoy this performance as much because it lacked the cohesion between segments. The transitions merely consisted of blackouts and the performers either entering or exiting the stage. I really like your approach on focusing on the aesthetic appeal of physics and mathematics. As someone who enjoys math, this would have made the experience much more enjoyable to me versus the hostile sounds and visuals.
Superposition was either the most sublime performance I’ve witnessed, or the most useless one. The gimmick of building up, of crescendoing and intensifying, cycling towards something…and then suddenly blacking out was used multiple times. It was, in my opinion, a cop-out, a way for the performance to change topics without going through the difficulty of forming a cohesive segue. In this sense, I felt the performance was lacking.
However, there were elements of Ikeda’s work which I found compelling. The performers’ use of telegraphs and morse code as musical instruments and rhythmic components, while unpleasant to the ear, was skillful and innovative. Additionally, the use of math and geometry and physics to create art was a unique approach – it made me appreciate the beauty and definability within our universe. I’m usually unaware of these things, so in that way, it was enlightening to visualize plotting points as a medium for creating art.
I feel that if Superposition had focused more on this beautiful aspect of physics and mathematics, it could have engaged the audience much better than the overpowering and sensory overloaded approach which it used.
Perhaps, though, this is the sublimity Ikeda was aiming for. Maybe he wanted to make the audience uncomfortable – uncomfortable with the reality of the universe, the expansiveness, the interconnected-ness, the way in which everything can be linked through math and doesn’t have to be unknown and wondered about. Maybe that’s why this piece is well-respected. But maybe it’s just the fact that Ikeda utilized unique methods to state his point, a point which, in itself, is realized by thousands of scientists every year.
Personally, this performance was not one that I enjoyed. However, I recognize that it has merit and was going towards an interesting concept.
"by Madeline
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree with both of you. This felt like more of a spectacle than art, and I’m honestly not convinced there was a “larger theme”. Perhaps just a famous artist resting on his laurels and using the shock factor and indecipherable numbers to convince people of his “genius”.
Have you ever joined a couple of friends, who were mid-conversation, and had no idea what they were talking about? That sense of confusion is exactly what I felt during this performance. I was thrown into a conversation between Ikeda and his work, and I was left lost and frustrated.
"At the beginning of the production, I promised myself that I would keep an open mind, but by the end, I was ready to hightail it out of there. Everything that occurred in the middle is a blur of light and sound, and I am still struggling to connect those senses into one, coherent picture. Inhuman sounds and blinding lights were constantly bombarding me. At times, I had to close my eyes and cover my ears in fear that my head would explode. I understand that this performance may not be the type where you leave with a clear mental representation of what just occurred, but I did not expect to leave with only a headache and a desire for peace and quiet.
This brings me to my question: is this performance something that can be appreciated by people who are not familiar with the mathematical aspect? Every graph, line, and number had a role to play in this production, but I was not able to decipher what any of those roles were. As much as I tried to understand the mathematic hodgepodge on stage, my attempts were fruitless, and I was left more confused than ever. Perhaps my biggest downfall was my need to make sense of this production. Maybe if I had just watched and listened without trying to connect it to a bigger theme, then I would have found more clarity in this piece. Then again, it is impossible for me to sit and passively watch something without trying to find some meaning in it.
by Ruby Siada
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I wish I could have seen it again too!
I am so used to trying to find meaning in performance it is refreshing to have something that is just sound and pictures that may have no concrete meaning at all.
It makes you think about how performance doesn’t have to fit into the perimeters that we expect. It is very strange and I think thats why a lot of people don’t care for it. But if more people see a performance that pushes the limits like this one does, they may be willing to experiment and find some other unique experiences that they normally would never think they would enjoy.
Great show!
I wish I could come tomorrow night as well.
One of the things that is difficult, and also very rewarding about an experience like this show is how it resists traditional analysis in terms of being able to distill the “meaning” of the experience into verbal or written language.
Much like the 7 hour long album of very precisely designed minimalist electronic compositions I released last year to an almost nonexistent audience (what *is* the audience for such a thing, after all?), Superposition’s meaning is entirely rooted in the visceral experience itself.
Even for me as a very longtime fan of Ikeda’s work, I found it difficult to turn off my internal monologue that kept asking “what does this mean?!” When I succeeded, however, the raw experience itself flooded into me like the experience of sublime nature that I think it was intended to reflect in it’s glitchy, high tech mirror.
"by The Fleshy Timeclock
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
ASL,
I completely agree as well. I found the loud noises and lights incredibly off-putting and headache inducing. I guess these production choices did keep people alert, but I found them incredibly distracting. I wish I had been more able to be sucked into the work instead of alarmed and uncomfortable for the majority of the performance.
I completely agree that that information line was very thought provoking, but I found many of the others that discussed science and religion to be rather trite. I wish there was more complexity to the few words written on the screen. These were moments to really inspire the viewers, but they did not fully accomplish the level of wisdom of which they aspired.
ASL,
I felt the same with my senses being under attack. You’re right, it’s absolutely not necessary to blast music and light to the point of torture. It was rather unpleasant.
But in another sense, the dramatic effects are completely necessary. Ikeda’s intentions are apparent with his polarized use of light and sound. It’s either too bright/dark or loud/quiet; this exhibits the present and non –present; it illustrates the 0 and 1. Like the program notes, this performance is intended to touch on quantum theory, and the idea of having the overlapping of binary numbers. The deep understanding of quantum physics/computing is extremely complex and sophisticated. In that regard, the omnipresence of white noise and colors in the lights bring out the infinite (and thus incomprehensible) nature of quantum physics.
I find your question extremely stimulating about how we should approach the concept of infinity. I don’t have a clear answer but have some ideas that are relevant.
The marbles were notable. Through multiple trials, the spectrum of possible positions of marbles is filled. In the big picture, with time, infinity can be reached. Unfortunately we cannot live long enough to witness this phenomenon. This type of imagination that Ikeda provokes is extremely reflective. It had me questioning the presence of infinity and importantly the extent to which we can reach infinity. Although we can theorize the most profound concepts, it is just mere imagination and thus, sadly unreachable. So, for me, this was an illustration of our limits in conceptual thinking.
"by AK
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I feel like I had a similar experience as you did regarding the performance. At first, I was curious to see where the different parts were headed, such as the dots and the sound waves. However, I agree that some of the segments went on far too long because I could feel myself losing interest and zoning out, but maybe that’s how the next part catches you by surprise. I also liked the contrasting messages because they actually gave me something to contemplate. Overall, I would agree that the performance was unique, but I probably would not attend it again.
Also, regarding the strobe lights, I noticed there were warning signs posted outside the entrances of the balcony, but they obviously weren’t placed very well if most people did not see them.
Are you familiar with the intense alertness you experience when entering and experiencing a haunted house? This was my exact reaction during the entirety of Superposition. The very minute in which the performance began, I shot out of my seat because the loud, sudden noises took me by surprise. Not knowing what to expect whatsoever from Superposition, I first watched the plotting of dots on the graph with enthusiasm. Yet, what I did not know was that very loud, ear-splitting noises were soon to follow. Having understood how the rest of the performance was to go, though, I prepared myself for whatever was going to occur. Also, the plotting of the dots was the attention of this production for far too long in the beginning. I lost interest after about 10 minutes of just plotting dots, loud noises, and strobe lights. Something else I was also concerned about was there a disclaimer anywhere that warned people who are prone to epilepsies not to come? I honestly did not see one anywhere.
Contrasting from my negative ideas about the performance, I actually did enjoy the use of Morse code and the graphical representation of sound waves. The decoded messages typed out onto the large screen were really interesting. Their meanings were quite quizzical and stimulating, and anticipation was built up while the actors were decoding these messages that really drew me further into the performance. My favorite messages typed out were the ones that contrasted two similar-looking sentences to one another that revealed a different meaning in each. The sound waves experiment was extremely interesting at first, but I think it went on for far too long. It was so relaxing to listen to that I, honestly, almost fell asleep but was abruptly woken up by the extremely loud, sudden noises that followed.
Overall, I thought the performance was overly stimulating and interesting to watch. I personally do not think I would go to see it again because it gave me a headache with the flashing lights and the excruciatingly loud noises.
"by Allison Surma
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree with everything you said. I love your analogy in the beginning, however, for me it was like joining a conversation being spoken in a different language also. I believe my problem is also that I could not make sense of the performance and how any of it was connected so I did not enjoy it as much as others who possibly had a more open mind. I would love to hear from someone who found a meaning from this performance because I sure couldn’t.
Have you ever joined a couple of friends, who were mid-conversation, and had no idea what they were talking about? That sense of confusion is exactly what I felt during this performance. I was thrown into a conversation between Ikeda and his work, and I was left lost and frustrated.
"At the beginning of the production, I promised myself that I would keep an open mind, but by the end, I was ready to hightail it out of there. Everything that occurred in the middle is a blur of light and sound, and I am still struggling to connect those senses into one, coherent picture. Inhuman sounds and blinding lights were constantly bombarding me. At times, I had to close my eyes and cover my ears in fear that my head would explode. I understand that this performance may not be the type where you leave with a clear mental representation of what just occurred, but I did not expect to leave with only a headache and a desire for peace and quiet.
This brings me to my question: is this performance something that can be appreciated by people who are not familiar with the mathematical aspect? Every graph, line, and number had a role to play in this production, but I was not able to decipher what any of those roles were. As much as I tried to understand the mathematic hodgepodge on stage, my attempts were fruitless, and I was left more confused than ever. Perhaps my biggest downfall was my need to make sense of this production. Maybe if I had just watched and listened without trying to connect it to a bigger theme, then I would have found more clarity in this piece. Then again, it is impossible for me to sit and passively watch something without trying to find some meaning in it.
by Ruby Siada
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
This performance left me more conflicted than anything else. Leaving the Power Center, I could not decide whether I was intrigued or confused. Part of me really enjoyed the ingenuity and creativity of Ikeda’s production. The performance was unlike anything I had ever seen before. I did not know what to expect and was, for the most part, always entertained. The various scenes and constantly changing sounds and visuals assured entertainment. The fact that the two actors controlled most of the visuals was incredibly enticing, as it was as if our reality was being fused with the apparent reality of the performance. Seeing individuals influencing the performance so significantly made it feel more real and applicable to the reality of the audience.
Another part of me was confused the entire time, as I continually was trying to understand what the performance was actually about. I spent most of the performance thinking about what I was supposed to take away from the performance. In the beginning, I thought that all the numbers and patterns were supposed to symbolize the repetition and randomness in life. Then when the actors typed the long messages of Morse code, I thought that Ikeda was trying to convey a certain point when in reality the messages made little to no sense to me. This might have been due to my view, as I was sitting in the balcony and one of the large screens was partially blocked by the large speakers. Never the less, I became more confused, and in turn more frustrated that I did not understand the purpose. Later, when the various satellite images appeared, I was more intrigued but still confused about the objective of the performance.
In general, I am happy I attended Superposition. Although I left thoroughly confused, I was able to see a truly contemporary performance that exceeded my expectations.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
It is important to go into new experiences with an open mind. I attempted to do this while watching “Superposition” at the Power Center on Saturday. After hearing commentary from the actors and reading reviews on the piece I was hesitant but willing to be engrossed in the production. Part of me knew that this production was not my taste, but I was hoping my mind would be changed after watching it in person. It, unfortunately, did not. Although technically advanced and accurate, the piece itself was painful to watch and listen. With seemingly never-ending flashing lights, loud, monotonous beeps, and moving lines of words, I worried for those who are seizure prone in the audience. As the play progressed I waited for that pivotal moment where I would finally be engrossed in the work, but that climax never came. Instead was a flood of cliché phrases about science and religion that tried to be more sagacious than they were in actuality. I do understand the premise of the piece and that it is a complex work of performance art. I respect it as such, but I did not enjoy a minute of it. Had I not had to stay for a class, I would never have finished the performance. I did not leave changed or inspired, like I hope to after a performance. I left with a migraine and a deep sense of confusion. I truly hope to never have to witness anything remotely similar to “Superposition” ever again.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I came to “Superposition” open-minded and very curious. Never before had I experienced anything even remotely similar to this performance. I actually expected to like it, because it was so different and seemed interesting. I was intrigued in the beginning, with the progression of the music and interaction of the different levels of screens. As time went on however, I became disconnected.
Ironically, my mind became bored and tired. The fact that one needed to clear the mind and remain open had an opposite effect on me. Because I could not understand what was happening and how it was connected I was disengaged and waiting for it to end. The noises were random and sometimes close to painful to hear. The combination of erratic visuals, sounds vibrating my seat, and sitting high above in the balcony, created a slightly sick feeling in my stomach. I found relief in the segment with the two performers creating sine like waves on the screen. The peaceful noise reminded me of something one would listen to when falling asleep.
Probably the thing that upset me the most was how the Morse code part was executed. I was excited to actually have a way to connect to the performance. However, I could barely see what was being spelled out, partly because it was lacking spaces between words and because a speaker blocked most of my view of the left screen. What I did notice was very interesting, such as “Information is not Knowledge.” I just wish I could have been able to decipher more.
Looking back at the experience now, I only recall a blur of bright lights and loud noises. Overall I did not enjoy this performance.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I completely agree. This performance seemed to be flashy and loud simply for the sake of being flashy and loud. I also agree that we should have been notified of how intense the display would be. I’m just glad that no one – to my knowledge – had any extremely adverse reactions. I understand that the performers may not have wanted the show to start with a warning of potential seizures or something like that, but I think it’s a small price to pay for safety. When an artist puts out a work such as this that alienates so many – either from its sheer abstractness or hazardous conditions – one has to wonder whether they’re putting on the performance for the audience or for him or herself. I’m sure it all made sense in Mr. Ikeda’s mind, but certainly not in mine or in the minds of everyone I’ve talked to about it.
I understand that some art is designed to push us out of our comfort zone in order to make us think more about the world around us. This performance went well beyond pushing me out of my comfort zone, however. Within the first three minutes I had to leave because the flashing lights and noise were making me so sick I knew I would not be able to safely make it through the performance. I was not alone in this decision. I saw many others exiting the auditorium when I did and many people told me later that they left before the end of the performance as well. I appreciate the idea of pushing an audience out of their comfort zone but artists must also be cognizant of their audience’s health. I was also appalled at the lack of signage warning the audience about the strobe lights.
"by Anne
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree with most of your comments pertaining to Ikeda’s performance.
I believe that it was a futuristic performance in the sense that it is a new-age hybridization between live performance and digitalized performance that heavily relies on the medium of technology to produce the art. However, we are moving into an age which technology is becoming more and more accessible, imperative, and prevalent in our society. Therefore, I feel that this performance is moving with the times to integrate modern technology with modern art.
With that being said, I do not believe that the purpose and meaning behind the performance were solely on a mathematical and scientific level. I believe that it was providing a commentary on the issue of understanding in this new modern age that we live in. It provided a venue where various different languages (written, visual, digital, and physical) came together, just as technology allows us to do now, and although we could not understand all that we saw, heard, and experienced, we could still form some sort of understanding based on what we thought we knew. This discussion provided a means for the audience to reflect on how they perceive information, fact, and knowledge as either understanding or uncertainty.
Additionally, not all the themes in the performance were mathematical or scientific. It discusses logical thinking versus assumptions, religion versus science, simplicity versus complexity, and so on. This performance, implicitly and explicitly, touched on a diverse realm of topics that are socially relevant today.
Ultimately, it was a very different performance and difficult to understand, but if you take a moment to step make and look at the performance, not based on what you saw that confused you, but what you thought you understood, you might reconcile the performance better within yourself.
No matter what you could have imagined “Superposition” to be like, the performance is truly beyond all expectation or imagination. I personally had two interpretations, 1) this has a superior, deep thematic artistic expression that somehow relates to Physics, or 2) this was chaotic, confusing, and plainly difficult to absorb to be any form of entertainment for me. There were many connections to the universe and physics because it used sound waves and white noise as a medium, as well as references to momentum and engineering, but as someone who hardly knows anything about physics, I could not grasp the true meaning at all. This was what made me frustrated because it felt like there was a clear answer in front of my eyes, but I just was unable to grasp it no matter how much I tried. To the people that understand many concepts of physics and quantum physics, were you able to truly interpret anything clearly from this performance?
"Do I hate the performance; do I think it was a complete waste of time? No. Every single part of the performance was in all aspects very “cool” and “futuristic.” I appreciate it because I think that no one but Ryoji Ikeda would have been able to create such a creatively bizarre performance that goes outside all boundaries. The only issue I had with the performance was that it was made for the future, but I currently live in the present. No matter how much I try to expand and open my mind, it is still difficult for me to grasp it wholeheartedly.
by Lin Pie
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I was looking forward to this performance all week and it did not disappoint. It was so unique I have nothing else in the theatrical world I can compare it to. It reminds me of a more sophisticated version of the science exhibits in museums I went to as a child. Science is my passion, and I am amazed at how well this transformed science into performance. It demonstrated how nature doesn’t always seem natural. It is confusing and even at some points unpleasant, but this sort of data is always bouncing around in the universe, whether we’re aware of it or not.
The part with the marbles made it the most apparent to me that this was all happening in real time. The randomness of the marbles was mapped out the put on display. That’s what science strives to do, to organize the random, to make sense out of nonsense. Like the Morse code, the dots and dashes don’t appear to mean anything on face value, but it holds information. We live in an information age, and this performance was like looking inside of a computer, processing and representing data. This data exists on a very large scale, at the end of the performance, it looked as though the universe was being presented to us in data points, and it was powerful, it made me feel powerful. It was like I was some all-knowing outsider looking in on the universe. I was disappointed when the lights went up because I wanted to continue on in this journey through information that the performance was taking me on.
There were so many layers to the performance that I couldn’t fully grasp it all. But I don’t think it was meant to have a concrete meaning. The only downside to the performance was that I was rather far up in the balcony and couldn’t see the smaller screens very well, but even with that it was a powerful and thought provoking experience.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Superposition was madness. Utter madness. And I hated it. I came in expecting something different and abstract, though I didn’t realize just how out there it was going to be. I felt that the performance transitioned between the incomprehensible and the self-consciously abstract. I was also expecting more musicality out of the performance. Sure, noises were made in a fashion that could be described by the generous as musical, but if it was music it certainly was not any type of music that I would ever deem fit for listening. Superposition was an overly absurd and mysterious performance that had a few saving graces in the realm of the visual – though these were few and far between.
For me, the majority of Superposition seemed like a random collection of jarring computerized images and sounds that seemed to have no other function than to disorient the audience. At times I thought I might begin to make sense of them or the meaning of the piece, primarily during the sequence that involved scrolling through the newspaper pages, though nothing ever clicked for me. Perhaps it was because I wasn’t working hard enough to create my own connections – Superposition was a sort of “choose your own performance” in this sense. Though, I do not believe this to be any fault of my own. Any great performance should engage its audience and make it so that the audience wants nothing more than to be in the midst of the experience. This was not the case for me and my experience with Superposition.
Perhaps the most impressive thing about Superposition was its pacing – it succeeded in effectively lulling me to sleep with its slower bits and then jarringly and unpleasantly shaking me from my intermittent slumber (which, may I add I was fighting through, to the best of my ability). Superposition was a performance that seemed as if it craved for me to have an unpleasant experience. It seemed as if it was a parody of bad performance art. Perhaps if I had thought of the performance as that before seeing it, I could have had an experience reminiscent of a good time.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I understand that some art is designed to push us out of our comfort zone in order to make us think more about the world around us. This performance went well beyond pushing me out of my comfort zone, however. Within the first three minutes I had to leave because the flashing lights and noise were making me so sick I knew I would not be able to safely make it through the performance. I was not alone in this decision. I saw many others exiting the auditorium when I did and many people told me later that they left before the end of the performance as well. I appreciate the idea of pushing an audience out of their comfort zone but artists must also be cognizant of their audience’s health. I was also appalled at the lack of signage warning the audience about the strobe lights.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
In physics, the basic principle of superposition claims that we do not know the state of any object; it is actually in all possible states simultaneously as long as we don’t look to check. I felt that Ryoji Ikeda’s superposition demonstrated this in a way throughout the performance. There were numerous times when I felt like I had no idea what was going on, but maybe that was the point. The audience is bombarded with loud noises and chaotic bright images, and I found myself at times attempting to discern the individual pictures or words when they were presented on the screens. A lot of times, the images started moving faster and faster, and it became difficult to focus on any one figure. There was one part with black tiles that would alternate flashing white as they scrolled down the screen; every time one of the tiles turned white, I would look towards that spot, but by then, other tiles in other places were flashing too. That’s when I stopped trying to concentrate on the smaller things, and I looked at the performance as a whole. Instead of focusing on any kind of order, I focused on the disorder. The individual squares blurred together and formed a stream of black, white, and gray, resulting in a unique kind of beauty. I began to appreciate the motion of the images and the blending of the different sounds, even if it was harsh and overwhelming at times. The more we try to focus on the state of things, the less we can know about it, and these ideas of uncertainty and randomness are what I believe Ryoji Ikeda was trying to portray with the chaotic display of data. Maybe we should stop trying to make sense of everything, and instead, we should just appreciate the experience.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I had never thought about the performance as you had watching Superposition. I had read a comment before seeing Superposition by a man who composes electronic music for a living, and he believed there was no meaning to search for in this production. So, I took this advice, and I did not try to understand what I was watching.
This was a very interesting way to look at the performance. I am absolutely awful at grasping the theory of superposition and anything involving quantum physics, mechanics, etc. and so on. I definitely need people like you to dissect performances so I am either able to agree with your statement or disagree with your statement to maybe further understand the performance at hand. Thank you so much for your contribution.
As I walked out of Superposition people were certainly making their opinions known. One person from a few rows behind me was repeating “trash, that was the biggest trash that UMS has ever put on.” Obviously, this is an incredibly strong statement, and one that I’m sure is being expressed in the comments as I type. However, my opinion could not be more different from that of the man walking out of the performance.
"It’s true that Superposition was a veritable assault on the senses, and almost defied understanding by members of the audience; but this is the very beauty of it. Ryoji Ikeda, in this particular piece, was attempting to communicate quantum superposition; an idea that he said was beyond full human comprehension due to its complexity and infinite nature. Therefore, the performance of this idea must be incredibly complex, overwhelming, and indeed beyond our comprehension. So by nature of the fact that this spectator hated the performance, probably because it was discordant, and seemingly purposefully bad (although I understand I am putting words in his/her/their mouth), the performance worked. Like its quantum namesake, superposition, turned out to be beyond human comprehension, and beyond the ease of understanding of normal performances. This is, in my mind, why superposition was a great show; it really effectively communicated the complexity, and chaos, but also the beauty and overwhelming nature of quanta, random chance and data. Yes it was loud, yes it was fast, yes it was random, yes at times it was uncomfortable, because it needed to be.
by Lang DeLancey
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
This Saturday, I walked out of the Power Center thinking to myself, “what did I just watch?” However, after periods of deep reflection, I truly appreciated Ikeda’s “Superposition.”
Ikeda’s performance provided an interesting social commentary on our understanding of the world we live in and how we perceive it.
The show begins with a discussion of how being unable to comprehend a language (spoken, written, physical, or visual) hinders our ability to take in information. He exemplifies his argument through his use of telegraphic waves and sounds, illegible graphs, incomprehensible visuals, blacked out crosswords, and coded definitions of superposition. Ikeda purposefully made it so that the audience could not understand every component of the performance in order to illustrate his point.
He then discusses knowledge versus fact and understanding versus uncertainty. This idea was best displayed through the redacted definitions of superposition. At several points during the performance, the definitions of superposition appear on the two largest screens; however, they are missing several words from their definition. The audience inferred that the blocked sentences on the screens were due to the organization. Yet, the audience did not know what the exact definitions were. The audience had the knowledge of what the screens said but they did not know all the facts, and the audience understood what the words on the screen said but they were uncertain of the exact definitions. Just as we go through life knowing and understanding what we are told and experience, but not necessarily knowing the whole story behind the information we know.
This performance, although overwhelming for one’s sense, was an exciting and unique experience that I am glad I had the opportunity to engage.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I shared a similar experience of being caught between trying to look away while simultaneously being drawn in. It was hard to know exactly what to thing or how to react to the blinding lights and sounds, yet I similarly walked away with a sense of relevance. As for the scientific messages, I had a hard time seeing them as concrete references to things like quantum mechanics and physics. Rather, it seemed as though science as a whole was being described so it could be placed opposite religion. The wave of sound we experience was definitely paradoxical: how can something so bizarre and confusing seem to communicate higher level understanding?
Ryoji Ikeda’s Superposition entirely surprised me. I’ll admit that I went to the Power Center expecting nothing more than a headache invoking sequence of bright lights and beeping. With the extremely high pitched noted at the beginning of the performance, I at first thought that my expectations would be confirmed.
However, my attitude toward the performance quickly changed. Ikeda managed to take noises and images that are generally written off simply as dry, confusing, data and turn them into an overpowering experience. Although the sounds and images were harsh, I found myself completely enthralled by the performance, drawn in so much that I couldn’t separate myself from the sound. I was incredibly impressed that the traditionally opposed realms of science and art were linked so flawlessly. Art relies on the artistic to relay meaning while the sciences relay on the scientific. Superposition blurred this distinction in a way I previously thought impossible. I never expected that data could participate in creativity.
The harsh sounds and piercing lights compelled me to turn away and plug my ears, but at the same time paralyzed me so that all I could do was direct my attention to the stage. It almost seemed that Superposition had a kind of hypnotic power. I was unable to analyze the performance; much like the sciences which Ikeda’s data and images are associated with it lay totally outside my realm of understanding. Despite this however, I left the Power Center feeling that whatever was being portrayed by Ikeda’s performance was relevant to me. Ikeda’s Superposition relayed some sort of artistic interpretation of the world that I previously expected could only be represented by traditionally artistic means. While the components of the performance seemed like utter chaos to me, there certainly existed an order, an explanation within the chaos. This paradox drew me into the performance, and left me with an impression of confusion, surprise, and amazement.
"by Faith
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Superposition was an experience unlike any other I have had before. When the lights slowly faded and the room was blanketed in darkness, I was unaware of how Ikdea would communicate his themes and his artistic vision; when the counters in the front of the stage began to beep and flash sporadically, all united by a mechanized harmony and a driving bass, I knew that I would just have to be a spectator. Through various physics demonstrations, such as a back-and-forth with Morse code and vibrations from tuning forks, we were given a beautiful artistic representation of science. However, the entire production was coated with an air of mystery and a tangible sense of fear. At multiple times in the production, the shrill tones of the machine would swell and crescendo to a point in which it could be contained no longer, and those moments of absolute tension provoked the horror of uncertainty and a loss of control. Taken as an experience, Superposition seemed to take us to a world in which the line between religion and science is blurred, and the only thing that is certain is the pulsing beat of Ikeda’s visions. The spanning cosmos is revealed to be individual planes of understanding; the random rhythms of dots and dashes are revealed to be communications of truth. At times it was blinding, at times it was deafening, and at times it was uncomfortable to even be in the room. However, the end result of this performance was a glimpse into one artist’s view of the world, and it is a superposition between machine and man.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
After reading your comment I do agree with what you are saying. I am a spectator that left thinking, “I don’t think I really liked this performance,” but perhaps that was the purpose of the performance. It definitely made me uncomfortable so I guess it was a successful performance. The issue for me, however, was that I didn’t want to take in all the chaos. I wanted it to express some sort of meaningful moral that left me pondering the meaning of life because of the strong artistic expression the technology and performers expressed. Perhaps I had high expectations. Perhaps it wasn’t meaningful to me because it wasn’t personal enough for me, and in a way, perhaps I’m being a selfish spectator.
As I walked out of Superposition people were certainly making their opinions known. One person from a few rows behind me was repeating “trash, that was the biggest trash that UMS has ever put on.” Obviously, this is an incredibly strong statement, and one that I’m sure is being expressed in the comments as I type. However, my opinion could not be more different from that of the man walking out of the performance.
"It’s true that Superposition was a veritable assault on the senses, and almost defied understanding by members of the audience; but this is the very beauty of it. Ryoji Ikeda, in this particular piece, was attempting to communicate quantum superposition; an idea that he said was beyond full human comprehension due to its complexity and infinite nature. Therefore, the performance of this idea must be incredibly complex, overwhelming, and indeed beyond our comprehension. So by nature of the fact that this spectator hated the performance, probably because it was discordant, and seemingly purposefully bad (although I understand I am putting words in his/her/their mouth), the performance worked. Like its quantum namesake, superposition, turned out to be beyond human comprehension, and beyond the ease of understanding of normal performances. This is, in my mind, why superposition was a great show; it really effectively communicated the complexity, and chaos, but also the beauty and overwhelming nature of quanta, random chance and data. Yes it was loud, yes it was fast, yes it was random, yes at times it was uncomfortable, because it needed to be.
by Lang DeLancey
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Are you familiar with the intense alertness you experience when entering and experiencing a haunted house? This was my exact reaction during the entirety of Superposition. The very minute in which the performance began, I shot out of my seat because the loud, sudden noises took me by surprise. Not knowing what to expect whatsoever from Superposition, I first watched the plotting of dots on the graph with enthusiasm. Yet, what I did not know was that very loud, ear-splitting noises were soon to follow. Having understood how the rest of the performance was to go, though, I prepared myself for whatever was going to occur. Also, the plotting of the dots was the attention of this production for far too long in the beginning. I lost interest after about 10 minutes of just plotting dots, loud noises, and strobe lights. Something else I was also concerned about was there a disclaimer anywhere that warned people who are prone to epilepsies not to come? I honestly did not see one anywhere.
Contrasting from my negative ideas about the performance, I actually did enjoy the use of Morse code and the graphical representation of sound waves. The decoded messages typed out onto the large screen were really interesting. Their meanings were quite quizzical and stimulating, and anticipation was built up while the actors were decoding these messages that really drew me further into the performance. My favorite messages typed out were the ones that contrasted two similar-looking sentences to one another that revealed a different meaning in each. The sound waves experiment was extremely interesting at first, but I think it went on for far too long. It was so relaxing to listen to that I, honestly, almost fell asleep but was abruptly woken up by the extremely loud, sudden noises that followed.
Overall, I thought the performance was overly stimulating and interesting to watch. I personally do not think I would go to see it again because it gave me a headache with the flashing lights and the excruciatingly loud noises.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I definitely agree that it was frustrating not being able to read what the performers were typing out. In addition to not being able to keep up with the two different messages being typed out, I had a speaker blocking the left side of the screen. Nevertheless, your conclusion really intrigued me. I agree that if one were to go see the performance a second time, he would be more prepared for the show. However, I don’t think a second viewing would be beneficial. I think Ikeda deliberately chose to use a fast pace along with no spaces in order to make it nearly impossible to read the exact messages. Thus, he was able to convey a completely different message without using words but instead by playing on people’s emotions.
As I was directed to my seat and handed earplugs, my heart began racing; I did not know why earplugs were a necessity for the viewing of “Superposition.” In reaction to this gift of earplugs, I found myself perching on the edge of the seat and constantly looking at the other spectators seated in the vicinity, all of us just waiting for some catastrophic noise or loud explosion. I believe that this feeling of terror held me back from enjoying and analyzing the production to help discover the message that Ryoji Ikeda tried to communicate.
"I struggled with accurate reading of the various messages the two performers communicated through Morse code, since they were sometimes typing the same message and other times typing different messages or one with minimal variation, so I did not know whether I needed to be switching between the two screens or if I could focus on one screen. I definitely missed some of the important points due to my inability to efficiently read the screens simultaneously. The lack of spaces and rapid pace of the sentences added to the battle with reading and comprehending each message. I wish that I could have been able to see the sentences the performers presented on the screens for a longer period of time, but I can see how that would take away from the fast-moving, intense performance because some of the viewers may lose interest if the sentences lingered too long. It is a difficult balance to find the exact right time to allow the viewers to read.
Overall, I think I would have benefitted from a second viewing of “Superposition.” I was overwhelmed with the experience as a whole and knowing what to expect would have helped me to understand the performance better.
by TV
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I think that’s a really interesting way of looking at it. I totally agree with you that it wasn’t something particularly enjoyable. The visuals and sounds in the performance were too much and extremely harsh. Perhaps the reason why was because we as an audience are not exposed to this form of performance where the two realms of technology and art are intertwined so cohesively together.
However, perhaps this performance is not a mixture of the two realms, but instead, in a realm of its own entirely.
Are technology and art two separate worlds, or are they two parts of a cohesive unit? Watching Ryoji Ikeda’s “Superposition” made me question my previous beliefs about performance and what it can entail. As a possible computer science major, I had a great appreciation for the amount of effort it must have taken to program the show. The technical aspects at certain points of the show were simply astounding. However, as an audience member, I found the show very difficult to watch.
The overwhelming visual and auditory components of the show were painful at times, and I found myself squirming around in my seat while other audience members decided to leave the theater all together. Throughout most of the performance, my senses were over-stimulated, which made me feel quite uncomfortable and distracted me from trying to find some sort of meaning in the piece. I could occasionally identify with some of the musical, rhythmic aspects of the performance, but it was hard to enjoy these moments before they were quickly interrupted by another excruciating sound or flash of light.
While I personally didn’t enjoy the overall experience, I think that it was Ikeda’s intention to make the audience uncomfortable. I also think that he wanted us to interpret the show in our own way because the piece does not have any concrete meaning or purpose. This became clear to me when the multiple definitions of “superposition” that appeared on the screens had most of the words covered with a scrolling and ever-changing series of numbers and letters.
Although I would not consider this to be a traditional performance, and although I did not particularly enjoy it, I now consider technology to be more of an art form than I did previously.
"by Mackenzie
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
No matter what you could have imagined “Superposition” to be like, the performance is truly beyond all expectation or imagination. I personally had two interpretations, 1) this has a superior, deep thematic artistic expression that somehow relates to Physics, or 2) this was chaotic, confusing, and plainly difficult to absorb to be any form of entertainment for me. There were many connections to the universe and physics because it used sound waves and white noise as a medium, as well as references to momentum and engineering, but as someone who hardly knows anything about physics, I could not grasp the true meaning at all. This was what made me frustrated because it felt like there was a clear answer in front of my eyes, but I just was unable to grasp it no matter how much I tried. To the people that understand many concepts of physics and quantum physics, were you able to truly interpret anything clearly from this performance?
Do I hate the performance; do I think it was a complete waste of time? No. Every single part of the performance was in all aspects very “cool” and “futuristic.” I appreciate it because I think that no one but Ryoji Ikeda would have been able to create such a creatively bizarre performance that goes outside all boundaries. The only issue I had with the performance was that it was made for the future, but I currently live in the present. No matter how much I try to expand and open my mind, it is still difficult for me to grasp it wholeheartedly.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Superposition left me with a pounding headache and a lot of mixed emotions. There was a part of me that really hated what I saw. The performance was visually and aurally overwhelming, giving it a sense of surprise and incomprehensibility. Most of the time, it left me feeling confused, adulterated, and worried about my mental state.
On the other hand, the visuals were quite stunning and in the seeming discord, there was an intricate balance and clockwork-like mechanism to “Superposition.” Each time, almost every episode started small and then expanded to something greater and larger, then abruptly ended. And in each of these episodes, there were numerous orderly patterns being played out, all interwoven with one another. For example, the one part of the performance with tuning forks seemed to show how pitches are additive, coming together to make a larger, succinct harmonic. For there to be order, smaller parts are built upon one another.
However, the chaos and pandemonium of “Superposition” that made me so uncomfortable was born through the overwhelming compilation of so many different orderly and finite patterns interweaving and connecting to one another so rapidly. For order in any kind of system, smaller parts add to and build upon one another. However, once too many things come together and connect too rapidly, the neatness of the system is lost. From too much organization comes a perceived disorder.
Looking at it in that light, I was able to understand how genius Superposition is. Though I didn’t particularly like his work, Ryuji Ikeda was able to create this remarkable paradox. Yes, I left with a pounding headache and momentary deafness, but a greater perspective into how the human mind works and a distinction between order and chaos.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Superposition was an interesting performance to say the least. As I found my seat in the very last row of the upper balcony, I watched not only an extremely avant-garde performance take place, but also inspected the crowd down below whose bodies reflected the black and white lights of the glowing screens as if they were all being indoctrinated into some new realization of humanity. It kind of reminded me of that 1984 Macintosh commercial for some odd reason. Despite these irrational feelings, I still enjoyed Ikeda’s work. It was difficult to take in all of the screen movements, word progressions, and overarching meaning of the performance, but I think that is what made it amazing— it’s deliberate vagueness. I imagine this ambiguity may have created two kinds of critics: those that loved it because they found beauty in not being able to understand it all, and those that hated it because the element of full comprehension was missing. Like I mentioned before, I’d consider myself one who loved it.
The warm drubbing bass and the metronomic telegraph key that were subliminally present throughout kept the performance rolling for me. Design I thought, was an important element to the show as well and I think it attempted to speak to our existence’s dependency on pattern and rhythm. This was especially clear when the screens would mimic numerous pattern possibilities. I thought the dynamic between the screens and other machinery working in cooperation with these two people on stage was an interesting one. It seemed like a message about the limitless possibilities of mankind through computation. This became even more true when a quote I believe from William Blake’s The Marriage of Heaven and Hell appeared via one of the telegraphic messages: “If the doors of perception were cleansed everything would appear to man as it is, infinite.” This commentary on man’s infinite capabilities seemed like a pretty large theme throughout and I enjoyed that most of all.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree with your statements about the performance ending so abruptly – once I settled in to the idea that I would be uncomfortable and trying to listen closely and watch for a deeper meaning, the performance had ended. It took me that long to feel “okay” enough with the show that I would even be able to consider interpreting it.
I also felt that I was very self-focused during the performance. I was so aware of my own brain struggling to synthesize some type of meaning from the madness that I lacked the ability to synthesize any deeper understanding. The beautiful moments were really beautiful, but overall, I just didn’t come away from it with a positive or enriched feeling really.
I didn’t hate the performance, nor did I enjoy it. Given the number of people in the audience who were covering their ears, I’m sure it was quite an uncomfortable experience for them, as it was for me. Once I got over the sensory overload and tried to ignore the fact that my eardrums and pupils were being abused, I tried to get a grasp on what everything meant. Was there supposed to be a deeper meaning? The Morse code section presented some thought-provoking ideas, but I found it difficult to find any significance in parts that didn’t have words. The only connection I made with the performance was when I thought of Chuck Bartowski getting the Intersect downloaded into his brain after seeing a million things flash before his eyes in a few short minutes. I couldn’t help but hope that I gained something from the chaos, even if subconsciously.
I found myself thinking more about how this experience was affecting my brain rather than a trying to find a deeper meaning. I thought about how the super-fast images really challenged the brain’s capacity to perceive and process information and the effect that had on my overall nervous system.
At some points, it got a little monotonous, which is why I found myself relishing in the moments that had color instead of just black and white and melody instead of white noise. Another thing I struggled with during this performance was the lack of direction; I mean, obviously it would be hard to have a plot with this type of performance, but everything seemed so random to me that I didn’t even know the performance was over until the lights came on and people started clapping. I guess I was expecting some sense of closure, which is why I was surprised when it just ended like that.
"by marge
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Superposition was either the most sublime performance I’ve witnessed, or the most useless one. The gimmick of building up, of crescendoing and intensifying, cycling towards something…and then suddenly blacking out was used multiple times. It was, in my opinion, a cop-out, a way for the performance to change topics without going through the difficulty of forming a cohesive segue. In this sense, I felt the performance was lacking.
However, there were elements of Ikeda’s work which I found compelling. The performers’ use of telegraphs and morse code as musical instruments and rhythmic components, while unpleasant to the ear, was skillful and innovative. Additionally, the use of math and geometry and physics to create art was a unique approach – it made me appreciate the beauty and definability within our universe. I’m usually unaware of these things, so in that way, it was enlightening to visualize plotting points as a medium for creating art.
I feel that if Superposition had focused more on this beautiful aspect of physics and mathematics, it could have engaged the audience much better than the overpowering and sensory overloaded approach which it used.
Perhaps, though, this is the sublimity Ikeda was aiming for. Maybe he wanted to make the audience uncomfortable – uncomfortable with the reality of the universe, the expansiveness, the interconnected-ness, the way in which everything can be linked through math and doesn’t have to be unknown and wondered about. Maybe that’s why this piece is well-respected. But maybe it’s just the fact that Ikeda utilized unique methods to state his point, a point which, in itself, is realized by thousands of scientists every year.
Personally, this performance was not one that I enjoyed. However, I recognize that it has merit and was going towards an interesting concept.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
As I walked out of Superposition people were certainly making their opinions known. One person from a few rows behind me was repeating “trash, that was the biggest trash that UMS has ever put on.” Obviously, this is an incredibly strong statement, and one that I’m sure is being expressed in the comments as I type. However, my opinion could not be more different from that of the man walking out of the performance.
It’s true that Superposition was a veritable assault on the senses, and almost defied understanding by members of the audience; but this is the very beauty of it. Ryoji Ikeda, in this particular piece, was attempting to communicate quantum superposition; an idea that he said was beyond full human comprehension due to its complexity and infinite nature. Therefore, the performance of this idea must be incredibly complex, overwhelming, and indeed beyond our comprehension. So by nature of the fact that this spectator hated the performance, probably because it was discordant, and seemingly purposefully bad (although I understand I am putting words in his/her/their mouth), the performance worked. Like its quantum namesake, superposition, turned out to be beyond human comprehension, and beyond the ease of understanding of normal performances. This is, in my mind, why superposition was a great show; it really effectively communicated the complexity, and chaos, but also the beauty and overwhelming nature of quanta, random chance and data. Yes it was loud, yes it was fast, yes it was random, yes at times it was uncomfortable, because it needed to be.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I didn’t hate the performance, nor did I enjoy it. Given the number of people in the audience who were covering their ears, I’m sure it was quite an uncomfortable experience for them, as it was for me. Once I got over the sensory overload and tried to ignore the fact that my eardrums and pupils were being abused, I tried to get a grasp on what everything meant. Was there supposed to be a deeper meaning? The Morse code section presented some thought-provoking ideas, but I found it difficult to find any significance in parts that didn’t have words. The only connection I made with the performance was when I thought of Chuck Bartowski getting the Intersect downloaded into his brain after seeing a million things flash before his eyes in a few short minutes. I couldn’t help but hope that I gained something from the chaos, even if subconsciously.
I found myself thinking more about how this experience was affecting my brain rather than a trying to find a deeper meaning. I thought about how the super-fast images really challenged the brain’s capacity to perceive and process information and the effect that had on my overall nervous system.
At some points, it got a little monotonous, which is why I found myself relishing in the moments that had color instead of just black and white and melody instead of white noise. Another thing I struggled with during this performance was the lack of direction; I mean, obviously it would be hard to have a plot with this type of performance, but everything seemed so random to me that I didn’t even know the performance was over until the lights came on and people started clapping. I guess I was expecting some sense of closure, which is why I was surprised when it just ended like that.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I definitely agree with you Ruby. I felt the performance to be annoying, drawn out, and too bombarding of the senses. At one point I thought I was going to throw up! It seemed to me like the bombardment of music and light didn’t have as much to do with the physics concept as just to be annoying or attention-getting. Perhaps Ryoji felt his piece wasn’t quite avant-garde enough without them? I definitely also didn’t come out of the performance with any sense of a larger theme.
Have you ever joined a couple of friends, who were mid-conversation, and had no idea what they were talking about? That sense of confusion is exactly what I felt during this performance. I was thrown into a conversation between Ikeda and his work, and I was left lost and frustrated.
"At the beginning of the production, I promised myself that I would keep an open mind, but by the end, I was ready to hightail it out of there. Everything that occurred in the middle is a blur of light and sound, and I am still struggling to connect those senses into one, coherent picture. Inhuman sounds and blinding lights were constantly bombarding me. At times, I had to close my eyes and cover my ears in fear that my head would explode. I understand that this performance may not be the type where you leave with a clear mental representation of what just occurred, but I did not expect to leave with only a headache and a desire for peace and quiet.
This brings me to my question: is this performance something that can be appreciated by people who are not familiar with the mathematical aspect? Every graph, line, and number had a role to play in this production, but I was not able to decipher what any of those roles were. As much as I tried to understand the mathematic hodgepodge on stage, my attempts were fruitless, and I was left more confused than ever. Perhaps my biggest downfall was my need to make sense of this production. Maybe if I had just watched and listened without trying to connect it to a bigger theme, then I would have found more clarity in this piece. Then again, it is impossible for me to sit and passively watch something without trying to find some meaning in it.
by Ruby Siada
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I came into Superposition with very high hopes, expecting a musical performance supplemented by sound, images, and actors. I expected to see something that was on the forefront of art. What I experienced was that Superposition was a visual performance supplemented by actors and sound, which felt like it was taken out of a cheesy eighties movie where the Russians try to hack into US Government computers. The sound was often very annoying. It was generally high pitched and unpleasant. The images, while interesting, were very drawn out. Every sequence could have achieved its effect in about half of the time that it went on for. While the sequences were interesting, they were also very displeasing. At one point I believed that I was going to throw up, and considered leaving the theatre. It seems to me that the entire point of this performance was to scare, annoy, and otherwise displease the audience. I failed to make more than a few connections to the concept of superposition, in either the physics sense or the filmographic sense (though I will admit, I only have surface level understanding of the physics concept myself). The only connections that stood out to me were that there were two screens and two actors (for superposition in its physics meaning) and at one point there was one film superimposed over another (for superposition in its film meaning). Both of these were very surface level connections. While it could be argued that it is my fault that I was unable to make other connections, I reject that notion and place the fault solely on the creator of the piece. Whether he doesn’t understand the concept of superposition well enough to make connections or simply didn’t care enough to remains a discussion for a different day.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I also failed to gather direct meaning from Superposition. But as I thought about and discussed the performance more, a friend proposed the idea that maybe we weren’t supposed to entirely understand it. The data was overwhelming and certainly outside of my knowledge base, but perhaps there is meaning in the fact that we couldn’t understand it. Maybe Ikeda was suggesting that we won’t be able to understand everything out there in the world. Big questions like “What is love?”, “What is life?”, etc. have yet to be answered objectively. Maybe it’s okay if we don’t understand everything.
“What is life? What is love?” read the telegraphs. It failed to ask, what is this performance?
Science and art. Math and music. Light and dark. Loud and complete silence. These strikingly opposite words all describe Ryoji Ikeda’s performance. While many enjoyed these varying dynamics, I did not. This performance seemed beyond my understanding.
While the different parts seemed interesting and insightful on their own, their correlation to the piece as a whole escaped me. For instance, the telegraph readings seemed meaningful, but of what? What message did they signify? Initially, the messages discussed information and its meaning with a very unique perspective: “Information is not knowledge.” Okay, so that seems like a very non-traditional approach to how we view information. This telegraph occurred during the black and white sequence of images. Later, the telegraphs moved from questioning the meaning of information to inquiring about the meaning of life, as mentioned earlier. The questioning of deep human values—life and love—were preceded by colored images instead of the initial, geometric, black and white visuals. This seems insightful, right? Adding color to symbolize the shift from a lifeless topic—information—to the emotional topic of human existence. But why? At this point, I still failed to understand what Superposition was trying to say. What was the meaning of this work as a whole? Maybe these two instances showcase a correlation—combining technology with meaning. However, the tuning forks and the zoomed in letters resembling a Scrabble board did not relate to the other two telegraph examples. I am by no means discrediting Ikeda’s skill or artistic perspective in Superposition; I am merely stating I did not understand it. Maybe my comfort with the traditional forms of performing arts hindered me from viewing this with a completely open mind, blocked me from reaping a meaning from his unconventional sounds and patterns. I left asking myself, what just happened? I still do not know.
"by Shalini
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Have you ever joined a couple of friends, who were mid-conversation, and had no idea what they were talking about? That sense of confusion is exactly what I felt during this performance. I was thrown into a conversation between Ikeda and his work, and I was left lost and frustrated.
At the beginning of the production, I promised myself that I would keep an open mind, but by the end, I was ready to hightail it out of there. Everything that occurred in the middle is a blur of light and sound, and I am still struggling to connect those senses into one, coherent picture. Inhuman sounds and blinding lights were constantly bombarding me. At times, I had to close my eyes and cover my ears in fear that my head would explode. I understand that this performance may not be the type where you leave with a clear mental representation of what just occurred, but I did not expect to leave with only a headache and a desire for peace and quiet.
This brings me to my question: is this performance something that can be appreciated by people who are not familiar with the mathematical aspect? Every graph, line, and number had a role to play in this production, but I was not able to decipher what any of those roles were. As much as I tried to understand the mathematic hodgepodge on stage, my attempts were fruitless, and I was left more confused than ever. Perhaps my biggest downfall was my need to make sense of this production. Maybe if I had just watched and listened without trying to connect it to a bigger theme, then I would have found more clarity in this piece. Then again, it is impossible for me to sit and passively watch something without trying to find some meaning in it.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Ryoji Ikeda’s Superposition entirely surprised me. I’ll admit that I went to the Power Center expecting nothing more than a headache invoking sequence of bright lights and beeping. With the extremely high pitched noted at the beginning of the performance, I at first thought that my expectations would be confirmed.
However, my attitude toward the performance quickly changed. Ikeda managed to take noises and images that are generally written off simply as dry, confusing, data and turn them into an overpowering experience. Although the sounds and images were harsh, I found myself completely enthralled by the performance, drawn in so much that I couldn’t separate myself from the sound. I was incredibly impressed that the traditionally opposed realms of science and art were linked so flawlessly. Art relies on the artistic to relay meaning while the sciences relay on the scientific. Superposition blurred this distinction in a way I previously thought impossible. I never expected that data could participate in creativity.
The harsh sounds and piercing lights compelled me to turn away and plug my ears, but at the same time paralyzed me so that all I could do was direct my attention to the stage. It almost seemed that Superposition had a kind of hypnotic power. I was unable to analyze the performance; much like the sciences which Ikeda’s data and images are associated with it lay totally outside my realm of understanding. Despite this however, I left the Power Center feeling that whatever was being portrayed by Ikeda’s performance was relevant to me. Ikeda’s Superposition relayed some sort of artistic interpretation of the world that I previously expected could only be represented by traditionally artistic means. While the components of the performance seemed like utter chaos to me, there certainly existed an order, an explanation within the chaos. This paradox drew me into the performance, and left me with an impression of confusion, surprise, and amazement.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
This was an incredibly interesting comment for me to read because after the performance, I had thought to myself: Hey, what if you didn’t try so hard to understand what was going on and just observed? The key to this strategy, however, is actually being able to relax your mind. It is much easier said than done because when I try to stop focusing on something, I end up focusing on not focusing. My mind refuses to stop, and I end up more frustrated than when I started. I respect your ability to relax your mind, and I will definitely work on that during future productions.
While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
"by Sarah
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I do wish, like you said, we got that chance to ask Ikeda questions about the performance. The information was so rapidly fired at us and there was so much of it, it was hard to understand which parts were fundamental to the entire piece. It almost seemed like nothing was unnecessary because it was so well planned, but it would still have helped to ask Ikeda what it all meant. I wish that I had come out of this performance understanding a little bit more then when I went in, but instead like you I felt confused. I can’t say out whether I loved or hated this performance. Obviously, this performance wasn’t for me and you, but somehow I wish it was.
I can’t admit that I knew for certain what I was getting into when I took my seat for this performance.
I had nothing to go off of aside from a few mentions of its use of multimedia to bring together music and science, some “technological spin on theatre” that the few people I spoke with half-joked about in their confusion. Whatever it was, it was going to be something not entirely expected. Certainly not understood by those who did not have experience with the work and genre previously.
This was, I think, a fulfilled promise for the most part.
The entirety of the performance made clear to immerse its audience with an influx of information, at times aggressively ( which, thinking back on it, was probably the point). Incorporating mathematical concepts to more introspective theories, limiting the voices and words of those on stage in order to paradoxically allow thoughts to be expressed more cohesively; the piece clearly wanted to do a lot at once, and in the time allotted very literally shoved this information out, challenging the audience to grasp at whatever they could. This I found personally to be the most interesting: I could easily sit there without any attempt at retaining the information presented, and still walk away and see the phrases flashing, remember sequences of words and graphs that appeared and reappeared in quick succession. Whether or not you may agree with the sentiments expressed, it seemed difficult to leave the performance and not want to ask Ryoji Ikeda for explanations in the same forceful, rapid-fire with which he presented them to you.
It was stressful and aggressive, and oddly cathartic.
I’m not sure if this was entirely for me. When I left the performance I ran into someone who looked like they had just gotten out of something they weren’t sure they loved or hated. Mostly dazed, a little tired. I doubt I looked any different.
"by s.d.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Sarah, I like your comments about order and how we seek order. This is really different from my perspective– I struggled to see order and a pattern in this performance. Especially in relation to the black and white squares–I just didn’t know what the images had to do with the sounds. I knew it was there– Ikeda is a famous guy so he obviously knows what he’s doing. I just didn’t see it. But it looks like you did. Maybe I should have stopped trying to seek out a correlation/order in this and just listened.
While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
"by Sarah
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
“What is life? What is love?” read the telegraphs. It failed to ask, what is this performance?
Science and art. Math and music. Light and dark. Loud and complete silence. These strikingly opposite words all describe Ryoji Ikeda’s performance. While many enjoyed these varying dynamics, I did not. This performance seemed beyond my understanding.
While the different parts seemed interesting and insightful on their own, their correlation to the piece as a whole escaped me. For instance, the telegraph readings seemed meaningful, but of what? What message did they signify? Initially, the messages discussed information and its meaning with a very unique perspective: “Information is not knowledge.” Okay, so that seems like a very non-traditional approach to how we view information. This telegraph occurred during the black and white sequence of images. Later, the telegraphs moved from questioning the meaning of information to inquiring about the meaning of life, as mentioned earlier. The questioning of deep human values—life and love—were preceded by colored images instead of the initial, geometric, black and white visuals. This seems insightful, right? Adding color to symbolize the shift from a lifeless topic—information—to the emotional topic of human existence. But why? At this point, I still failed to understand what Superposition was trying to say. What was the meaning of this work as a whole? Maybe these two instances showcase a correlation—combining technology with meaning. However, the tuning forks and the zoomed in letters resembling a Scrabble board did not relate to the other two telegraph examples. I am by no means discrediting Ikeda’s skill or artistic perspective in Superposition; I am merely stating I did not understand it. Maybe my comfort with the traditional forms of performing arts hindered me from viewing this with a completely open mind, blocked me from reaping a meaning from his unconventional sounds and patterns. I left asking myself, what just happened? I still do not know.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Superposition is precisely about the “encounter of randomness and control” which was specifically mentioned by Ryoji Ikeda in his interview with Peter Weibel on July 31, 2012. Ikeda purposely creates randomness with an intention to distinguish its counterbalance. With this expectation already instilled in my mind, I was able to detect several nuances that changed my aesthetic view of digital art.
The first encounter of randomness, perhaps, was unpleasantly “shocking” for many people. I have to admit that I also experienced some unease by the white and black slides blasting relentlessly in high frequencies. However, I noticed something structured and organized, apart from this mosaic chaos. Effacing all the cacophonies from the electric shocks and heeded closely at the time-clicking sound at the background, I was able to see sinusoidal waves. They were delineated by black screens aligned at discrete positions at certain time increments. Like the phi phenomenon ascribing the path of a fast-moving flashlight to our cognitive activities, the waves seemed to stimulate similar responses in our brains. Suggestively, Ikeda wanted to underline the fact that our minds are prewired to search for patterns in random dynamics of nature.
Another conclusion I drew from this episode is the quantum theory of wave-particle dualism. In analogy to this concept, each screen represents particulate property of light; but when you see them as a collective body, its wave-like quality becomes readily perceivable.
If Ikeda was playing a slot machine with the blasting screens, he would never wait for his prize to happen by chance. Instead, he would rather take control over time and make sure every figures will align with one another at his discretion just like he demonstrated here.
If you are interested in the Ryogi Ikeda’s interview with Peter Weibel, here is a link that will direct you to the article adapted by UMS: http://www.umslobby.org/index.php/2014/10/artist-interview-ryoji-ikeda-creator-of-superposition-16077
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I had not taken time to connect the idea of superposition with the confusing messages on the screen, which was an obvious fault on my part. That is a really insightful way of explaining why the messages were so convoluted and sometimes a challenge to read. I still think I would have benefitted from a second viewing where I could have changed my focus and experienced another side of the production shifting the limits and possibly getting something different from the performance.
I understand that Ryoji’s work isn’t everyone’s cup of tea, largely based on amplitude and strobe tolerance, so I don’t want to be misunderstood to say you have to change your opinion about the performance. I’m just a little concerned when you criticize that each performer would spell different things and “the audience was expected to decode both at the same time”. Based on the concept of quantum superposition, a large part of the artistic statement of the piece is at any point in time something exists in all of its potential states, but when measured (or observed) it reduces to one (this is a simplification and I’m no scientist, so someone should feel free to explain better). Considering this, I don’t think the audience is “expected” to decode both at the same time. I think the audience was expected to consider the potential for multiple states and experience the limitations of observation.
"by Devin
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
As I was directed to my seat and handed earplugs, my heart began racing; I did not know why earplugs were a necessity for the viewing of “Superposition.” In reaction to this gift of earplugs, I found myself perching on the edge of the seat and constantly looking at the other spectators seated in the vicinity, all of us just waiting for some catastrophic noise or loud explosion. I believe that this feeling of terror held me back from enjoying and analyzing the production to help discover the message that Ryoji Ikeda tried to communicate.
I struggled with accurate reading of the various messages the two performers communicated through Morse code, since they were sometimes typing the same message and other times typing different messages or one with minimal variation, so I did not know whether I needed to be switching between the two screens or if I could focus on one screen. I definitely missed some of the important points due to my inability to efficiently read the screens simultaneously. The lack of spaces and rapid pace of the sentences added to the battle with reading and comprehending each message. I wish that I could have been able to see the sentences the performers presented on the screens for a longer period of time, but I can see how that would take away from the fast-moving, intense performance because some of the viewers may lose interest if the sentences lingered too long. It is a difficult balance to find the exact right time to allow the viewers to read.
Overall, I think I would have benefitted from a second viewing of “Superposition.” I was overwhelmed with the experience as a whole and knowing what to expect would have helped me to understand the performance better.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Your interpretation of the performance based on its title’s scientific meaning is very interesting. I also thought that “Superposition” expressed the intertwining and overlapping of two realms: technology and traditional live performance. I think the performance, while shocking, had the potential to change the audience’s perspective on art as a whole. Your analysis was very profound, but I wonder what you thought of the performance as an audience member. Did you enjoy it?
Ryoji Ikeda’s “Superposition” is defined by the dictionary as the “overlapping of waves.” In the most basic sense, this is certainly true. However, the waves this performance is concerned with are not those of displayed on the screen, but rather the clashing of two seemingly different disciplines: science and music.
Science is universally understood to be a formulaic discipline. There are laws that must be followed and equations that must be used, leaving little room for interpretation. Music, on the other hand, lends itself to more diverse interpretation. Each musician can communicate a unique message to his or her audience as they sit enraptured by the sound. “Superposition” draws upon both of these elements.
There is no denying the formulaic element of the performance before our eyes. The catalysts for much of the noise, the two humans, sit motionless as they surgically tap rhythm after rhythm. After each tap, waves appear on the large screen behind them, overlapping each other as they run from both sides of the monitor. Graphs and charts flash quickly before our eyes, followed by more pictures.
At the same time, we are aware of the musicality of the performance: the ever-present metronomic beeping in the background, the Dubstep-esque finale that blinds both our eyes and our ears, and the noises in general that are impossible to ignore.
“Superposition” is not only speaking of the overlapping waves that the two performers on stage are creating with their endless tapping, it is asking us to look even broader at the overlapping waves of music and science. It forces us to consider sound from a different perspective. The sounds on the stage, particularly the beeping from the data input, can be heard in many variations in our everyday life. How much music do we fail to acknowledge everyday and how much music do we unwittingly create?
"by Chris
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
The auditorium was NOT “half empty” from my seat (main floor center). I’d guesstimate it was 3/4 FULL and a very happy “full” it was! The balconies were full, too. Performers kept looking up there, acknowledging ALL the people. It was
a spectacular concert and, thankfully, MANY folks attended and filled the walls with JOY! ! !
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
My husband, Joe Recchia, is the President of the Michigan Accordion Society. We attended the concert last night at the Hill Auditorium in Ann Arbor Michigan. We were amazed at what wonderful talent we saw! We hope that there will be more concerts like that one here in Michigan! To learn more about the Michigan Accordion Society check us out at http://www.michiganaccordion.org and “like” us on Facebook!
Thank you!
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
“Superposition” was an hour-long struggle to create a sense of well, sense. While the inhumanely bright strobe and incomprehensible streams of data battered my physical senses, I kept trying to weave the performance, scene-by-scene, into some kind of story. Why was there a repeating pattern of progression from near-silence to total audio and visual cacophony, then silence and darkness? Did the sequence of scenes sum up to some larger message or concept?
In the end, I felt as though I were looking with a scientific eye at something that can’t be described that way. The only explanation for the repeated build-ups and silences I could come up with was that these “scenes” were discrete, like different songs on a CD. There was little or no direct relation that I could see between them. For most of the performance, I could only sink back into my seat, distracted by the fragmented mess of consciousness that were the many monitors that glared up at me and anxiously anticipating the next head-throbbing blast of noise. I couldn’t think. I could only feel.
My feelings, it turned out, offered me a better explanation. Until the part where the performers displayed old news articles to gentle, optimistic-sounding orchestral music, I felt fear that came from how “inhuman” and cold the music and visuals were. The performance gradually became more “human,” to me, culminating in the scene where the two large displays ran statements simultaneously, notably: “What is love? Never ask/ What is peace? Never answered.”
Then bedlam happened. The displays went back to computer-generated 3-D spreads of data, and again tried to give me a headache. Maybe there is no concrete meaning behind this, but I now see a theme: a collision between subjective human “understanding” and the “knowledge,” or data, which are facts, held by machines. Do they contradict each other, or can they be combined (superimposed) on one another to yield a new reality?
How do you interpret this performance, overall?
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I really enjoyed the tuning fork demonstration as well. It transported me to a new kind of consciousness, because I usually don’t think about the fact that what I hear is fluctuating waves–I just call it sound. It’s interesting that you want to see even closer images of the forks vibrating–why is that? I can tell you from experience that there not much to see, unless you put the vibrating fork into a bowl of water. Then the vibrations cause the water to splash out of the bowl with the range corresponding to the pitch and size of the fork.
This performance was very different than anything else I have ever experienced. While I really enjoyed some parts of the show, I found others slightly confusing and frustrating.
Personally, my favorite part was with the tuning forks. I found it remarkable to watch the sound waves being altered. I could see and hear the frequency and amplitude change as time passed and as different tuning forks were used. Thus, I appreciated being exposed to these basic sounds in a new, abstract way. Moreover, this part really pointed out the natural beauty of science, and the soothing sounds contrasted with the other ear throbbing noises present in the rest of the performance. However, I wish the members of the audience were able to see the performers’ actions more closely during this part of the show. I would have really liked to observe the vibration of the tuning forks in addition to the projection of the sound waves.
On the other hand, I also found certain parts of the show slightly frustrating. For example, I did not know what all the random numbers in the beginning of the performance represented. As a result, I found it difficult to connect with this part. I wish there was an explanation in the program regarding why these numbers had been chosen. Do they represent numbers that reoccur in nature? In addition, I also found it slightly frustrating when the audience never found out the exact meaning of the sentences being typed out. All of the blanks were filled with random letters and numbers instead of words. In other words, the ambiguity of the meaning of this performance caused the confusion and frustration I was feeling. Nevertheless, this was definitely a unique performance that I am happy I had the opportunity to attend.
"by AS
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Are technology and art two separate worlds, or are they two parts of a cohesive unit? Watching Ryoji Ikeda’s “Superposition” made me question my previous beliefs about performance and what it can entail. As a possible computer science major, I had a great appreciation for the amount of effort it must have taken to program the show. The technical aspects at certain points of the show were simply astounding. However, as an audience member, I found the show very difficult to watch.
The overwhelming visual and auditory components of the show were painful at times, and I found myself squirming around in my seat while other audience members decided to leave the theater all together. Throughout most of the performance, my senses were over-stimulated, which made me feel quite uncomfortable and distracted me from trying to find some sort of meaning in the piece. I could occasionally identify with some of the musical, rhythmic aspects of the performance, but it was hard to enjoy these moments before they were quickly interrupted by another excruciating sound or flash of light.
While I personally didn’t enjoy the overall experience, I think that it was Ikeda’s intention to make the audience uncomfortable. I also think that he wanted us to interpret the show in our own way because the piece does not have any concrete meaning or purpose. This became clear to me when the multiple definitions of “superposition” that appeared on the screens had most of the words covered with a scrolling and ever-changing series of numbers and letters.
Although I would not consider this to be a traditional performance, and although I did not particularly enjoy it, I now consider technology to be more of an art form than I did previously.
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
Fantastic! One of the most fun concerts I’ve been to in years. What talent. Who would have thought there were so many accordion virtuosos out there! Too bad the auditorium was half empty. I can’t wait to see them again someday.
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
Let’s be clear about Lawrence Welk, it will still be on television long after Seinfeld is out of syndication.*
That was good clean fun! Was reminded of my childhood in Cleveland…the old man who stood outside of the grocery store and played the accordian. My Mom would give me a nickel and I would put it in a slot on his accordian and he would play a song. There was a long running TV show at noon on Sundays called Polka Varieties….no need to explain. When I was in middle school we lived near Parma, which was a big ethnic suburb and on Saturday nights we would sleep in the basement and watch a movie host called the Ghoul. I know for a fact it was syndicated in Detroit and Cincinnati where I have also lived. This Beatnick/Grave Digger would pillory all thing ethnic….it was just a sin to wear white socks to school or high water pants or have chrome balls or pink flamingos in your yard. Now the world has become murky with too much data and anarchy…it’s nice to go back in time and sit with your parents and Grandparents in front of Lawrence Welk on the B&W T.V.
"by Robert Kinsey
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
It’s interesting that you brought up the concept of order and the human mind. It is true that the human brain will seek out answers that make the most sense. This performance could also be a good representation of how we seek order in randomness and chaos
While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
"by Sarah
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
Wonderful display of every popular Accordion was showcased by some of the very best accordionists throughout the world at the Hill Auditorium in Ann Arbor, MI on Saturday November 1, 2014. Over 45 musicians entertained and engaged the audience with an incredible passion and selection of a great variety of songs which brought various flavors of music through the use of the instrument.
The Hill auditorium was a perfect venue which featured three stages of performers, stage Left featured Julien Labro with the Spektral Quartet, Stage left featured the Irish Duo John Williams & fiddler Liz Carroll and center stage featured accordion virtuoso Alexander Sevastian and the Accordion Virtuoso of Russia Orchestra. Julian Labro did a wonderful job Emceeing the event!
The show featured many styles of the Accordions such as the Piano and Button style, the Bandoneon, Concertina, Diatonic Chromatic, Accordina and Bayon and all were presented masterfully from Classical to Tangos, to Folk music, to an incredible three accordion improvisations of the Beer Barrel Polk which featured each of the artists performing a solo with flavors from Classical to Folk to a Jazz variation which was presented with brilliant artistry! (Set list of the event is below)
The University of Michigan Musical Society worked closely with the Michigan Accordion Society to help promote the event and reached out and sold tickets to well over 1,000 people of all age groups and ethnicities.
We are very thankful to the wonderful staff and ushers at the University Music Society for welcoming and hosting the Michigan Accordion Society, Board Members, Members and their guests and allowing us to help promote our organization! Thank you!
Joe Recchia
President of the Michigan Accordion Society
http://www.michiganaccodion.org
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree that Ikeda’s performance was very interesting and unique, but I would not say that it was enjoyable. The flashing lights and loud, high-pitched noises served a purpose, but they were not sights or sounds that I would ever choose to experience. I do agree that the presence of human performers was essential to the show and allowed the audience to connect with the performance.
Ryoji Ikeda’s work was overwhelming, disorienting, even at times anxiety-producing. This probably turned off many viewers. But what better way to represent mass data and modern technology and science? The modern world is disorienting to say the least, particularly when it comes to the ever-expanding tech world. To Superposition’s detractors, I can only say that every emotion I felt during the performance, every confused thought or feeling of bafflement, was only a heightened version of those experienced when confronted with the bewildering, awe-inspiring world of contemporary science.
"And yet there was structure to Ikeda’s chaos. He did not create the hectic, mind-boggling moments of the performance to reflect modern science without comment. The more “peaceful” intervals of the piece served to illustrate the connections and overlaps between man and big data. While Superposition begins and ends with the all-consuming presence of data—the screens filled with numbers and images incomprehensible to the average viewer, waves of impersonal tech sound coming at the audience from all directions—but the human element is essential to the show, and made a huge impact on my experience. Ikeda is not placing man and machine (or data) on opposite poles, struggling against each other. The human “performers” are placed in the midst of the levels of technological visual representation, playing with various ways of manipulating the technology that surrounds them. Neither man nor machine is supposed to win, that’s beside the point. The human presence, at least for me, made sense of the staggering crush of information and representation that the show contained.
Superposition brought up dozens of fledgling thoughts lodged in the back of my mind, and articulated them in more engaging, challenging way than I would have thought possible. This wasn’t a performance intended to be easy to understand, or perhaps even to like (many reacted strongly to strobe-type lighting and the technological, often ear-splitting noise). But for me, it was one of the most unique, revelatory, and genuinely enthralling events I’ve ever experienced.
by Merin
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
This performance was very different than anything else I have ever experienced. While I really enjoyed some parts of the show, I found others slightly confusing and frustrating.
Personally, my favorite part was with the tuning forks. I found it remarkable to watch the sound waves being altered. I could see and hear the frequency and amplitude change as time passed and as different tuning forks were used. Thus, I appreciated being exposed to these basic sounds in a new, abstract way. Moreover, this part really pointed out the natural beauty of science, and the soothing sounds contrasted with the other ear throbbing noises present in the rest of the performance. However, I wish the members of the audience were able to see the performers’ actions more closely during this part of the show. I would have really liked to observe the vibration of the tuning forks in addition to the projection of the sound waves.
On the other hand, I also found certain parts of the show slightly frustrating. For example, I did not know what all the random numbers in the beginning of the performance represented. As a result, I found it difficult to connect with this part. I wish there was an explanation in the program regarding why these numbers had been chosen. Do they represent numbers that reoccur in nature? In addition, I also found it slightly frustrating when the audience never found out the exact meaning of the sentences being typed out. All of the blanks were filled with random letters and numbers instead of words. In other words, the ambiguity of the meaning of this performance caused the confusion and frustration I was feeling. Nevertheless, this was definitely a unique performance that I am happy I had the opportunity to attend.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
“Chicken. Pheasant and chicken, chicken is a peculiar third.”
-Gertrude Stein, “Tender Buttons”
When I first read Gertrude Stein’s, “Tender Buttons,” I was confused and slightly annoyed that this poem qualified as meaningful poetry. It wasn’t until after I had researched the sound poetry movement that I began to appreciate “Tender Buttons” for the radical piece that it is. In the same manner, upon seeing Ikeda’s, “Superposition,” I was shocked and found the performance bereft of any real meaning. However, as I analyzed the physics behind it, I began to appreciate the performance more. There were moments during the performance in which clarity of purpose was achieved. When the performers were typing, the juxtaposition of the their messages on the screen made the connection between the superposition principle and the performance more apparent to the audience. This is, in part, because the typing sequence was one of the only scenes in which language was used to convey Ikeda’s vision. Common language is a universal bridge between people of all backgrounds and interests. People who are interested in technology could appreciate and understand parts of the performance that those who aren’t interested in technology couldn’t. The mathematics behind the performance was lost on people who lacked a mathematical background. However, every member of the audience who was literate could understand the typing sequence of the performance. The nearly parallel statements made on screen emphasized the inevitable impact that science and religion have on society both as separate entities as well as concepts that work in conjunction with each other. Although I will never concede that “Superposition” is an enjoyable performance, but I understand and appreciate Ikeda’s attempt to visually and sonically represent the superposition principle.
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
WOW. I didn’t know what to expect going into the concert, but I was blown away. It was beautiful, fun, and fascinating. The performers are true virtuosos.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
This week, I went to two separate events, where Ryoji begrudgingly sat with academics while they picked apart, analyzed and attempted to intellectualize his piece.
At the Michigan Theatre they tried to define, to him, what kind of artist he is and what his piece meant. His response was (paraphrased) “I just wanted to make something big and cool, so I did”.
At the Power Center, physicists discussed the superposition of sound & visuals and the symbolism they saw in the piece. Ryoji usually responded with something like “I’m not an actual scientist and the visuals are more or less arbitrary”.
It was funny seeing him paid to be dodgy to university types and his “just come and see for yourself” send-off at both events helped build anticipation.
When the time finally came to experience it, we were seated as close as we could possibly be – exactly front and center.
It lasted roughly an hour, incorporating his trademark sine and white noise audio pieces, constantly changing visuals on somewhere in the neighborhood of 20 unique displays as well as two performers who contributed to both the sound and visuals.
I felt a lot of things throughout the performance. Some moments were like living in a sort of cyberpunk cream dream/nightmare. Others were like being witness to a major scientific breakthrough. I even had a moment where I felt like I was staring into the eye of “God”.
Whether there was a larger message or if it was just a massive scale 21st century techno-dadaist piece with challenging music and killer visuals, Superposition was undoubtedly my favorite experience of live art or music to date.
It’s been really interesting to hear all of the perspective and speculation coming from the academic community, art & music nerds and whoever else has been made aware of it. If the purpose of art is to get you to think, this is point-proven effectiveness.
Anyone who slept on it simply made the wrong choice.
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
Remarkable artistry, and especially appreciated the opportunity to hear Alexander Sevastian. It would have been nice to have the set list at the concert. I could have done without all the cruise ship flamboyance, and I never go to concerts to listen to the audience clap, but there were great individual performances and a very enjoyable evening.
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
Hi everyone! Here is the set list for the concert:
Accordion Virtuosoi of Russia:
First-half opening piece:
1. Mikhail Glinka, Ruslan and Ludmila (Overture)
Second-half set:
2. Georges Bizet, Carmen (Overture)
3. Scott Joplin, Ragtime
4. Shekotov, “Volga tunes” (arr. Shalayev)
5. Alexander Tsfasman, Flurries
6. Joe Vinuti, Jazz Improvisations
7. Konaev, “Gypsy tunes”
Concert Encore:
8. Aram Khachaturian, Sabre Dance
Finale (three accordion improvisations):
Jaromír Vejvoda, “Beer Barrel Polka”
Alexander Sevastian:
J.S. Bach
Organ Toccata and Fugue in d minor
Bogdan Precz
12 in 4
Carl Maria von Weber
Konzertstuck (excerpt: Finale)
Irish Duo:
Traditional Jigs
Frederic Weatherly
Danny Boy
Julien Labro with the Spektral Quartet:
Dino Saluzzi
Minguito
Diego Schissi
Astor De Pibe
Heitor Villa-Lobos
Veleiro
Astor Piazzolla
Milonga Loca
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
We can name all the pieces performed by Accordion Virtuosi if necessary.
And I would like to express our gratefulness to Saba, who had helped and supported on backstage.
Thank you very much for your support! It wouldn’t be that easy without you!
I was just wondering if the names of the pieces will be published anywhere
"by Katrina
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I understand that Ryoji’s work isn’t everyone’s cup of tea, largely based on amplitude and strobe tolerance, so I don’t want to be misunderstood to say you have to change your opinion about the performance. I’m just a little concerned when you criticize that each performer would spell different things and “the audience was expected to decode both at the same time”. Based on the concept of quantum superposition, a large part of the artistic statement of the piece is at any point in time something exists in all of its potential states, but when measured (or observed) it reduces to one (this is a simplification and I’m no scientist, so someone should feel free to explain better). Considering this, I don’t think the audience is “expected” to decode both at the same time. I think the audience was expected to consider the potential for multiple states and experience the limitations of observation.
Ikeda’s “Superposition” was pure sensory overload to the point that it was actually an assault on the visual and auditory systems. Although, I assume that this effect was intentional and that Ikeda designed the performance to make the audience feel sensually uncomfortable and disoriented.
"I have some general criticisms on the way that the show was produced and how it was staged at the Power Center. I don’t think that seats should have been sold for the balcony. The two smaller rows of screens were impossible to see from that height. Additionally, the auxiliary speakers and the projectors hanging from the ceiling blocked the view of the larger screens and ultimately disrupted my viewing experience.
The use of morse code was not well executed. Since the morse code messages were only use of words in the show, this was only opportunity to get a direct verbal message across to the audience. However, since there was no spaces included in the complex and long winded sentences, it was difficult to understand. The confusion was augmented by the fact that each performer was spelling out different things and the audience was expected to decode both at the same time.
Ultimately, I was very disappointed with the performance of “Superposition”.
by Robyn
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
This is total crap. I have never seen anything worse. And it has nothing to do with science in general or the superposition principle in particular.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
While I was not able to listen to these interviews, I’d have to agree that I would not be without my criticisms if I were promised something more synchronized, something organized conceptually. The production did in fact seem more like small explorations in ideas that, while intense, seemed to fit in individual sections than follow something thematic.
The performance was captivating, but I would have to agree with your understanding of it as being an example of episodes, rather than a clear flow.
Thank you UMS for presenting events such as superposition that extend the limits of what we consider art. That said, my critical comments: I attended the Stamps lecture, Saturday Morning Physics, and the Saturday performance. Stephen Rush did a decent, if somewhat colloquial, job of interviewing Ryoji Ikeda. At this interview, I began to sense Ikeda’s clear grasp of fundamental concepts. Saturday morning’s session went well with each of the three interviewees addressing fundamental topics. Ikeda, again, was able in his brief replies to express the content and relationships of important concepts. superposition itself is impressive in its variety, sonic landscape and the massive data flow to at least fourteen, apparently synchronized, two-dimensional displays. However, I didn’t see Ikeda’s clear conceptual thinking, evident in his interviews, in the piece. Instead, it seems to be a sequence of disconnected episodes, each of which, apart from some interesting texts at times, is seemingly meaningless. I wouldn’t attend a similar production in the future, but am glad I saw this one. Nevertheless, please UMS continue bringing us events that challenge us and enrich our experience.
"by Jack
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
I was just wondering if the names of the pieces will be published anywhere
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Uli,
I couldn’t agree more. I think that the supposed “openness” is not as widespread as some would hope to believe. I’m glad to hear you took your family as well, I wish I had seen this type of thing at 15. Many students unfortunately need things to be required to even fake an interest, which is unfortunate, but there are still many that appreciate the things that UMS and other organizations have to offer. I think that advertisement plays a role, but I think other methods that cater more to the young student demographic would increase attendance more than printing some posters. As an arts ambassador I hope to do things like that.
I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
"by Uli Reinhardt
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I can’t admit that I knew for certain what I was getting into when I took my seat for this performance.
I had nothing to go off of aside from a few mentions of its use of multimedia to bring together music and science, some “technological spin on theatre” that the few people I spoke with half-joked about in their confusion. Whatever it was, it was going to be something not entirely expected. Certainly not understood by those who did not have experience with the work and genre previously.
This was, I think, a fulfilled promise for the most part.
The entirety of the performance made clear to immerse its audience with an influx of information, at times aggressively ( which, thinking back on it, was probably the point). Incorporating mathematical concepts to more introspective theories, limiting the voices and words of those on stage in order to paradoxically allow thoughts to be expressed more cohesively; the piece clearly wanted to do a lot at once, and in the time allotted very literally shoved this information out, challenging the audience to grasp at whatever they could. This I found personally to be the most interesting: I could easily sit there without any attempt at retaining the information presented, and still walk away and see the phrases flashing, remember sequences of words and graphs that appeared and reappeared in quick succession. Whether or not you may agree with the sentiments expressed, it seemed difficult to leave the performance and not want to ask Ryoji Ikeda for explanations in the same forceful, rapid-fire with which he presented them to you.
It was stressful and aggressive, and oddly cathartic.
I’m not sure if this was entirely for me. When I left the performance I ran into someone who looked like they had just gotten out of something they weren’t sure they loved or hated. Mostly dazed, a little tired. I doubt I looked any different.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I agree about the balcony positioning. While I still enjoyed the performance, the balcony seats were definitely a pain. Several projectors obscured your view of the main large screen, which was intended to be very immersive. It was definitely harder to fully immerse yourself in the experience with the limited view, and it was difficult to read some of the text on the smaller screens.
Ikeda’s “Superposition” was pure sensory overload to the point that it was actually an assault on the visual and auditory systems. Although, I assume that this effect was intentional and that Ikeda designed the performance to make the audience feel sensually uncomfortable and disoriented.
"I have some general criticisms on the way that the show was produced and how it was staged at the Power Center. I don’t think that seats should have been sold for the balcony. The two smaller rows of screens were impossible to see from that height. Additionally, the auxiliary speakers and the projectors hanging from the ceiling blocked the view of the larger screens and ultimately disrupted my viewing experience.
The use of morse code was not well executed. Since the morse code messages were only use of words in the show, this was only opportunity to get a direct verbal message across to the audience. However, since there was no spaces included in the complex and long winded sentences, it was difficult to understand. The confusion was augmented by the fact that each performer was spelling out different things and the audience was expected to decode both at the same time.
Ultimately, I was very disappointed with the performance of “Superposition”.
by Robyn
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Ryoji Ikeda’s work was overwhelming, disorienting, even at times anxiety-producing. This probably turned off many viewers. But what better way to represent mass data and modern technology and science? The modern world is disorienting to say the least, particularly when it comes to the ever-expanding tech world. To Superposition’s detractors, I can only say that every emotion I felt during the performance, every confused thought or feeling of bafflement, was only a heightened version of those experienced when confronted with the bewildering, awe-inspiring world of contemporary science.
And yet there was structure to Ikeda’s chaos. He did not create the hectic, mind-boggling moments of the performance to reflect modern science without comment. The more “peaceful” intervals of the piece served to illustrate the connections and overlaps between man and big data. While Superposition begins and ends with the all-consuming presence of data—the screens filled with numbers and images incomprehensible to the average viewer, waves of impersonal tech sound coming at the audience from all directions—but the human element is essential to the show, and made a huge impact on my experience. Ikeda is not placing man and machine (or data) on opposite poles, struggling against each other. The human “performers” are placed in the midst of the levels of technological visual representation, playing with various ways of manipulating the technology that surrounds them. Neither man nor machine is supposed to win, that’s beside the point. The human presence, at least for me, made sense of the staggering crush of information and representation that the show contained.
Superposition brought up dozens of fledgling thoughts lodged in the back of my mind, and articulated them in more engaging, challenging way than I would have thought possible. This wasn’t a performance intended to be easy to understand, or perhaps even to like (many reacted strongly to strobe-type lighting and the technological, often ear-splitting noise). But for me, it was one of the most unique, revelatory, and genuinely enthralling events I’ve ever experienced.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Blinding white light, a trembling theater, and the fear rushing into my body, all these things and more were what I felt at Ryoji Ikeda’s Superposition. This performance was beyond complicated and very different from anything I have seen before, but it was not something I can truly claim to have understood. For me, Superposition did not convey a deeper meaning nor enlighten me to anything, but rather serve to stir two very primal emotions, fear and wonderment.
The whole production began with a deep bass note flooding the theater. This bass note was a reoccurring sound and each time it played I could feel my seat and vocal cords vibrating along. This unnatural and intense feeling was the first thing that instilled a sort of fear in my body. The high-pitched note that followed and also continued throughout the production cause my ears pain, once again causing fear. The sudden and rapid flashing of bright white lights on the screen also continued to play with my fear. The entire performance was filled with this music and lighting whose main purpose seemed to be to make me afraid.
Despite the many moments that caused me fear, there were also moments of pure beauty and wonderment in this performance. In these scenes calmer music or no music was playing. The two scenes that most vividly caused my wonderment were the shots of nature with the questions and answers, such as “What is love? Never ask” and “What is peace? Never answered,” and the moment when they were tones played and we watched the sound waves. Unlike the other scenes these ones fed on my emotion of wonderment. In these moments, I felt more of a connection with the performance and felt there was more of a philosophical tone.
Overall, I cannot conclude whether I liked this performance or not, or if it was good or not. There are too many questions left unanswered for me and I didn’t take enough away to feel like I gained something from seeing this performance. All I can definitely say is that Ikeda caused the arousal of two emotions without too many words.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Ikeda’s “Superposition” was pure sensory overload to the point that it was actually an assault on the visual and auditory systems. Although, I assume that this effect was intentional and that Ikeda designed the performance to make the audience feel sensually uncomfortable and disoriented.
I have some general criticisms on the way that the show was produced and how it was staged at the Power Center. I don’t think that seats should have been sold for the balcony. The two smaller rows of screens were impossible to see from that height. Additionally, the auxiliary speakers and the projectors hanging from the ceiling blocked the view of the larger screens and ultimately disrupted my viewing experience.
The use of morse code was not well executed. Since the morse code messages were only use of words in the show, this was only opportunity to get a direct verbal message across to the audience. However, since there was no spaces included in the complex and long winded sentences, it was difficult to understand. The confusion was augmented by the fact that each performer was spelling out different things and the audience was expected to decode both at the same time.
Ultimately, I was very disappointed with the performance of “Superposition”.
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
I did not know what to expect and I was really happy I went. It was a well done and interactive concert with lots of variety. The time went so fast. I would go again if you brought it back to A2 and tell my friends to go too.
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
Absolutely FANTASTIC concert! I’ve been going to concerts since my days here as a student (over 30 years ago) and this was ONE OF THEE BEST! So much talent, musical genius, many accordion virtuosos and much more.
I thoroughly enjoyed each and every number culminating with a superlative second half that left everyone humming, strumming, clapping, toe-tapping and hoping these groups will come back again-an-again! ! ! Please??????? 🙂
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
ASL,
I felt the same with my senses being under attack. You’re right, it’s absolutely not necessary to blast music and light to the point of torture. It was rather unpleasant.
But in another sense, the dramatic effects are completely necessary. Ikeda’s intentions are apparent with his polarized use of light and sound. It’s either too bright/dark or loud/quiet; this exhibits the present and non –present; it illustrates the 0 and 1. Like the program notes, this performance is intended to touch on quantum theory, and the idea of having the overlapping of binary numbers. The deep understanding of quantum physics/computing is extremely complex and sophisticated. In that regard, the omnipresence of white noise and colors in the lights bring out the infinite (and thus incomprehensible) nature of quantum physics.
I find your question extremely stimulating about how we should approach the concept of infinity. I don’t have a clear answer but have some ideas that are relevant.
The marbles were notable. Through multiple trials, the spectrum of possible positions of marbles is filled. In the big picture, with time, infinity can be reached. Unfortunately we cannot live long enough to witness this phenomenon. This type of imagination that Ikeda provokes is extremely reflective. It had me questioning the presence of infinity and importantly the extent to which we can reach infinity. Although we can theorize the most profound concepts, it is just mere imagination and thus, sadly unreachable. So, for me, this was an illustration of our limits in conceptual thinking.
My feelings on superposition are as mixed as the technicolored screens.
It felt like my senses were under attack; most of the time I plugged my ears and strategically opened and closed my eyes to avoid being visually insulted by screaming light. Was it really necessary to make it that loud?
Although the experience itself was like torture, it stimulated profound thought. What stuck with me and shaped my understanding was the message: “INFORMATIONISNOTKNOWLEDGE. INFORMATIONISTHERESOLUTIONOFUNCERTAINTY.” I loved the episode with the marbles because it showed that an infinite amount of data can be accumulated and manipulated, but it will never fully capture a natural phenomenon. Which should we say is more sophisticated: the simple yet chaotic incapturable phenomenon, or the ridiculously complex methods of describing it?
"by ASL
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
That was good clean fun! Was reminded of my childhood in Cleveland…the old man who stood outside of the grocery store and played the accordian. My Mom would give me a nickel and I would put it in a slot on his accordian and he would play a song. There was a long running TV show at noon on Sundays called Polka Varieties….no need to explain. When I was in middle school we lived near Parma, which was a big ethnic suburb and on Saturday nights we would sleep in the basement and watch a movie host called the Ghoul. I know for a fact it was syndicated in Detroit and Cincinnati where I have also lived. This Beatnick/Grave Digger would pillory all thing ethnic….it was just a sin to wear white socks to school or high water pants or have chrome balls or pink flamingos in your yard. Now the world has become murky with too much data and anarchy…it’s nice to go back in time and sit with your parents and Grandparents in front of Lawrence Welk on the B&W T.V.
People Are Talking: UMS presents Accordion Festival at Hill Auditorium:
Outstanding concert! Remarkable and varied performances. A thoroughly enjoyable evening. We left smiling and talking about what we’d just experienced. Thank you once again UMS, a Touchdown, home run presentation.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Meh. Billy Cobham experimenting with a drum machine in the 70’s, Detroit Techno in the 80’s, Raves in the 90’s, Morse Code and a bug (Vibroplex) from the early 1900’s…. Schrodinger, Gödel and Heisenberg have left the building. My thoughts were not provoked. Oh, and please stop hitting one tuning fork against another.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
While watching Superposition by Ryoji Ikeda, I couldn’t help but get lost in a cloud of confusion, constantly telling myself to find a deeper meaning in the performance and failing to find it. However, after I actually gave up and let myself listen mindlessly, I started to notice things about the noises I was hearing that I wouldn’t have if my mind was trying to focus too hard. When the black and white squares were going down the large screen and then continuing onto the smaller screens, it reminded me of rain. Each white flash looked like a raindrop, and the noise made in the background seemed almost like thunder. Soon after, when the performers were making noises that caused vibrations, it sounded much like the buzzing I hear in my ear when an airplane lands. Lastly, a certain image on the screen and sound started to repeat itself over and over and I could hear a beat in the background. Before I knew it, my foot was tapping along. I realized that my mind and perhaps every human mind can relate to order and familiarity and doesn’t like disorder. By looking at the performance as a whole, one can get confused in all the changes in sounds and images. It was frustrating not being able to figure out what was going on because I had never a seen a performance like Superposition. However, by relaxing my mind and recognizing the little things that were familiar to me, the performance became easier to understand and enjoy.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Thank you UMS for presenting events such as superposition that extend the limits of what we consider art. That said, my critical comments: I attended the Stamps lecture, Saturday Morning Physics, and the Saturday performance. Stephen Rush did a decent, if somewhat colloquial, job of interviewing Ryoji Ikeda. At this interview, I began to sense Ikeda’s clear grasp of fundamental concepts. Saturday morning’s session went well with each of the three interviewees addressing fundamental topics. Ikeda, again, was able in his brief replies to express the content and relationships of important concepts. superposition itself is impressive in its variety, sonic landscape and the massive data flow to at least fourteen, apparently synchronized, two-dimensional displays. However, I didn’t see Ikeda’s clear conceptual thinking, evident in his interviews, in the piece. Instead, it seems to be a sequence of disconnected episodes, each of which, apart from some interesting texts at times, is seemingly meaningless. I wouldn’t attend a similar production in the future, but am glad I saw this one. Nevertheless, please UMS continue bringing us events that challenge us and enrich our experience.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I was not a fan but I applaud the ingenuity and creative design for such an elaborate production.
Throughout the play, Ikeda explains, through visual and auditory mediums, mathematical concepts that words can only vaguely describe. He leads us into his world of understanding of advanced physics and exposes us to some of the most obscure ideas in the field. Ikeda focuses on quantum theory, specifically binary opposites of presence and absence.
We vicariously live in his world through deep mathematical analysis of presence and time. The marbles and computer algorithm that located each marble’s position were indicative of this. As seen, each actor has their own set of marbles that they move around their plate. A computer program counts the marbles’ positions multiple times and charts out the positions of the marbles to make an aggregate picture of where they landed. Through multiple trials, the spectrum of possible positions is filled. In the big picture, with time, infinity can be reached.
Also, the contrast of audio and lighting was very powerful and aided his interpretation of presence. There were parts of the performance when the music was soothing and relaxing with slow moving objects displayed on the screens with dimly lit lights. It was serene. Immediately there was a flash of light and the music was blaring white noise. The music was building in volume and the light intensity was increasing. There was an omnipresence or God like phenomenon present. It was overwhelming to experience.
I left the show sweating and shocked. The unpredictable nature of the show, as Ikeda intended, was very shocking and stressful with the ridiculous amount of stimulus. My head hurt.
Not for me, but I appreciate this type of innovation in the performing arts.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I attended the performance along with other members of my class because it was mandatory. If I had not been a part of the class, I would not have even known that the performance was going on! I think the problem is partially advertising performances such as these to students as well as students naturally being drawn more to performances that are in their comfort zone like Schoolboy Q and 2Chainz. The performance definitely opened my eyes to the way that we perceive music and performances and I’m happy that I attended.
I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
"by Uli Reinhardt
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I was amazed, challenged, transformed. It felt like my brain was turned inside out and back again, but not quite the way it started.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Ryoji Ikeda’s “Superposition” is defined by the dictionary as the “overlapping of waves.” In the most basic sense, this is certainly true. However, the waves this performance is concerned with are not those of displayed on the screen, but rather the clashing of two seemingly different disciplines: science and music.
Science is universally understood to be a formulaic discipline. There are laws that must be followed and equations that must be used, leaving little room for interpretation. Music, on the other hand, lends itself to more diverse interpretation. Each musician can communicate a unique message to his or her audience as they sit enraptured by the sound. “Superposition” draws upon both of these elements.
There is no denying the formulaic element of the performance before our eyes. The catalysts for much of the noise, the two humans, sit motionless as they surgically tap rhythm after rhythm. After each tap, waves appear on the large screen behind them, overlapping each other as they run from both sides of the monitor. Graphs and charts flash quickly before our eyes, followed by more pictures.
At the same time, we are aware of the musicality of the performance: the ever-present metronomic beeping in the background, the Dubstep-esque finale that blinds both our eyes and our ears, and the noises in general that are impossible to ignore.
“Superposition” is not only speaking of the overlapping waves that the two performers on stage are creating with their endless tapping, it is asking us to look even broader at the overlapping waves of music and science. It forces us to consider sound from a different perspective. The sounds on the stage, particularly the beeping from the data input, can be heard in many variations in our everyday life. How much music do we fail to acknowledge everyday and how much music do we unwittingly create?
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
My feelings on superposition are as mixed as the technicolored screens.
It felt like my senses were under attack; most of the time I plugged my ears and strategically opened and closed my eyes to avoid being visually insulted by screaming light. Was it really necessary to make it that loud?
Although the experience itself was like torture, it stimulated profound thought. What stuck with me and shaped my understanding was the message: “INFORMATIONISNOTKNOWLEDGE. INFORMATIONISTHERESOLUTIONOFUNCERTAINTY.” I loved the episode with the marbles because it showed that an infinite amount of data can be accumulated and manipulated, but it will never fully capture a natural phenomenon. Which should we say is more sophisticated: the simple yet chaotic incapturable phenomenon, or the ridiculously complex methods of describing it?
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
I was riveted by the performance. Ikeda beautifully combined visual patterns that I had always been fascinated with.
At times I got a bit dizzy by the sound volume and flashing lights, but maybe that is intended.
My wife hated every second of it, but my 15-year old son liked it a lot. I wanted to expose us all to a novel cultural experience and it worked on 2/3.
I was a bit disappointed that the hall was only half full. At the Penny Stamps lecture on Thursday, Michigan Theater was packed with undergrad students to see Ikeda, but it looks like only a handful went to the performance, despite the ticket cost being so low. There are 40,000 young, and supposedly open, minds in this city and when Michigan plays football, they pack the stadium, but when there are world-class dance music or theater performances very few come to see. Why is that? Is UMS maybe not advertising enough among students? I mentioned the low cost of UMS performances to undergrad acquaintances before and they did not know about it.
People Are Talking: UMS presents Ryoji Ikeda’s superposition at Power Center:
Great show!
I wish I could come tomorrow night as well.
One of the things that is difficult, and also very rewarding about an experience like this show is how it resists traditional analysis in terms of being able to distill the “meaning” of the experience into verbal or written language.
Much like the 7 hour long album of very precisely designed minimalist electronic compositions I released last year to an almost nonexistent audience (what *is* the audience for such a thing, after all?), Superposition’s meaning is entirely rooted in the visceral experience itself.
Even for me as a very longtime fan of Ikeda’s work, I found it difficult to turn off my internal monologue that kept asking “what does this mean?!” When I succeeded, however, the raw experience itself flooded into me like the experience of sublime nature that I think it was intended to reflect in it’s glitchy, high tech mirror.
National Theatre Live: Tennessee Williams’ A Streetcar Named Desire:
We walked out at intermission. The Young Vic should be ashamed. Never have I seen a worst production from our British friends who are typically the masters of the stage.
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
Maybe we will discover in the years to come a better way to subtitle a play but I’m not sure people should incriminate the PowerCenter for this.
I mean, if you do not understand French enough, there is no other way than reading the subtitles while the actors are playing.
Should we get rid of foreign language play just because some are complaining about having to read and watch at the same time?
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
It was interesting, but a bit like reading a book on a Kindle (viewing the subtitles) while something interesting was surely going on outside of your field of vision (the play). A bit frustrating
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
Reading titles a bit of a chore. Can see how Pirandello would write in his first language. When you were in NY did you see the statue of the hand gun with the barrel twisted around to aim at the shooter in front of the United Nations…..with the plaque reading,” Beat swords into plowshares.” It was given by the Grand Duchy of Luxembourg. Those poor people have been invaded with every European upheaval….The last time was the Battle of the Bulge. Now curiously there is a fine arts repository at the Luxembourg airport that is one of the 3 finest in the world. Stow your oil painting of rare wine and avoid taxes. They have also wrankled other EEC countries with huge tax breaks to Apple and most recently Amazon, you know how the Germans love Amazon! And I should take advantage of the new UMS archives and look up Rhinocerous.
The play was written in Italian. By the time it was translated into French, and then into English (for the surtitles), the language was pretty stilted and hard to grasp, especially during the long passages, because the surtitles were often very brief. Overall the surtitles were not well done.
Why didn’t the surtitle people use the much more audience-friendly English translation by Edward Storer?
Overall, I much preferred this group’s “Rhinoceros” production, which I saw in NYC two years ago.
"by David
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
The play was written in Italian. By the time it was translated into French, and then into English (for the surtitles), the language was pretty stilted and hard to grasp, especially during the long passages, because the surtitles were often very brief. Overall the surtitles were not well done.
Why didn’t the surtitle people use the much more audience-friendly English translation by Edward Storer?
Overall, I much preferred this group’s “Rhinoceros” production, which I saw in NYC two years ago.
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
O.K. Took a break from watching the Lions in London. When out in the woods I had this dream that Pirandello was talking about Supra-National Government….specifically, the failure of the League of Nations and the ensuing WWI. So here we are in the 1920’s and he’s asking who is scripting Europe and will tragedy happen again….fore shaddowing of WWII. The play was lightly comedic…a few Three Stooges moments. Anyway, I think the Lions are going to lose.
Well, one of my comrade de chambre in college was the son of the Ambassador from Luxembourg. My senior year I studied in Luxembourg City. My appreciation of French plays is perhaps a little different from yours. That is my story and I’m sticking to it!
"by Robert Kinsey
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
Well, one of my comrade de chambre in college was the son of the Ambassador from Luxembourg. My senior year I studied in Luxembourg City. My appreciation of French plays is perhaps a little different from yours. That is my story and I’m sticking to it!
torrid??
"by st
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
torrid??
Very difficult to stage. Good job Theatre de Ville. It really churned me up. The football game in East Lansing didn’t go as planned. The election in a week is going to produce some surprises. Thank goodness you can get it all out of your system with art. Reading the super titles was a bit ardruous but think about the stamina of the actors. What a torrid evening!
"by Robert Kinsey
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
Very difficult to stage. Good job Theatre de Ville. It really churned me up. The football game in East Lansing didn’t go as planned. The election in a week is going to produce some surprises. Thank goodness you can get it all out of your system with art. Reading the super titles was a bit ardruous but think about the stamina of the actors. What a torrid evening!
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
Thanks a lot for inviting again Le Théâtre de la Ville.
I loved the play, the acting, the music, the lights, and i’m still in awe. Unfortunately, I could not attend a second performance tonight.
I’m really touched by the soberness of the acting.
Rhinoceros two seasons ago, Pirandello this fall. I truly hope we will get more.
Thanks again for programing it.
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
Glad to see this famous play in an excellent production. I was challenged by the need to both watch the actors and read the surtitles. It seems less of a challenge in opera because the words come more slowly.
People Are Talking: UMS presents Théâtre de la Ville: Pirandello’s Six Characters in Search of an Author at Power Center:
I thought the production was very interesting – really glad to see such beautiful, strong staging – the ballet of the actors and characters continually being reformed.. The super titles/sub titles were of course necessary but I thought wound up being kind of problematic – where to put them so that they were genuinely useful. In this instance, from my seat, I could either view the translation (the dialogue) or the action, never both at the same time. So I felt disappointed – I was missing one or the other. Maybe in the balcony, you could have seen the text and the staging at the same time. This is a topic those of us at Wild Swan Theater discuss a lot as we integrate American Sign Language into our staging for our patrons who are deaf, a kind of similar conundrum. We have two texts going simultaneously, one spoken, one signed, the signed text always in the stage picture. It’s another solution. In last year’s UMS presentation of Complicite’s Shun-Kin, I remember that there were titles behind the story teller Yoshi Oida that made that work more accessible. Maybe that was just chance or where I was sitting. Or maybe the work was more visual and less language dependent. In any case, it seems worth thinking about where to put the supertitles in the stage picture to help audiences get the most out of a production.
People Are Talking: UMS presents Chris Thile and Edgar Meyer at Michigan Theater:
Congrats to UMS for bringing such unique and gifted musicians to our backdoor. I was blown away by the technical proficiency, artistry and humor shared on stage throughout the evening. Chris and Edgar are awesome people and truly the very best at what they do! I can’t wait to reconnect with these friends and inspirational craftsman the next time they’re in town.
Cheers!
People Are Talking: UMS presents Belcea Quartet at Rackham Auditorium:
Strange! The comments are all laudatory but we found the concert quite flat. The couple next to us said the same thing thing as did couple in the elevator in the parking structure.
National Theatre Live: Tennessee Williams’ A Streetcar Named Desire:
Several of us went to the Fleetwood Diner after the show for a plate of Hippie Hash. We found the music odd, nothing to do with New Orleans and the time, no Jelly Roll Morton, no Louis Armstrong. The Natl Theater skunk works production was a weak cup of coffee for what we expected. Don’t get us wrong, we positively worshipped British Super Groups in the day but trying to hang an artistic emotion on a snippet of a rock song is just tired in this new millenium. There were redeeming qualities…it seemed to jell at the end and the fellows fighting was like Jackie Gleason if he had been on HBO in the sixties. The high pitch Southern accent of Blanche never fluctuated through the entire performance. It was a little annoying, even to someone who went to college in Cincinnati!. But Tennessee Williams had a point about alcohol abuse…& a lesson in mental health of this nature is timeless and immutable.
People Are Talking: UMS presents Belcea Quartet at Rackham Auditorium:
I may have unfairly scanted the Mozart in what I wrote–for me it was as satisfactory as the Berg.
Mostly agreed–except that I thought the Brahms was satisfyingly muscular.
Mozart–the ping-pong ending of the first movement was a delight, as was the whirligig finale. In the finale, decades ago a recorded performance by the Guarneri Quartet creatively and clearly set forth the repetitive four-16th-notes figuration as chains of triplets.
In the Andante-Allegretto I couldn’t hear Violin II’s melody through Violin I’s filigree in the first repetition of the theme. And at the end of the movement, the final notes played by Violin I sounded like “piano tuning” instead of an ideal “tight” half-step. Yes, I know that the notes are sounded in altissimo and that violinists have fingers of human thickness.
Berg–A couple of times I thought, “This is like “The Rite of Spring!”
Thanks to the Belcea and to UMS for an outstanding recital!
And thanksgiving for less coughing than we heard at the Emerson Quartet’s concert. . . .
"by Jim Toy
People Are Talking: UMS presents Belcea Quartet at Rackham Auditorium:
Mostly agreed–except that I thought the Brahms was satisfyingly muscular.
Mozart–the ping-pong ending of the first movement was a delight, as was the whirligig finale. In the finale, decades ago a recorded performance by the Guarneri Quartet creatively and clearly set forth the repetitive four-16th-notes figuration as chains of triplets.
In the Andante-Allegretto I couldn’t hear Violin II’s melody through Violin I’s filigree in the first repetition of the theme. And at the end of the movement, the final notes played by Violin I sounded like “piano tuning” instead of an ideal “tight” half-step. Yes, I know that the notes are sounded in altissimo and that violinists have fingers of human thickness.
Berg–A couple of times I thought, “This is like “The Rite of Spring!”
Thanks to the Belcea and to UMS for an outstanding recital!
And thanksgiving for less coughing than we heard at the Emerson Quartet’s concert. . . .
Nowadays many quartets thrive on the (many) moments when they can dig into the strings of their instruments, reminding us that they are mad of GUT — with the result that they sound more than robust; “we mean business, they seem to say, and we’re not kidding.” The Belcea Quartet fortunately does not follow that model. Beauty of tone and expressiveness come first. Their range of dynamics is wide – from the cobwebby to the assertive. They played the Mozart work with a subtlety that was downright French. You can be sure that the composer and his friends did not play it like that. Tant pis! However, the Brahms work demands a more muscular approach and suffered from the lack thereof.
The Berg, which I’ve heard only once or twice before, was the most appealing work on the program. The performers displayed their intelligence as well as their virtuosity. We were also once again reminded of how helpful it is to the audience to hear a performer speak from the stage about the work to be played — especially if it is more challenging than the more commonly programmed pieces.
The program was well chosen, sampling three distinct periods and styles, and the performers are a terrific group. Glad they are back.
"by Music Lover
People Are Talking: UMS presents Belcea Quartet at Rackham Auditorium:
Nowadays many quartets thrive on the (many) moments when they can dig into the strings of their instruments, reminding us that they are mad of GUT — with the result that they sound more than robust; “we mean business, they seem to say, and we’re not kidding.” The Belcea Quartet fortunately does not follow that model. Beauty of tone and expressiveness come first. Their range of dynamics is wide – from the cobwebby to the assertive. They played the Mozart work with a subtlety that was downright French. You can be sure that the composer and his friends did not play it like that. Tant pis! However, the Brahms work demands a more muscular approach and suffered from the lack thereof.
The Berg, which I’ve heard only once or twice before, was the most appealing work on the program. The performers displayed their intelligence as well as their virtuosity. We were also once again reminded of how helpful it is to the audience to hear a performer speak from the stage about the work to be played — especially if it is more challenging than the more commonly programmed pieces.
The program was well chosen, sampling three distinct periods and styles, and the performers are a terrific group. Glad they are back.
People Are Talking: UMS presents Chris Thile and Edgar Meyer at Michigan Theater:
Anna – Do you know if they have ever recorded Prelude no. 13?
Hi everyone! Here is the set list for the evening:
Why only one?
Farmer and the Duck
Monkey Actually
Tempo “Di G Gavotta” from Partita No. 6 in e Minor
“Canon” from The Art of Fugue
FRB
Friday
Ham & Cheese
I’ll Remember for You
Fence Post in the Frontyard
INTERMISSION
Tuesday
Tarnation
This is the Pig
Look What I Found
El Cinco Real
“To Be Determined”
Prelude No. 13 from The Well-Tempered Clavier
It’s Dark in Here
ENCORE
"First Movement from Concert Duo for Violin and Bass
by Anna Prushinskaya
People Are Talking: UMS presents Chris Thile and Edgar Meyer at Michigan Theater:
I agree with Orlando – I was so looking forward to this concert. I did not expect to hear such unremarkable set of music.
I don’t think I will remember this concert next year or next week.
Was disappointed. The lyrical beauty I have come to expect from and Edgar Meyer was for the most part missing. What we got was a lot of high speed noodling and flashy unison playing on unmemorable and unpleasant themes. We tended to blame Thile, as he had a stage presence we didn’t care for – he seemed cocky and stilted.
"by Orlando Morris
People Are Talking: UMS presents Chris Thile and Edgar Meyer at Michigan Theater:
Was disappointed. The lyrical beauty I have come to expect from and Edgar Meyer was for the most part missing. What we got was a lot of high speed noodling and flashy unison playing on unmemorable and unpleasant themes. We tended to blame Thile, as he had a stage presence we didn’t care for – he seemed cocky and stilted.
People Are Talking: UMS presents Chris Thile and Edgar Meyer at Michigan Theater:
Hi everyone! Here is the set list for the evening:
Why only one?
Farmer and the Duck
Monkey Actually
Tempo “Di G Gavotta” from Partita No. 6 in e Minor
“Canon” from The Art of Fugue
FRB
Friday
Ham & Cheese
I’ll Remember for You
Fence Post in the Frontyard
INTERMISSION
Tuesday
Tarnation
This is the Pig
Look What I Found
El Cinco Real
“To Be Determined”
Prelude No. 13 from The Well-Tempered Clavier
It’s Dark in Here
ENCORE
First Movement from Concert Duo for Violin and Bass
People Are Talking: UMS presents Chris Thile and Edgar Meyer at Michigan Theater:
What a great show! Can anyone tell me the name of the “cover” that they did as the second to the last piece? I think it was Bach (I am not referring to either of the two Bach pieces they did during the first half). It was very soft and contrapuntal.
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
Awesome, fantastic, unique, What a talented group of musicians. One of the best, engaging UMS concerts I have attended
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
Here’s the song he did about the Detroit riots:
http://www.gregoryporter.com/2011/10/1960-what-official-music-video/
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
We LOVED this amazing performance! I hadn’t heard of Gregory Porter before but am a big fan now.
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
One of the great concerts of the last five years, drawing a crowd the likes of which is rarely seen in town. I was surprised by how terrific his band was, though the brilliant sax player overdid it (was expected to) a little in several songs, altering the mood unnecessarily. It’s hard to remember a performer in A2 who has made so many feel so good as Porter – he brought back memories of Marvin Gaye (of course), Stevie Wonder, and other musical leaders whose loving voice can captivate, change, carry and keep an audience. Bravo to UMS. I’d gladly trade 5 booked classical concerts for someone who works the jazz heartland of today.
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
The show was AMAZING. Definitely was not disappointed with what I saw. His vocals were clear, pure and emotive. The band was spectacular and he sang all of my favorite tunes. All in all love it!
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
Hi everyone! Here’s the set list for last night’s performance:
All songs by Gregory Porter unless otherwise noted.
Painted on canvas
Way to Harlem
Imitation of life (Paul Francis Webster, from 1959 film soundtrack of same name)
Liquid spirit
No love dying
Work song (Nat Adderley / O. Brown Jr.)
Hey Laura
Wolfcry
Musical genocide
Lonesome Lover (Abbey Lincoln / Max Roach)
1960 What?
Encore :
Be Good (Lion’s Song)
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
Well done… we had a great time – interesting journey through his mind and through a little history – thanks
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
Amazing show. Thanks to UMS for bringing Gregory Porter to Ann Arbor.
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
Gregory Porter did not disappoint. I am in awe of his performance. From the first song to the last I was mesmerized. The tonality of his voice was so strong and clear. He captivated the audience in several ways. The way he talked to the audience to explain his perspective on each song gave the audience an understanding of what the song means to him. He encouraged audience participation and the audience didn’t disappoint either. The Band complemented GP’s style very well. I love, love, love this performance. I can’t wait to see him again.
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
What a voice! Gregory Porter talent was also huge on engaging the audience with his great band. Glad I did not miss such opportunity!
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
Fantastic show! GP has very strong vocals and could have performed without microphones. The small setting in the Michigan Theater was perfect for this quintet. Congrats to UMS for branching out and recognizing alternative artist and acts and bringing them to the Duece. From Jason Moran, Bob James, Bill Frisell, Herbie Hancock and Chic Corea, as a jazz fan I’m in awe right here in my own backyard!
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
I had been waiting for Gregory Porter to come to Ann Arbor ever since I heard him on WEMU. I was not disappointed. He is a fantastic live act and very skilled in communicating with an audience. It was more than a concert; it was an inspiring experience. Please come back next year! I will go again next year and take all my friends. Thank you Gregory for representing in music what many of us there tonight want to hear said and expressed.
New UMS Artists in “Residence” Program:
Devastated not to have known about this sooner 🙁
Please put me on whatever mailing list I need to be on for the next one!
People Are Talking: UMS presents Gregory Porter at Michigan Theater:
The first half of the show was what WEMU prepared me for….the nice school crossing guard making us feel good and safe. Then he took us down to the subway and on to another darker side of town. My pulse quickened as he sang about the Detroit riots etc. I’m not sure I would want a full show of either. A jazz club would have split it in two sets with the troopers hanging out for the volatile material. The band was very talented. The sax player had an interesting style. The drummer was rat a tat tat but not distracting to the great vocals of Gregory Porter. The piano player could seemingly play on style with his left hand and a nother with his right. The bass was steady and awesome through out. I hope to see Gregory Porter again in a few years.
UMS Artists in “Residence”: Meet Carolyn Reed Barritt:
A nice illustrative view into an artist’s inspiration. A great supportive program for regional artists. Thank you.
People Are Talking: UMS presents Kiss and Cry at Power Center:
The picture on the UMS catalogue was a tip off that this production would be one of the best. We were not dissapointed. Was fortunate enough to meet some of the cast beforehand. We tried out our dreadful French and I trotted out that I studied in nearby Luxembourg. Thomas said that it was a dark place, I said yes, it’s quite a tax haven. I hitch hiked through Belgium on at least two occassions, going to and from Amsterdam. I remember standing in the middle of a large traffic circle eating fresh pears from a tree. I gave a Belgian kid a cassette of the Talking Heads in gratitude for a ride. I was thinking of these things during the satisfyingly long production. I’ve always marvelled at the art of movie making….Kiss & Cry was a master class in live television production. Never trust what you see on a screen! Well done.
People Are Talking: UMS presents Kiss and Cry at Power Center:
Count me among the fans of this production. At its heart, such a simple and elegant story–but what extraordinary means by which to tell it. It’s the most effective use I think I’ve ever seen of film as live theater–and live theater as film. A stage filled with technology and yet all of it deployed for such deeply human ends. Please bring back this company so that word of mouth can do its thing and fill the auditorium next time. The only way to appreciate this unique and ingenious work is to see it.
People Are Talking: UMS presents Kiss and Cry at Power Center:
Just so everyone knows, there is one deception that needs clarification, in the list above. In every case a composer is listed except in the instance of “Nothing Compares 2 U” where the performer, Jimmy Scott, is listed. That tune was composed by Prince.
Hi everyone! Here is the full music list:
Rinaldo, Lascia ch’io pianga – Händel
"Gelido In Ogni Vena – Vivaldi
Cançao – Carlos Paredes
Valse sentimentale – Tchaikovsky
Les feuilles mortes – Cosma et Prévert
Nothing compares to you – Jimmy Scott
Wait the Lover – Wu Yingyin
Fratres – Arvo Part
No more words – Anna Calvi
Works for prepared piano – John cage
by Anna Prushinskaya
People Are Talking: UMS presents Kiss and Cry at Power Center:
Hi everyone! Here is the full music list:
Rinaldo, Lascia ch’io pianga – Händel
Gelido In Ogni Vena – Vivaldi
Cançao – Carlos Paredes
Valse sentimentale – Tchaikovsky
Les feuilles mortes – Cosma et Prévert
Nothing compares to you – Jimmy Scott
Wait the Lover – Wu Yingyin
Fratres – Arvo Part
No more words – Anna Calvi
Works for prepared piano – John cage
People Are Talking: UMS presents Kiss and Cry at Power Center:
Nice–thanks so much!
More info….yes, the second aria was Vivaldi. “Gelido Ogni Vena” again, sung by Cecilia Bartoli. Here’s a performance of it. http://www.youtube.com/watch?v=QOMzy2iDBjM
"by Michael, UMS
People Are Talking: UMS presents Kiss and Cry at Power Center:
More info….yes, the second aria was Vivaldi. “Gelido Ogni Vena” again, sung by Cecilia Bartoli. Here’s a performance of it. http://www.youtube.com/watch?v=QOMzy2iDBjM
This took me completely by surprise. I knew about the “nano-dancing” thing beforehand, but that particular aspect was merely the tip of the iceberg. Charleroi Danses somehow managed to combine dance, music, stagecraft, poetry, art, and even a little puppetry into something new and beautiful–a total work of art.
"As a side note–does anybody have a playlist of the songs they used for the performance? I’d love to know the name of the aria that was heard throughout the show, and especially the name of the singer who sang that terrific cover of “Nothing Compares 2 U.”
by Jackson Tucker-Meyer
People Are Talking: UMS presents Kiss and Cry at Power Center:
Hi….Ken beat me to the Jimmy Scott cover of the song Sinead O’Connor made famous — “Nothing Compares 2 U” — which was composed by Prince; the baroque arias (there were two different arias) were both sung by Cecilia Bartoli and the first was Handel’s “Lascia ch’io pianga” from Rinaldo; the second one was Vivaldi, I think, and I am trying to track that down as I, too, want to know. Later.
This took me completely by surprise. I knew about the “nano-dancing” thing beforehand, but that particular aspect was merely the tip of the iceberg. Charleroi Danses somehow managed to combine dance, music, stagecraft, poetry, art, and even a little puppetry into something new and beautiful–a total work of art.
"As a side note–does anybody have a playlist of the songs they used for the performance? I’d love to know the name of the aria that was heard throughout the show, and especially the name of the singer who sang that terrific cover of “Nothing Compares 2 U.”
by Jackson Tucker-Meyer
People Are Talking: UMS presents Kiss and Cry at Power Center:
Awesome–thanks!
Jackson, I cannot help you with the aria (which, I agree, was haunting), but I tracked down the jazz ballad, Nothing Compares 2 U, by Jimmy Scott (http://www.amazon.com/Nothing-Compares-2U/dp/B002LCAUFU/ref=sr_1_1?ie=UTF8&qid=1413173816&sr=8-1&keywords=jimmy+scott+nothing+compares)
"by Ken
People Are Talking: UMS presents Kiss and Cry at Power Center:
Jackson, I cannot help you with the aria (which, I agree, was haunting), but I tracked down the jazz ballad, Nothing Compares 2 U, by Jimmy Scott (http://www.amazon.com/Nothing-Compares-2U/dp/B002LCAUFU/ref=sr_1_1?ie=UTF8&qid=1413173816&sr=8-1&keywords=jimmy+scott+nothing+compares)
People Are Talking: UMS presents Kiss and Cry at Power Center:
This took me completely by surprise. I knew about the “nano-dancing” thing beforehand, but that particular aspect was merely the tip of the iceberg. Charleroi Danses somehow managed to combine dance, music, stagecraft, poetry, art, and even a little puppetry into something new and beautiful–a total work of art.
As a side note–does anybody have a playlist of the songs they used for the performance? I’d love to know the name of the aria that was heard throughout the show, and especially the name of the singer who sang that terrific cover of “Nothing Compares 2 U.”
People Are Talking: UMS presents Kiss and Cry at Power Center:
I loved the show and thought it was very thought provoking, BUT, I am curious if anyone else had a negative reaction to the use of the lego characters in the last sequence, involving the dead giraffe in the yard. The lego seemed to come out of left field and really confused me. Did anyone else have a different reaction to the lego characters in those scenes?
People Are Talking: UMS presents Kiss and Cry at Power Center:
This was one of the best theatrical performances I have seen. The synthesis of choreography and videography was genius! The script was beautiful in its simplicity as the diverse selection of music conveyed the complex emotional textures. Did anyone else interpret the end as dementia unlocking the memories of this lonely woman allowing her to once again find her true love?
People Are Talking: UMS presents Kiss and Cry at Power Center:
This performance was absolutely beautiful. The filmed portion (what was on the screen) was whymsical and magical. It felt like the performers had actually created another world. In terms of the filming and sets, it seemed fully formed, but I couldn’t help but feel disappointed after I left. The storyline that brought everything together seemed contrived and cliche and choppy. I had a hard time taking the meaning seriously after a while. It just felt overly dramatic.
In terms of the hand dancing, I was simultaneously impressed and disappointed. I wished there had been more “dancing” scenes and not so much narration. The reason why I decided to go to this show is because hand dancing has always intrigued me. Seeing it live for the first time was great, but I wanted it to be more “dancey”. I think that’s the nature of the show, though; it’s mixed-media, not just dance.
But despite the disappointments, I’m glad that UMS offered this performance and that I went. As I said it was beautiful. Even inspirational. And I loved seeing children as they left the Power Center, enthralled and excited and letting their own hands dance in the air.
People Are Talking: UMS presents Kiss and Cry at Power Center:
Was an exquisite multi – media piece using hands that tells a story of a woman’s loves that have come and gone throughout her life. Extraordinary, spell-binding artistic dexterity and evocative musical and visual backdrop. Must see it again!
People Are Talking: UMS presents Kiss and Cry at Power Center:
Kiss & Cry… So powerful, yet gentle. Touching, like the hand. This totally unexpected performance enveloped me.
People Are Talking: UMS presents Kiss and Cry at Power Center:
Thank you UMS! I’m still in awe of the performance last night. A must see
People Are Talking: UMS presents Kiss and Cry at Power Center:
I have never experienced a more intense 90 minutes of PURE art. From beginning to end, the production expanded my universe exponentially, and made me look, feel, and know things about myself I’d never considered….all from the smallest of viewpoints. DO.NOT.MISS.THIS. You need to experience this.
People Are Talking: UMS presents Kiss and Cry at Power Center:
Kiss and Cry is one of the most unusual, emotionally evocative performances I’ve seen. The use of miniatures and synechdoche works beautifully for a meditation on love, longing and memory. The coordination of stagecraft, dance, music/sound, and cinematography technique was masterful, and the result is something I never would have dreamed possible. Very special and deeply felt.
People Are Talking: UMS presents Kiss and Cry at Power Center:
I absolutely cannot stop talking/ thinking about this most extraordinary, beautiful and fascinating experience I had last night. I encourage anyone, including young people 12 years and up, to see this tonight or tomorrow. Don’t hesitate to sit as close to the stage as you can. Makes it all the more interesting. Trust me! See it! Sit close!
Kiss & Cry and Push Boundaries:
Incredible is an understatment. The graceful and expressive dancing and being transfixed by such unbelievable camera work will keep you absolutely spellbound. This is a don’t miss performance. It execution is flawless.
People Are Talking: UMS presents Kiss and Cry at Power Center:
Absolutely breathtaking!! This is a show that has to be experienced. The words, pictures or even the clips that I’d seen beforehand were intriguing but the actual experience of the whole was something I hadn’t been able to imagine.
People Are Talking: UMS presents Kiss and Cry at Power Center:
My husband and I were completely bowled over by this theater experience. We had no prior information about the group or the production other than some clips online which frankly didn’t give any idea of the complexity, beauty and originality of Kiss and Cry.
Thanks to UMS for finding this group and bringing them to A2!
People Are Talking: UMS presents Kiss and Cry at Power Center:
This performance is an extraordinarily creative, engrossing and sensitive narrative of a woman’s life, conveyed through a hybrid of choreography, theatre, music and film that is created live and projected simultaneously. The artistry and creative genius embodied in this work are stunning and unlike any stage performance or film one has ever seen.
You can still get tickets for Saturday evening and Sunday afternoon performances!
People Are Talking: UMS presents Kiss and Cry at Power Center:
I hope that everyone who stood up after tonight’s performance make sue at least two more people see this performance before it leaves town. Thank you UMS for bringing this to town. THE BEST.
IMAGINATION, INTELLIGENCE, BEAUTY, HUMOUR and CRAFT.
People Are Talking: UMS presents Emerson String Quartet at Rackham Auditorium:
Thanks yet again to the Emerson String Quartet for another of their always-stellar concerts!
Cellist Paul Watkins is so welcome!
The tempo in the first movement of Beethoven’s Op. 95 seemed a little too fast for the acoustic of the hall–some of the figuration was lost–although perhaps my first-row seat put me at a disadvantage. The violist was marvelous in the 2nd movement particularly. The tempo at the end of the last movement seemed fine–when the Guarneri Quartet played it here some years ago it seemed too rushed for my comfort.
“Just see how fast we can play this!” — similar to the last movement of Beethoven’s Quartet Op. 59, No. 3–
I was glad to hear the Lieberman quartet and would look forward to another performance of it.
Thanks to the donor of the endowment!
(I gave away my cough drops, hoping to help stem the tide of hacking. . . .)
Sincere thanks to UMS and the Emerson Quartet and Mr. Lieberman for a propitious opening to the 2014-2015 season!
People Are Talking: UMS presents Emerson String Quartet at Rackham Auditorium:
Yes….loved the encore. For those wondering it was Haydn’s String Quartet, Op. 33, No. 5: Movement ii marked “Largo e cantabile”
Agreed. The Beethoven was my least favorite, although I grant that that’s not my favorite Beethoven quartet. I really liked the encore and wished they had played a Haydn quartet instead of the Beethoven.
"by Rick
People Are Talking: UMS presents Emerson String Quartet at Rackham Auditorium:
Agreed. The Beethoven was my least favorite, although I grant that that’s not my favorite Beethoven quartet. I really liked the encore and wished they had played a Haydn quartet instead of the Beethoven.
A promising opener to the season!
Lieberman’s new quartet is a very fine, engaging work. I hope to hear it often but alas, probably won’t. What a variety of moods and forms — from the initial and final mournfulness to the lyrical, the prankish, and the jubilant. And our performers played it with much feeling, sometimes subtle and sometimes passionate. Would that they had given this much of themselves in the Beethoven. I overheard the following exchange.
An autumn lily said to a rabbit: “I thought this work was called ‘Serioso’, not ‘Furioso’. My. my, they played it awfully fast. I know there are more notes in some pf these passages than I could make out.”
Said the rabbit: ”You kiddin’ me? Fast? That ain’t fast! My friends and I can get through this thing at least thirty seconds faster!” And then he ate the lily.
But how about that Shostakovich? The players did not just play it; they revealed it.
"by Music Lover
People Are Talking: UMS presents Emerson String Quartet at Rackham Auditorium:
Hi everyone! Last night’s encore selection was Haydn: String Quartet in G Major, Op. 33, No. 5 “Largo e cantabile.”
People Are Talking: UMS presents Emerson String Quartet at Rackham Auditorium:
As luck would have a friend had a cold and I got to go to the Michigan football game. I enjoyed the marching band and the pageantry on this, the finest weekend of the Fall. Walked up to campus for Emerson Lake and Palmer. Does anybody remember them, the British band that played rock versions of classical numbers? I saw them one time at Cleveland Municipal Stadium in the mid seventies. I was sorry about the coughing during the recording of the newly commissioned piece. I’d like to offer to attend any future quartets for anyone needing to stay home to nurse a cold. I was greatly cheered that a retired professor has endowed an annual string quartet concert. And one last thing, I was not impressed with the season opener of Saturday Night Live tonight. Emerson played terrific, I saw them once at the University of Washington in Seattle.
People Are Talking: UMS presents Emerson String Quartet at Rackham Auditorium:
A promising opener to the season!
Lieberman’s new quartet is a very fine, engaging work. I hope to hear it often but alas, probably won’t. What a variety of moods and forms — from the initial and final mournfulness to the lyrical, the prankish, and the jubilant. And our performers played it with much feeling, sometimes subtle and sometimes passionate. Would that they had given this much of themselves in the Beethoven. I overheard the following exchange.
An autumn lily said to a rabbit: “I thought this work was called ‘Serioso’, not ‘Furioso’. My. my, they played it awfully fast. I know there are more notes in some pf these passages than I could make out.”
Said the rabbit: ”You kiddin’ me? Fast? That ain’t fast! My friends and I can get through this thing at least thirty seconds faster!” And then he ate the lily.
But how about that Shostakovich? The players did not just play it; they revealed it.
A [brief] UMS History Presentation: The Ukulele:
A packet of envelopes doxycycline caps 100mg Rivers had plenty of time to scan the field and find Eddie Royal, who eluded cornerback Marcus Cooper and turned a 25-yard pass into a 54-yard gain. That set up a 1-yard plunge by Ryan Mathews with 12:17 left in the third period.
People Are Talking: UMS presents Audra McDonald at Hill Auditorium:
I don’t even know how I ended up here, but I thought this post
was great. I do not know who you are but certainly you’re going to a famous blogger if you aren’t already 😉 Cheers!
People Are Talking: UMS presents Kronos Quartet at Power Center:
Very shortly this web site will be famous among all blog users,
due to it’s nice articles or reviews
People are Talking: UMS Presents Cloud Gate Dance Theatre of Taiwan at the Power Center:
Thanks for sharing your thoughts about people are talking.
Regards
People Are Talking: UMS presents Itzhak Perlman at Hill Auditorium:
I was totally taken to another space right into my soul esp. during the Cesar Franck piece. I never cease to be amazed by this wonderful human being . Yes, for his talent and the manner in which the instrument is an extension of his whole being but his wonderful sense of humor came out during his descriptions of the additional works he performed, What a gidft he has and I feel I was given a gift to be able to hear him.
People Are Talking: UMS presents Itzhak Perlman at Hill Auditorium:
Perlman was marvelous in playing Franck and Ravel. And the encores, as well. An overally great concert ! I had expected more in the Bach performance, though. As the others pointed out, one came away feeling the acoustic balance between violin and piano was not right, although I had partly blamed my position in Hill which was very much up in the back. But even apart from this, I think there was something missing in Bach: the violin even sounded sometimes slightly off-key. Bach is a challenge for many great artists, even if they are superb in mastering technically more difficult works, as Perlman did with Franck and Ravel. I couldn’t help thinking, that he would not give a Bach encore, but rather a Kreisler arrangement. And sure enough, that’s what he did. Not only one, but 2 + 2 out of five, in a sense: maybe to honor Kreisler who premiered the Franck sonata in Hill in 1922 ? Either way, Perlman knows the audiences love to see technically challenging works on stage….
Great compliment also to Root: he was great at the piano !
People Are Talking: UMS presents Itzhak Perlman at Hill Auditorium:
what a wonderful concert! It was an unforgettable musical experience. Perlman is truly incomparable.
Thank you Ken.
People Are Talking: UMS presents Itzhak Perlman at Hill Auditorium:
I agree with Byron, although I think some of the balance toward piano was intentional in the Bach. The sound definitely changed when Mr. Perlman turned toward the audience more.
People Are Talking: UMS presents Itzhak Perlman at Hill Auditorium:
Perlman is a marvelous violinist and his performance
was excellent. However, the balance between piano
and violin was poor. Perlman could barely be heard
on the Bach. The balance improved somewhat later
in the concert, but the balance at Hill should have been
checked before the performance. The piano lid was
open during the performance. Had the balance, perhaps,
been checked when it was closed?
People Are Talking: UMS presents Itzhak Perlman at Hill Auditorium:
The Franck piece was truly magical. A superb use of the violin as a visual medium. The Ravel piece presaged Gershwin..
The entire encore performance could stand on its own, and only left me wanting more.
People Are Talking: UMS presents Itzhak Perlman at Hill Auditorium:
Hi everyone,
The additional works performed tonight were:
Corelli arr. Kreisler Sarabande and Allegretto
Albeniz Malaguena
Wieniawski Caprice in a minor Op. 18
Kreisler Berceuse romantique
Kreisler Tambourin chinois
Anna, UMS
Donald Bryant (1918-2014):
Donald Bryant was a wonderful singing teacher and coach. I spent many happy hours working with him. I am saddened to learn of his recent passing. I was thinking of him today and wondering how he was doing, so I googled his name. Only to find this announcement. My heart goes out to Stephen, also a former teacher of mine, and the rest of Donald’s family. I think I met Travis at a production of The Tower of Babel. So many years ago.
New UMS Artists in “Residence” Program:
Hi Christina! Did you try to submit via form or to ums-lobby@umich.edu? Haven’t received anything from you yet in either place. Will shoot you an email to sort it out. – Anna
Please confirm that this submission of Community AiR Application is received. Thanks!
"by Christina Sears-Etter
New UMS Artists in “Residence” Program:
Please confirm that this submission of Community AiR Application is received. Thanks!
Announcing our 2014-2015 season!:
Herbie Hancock & Chick Corea, as well as the accordions, for some reason.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
http://www.theguardian.com/music/2014/may/20/opera-figures-angry-at-description-of-soprano-stars-weight
Thomas Sheets (1952-2014):
I have wonderful memories of many enjoyable and dynamic rehearsals and concerts singing for eight years under the direction of Thomas at U.M.S. Choral Union, Ann Arbor. He was dedicated to achieving the highest excellence for every musical work. Furthermore, I was glad to be his friend.
May he rest with the saints in the presence of his Lord, whom he loved greatly. Consoling thoughts and prayers to his family.
People Are Talking: UMS presents The Hamburg Symphony Orchestra: From the Canyons to the Stars:
When ugly visual images are superimposed onto music, it changes the perception of the music completely: beautiful sounds become ugly. Objecting to this being done to Messiaen’s (or any other) music in no way means that one is choosing to ignore environmental crises. Ruining a hearing of Messiaen’s music does absolutely nothing to help the natural environment, or of our awareness of it needing help!
There are those who welcome the “openness” of the work, and there are those who condemned the video as ugly and disgusting. Some people want to see the unblemished grandeur of the Rockies. Others see the aptness of Landau’s reminder that the natural beauties of America are in jeopardy. UGLY and DISGUSTING was intended even though it offends those who wish to ignore what is happening. Who owns this work — that is the question. Can the Hamburg Symphony recast it in a more contemporary form or are they spoiling it as they portray the spoiling of the Great West?
"by Music Lover
People Are Talking: UMS presents The Hamburg Symphony Orchestra: From the Canyons to the Stars:
Music Lover, your condescending dismissal of my opinion is completely out of line. I am a scholar of Messiaen’s music, having performed most of his organ works, having carefully researched all his music, his writings on same, and having translated two of his lectures for publication by Alphonse Leduc of Paris (also the publisher of the score of Canyons). I have published a number of articles of my own on these topics. I know Des Canyons aux Etoiles intimately, owning the first LP recording, having heard another full live performance and a radio broadcast of yet another, and owning the full conductor’s score of the work and having studied it and its program notes repeatedly. Messiaen called himself “a composer of joy.” Environmental degradation was the farthest thing from his mind when he wrote Canyons. Rather, he sought to celebrate the beauty of nature and the presence of God in his creation. Landau’s film was _by no means_ an “interpretation” of this music; it was simply superimposed onto it with no regard for the music’s content or intent. “Interpretation” is a much-abused term in the arts these days, too often used to justify treating a work as a tabula rasa with no possible meaning on its own, existing only to have “meaning” imposed onto it by the “interpreter.” It’s clear from the scanty references in the UMS program booklet to Messiaen’s own commentaries on this work that the Berlin orchestra management felt that Messiaen’s religious references would be hard to sell to their audiences — per capita regular church attendance is c. 10% in western Europe, vs. c. 50% in the USA. So they simply chose to hide Messiaen’s commentaries and preferred to present incongruities superimposed onto the music. As a music performer and composer myself, I can never support such foolishness. My own approach to interpretation demands that I seek to understand a composer’s intentions, to understand them in context, and to express them with the fullest possible meaning. This in no way excludes artistry or creativity from performance: rather, it provides an ideal framework for them, if one is to reveal the music in its full depth and beauty.
Riding down in the elevator, I heard someone ask: “Did you enjoy it?” Her friend’s answer came back: “Me neither.” I intruded tactlessly: “What makes you think it SHOULD be enjoyable?”
When we look at great art, do we insist on enjoying it? Music is written for all sorts of reasons and purposes.
As I hear it, this piece is expressive of moods and feeling states evoked by the crumbling defenses of Nature against the inroads of Man. We hear awe at the wildness of Western landscapes and the stomping and grinding of man’s machines as they crush all. The music is challenging to the ear as befits this struggle. No wonder we saw people leaving during the performance.
Is the video irrelevant trash? Not to me in this case. Yes, art should not be exploited for political purposes. I found that in this work music and film were compatible. I found neither distracting from the other. Certainly this film was made at a time of great public concern with the fate of Nature — more active concern than at the time when the music was written. But reinterpretations are, for better or worse, very common today, both here and in Europe. I’d say the film arguably put the music in a plausible context. Which is why I should enlighten Timothy Tikker that a reinterpretation by a later film maker of a an earlier composer’s work — even if he finds it wrong-headed and even if the film maker is a Jew and the composer an anti-Semite — is not necessarily an act of revenge. (“Stupidity,” he writes, is the ONLY other possible explanation he can think of!) I’d be happy if he passed this news on to the “countless” others who allegedly share his appalling bigotry.
I do have questions: 1) Was this theme of man against nature Messiaen’s (probably not) or is it Landau’s (or just mine)? 2) Did Messiaen anticipate any multi-media presentation? I ask because I thought the visual material was very well done and evocative (even though a bit repetitive and obvious at times. Clichéd it is not. If you prefer a film with scenes of the great parks of the West, then please don’t think that this would be highly original. National Geographic has scooped you.) Which means that if Messiaen had the theme in mind, but not the visual reinforcement, then I wonder how effective the music would be by itself in expressing it.
And two suggestions: 1) Listeners would do well to attune their ears to Messiaen’s rhythms, sonorities, and harmonies before they witness this work, (e.g., by listening to the Turangalila Symphony) to feel somewhat familiar with these cadences. 2) I wonder whether UMS has ever considered organizing post-concert sessions with its Education department. I would have enjoyed — yes, enjoyed — getting clarification of some things and hearing how people felt and what they thought. I bet I’m not the only one. Now that weeknight concerts start at 7:30 (a splendid idea) an optional session of this sort would provide some closure of the experience for those people who want it. Naturally, not every concert needs this to the same degree. (Einstein would have benefited.) Such an institution will make concert going more satisfying for many in a way that pre-concert talks cannot.
As is true so often, UMS gave us a most valuable experience.
"by Music Lover
People Are Talking: UMS presents National Theatre Live: War Horse:
Our group of friends thought this performance was spectacular and seeing it on a big screen was fantastic. Seeing the close ups of the puppets was fascinating. We loved everything about the production.
Announcing our 2014-2015 season!:
very nice music industry- i wish to devout employments in the united states
People Are Talking: UMS presents National Theatre Live: War Horse:
WE were both enthralled by the performance. The acting, the period, the set and especially the puppets, even the goose. The only problem was the usual one, the sound was very loud. Throughout. Sometimes you could not understand the words because of the sheer volume of the words.
People Are Talking: UMS presents National Theatre Live: War Horse:
What a moving story and spectacular accomplishment of theater. Wonderful use of storytelling and orchestration of movements by all characters. Thank you.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
Do you feel that being in the balcony limited your ability to enjoy the show? I was up there too, and while I still enjoyed it, I would have liked to be able to see what I was hearing. I’m sorry to hear that you weren’t in the proper mindset for the show, I can definitely say that I was. I am a passive fan of jazz, but the added latin flavor of Rodriguez is what really sells his appeal for me.
While there’s no question both performers are extremely gifted and talented artists, I just couldn’t get into “the groove” for this concert. I think you have to be in the right mindset for this type of jazz, and after a long day, I was hoping for more relaxing smooth jazz pieces. My mind just wasn’t energized enough on Friday to engage with this genre of jazz. Although this wasn’t one of my favorite UMS performances, I do appreciate the talent– especially Alfredo Rodriguez. Perhaps what I enjoyed most was Rodriguez’s technique toward the end where he played the piano standing up and hitting both the keys and the piano wire ( I believe this was what was happening, right? I was in the balcony and couldn’t see for sure if this was the technique.) I had never seen this before and it really created an interested sound!
"by Gabrielle Carels
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
Improvisation is, at least in my mind, the art of finding something new. In this respect, Rodriguez does not disappoint. He has developed a distinct style, and takes advantage of his vast theoretical knowledge in order to depart from the traditional. By working over relatively simple chordal structures, he gives himself free reign to improvise mindlessly. If he were hung up on keeping track of the song, I don’t think he would have the ability to let go and let his improvisational spirit fly.
In terms of the performance, while the musicians were excellent, the music was not. I’m not the first to bring up sound quality; it is such a shame that some of the nuances were lost amid balancing problems. Nothing ruins a show faster than bad mixing. I was able to connect briefly with some parts, but it is difficult to get lost in the music when you can hardly hear the instruments for the drums.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Why didn’t you like your seats and how did this affect how you enjoyed the performance? I didn’t like seeing everyone in the audience, but I bet this was the case upstairs as well.
I liked that the “stars” didn’t take over the whole show; when they sang they overshadowed the whole chorus who sang along. I think it’s weird that they got so much spotlight just for being guests, since the chorus must have been practising and working on the piece just as long as them.
Great, the one time we get main floor seats is the time when we don’t want them. But after having been on a tour of Hill Auditorium, I was really looking forward to hearing the “great acoustics” that the place is known for.
The performance was great, of course. Compared to other performances I’d been to, like the Mali music of Diawara Fatoumata and the avant garde of Kronos Quartet, this one was a lot more like what I expected. It was flowed really well and all of the instruments were in perfect harmony.
What surprised me most of all, though, was how minimal the piece was. The first thing I noticed (besides the lights in the audience being left on) was that the piece began with only half of the violins (at least, that’s what it looked like from my poor angle). It wasn’t until after the first break that everyone began to play together. Before that, the piece sounded less cheerful than usual. Violins have that higher pitched sound that I typically associate with calm.
Similarly, the two main singers didn’t sing until closer to midway/the end! Nadine spoke to a class I’m in and told us this would be the case, but it didn’t make much sense to me that their “stars” weren’t capitalized on a bit more. Also, it didn’t seem like they sang for a long period of time. Most of the time it was the chorus only, but I thought that was great because it gave the performance a really majestic sound, though I didn’t follow along with the lyrics.
Although some of the choices made in terms of who played/sang when was peculiar, it all came together really nicely and I think this was one of the better performances I’ve been to!
"by Alan Halim
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I really loved this performance! I thought it was very powerful, and though I couldn’t understand the words, the lyrics were powerful as well. I think the soloists and everyone involved did an excellent job.
This was probably done on purpose but I think the huge size of the orchestra and the chorus really made the pain and sadness over Brahms losing his mother all the more powerful and prevalent. I could hear and feel those emotions with him while the performance went on.
Hill auditorium, of course, is lovely. My only complaint is the lights were on over the audience, so I could see everyone else – whether they were moving, enjoying it, or not enjoying it. This took away from the performance for me because it distracted me.
Announcing our 2014-2015 season!:
I’m looking forward to Max Raabe, Bob James, Kiss & Cry, and Gregory Porter. Can’t wait for the season to start
People Are Talking: UMS presents Akademie für Alte Musik Berlin at Hill Auditorium:
I’ve followed Akademie fur Alte Musik Berlin for more than 2 decades, through a personal connection: one of their leaders who wasn’t on this tour is the brother of a friend of mine, and I was present at his confirmation in the old DDR (his father was an amazingly courageous Protestant minister who, later as Bishop of East Berlin, sheltered protestors and, together with Kurt Mazur, contributed to the peaceful abdication of the old regime).
But this was the first time I ever heard them play in-person. Beyond the precision evident on recordings (Bach Overtures), their sound was wonderfully delicate, graceful, musical and full of life–what a treat! They also introduced me to the music of Bach’s sons, which I’m looking forward to exploring through their CDs. Thank you, UMS, for the unforgettable evening, and please consider inviting them back–imagine a cycle of Brandenbergs or Overtures?
People Are Talking: UMS presents Akademie für Alte Musik Berlin at Hill Auditorium:
I enjoyed the performances very much. Except for the initial JS Bach Orchestral Suite, I was not familiar with any of the other works by Bach’s sons on the program. I particularly liked the final piece (can’t remember the name) that possibly served as an inspiration for Mozart’s Little G-Minor Symphony. None of us will ever forget the harpsichordist stopping just a few minutes into the 2nd piece, but kudos to him for doing so and getting it tuned during intermission. Nice encore as well w/the final movement of Haydn’s Symphony #3. I hope Akamus will be back in Ann Arbor again.
People Are Talking: UMS presents Akademie für Alte Musik Berlin at Hill Auditorium:
This was a remarkable ensemble. Even from the balcony, I could hear everything that happened on stage. The musicians didn’t look like they were straining to play their instruments, but everything sounded perfectly clear. I found it quite amusing when the harpsichordist stopped the middle of the Johann Christian Bach piece because the harpsichord was out of tune! I was enjoying the piece so I did not notice something was not in tune, but he knows better than I do if it really sounded good.
Announcing our 2014-2015 season!:
For sure Gregory Porter — also Herbie Hancock. Kyle Abraham
sounds very exciting as does the Love Supreme tribute.
People Are Talking: UMS presents Akademie für Alte Musik Berlin at Hill Auditorium:
A lovely concert throughout!
Concerning a “period” harpsichord–indeed, we can’t reasonably expect it to be audible when accompanying an ensemble in a venue as large as Hill Auditorium.
I am risking censure by asking whether it might be possible to appropriately amplify the sound of such an instrument in a space far larger than most of the concert rooms of the 18th century. I trust that a microphone carefully placed and monitored would not also amplify the volume of instruments near it–? Maybe such an intervention has been tried and found wanting?
Thanks to the Akademie and to UMS for bringing us this delightful afternoon!
People Are Talking: UMS presents Los Angeles Guitar Quartet at Michigan Theater:
Liked it very much. Gave the tickets to my father-in-law for his birthday,. He loved it too. I was tired when we arrived but the music lifted me to a very nice leave of engagement and sound.
People Are Talking: UMS presents Akademie für Alte Musik Berlin at Hill Auditorium:
Breathtakingly beautiful performances. A real pleasure to experience unamplified music played on period instruments.
Amused by comments regarding the harpsichord’s volume – please note that this instrument does not possess the “carrying power” of a pianoforte. The reason the harpsichord was placed in one position for the J.S. Bach Orchestral Suite and then moved sideways with the top attached obviously had everything to do with the same acoustic issues described here. I found the harpsichordist’s postponement of the harpsichord concerto delightful and endearing – once the piece was rolling it became profoundly obvious why he didn’t want to showcase an out-of-tune instrument. Would you?
Earlier in the season, UMS announced that the harpsichord concerto in question was by W.F. Bach, and at least some of us were eagerly awaiting an opportunity to hear a seldom-performed work by J.S. Bach’s eldest son. As it turns out, if the notes in the program are correct, this concerto has long been attributed to J.C. Bach. And in truth it did complement J.C.’s symphony quite nicely.
Once more: period instruments like those that were handled so adroitly by the core contingent from the Akademie are not going to sound like conventional equipment designed in the 19th and 20th centuries. The whole point of this concert was to be made to listen twice as carefully to music from the 18th century played very like it was when the music was first introduced. Light years away from the noise pollution we all take for granted here in the cacophonous 21st century.
When you think back on this concert, kindly remember the sight of the violinist dancing joyously with every stroke of the bow. That’s what I’m carrying in my heart today.
People Are Talking: UMS presents Akademie für Alte Musik Berlin at Hill Auditorium:
I enjoyed the concert, but the harpsichord was difficult to hear; and it wasn’t clear to me why that instrument wasn’t turned so that the player could see the group. As it was, 2/3 of the group played behind his back?.
People Are Talking: UMS presents Akademie für Alte Musik Berlin at Hill Auditorium:
Certainly a memorable concert! The quality of the performance and the musicians was outstanding. It was also memorable because the harpsichord soloist aborted the piece midstream in the performance, apparently because the harpsichord was out of tune.
People Are Talking: UMS presents Akademie für Alte Musik Berlin at Hill Auditorium:
As a younger audience member (24 years old), here is my feedback. Overall, I thought the performance was excellent. Each of the pieces were very well executed, and, as I have come to expect from the group, very lively. Some parts seemed a bit rushed (e.g., orchestral suite ouverture and bourree), and I wish I had been able to hear the harpsichord more clearly throughout. Nonetheless, I was very impressed with both the pieces I knew well and those I had not heard before. I’ll continue listening to the group with enthusiasm for years to come!
People Are Talking: UMS presents Akademie für Alte Musik Berlin at Hill Auditorium:
Certainly a memorable concert–because of the quality of the performance and the musicians, and also because the harpsichord soloist aborted the piece midstream in the performance, apparently because the harpsichord was out of tune.
Qawwali: More Familiar Than You Think:
Maksim
People Are Talking: UMS presents Los Angeles Guitar Quartet at Michigan Theater:
We have attended all of their concerts at Michigan and they have always left us feeling totally entertained; last night was another amazing concert. We hope they will return soon.
People Are Talking: UMS presents Los Angeles Guitar Quartet at Michigan Theater:
The encore for last evening’s program was Pachelbel’s Loose Canon, arranged for guitar by the Los Angeles Guitar Quartet.
Mary, UMS
People Are Talking: UMS presents Los Angeles Guitar Quartet at Michigan Theater:
“Sort-of” learned something new: We are very long time followers, and personally acquainted with this group – because of my personal activities as publisher & teacher of classic guitar. (My first experience of Scott Tennant – one of the founding members – was watching him play in a master class for a visiting concert artist when he was a middle-schooler – many moons ago!) LAGQ never disappoints, and reveals ever-new concepts about what this unique instrument can do. So happy UMS continues to book them, especially because the Un Michigan School of Music has no in-depth, dedicated classical guitar curriculum, and is much behind the times.
People Are Talking: UMS presents Los Angeles Guitar Quartet at Michigan Theater:
As Robert Kinsey notes, their imitation of a gamelan orchestra was unbelievable. First half was predictable old stuff, but even they made jokes about that. I was nodding off during first half. Second half was far, far more entertaining. As we left, I told my friend who accompanied me, “they could have skipped the first half and just done the second and I would have been perfectly happy.”
People Are Talking: UMS presents Los Angeles Guitar Quartet at Michigan Theater:
Steve: You shoulda stayed. Second half was 10 times better than the first. Much more entertaining, interesting, engaging. And the guys spoke to the audience a lot more.
We left at intermission. Hungarian rhapsody was great, other pieces were technically great but not entertaining. We wished they had spent more time with the audience but the discussion of the pieces was very limited
"by Steve Bartley
People Are Talking: UMS presents Los Angeles Guitar Quartet at Michigan Theater:
We left at intermission. Hungarian rhapsody was great, other pieces were technically great but not entertaining. We wished they had spent more time with the audience but the discussion of the pieces was very limited
People Are Talking: UMS presents Los Angeles Guitar Quartet at Michigan Theater:
What a nice mellow evening..WX and music went hand in hand. Was a different spin … some light, some serious. The performers had a nice balance. I particularly liked the world tour and how they coaxed a gamelan sound out of acoustic guitars.
These guys are welcome any time!
People Are Talking: UMS presents Los Angeles Guitar Quartet at Michigan Theater:
That performance was AWESOME! I’ve been a fan of these guys for years, and I’ve been itching to see them since the last time they were here. I received tickets as a birthday gift. Best. Birthday. Ever.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
I drove 8 hours round trip for this performance and I have been attending it for 9 years. This is the first time I have ever felt the need to make a comment here or visit the forum.
I cannot believe they interrupted the performance for this farce of an award. It dragged and dragged. It should have been presented before the show, or any other time. We came for Jazz, not a mary sue coleman love-fest. Saying you were giving an award to the musicians in no way excuses it. Don’t put it on them – they came to play jazz for the people who love jazz. Ask any one of them if they wanted to stop the show to do a pony show and they’d tell you *NO WAY*.
And on top of that, the performance was shortened. The pieces were shorter, there was no proper encore.
We were double robbed – robbed of a typical performance and forced to sit through a mary sue love fest. Why didn’t you just give her a grammy?
It was truly a debacle and Ken Fisher’s statement above in no way excuses or explains the terrible decision making.
This was a very sad day for UMS and for the integrity of a musical performance.
Would they have interrupted an orchestral performance this way?
My great regret is that when I walked by Ken Fisher at the side exit that I did not stop and tell him how I felt. I was too steamed.
Frankly, I don’t know if I’ll bother coming again. It’s been a couple weeks and I am still disgusted by this. I’m sure it will feature heavily on my mind when next year’s show rolls around, but I usually buy my tickets as soon as they are available.
What were you thinking, UMS? What?
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Caleb,
I think it’s really interesting how much you liked the baritone. Maybe it was because of where I was sitting but I thought he sounded quiet and not very strong, especially compared to Nadine. I do agree, though, that the performance was incredible and I think another collaboration between the Ann Arbor Symphony and UMS Choral Union would be spectacular!
The baritone soloist stole the show! This was the first time I have heard Braham’s Requiem in its entirety, and overall I was very impressed with the musical quality and vocal performances by the choir and soloists. I found the provided translation to be extremely helpful when following the various movements within the performance, and enjoyed the short breaks between each movement. I felt the baritone vocalist provided an overall superior musical performance over the soprano soloist, although both vocalists were clearly talented and worked nicely with both the orchestra and choir. I would certainly buy tickets to future collaborations between the Ann Arbor Symphony and the UMS Choral Union.
"by Caleb Vogt
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Great, the one time we get main floor seats is the time when we don’t want them. But after having been on a tour of Hill Auditorium, I was really looking forward to hearing the “great acoustics” that the place is known for.
The performance was great, of course. Compared to other performances I’d been to, like the Mali music of Diawara Fatoumata and the avant garde of Kronos Quartet, this one was a lot more like what I expected. It was flowed really well and all of the instruments were in perfect harmony.
What surprised me most of all, though, was how minimal the piece was. The first thing I noticed (besides the lights in the audience being left on) was that the piece began with only half of the violins (at least, that’s what it looked like from my poor angle). It wasn’t until after the first break that everyone began to play together. Before that, the piece sounded less cheerful than usual. Violins have that higher pitched sound that I typically associate with calm.
Similarly, the two main singers didn’t sing until closer to midway/the end! Nadine spoke to a class I’m in and told us this would be the case, but it didn’t make much sense to me that their “stars” weren’t capitalized on a bit more. Also, it didn’t seem like they sang for a long period of time. Most of the time it was the chorus only, but I thought that was great because it gave the performance a really majestic sound, though I didn’t follow along with the lyrics.
Although some of the choices made in terms of who played/sang when was peculiar, it all came together really nicely and I think this was one of the better performances I’ve been to!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Stephanie,
Very interesting thoughts on the body language of the soloists!!! I differed in that I thought that the baritone soloist delivered the better vocal performance, but I greatly admired Nadine’s more reserved stage presence. I know that Nadine’s vocal part was more somber in tone which was likely the reason for her stage presence, so I am thinking that perhaps the lyrics associated with the baritone solo required a similar physical reflection of tone?
What to say that hasn’t already been said? This concert was amazing! After having done background research on the piece and Brahms himself, I was excited that I actually could hear what I learned in the performance!
Having met Nadine Sierra prior to the performance, I found myself cheering her on when she sang. I hope I’m not biased when I say she was the better soloist. The baritone solist just seemed, cocky. It was as if he has to do the show versus being excited to perform.
"by Stephanie Pierce
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
An incredibly beautiful performance! The long crescendos were absolutely perfect. Just when I thought it was complete, there was more. Wow! What power. What emotion
There’s something about a group of people that voluntarily make music that is has that “it” factor for me. For that reason, I love the Choral Union and the enthusiasm they bring each time I’ve heard them. I’m a violin performance major at the SMTD and I happen to study with Aaron Berofsky, the concertmaster of Ann Arbor Symphony. I have worked this semester with his wife, also a violinist in the symphony. I was able to talk with them and a few of my friends who sub for Ann Arbor Symphony about what a special performance Friday night was. I love when such large pieces of classical repertoire are performed and I didn’t feel let down. It’s very easy to get caught up in the idea of a big piece without it being cliché. It’s the extraordinary moments of passion mixed with beautiful composition when a work comes to life. With such a full stage, I was glad that there was a spirit of cohesiveness and musicality that was a pleasure to listen to. I was pleased to be able to witness and participate in such an emotional and oddly uplifting requiem:) And of course Jerry Blackstone is always amazing and giving every bit to the music.
"by Chauntee
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
The baritone soloist stole the show! This was the first time I have heard Braham’s Requiem in its entirety, and overall I was very impressed with the musical quality and vocal performances by the choir and soloists. I found the provided translation to be extremely helpful when following the various movements within the performance, and enjoyed the short breaks between each movement. I felt the baritone vocalist provided an overall superior musical performance over the soprano soloist, although both vocalists were clearly talented and worked nicely with both the orchestra and choir. I would certainly buy tickets to future collaborations between the Ann Arbor Symphony and the UMS Choral Union.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi all, a quick reminder about our community conversation guidelines. No personal attacks please: http://www.umslobby.org/index.php/2009/01/ums-lobby-guidelines-12346
Mediocre at its best, terrible at its worst, this sums up pretty well and succinctly my reaction to this choral work, and did I mention that it was ridiculously long? If I didn’t, let me just say it right now. It was really really long!
"Give me a break; let me breath; let me get a drink of water, a soda, a pop, some juice. Let me use the restroom; let me move around; let me breathe. Let me do something to take all of this music in. But no, not if you’re Jerry Blackstone, no sir. If you’re Mr. Blackstone, you will keep going nonstop for almost two hours without letting me take in a single ounce of what is happening on stage.
And the crowd, what can I say about the crowd that the Wicked Witch of the West hasn’t said about Dorothy! My aisle was littered with old people just sleeping, literally and snoring and dosing in and out of deep slumber throughout the performance. One old person fell asleep on my shoulder, literally. “Are you kidding me?” I thought to myself. First you’re snoring next to me and then you put your head on my shoulder, absurd! If you’re old and it’s past your bedtime let me make an equally unorthodox and bold suggestion, stay home! If you cannot stay up past nine o’clock, please just stay home instead of falling asleep on top of folks sitting next to you.
by Haider M.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I think it’s awesome that you were moved by a genre of music that you have been skeptical about. I always try to tell people that music is music. Everyone has their own preferences, but that doesn’t mean one should shun certain types of music. Moving musical moments can come from a jazz guitar player, a classical flutist, or even a rapper’s lyrics. All this to say that it’s important to stay open.
The last time I attended a “classical concert” and an opera, I found it very hard to keep engaged throughout the whole performance and remember falling asleep every now and then. I was pleasantly surprised to see myself fully engaged for most of the performance not only because the quality of the performance and sound was impeccable, but because I was also able to see the performers’ full engagement in their performance, which always interests and impresses me. The hill auditorium was a perfect venue for the requiem because the sound just reverberated throughout the hall and hit every single wall I found myself getting chills every now and then. I think what made a lot of the audience members feel engaged to the performance was that they were able to feel the intimacy and love the performers had for their pieces. Their bodies reflected the contours of the music and therefore made both the visual and audio aspect of the performance match, something that a lot of performances lack. The unity of all those different types of artists also obviously reflected the hours of dedication and rehearsal they had to go through in order to prepare for such a lovely show. I would also like to mention that Nadine’s solo performance was stunning and her voice blew me away. Overall, I am glad that our class was able to provide me with a good classical performance experience because prior to this performance, I really did find myself wince at the idea of attending a classical concert. I would recommend this whole collaboration and set to anyone!
"by Hojo Shin
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
There’s something about a group of people that voluntarily make music that is has that “it” factor for me. For that reason, I love the Choral Union and the enthusiasm they bring each time I’ve heard them. I’m a violin performance major at the SMTD and I happen to study with Aaron Berofsky, the concertmaster of Ann Arbor Symphony. I have worked this semester with his wife, also a violinist in the symphony. I was able to talk with them and a few of my friends who sub for Ann Arbor Symphony about what a special performance Friday night was. I love when such large pieces of classical repertoire are performed and I didn’t feel let down. It’s very easy to get caught up in the idea of a big piece without it being cliché. It’s the extraordinary moments of passion mixed with beautiful composition when a work comes to life. With such a full stage, I was glad that there was a spirit of cohesiveness and musicality that was a pleasure to listen to. I was pleased to be able to witness and participate in such an emotional and oddly uplifting requiem:) And of course Jerry Blackstone is always amazing and giving every bit to the music.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I’m really glad that the lyrics (both german and translated) were included! Being able to lose myself in both the sounds and the meaning of the performance was great! I totally understand how it could be distracting, but for me I was glad to be able to “take a break” from the sounds when I needed it, and it helped string the whole thing together for me.
I really wish I knew German! I spent the concert (maybe obsessively) trying to follow along with the lyrics. I really wanted to hear how Brahms used music to convey the emotions of the words, but I ended up getting lost a lot of the time and wish I had spent more of the time just enjoying the music.
I thought this was a fabulous performance! The behind the scenes with Nadine Sierra and the Hill Auditorium tour made the experience that much better for me. Realizing that the UMS Choral Union was unpaid was also amazing to me. I wish I could comment more on the musicality of the performance but that’s not really my forte. I would definitely go to a performance like this again though.
"by Jennifer Hung
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I was completely blown away by this performance. After hearing the amazing balance of sounds that you can only hear at Hill and a small handful of other auditoriums around the world, I’m thrilled that the Requiem was performed there. The soloists were absolutely phenomenal (and I know it’s been said before, but Nadine Sierra was especially impressive). A masterful performance by all involved!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
What to say that hasn’t already been said? This concert was amazing! After having done background research on the piece and Brahms himself, I was excited that I actually could hear what I learned in the performance!
Having met Nadine Sierra prior to the performance, I found myself cheering her on when she sang. I hope I’m not biased when I say she was the better soloist. The baritone solist just seemed, cocky. It was as if he has to do the show versus being excited to perform.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
The last time I attended a “classical concert” and an opera, I found it very hard to keep engaged throughout the whole performance and remember falling asleep every now and then. I was pleasantly surprised to see myself fully engaged for most of the performance not only because the quality of the performance and sound was impeccable, but because I was also able to see the performers’ full engagement in their performance, which always interests and impresses me. The hill auditorium was a perfect venue for the requiem because the sound just reverberated throughout the hall and hit every single wall I found myself getting chills every now and then. I think what made a lot of the audience members feel engaged to the performance was that they were able to feel the intimacy and love the performers had for their pieces. Their bodies reflected the contours of the music and therefore made both the visual and audio aspect of the performance match, something that a lot of performances lack. The unity of all those different types of artists also obviously reflected the hours of dedication and rehearsal they had to go through in order to prepare for such a lovely show. I would also like to mention that Nadine’s solo performance was stunning and her voice blew me away. Overall, I am glad that our class was able to provide me with a good classical performance experience because prior to this performance, I really did find myself wince at the idea of attending a classical concert. I would recommend this whole collaboration and set to anyone!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Ok, this definitely makes me feel better that I didn’t notice that the translation was in the program until later in the show (like the 5th or 6th movement). At first I regretted it, but after reading your comment it seems that it may have distracted me from simply enjoying the sound.
I really wish I knew German! I spent the concert (maybe obsessively) trying to follow along with the lyrics. I really wanted to hear how Brahms used music to convey the emotions of the words, but I ended up getting lost a lot of the time and wish I had spent more of the time just enjoying the music.
I thought this was a fabulous performance! The behind the scenes with Nadine Sierra and the Hill Auditorium tour made the experience that much better for me. Realizing that the UMS Choral Union was unpaid was also amazing to me. I wish I could comment more on the musicality of the performance but that’s not really my forte. I would definitely go to a performance like this again though.
"by Jennifer Hung
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I sat on the main floor for this show and I really wish I hadn’t. I have never sat on the main floor of Hill Auditorium–always way back in the balcony or on the mezzanine, and I have to say I enjoy the sound in the upper seats a lot more.
Other than that, I really enjoyed the performance. I am not a huge fan of choral music, but I did think the singing was wonderful, especially the two soloists. I can’t even imagine having to sing for that many people, much less project so well without a microphone in such a big hall.
Above all I enjoyed the last movement of the Requiem. I thought it was the most beautiful one and really ended the show on a great note for me. Although this piece is by no means one of my favorite pieces of classical music, I was able to appreciate a kind of classical music that I had never really experienced live before, and I was very happy with my experience.
Also, the fact that the translation was in the program escaped my notice until the 5th or 6th movement. I wish I had noticed earlier, but then again I suppose it may have distracted me from the music had I been looking at the program the whole time.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I really wish I knew German! I spent the concert (maybe obsessively) trying to follow along with the lyrics. I really wanted to hear how Brahms used music to convey the emotions of the words, but I ended up getting lost a lot of the time and wish I had spent more of the time just enjoying the music.
I thought this was a fabulous performance! The behind the scenes with Nadine Sierra and the Hill Auditorium tour made the experience that much better for me. Realizing that the UMS Choral Union was unpaid was also amazing to me. I wish I could comment more on the musicality of the performance but that’s not really my forte. I would definitely go to a performance like this again though.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I was also slightly confused when the choir sat down. At first I thought they might have had a really long break, but then they were still singing after they sat down. I agree that this was a move to bring contrast to the movement. I also thought that this was done to put even more focus on Nadine’s voice.
In response to the soloists holding music, I think it’s a very common thing for a performance like this, in my experience at least. Opera music is very complicated and difficult with a LOT of notes as you could hear. It’s different from pop singing that usually has simpler, memorable melodies. I think of an opera singer as using their voice as an instrument and compare it with a violinist needing music during a performance.
What a great night of performance! I thoroughly enjoyed being in the amazing venue of Hill auditorium, enjoying every moment of the awesome acoustics that I could hear from UMS chorale singing Brahms’ German Requiem. At first, I was a little sad that I wasn’t sitting centered, but was sitting left side of the stage, not being able to see the solos. But I ended up enjoying the harp sound, because two harpists sat and performed directly in front of my seating. I also started having couple interesting questions during the performance. For example, the choir was standing the entire time singing in good postures, then for the movement where Nadine Sierra had her amazing solo, the choir all sat down and started singing while sitting. That movement of Requiem did have a bit quieter and legato-like movement compared to the other movements, and I assumed that the conductor might have been trying to bring contrast to this movement compared to other movements, but I could not be sure. Another question that I had during the performance was the fact that the soloists were holding music when singing. I assumed the soloists would have memorized the words, but soloists holding sheets of paper on their hands during solo took away from the performance personally a little bit, while it was very acceptable to me for the rest of chorale to hold their music during the performance. Overall, it was an enriching classical performance, that I thoroughly enjoyed.
"by Se Pin (Brian) Lee
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hey Erin,
I really enjoyed reading your comment. Although I wouldn’t consider it my favorite performance of the year, I also loved Brahms Requiem! I agree with you completely that the language barrier did not detract from my enjoyment at all, and may have even added to it because it allowed me to enjoy the whole requiem on a purely aesthetic level, rather than having to make sense of the lyrics. Hill really was the perfect venue for this too, and the sound was immaculate. It was definitely an enchanting evening, and I’m glad you enjoyed the performance as much (and it sounds like even more) as I did!
Bravo! Bravo! Bravo! Wow, this was my favorite performance of the semester by a landslide. First I would again like to say Thank You to UMS for supporting the Engaging Performance class that was offered this term. Through it I have been exposed to and educated to various genres of music and theater. My experience at the Brahm’s Requiem performance was the cherry on my ice cream sunday and the best way to end the semester. I have seen symphony orchestras perform before, but the UMS Choral Union and soloist added an entire dimension that blew my mind. Hill Auditorium was the perfect venue with superb acoustics, which only added to my enjoyment. The entire ensemble made the complicated piece look effortless. I found myself so mesmerized the language barrier did not even bother me! I left the performance wanting more. Bravo! Bravo! Bravo! Thanks again to UMS.
"by Erin Moore
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I thoroughly enjoyed the performance of Brahms Requiem at Hill on Friday night. I think one thing that made the performance truly special was that our Engaging Performance class had just recently gotten a private tour of Hill Auditorium, which allowed me to view the concert hall in an entirely different light. The piece was really spectacular, and its musical contours varied as much as those of a wild roller coaster. One minute the music was extremely soft and delicate, and the next it was engulfing the auditorium in a loud, sweeping wave. One aspect of the Brahms Requiem that particularly impressed me was the sheer number of people on stage, and with that many people the versatility and exquisiteness of the sound emanated by the choral union and orchestra. I loved both solo parts as well, although after hearing Nadine Sierra sing to our class, I was hoping to hear the same booming voice she offered then. I understand, however, that the part she sang may have called for a lighter sound. Overall, the Brahms Requiem was a fantastic show and I am very grateful for my exposure to and opportunity to see live such wonderful, intricate music.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I could not agree more regarding the acoustics in Hill Auditorium. Being able to hear all parts of the performance (orchestra, choral union and soloist) only added to my enjoyment. There is literally nothing negative I can say about this performance. I am glad you enjoyed it – as most did. An experience we will never forget.
Bravo!! After learning some background and attending Friday’s performance, what struck me most about the Requiem, (and the venue), was its timelessness. Here’s a piece written a century and a half ago, being performed without any special effects or add-ins in an age when attention spans are miniscule, that was able to captivate seemingly its entire audience! The acoustic perfection of Hill certainly helps – this was my first true performance in the auditorium.
In terms of actual content, I was most intrigued by the quick and often fluctuations in pitch, volume and tempo performed by the chorale. I found it surprisingly easy to separate the orchestra and focus on the voices (and vice versa) when I wanted to. It was truly a treat to be in the magnificent presence of the soloists, as well.
All around, an amazing night.
"by Danny Schrage
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Bravo! Bravo! Bravo! Wow, this was my favorite performance of the semester by a landslide. First I would again like to say Thank You to UMS for supporting the Engaging Performance class that was offered this term. Through it I have been exposed to and educated to various genres of music and theater. My experience at the Brahm’s Requiem performance was the cherry on my ice cream sunday and the best way to end the semester. I have seen symphony orchestras perform before, but the UMS Choral Union and soloist added an entire dimension that blew my mind. Hill Auditorium was the perfect venue with superb acoustics, which only added to my enjoyment. The entire ensemble made the complicated piece look effortless. I found myself so mesmerized the language barrier did not even bother me! I left the performance wanting more. Bravo! Bravo! Bravo! Thanks again to UMS.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Couldn’t agree more, Grace! I was most surprised at the fact that hearing a brief snippet of Nadine’s talent, sitting <10 feet from her was practically the same experience I felt in Hill (take away the other performers). A true testament to the acoustics, as you mentioned. It may have felt effortless, but I couldn't help but wonder how much their vocal cords must have hurt the next day.
Nadine, Nadine, Nadine! Maybe it was just because I had heard a quick bit of her voice before the performance, but I was absolutely blown away by her performance especially. I’m sure the acoustics had something to do with it as well, but all of my expectations for the performance were by far exceeded. For such a complicated piece, the entire time felt effortless, from the soloists to the entire ensemble. It was nice that the translation were in the program, I usually find myself more involved in a performance when I know where the musicians are coming from, but I felt that for this performance I didn’t need the words because the music was able to convey emotion without them. Being a part of the audience was wonderful, but being in Hill Auditorium only heightened the experience. Having never heard a classical piece in Hill, it was an experience that I hope to have again. Thanks to UMS for this experience!
"by Grace Hargrave-Thomas
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Bravo!! After learning some background and attending Friday’s performance, what struck me most about the Requiem, (and the venue), was its timelessness. Here’s a piece written a century and a half ago, being performed without any special effects or add-ins in an age when attention spans are miniscule, that was able to captivate seemingly its entire audience! The acoustic perfection of Hill certainly helps – this was my first true performance in the auditorium.
In terms of actual content, I was most intrigued by the quick and often fluctuations in pitch, volume and tempo performed by the chorale. I found it surprisingly easy to separate the orchestra and focus on the voices (and vice versa) when I wanted to. It was truly a treat to be in the magnificent presence of the soloists, as well.
All around, an amazing night.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Gabrielle,
Great post! I definitely agree that Hill auditorium was the perfect space for this performance. It was also awesome just to hear a performance in Hill to experience what it was like. I have never heard a performance in Hill and found it to be an unbelievable venue. I also totally agree about Nadine’s solo! I think meeting her prior to the performance made it even better because she was so relatable in class. I found myself being really excited to see and hear her solo because we met her before just as you said rooting for her.
I’d been looking forward to this concert all week! Hill auditorium always makes for an acoustically phenomenal performance and the orchestra and UMS Choir formed a beautiful ensemble. Having discussed the Requiem in our “Engaging Performance” class, I really enjoyed following along with the English translation and observing where the change in lyrics (for example, a “but”) prompted an orchestral tone change. Perhaps one of my favorite parts of the concert was Nadine’s solo. After hearing her speak in class about her journey and accomplishments as an opera singer, I couldn’t help but silently root for her as she walked on stage. And what an incredible solo it was! She has such a rich voice and I hope I have the chance to hear her again. Come back to Ann Arbor soon, Nadine! Great job to all the performers. Your hard work and talent we’re very much evident and appreciated.
"by Gabrielle Carels
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
As I sat down in my seat I wasn’t quite sure what I was in for. The previous performances that I have seen through UMS have been light, fun, and usually performances in which the audiences is clapping and dancing to the music. However, this performance was quite the opposite. Brahms Requiem was exactly what I imagined a typical classical music performance. At first, I was intimidated by the performance and thought there was no way I would be able to understand what was going on or even enjoy it. Yet, about half-way through the performance I found myself thoroughly enjoying the performance. Even though I could not understand the words that were being sung I felt the emotion through the music and lyrics that allowed me understand exactly what the Requiem was supposed to represent. When the baritone opera singer began I felt his pain. It seemed like he was singing about a struggle. I thought the transition to Nadine’s portion was brilliant because I felt her part of the Requiem provided a lightness that the Requiem needed. The brightness that she brought to the performance was the perfect contrast to the baritone’s portion, which was dark and heavy. Moreover, the chorus did a fabulous job as well. They were so cohesive and in sync. Overall, this performance shock, wowed, and left me want more.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Elizabeth– I was thinking the same thing about the size the stage. I couldn’t believe I had walked the entirety of the space just a week before and now hundreds of people stood atop. It’s amazing how the performance transformed the atmosphere.
Also, how special to see your high school teacher playing!
The ambiance, the setting, and the people all contributed to making this performance an amazing occasion. As I sat waiting for the Brahms’ Requiem to begin, I was amazed by the number of people that stood atop Hill’s stage. When I stood upon the stage a week before this performance, I didn’t feel as if it was such a huge stage. But so many different people were combined on that stage, and I heard this as well as the concert started. Instead of watching just one orchestra upon the stage we heard an orchestra, an entire chorus, a soprano and a baritone. It reminded me of the time I played Beethoven’s 9th Symphony. Being a part of an orchestra with a chorus surrounding me was surreal and amazing, because they were a whole different entity that we were making music with. I felt a similar experience watching the Brahms.
The second movement was my favorite, particularly because of the amazing French horns. It was even more fun watching and knowing my high school private teacher was playing! In this movement, I could see the happiness and celebration that was behind Brahms’ piece, rather than the sadness and lamenting that a requiem might usually be. It was an amazing experience to watch all these different musicians take the stage.
"by Elizabeth Cvercko
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I mentioned something similar. Hill really is the perfect place for such an enormous number of musicians. Often when there is a sole performer on stage, the sound can be reflected in a somewhat bizarre way, so when it comes to Hill — the more the merrier for me!
Hill has great acoustics, and although it’s not suited for all types of performances, as I’ve noticed with previous shows, it was the perfect setting for Brahms’ Requiem. All the different voice and instrumental sections were in perfect balance! I really appreciated the fact that the programs included German and English, as well as the hard work the choir put in on the diction, which was clearly indicated. The clear pronunciation of all those difficult to pronounce, let alone sing, German consonants, along with the guide provided in the program, easily distinguished the end of one movement and the beginning of another! It was a great performance! I especially loved Nadine’s soprano solo, her tone was crystal clear, and her high notes seemed to float flawlessly!
"by Yan Theros
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
First and foremost, watching the UMS Choral Union perform is a heartfelt thing for myself – seeing a seemingly endless number of singers in the community (and elsewhere) come together and make such brilliant music. I even managed to spot a few familiar faces! My former high school choir teacher, as well as my former church choir director were among them.
The ensemble as a whole did a great deal of justice to Brahms’ iconic large-scale work. The quality (and quantity!) of the musicians proved to be quite vigorous in their portrayal of this emotional rollercoaster that’s so separated from its fellow requiem siblings. In combination with such a resonant venue, it was a complete powerhouse — in near-literal terms.
And before I forget — it goes without saying that the two soloists drew in every last bit of attention with each passing breath, but their visual aesthetic commanded the stage as well. Nadine mentioned beforehand that she would stun many with some chic gold attire and a look of vocal effortlessness, and every word proved true. And let’s not forget John Relyea’s no-nonsense gaze that could easily turn the audience to stone.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I’d been looking forward to this concert all week! Hill auditorium always makes for an acoustically phenomenal performance and the orchestra and UMS Choir formed a beautiful ensemble. Having discussed the Requiem in our “Engaging Performance” class, I really enjoyed following along with the English translation and observing where the change in lyrics (for example, a “but”) prompted an orchestral tone change. Perhaps one of my favorite parts of the concert was Nadine’s solo. After hearing her speak in class about her journey and accomplishments as an opera singer, I couldn’t help but silently root for her as she walked on stage. And what an incredible solo it was! She has such a rich voice and I hope I have the chance to hear her again. Come back to Ann Arbor soon, Nadine! Great job to all the performers. Your hard work and talent we’re very much evident and appreciated.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
The text this work is set to is so beautiful and important to what the music is saying. I could not agree with you more. What did you think of the performance? Have you heard this work before?
As in life, context in music is everything. That is why I find poetry set to music so enthralling. The melisma over “abgefallen” (from: The grass withereth, and the flower thereof ‘falleth away’) is one of my favorite examples. Brahms’ word painting allows an intimate connection to both the verse, and his intention. Though he did pick all of the words, his melodies are what give them life.
"by Mark Dulchavsky
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
One of the best performances I have seen in the past year or two! Blackstone brought beautiful musicianship and artistry out each and every performer on stage, creating a magnificent ensemble. The balance was perfect, the choir’s diction was clear, and everyone did it well together. A great production, too bad it was only one performance.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I couldn’t agree more. I was up in the Mezzanine and often my friend who sat next to me had to tell me to sit still because as I watched him almost appear to be jumping I would almost jump too. I feel like he was a big part of the performance because while everyone else seemed so stiff (as would be expected) he was like a ball of energy. It was great to see a conductor with so much energy, especially for a piece as long as the Brahms Requiem. He not only made the performance more enjoyable but as an audience member I could tell that he was really enjoying what he was doing.
Watching Jerry Blackstone conduct was as much a part of the wonderful experience as listening to the CU, the orchestra and the soloists. A fabulous performance.
"by Julie Smith
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Since getting my ticket for this performance back in January, I had been anxiously waiting for Friday night and I was not disappointed. The Brahms’ Requiem was beautifully performed. The vocalists shone, not once being overpowered by the A2SO. However, I won’t lie I was lost at first unaware that they weren’t singing in English. I was actually quite confused until a friend of mine leaned over and told me that they were singing in German. Once I knew that tiny tidbit I comfortably enjoyed the performance. If I had to choose a favorite part, it would have to be Nadine Sierra’s solo. Her voice was so beautiful and all I can say was that she is a phenomenal performance and I would love to see her again.
However, for as much as I loved the performance, there were things I did not enjoy. While I understand the need to seat people, I felt that having people walk in late then having to stand up to let them in was very frustrating, especially when it occurred right as a movement began, I feel it pulled me away from the performance and caused a lot of frustration. On top of that, during the entire performance, I wanted to know why there was no seating in the balcony. In my experiences at Hill auditorium, sound wise I’ve found those seats to be some of the best. Other than these slight issues I honestly felt the performance was well worth the wait.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I agree with you in the sense that
1. I enjoyed this performance so much more than the Kronos Quartet.
2. It was so helpful that Matthew went over the texts and relationships in keys between movements of the Requiem.
3. Yes! I do also wish I could’ve heard more of Nadine Sierra. She was not only beautiful, but had the voice that was rare for me to find in opera singers these days.
And last but not least, 4. Hill auditorium was by far the best venue to attend these performances. I’m sad that our “Engaging Performance” class only had one performance to attend at the Hill Auditorium this semester.
I thoroughly enjoyed the incredible performance of Brahms’s Requiem on Friday evening. To be honest, the piece was much less musically-dramatic than what I had anticipated, but having a more conservative taste in music (enjoying the classical as opposed to more contemporary pieces played by the Kronos), I appreciated the combination of the orchestra, choir, and the two fabulous opera singers. It was helpful to have learned about Brahms’s Requiem before attending the concert because I felt that I had a better understanding of its musical components. For instance, when the chorus first began to sing, the mood was very solemn—almost serene to a certain point—as if the sound was transcending beyond the earth into the heavenly realms.
"In addition, I wished I could have heard more of Nadine Sierra—she was superb! Whereas I simply just listened to the rest of the choir and the orchestra, I actually watched her and listened to her, trying to follow her gestures and facial expression as she played around with the notes so effortlessly on the high register, which created a different kind of concert experience for me.
All in all, it was such a pleasure to hear such great live music in a beautiful theater with truly awesome sound acoustics). Hill Auditorium was the perfect venue for this performance!
by Erica Kim
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
What a great night of performance! I thoroughly enjoyed being in the amazing venue of Hill auditorium, enjoying every moment of the awesome acoustics that I could hear from UMS chorale singing Brahms’ German Requiem. At first, I was a little sad that I wasn’t sitting centered, but was sitting left side of the stage, not being able to see the solos. But I ended up enjoying the harp sound, because two harpists sat and performed directly in front of my seating. I also started having couple interesting questions during the performance. For example, the choir was standing the entire time singing in good postures, then for the movement where Nadine Sierra had her amazing solo, the choir all sat down and started singing while sitting. That movement of Requiem did have a bit quieter and legato-like movement compared to the other movements, and I assumed that the conductor might have been trying to bring contrast to this movement compared to other movements, but I could not be sure. Another question that I had during the performance was the fact that the soloists were holding music when singing. I assumed the soloists would have memorized the words, but soloists holding sheets of paper on their hands during solo took away from the performance personally a little bit, while it was very acceptable to me for the rest of chorale to hold their music during the performance. Overall, it was an enriching classical performance, that I thoroughly enjoyed.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Katherine — I definitely agree that it was amazing to hear so many voices. I thought it was amazing how an entire chorus, an orchestra, and the soloists all take the stage together. Entirely different entities yet we were able to hear and appreciate each other. I have played the French horn for over 9 years as well, and I can see what you are saying about the oboist cleaning his instrument. That is just something that he has to do in order to put his best sound forward! French horns have to empty their water and clear the pipes of their instruments so they can sing a clear sound as well. I felt so much emotion as well when I was listening to this concert. I was a little concerned that it might be very boring to sit through but the orchestra and all the singers were able to convey so much emotion that it was amazing to listen to.
A truly spectacular sight to see so many voices fill an auditorium with no microphones. I was blown away by the choir’s ability to enunciate and articulate each note so carefully that any seat in the house was ideal. I am especially one to enjoy solos; as a former oboist for over 9 years, I can appreciate the hard work and very apparent nerves that go into a performance in front of a crowd. As some were disgruntled by the oboist’s cleaning of his instrument, I saw that as just a part of the performance. Just as an actor may drink water in between acts, an oboists who carefully crafts their music must make adjustments to demonstrate the best possible sound.
"The most engaging part of this performance was experiencing the emotions the musicians and conductor had on stage. It was powerful to just experience the natural highs and lows all throughout the acts and to connect with the music in a way that took over your body from the passion resonating all throughout the auditorium. I very much enjoyed the soloists by both Nadine Sierra and John Relyea, as their emotion was conveyed through the language barrier I experienced. Overall, a beautiful conclusion to the UMS tour our U of M class has gone on!
by Katherine Schneider
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
The ambiance, the setting, and the people all contributed to making this performance an amazing occasion. As I sat waiting for the Brahms’ Requiem to begin, I was amazed by the number of people that stood atop Hill’s stage. When I stood upon the stage a week before this performance, I didn’t feel as if it was such a huge stage. But so many different people were combined on that stage, and I heard this as well as the concert started. Instead of watching just one orchestra upon the stage we heard an orchestra, an entire chorus, a soprano and a baritone. It reminded me of the time I played Beethoven’s 9th Symphony. Being a part of an orchestra with a chorus surrounding me was surreal and amazing, because they were a whole different entity that we were making music with. I felt a similar experience watching the Brahms.
The second movement was my favorite, particularly because of the amazing French horns. It was even more fun watching and knowing my high school private teacher was playing! In this movement, I could see the happiness and celebration that was behind Brahms’ piece, rather than the sadness and lamenting that a requiem might usually be. It was an amazing experience to watch all these different musicians take the stage.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Brysan,
I also really enjoyed being able to meet with Nadine before and it helped me to enjoy the performance much more! I completely agree, knowing her backstory made me feel that I was connected to her in a way that I am sure I previously would not have been able to. Hearing about the lifestyle of someone like Nadine was definitely enlightening and eyeopening and made me much more appreciative of all the hard work that goes into her performance!
Out of all the performances I have attended through UMS, the Brahms’ Requiem performance was my favorite for several different reasons. First, I truly appreciated Nadine’s voice and thought of it to be nothing short of an angel. There were many times throughout the show where her voice gave me chills because it was so incredible. I believe that since our class was given the opportunity to meet Nadine and hear her stories the day before the performance it allowed me to be more engaged in the performance because I felt connect to her in a way. It was almost the same feeling one gets when going to support a friend in a show, performance, or game. In addition, I enjoyed listening to the music and incorporating it with the discussion of the history of Brahms’ Requiem. Lastly I really appreciate being able to experience a performance in Hill Auditorium, such a beautifully constructed building that has so much history behind it.
"by Brysan Porterfield
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Blair,
I too enjoyed that Nadine came and spoke with our English class the day before and that we were able to hear her sing. It got me so excited to hear her at the performance on Friday! I couldn’t believe the grandness of their voices. She was right when she said that they honestly use every muscle in their body to produce such a loud sound. I was in awe. Loved the choral portion as well.
This was my first time watching a symphony orchestra concert (which was evident when I was the only person clapping between movements) but I don’t want to miss another one! I thought that the band was very in synch and worked well together, but my attention was totally drawn to the choir and soloists. I thought that their sound was incredible, their ability to fill the entire auditorium without microphones with their crescendos was mind blowing. The ringing of the high soprano notes vibrated through me.
"My major concern during the concert was that I wouldn’t be able to hear the middle sections (specifically the altos) which is why I really appreciated the section solos so that I could hear the parts that didn’t stand out as well. Both soloist I thought did a really good job, I thought that John Relyea had a weird affect to his sound (it sounded very glottaled or throaty) but I thought that his ability to put both emotion and power into his sound was undeniably impressive. I actually was surprised with Nadine Sierra because she had visited my English the day before and sang for us, and in that space her voice was very powerful and filled the entire room, but I thought at the concert she struggled more with having that powerful sound. Needless to say I still loved listening to her and I am itching to go see more of her work.
by Blair Prince
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Nadine, Nadine, Nadine! Maybe it was just because I had heard a quick bit of her voice before the performance, but I was absolutely blown away by her performance especially. I’m sure the acoustics had something to do with it as well, but all of my expectations for the performance were by far exceeded. For such a complicated piece, the entire time felt effortless, from the soloists to the entire ensemble. It was nice that the translation were in the program, I usually find myself more involved in a performance when I know where the musicians are coming from, but I felt that for this performance I didn’t need the words because the music was able to convey emotion without them. Being a part of the audience was wonderful, but being in Hill Auditorium only heightened the experience. Having never heard a classical piece in Hill, it was an experience that I hope to have again. Thanks to UMS for this experience!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Absolutely my favorite performance all semester! Bravo to the UMS Choral Union, soloists and symphony orchestra! The energy and emotion was overwhelming and breathtaking. Since I am not a musician, I cannot fully grasp the hard work that goes into these performances. I thought it was incredible to be able to speak with Nadine, one of the soloists, before the concert to hear about her preparation for performances and her career as a professional opera singer. This made me even more excited to experience Brahm’s Requiem. Further, Blackstone was so enthusiastic, I found myself lost in his charismatic motions that complimented the music. I have gone to see the Chicago Symphony Orchestra and Chorus sing at Symphony Hall (one of my most treasured musical experiences) and this performance was just as moving, especially the sixth movement. So happy I attended, and so impressed with the musical collaboration of the symphony orchestra, chorus and soloists.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Yan,
I completely agree with you and your opinion of the show. The way Hill is constructed allowed for all the voices of the choir and the music from the orchestra to be blended together so well. In addition in my opinion it takes a lot of practice and concentration to be able to pull off the German pronunciations especially if one is only fluent in English and the choir performed it wonderfully. I also agree how well Nadine sang. She sounded like an angel to me. Overall I appreciated the hard work everyone in the performance went through to put on a successful show!
Hill has great acoustics, and although it’s not suited for all types of performances, as I’ve noticed with previous shows, it was the perfect setting for Brahms’ Requiem. All the different voice and instrumental sections were in perfect balance! I really appreciated the fact that the programs included German and English, as well as the hard work the choir put in on the diction, which was clearly indicated. The clear pronunciation of all those difficult to pronounce, let alone sing, German consonants, along with the guide provided in the program, easily distinguished the end of one movement and the beginning of another! It was a great performance! I especially loved Nadine’s soprano solo, her tone was crystal clear, and her high notes seemed to float flawlessly!
"by Yan Theros
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Erin-
I can very much agree with you that every time I step into Hill I am immersed in a different world! It is truly a special place to engage in a performance. I, too, was shocked how I connected with the soloists despite a heavy language barrier. I appreciate what you mentioned about the orchestra. In this concert it was easy to get overwhelmed by the power of the choir and especially the soloists. I thought the orchestra did a beautiful job at balancing throughout the entire performance.
Upon entering Hill Auditorium I was immediately captivated by the beauty of the venue. That alone probably had an impact of how I would eventually feel about the performance by the UMS Choral Union. By the end of the performance of Brahms’ Requiem, I was filled overwhelmed by what I had experienced. I have always been a fan of choral music and this was by far the best I had ever heard. Of course I don’t want to undermine the precise manner in which the orchestra played, which was also delicate and beautiful, but there is something about the human voice that resonates to sweetly with my soul. The loveliness that soloists voices portrayed had me nearly in tears despite the fact that I understood none of what they were saying. It wasn’t a message that I picked up verbally, but instead through the clarity of sound I heard with one of my five senses. If I could go back a million times…I wouldn’t hesitate.
"by Erin Branton
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Out of all the performances I have attended through UMS, the Brahms’ Requiem performance was my favorite for several different reasons. First, I truly appreciated Nadine’s voice and thought of it to be nothing short of an angel. There were many times throughout the show where her voice gave me chills because it was so incredible. I believe that since our class was given the opportunity to meet Nadine and hear her stories the day before the performance it allowed me to be more engaged in the performance because I felt connect to her in a way. It was almost the same feeling one gets when going to support a friend in a show, performance, or game. In addition, I enjoyed listening to the music and incorporating it with the discussion of the history of Brahms’ Requiem. Lastly I really appreciate being able to experience a performance in Hill Auditorium, such a beautifully constructed building that has so much history behind it.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
A truly spectacular sight to see so many voices fill an auditorium with no microphones. I was blown away by the choir’s ability to enunciate and articulate each note so carefully that any seat in the house was ideal. I am especially one to enjoy solos; as a former oboist for over 9 years, I can appreciate the hard work and very apparent nerves that go into a performance in front of a crowd. As some were disgruntled by the oboist’s cleaning of his instrument, I saw that as just a part of the performance. Just as an actor may drink water in between acts, an oboists who carefully crafts their music must make adjustments to demonstrate the best possible sound.
The most engaging part of this performance was experiencing the emotions the musicians and conductor had on stage. It was powerful to just experience the natural highs and lows all throughout the acts and to connect with the music in a way that took over your body from the passion resonating all throughout the auditorium. I very much enjoyed the soloists by both Nadine Sierra and John Relyea, as their emotion was conveyed through the language barrier I experienced. Overall, a beautiful conclusion to the UMS tour our U of M class has gone on!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I was definitely feeling nostalgic too! The last major choir performance I was apart of was Carmina Burana at Hill. It is such a different experience being an audience member as opposed to a performer at Hill, the sound is really best when you get to step back and listen to all of the parts thanks to the amazing acoustics!
Last night was incredible! Nadine Sierra did an absolutely amazing job with the soprano solo, the way she makes it look so effortless is astounding! But did anybody else miss the days of high school band and choir after watching that show last night?! I know I did!! The blend, balance, and even the overall acoustics in Hill were wonderful, and to think there were no microphones on anyone that I could see! Overall, the performance was a great experience and I look forward to seeing more works by both groups in the future!
"by Christie Parkinson
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I like how you pointed out the cohesion of the vocals and the instruments. I also thought they were wonderful. I preferred the male singer to the female, maybe because I thought she was so annoying when she visited our class. The orchestra was incredibly talented and you made an interesting point about the volume and intensity of their instruments. I didn’t know what a timpani was before you commented, so thanks for that :_
I never thought that I’d enjoy operatic singing. However, Nadine Sierra convinced me otherwise the second she opened her mouth. It was amazing how both powerful and beautiful her voice could be and how it complemented the orchestra and choir perfectly. That is definitely not to say that I wasn’t in awe of John Relyea and his exemplary solo, as both soloists astounded me with their talent. But I have to say that my favorite part was the choir. I loved how they held the dynamics so well while staying together as one voice; as a soprano who grew up in a choir I know how hard that can be, especially in a different language. Of course, the orchestra cannot be forgotten. I was amazed at the range of tones and dynamics they were capable of while still not drowning out each other’s instruments; I could enjoy both the gentle harps and the powerful timpani!
"by Julia Cimpian
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hill has great acoustics, and although it’s not suited for all types of performances, as I’ve noticed with previous shows, it was the perfect setting for Brahms’ Requiem. All the different voice and instrumental sections were in perfect balance! I really appreciated the fact that the programs included German and English, as well as the hard work the choir put in on the diction, which was clearly indicated. The clear pronunciation of all those difficult to pronounce, let alone sing, German consonants, along with the guide provided in the program, easily distinguished the end of one movement and the beginning of another! It was a great performance! I especially loved Nadine’s soprano solo, her tone was crystal clear, and her high notes seemed to float flawlessly!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Lydia,
I sat farther in the back so I actually wasn’t able to see the oboist cleaning his instrument every three minutes, but I have to admit–just listening to him I can’t imagine he could have been so distracting because as you mentioned, he played so beautifully. As annoying as it must have been for you, perhaps you could consider this as one of the perks of attending a live music performance?
But otherwise, I agree–the two soloists were superb! I hope they’ll be back, too.
Incredible performance. Enjoyed every minute of the CU singing and the orchestra except for the oboe player front and center who was eternally cleaning his instrument. Realize oboes are touchy to play and he did a great job with his solos but it was distracting to see him pulling the cleaning cloth every 3 minutes. Kudos to the two soloists. Hope they’ll be back.
"by Lydia Bates
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I really enjoyed this concert at Hill. I have been to operas at home in New York, so I was a bit jaded, but I thought it was a wonderful performance. Hill was the perfect setting for such beautiful music. Not much can relax me, and this was a wonderful experience that helped me get my mind off of life. I liked watching the interaction between the conductor and the orchestra. It was interesting to see the reactions of his actions. I also liked to watch how moved the musicians got at times of the piece. Sometimes, there would be abrupt jarring switches to the flow of the music, and their bodies reflected the transformations as they played. The music was also a very visual experience in my mind. The sounds created pictures, and colors that I could see. It was very interesting. When I got home, I bought another version on iTunes and listened to it again. This was one of my favorite performances of the year. I think this was a great way to culminate the course.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Jillian – this was definitely my favorite performance thus far! I think that Hill was the perfect space as well, I am so glad that you thought so too. Nadine’s voice was so unique and I wish that she did even more. I’m so glad that you enjoyed the performance and the venue, I really did too!
I thought that Nadine Sierra solo was so beautiful and one of the best sopranos I have ever heard! The orchestra music mixed with the soloists was something I have never seen live and can definitely appreciate. I thought it was an incredible performance and for sure one of my favorites. Any one else think that? I also thought it was perfect for Hill Auditorium. What a classy and beautiful space for this type of music.
"by Jillian Davine
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hill Auditorium was the perfect venue for the Brahm’s German Requiem! I thoroughly enjoyed the entire experience and was so pleasantly surprised with the entire performance. During the performance I found myself daydreaming back to the days when I participated in high school choir. I was familiar with the idea of singing a foreign language in a group. While it is quite difficult to do, I think the chorale clearly articulated emotion through their voices and made in much easier for the audience to understand each piece. I was also very, very excited to see that the translations of each song were listed. It was very helpful to refer to that throughout the performance, just to get a clearer idea for what each song was about. Like many others, Nadine Sierra’s talent stunned me. She blew me away with her soprano solo and I wish that she had sung even more. Like I mentioned earlier, Hill Auditorium and the Brahm’s Requiem were meant for each other. The sounds from the orchestra and the chorus blended so well together and worked magically with the acoustics in the room. I really enjoyed my team in the theater and thought that it was the most ideal spot for this music group. Overall, I’d say that this was the best performance I have seen through UMS thus far!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I thoroughly enjoyed the incredible performance of Brahms’s Requiem on Friday evening. To be honest, the piece was much less musically-dramatic than what I had anticipated, but having a more conservative taste in music (enjoying the classical as opposed to more contemporary pieces played by the Kronos), I appreciated the combination of the orchestra, choir, and the two fabulous opera singers. It was helpful to have learned about Brahms’s Requiem before attending the concert because I felt that I had a better understanding of its musical components. For instance, when the chorus first began to sing, the mood was very solemn—almost serene to a certain point—as if the sound was transcending beyond the earth into the heavenly realms.
In addition, I wished I could have heard more of Nadine Sierra—she was superb! Whereas I simply just listened to the rest of the choir and the orchestra, I actually watched her and listened to her, trying to follow her gestures and facial expression as she played around with the notes so effortlessly on the high register, which created a different kind of concert experience for me.
All in all, it was such a pleasure to hear such great live music in a beautiful theater with truly awesome sound acoustics). Hill Auditorium was the perfect venue for this performance!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I was also amazed at how well they performed while being volunteers. I actually had forgotten until after the concert because they were so good! And yeah, I was a bit upset that I couldn’t really understand german, but I didn’t really like reading from the program because i felt like it was distracting me from the music.
The experience in the Brahms Requiem was enjoyable. I liked the music pretty much. I was interested in how the orchestra, the chorus and the singers cooperated under the conduct of the conductor. I learned before the performance that the chorus was formed by people who was not professional singers and they only had a short time to prepare for it. I respect them very much. They did such a good job that night. One only problem I had during enjoying the performance was the lyrics. I don’t know Germany and before I noticed that there were English lyrics printed in the program, I was totally lost. I really hoped that there would be some notification during the performance telling me which part it was going on.
In short, it was a pretty good performance!
"by Haowei Cai
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I never thought that I’d enjoy operatic singing. However, Nadine Sierra convinced me otherwise the second she opened her mouth. It was amazing how both powerful and beautiful her voice could be and how it complemented the orchestra and choir perfectly. That is definitely not to say that I wasn’t in awe of John Relyea and his exemplary solo, as both soloists astounded me with their talent. But I have to say that my favorite part was the choir. I loved how they held the dynamics so well while staying together as one voice; as a soprano who grew up in a choir I know how hard that can be, especially in a different language. Of course, the orchestra cannot be forgotten. I was amazed at the range of tones and dynamics they were capable of while still not drowning out each other’s instruments; I could enjoy both the gentle harps and the powerful timpani!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Mary,
Totally agree! Words are not enough for this performance! I’m also looking forward to another performance which is also such enjoyable!
This performance was amazing! I knew it would be wonderful, but words cannot express just how great it was. I loved the music (I could listen to it all day), and Jerry Blackstone, along with the Ann Arbor Symphony, Choral Union, and the soloists did an amazing job. What an incredibly gorgeous and moving piece. I’m eager to to see (and hear!) more of the Choral Union, and I’d love to hear this piece again. Bravo to all!
"by Mary Zelinski
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
The experience in the Brahms Requiem was enjoyable. I liked the music pretty much. I was interested in how the orchestra, the chorus and the singers cooperated under the conduct of the conductor. I learned before the performance that the chorus was formed by people who was not professional singers and they only had a short time to prepare for it. I respect them very much. They did such a good job that night. One only problem I had during enjoying the performance was the lyrics. I don’t know Germany and before I noticed that there were English lyrics printed in the program, I was totally lost. I really hoped that there would be some notification during the performance telling me which part it was going on.
In short, it was a pretty good performance!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I agree, Nadine Sierra is an amazing soprano and I can’t wait to see what she does in the future. I think Hill Auditorium adds to the beauty of the music, it is a match made in heaven.
I thought that Nadine Sierra solo was so beautiful and one of the best sopranos I have ever heard! The orchestra music mixed with the soloists was something I have never seen live and can definitely appreciate. I thought it was an incredible performance and for sure one of my favorites. Any one else think that? I also thought it was perfect for Hill Auditorium. What a classy and beautiful space for this type of music.
"by Jillian Davine
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
This concert was amazing! I am always amazed at the quality of music the choral union brings to the stage. This is probably my favorite piece by Brahms. He paints the text so carefully and with such detail. I find his use of the text in the 6th movement very interesting when relating it to Handel’s setting of this same text in Messiah. Brahms’ music for this text is darker and more pensive than Handel’s music which is more joyous. I have heard this piece performed in English and in German. On one hand Brahms wanted this to be a mass for the people which is an argument for performing it in whatever language is prominent. But, on the other hand German is the original language of the mass and performance practice would suggest the piece be performed in German. What do other people think?
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hey Robert,
I totally agree I thought seeing the conductor do that was so cool and engaging! I gained a lot of respect for conductors after watching this performance. I too was grateful for the pamphlet with the translations. Definitely differed from other performances where I had absolutely zero clue what was going on.
Jerry Blackstone has some serious hops! Watching the conductor jump up with two feet in the air, and then viciously throw his arms in opposite directions while his head ferociously nods forward made the performance special for me. The passion parlayed with the power Mr. Blackstone had over the performers was spectacular. It was really nice to be able to follow along with the lyrics on the pamphlet handed out before the performance. It kept me engaged and allowed me to understand what the choir and opera were singing so passionately about. I have a couple of questions. Does anybody know whether Brahms specifically chose certain sections of the piece to be sung by opera singers vs. the choir? Also, did anyone else have trouble sounding out the German language? It did help when I finally realized that the choir repeated certain paragraphs 3-4 times.
"by Robbie Weitz
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
As in life, context in music is everything. That is why I find poetry set to music so enthralling. The melisma over “abgefallen” (from: The grass withereth, and the flower thereof ‘falleth away’) is one of my favorite examples. Brahms’ word painting allows an intimate connection to both the verse, and his intention. Though he did pick all of the words, his melodies are what give them life.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I thought that Nadine Sierra solo was so beautiful and one of the best sopranos I have ever heard! The orchestra music mixed with the soloists was something I have never seen live and can definitely appreciate. I thought it was an incredible performance and for sure one of my favorites. Any one else think that? I also thought it was perfect for Hill Auditorium. What a classy and beautiful space for this type of music.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hey Robbie,
Listening to anything in a foreign language can be hard to follow. Once you get lost, finding your place again is next to impossible! I found the same thing happened to me when I tried to follow just the words, but if you listen to the music it often gives cues to the changing of lines and emotions throughout the song. It also lets you appreciate some of the word painting going on throughout the piece!
Jerry Blackstone has some serious hops! Watching the conductor jump up with two feet in the air, and then viciously throw his arms in opposite directions while his head ferociously nods forward made the performance special for me. The passion parlayed with the power Mr. Blackstone had over the performers was spectacular. It was really nice to be able to follow along with the lyrics on the pamphlet handed out before the performance. It kept me engaged and allowed me to understand what the choir and opera were singing so passionately about. I have a couple of questions. Does anybody know whether Brahms specifically chose certain sections of the piece to be sung by opera singers vs. the choir? Also, did anyone else have trouble sounding out the German language? It did help when I finally realized that the choir repeated certain paragraphs 3-4 times.
"by Robbie Weitz
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
It’s so rewarding to see so many positive responses to this performance, especially from my classmates! I really appreciate the Brahms Requiem having been a part of the Engaging Performance curriculum, because it gave me an opportunity to view the performance from the audience perspective in addition to my perspective as a member of the Choral Union.
While this was not my first time performing on the stage of Hill Auditorium, it was my first time performing as a new member of the Choral Union. I had gone almost a year without being a member of a choral group, and while the Brahms Requiem wouldn’t have been my first choice to sing, I was so happy to be part of a choir again that the music grew on me with each Monday night rehearsal and I thoroughly enjoyed learning about the history behind it.
Preparing for this performance took a LOT of effort and dedication from every single performer, especially in the week leading up to it (7.5 rehearsal hours for the CU!!). I was so exhausted after each dress rehearsal – standing and breathing and singing and holding a folder is more physically demanding than it might appear – but once Friday evening came, I felt prepared and energized. I always get such a rush of excitement and relief at the end of a performance, and Friday was no exception – I felt that all of our hard work and weeks of rehearsing notes and dynamics and pronunciation and “not wiggling” at the end of each movement really paid off, and even though it might have felt a little like overkill in that moment, everyone definitely deserved the THREE rounds of applause!
What an honor it was to be a part of this performance of such a magnificent work by Brahms, in a choir and an auditorium that have so much history, coached and conducted by the marvelous human Jerry Blackstone!!! I am so excited to continue as a member of the CU and perform Handel’s MESSIAH in December!
Shoutout to my mom, my brother, and my housemates for coming out and supporting me!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Karishma,
I should have looked in the program booklet to see the translations! I would have loved to know what they were saying, although the music seemed to communicate a lot of emotion! I agree that it was wonderful to hear the different parts of the Requiem and having Nadine come and speak with us before the performance. It would be interesting to know what kinds of things go into the program…
Glad you enjoyed as well!!!
BRAVO! Brahms’ Requiem was, by far, my favorite performance I have seen. So many aspects of this performance made it one to remember.
Nadine was absolutely incredible. It was definitely helpful to have met her the day before. As she was singing, I could remember parts of her story that she shared with us; it made the performance that much more special. I definitely felt more personally connected with the performance. The only thing about Nadine is that I wanted to hear her sing more!
Also, it was so interesting to actually hear the different parts of the music that we discussed in class (I was proud of myself for recognizing it during the performance). I am really happy I learned the history behind Brahms’ Requiem. Seeing the video of how the chorus and orchestra prepare increased my appreciation for the show. I was also happy that Hill Auditorium was chosen for this show in particular because the richness of the pieces in combination with the richness of Hill only contributed to the overall lavishness of the performance.
Lastly, I was really happy to see the translations of the songs in the program booklet. It helped in my understanding of the performance, which allowed me to fully appreciate the show.
I just want to say a big thanks to UMS for putting on this production – it was truly fantastic!
"by Karishma Satapathy
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Halie!
It’s funny that you say the environment was very peaceful… That was the first comment from my housemate who came to support me, before she later admitted that she, too, fell asleep during the performance 🙁
It’s kind of funny to me that several people are commenting that they thought the performance was quite long, because it was under two hours long, after all. And from my perspective on stage, it was kind of a blur! I do understand that sitting through classical music can be a challenge, though, especially when it’s seven movements long and it’s inappropriate to clap between them.
I really hate that I skipped my morning coffee that day, because I was having trouble staying awake throughout the performance. The environment was so peaceful and calming. Hill Auditorium is a majestic and beautiful space, the seats so comfortable, and the music so eloquent. It would have been difficult not to feel content and relaxed.
I do think the show was rather long, considering there was no intermission or breaks. The audience didn’t applaud between movements-which I do not think we were supposed to. I think the lack of movement and audience response contributed to me dozing off. I couldn’t feel engaged when I was just sitting there.
Overall, however, the music was beautiful. Great job to the orchestra, and choral union. And the two soloists did a fantastic job! I loved listening to Nadine sing because she talked to our class about her journey of how she got to where she is, and I could really see her passion in her performance.
"by Halie Anderson
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I noticed the Harps too Zach! Their fingers moved so quickly yet so swiftly. Also, their sound was quite loud and they had a large responsibility in terms of fulfilling the melody.
Holy Brahms Requiem! What an emotional rush. I left Hill Auditorium Friday night completely satisfied, craving more, feeling dramatic. Dat choir thoo. The combination of a full orchestra with a full choir along with the soprano and bass singers made the experience extremely engaging. Especially in Hill Auditorium, there was no shortage of things to engage any and all of my senses. At times I felt the need to close my eyes to more fully focus on the sounds. At other times I was fascinated with the conductor’s dramatic gestures, or the pairs of hands simultaneously plucking at harps. Occasionally I would even look up and around to take in the fine details and dramatic arcs of Hill Auditorium.
I noticed, unfortunately rather late in the performance, the benefits of following along with the german words in the program. This task was very challenging, given I don’t speak german, but because of how often the choir and singers repeated certain phrases, it greatly increased the requiem’s dramatic qualities. I can still clearly remember the line, “Wo ist dein Seig?” or “Where is my Victory?” in the 2nd to last act. This line was repeated many times, and made Brahm’s lament and sorrow almost palpable. When I wouldn’t follow along with the words, I’d get lost in the sounds, which were pleasant, but more devoid of meaning.
"by Zach Simon
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Jerry Blackstone has some serious hops! Watching the conductor jump up with two feet in the air, and then viciously throw his arms in opposite directions while his head ferociously nods forward made the performance special for me. The passion parlayed with the power Mr. Blackstone had over the performers was spectacular. It was really nice to be able to follow along with the lyrics on the pamphlet handed out before the performance. It kept me engaged and allowed me to understand what the choir and opera were singing so passionately about. I have a couple of questions. Does anybody know whether Brahms specifically chose certain sections of the piece to be sung by opera singers vs. the choir? Also, did anyone else have trouble sounding out the German language? It did help when I finally realized that the choir repeated certain paragraphs 3-4 times.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I have been to my share of performances in Hill where I have either fallen asleep or come very close! It is a very calming environment, and easy to doze off, especially if you’re lacking coffee! Since it’s one piece, it’s meant to be performed without a break, from one movement to the next; but I agree, it was long. I agree, the music was beautiful; I could listen to it forever! I also liked hearing Nadine sing after hearing her speak. It’s always nice to hear from the performer and get a sense of him or her before a performance; It allows you to see/hear it in a new light.
I really hate that I skipped my morning coffee that day, because I was having trouble staying awake throughout the performance. The environment was so peaceful and calming. Hill Auditorium is a majestic and beautiful space, the seats so comfortable, and the music so eloquent. It would have been difficult not to feel content and relaxed.
I do think the show was rather long, considering there was no intermission or breaks. The audience didn’t applaud between movements-which I do not think we were supposed to. I think the lack of movement and audience response contributed to me dozing off. I couldn’t feel engaged when I was just sitting there.
Overall, however, the music was beautiful. Great job to the orchestra, and choral union. And the two soloists did a fantastic job! I loved listening to Nadine sing because she talked to our class about her journey of how she got to where she is, and I could really see her passion in her performance.
"by Halie Anderson
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
This performance was amazing! I knew it would be wonderful, but words cannot express just how great it was. I loved the music (I could listen to it all day), and Jerry Blackstone, along with the Ann Arbor Symphony, Choral Union, and the soloists did an amazing job. What an incredibly gorgeous and moving piece. I’m eager to to see (and hear!) more of the Choral Union, and I’d love to hear this piece again. Bravo to all!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I agree with you! It was great to meet Nadine before the show which also helped me to engage more to the performance. Also it was definitely pleasure to hear Nadine’s beautiful singing !
Brahms German Requiem was actually a bit more interesting than I initially thought it was going to be. Truthfully I was not very interested in this performance beforehand. I think that meeting Nadine before the show helped me to connect a bit more to it. It was quite entertaining to hear her sing while thinking about her life story that she had told our class the day before. Otherwise, the show was still quite amazing and very impressive. I did become a bit bored at times but I expected that coming in.
"by Cedric Lee
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
It was an amazing performance on Friday night! I never had a chance to become an audience member of choir concert because I was always the member of choir. I always enjoy being on the stage as a performer but I also enjoyed a lot as an audience, listening to the beautiful sound that the choir made. Balance was good, two soloists were fantastic. Thank you, UMS for hosting such a fabulous performance!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I enjoy listening to classical music casually. I am not very knowledgeable about it, but I do listen to it sometimes when studying or trying to relax. This performance was a great opportunity for me to learn a little about classical music, so I got to it. I started by listening to Ein deutsches Requiem, and then to other pieces by Brahms. I enjoyed a lot the pieces I listened to. Additionally, this was the first time I attended a musical event in Hill Auditorium. Needless to say, I was very excited for the concert, and it did not disappoint.
Listening to Brahm’s German Requiem live was so much more powerful than listening to it recorded. Also, thanks to the UMS booklet, I was able to follow the letters. I’m very happy I did, it helped me react to the performance in a very emotional way. The performers were all very talented, and the sound was amazing.
I am very glad I was able to attend this event. I will definitely try to attend similar events in the future after this fantastic experience.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Elise, I am also very impressed with the performance. I enjoyed it a lot. Before the concert I listened to Brahm’s German Requiem so I knew a little what to expect (sound wise). However, I did not pay attention to the words before the concert, and reading them on the performance changed my whole appreciation of the piece. It was just very powerful and emotional to give meaning to the beautiful music.
Outstanding! Every time I hear the UMS Choral Union sing, I am impressed. The majestic tone to their voices created a projection of music that washed over you and filled you with the emotion of the song, especially in Hill Auditorium. Plus, the soloists, Nadine Sierra and John Relyea, were amazing!
This was my first time hearing Brahms’s German Requiem and I tried to follow along with the words. Knowing what was being said helped me to hear the changes in emotion throughout the piece and better understand the music. When they sang, “Joy, eternal joy, shall be upon their heads,” the music was peaceful and happiness filled the auditorium. Yet, when they sang, “They go forth like shadows and give themselves great anxiety in vain,” the music sounded like it was the end of the world and that all sadness had consumed us. Hearing these different emotions in correspondence with the lyrics was intriguing! I can’t express in words how much I enjoyed the performance!
"by Elise Huber
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I totally agree with you, as I was really anticipating this performance all semester. Not being familiar with much classical music, I still enjoy the tranquility that it sometimes provides. I was also very happy to be attending a choral performance. What really struck me about your response was the fact that you mentioned that the audience felt alive despite the context of the piece: death. I hadn’t thought about the context of the piece as I was wrapped up in the sound, but I did leave feeling very much alive. So maybe Brahms may have been composing about death but wanted his audience to see/feel that there is life after death. Just a thought!
What an amazing performance. The performers, the venue, the music, everything. This was a truly special night for all in attendance, as the audience got to experience an extremely moving performance. This was probably one of the concerts that I’ve most been anticipating attending throughout the semester, as we had not yet had the opportunity to listen to traditional classical music. While I am unfamiliar with many styles of classical music, I enjoy it immensely, and attending Brahms’ Requiem at Hill Auditorium did not disappoint.
"I thought that the venue was a great choice, as the acoustics in the beautiful Hill Auditorium allowed every listener to enjoy the performance; after getting the opportunity to tour the venue with my “Engaging Performance” class, I can now honestly say that there is not a bad seat in the house.
One performer who really stood out to me was Nadine Sierra. Our class actually had the opportunity to bring her in the day before the performance for a Q&A session, and she was incredibly friendly and personable. That, in addition to her amazing singing voice, makes it easy to understand why she’s a star on the rise. Even though the performance, in general, centered around the theme of death, all in attendance certainly felt alive and well as a result of attending this performance.
by Ben Kahn
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Upon entering Hill Auditorium I was immediately captivated by the beauty of the venue. That alone probably had an impact of how I would eventually feel about the performance by the UMS Choral Union. By the end of the performance of Brahms’ Requiem, I was filled overwhelmed by what I had experienced. I have always been a fan of choral music and this was by far the best I had ever heard. Of course I don’t want to undermine the precise manner in which the orchestra played, which was also delicate and beautiful, but there is something about the human voice that resonates to sweetly with my soul. The loveliness that soloists voices portrayed had me nearly in tears despite the fact that I understood none of what they were saying. It wasn’t a message that I picked up verbally, but instead through the clarity of sound I heard with one of my five senses. If I could go back a million times…I wouldn’t hesitate.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Wow, I’m sorry you had such a negative experience with this show. I will adamantly agree with you that it was very long, and a break wouldn’t have been a bad idea. I have no background in choral music, but I really did enjoy the overall vibe. I will be honest though, I did fall asleep (not on the shoulders of another person, though). I think if there were a break in the show, I would have been able to stay more engaged for the entirety of the show. Thanks for giving your honest opinion on the night!
Mediocre at its best, terrible at its worst, this sums up pretty well and succinctly my reaction to this choral work, and did I mention that it was ridiculously long? If I didn’t, let me just say it right now. It was really really long!
"Give me a break; let me breath; let me get a drink of water, a soda, a pop, some juice. Let me use the restroom; let me move around; let me breathe. Let me do something to take all of this music in. But no, not if you’re Jerry Blackstone, no sir. If you’re Mr. Blackstone, you will keep going nonstop for almost two hours without letting me take in a single ounce of what is happening on stage.
And the crowd, what can I say about the crowd that the Wicked Witch of the West hasn’t said about Dorothy! My aisle was littered with old people just sleeping, literally and snoring and dosing in and out of deep slumber throughout the performance. One old person fell asleep on my shoulder, literally. “Are you kidding me?” I thought to myself. First you’re snoring next to me and then you put your head on my shoulder, absurd! If you’re old and it’s past your bedtime let me make an equally unorthodox and bold suggestion, stay home! If you cannot stay up past nine o’clock, please just stay home instead of falling asleep on top of folks sitting next to you.
by Haider M.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I really hate that I skipped my morning coffee that day, because I was having trouble staying awake throughout the performance. The environment was so peaceful and calming. Hill Auditorium is a majestic and beautiful space, the seats so comfortable, and the music so eloquent. It would have been difficult not to feel content and relaxed.
I do think the show was rather long, considering there was no intermission or breaks. The audience didn’t applaud between movements-which I do not think we were supposed to. I think the lack of movement and audience response contributed to me dozing off. I couldn’t feel engaged when I was just sitting there.
Overall, however, the music was beautiful. Great job to the orchestra, and choral union. And the two soloists did a fantastic job! I loved listening to Nadine sing because she talked to our class about her journey of how she got to where she is, and I could really see her passion in her performance.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
This was my first time watching a symphony orchestra concert (which was evident when I was the only person clapping between movements) but I don’t want to miss another one! I thought that the band was very in synch and worked well together, but my attention was totally drawn to the choir and soloists. I thought that their sound was incredible, their ability to fill the entire auditorium without microphones with their crescendos was mind blowing. The ringing of the high soprano notes vibrated through me.
My major concern during the concert was that I wouldn’t be able to hear the middle sections (specifically the altos) which is why I really appreciated the section solos so that I could hear the parts that didn’t stand out as well. Both soloist I thought did a really good job, I thought that John Relyea had a weird affect to his sound (it sounded very glottaled or throaty) but I thought that his ability to put both emotion and power into his sound was undeniably impressive. I actually was surprised with Nadine Sierra because she had visited my English the day before and sang for us, and in that space her voice was very powerful and filled the entire room, but I thought at the concert she struggled more with having that powerful sound. Needless to say I still loved listening to her and I am itching to go see more of her work.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I agree! I wondered why John had two solos and Nadine only had one. Also I agree about the venue, Hill is beautiful and this concert fit like a glove in there, it still felt intimate despite being in such a huge space.
And yes to the translations, I didn’t follow along word for word either but like you said I could understand what the mood of the song was!
I thought that Nadine Sierra was absolutely amazing! My only wish was that she sang more! Before tonight, I had never been to a concert that combined singing with orchestra music. I thought that everything sounded very nice together, and that Hill Auditorium was the perfect space for the performance.
I really appreciated that UMS provided the translations of the lyrics. Even though I did not follow along word for word, I liked being able to read what the song was about because it helped me understand the tone. I attended the Asif Ali Khan concert a couple weeks ago, and I found the language barrier very difficult. Having the translation made it much easier to stay engaged.
"by Emma Bunin
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Taylor, I find it interesting that you could see the oboe player cleaning his instrument. I did not see him or her at all. Perhaps we were not located in similar spots.
Regardless, I did like the show and I was very interested in what it was like to be in a choral union and so it is nice to hear that other choir people enjoyed hearing the UMS choral Union.
I absolutely loved this performance, especially with my background in choral music. I was an active member in my high school choir so this was one of my favorite performances. However, I was distracted by the oboe player cleaning his instrument center stage. I’m already not a fan of the oboe so it was super annoying to watch. Overall, the choir sounded great, they blended well, and the orchestra was amazing!
"by Taylor Williams
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Brahms German Requiem was actually a bit more interesting than I initially thought it was going to be. Truthfully I was not very interested in this performance beforehand. I think that meeting Nadine before the show helped me to connect a bit more to it. It was quite entertaining to hear her sing while thinking about her life story that she had told our class the day before. Otherwise, the show was still quite amazing and very impressive. I did become a bit bored at times but I expected that coming in.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hattie,
You did a great job of summarizing the performance’s brilliance! I couldn’t agree more, Hill was definitely the perfect place to host this concert. The acoustics are really amazing. I also think your comment about Nadine was spot on; after having her come in to our class and speak to us about the life of an opera singer, I think that I only appreciated her incredible performance more.
Hold on. I can’t talk. My jaw is still on the ground from the Brahm’s German Requiem EXPERIENCE this past Friday. I have been to Operas before, but never have I enjoyed the performance as much as I have this one! Hill auditorium was undeniably the perfect venue for the requiem. I was pleasantly surprised by how excellently harmonized the chorus was. After the show, it took me a moment to process that the chorus was comprised of students; I would have sworn that they were professionals who traveled. Throughout the semester, this class has taught me to have a greater appreciation for musicians and performers because they give so much when they are on stage. Nadine gave a life-taking performance in her solo. After hearing how much preparation (from childhood to now) that went into making her the talent she is, the performance was even more enjoyable to watch. The Brahm’s German Requiem seemed to be the perfect ending to a series of engaging performances. If I may make a request, UMS please bring back this performance, it is simply timeless.
"by Hattie McKinney
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
What an amazing performance. The performers, the venue, the music, everything. This was a truly special night for all in attendance, as the audience got to experience an extremely moving performance. This was probably one of the concerts that I’ve most been anticipating attending throughout the semester, as we had not yet had the opportunity to listen to traditional classical music. While I am unfamiliar with many styles of classical music, I enjoy it immensely, and attending Brahms’ Requiem at Hill Auditorium did not disappoint.
I thought that the venue was a great choice, as the acoustics in the beautiful Hill Auditorium allowed every listener to enjoy the performance; after getting the opportunity to tour the venue with my “Engaging Performance” class, I can now honestly say that there is not a bad seat in the house.
One performer who really stood out to me was Nadine Sierra. Our class actually had the opportunity to bring her in the day before the performance for a Q&A session, and she was incredibly friendly and personable. That, in addition to her amazing singing voice, makes it easy to understand why she’s a star on the rise. Even though the performance, in general, centered around the theme of death, all in attendance certainly felt alive and well as a result of attending this performance.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I was first exposed to live classical music earlier this semester when I went to see Kronos Quartet. Since then, my appreciation has simply grown for classical music. I could not picture anyone singing along with classical music and having it sound as beautiful as it did in Hill. The orchestra performed seamlessly (at least to me!) together to create a beautiful show for the audience.
That being said, my experience would not have been the same without the translation provided by UMS. If it hadn’t been for these translations, which helped me follow along, I may have had trouble focusing and been bored. The translations helped me understand the music and gave reason to the tone of the music and the singers.
Absolutely spectacular performance of Brahms’ German Requiem by Ann Arbor Symphony Orchestra and UMS Choral Union. The soloists were flawless; Nadine Sierra was stunning, and John Relyea was dynamic and powerful. They both owned the stage during their solos. I would love to see them perform again in concert so please come back! There was also so much emotion and life in the conducting by music director, Jerry Blackstone. Watching him lead the orchestra and the choral was unbelievably thrilling. Thank you, UMS, for this performance.
"by Thomas Choi
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I could not agree more! I would love to see the soloists together again performing a different piece in Ann Arbor. Their presence was felt and voices were simply magnificent.
Absolutely spectacular performance of Brahms’ German Requiem by Ann Arbor Symphony Orchestra and UMS Choral Union. The soloists were flawless; Nadine Sierra was stunning, and John Relyea was dynamic and powerful. They both owned the stage during their solos. I would love to see them perform again in concert so please come back! There was also so much emotion and life in the conducting by music director, Jerry Blackstone. Watching him lead the orchestra and the choral was unbelievably thrilling. Thank you, UMS, for this performance.
"by Thomas Choi
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Caroline I couldn’t agree more, seeing her shine on stage has put her on a pedestal in my mind. Its interesting that you felt bad for the conductor. Now that I think about it, I do notice how he did have to wait for the, to sit down. I do think he does deserve a very big round of applause for his role in everything. I would definitely put this performance in my top three of the year!
After the performance, I saw Nadine Sierra across the street, and I felt like she was a celebrity! It was breathtaking to watch her sing on stage in her golden gown. The baritone soloist did a great job too, but I wish Nadine had been able to sing more.
I do not have much experience with music, so I don’t think I would be able to tell if there were any flaws in the performance, but it sounded perfect to me. The conductor received so much of my respect instantaneously – I felt awful when he was waiting for people to sit down so he could begin the second part. After learning about the acoustics in Hill Auditorium I understood how noise from the audience could greatly impact the performance of those on stage.
After reading other comments and talking to people that were sitting in the mezzanine, I wish I could have seen more of the instrumentalists. It was very exciting to be so close to the orchestra and the UMS Choral Union, but if I go to a performance like this I will probably sit higher up to be able to see more. Overall one of my favorite performances of the year!
"by Caroline D'Andrea
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hold on. I can’t talk. My jaw is still on the ground from the Brahm’s German Requiem EXPERIENCE this past Friday. I have been to Operas before, but never have I enjoyed the performance as much as I have this one! Hill auditorium was undeniably the perfect venue for the requiem. I was pleasantly surprised by how excellently harmonized the chorus was. After the show, it took me a moment to process that the chorus was comprised of students; I would have sworn that they were professionals who traveled. Throughout the semester, this class has taught me to have a greater appreciation for musicians and performers because they give so much when they are on stage. Nadine gave a life-taking performance in her solo. After hearing how much preparation (from childhood to now) that went into making her the talent she is, the performance was even more enjoyable to watch. The Brahm’s German Requiem seemed to be the perfect ending to a series of engaging performances. If I may make a request, UMS please bring back this performance, it is simply timeless.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I felt bad about the noise from the audience too! It was funny but also slightly annoying when everyone would cough in between the different parts.
I could also make out the three notes we learned in class. I was so happy that I was able to recognize that! I didn’t remember much of the meaning from class, but I’m so appreciative that the program included the translations.
It was such an incredible performance! Listening Brahms’ German Requiem, I realized how beautiful the Hill Auditorium is. It was such a nice place to hear the orchestra as well as an amazing performance! However, I felt a bit sorry for the orchestra because of the audience; some of them seemed like they got really bad cold. They just kept coughing which was annoying and disturbing me sometimes.
One of my favorite parts was the “three notes” that we learned in the class. I could recognize the three different notes as well as the contrast parts. Although I didn’t know any of German words, I could understand the contents because the class covered it. Also, I love the solos parts. I wish I could hear the first violinist’s solo, but still the performance was so great!
"by Guyeon Kim
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
After the performance, I saw Nadine Sierra across the street, and I felt like she was a celebrity! It was breathtaking to watch her sing on stage in her golden gown. The baritone soloist did a great job too, but I wish Nadine had been able to sing more.
I do not have much experience with music, so I don’t think I would be able to tell if there were any flaws in the performance, but it sounded perfect to me. The conductor received so much of my respect instantaneously – I felt awful when he was waiting for people to sit down so he could begin the second part. After learning about the acoustics in Hill Auditorium I understood how noise from the audience could greatly impact the performance of those on stage.
After reading other comments and talking to people that were sitting in the mezzanine, I wish I could have seen more of the instrumentalists. It was very exciting to be so close to the orchestra and the UMS Choral Union, but if I go to a performance like this I will probably sit higher up to be able to see more. Overall one of my favorite performances of the year!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Right! I forgot to mention that how impressive that many people sing together. I was thrilled by so many various voices and its enormous harmony. Also, I agree with you that this performance didn’t make me being bored at all.
I like you explain about some backgrounds of the music since I think it’s really significant to know to understand the performance better. Overall, it’s a nice comment!
Hill auditorium has over 3000 seats, and I think the music of the orchestra, soloists, and choral union filled the space enough to be heard perfectly by each and every one of them. It was really impressive to hear so many people singing together in German, and staying together with the conductor and orchestra through such an extensive piece. I’m sure a huge production like this takes a lot of careful planning and coordination and I was never bored while watching all the different parts interacting at once. But what I think what I like the most was actually Brahms music. He made a song for the dead into something beautiful, magical, and serene. Instead of ruminating on death we are supposed to celebrate life and take full advantage of it. That was a meaning I could relate to and take understanding from. The tasteful rendition of this piece by the choir and soloists made it well worth attending.
"by Jane Spann
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
It was such an incredible performance! Listening Brahms’ German Requiem, I realized how beautiful the Hill Auditorium is. It was such a nice place to hear the orchestra as well as an amazing performance! However, I felt a bit sorry for the orchestra because of the audience; some of them seemed like they got really bad cold. They just kept coughing which was annoying and disturbing me sometimes.
One of my favorite parts was the “three notes” that we learned in the class. I could recognize the three different notes as well as the contrast parts. Although I didn’t know any of German words, I could understand the contents because the class covered it. Also, I love the solos parts. I wish I could hear the first violinist’s solo, but still the performance was so great!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Christina, I totally agree. When the choir would suddenly sing full blast I could feel it in my body. All of a sudden when they would sound, it was so powerful my hands would clutch. I was taken back. The choir was totally awesome. I also really enjoyed the Requiem in general.
I have never been a huge fan of choral music, but despite that I enjoyed the concert very much. I was impressed with everyone on stage and thought the orchestration and singing came together very nicely.
This was my first time listening to Brahms’s German Requiem fully, and I found it for the most part muted and reflective – totally appropriate for a requiem. Some of my favorite parts, however, were when the choir would sing at full blast, for instance, about joy in the second movement. My absolute favorite part has to be during the sixth movement when the choir was singing on the triumph of death; it was very powerful.
"by Christina Na
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Holy Brahms Requiem! What an emotional rush. I left Hill Auditorium Friday night completely satisfied, craving more, feeling dramatic. Dat choir thoo. The combination of a full orchestra with a full choir along with the soprano and bass singers made the experience extremely engaging. Especially in Hill Auditorium, there was no shortage of things to engage any and all of my senses. At times I felt the need to close my eyes to more fully focus on the sounds. At other times I was fascinated with the conductor’s dramatic gestures, or the pairs of hands simultaneously plucking at harps. Occasionally I would even look up and around to take in the fine details and dramatic arcs of Hill Auditorium.
I noticed, unfortunately rather late in the performance, the benefits of following along with the german words in the program. This task was very challenging, given I don’t speak german, but because of how often the choir and singers repeated certain phrases, it greatly increased the requiem’s dramatic qualities. I can still clearly remember the line, “Wo ist dein Seig?” or “Where is my Victory?” in the 2nd to last act. This line was repeated many times, and made Brahm’s lament and sorrow almost palpable. When I wouldn’t follow along with the words, I’d get lost in the sounds, which were pleasant, but more devoid of meaning.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Totally agreed! I found it so convenient to see the translations. Though, I didn’t necessarily follow along the entire time it was nice to know what was being said. Furthermore, it’s something about the culture of this type of music that made the language barrier not as overwhelming as all our other performances. Perhaps because of the combination of sounds, which made it less obvious and therefore, allowed me to take in the other components of the performance instead of focusing on one aspect.
I thought that Nadine Sierra was absolutely amazing! My only wish was that she sang more! Before tonight, I had never been to a concert that combined singing with orchestra music. I thought that everything sounded very nice together, and that Hill Auditorium was the perfect space for the performance.
I really appreciated that UMS provided the translations of the lyrics. Even though I did not follow along word for word, I liked being able to read what the song was about because it helped me understand the tone. I attended the Asif Ali Khan concert a couple weeks ago, and I found the language barrier very difficult. Having the translation made it much easier to stay engaged.
"by Emma Bunin
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Mediocre at its best, terrible at its worst, this sums up pretty well and succinctly my reaction to this choral work, and did I mention that it was ridiculously long? If I didn’t, let me just say it right now. It was really really long!
Give me a break; let me breath; let me get a drink of water, a soda, a pop, some juice. Let me use the restroom; let me move around; let me breathe. Let me do something to take all of this music in. But no, not if you’re Jerry Blackstone, no sir. If you’re Mr. Blackstone, you will keep going nonstop for almost two hours without letting me take in a single ounce of what is happening on stage.
And the crowd, what can I say about the crowd that the Wicked Witch of the West hasn’t said about Dorothy! My aisle was littered with old people just sleeping, literally and snoring and dosing in and out of deep slumber throughout the performance. One old person fell asleep on my shoulder, literally. “Are you kidding me?” I thought to myself. First you’re snoring next to me and then you put your head on my shoulder, absurd! If you’re old and it’s past your bedtime let me make an equally unorthodox and bold suggestion, stay home! If you cannot stay up past nine o’clock, please just stay home instead of falling asleep on top of folks sitting next to you.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Ryan, clearly you enjoyed this performance a lot,a lot more than I did! You talk about “Precision, accuracy, and exquisiteness.” I have no idea what you mean by that. I don’t even feel that I had a chance to breathe in between the music. I absorbed nothing. It was just a relentless barrage of music, singing, screaming, and a whole lot of other things, mostly just noise. Perhaps it has to do with you understanding and passion for the genre. You clearly know what they were singing about and what basses, altos, and sopranos are. I have no idea what any of that stuff is. Nonetheless, I am glad to hear that you appreciated the “Art” for what it was suppose to be and that you had a good time.
Precision, accuracy, and exquisiteness are three words that I can use to describe the UMS Choir’s performance of Brahms’s German Requiem. I was greatly engaged by the entire show, yet I was really captured by the sixth movement, Denn wir haben hie keine bleibende Statt. The tenor’s voice was efficacious for the movement because the piece describes an apocalypse. At times, I thought I was listening to the Star Wars’ soundtrack, yet I realized Brahms had a much more powerful message: chaos occurs in society, yet there is strength to overcome the struggle. In addition, I greatly enjoyed the assortment of the choir. I was able to hear basses, altos, and sopranos intertwined throughout the choir and not centered to a specific location. Overall, UMS Choir was amazing under Jerry Blackstone’s direction and it truly captured Brahms’s messages within his requiem.
"Ryan F
by Ryan Freeland
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Olivia,
I also felt like the preparation we received in class was really beneficial to my experience of the performance. Knowing the back-story of not only Brahms, but of the Requiem itself, and of one of the soloists helped me to feel more involved in the production. Plus, we found out how much time it took to put all of this together! Makes you really appreciate all that performers do to make a great performance. Glad that you enjoyed it too!
Initially, I was intimidated at the thought of sitting through an hour plus classical music performance about death. In previous classical music performances I’ve been to, I’ve sometimes felt engulfed in a wall of sound, unable to distinguish between different parts and therefore left bored and/or waiting for the end of the performance.
"Luckily, this performance was far more engaging than those previous performances, and I credit that with the preparation we were given in class (University of Michigan’s “Engaging Performance” class). First, it was helpful to learn the background of the piece—that is was a non-religious piece with religious themes dedicated to the mourning of Brahm’s mother’s death. Secondly, it was helpful to meet Nadine Sierra—having talked to one of the show’s stars and learned about her background piqued my interest in the fifth movement of the piece. Lastly, watching the video in class about the chorus’s preparation before their performance enhanced my appreciation of the effort that goes into synchronizing the different parts of an orchestra.
Overall, I enjoyed Brahm’s Requiem, and I credit much of that enjoyment to being vaguely well-informed about the production prior to attending the show.
by Olivia Wallace
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hill auditorium has over 3000 seats, and I think the music of the orchestra, soloists, and choral union filled the space enough to be heard perfectly by each and every one of them. It was really impressive to hear so many people singing together in German, and staying together with the conductor and orchestra through such an extensive piece. I’m sure a huge production like this takes a lot of careful planning and coordination and I was never bored while watching all the different parts interacting at once. But what I think what I like the most was actually Brahms music. He made a song for the dead into something beautiful, magical, and serene. Instead of ruminating on death we are supposed to celebrate life and take full advantage of it. That was a meaning I could relate to and take understanding from. The tasteful rendition of this piece by the choir and soloists made it well worth attending.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
The sixth movement was my favorite as well! The requiem as a whole was pretty relaxing, so when the chorus started singing forte, it held an urgency that captured my entire attention. I got goosebumps at that part.
Best performance all term! That was a lot to take in, and 74 minutes of nonstop epic music did make me feel stressed out at some points. I think my favorite part was definitely the sixth act, when the chorus got so loud, the strings were furiously playing, and the conductor was jumping around on his stand. As opposed to the other performances, to me this one had a lot of meaning in it (it’s hard for this performance not to mean anything to anyone with how heavy the subject it’s talking about is). Blessed are the living who mourn for the dead, but be happy for the dead, because they are at peace. It really just came down to the 7th act when I thought, this whole requiem is this last act. It wouldn’t make sense if only the last act played, but the volume of the first 6 acts were able to emphasize the topic of the last one.
"by Nick Cruz
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I have never been a huge fan of choral music, but despite that I enjoyed the concert very much. I was impressed with everyone on stage and thought the orchestration and singing came together very nicely.
This was my first time listening to Brahms’s German Requiem fully, and I found it for the most part muted and reflective – totally appropriate for a requiem. Some of my favorite parts, however, were when the choir would sing at full blast, for instance, about joy in the second movement. My absolute favorite part has to be during the sixth movement when the choir was singing on the triumph of death; it was very powerful.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I also enjoyed Nadine an awful lot! Hearing her speak was definitely to our advantage because we understood her passion for Opera and got a sneak peek of her talent. I agree that Hill Auditorium was the perfect venue, and it was chosen for its great acoustics! I think we equally enjoyed this performance!
BRAVO! Brahms’ Requiem was, by far, my favorite performance I have seen. So many aspects of this performance made it one to remember.
Nadine was absolutely incredible. It was definitely helpful to have met her the day before. As she was singing, I could remember parts of her story that she shared with us; it made the performance that much more special. I definitely felt more personally connected with the performance. The only thing about Nadine is that I wanted to hear her sing more!
Also, it was so interesting to actually hear the different parts of the music that we discussed in class (I was proud of myself for recognizing it during the performance). I am really happy I learned the history behind Brahms’ Requiem. Seeing the video of how the chorus and orchestra prepare increased my appreciation for the show. I was also happy that Hill Auditorium was chosen for this show in particular because the richness of the pieces in combination with the richness of Hill only contributed to the overall lavishness of the performance.
Lastly, I was really happy to see the translations of the songs in the program booklet. It helped in my understanding of the performance, which allowed me to fully appreciate the show.
I just want to say a big thanks to UMS for putting on this production – it was truly fantastic!
"by Karishma Satapathy
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I absolutely loved this performance, especially with my background in choral music. I was an active member in my high school choir so this was one of my favorite performances. However, I was distracted by the oboe player cleaning his instrument center stage. I’m already not a fan of the oboe so it was super annoying to watch. Overall, the choir sounded great, they blended well, and the orchestra was amazing!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I felt the same way, I just wanted to close my eyes sometimes and take it all in. I was really impressed too with how great the soloists were at projecting.
So much energy! I honestly feel like I could have closed my ears and garnered all of the emotions from the conductor’s movements. He was so fun to watch and very engaging. Obviously the soloists were breathtaking, but I think that he and the unbelievable acoustics of the venue really made the performance for me.
"by Madeleine Chone
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Best performance all term! That was a lot to take in, and 74 minutes of nonstop epic music did make me feel stressed out at some points. I think my favorite part was definitely the sixth act, when the chorus got so loud, the strings were furiously playing, and the conductor was jumping around on his stand. As opposed to the other performances, to me this one had a lot of meaning in it (it’s hard for this performance not to mean anything to anyone with how heavy the subject it’s talking about is). Blessed are the living who mourn for the dead, but be happy for the dead, because they are at peace. It really just came down to the 7th act when I thought, this whole requiem is this last act. It wouldn’t make sense if only the last act played, but the volume of the first 6 acts were able to emphasize the topic of the last one.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
So much energy! I honestly feel like I could have closed my ears and garnered all of the emotions from the conductor’s movements. He was so fun to watch and very engaging. Obviously the soloists were breathtaking, but I think that he and the unbelievable acoustics of the venue really made the performance for me.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
One of my favorite things to do during performances with such a large ensembles is to pick a performer to focus on closely and follow throughout the performance. Helps me connect more with the show. The oboist was definitely an easy one to chose.
this was a wonderful performance. I thought that the two soloists were spectacular. I actually enjoyed watching the oboist cleaning his instrument — to me that is part of the immediacy of live music (instead of listening to a recording).
"by lorraine gutierrez
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Audrey,
I am so glad you brought up the principal flutist because I consistently listened to her playing and I thought she was also the best. Did you also listen/see the cellos? They were incredible and it was interesting to see them constantly switching playing positions. I am glad there was someone else in the audience with an acute sense of hearing.
Ryan F.
Wonderful performance. Very moving. I think the conductor should have had a separate recognition for the wind section, esp. the principal flutist. She was amazing. The CU was superb.
"by Audrey Hering
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Precision, accuracy, and exquisiteness are three words that I can use to describe the UMS Choir’s performance of Brahms’s German Requiem. I was greatly engaged by the entire show, yet I was really captured by the sixth movement, Denn wir haben hie keine bleibende Statt. The tenor’s voice was efficacious for the movement because the piece describes an apocalypse. At times, I thought I was listening to the Star Wars’ soundtrack, yet I realized Brahms had a much more powerful message: chaos occurs in society, yet there is strength to overcome the struggle. In addition, I greatly enjoyed the assortment of the choir. I was able to hear basses, altos, and sopranos intertwined throughout the choir and not centered to a specific location. Overall, UMS Choir was amazing under Jerry Blackstone’s direction and it truly captured Brahms’s messages within his requiem.
Ryan F
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Steven,
Prior to this year I had never been to Hill auditorium and it would have been a shame for me to have never experienced its beauty. I agree that the acoustics in the auditorium were a perfect setting for the rich voices of Nadine and John.
I hope that before I leave michigan that UMS is able to bring more incredible artists for our viewing pleasure.
Wonderful! The conductor, singers, and musicians were absolutely wonderful. Watching a performance at Hill Auditorium was honestly one of the best moments of my time here at the University of Michigan. The hyperbolic design of the venue really enriched the performance and it was beautiful to hear all the music and passion so clearly, specifically the emotion in the voices of Nadine Sierra and John Relyea. Having the English translation to Brahms’ German Requiem was nice as it allowed us to follow along and make sense of these changes in emotion. Although it was a little awkward for someone like myself—someone who has never experienced a similar performance—to watch Nadine sit on stage not performing for most of the performance, I assume I felt that way because I was hoping to hear more from her as her voice was as beautiful and engaging as she is. Lastly, it was amazing to watch the conductor and see his body shake to the music as if he was possessed by his own creation. Overall, I was very happy with the experience. Shout out to UMS for making it all possible!
"by Steven Shtaynberger
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
What a beautiful way to spend ones Friday evening. I was caught off guard by the grandiosity of the orchestra and was struck by their power. The concert had a remarkable blend of music and both soloists; Nadine and John did a remarkable job. It was quite an honor to meet Nadine prior to the show and her performance truly blew me away. I only wish that both artists had been able to sing more as their voices were impeccable. The event was beautiful and the skill and technique of the choir and orchestra to stay in tune was remarkable.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hey Chelsey,
I agree with just about everything you posted. I also really enjoyed watching Jerry Blackstone and loved his passion and energy. I also find your comparison of the performance to live theater to be very interesting. Thank you for sharing!
An incredible performance! Although I hadn’t heard Brahms’ German Requiem before, and don’t understand German, I thoroughly enjoyed the dynamic music, glorious choir, and captivating soloists. While I enjoyed the sound of the music and the combination of the choir and orchestra, the aspect of the performance I liked the most was watching the musicians perform. I loved seeing how Jerry Blackstone embodied the energy of the piece when he conducted by moving and singing along, and how the string players of the orchestra moved their bows in unison as they played. I found it similar to seeing live theater in that the audience’s attention was allowed to wander over the stage and focus on different parts of the ensemble during the performance. Overall, I really liked how the different parts of the orchestra and chorus came together to form a cohesive and engaging ensemble that sounded absolutely amazing.
"by Chelsey Satterlee
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Wonderful! The conductor, singers, and musicians were absolutely wonderful. Watching a performance at Hill Auditorium was honestly one of the best moments of my time here at the University of Michigan. The hyperbolic design of the venue really enriched the performance and it was beautiful to hear all the music and passion so clearly, specifically the emotion in the voices of Nadine Sierra and John Relyea. Having the English translation to Brahms’ German Requiem was nice as it allowed us to follow along and make sense of these changes in emotion. Although it was a little awkward for someone like myself—someone who has never experienced a similar performance—to watch Nadine sit on stage not performing for most of the performance, I assume I felt that way because I was hoping to hear more from her as her voice was as beautiful and engaging as she is. Lastly, it was amazing to watch the conductor and see his body shake to the music as if he was possessed by his own creation. Overall, I was very happy with the experience. Shout out to UMS for making it all possible!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
While I didn’t really enjoy the performance as a whole, I did love when Nadine had her solo. I also heard her before the show and it was really cool to hear her sing at two different perspectives.
After hearing Nadine sing a snippet a little bit before the show, I knew I was in for a treat and I was not let down. The show was phenomenal and breath taking. The dynamic between the singers and the orchestra was great, wish I could see the show again! It was beautiful. Also, loved watching the conductor, I very much admire their creative instruction of the performance.
"by Lauren Reeves
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I wasn’t a huge fan of this performance. I am able to appreciate what the performers did, but overall I was just bored. It was a really long show with no breaks. As somebody who does not go to these types of events, it all sounded the same to me. I had no motivation to read along with the words in my program either. The whole show was a blur to me and I couldn’t wait to leave. However, I did love the auditorium. The atmosphere was amazing and the sound was really good. One thing that I thought was really strange, however, was that the second the performers stopped to move to the next movement, the place erupted in coughing. I don’t understand how everybody held them in for so long. It was pretty funny.
Qawwali: More Familiar Than You Think:
Максим
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Mehgha!
I had the same thought process as I entered Hill. I definitely agree that it was the perfect venue for Brahms’ Requiem; everything about the performance was so rich! I also agree about Nadine: I think she was absolutely incredible, but I wish we would have been able to hear more of her!
Also, I agree that the music was captivating, regardless of my lack of German language knowledge. This particular style didn’t strike me as a language barrier since we had the translated lyrics in the program book. It didn’t bother me like it did for the previous Asif Ali Khan performance, where we weren’t given much explanation of the songs.
Grandiose! Majestic! Formal! These are just a few of the words that entered my mind as I settled into Hill. I had been inside Hill before for a cultural performance but the Brahms German Requiem seemed more appropriate to be seen at Hill. After meeting Nadine Sierra, I had some insight into what the show would be like and sound like. I’m not quite sure how many people were in the chorus, but the synchronized harmonies of so many people blended so well to create a smooth and pleasant sound, I was in awe. Then, my favorite movement, the soprano solo commenced. Regardless of the fact I had no knowledge of the language, it was so captivating. Nadine mentioned how opera singers do not wear microphones but her sound was so big and full, it was hard to believe there was no mic. That was real talent!
"This performance definitely fit the space it was in. The big ensemble, grand sounds, and the rich history around the piece fit well around the rich setting of Hill, as well as it’s rich history. There was a congruence that I appreciated.
My one and only critique od the performance was that I wish we were able to revel in the soloists voices a little more. I had never heard anything like it before and I enjoyed it so much that I could have heard an entire concert of just Nadine and John. Overall, a fantastic performance and production put on by UMS!
by Mehgha Shyam
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
BRAVO! Brahms’ Requiem was, by far, my favorite performance I have seen. So many aspects of this performance made it one to remember.
Nadine was absolutely incredible. It was definitely helpful to have met her the day before. As she was singing, I could remember parts of her story that she shared with us; it made the performance that much more special. I definitely felt more personally connected with the performance. The only thing about Nadine is that I wanted to hear her sing more!
Also, it was so interesting to actually hear the different parts of the music that we discussed in class (I was proud of myself for recognizing it during the performance). I am really happy I learned the history behind Brahms’ Requiem. Seeing the video of how the chorus and orchestra prepare increased my appreciation for the show. I was also happy that Hill Auditorium was chosen for this show in particular because the richness of the pieces in combination with the richness of Hill only contributed to the overall lavishness of the performance.
Lastly, I was really happy to see the translations of the songs in the program booklet. It helped in my understanding of the performance, which allowed me to fully appreciate the show.
I just want to say a big thanks to UMS for putting on this production – it was truly fantastic!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I too feel very privileged every time I attend a concert in Hill! It really adds to the concert experience to know before even getting to your seat that you will have an unobstructed view of the performers and a great sound because of the amazing acoustics. Hill really is one of many gems in Ann Arbor!
Beautiful sights and sounds all around last night. I love and am grateful for every opportunity I have to be in Hill Auditorium, especially when the performance is as powerful as the Brahms’ Requiem was. I find it so beautiful to see and hear so many artists working together to create such magical work; makes my soul happy.
"by Kristen Donovan
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
The concert witnessed by a pretty full house at Hill Auditorium on Friday evening was a masterpiece. Albeit the concert was fairly long and didn’t engage me for brief moments throughout, all seven movements were beautifully played and sung by the AASO and UMS Choral Union, as well as the talented Baritone and Soprano soloists. I was most entertained by the 2nd movement in which the powerful timpani solo leading up to the massive chord sung by the Chorus was unbelievably impactful. Another aspect of the concert I thoroughly enjoyed was watching the conductor Jerry Blackstone. He was so animated during the 6th movement, even jumping on the podium! I though that Nadine’s performance was wonderful. She really did make singing unamplified to 3,000+ people look effortless by rarely looking at her music and displaying facial expressions that fit the sorrowful yet hopeful 5th movement. Although I, along with others around me, was a bit put off by the Baritone soloist not accepting Blackstone’s hand during the bows, the performers received a well-deserved standing ovation for their masterful exhibition of Brahms’s Opus 45.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
An incredible performance! Although I hadn’t heard Brahms’ German Requiem before, and don’t understand German, I thoroughly enjoyed the dynamic music, glorious choir, and captivating soloists. While I enjoyed the sound of the music and the combination of the choir and orchestra, the aspect of the performance I liked the most was watching the musicians perform. I loved seeing how Jerry Blackstone embodied the energy of the piece when he conducted by moving and singing along, and how the string players of the orchestra moved their bows in unison as they played. I found it similar to seeing live theater in that the audience’s attention was allowed to wander over the stage and focus on different parts of the ensemble during the performance. Overall, I really liked how the different parts of the orchestra and chorus came together to form a cohesive and engaging ensemble that sounded absolutely amazing.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I completely agree! I loved watching how his body moved with the different dynamics of the piece and how it reflected the different tones of the movements. I found him completely engaging and his excitement and energy helped me connect with the performance more.
Watching Jerry Blackstone conduct was as much a part of the wonderful experience as listening to the CU, the orchestra and the soloists. A fabulous performance.
"by Julie Smith
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I had many of the same impressions as you did. I was vaguely dreading the idea of listening to a long piece of classical music called “Requiem,” and I had similar preconceptions about opera singers.
Having the translations at hand was also helpful for me–it provided a way to follow along with comprehend the piece, and to stay engaged throughout.
I, too, was impressed with the singing of the chorus and with the soprano and baritone singers–and I, too, am very happy I went to this performance.
Stereotypes were broken at the Brahm’s Requiem performance. To start, when I heard that this was going to be a classical music performance, I cringed at the thought of having to listen to that for 2 plus hours of it. It didn’t help when I heard the name, Brahm’s Requiem. Requiem. Was this going to be depressing? Finally, when I heard there was going to be an opera singer, I expected the singer to be a big, older woman. Boy was I surprised when we met Nadine, and I am so happy that we did. To hear her sing the day before got me very excited for the performance and made me second guess all the assumptions I had made. At the performance, all my generalizations were proven wrong. The music, although definitely classical, had so much variety and emotion. I was glad that we got the translations because it helped me relate to the songs. Regardless, the emotion that was betrayed by all the performers, especially by Nadine and John, allowed me to understand the overall meaning of the songs. Having the Choral Union sing as well made the performance even more enjoyable for me. I was astonished by their talent, and they were a great compliment to Nadine and John’s solos. Overall, I am very happy I went to this performance, not just because of how beautiful the music was, but also because it taught that I should not make rash generalizations about performances before seeing it first.
"by Mikenzie Ginsberg
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Initially, I was intimidated at the thought of sitting through an hour plus classical music performance about death. In previous classical music performances I’ve been to, I’ve sometimes felt engulfed in a wall of sound, unable to distinguish between different parts and therefore left bored and/or waiting for the end of the performance.
Luckily, this performance was far more engaging than those previous performances, and I credit that with the preparation we were given in class (University of Michigan’s “Engaging Performance” class). First, it was helpful to learn the background of the piece—that is was a non-religious piece with religious themes dedicated to the mourning of Brahm’s mother’s death. Secondly, it was helpful to meet Nadine Sierra—having talked to one of the show’s stars and learned about her background piqued my interest in the fifth movement of the piece. Lastly, watching the video in class about the chorus’s preparation before their performance enhanced my appreciation of the effort that goes into synchronizing the different parts of an orchestra.
Overall, I enjoyed Brahm’s Requiem, and I credit much of that enjoyment to being vaguely well-informed about the production prior to attending the show.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Elise! I also really enjoyed this performance because of the grand majestic sounds I had not heard in any performance before. Even though, I could not understand the words, I could feel the emotion through their voices. It was an amazing to see! I agree the soloists were incredible. I just wish we could have heard more of them but overall it was a very enjoyable performance!
Outstanding! Every time I hear the UMS Choral Union sing, I am impressed. The majestic tone to their voices created a projection of music that washed over you and filled you with the emotion of the song, especially in Hill Auditorium. Plus, the soloists, Nadine Sierra and John Relyea, were amazing!
This was my first time hearing Brahms’s German Requiem and I tried to follow along with the words. Knowing what was being said helped me to hear the changes in emotion throughout the piece and better understand the music. When they sang, “Joy, eternal joy, shall be upon their heads,” the music was peaceful and happiness filled the auditorium. Yet, when they sang, “They go forth like shadows and give themselves great anxiety in vain,” the music sounded like it was the end of the world and that all sadness had consumed us. Hearing these different emotions in correspondence with the lyrics was intriguing! I can’t express in words how much I enjoyed the performance!
"by Elise Huber
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Grandiose! Majestic! Formal! These are just a few of the words that entered my mind as I settled into Hill. I had been inside Hill before for a cultural performance but the Brahms German Requiem seemed more appropriate to be seen at Hill. After meeting Nadine Sierra, I had some insight into what the show would be like and sound like. I’m not quite sure how many people were in the chorus, but the synchronized harmonies of so many people blended so well to create a smooth and pleasant sound, I was in awe. Then, my favorite movement, the soprano solo commenced. Regardless of the fact I had no knowledge of the language, it was so captivating. Nadine mentioned how opera singers do not wear microphones but her sound was so big and full, it was hard to believe there was no mic. That was real talent!
This performance definitely fit the space it was in. The big ensemble, grand sounds, and the rich history around the piece fit well around the rich setting of Hill, as well as it’s rich history. There was a congruence that I appreciated.
My one and only critique od the performance was that I wish we were able to revel in the soloists voices a little more. I had never heard anything like it before and I enjoyed it so much that I could have heard an entire concert of just Nadine and John. Overall, a fantastic performance and production put on by UMS!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I agree that Hill Auditorium was a great place for this performance to take place. I was especially excited to see the performance take place there after getting a tour of the auditorium the week before. Hearing about the history of it and knowing about all the sound dynamic that was created intentionally by the architects made me appreciate how well projected all the music was at Brham’s Requiem. Hill Auditorium was created so that even a person talking at a normal volume could be heard at the top row, but to have an opera performance, which is already so loud, allowed everyone to appreciate the strength of their voices no matter where they were seated.
When I went to Brahms Requiem, I was not fully sure as to what to expect as I knew that this night was to be a new experience for me unlike anything I had seen before. I felt that the overall show was very well done, and I especially enjoyed the solo pieces by Nadine and John. It seemed clear to me that both of them had mastery over their vocations and their excellence made this event a treat to watch. While they made it look easy, it was clear that we were witnessing the fruits of tremendous practice. The blending of the Ann Arbor Symphony Orchestra with the voices of the UMS Choral Union created a powerful sound which moved many members of the audience and provided the solid foundation for the soloists. I felt that the music director was amazing, and that it was due to his tremendous efforts that all these distinct elements were able to combine together in melodious harmony. I thought it was a remarkable choice to place this event in the Hill Auditorium; in this location, a penny dropped a foot above the ground on the center stage could be heard clearly in the seats furthest away from the stage. While this fact did make the inevitable coughs and moving of chairs travel loudly to the stage, I felt that this unique location erased the great physical distance and allowed me to feel as if I was seated beside the performers as they played.
"by Harshavardhan Patankar
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Stereotypes were broken at the Brahm’s Requiem performance. To start, when I heard that this was going to be a classical music performance, I cringed at the thought of having to listen to that for 2 plus hours of it. It didn’t help when I heard the name, Brahm’s Requiem. Requiem. Was this going to be depressing? Finally, when I heard there was going to be an opera singer, I expected the singer to be a big, older woman. Boy was I surprised when we met Nadine, and I am so happy that we did. To hear her sing the day before got me very excited for the performance and made me second guess all the assumptions I had made. At the performance, all my generalizations were proven wrong. The music, although definitely classical, had so much variety and emotion. I was glad that we got the translations because it helped me relate to the songs. Regardless, the emotion that was betrayed by all the performers, especially by Nadine and John, allowed me to understand the overall meaning of the songs. Having the Choral Union sing as well made the performance even more enjoyable for me. I was astonished by their talent, and they were a great compliment to Nadine and John’s solos. Overall, I am very happy I went to this performance, not just because of how beautiful the music was, but also because it taught that I should not make rash generalizations about performances before seeing it first.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Lorraine,
I like your optimistic view of the oboist cleaning his instrument. I have heard many people say that it was distracting, but I agree with you completely: it is part of the live performance experience! Plus, he wasn’t making any sound to disturb the music, so I don’t think there is anything wrong with him cleaning his instrument, especially if it helps him to play better!
this was a wonderful performance. I thought that the two soloists were spectacular. I actually enjoyed watching the oboist cleaning his instrument — to me that is part of the immediacy of live music (instead of listening to a recording).
"by lorraine gutierrez
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Outstanding! Every time I hear the UMS Choral Union sing, I am impressed. The majestic tone to their voices created a projection of music that washed over you and filled you with the emotion of the song, especially in Hill Auditorium. Plus, the soloists, Nadine Sierra and John Relyea, were amazing!
This was my first time hearing Brahms’s German Requiem and I tried to follow along with the words. Knowing what was being said helped me to hear the changes in emotion throughout the piece and better understand the music. When they sang, “Joy, eternal joy, shall be upon their heads,” the music was peaceful and happiness filled the auditorium. Yet, when they sang, “They go forth like shadows and give themselves great anxiety in vain,” the music sounded like it was the end of the world and that all sadness had consumed us. Hearing these different emotions in correspondence with the lyrics was intriguing! I can’t express in words how much I enjoyed the performance!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Yes! The performance was so awesome. It must have been an interesting experience hearing this with a different perfomer than your mom. I feel like it would have been very nostalgic and warming.
Fabulous and uplifting performance — so inspirational! Thank you to everyone — I thoroughly enjoyed myself. My mom sang this work with the CU many moons ago, so she was with me in spirit tonight!
"by Nancy Ogilvie
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
After hearing Nadine sing a snippet a little bit before the show, I knew I was in for a treat and I was not let down. The show was phenomenal and breath taking. The dynamic between the singers and the orchestra was great, wish I could see the show again! It was beautiful. Also, loved watching the conductor, I very much admire their creative instruction of the performance.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Thomas, I completely agree with you that this was a superb performance. I also felt that both soloists “owned the stage” and stole the limelight. The sheer quality of their singing and the length of time for which the soloists performed so beautifully was amazing. I felt that the merged sound produced by both the Orchestra and the Choral Union was the force which truly allowed the soloists to succeed. I felt that we were watching three performances at once: one by the Choral Union, one by the Orchestra, and a separate show put on by the soloists. I felt what made the show truly amazing was the way that, instead of being in conflict with each other, these sounds blended together in harmonious accord. The music director seemed to be the person who was the most responsible for the elegant, beautiful way in which these elements combined, and I felt that a lot of the credit definitely should go to him for his great efforts. I felt that this concert encouraged me to try to be more open to listening to similar types of music in the future; if they did come back, I would probably be one of the first to try to get tickets.
Absolutely spectacular performance of Brahms’ German Requiem by Ann Arbor Symphony Orchestra and UMS Choral Union. The soloists were flawless; Nadine Sierra was stunning, and John Relyea was dynamic and powerful. They both owned the stage during their solos. I would love to see them perform again in concert so please come back! There was also so much emotion and life in the conducting by music director, Jerry Blackstone. Watching him lead the orchestra and the choral was unbelievably thrilling. Thank you, UMS, for this performance.
"by Thomas Choi
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
When I went to Brahms Requiem, I was not fully sure as to what to expect as I knew that this night was to be a new experience for me unlike anything I had seen before. I felt that the overall show was very well done, and I especially enjoyed the solo pieces by Nadine and John. It seemed clear to me that both of them had mastery over their vocations and their excellence made this event a treat to watch. While they made it look easy, it was clear that we were witnessing the fruits of tremendous practice. The blending of the Ann Arbor Symphony Orchestra with the voices of the UMS Choral Union created a powerful sound which moved many members of the audience and provided the solid foundation for the soloists. I felt that the music director was amazing, and that it was due to his tremendous efforts that all these distinct elements were able to combine together in melodious harmony. I thought it was a remarkable choice to place this event in the Hill Auditorium; in this location, a penny dropped a foot above the ground on the center stage could be heard clearly in the seats furthest away from the stage. While this fact did make the inevitable coughs and moving of chairs travel loudly to the stage, I felt that this unique location erased the great physical distance and allowed me to feel as if I was seated beside the performers as they played.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Yes! Last night defiantly reminded me of playing in my middle school and high school orchestras. I haven’t played since graduation! One time, we tried to play with my school band for a concert. It really made me appreciate last night and how difficult it must have been for the orchestra, choir, and soloists to all stay together on the same beat.
Last night was incredible! Nadine Sierra did an absolutely amazing job with the soprano solo, the way she makes it look so effortless is astounding! But did anybody else miss the days of high school band and choir after watching that show last night?! I know I did!! The blend, balance, and even the overall acoustics in Hill were wonderful, and to think there were no microphones on anyone that I could see! Overall, the performance was a great experience and I look forward to seeing more works by both groups in the future!
"by Christie Parkinson
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
No kidding! I felt the same way! When I watched his energy rise during the crescendos, I couldn’t sit still in my seat. I loved the soloist too especially the powerful voice of the bass-baritone (John Relyea). He was perfect for the Requiem.
Watching Jerry Blackstone conduct was as much a part of the wonderful experience as listening to the CU, the orchestra and the soloists. A fabulous performance.
"by Julie Smith
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Absolutely spectacular performance of Brahms’ German Requiem by Ann Arbor Symphony Orchestra and UMS Choral Union. The soloists were flawless; Nadine Sierra was stunning, and John Relyea was dynamic and powerful. They both owned the stage during their solos. I would love to see them perform again in concert so please come back! There was also so much emotion and life in the conducting by music director, Jerry Blackstone. Watching him lead the orchestra and the choral was unbelievably thrilling. Thank you, UMS, for this performance.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I couldn’t agree more that Hill was an excellent choice of venue for this performance! It really helped acoustically with how many people were packed on that stage! I also appreciated the lyrics being provided. It definitely helped break down some of the language barrier.
I thought that Nadine Sierra was absolutely amazing! My only wish was that she sang more! Before tonight, I had never been to a concert that combined singing with orchestra music. I thought that everything sounded very nice together, and that Hill Auditorium was the perfect space for the performance.
I really appreciated that UMS provided the translations of the lyrics. Even though I did not follow along word for word, I liked being able to read what the song was about because it helped me understand the tone. I attended the Asif Ali Khan concert a couple weeks ago, and I found the language barrier very difficult. Having the translation made it much easier to stay engaged.
"by Emma Bunin
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Last night was incredible! Nadine Sierra did an absolutely amazing job with the soprano solo, the way she makes it look so effortless is astounding! But did anybody else miss the days of high school band and choir after watching that show last night?! I know I did!! The blend, balance, and even the overall acoustics in Hill were wonderful, and to think there were no microphones on anyone that I could see! Overall, the performance was a great experience and I look forward to seeing more works by both groups in the future!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
I thought that Nadine Sierra was absolutely amazing! My only wish was that she sang more! Before tonight, I had never been to a concert that combined singing with orchestra music. I thought that everything sounded very nice together, and that Hill Auditorium was the perfect space for the performance.
I really appreciated that UMS provided the translations of the lyrics. Even though I did not follow along word for word, I liked being able to read what the song was about because it helped me understand the tone. I attended the Asif Ali Khan concert a couple weeks ago, and I found the language barrier very difficult. Having the translation made it much easier to stay engaged.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Concert was fantastic. Loved everything about it. Only problem was Thayer parking. We arrived in plenty if time and I also have handicapped permit. Attendants told us there were no handicapped spaces and continuously let people into garage when it was clearly full. We were one if at least 50 cars let in with no spaces. At the top of structure, we were told to go over to Fletcher. By this time, we were only 10 minutes from performance. There’s got to be a better way.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
this was a wonderful performance. I thought that the two soloists were spectacular. I actually enjoyed watching the oboist cleaning his instrument — to me that is part of the immediacy of live music (instead of listening to a recording).
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Hi Lydia,
I also found the oboe player to be distracting as he cleaned his instrument. I had to focus on NOT focusing on him because it took me out of the power of the overall performance when I found myself staring at him. But I agree that the performance as a whole was incredible and the two soloists were breathtaking.
Incredible performance. Enjoyed every minute of the CU singing and the orchestra except for the oboe player front and center who was eternally cleaning his instrument. Realize oboes are touchy to play and he did a great job with his solos but it was distracting to see him pulling the cleaning cloth every 3 minutes. Kudos to the two soloists. Hope they’ll be back.
"by Lydia Bates
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Beautiful sights and sounds all around last night. I love and am grateful for every opportunity I have to be in Hill Auditorium, especially when the performance is as powerful as the Brahms’ Requiem was. I find it so beautiful to see and hear so many artists working together to create such magical work; makes my soul happy.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Wonderful performance. Very moving. I think the conductor should have had a separate recognition for the wind section, esp. the principal flutist. She was amazing. The CU was superb.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Watching Jerry Blackstone conduct was as much a part of the wonderful experience as listening to the CU, the orchestra and the soloists. A fabulous performance.
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
AMAZING performance! Please do this one again UMS!!! I didn’t hear one flaw the entire performance, everyone was great. Thanks!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Fabulous and uplifting performance — so inspirational! Thank you to everyone — I thoroughly enjoyed myself. My mom sang this work with the CU many moons ago, so she was with me in spirit tonight!
People Are Talking: UMS presents Brahms’s German Requiem at Hill Auditorium:
Incredible performance. Enjoyed every minute of the CU singing and the orchestra except for the oboe player front and center who was eternally cleaning his instrument. Realize oboes are touchy to play and he did a great job with his solos but it was distracting to see him pulling the cleaning cloth every 3 minutes. Kudos to the two soloists. Hope they’ll be back.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
The show was excellent and I’m also disappointed they didn’t play longer. I got the feeling most people were not very pleased. Not an appropriate venue to give MSC, yet another award. It was all unnecessary and very annoying.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
This concert was a major disappointment for my family. The music was lost in the self absorbed award show and scheduled fundraising event to follow that hollowed out the concert and cut it short. I will not be back again to sit through award banter and artists rushing off to the next event. This has been my #1 concert every year and making the long trip to Ann Arbor has been rewarded in the past. 4 prime tickets for this. Not again. The talent present on that stage was wasted by the leadership giving themselves awards and accolades on that stage.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
Let me add no concert I ever been to has lasted one hour. Maybe 1.5 hours at least. And at the prices you charge we deserve more! You included the awards in that time screwing us over. You promised us a 2 hour show. I understand there maybe a 20-30 min intermission. and did not provide us with that. Nor did you try to call us back in when there was a encore because of errors on your part. This awards thing should have happened at the gala. Because really, I could care less that U of M / UMS is giving an award. I am here for the music. You guys act like your hot stuff like the National Academy of Recording Arts and Sciences of the United States who gives out the Grammy’s, plus I paid for a 2 hour concert not an award show which I do not watch on TV, so why would I want to see it in person?
Hi everyone,
Ken Fischer here, president of UMS. Thanks for your feedback.
The intention of both the orchestra and UMS was to have the performance duration be similar to prior years (with UMS’s award presentation extending the duration of the event). The award presentation did not take the place of otherwise scheduled music. The orchestra has shared their set list with us — please find the full list below. At the end of the concert, prior to the intended encore, the house lights were raised partially and many audience members began to leave. We think that the encore selection may have suffered from the confusion that ensued.
We tremendously value your feedback and your support of Wynton Marsalis and the Jazz at Lincoln Center Orchestra. Our sincerest apologies if this event fell below some of your expectations. We will aim to do better in future seasons.
Sincerely,
Ken Fischer
–
Set list:
JLCO with Wynton Marsalis
March 30, 2014 at 4 pm
Buddy Bolden
Lawd Lawd Lawd
“Jelly Roll” Morton
Smokehouse Blues
Morton
Dead Man Blues
Duke Ellington
New Orleans Suite: Portrait of Wellman Braud
Ellington
Old Man Blues
Ellington
Lady of the Lavender Mist
Kenny Burrell (from Kenny Burrell & John Coltrane)
Lyresto
Joe Raposo
Bein’ Green
Ellington/Billy Strayhorn
Deep South Suite: Happy Go Lucky Local
———–
Encore:
Wynton Marsalis
"Where Y’All At
by Ken Fischer
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
What a disappointment- the music was great, the show much too short and the speeches total unnecessary or if that important, could have been done at the beginning with a longer concert. And Wynton really did not play that much.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
The interaction between each and every member of the orchestra as each piece progressed was as interesting as hearing the orchestra swing! An amazing study in communicating. We felt that they granted us, as audience members, the privilege of being included in the performance rather than just sitting there!
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
Absolutely furious at the way the short show was interrupted to afford FoMoCo a platform, and to gush over Mary Sue.
UMS: how dare you abuse those who paid to see the show with suchj an extended and unwelcome interruption?
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
Mr. Fischer, thanks for the reply.
I’d like to say, however, that I’ve been attending every Wynton/LCJO concert at Hill Auditorium since 2006 – and none were ever this short.
Usually they were on Thursday nights from 8:00 pm to 10:00 pm with a short intermission half-way through, or a continuous show from 8:00 pm to 9:30 pm – but never have they only played just a little over an hour.
If this is the new “normal” then I’ll save my money from now on.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
Last year he played behind the piano then came out. This year he stopped and left. I saw picture taken and lights came up and thought that was it. An announcement should have been made as we hung around for a Few and slowly took the long way out no one played or announced. He did play longer songs last time though. The speech was way too long. I was very disappointed in How it was handled.
Hi everyone,
Ken Fischer here, president of UMS. Thanks for your feedback.
The intention of both the orchestra and UMS was to have the performance duration be similar to prior years (with UMS’s award presentation extending the duration of the event). The award presentation did not take the place of otherwise scheduled music. The orchestra has shared their set list with us — please find the full list below. At the end of the concert, prior to the intended encore, the house lights were raised partially and many audience members began to leave. We think that the encore selection may have suffered from the confusion that ensued.
We tremendously value your feedback and your support of Wynton Marsalis and the Jazz at Lincoln Center Orchestra. Our sincerest apologies if this event fell below some of your expectations. We will aim to do better in future seasons.
Sincerely,
Ken Fischer
–
Set list:
JLCO with Wynton Marsalis
March 30, 2014 at 4 pm
Buddy Bolden
Lawd Lawd Lawd
“Jelly Roll” Morton
Smokehouse Blues
Morton
Dead Man Blues
Duke Ellington
New Orleans Suite: Portrait of Wellman Braud
Ellington
Old Man Blues
Ellington
Lady of the Lavender Mist
Kenny Burrell (from Kenny Burrell & John Coltrane)
Lyresto
Joe Raposo
Bein’ Green
Ellington/Billy Strayhorn
Deep South Suite: Happy Go Lucky Local
———–
Encore:
Wynton Marsalis
"Where Y’All At
by Ken Fischer
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
Hi everyone,
Ken Fischer here, president of UMS. Thanks for your feedback.
The intention of both the orchestra and UMS was to have the performance duration be similar to prior years (with UMS’s award presentation extending the duration of the event). The award presentation did not take the place of otherwise scheduled music. The orchestra has shared their set list with us — please find the full list below. At the end of the concert, prior to the intended encore, the house lights were raised partially and many audience members began to leave. We think that the encore selection may have suffered from the confusion that ensued.
We tremendously value your feedback and your support of Wynton Marsalis and the Jazz at Lincoln Center Orchestra. Our sincerest apologies if this event fell below some of your expectations. We will aim to do better in future seasons.
Sincerely,
Ken Fischer
–
Set list:
JLCO with Wynton Marsalis
March 30, 2014 at 4 pm
Buddy Bolden
Lawd Lawd Lawd
“Jelly Roll” Morton
Smokehouse Blues
Morton
Dead Man Blues
Duke Ellington
New Orleans Suite: Portrait of Wellman Braud
Ellington
Old Man Blues
Ellington
Lady of the Lavender Mist
Kenny Burrell (from Kenny Burrell & John Coltrane)
Lyresto
Joe Raposo
Bein’ Green
Ellington/Billy Strayhorn
Deep South Suite: Happy Go Lucky Local
———–
Encore:
Wynton Marsalis
Where Y’All At
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
Given the universal disgust here with the heavy-handed nature of the award presentation and the truncated concert length, is anyone from UMS going to address this publicly, either here on this forum or elsewhere?
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
The 20 minute presentation disrupting the concert made this overall a very poor experience. for the price paid, the value was not there considering that this was a 70 minute concert and 20 minutes of that were presentations. Then to leave the concert and have some protest group outside with a bullhorn yelling at us as we were leaving? really? Sorry UMS, we will not be back based on this horrible experience.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
I also feel disappointed and ripped off.
usually there’s a two hour show with intermission, or, a one-and-a-half hour show with no intermission.
Last night however, there was a one-and-a-half hour show with a very long intermission – and then no Encore at the end because the rush to get to the gala.
I regret spending $150 on tickets, and feel ripped off…
Will not attend in the future.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
I agree with all the comments I have read. The presentations were badly done and boring, and the music way too short. They played one encore with three musicians after the audience was on their way out. Impolite and unfriendly. Were they in a rush to get to the Gala?
Also I didn’t like the basketball scores (I am an MSU fan).
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
We also drove an hour and a half to attend a two-hour concert and were not happy to be required to sit thru self-congratulations. The music itself was superb.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
The show was great! I enjoyed Wynton Marsalis and the Jazz at Lincoln Center Orchestra just as much as I have at previous shows. However, I agree with the general sentiment that the awards were overly boastful and unnecessarily long. The added gala at the end may have been nice for those who paid for it, but it’s shouldn’t have limited the length of the actual show. It seemed pretty clear that UMS set the timing. The lights raised as soon as the band got up to leave which I think contributed to only a brief encore performance. I saw the 60 Minutes segment too – it was a nice ending to the evening!
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
You are right on point,the show was much shorter than last years.We drove from Lake Orion and felt cheated
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
The presentation was at the expense of the music. Couldn’t this have been done at another time, or perhaps in the parking garage?
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
I think the general consensus is that there could have been a few more songs. Came home to see Michigan edged by Kentucky. But all was not lost! Wynton Marsalis was a reporter on the last segment of 60 Minutes. He interviewed his piano player, Marcus Roberts, who is blind ( but was not at Hill today). The story lifted my spirits and reminds us of how lucky we are to have our eyesight and how much some people can do without it. Marcus Roberts even paid tribute to Toledo’s Art Tatum, the greatest jazz pianist of all time. We have been very lucky to see Wynton Marsalis so many times and all the incredible musicians he brings with him. I saw his Dad one time and he was in awe of our Pistons of 2003-2004. Better days lie ahead!
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
I always love seeing Wynton and the JLCO, but felt the music was truncated by the awards ceremony. Really would have liked a bit more music afterwards.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
I agree completely with these comments.
The music was magnificent but the performance was listed as 2 hours. With the speeches, it barely cleared 1:30.
While the musicians entirely deserve this recognition, the speeches changed the mood of the event for my guests and me. We left wondering why the performance ended so strangely and so early.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
I was not clear Rachelle, I am not blaming Wynton Marsalis, UMS is fully to blame for this in my eyes. They paid for him to be there and Bs’ed for part of the time they paid him to perform.
I fully blame UMS for this faux pas. I’m sure JLCO was only doing as they were told to end at a certain point to facilitate the gala starting on time. Very annoying and disappointing for those of us who did not purchase a ticket to hear awards for 20 plus minutes.
"by Rachelle
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
I fully blame UMS for this faux pas. I’m sure JLCO was only doing as they were told to end at a certain point to facilitate the gala starting on time. Very annoying and disappointing for those of us who did not purchase a ticket to hear awards for 20 plus minutes.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
I agree with both of you all I heard was bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla bla after two minutes. Think about what happened to the concert I paid for for myself and my friend.
You guys my not realize there is a $350 per person after glow and it could have been done at that not at a concert.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
The music part was great, but the at least twenty minute award was unneeded and could have been saved for the after glow people.
I was very disappointed the concert was 1:10. I feel like I was robbed. I read it was 4p-6p for the concert and 6p-? for after glow. I just wanted a concert. I did not pay for the Grammys. You gues acted like you were world class org giving out an award worthy of grammys and you are not. You wasted my time. I drove from Farmington area, paid hard earned money to get one hour an 10 minute music and no encore this time soo sad. Maybe Wynton should play somewhere lese next year.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
I agree, Howard. The show was excellent, but the self-congratulatory corporate blather could have been gotten out of the way before the concert actually started. It was annoying enough and such an interruption that it nearly ruined the entire afternoon.
People Are Talking: UMS presents Jazz at Lincoln Center Orchestra with Wynton Marsalis at Hill Auditorium:
Great playing but the show was too short. The presentations took too much time away from the music.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
As a not-at-all famous mezzo-soprano, I purchased tickets to hear how a couple pieces of my college repertoire really should sound–and was enthralled. Ms. Erraught’s pure joy in making music shined through in each piece. And to turn Hill into an intimate recital hall was a feat, while at the same time graciously complimenting us on the facility!
People Are Talking: UMS presents Asif Ali Khan Qawwali Ensemble at Rackham Auditorium:
Of course, our responses to an event like this are subjective, so I can fully respect your view, and am glad you enjoyed the show so thoroughly. Nevertheless, I still feel the performers could have done more to include those of us not from their culture.
I also understand that people’s reactions to volume in music can also be subjective, as well as that where one is sitting in the hall affects what and how we hear. So, let me be specific — my son and I were sitting on the right side, seven rows back from the front, near the speakers on that side. My son has a decibel counter on his phone and since the music was uncomfortably loud for him, he checked the level. He told me afterwards that he can not be sure that his reading was professionally accurate (since neither he nor his equipment are professional) but the reading he got was 86 — which is one decibel higher than the limit past which protective equipment is required for people working in such an environment. So, even if his reading was somewhat high, where we were sitting, for us, it was loud, and unpleasantly so. Clearly, we were not the only ones who felt that way, as an earlier comment in this thread tells of people needing to leave because of the volume. If I was going to a rock concert, and I was sensitive to volume, I would know not to choose seats close to the front. I did not expect to have that concern at this event.
This was our first experience of live Qawwali and we thoroughlly enjoyed the dynamic and inspiring performance. The ensemble displayed remarkable expertise in following-the-leader, and most of the audience was spontaneously clapping along throughout the show. It’s amazine to read comments saying it was too loud or not “immersive”…we experienced the volume as pleasant and the overall spirit as integrative (despite some non-English banter). FWIW, I think that Scott Asheton would have loved it!
"by Eddie Korczynski
People Are Talking: UMS presents Israel Philharmonic Orchestra at Hill Auditorium:
We are both extremely grateful to have had the opportunity to hear the Israel Philharmonic perform the Bruckner Eighth Symphony at Hill Auditorium ten days ago. For each of us, the Eighth has always been a deeply profound, moving and spiritual experience. This was a superb performance with a mature interpretation of this truly magnificent musical offering. We did not want each of the movements to end, especially the Scherzo and the Finale. Given the rarity of programming this piece, it was an extraordinary experience to hear the symphony performed in concert.
Sincere thanks are due to Ken Fischer and his colleagues at the Musical Society for their role in bringing the Israel Philharmonic and this Bruckner performance to Ann Arbor.
With much appreciation, Gordon and Elaine Didier
People Are Talking: UMS presents Asif Ali Khan Qawwali Ensemble at Rackham Auditorium:
I share the same opinion as this was my first Qawwali performance as well. I thought the music was very lively and energetic! Yet I also shared that unfamiliarity with it being in a language that I do not understand. It was very interesting to see the audience react to the songs though, and everyone was able to clap and dance along!
Ok this was my first experience of Qawwali and honestly I loved it! I thought the music was fantastic and would love another opportunity to see it. From the word go, I just wanted to clap along. Honestly the only thing I could possibly complain about was that it was in a language unfamiliar to me and while other laughed at some things and seemed to respond to something else that he said (especially during the 3rd or 4th piece) I just felt lost. However, this is something I would definitely pay to see again!
"by Hannah O.
People Are Talking: UMS presents Asif Ali Khan Qawwali Ensemble at Rackham Auditorium:
Before the performance, I searched YouTube for a preview of what to expect for the show and was not expecting to enjoy the show. Whichever songs I listened to were very slow, and difficult for me to get into. Therefore, I walked into Rackham with a somber mentality, thinking more about what I have to do after the concert. I couldn’t have been more wrong about the excitement of Qawwali though. Everything was so much more lively and upbeat than I had anticipated. The music was definitely different than anything I had ever listened to, but it was a nice and refreshing different. I was intrigued by the harmonization between all of the men’s voices, and the incredibly wide vocal range they portrayed. I also found it interesting how sometimes there would be two people playing the harmonium; one person playing the keyboard, and another person moving the pump. In all honesty, however, I was not able to stay awake during the entire performance, despite the energy. This does not mean it was a bad performance, or I was not interested in it, but more so that I have been averaging three hours of sleep for the past week. The performers did a fantastic job of engaging their audience.
Professor Farina Mir mentioned how the group feeds off of the audience’s reactions, but I feel it was more of a mutual exchange. Unlike me, a good majority of the audience was familiar with Qawwali and knew the songs. It seemed like Asif Ali Khan was rekindling the flame of their past, reminding them of songs they once loved. The group of people in front of me in particular were clapping, dancing, and shouting throughout the entire performance, as it resonated with them so well. This energy from the audience brought even more dynamic to the stage. I’ll admit, it was a little strange being on the other side, not understanding the language, songs, or references, so I focused my attention on other aspects that we talked about in class. I listened for the typical five or seven beats that Arabic music goes off of as opposed to the eight that western music generally has, however I could not hear it. I also could not tell whether or not the group was improvising, as they would all quiet down, and pick up the volume and tempo at the same time. All in all, I enjoyed the music and the energy that the audience was radiating.
People Are Talking: UMS presents Asif Ali Khan Qawwali Ensemble at Rackham Auditorium:
This was our first experience of live Qawwali and we thoroughlly enjoyed the dynamic and inspiring performance. The ensemble displayed remarkable expertise in following-the-leader, and most of the audience was spontaneously clapping along throughout the show. It’s amazine to read comments saying it was too loud or not “immersive”…we experienced the volume as pleasant and the overall spirit as integrative (despite some non-English banter). FWIW, I think that Scott Asheton would have loved it!
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
Dear Elizabeth…thanks for writing and sharing your enthusiasm with others. To your point, for the four performance run of “The Suit”, Thursday night was the least well sold of the four performances — Wed, Fri and Sat showings had much fuller audiences than Thu night. So your friend was right, Thu night was the smallest audience. We did not give tickets away to any of the shows. All best.
Absolutely fantastic, there are no other words for performance. Not only is she a beautiful young woman but the voice was astonishing. But she was only one of many outstanding artists you’ve had this year. I loved “The Suit” especially having seen the film at the Michigan Theater that starred Peter Brooks. The evening we went it was crowded, but a friend of mine went on Thursday and said it was very empty and she suspected you were giving away tickets. I don’t believe that and enjoyed every bit of it.
"by elizabeth ong
People Are Talking: UMS presents Asif Ali Khan Qawwali Ensemble at Rackham Auditorium:
I don’t know enough about this music to talk about it in the technical terms you did, but when you said “it is the immersive experience of the music which was lacking” I feel you hit the nail on the head. That’s what I was coming to experience and I was sad that it was missing. Yes, technically, the singing was very impressive, but I felt little heart in it or intention to inspire.
An earlier comment referred to the excessive volume, and I’d have to agree with that also; there was plenty of raw power in their singing, without needing to raise it to that decibel level.
One more point, also referring back to an earlier comment. I too enjoyed seeing people loving to hear their native music. That is very beautiful, and as someone who was not born in this country, and 65 years later still delights in hearing my native tongue and music, I appreciate UMS making it possible for people from other countries to have that same opportunity. But as a Westerner, I did not feel much addressed or included by the musicians. Yes, the music should, and did, speak for itself. But I felt left out when Asif Ali Khan introduced songs, when humorous lines were spoken and sung — all of which could have been translated. If I was hearing this concert in Pakistan I would not expect anyone to notice me or go out of their way to include me, but I felt that could have been done here, and i would have felt acknowledged and engaged with as a “minority” member of the audience. Thank you.
Mixed feeling. Was the concert entertaining – yes. Guess it is also hard to cater to an audience so diverse, there was too much vocal gymnastics. But thats what the majority of the audience likes and appreciates. It seemed more like the Bollywood version of Qawwali. The essence of Qawwali/Maqaam music is to bring forth the spirituality in the lyric using a certain “lagaav” or employment of the note in a certain way. That was somewhat absent. The likes of Amir Khusrau, Rumi are hard to grasp anyway, it is the immersive experience of the music which was lacking. Using sargam, taraana style singing is all part of qawwali but it has its distinct flavor, what was demonstrated on stage was what we see these days in run-on-the mill Indian Classical concerts. Man Kunto Maula and Damadam Masta Kalandar are compositions that will drive a listener crazy (in a good way), when done well, they evoke spontaneous reactions from the audience in different ways. No one needs to be told to stand up. Technically, the singers were very gifted, I especially observed their skillful and highly aesthetic transitioning from one raga to another. In the first piece, am not certain but it seemed like gliding from a variation of Yaman/Kalyan to Nand-like patterns, then definitely resting upon Raga Lalat. More like Moorchana style of singing, very deeply rooted in Hindusthani/Dhrupad forms of music – very rarely sung on stage by performers of the day. Feel sad when artists of such high calibre cater a concert to populist tastes. Rigor is good, rigor will reveal most aesthetic possibilities of sound and if the audience is not conditioned enough, it is upon the performers to raise the bar, that is the highest service to one’s art. I would love to listen to the artists’ riyaaz, where am sure they must sing their best…thanks UMS.
"by Sudha Rajderkar
People Are Talking: UMS presents Asif Ali Khan Qawwali Ensemble at Rackham Auditorium:
Mixed feeling. Was the concert entertaining – yes. Guess it is also hard to cater to an audience so diverse, there was too much vocal gymnastics. But thats what the majority of the audience likes and appreciates. It seemed more like the Bollywood version of Qawwali. The essence of Qawwali/Maqaam music is to bring forth the spirituality in the lyric using a certain “lagaav” or employment of the note in a certain way. That was somewhat absent. The likes of Amir Khusrau, Rumi are hard to grasp anyway, it is the immersive experience of the music which was lacking. Using sargam, taraana style singing is all part of qawwali but it has its distinct flavor, what was demonstrated on stage was what we see these days in run-on-the mill Indian Classical concerts. Man Kunto Maula and Damadam Masta Kalandar are compositions that will drive a listener crazy (in a good way), when done well, they evoke spontaneous reactions from the audience in different ways. No one needs to be told to stand up. Technically, the singers were very gifted, I especially observed their skillful and highly aesthetic transitioning from one raga to another. In the first piece, am not certain but it seemed like gliding from a variation of Yaman/Kalyan to Nand-like patterns, then definitely resting upon Raga Lalat. More like Moorchana style of singing, very deeply rooted in Hindusthani/Dhrupad forms of music – very rarely sung on stage by performers of the day. Feel sad when artists of such high calibre cater a concert to populist tastes. Rigor is good, rigor will reveal most aesthetic possibilities of sound and if the audience is not conditioned enough, it is upon the performers to raise the bar, that is the highest service to one’s art. I would love to listen to the artists’ riyaaz, where am sure they must sing their best…thanks UMS.
People Are Talking: UMS presents Asif Ali Khan Qawwali Ensemble at Rackham Auditorium:
Ok this was my first experience of Qawwali and honestly I loved it! I thought the music was fantastic and would love another opportunity to see it. From the word go, I just wanted to clap along. Honestly the only thing I could possibly complain about was that it was in a language unfamiliar to me and while other laughed at some things and seemed to respond to something else that he said (especially during the 3rd or 4th piece) I just felt lost. However, this is something I would definitely pay to see again!
People Are Talking: UMS presents Asif Ali Khan Qawwali Ensemble at Rackham Auditorium:
I enjoyed it more than I expected. In fact I even got into the audience participation. It was great to see how much the audience loved it. Qawwali ideally takes the audience into flight and we nearly accomplished that!
People Are Talking: UMS presents Asif Ali Khan Qawwali Ensemble at Rackham Auditorium:
We loved the music, but it was deafeningly loud and we had to leave. Why was it so heavily amplified? If you are going to amplify to that extent, could you put a warning in the announcement of the performance?
People Are Talking: UMS presents Asif Ali Khan Qawwali Ensemble at Rackham Auditorium:
We thought the concert was fantastic!
It was wonderful to see so many people loving what was obviously familiar music to them.
And we felt invited to the party!
Thanks UMS & Asif Ali Khan for an enchanting evening!
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
Hello again,
I hadn’t finished my note when it somehow was interrupted so if it looks truncated or unfinished please excuse me. I thought she was fantastic and trust my previous note will compliment this one. It can’t replace it as I hadn’t finished and don’t know what got sent.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
Absolutely fantastic, there are no other words for performance. Not only is she a beautiful young woman but the voice was astonishing. But she was only one of many outstanding artists you’ve had this year. I loved “The Suit” especially having seen the film at the Michigan Theater that starred Peter Brooks. The evening we went it was crowded, but a friend of mine went on Thursday and said it was very empty and she suspected you were giving away tickets. I don’t believe that and enjoyed every bit of it.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
Tara Erraught joins many other emerging artists we have heard, thanks to UMS, that have gone on to major careers. We found the concert a complete delight. The commitment and warmth of both singer and pianist was unmistakable, no mean feat in that huge hall. Great plan for a program too–the drama of the opening Haydn mirrored the other operatic pieces at the end of the program, enfolding the more intimate lieder in the middle. Great sense of style in everything, and thoroughly engaging for the whole concert. We’d love to see her return!
People Are Talking: UMS presents Elias String Quartet at Rackham Auditorium:
it is so interesting to me how people can react so differently, I agree about the Kurtag — the fragments meant it never went anywhere, so the grief that the speaker mentioned basically was barely there, as were no other emotions. But I, and everyone I talked to, LOVED the Scottish piece and found it a very beautiful encore.
While I enjoyed the concert and thought very highly of the group, I felt the Kurtag was both a very poor choice in general, and in particular to this program – not because it was “modern” but because it was self-indulgent, emotionally flat and boring. The Elias again showed poor programming skills by following the exquisite Beethoven with a gloomy Scottish piece that nearly destroyed the atmosphere they had so beautifully created just minutes before. I don’t get it. Someone needs to clue them in.
"by paul wiener
People Are Talking: UMS presents Elias String Quartet at Rackham Auditorium:
While I enjoyed the concert and thought very highly of the group, I felt the Kurtag was both a very poor choice in general, and in particular to this program – not because it was “modern” but because it was self-indulgent, emotionally flat and boring. The Elias again showed poor programming skills by following the exquisite Beethoven with a gloomy Scottish piece that nearly destroyed the atmosphere they had so beautifully created just minutes before. I don’t get it. Someone needs to clue them in.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
It was so wonderful! Ms. Erraught’s performance was absolutely stunning, but her joyfulness and charisma were also infectious. Unforgettable evening! Loved every minute.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
I enjoyed this recital so much. I didn’t know the works that Tara Erraught sang, but each set of songs formed a coherent and sometimes dramatic unit which I found very effective. She sings with enormous commitment and joy, totally immersed in the music, and communicates her own passion to her audience. A beautiful voice and a winning personality.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
The encores for the program were:
Danny Boy, Frederic E. Weatherly
Non più mesta from La Cenerentola, Gioachino Rossini
-Mary, UMS
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
Personally, the evening was great with Tara and Dearbhla, both quite accomplished. Tara mesmerized me without my having knowledge of Italian, knowing only a bit of German, and not knowing the pieces. I believe she will become UMS and A2’s upcoming sweetheart. All artists must begin somewhere … and Tara has had quite an outstanding beginning elsewhere.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
Although her voice may not be fully mature, she was a joy, a fresh and delightful joy, to watch and listen to. It is too bad that you left at intermission as you might have enjoyed the second half of the program more–more uplifting and fun. She did shine in that gorgeous bright red gown. And cheers for her accompanist!
Louise
We left along with several others – while I support emerging artists – this was not what we expected. It would have been a perfect fit for a Sunday afternoon concert at a church hall. It was more like a recital her voice was very well-trained and she was very nice, however, it was not a beautiful tone nor was the repertoire particularly interesting. Just how we felt …. Sorry.
"by Andrisa
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
Well, she was billed as a mezzo soprano, so I was certainly expecting a recital. I do think she had a beautiful tone, technique to burn, and so much power, she must blow the roof off the Bavarian State Opera House. Her Cenerentola was pyrotechnic.
We left along with several others – while I support emerging artists – this was not what we expected. It would have been a perfect fit for a Sunday afternoon concert at a church hall. It was more like a recital her voice was very well-trained and she was very nice, however, it was not a beautiful tone nor was the repertoire particularly interesting. Just how we felt …. Sorry.
"by Andrisa
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
I’m a big opera fan, very picky in my opinions about singers, and I thought she was wonderful! I would love to hear her again.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
Very enjoyable evening. For me, it was a pleasant surprise. I was not familiar with any of the works in the program, and I found the Brahms and Wolf songs, both composers I don’t normally turn to, nice to listen to. I may not have the most discerning ear, but I found Tara’s voice very beautiful. A pity that the turnout wasn’t greater, but at least for those of us who were there, we were able to enjoy an evening with a lovely artist.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I loved reading your comment Dyona, and it definitely resonated with me. The electric energy of both groups was my favorite part of the show. Alfredo Rodriguez expended more energy moving his body while playing the piano than anyone I’ve ever seen play before. And Martinez was spreading the energy to the audience by engaging them in clapping along and dancing. I also found the Martinez group’s music to be particularly invigorating. Awesome show!
This was great! Friday’s performance was one of the most lively I’ve seen so far. Both Alfredo Rodriguez & Pedrito Martinez had tons of energy which flowed into the crowd while they played. I enjoyed Rodriguez’s performance the most; I’ve never seen any pianist, jazz or not, play and move so much at once. Though the sound slightly drowned out the singers during the second, I still thoroughly enjoyed watching this beautiful mix of traditional and modern latin jazz music.
"by Dyona Tate
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
We left along with several others – while I support emerging artists – this was not what we expected. It would have been a perfect fit for a Sunday afternoon concert at a church hall. It was more like a recital her voice was very well-trained and she was very nice, however, it was not a beautiful tone nor was the repertoire particularly interesting. Just how we felt …. Sorry.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
Fabulous! We so enjoyed the evening.
People Are Talking: UMS presents Tara Erraught at Hill Auditorium:
This was a positively lovely evening — and I’m not an opera afficiando by a longshot. Ms. Erraught’s sharing of her art and soul in her performance & encores were captivating (and equally so Ms. Dearbhla Collin’s accompaniment).
I’m so grateful. Thank you so much for such a soul-restoring evening.
People Are Talking: UMS presents Elias String Quartet at Rackham Auditorium:
I found their playing to be precise, but strangely emotionless. I think the Debussy, for example, should show some joy and exuberance, and they were so soft and controlled that this wasn’t conveyed to me.
Also, the Kurtag wasn’t the only piece that was, in my opinion, too soft. I kept wondering if we were sitting in a dead spot in the auditorium, but I think not–
UMS Director of Programming Picks Five Notable UMS Debuts:
What a great message to receive at the end of the day. Thanks for the shout out….and for your interest.
Michael
Greetings from Colorado! I’m bored to death at work so I decided to browse your site on myy
iphone duuring lunch break. I really like thhe knowledge you provide
here and can’t wait to take a look when I get home.
I’m amazed at how quick your blog loaded on my cell phone ..
"I’m not even using WIFI, jusat 3G .. Anyways, awesome site!
by Beating Heart Video Beating Heart Lyrics video
UMS Director of Programming Picks Five Notable UMS Debuts:
Greetings from Colorado! I’m bored to death at work so I decided to browse your site on myy
iphone duuring lunch break. I really like thhe knowledge you provide
here and can’t wait to take a look when I get home.
I’m amazed at how quick your blog loaded on my cell phone ..
I’m not even using WIFI, jusat 3G .. Anyways, awesome site!
People Are Talking: UMS presents Elias String Quartet at Rackham Auditorium:
According to their discography on the quartet’s website, I don’t think they have recorded those pieces. http://eliasstringquartet.com/recordings/
Check out violinist Donald Grant’s biography page for mention of other groups he is in, and news of his forthcoming solo album, which may contain folk music.
http://eliasstringquartet.com/biography/donald-grant/
Have they recorded those songs?
"by Ruth
People Are Talking: UMS presents Elias String Quartet at Rackham Auditorium:
I usually like seeing “difficult” contemporary music performed live. The Kurtag not so much. In part because people had trouble hearing it.
People Are Talking: UMS presents Elias String Quartet at Rackham Auditorium:
maybe not but here is a youtube sound file.
https://www.youtube.com/watch?v=3CjOxowAi8Y
Have they recorded those songs?
"by Ruth
People Are Talking: UMS presents Elias String Quartet at Rackham Auditorium:
Da Day Dawn if you want to find it on the internet. here is a sound file on Youtube from another concert. Just beautiful.
https://www.youtube.com/watch?v=3CjOxowAi8Y
This evening’s encores were:
Traditional: Da day don
Donald Shaw: Calum’s Road
Liz Stover
"Associate Programming Manager, UMS
by Liz Stover
People Are Talking: UMS presents Elias String Quartet at Rackham Auditorium:
Have they recorded those songs?
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
Really interesting what you say, Ross, about the interaction between Rodriguez and Slavov. I noticed the cohesiveness as well, and for me, that makes a huge difference. I think there’s a difference between improvisation and simply jamming out – the trio was feeding off of each others’ vibes, which I have mad respect for, and playing along as they felt.
I loved the performance by the Alfredo Rodriguez Trio and Pedrito Martinez Group on Friday night. I thought the Rodriguez Trio exhibited more technical, musical talent but I loved the energy and fun vibes that Martinez brought to the stage. My impression was that the Rodriguez Trio’s music sounded more cohesive and tightly knit together, while the Martinez Group’s sound was occasionally dissonant, but overall had a fuller, stronger sound that just engulfed the Michigan Theater. And I really loved the element that singing added to the Martinez Group’s music.
One thing I noticed during both acts and I thought was especially cool was the nonverbal communication between the musicians on stage. It was very apparent at times that Peter Slavov, Henry Cole, and Rodriguez would be looking at each other to get musical cues. I saw during Slavov’s solo in one song that Rodriguez line his hands up about to jump back into the song with his piano, but then decided against it and pulled away from the piano. Martinez also, it appeared, was sending rhythms to his other band members, particularly Ariacne Trujillo.
I thoroughly enjoyed the entire performance but my favorite part was the final encore. I was deliberating whether or not to stay, but staying was definitely worth the wait. Rodriguez and Cole joined the Martinez group on stage and they were having so much fun and making such wonderful music; no one in the audience could sit still. A perfect ending to a great show!
"by Ross Bernhaut
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
It seems like many of the attendees who have already posted share many of the same opinions that I do. Starting with the Alfredo Rodriguez Trio: I felt the drummer took away from the show the most. Don’t get me wrong – he was incredibly talented, but I think the sheer volume of the drums drowned out a lot of other elements of the performance. For example, several times, Rodriguez would alter the volume or tempo of the piano to express a change in the nature of the piece, but the drums made it hard for me to pick up on. That being said, Rodriguez’s aggressive demeanor was entertaining, and at other times, too distracting. For me, his passion was admirable, but his movement begged you to watch him, when I wanted to spend time dissecting the performance of the other two.
The Martinez group immediately jumped out at me as being much more exciting. The very first song called for the audience to clap along – and maybe it’s simply my past experiences at Michigan Theatre, but I thought the venue was much more conducive to this group than the precursor. Everything about a show communicates – in this case, the dress of the performers immediately clued me into the free-spirited, upbeat demeanor and that made me more comfortable from the get-go.
Talent all around. Not sure I’d go out of my way to see either again, but you have to admire their passion for their art.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I completely agree with you Gabrielle!
I actually arrived at the concert very excited to hear some engaging music with really interesting improvisation, but the “interesting” part was taken just a little too far.
I believe what was happening when he was standing up was a combination of his hand dampening the strings as well as plucking them, though I’m not entirely sure either.
I don’t know if you were unsure but there was a second group after the original trio that was a little easier to connect with and a little more relaxed. Had a more notable latin style to it as well which was enjoyable. You should look up the artists if you missed it. I personally wasn’t very overjoyed by what happened with this group either but it was a little contrasted to the Alfredo Rodriguez Trio.
While there’s no question both performers are extremely gifted and talented artists, I just couldn’t get into “the groove” for this concert. I think you have to be in the right mindset for this type of jazz, and after a long day, I was hoping for more relaxing smooth jazz pieces. My mind just wasn’t energized enough on Friday to engage with this genre of jazz. Although this wasn’t one of my favorite UMS performances, I do appreciate the talent– especially Alfredo Rodriguez. Perhaps what I enjoyed most was Rodriguez’s technique toward the end where he played the piano standing up and hitting both the keys and the piano wire ( I believe this was what was happening, right? I was in the balcony and couldn’t see for sure if this was the technique.) I had never seen this before and it really created an interested sound!
"by Gabrielle Carels
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
What, or who, or…ah! The talent of the Alfredo Rodriguez trio was incredible. There is absolutely no doubt in my mind that these three men have a deep, masterful understanding of their instruments. However, in my own personal experience, that skill wasn’t enough—or perhaps was too much. Especially in Rodriguez’s playing I felt lost, unable to follow really any progression of chords, notes, experience or story. I generally appreciate all types of music but the barrage of notes as he flipped up and down the piano was just completely overwhelming for me.
Going off of that the band as a whole seemed to be playing in different realms. I had trouble feeling how the percussionist connected to the bassist to the piano. Though I could see them watching each other, and occasionally hear accents from one or the other I never really felt a moment where the band was grooving together. The moments of absolute solo for each individual instrument were definitely my favorite because it allowed me to at least somewhat connect with where the musician was trying to go. In the other sections, trying to feel where the entire band was trying to go I felt lost. Again, I would stress that I am usually a very big appreciator of all types of music but this performance just seemed to fall short for me. Perhaps if I were significantly more adept at understanding jazz improvisation it would have resonated better with me.
People Are Talking: UMS presents Elias String Quartet at Rackham Auditorium:
This evening’s encores were:
Traditional: Da day don
Donald Shaw: Calum’s Road
Liz Stover
Associate Programming Manager, UMS
People Are Talking: UMS presents Israel Philharmonic Orchestra at Hill Auditorium:
Brilliant sound clarity is one of Celi’s conducting attribute. He would request at least 17 rehearsals for a concert. Nothing comes for free. A perfectionist…. He and Arturo Benedetti made famous concerts ( Beethoven, the 5th Piano concerto, for instance). Benedetti refused 8 Steinways, before settled to the 9th, for his Tokyo concert. There are numerous good artists, but only a handful of them make history.
Get a load of this. I have been listening all morning….I can’t stop. I guess I have been bitten by the Bruckner bug. http://www.youtube.com/watch?v=YDgJjU3ejB4
"by Michael, UMS
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I really enjoyed when Alfredo played standing up. I couldn’t quite see, but I believe he was playing the wires along with they keys? Is there a name for this technique?
Wow, I totally forgot about Alfredo’s posture but I’m glad that you bring it up because it was very noteworthy! I too was surprised by his posture as most musicians are very poised. I wonder why he chose to stand that way.
"by Alexandra Pierce
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
While there’s no question both performers are extremely gifted and talented artists, I just couldn’t get into “the groove” for this concert. I think you have to be in the right mindset for this type of jazz, and after a long day, I was hoping for more relaxing smooth jazz pieces. My mind just wasn’t energized enough on Friday to engage with this genre of jazz. Although this wasn’t one of my favorite UMS performances, I do appreciate the talent– especially Alfredo Rodriguez. Perhaps what I enjoyed most was Rodriguez’s technique toward the end where he played the piano standing up and hitting both the keys and the piano wire ( I believe this was what was happening, right? I was in the balcony and couldn’t see for sure if this was the technique.) I had never seen this before and it really created an interested sound!
People Are Talking: UMS presents Israel Philharmonic Orchestra at Hill Auditorium:
it is appalling that UMS has never presented the Bruckner 8th before.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
Already stole the show and I had never imagined that I would have had this much fun watching a jazz pianist. He crushed all my expectations of how a piano jazz concert would be like, and especially after my disappointment after a recent jazz quartet I attended by UMS this season. He had so much fun and had so much passion doing what he does best that I think the audience enjoyed his performance as well. I definitely remember his performance more than I do Alfredo Rodriguez, not that he was a bad performer in any way. He was also a great pianist, just not as fun to watch as Alfredo!
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I am pretty familiar with jazz, but this concert came a pleasant surprise as I had never heard anything quite like this. The fusion with latin styles of music was light and refreshing. I really enjoyed watching Alfredo Rodríguez’s energetic piano performance. It had me on edge the whole time as I tried to anticipate his next movement! By the time the Pedrito Martinez Group I was a but exhausted from the long week I had had and from engaging with Rodriguez’s performance but I still enjoyed it despite my tiredness.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I loved the performance by the Alfredo Rodriguez Trio and Pedrito Martinez Group on Friday night. I thought the Rodriguez Trio exhibited more technical, musical talent but I loved the energy and fun vibes that Martinez brought to the stage. My impression was that the Rodriguez Trio’s music sounded more cohesive and tightly knit together, while the Martinez Group’s sound was occasionally dissonant, but overall had a fuller, stronger sound that just engulfed the Michigan Theater. And I really loved the element that singing added to the Martinez Group’s music.
One thing I noticed during both acts and I thought was especially cool was the nonverbal communication between the musicians on stage. It was very apparent at times that Peter Slavov, Henry Cole, and Rodriguez would be looking at each other to get musical cues. I saw during Slavov’s solo in one song that Rodriguez line his hands up about to jump back into the song with his piano, but then decided against it and pulled away from the piano. Martinez also, it appeared, was sending rhythms to his other band members, particularly Ariacne Trujillo.
I thoroughly enjoyed the entire performance but my favorite part was the final encore. I was deliberating whether or not to stay, but staying was definitely worth the wait. Rodriguez and Cole joined the Martinez group on stage and they were having so much fun and making such wonderful music; no one in the audience could sit still. A perfect ending to a great show!
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I totally agree with you, Hannah. I’m a little cautious when it comes to piano because I always think it’ll be like slow classical music. So, to prep for this performance I checked out both artists on YouTube first and can definitely say I was pleasantly surprised at how original and spicy their songs are.
I have never been much of a fan of piano music – it always puts me to sleep and going into Friday night’s performance I was afraid that that was exactly what I was in for. I was terrified that I would spend the whole first half of the performance focusing on staying awake instead of on the music. Thankfully, that was not a problem. Alfredo Rodriguez gave an amazing performance. From the very first piece I was entranced in the music. Sleep was not an option. The music surprised me, when I think of piano I automatically think Beethoven (which after hearing numerous times just gets old) but it was nothing of the sorts. Everything he played (even if it was based on something far older, or took from an older piece – I don’t know how music is written) sounded original and unique, like a modern work of art and the presence of the trio aided in that so much. It kept the music lively and upbeat – something I can’t get enough of, I want to hear more (I say as I pull up yet another YouTube video). I would pay again and again to see this performance because I absolutely loved it. My only question in regards to this performance would have to be…is he coming back?
"by Hannah Oravitz
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
This was great! Friday’s performance was one of the most lively I’ve seen so far. Both Alfredo Rodriguez & Pedrito Martinez had tons of energy which flowed into the crowd while they played. I enjoyed Rodriguez’s performance the most; I’ve never seen any pianist, jazz or not, play and move so much at once. Though the sound slightly drowned out the singers during the second, I still thoroughly enjoyed watching this beautiful mix of traditional and modern latin jazz music.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
Andrea,
I completely agree with you! I was personally blown away by Alfredo Rodriguez and his crew. I honestly was captivated by it. That being said I also wasn’t a huge fan of Peditro Martinez. To me it was just difficult because I had a really hard time hearing them over their instruments. Honestly, for the entirety of it, I (though I hate to be harsh) wanted them to leave and for Alfredo Rodriguez to come back. But who knows you could totally be right that they followed Alfredo Rodriguez trio and that’s what caused the disappointment. There is honestly a part of me that wonders that if they had taken to the stage first would my opinion be different?
Hats off to Alfredo Rodriguez and his crew who KILLED IT (in a good way). While I am not a jazz aficionado, I was very impressed with their level of skill and emotion/commitment in their music. While the sounds were a little off when they were all played together, I was so captivated by the focus and visual performance of each of the musicians as they were playing that I could get past a few awkward notes. Pedrito Martinez was another story. Maybe it was because they followed after Alfredo, but I was just not feeling the music. There was nothing exciting about it for me, and I found myself waiting for it to be over. I felt like it was being put to sleep with how monotone Pedrito’s Group sounded. Overall, I was ready for bed by the end of the performance.
"by Andrea Kapustka
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I have never been much of a fan of piano music – it always puts me to sleep and going into Friday night’s performance I was afraid that that was exactly what I was in for. I was terrified that I would spend the whole first half of the performance focusing on staying awake instead of on the music. Thankfully, that was not a problem. Alfredo Rodriguez gave an amazing performance. From the very first piece I was entranced in the music. Sleep was not an option. The music surprised me, when I think of piano I automatically think Beethoven (which after hearing numerous times just gets old) but it was nothing of the sorts. Everything he played (even if it was based on something far older, or took from an older piece – I don’t know how music is written) sounded original and unique, like a modern work of art and the presence of the trio aided in that so much. It kept the music lively and upbeat – something I can’t get enough of, I want to hear more (I say as I pull up yet another YouTube video). I would pay again and again to see this performance because I absolutely loved it. My only question in regards to this performance would have to be…is he coming back?
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I had mixed feelings about the performance by Alfredo Rodriguez Trio and Pedrito Martinez. I loved the way Rodriguez played the piano and the vibe he gave off the crowd with all the emotion and vibe he gave off with his physical motion and great energy. However, he played a lot of contemporary jazz rather than standards, giving the audience harder to relate to. I think he might’ve been going for targeting avant-garde audience, loving the new-age jazz rather than people loving the old classic standard jazz piano pieces. Martinez group also had its groove on with Cuban Jazz music, mainly driven by showy and fancy percussion. As a jazz guitarist, I think appreciated more traditional jazz components that Martinez group performed with, having a percussion group, being able to relate more, since guitar is considered to be in the rhythm section in Jazz Ensemble, as well as solo performing instrument. I loved the type of feedback the audience gave when they saw something they liked on stage, or asking for encore. Overall, I think there was good communication between the members of ensemble, and good connection with the audience at times, but might not have been targeting the right target audience for the venue/performance.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I remember thinking that this guy (Alfredo) must have an extremely intimate intellectual relationship with the piano; to witness his ability to fly around the keyboard and produce interesting and exciting grooves all the while was truly awesome. Before the concert I briefly listened to some music by the Pedrito Martinez Group, so I didn’t know that I would be in for such a treat from Alfredo’s group. Like you, I was also bored by the familiar Latin beats of Pedrito’s ensemble but was certainly “wowed” by the Alfredo Rodriguez Trio.
Is that even how you are supposed to play the piano? That was one of the thoughts that went through my mind when watching Alfredo play. I had never seen someone play the piano live like that. He seemed to be able to play it to whatever extent he felt like. I was fascinated by the whole performance of the trio, from the masterfully played solos, to Alfredo’s unusual playing with the piano strings. I thought the encore was really good too; it contrasted a lot with the previous type of music the trio had played. It was a lot moodier and easier to follow.
Leading up to the concert I was more excited to see Alfredo Rodriguez Trio more than The Pedrito Martinez Group. I looked at videos of both groups before the concert and I just knew that for me, the Alfredo Rodriguez trio was going to be the ‘wow’ experience. The Pedrito Martinez Group was also good but I got a little bored after a while with the more traditional latin rhythms.
It was awesome to see a performance with so much improvisation and talented musicians, I enjoyed it a lot.
"by Ronaldo Tobar
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
After a long and exhausting week, my mind and body were nowhere near the energy level necessary to fully appreciate this performance. The dark venue and the distance between my seat and the stage (I sat toward the back of the balcony) seemed to compound my already groggy and disinterested state. Despite this, the passion and virtuosity of the Alfredo Rodriguez Trio did not escape me. Even when I felt like I didn’t have enough familiarity with Cuban-style jazz to keep up with the music with my ears, I found myself transfixed by the dexterity of Alfredo’s fingers on the piano. His classical training was evident in his composition as well as his playing style – it was fun to pick out the different bits of improvisation that sounded more jazzy, more Cuban, or more classical. The bass player was also exciting to watch; watching his fingers dance on the strings during his solo, I got the distinct impression that his instrument was an extension of his body and the music was an extension of his mind.
Not feeling too excited to sit through another 3-hour UMS show, I did not share the delight of many audience members when the trio returned for an encore, even though I ended up enjoying the song. I was ready for the rhythmic sounds of the Pedrito Martinez Group ten minutes into the intermission, which ended up testing my patience and commitment to this show by being way longer than I expected. When the PMG finally came on, I was totally underwhelmed. I could tell that all the musicians had a lot of talent, but as many commenters have mentioned, the sound was terrible – I couldn’t hear the bass guitar at all, and Pedrito’s congas overwhelmed the other instruments and voices. I sat through three songs and left – my exhaustion got the better of me and I did not expect much variety from the remainder of their set. I was also a bit ruffled by this particular combination of venue and performer; I think that the style of the Pedrito Martinez Group would be much better suited for a restaurant atmosphere or an outdoor plaza. I normally don’t walk out of performances on principle, but in this case I had reached my limit of enjoyment.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
You bring up a really interesting point about how jazz is a conversation but the performances were too overwhelming. I felt this way especially about the second half. The small bit of the recording I heard of the group prior to the performance seemed alright, but in person the amplifications were off and I ended up with a really bad headache.
I agree that the first half could have had more melodies and could have slowed down sometimes, but I personally still enjoyed the Trio a lot, even if it was a bit fast “loud”.
Maybe I’m the only one who feels like this performance is not for me. Personally I enjoy jazz music; I’m a big fan of Sting. But this performance is totally different from jazz that I’ve listened and enjoyed. Actually, the overall performance was too loud for me so that I felt like I was at a rock and roll concert instead of jazz music.
I could recognize how talented Rodriguez is, but sadly I could not enjoy his music very much. The drum sound overwhelmed the bass sound, which I really wish to hear. Also, I thought each performer played each different pieces of music.
I wish to hear more peaceful music for the second half, because I was tired of listening loud sounds. However, the second half was seriously louder than the first one. I believe people who controlled the sound of music did something really wrong. Their voices were loud and their instruments were so loud. Definitely, their vocal sounds and pieces of music didn’t match up and made a lot of dissonances.
Maybe I’m too sensitive. But, I hope to feel comfortable while I listen the music. In that perspective, the performance “Alfredo Rodriquez Trio and Pedrito Martinez Group” was a bit disappointing. One says that jazz is talking and I agree. I would say the performance was shouting all the time.
"by Guyeon Kim
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I was a bit surprised to see all the comments about how people found the Rodriguez Trio’s music to be not engaging; their group has been one of my favorite performances this year. Perhaps it’s my fascination with the piano, but I was very much along for the ride and didn’t have a dull moment throughout the performance. I was sad to see them finish their last planned piece of the night. When they returned to the stage for an encore, I and the audience members around me were more than excited.
Speaking of which, the people around me kind of made the show for me as well. The man who shouted out “yeah!” when particularly strucken by a musical run and the lady in front of me who was bobbing her head to the music the entire time made me smile. As I listened to the music, I couldn’t help but appreciate the culture that UMS brings to their seasons.
Though all three musicians were very talented, I do agree that Alfredo Rodriguez is early in his career and could become more of a nuanced player with more experience. His talent was obvious and awe inspiring (I couldn’t help thinking he needed more keys on his piano), but at times the runs became overly ornamental. I came to enjoy his rare, simpler melodies a lot more as a result. But overall, I was more than impressed with the Rodriguez Trio.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
Hey Thomas,
As I read your comment, I thought to myself that we must have seen two different performances.
Passion? What I experienced was to the contrary. It was a lack thereof, passion.
Nonetheless, I’m glad to hear that you enjoyed the performance. It might also have something to do with the seating arrangements. Where were you sitting?
Never before I have experienced such a fresh blend of Cuban music and jazz by the Alfredo Rodriguez Trio. It was so easy to sense Mr. Rodriguez’s confidence, his personality, and his playfulness to just have fun with his crew and with the audience was unreal. It truly brought out the best of each artist, and you could feel their passion! Each performer in the band played a tremendous solo that rocked the house. I could not stay in my seat while watching them sway and swing and bump to the music as they played. Their hands must have been on fire after the show after playing all those notes. The encore was terrific as well. Perfect contrast to his upbeat set list.
The second half with Pedrito Martinez and his group was utterly disappointing. It was too structured and too rigid, too rehearsed, no improvisation, and clearly no passion. They seemed to play songs that they’ve been playing for years, and they didn’t seem to be having as much fun as the Alfredo Rodriguez Trio. The sounds were not that pleasant either. The majority of it sounded like pop music, and truthfully, I hated the sound of the cowbell after the second piece they played. It didn’t match at all with the Latin/Cuban sound they were trying to deliver.
Overall, I would love to see the Alfredo Rodriguez Trio again in concert. I can’t say the same for Pedrito Martinez Group.
"by Thomas Choi
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I’m glad you mentioned your true feelings about the second half of the performance because I felt the same way! I couldn’t handle the mixing of the cowbell with the other instruments. It wasn’t harmony in the second half; It was a clash of sounds, and it clearly did not fit. As for the first half, it reminded me a little of Kronos Quartet…It took some time to adjust, but it was a very unique sound that I really enjoyed.
I’m sorry to admit it, but yes, I was one of the ones that left early. The Alfredo Rodríguez Trio were skilled, but I never quite got into the “jazz” mood, and only really enjoyed two of their more melodic pieces, otherwise, I got quite bored with their experimentation. I really enjoyed the double bass player, and was looking forward to his solo. Overall, I enjoyed it, but kept hearing some sort of clicking of something hitting the strings while he was playing. Can anyone tell me if this is normal? I thought that it took away from the deep sound a bit. As for the Pedrito Martinez Group, I’m afraid that the sound mixing was a large factor in why I didn’t enjoy it. The other reason is because it was too loud and monotonous; it tired me out rather than made me feel like dancing. I think I realize I am being very cynical, and so I’m hoping that someone will enlighten me as to why they enjoyed the performance, so then I can better understand this style of music.
"by Julia Cimpian
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
Rises through the ashes this review, after yet another epic disappointment by UMS and by ENG-290. I admit; I know nothing of music, and I know even less of art, but I know beauty and harmony. This performance was not it. Here I was thinking that things cannot get any worse, and the sky opens up and comes glaring down like a beam from the death star—onto the archaic stage of the Michigan Theater—The Alfredo Rodríguez Trio. Heavens have mercy, I don’t even know where to start!
This was by far the most visually uninteresting and acoustically morbid thing that I’ve ever seen or heard. There was literally nothing to look at, literally. From where I was sitting, the balcony, it looked as if three diminutives were moving around frantically while sitting still. There were absolutely no visuals to go along with the sounds of their instruments crashing.
As I stared into oblivion, I found myself asking these questions more than once. Why am I here? When will the misery end? And, Alfredo Rodríguez and company did not a single thing to try and move my thought process in a different direction. Type in “Study Music” into YouTube. The site is littered with hours and hours of similarly bland music. This was nothing special. Just there guys who should be probably playing in their mom’s basement. I can listen to this music at home, in the car, on my phone, in the bathroom, anywhere!
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
Never before I have experienced such a fresh blend of Cuban music and jazz by the Alfredo Rodriguez Trio. It was so easy to sense Mr. Rodriguez’s confidence, his personality, and his playfulness to just have fun with his crew and with the audience was unreal. It truly brought out the best of each artist, and you could feel their passion! Each performer in the band played a tremendous solo that rocked the house. I could not stay in my seat while watching them sway and swing and bump to the music as they played. Their hands must have been on fire after the show after playing all those notes. The encore was terrific as well. Perfect contrast to his upbeat set list.
The second half with Pedrito Martinez and his group was utterly disappointing. It was too structured and too rigid, too rehearsed, no improvisation, and clearly no passion. They seemed to play songs that they’ve been playing for years, and they didn’t seem to be having as much fun as the Alfredo Rodriguez Trio. The sounds were not that pleasant either. The majority of it sounded like pop music, and truthfully, I hated the sound of the cowbell after the second piece they played. It didn’t match at all with the Latin/Cuban sound they were trying to deliver.
Overall, I would love to see the Alfredo Rodriguez Trio again in concert. I can’t say the same for Pedrito Martinez Group.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I know exactly what you mean! I’m no dancer either, but this style of jazz can really make you want to move! Apparently Cuban Jazz like this is always more percussive than “traditional” jazz, and those strong beats just really resonate in your body making you want to shake them out.
What a grooving night! I was about to dance although I am not a dancer at all. I don’t know if others felt in the same way, but for me, all the jazz music I’ve ever heard before sounds funky to me, and the beats are really cheerful for dancing. For example, when Rodriguez was hitting the piano while also muting its strings, although the tones are hardly to hear any more, the sound itself had a strong dancing beats form in it, so it could let people dance without having tones at all.
"by Haowei Cai
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I appreciate the list! I’ve been trying to find the name of the last song Alfredo played! Thanks!
Below is the Alfredo Rodríguez Trio’s set list from Friday night:
The invasion parade
Veinte años
Guantanamera
Encore:
Quizas, quizas, quizas
Mark Jacobson, UMS
"by Mark Jacobson
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I’m so glad I stayed until the very end! The one song I was waiting on Pedro Martinez to sing was La Luna and man did they sound good! In fact the entire Pedro Martinez half was awesome. The vocals of him and the female singer were excellent and I loved hearing them harmonize.
The Alfredo Trio also did a great job. I did not enjoy the as much as the second half, but just seeing Alfredo perform was entertaining in itself. It was obvious that he was enjoying his own music because he could hardly stay seated in his piano stool! He had some really great moments, though, where the “groove” was definitely there.
The collaboration at the end was so cool and I love seeing the support between the two groups. It made the show all-the-more special.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
This concert was incredibly refreshing! When I first found out I’d be going to a 3 hour Jazz concert, I will admit I was a bit worried. After looking into Cuban Jazz a bit more, however, I was pleasantly surprised! Rather than gravely voices grating into a microphone at around 10 BPM we got treated to a night of amazing percussive instruments, exciting vocals, and upbeat melodies!
While the music from both groups was certainly incredible I have to say that I found Rodriguez’s trio much more entertaining that Pedrito’s group. Pedrito arguably had more skill, though I can’t say I’ve ever seen piano playing on a scale like Rodriguez’s, but the amount of energy in the first act was simply stupendous.
The biggest issue I had with the concert was the length. 3 hours is a long time for any concert, in my opinion, and after a while I found my mind wandering. Maybe I’m just not the kind of person who’s made for marathon concerts like this, but even with the change in bands and songs eventually the entire evening began to bleed into one. I think it would be more beneficial, or at least better for people like myself, to give each group their own concert. If not that, then shorten the number of songs each group does. It might seem counter-intuitive, but in my opinion it would make each group stand out more on their own.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I’m sorry to admit it, but yes, I was one of the ones that left early. The Alfredo Rodríguez Trio were skilled, but I never quite got into the “jazz” mood, and only really enjoyed two of their more melodic pieces, otherwise, I got quite bored with their experimentation. I really enjoyed the double bass player, and was looking forward to his solo. Overall, I enjoyed it, but kept hearing some sort of clicking of something hitting the strings while he was playing. Can anyone tell me if this is normal? I thought that it took away from the deep sound a bit. As for the Pedrito Martinez Group, I’m afraid that the sound mixing was a large factor in why I didn’t enjoy it. The other reason is because it was too loud and monotonous; it tired me out rather than made me feel like dancing. I think I realize I am being very cynical, and so I’m hoping that someone will enlighten me as to why they enjoyed the performance, so then I can better understand this style of music.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
Hi Harshavardhan, you seem knowledgeable in the jazz style, so I thought I’d ask you about the first half. You see, I didn’t really enjoy Alfredo’s improvisation, it all seemed jumbled and random to me and not so enjoyable to listen to. That being said, I’m no jazz aficionado, so I was wondering how you know if a band is “good” when they are experimenting like that?
The concert combining Pedrito Martinez and Alfredo Rodriguez was a stimulating blend which showcased various distinct shades of Cuban Music. I felt Alfredo’s unique blend of music from Latin America with jazz was very well done and showed his exceptional artistic ability. I thought Alfredo’s improvisation stole the show and his energy was contagious; Alfredo simply could not sit still and his genuine enthusiasm seemed to sweep the audience off their feet. While he did not steal the limelight, I also felt the cello player’s performance was particularly memorable and contributed substantially to the quality of the concert.
Pedrito’s concert emphasized his adroitness with the drums and his mixing of modern lyrics with Afro-Cuban musical tradition was something that the audience seemed very unaccustomed to, but which I came to appreciate. Pedrito’s extended solo was astounding and showed a very wide range of beats; Martinez’s mastery of his trade was evident in the way that his drumming seemed to pour the foundation for all the pieces that his group played.
I found it particularly interesting when the Pedrito Martinez group invited Rodriguez back onto the stage to play together; the chemistry between the two groups was intriguing and I found it entertaining to watch Rodriguez leave the piano to joke and play alongside Jahir Sala. While I particularly enjoyed Rodguiez’s performance and was extremely unfamiliar with the music played by Martinez, I felt both groups played equally well and showed me two very different aspects of the Cuban musical tradition.
"by Harshavardhan Patankar
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
Hi Bobby! I totally agree that the music makes people want to move. I find jazz music having amazing beats that are so funky and making people dancing. So good to hear the similar opinion from you.
The music just made me want to move! There was so much energy in the show. I’m not sure what it was about the music but there’s no better way for me to describe it than it made me want to get off my feet. While I did think it was a little loud at times and in the second half they had some sound issues it didn’t take away from the performance too much. All in all I couldn’t be happier I got exposed to this music and can’t wait to show it to my friends!
"by Bobby Dishell
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
What a grooving night! I was about to dance although I am not a dancer at all. I don’t know if others felt in the same way, but for me, all the jazz music I’ve ever heard before sounds funky to me, and the beats are really cheerful for dancing. For example, when Rodriguez was hitting the piano while also muting its strings, although the tones are hardly to hear any more, the sound itself had a strong dancing beats form in it, so it could let people dance without having tones at all.
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater:
I agree, the balance was not very good. Other than that I feel that the first half was very exciting. The harmonies Alfredo used in his improvisations were amazing! I just wish the intermission wasn’t so long.
I thought the first half of the performance, the trio, was technically great. I like jazz and can be found listening to it often. One thing that upset me was the balance(or lack there of) between the trio members. The percussion should not have been amplified, and the bass player’s mic should have been turned up. The percussion drowned out the other two. The second half of the performance was just not for me. It was loud and I couldn’t understand what they were sining. Not a performance I would go out of my way to see again, not bad but not great.
"by Matthew Dempsey
People Are Talking: UMS presents Alfredo Rodríguez Trio and Pedrito Martinez Group at Michigan Theater: