Codetta Arts Blog

Kallen at Calvary

2009-10-27T12:51:00.002-05:00

On Wednesday afternoon October 21st 2009, I attended one of the six free concerts and lunches at Calvary Episcopal Church, located downtown at the corner of 2nd St and Adams Ave. If you haven’t heard about Calvary and the Arts, I recommend looking into it! It’s a great opportunity to hear wonderful music for free and for a small fee enjoy some delish food as well! This past Wednesday I saw renowned opera star Kallen Esperian perform a diverse repertoire ranging from traditional American art songs to operatic standards. Sometimes between songs Kallen would explain why she chose to include a particular piece in the program that afternoon. While it was hard to hear a lot of what she was saying since I was sitting towards the back of the sanctuary, it was great to see how passionate she was about each song she sang. Her rendition of “Vissi d’arte” from Puccini’s opera Tosca nearly brought me to tears! I thought the combination of American music with standard opera rep was an interesting change from last year’s performance, in which almost all of the selections were operatic. I have to say, though, I really do prefer hearing her sing the arias rather than the American folk songs!
These concerts will be going on through December 9th every Wednesday at 11:45 am. They last about 45 minutes and are totally worth it! This upcoming Wednesday features Joyce Cobb, a “Jazz Diva with a Memphis Soul”. Don’t miss out!
-Brigid Hannon

The Topping Tooters of the Town!

2009-10-27T12:46:00.001-05:00

On Tuesday October 20^th, 2009, upon my return to Rhodes after fall break, I immediately launched back into the Rhodes music scene by attending an early-music concert featuring The City Musick ensemble, directed by William Lyons. They performed “Music of the London Waits” on period instruments such as the sackbut (a precursor to the trombone), cornett (similar to a clarinet), recorder and bagpipes. Between many of the pieces Mr. Lyons would explain the background of the next piece to be played as well as giving informational tidbits about the instruments. Thankfully he also explained what a “Wait” is. The London Waits in particular were town pipers who rivaled the king’s minstrels and every English town worth its salt had a band of Waits. Their music is instrumental and the vocal selections are mostly secular, although there were a few psalms (including the old hundredth) featured in this concert. All of the music on the program was composed between 1550 and 1650. While I had not heard of many of the composers on the program, a few names did stick out: Thomas Morley, Anthony Holborne and John Dowland.

I particularly enjoyed how each performer truly embodied the concept of the “Renaissance Man” because each member of the ensemble played at least two instruments and sang. Their overall sound as vocal ensemble was interesting. I enjoyed the timbre of their singing because it had a folky feel to it. They did not refine vowels and kept their sound very bright and forward.

Currently The City Musick ensemble is concluding a tour through the United States and I assume they will return back to their native UK soon. If you’re ever across the pond and get a chance to hear them perform, seize it! It’s a great opportunity to hear Renaissance music and hear how different their antiquated instruments sound compared to their modern day counterparts!

- Brigid Hannon

George Crumb Retrospective II

2009-10-11T19:49:00.003-05:00

On Friday evening, October 2nd, 2009 a friend of mine and I attended the George Crumb Retrospective II concert at University of Memphis. This program featured music by the 21st century composer, George Crumb—a composer best known for his unusual use of traditional instruments. This concert featured Crumb’s application of extended musical techniques on the piano. These techniques included plucking the piano strings from under the lid and applying various “tools” to the piano keys and strings. There were three different pianists who each played three distinctly different pieces.
The first piece, Processional (1983), was my favorite, though I rather enjoyed the whole program. Processional did not employ any extended techniques and consequently sounded the most “normal” of the bunch. In fact the non-functional harmonies and soothing nature of the piece reminded me of music by impressionist composer Claude Debussy . The only “Crumb-ian” thing about the piece was the occasional cacophonous sound of “tone clusters” abruptly banged on the piano by holding down several keys at the same time. Expect the unexpected in works by George Crumb!
The rest of the program was fascinating and much more indicative of the George Crumb style I’m familiar with. The other two works performed were A Little Suite for Christmas, A.D. 1979 and Gnomic Variations (1981). The Christmas suite was cool and eclectic, incorporating original music and occasional quotations of other music by different composers. My only complaint is that it was hard to follow since all the movements flowed into each other. The Gnomic variations sounded like moon music because of the strange timbres elicited from the piano by means of a block applied to a cluster of keys and plucking the piano strings. Both of these pieces used extended techniques to achieve unique timbres, proving that the piano is a much more versatile instrument than most expect.
I really enjoyed this concert and highly encourage any interested in contemporary music to attend the next installment George Crumb Retrospective III on Friday October 16th, 2009 at 7:30 pm. It will be held in the Rudi E. Scheidt Music Building on the University of Memphis campus.

- Brigid Hannon

Opera Memphis Does Gounod’s Faust

2009-04-27T21:44:00.000-05:00

Little did I know as I scurried to my seat in the balcony of the Orpheum this past Saturday night, that I was in for an action-packed, thriller of an opera! Charles Gounod’s Faust is an entertaining mixture of drama, tragedy and Christian morals. Faust comes on the stage as an aging, impotent scientist, who feels he has wasted his life expanding his mind and neglecting his body. As such, he makes a deal with the devil and acquires youth, virility and the devil as his wing man, but he gives up any hope of being saved in the afterlife—because once he dies he is the devil, Mephistopheles’ slave. Faust was initially a little wary of this deal, but once Mephistopheles conjured up an image of the pious virgin Marguerite, Faust was determined to win the girl and enjoy his youth.
In the second act, Madness ensues, complete with murder, a overly-suggestive ballet and eternal damnation for Faust. Despite this, the ending does have an uplifting message. You’ll have to watch to find out!
I found the opera to be kind of ridiculous, but in an enjoyable way. It was done very well and I could tell everyone put a lot of time and energy into it. The singing, on the whole was fantastic. It was clearly not Faust’s best vocal night which showed in his high range, but he gave a valiant effort! I thought Marguerite and her suitor Seibel had the best voices of them women, and Valentin and Mephistopheles were best out of the men.
There is one more performance left, on Tuesday night. Call the Orpheum box office (901) 525-3000 for more information! Last I checked they still had $10 student tickets. It was a great show, and totally worth it even if you have to pay more than $10!
- Brigid Hannon

A Night at the Movies

2009-04-24T20:47:00.003-05:00

On Thursday evening, April 23rd, 2009 I made my way over to Hardie Auditorium to see the Rhodes Orchestra’s closing performance of the semester. I was already excited because I knew from all of the fliers around campus that they were going to play soundtracks from some of my favorite cult classics! The set up was obviously planned very carefully as the orchestra director, Professor Montelione, had a limited space to work with. The orchestra filled the entire stage plus a good deal of floor space, and there were enough chairs for about two hundred people (and about that many people came to see this performance).
One of the coolest things about the concert were the two screens which displayed a montage of pictures or live action clips from each movie to go along with the music the orchestra played. The concert featured some music from “West Side Story”, Pirates of the Caribbean “The Curse of the Black Pearl”, “Civil War”, Star Wars and Indiana Jones. It’s clear that everyone in the orchestra has been working very hard this semester to present this concert and I have to say, their hard work definitely paid off! They sounded just as good as some cd recordings I have of these very soundtracks. That evening was a thoroughly enjoyable aural and visual experience for me, as well as everyone else in the audience (we were all transfixed by the mixture of beautiful music and exciting movie clips). It was the best-attended orchestra event I’ve ever been to!
Hopefully more orchestra concerts will be as innovative as this! Who knows, the orchestra could acquire an avid fan base that rivals the Woolsocks! There won’t be any more concerts this semester, but if you’re itching to hear more student music, come to the Rhodes chamber music concert on Monday April 27th at 7:30 pm in Tuthill Auditorium, Hassell Hall.

- Brigid Hannon

Looking for a Show? Here’s What Memphis Theatre Has to Offer This Coming March

2009-03-01T19:32:00.000-06:00

The Orpheum Theatre:

Legally Blonde (March 3-8); The musical adaptation of the 2001 hit comedy follows sorority girl Elle Woods as she follows her ex-boyfriend to Harvard Law School and tries to win back his love. In the process, she finds a different kind of love…an appreciation and confidence in herself. Student Rush is on Tuesday, Wednesday, Thursday, and Sunday evening. Shows Tuesday-Thursday begin at 7:30 and the Sunday performance is at 6:00. Student rush tickets ($25 CASH) go on sale 15 minutes before showtime. Students must present a student ID.

Playhouse on the Square:

Romeo and Juliet (March 20-April 19); William Shakespeare’s timeless tale of a “pair of star cross’d lovers” arrives in time for spring. Student tickets are $20.

Theatre Memphis:

The Violet Hour (March 6-22); Independent book publisher John Seavering is trying to find his footing in the industry and only has enough capital to produce one book project. However he is torn between publishing the work of his secret mistress or the work of his best friend, who needs a book deal in order to save his relationship with an heiress who can only marry a man of financial promise. However, this plot takes the backseat to the mystery of a machine in John’s office that spouts out hundreds of pages that shed surprising light on the characters’ futures. Student tickets are $15.

Germantown Community Theatre:

A Raisin in the Sun (March 6-22); Lorraine Hansberry’s touching family drama revolves around the Younger family. When Matriarch Lena is given a $10,000 life insurance check after the death of her husband, everyone in the family has a different idea about the best way to spend the money. Son Walter has ambitions for his business while daughter Bennie hopes for an education but Lena wants to move her family into a nicer neighborhood. CODA is offering $5 tickets.

Hattiloo Theatre:

A Tempest (March 12-22) was written as a response to Shakespeare’s The Tempest and primarily focuses its attention on the natives of Prospero’s island, particularly Ariel and Caliban. Student tickets are $12.

-Cristina Iskander

The Light in the Piazza Shines Dimly

2009-03-01T19:30:00.000-06:00

Playhouse on the Square’s production of The Light in the Piazza has lofty goals and good intentions. Set against a Florentine backdrop, a Southern mother and daughter experience the beauty of Italy, but their journey moves far beyond statues and stories. It is serendipity when young Clara (Emily Z. Pettet) meets charming Italian Fabrizio (Jesus Manuel Pacheco) as she chases her windblown hat through the piazza. Their interest and fascination with one another is immediate and their inability to fully interact verbally insignificant. The young lovers embrace and delight in their differences, but Clara’s desperately protective mother Margaret (Carla McDonald) does not share this sentiment. Plagued with worries, Margaret wants to put the affair to end because Clara is unlike other girls. (SPOILER ALERT) Kicked in the head by a horse at her twelfth birthday party, Clara has the external, physical characteristics of a grown woman but the mental capacities of a young girl. Rather than take cues from the struggling relationships around them (Margaret’s empty marriage, Fabrizio’s brother Giuseppe’s infidelity), Clara and Fabrizio remain hopeful and committed to each other and their steadfast idealism and belief in the power of their romance ultimately changes not only the way their families view the whirlwind relationship between the two but also how their families evaluate their personal relationships.

Though much of the plot’s action revolves around the budding romance between Fabrizio and Clara, the heart of the show is mother Margaret. Carla McDonald, who I’ve admired since I saw her several seasons ago in The Wild Party at Circuit Playhouse, gives a rueful, nuanced performance, tracing Margaret’s journey from guilt to acceptance of her past faults and mistakes and her transition from doubt in Clara’s suitability for marriage to belief that the affair is perhaps the way for her daughter to find fulfillment and live a normal life. She lets Clara go, and confronts her own uncertain future. In the heart wrenching “Diving Day” in Act One and “Fable” at the closing of Act Two, McDonald exposes the melancholy beneath Margaret’s manicured façade. However, many of McDonald’s cast mates fail to match the depth of her performance. Despite her beautiful soprano, Emily Z. Pettet’s performance is uneven, unfocused and lacks sense of dramatic trajectory. Her Clara is exuberant, petulant, overwhelmed, infatuated, but she never comes off as mentally impaired. Romantic love interest Jesus Manuel Pacheco fares a little better though this is most likely due to the nature of his role. The sincere yet sexually charged Fabrizio is easier to pull off than Clara, and his bouts of overacting might be attributed as an interpretation of an enthusiastic, expressive Italian. Kent Fleshman, as Fabrizio’s father, seems out of place and he injects humor in moments where comedy is not appropriate. Kevin Todd Murphy and Esther Gray as Fabrizio’s adulterous brother and his volatile wife give good performances but their stage time is very limited.

The principal characters’ costumes, designed by Rebecca Y. Powell, echo, but never imitate the costumes from the original Broadway production, but the ensemble’s wardrobe looks too much like an afterthought. The set design is serviceable but uninspiring and the lion statues situated downstage look more Asian than Italian inspired.

Though the production is flawed, the music, with music and lyrics by Adam Guettel, is stunning and sophisticated. However, the music could be unappealing to some. Unlike traditional musical theatre scores, the song lyrics come off more like poetry and the music is only occasionally melodious. Lyrics are in both Italian and English, and while this might initially cause some discomfort for the audience it enhances the overall experience of seeing the show.

The Light in the Piazza runs at Playhouse on the Square through March 1.

-Cristina Iskander

Mozart and Stravinsky, anyone?

2009-02-23T20:26:00.006-06:00

On Friday January 30^th, 2009 I attended the MSO’s performance of selections by W.A. Mozart and Igor Stravinsky. The performance was held at the Buckman Performing Arts Center, located at Saint Mary’s Episcopal School. The venue was much smaller than the Cannon Center and as such, conductor David Loebel took advantage of the smaller, more intimate space and made the concert more personal by giving the audience some background information about Stravinsky’s musical career.

He explained that the unusual combination of Mozart and Stravinsky in that evening’s program was not as strange a combination as one may initially think. He pointed out that the Stravinsky music played in this concert—Eight Instrumental Miniatures for 15 Players and Octet— was from Stravinksy’s neo-classical phase, and therefore more diatonic and more in the style of classical music. Personally, I did not find a very strong connection between Mozart’s Sinfonia Concertante, K. 364 and Symphony No. 33 in B-flat major, K. 319 and the Stravinsky selections.

Neither of the Stravinsky pieces was nearly as lyric, melodious or as diatonic as the Mozart. In fact, the Octet reminded me more of “Rite of Spring” than anything ever composed by Mozart. The octet was an unusual assembly of instrumentalists, comprised of a bassoonist, two clarinetists, two trumpet players, a flutist and two trombones. The bassoon was given many complex motives to play in quick succession and while it was impressive, it was not as catchy nor as predictable as the Mozart pieces. The unusual scoring, coupled with the various motives being introduced and sporadic nature of their entrances in the music are what reminded me most of Rite of Spring.

The highlight of this concert was definitely Mozart’s Sinfonia Concertante, K. 364. It featured a standard orchestra and soloists Susanna Perry Gilmore on violin and Jennifer Puckett on viola. The ornamented melodies and long, running phrases were impeccably played. I especially enjoyed when one would play a melodic phrase and the other would repeat it, in a slightly different fashion, as Mozart notated. They handled their respective instruments deftly and gracefully. It was such a treat to watch as they would physically lean into phrases and really feel the music they were playing.

On the whole it was a good concert and interesting to see how the orchestra members interact in a smaller environment. I especially enjoyed that Loebel addressed the audience, marking this occasion as distinctly different from other symphony performances, perhaps somehow more special.

- Brigid Hannon

Looking for a Great Show? Here’s What February Has to Offer:

2009-02-08T09:51:00.002-06:00

Obviously…Rhodes College

Fat Pig (February 20-21, 26-28, March 1)

The Orpheum Theatre:

N.B. Tickets for Celtic Woman (April 8-9) are currently on sale for $12.50-65

Playhouse on the Square:

The Light in the Piazza (January 30-March 1) Student tickets $20. Won 6 Tony Awards, including Best Score. Not your typical song-and-dance musical. A sentimental Valentine to the beauty of Italy and the magic of young love, Piazza tells the story of a mother and daughter traveling throughout Florence. Idealistic daughter Clara falls in love with dashing Fabrizio, and though they do not speak the same language, their romance is overwhelming and seemingly unstoppable. However, mother Margaret threatens to throw a wrench in their plans, as she holds a large secret in Clara’s past. Seasoned actress Carla McDonald’s portrayal of Margaret is not to be missed.

Circuit Playhouse:

History Boys (January 16-February 15) Student Tickets $20. Won 6 Tony Awards, including Best Play.

Featuring Rhodes talent under the direction of Rhodes professor Cookie Ewing, Boys is sure to be a highlight of the season. The show revolves around 8 young British boys’ preparation for university entrance exams, but is more than mere schoolboy fare. The show primarily exams the purpose of education but its scope goes far beyond recitations and lessons in the classroom as it also addresses homosexuality, rivalries, and other topics.

Theatre Memphis:

Cyrano de Bergerac (February 13-March 1). Student tickets $15. Cyrano has a way with words; he’s a poet. However, his large nose causes him great grief and insecurity, preventing him from openly confessing his love and devotion to the stunning Roxanne. Instead, he assists another man, Christian, in wooing Roxanne, feeding him beautiful poetry to pass off as his own in order to impress her. Sound familiar? Steve Martin flick Roxanne (1987) and James Franco film Whatever It Takes (2000) are based on this concept.

- Christina Iskander

Treemonisha at Opera Memphis

2009-01-31T21:17:00.003-06:00

If you’re wondering who or what Treemonisha might be, you probably aren’t alone. Treemonisha is, in fact, a relatively obscure opera, composed around the turn of the 20th century by a man most famous for his ragtime tunes: Scott Joplin. Part of the reason for the opera’s obscurity may be due to the fact that the entire score was not found until 1970! Because of this, this opera is relatively “new” and has not had much time to establish a reputation. Joplin’s opera incorporates aspects of standard or “classic” operas from previous centuries such as an overture, chorus numbers, recitatives and arias, but it also differs in a couple of important ways. For one, Joplin’s opera takes place in Texarkana, Arkansas post-American Civil War. As such, it’s also performed in English. Another difference is that Joplin is the music. I could hear some elements of the classical style, but by and large it sounded more modern, especially during the final act in which the whole company did the “Slow Drag”. While Treemonisha is not a ragtime opera, it was interesting that the last number was in the style of ragtime music…in fact it was ragtime music! The final scene was the best part of the opera because it included dancing and singing to Joplin’s peppy, light-hearted music.
On the whole, I felt the plot of this opera left something to be desired, but there were certainly moments of musical genius and something of a plot twist, otherwise, I got a little bored with how slow the plot progressed. I think the best parts of this production were the times when Joplin’s ragtime style came through, the costumes and set and the energy of the cast.
- Brigid Hannon

Photo: Anita Johnson, soprano, as "Treemonisha"

MSO Does Mozart, Strauss and Dvorak

2009-01-31T21:15:00.000-06:00

On Saturday January 17th, 2009 I attended the Memphis Symphony Orchestra’s (MSO) performance of selections by Mozart, Strauss and Dvorak. The program began with the familiar melodies from the overture to Mozart’s opera, Don Giovanni, proceeding then to my favorite piece of the evening, Don Juan, Opus 20, by Richard Strauss. It required a full orchestra and then some! I liked the rich sound and the passion and yearning it inspired. I think the violins really made the performance what it was because they created tension by means of various motives played quickly, even urgently, in a minor key. Strauss’ Burleske in D minor was next on the menu for our aural palate and it was quite impressive in a rather different way from Don Juan. While Don Juan employed a large orchestra, focusing on the strings for most of the dramatic effect, the Burleske had something else to offer: a prodigious Irishman (Barry Douglas) at the grand Steinway piano. His skills were top notch. I particularly enjoyed the instance when he rapidly played a sequence of chromatic scales…all the way down the piano!! It was definitely a treat to see him perform! The Dvorak was lovely but not quite as impressive as the other pieces on the program. I particularly enjoyed the dance-like third movement…in fact, I liked it even more than the fourth movement (even though the fourth movement is generally supposed to be the most impressive and dazzling of the four).
As always, I encourage more Rhodes students to take advantage of the student rates and the coda tickets offered by Rhodes, and see go to the Symphony!! Tickets start as low as $5 through coda, and $10 at the MSO box office (located in the Cannon Center). The next performance is Saturday February 7th at 8 pm at the Cannon Center, located down town. It features Scott Moore on the trumpet. I hope to see you there!-Brigid Hannon

History Boys Gets Top Marks

2009-01-25T20:07:00.001-06:00

Be mindful not to compare The History Boys, winner of the 2006 Tony Award for Best Play, with other sentimental, treacly schoolboy fare like the 1967 film To Sir, With Love or the 1989 film Dead Poet’s Society. The History Boys seeks not to romanticize education, but humanize it, asking questions not only about the nature of education, but also the workings of the human heart, and the goals we choose to pursue.

Playwright Alan Bennett uses an English grammar school (the equivalent of an American high school) as the backdrop for his tale about differing views regarding education. While preparing for university entrance exams that will ideally gain them admission to prestigious Oxford or Cambridge University, eight foul-mouthed and sharp-tongued boys find themselves at the center of an ongoing educational debate. Their current teacher, Hector (Dave Landis), perceives education as something intended for the heart, his curriculum consisting of memorizing the poetry of W.H. Auden and Stevie Smith, the performing of classic film scenes, singing, and promoting fluency in French, which in one hilarious scene, he has them utilize by acting out a scene in a brothel. The headmaster (Stephen Huff) does not agree with this approach; instead he wants something quantifiable. He brings in Irwin (Eric Duhon) who, denouncing “sheer competence,” encourages the boys to differentiate themselves from other potential applicants by presenting alternative, controversial interpretations of historical events. “Truth,” he argues, “is no more an issue in an examination than thirst at a wine tasting or fashion at a strip tease”.

Hector complains that Irwin’s flashy approach to exam preparation is not history; it’s journalism. Hector and Irwin cannot see eye to eye regarding the purpose of education. Is education valued for its own sake or is it valued as an avenue to achieving success? Irwin says, “Education isn’t something for when they’re old and grey and sitting by the fire. It’s for now. The exam is next month.” Hector retorts, “What happens after the exam? Life goes on.” The play, however, wisely avoids casting either as the good guy/bad guy. Both teachers have their convictions, and more importantly, both have their imperfections.

The play also addresses homosexual relationships among students and between students and teachers. However, this is not a morality play, and the subject is treated less controversially than it might have been were this an American play.

The cast is anchored by strong performances by Landis and Duhon. Of the boys, standouts include DJ Hill, as Scripps, the moral compass of the group, Joe McDaniel as charismatic Dakin, the object of so many characters’ affections, and Ed Porter as the passionate Posner, whose emerging homosexuality and youth make him feel isolated from his peers and whose rendition of Lorenz Hart’s “Bewitched, Bothered, and Bewildered” and scene with Hector is heartbreakingly poignant.

Walking away from Boys, you may not have any answers, but it’s worth the price of admission to be asked the questions.

The History Boys, directed by Rhodes professor Cookie Ewing with assistance by junior Mallory Primm, features performances by sophomores Omair Khattak and Ed Porter and alumnus Michael Towle (2008). The show concludes its run at Circuit Playhouse February 15.

This article also appears on the Rhodes Codetta blog (rhodescodetta.blogspot.com). In addition to theatre coverage, Codetta features coverage on music and art both at Rhodes and in the Memphis community.
- Cristina Iskander

Orpheum’s Drowsy Chaperone “Shows Off”

2009-01-25T20:05:00.001-06:00

The Drowsy Chaperone, winner of five Tony Awards in 2006, is both homage to and parody of the light, bubbly musical comedies characteristic of the Jazz Age, full of archetypal characters and frivolous, predictable plotlines. However, to fully accept and embrace this idea, you have to ignore some anachronisms. First, cast recordings did not even exist until sometime in the thirties, and secondly the musical score is not entirely in the style of the twenties. However, these are relatively easy things to disregard and do not interfere too much with enjoyment of the show.

The narrator for the evening, simply called Man In Chair (Tennessee native John West) shares his favorite indulgence with the audience—a cherished, old record of the (fictional) 1928 Broadway smash, The Drowsy Chaperone. He explains, as he puts it on, that when he listens to it, it transports him, and makes him feel as though he is seeing it live. The Man, who simply wants “a story and a few songs to take [him] away” from the reality that is his lonely, cluttered apartment, is delighted as his imagination takes over, the walls of his home give way and the characters of Chaperone stream in, miraculously entering from his refrigerator and dancing out of his closet.

The characters of 1928’s Drowsy—gangsters (Dennis Setteducati and Marc de la Concha), a producer Feldzieg and his ditzy, blonde girlfriend, Kitty (Britt Hancock and Lindsey Devino), Latin lothario Adolpho (Roberto Carrasco), and the drowsy (read: drunk) chaperone (Patti McClure) have gathered at dowager Mrs. Tottendale’s (Kristin Netzband) home for the marriage of retiring Broadway starlet Janet Van De Graaf (Elizabeth Pawlowski) to oil magnate heir Robert (Leigh Wakeford). As he watches the drama unfold, Man in Chair provides commentary—criticizing or praising certain lyrics and jokes in the show, drawing attention to some of the smaller, less flashy moments, and giving backstage information on the actors performing in the show within a show, gossiping about their careers, rivalries, and scandals.

All of the actors sing and dance ably and their devotion to the giddy, self-aware spirit of the show is admirable, but because of the nature of the piece, there are few opportunities to expand beyond a two-dimensional character portrayal. Pawlowski, McClure, and Carrasco have brief moments of triumph, where they are able to step out of the ensemble (Pawlowski in “Show Off,” McClure in “As We Stumble Along,” and and Carrasco in “I Am Aldopho), but it is only John West, as Man in Chair, who manages to escape this fate entirely, and his droll delivery is an ideal companion to the absurdities that characterize the show within a show.

The set design is inventive, the costume design is impressive, and some of the comedic gags like the repetition of the same lyric as the record “skips” are tremendously clever. However, at times, the script veers from self-conscious to self-congratulatory.

Despite its imperfections, The Drowsy Chaperone is something that people who love musical theatre will immediately understand. However, that said, it is not necessarily a show that anybody will enjoy because to truly appreciate Chaperone, you need to have experienced or felt what Man in Chair feels for this show, whether you have obsessed over a seemingly insignificant moment in a show, felt comforted and swept away by a cast recording, or acknowledged a show’s imperfections but adored it nonetheless.

Memphis was the second stop for the non-equity touring production of The Drowsy Chaperone. The show was performed at the Orpheum January 13-18.

This article also appears on the Rhodes Codetta blog (rhodescodetta.blogspot.com). In addition to theatre coverage, Codetta features coverage on music and art both at Rhodes and in the Memphis community.

- Cristina Iskander

Dr. Harter’s Recital

2008-11-30T12:25:00.001-06:00

On Thursday October 23rd, 2008 I joined countless others in Tuthill Auditorium of Hassell Hall to hear Dr. Harter’s oboe recital: Music and Letters from the Nineteenth Century. Most of the music faculty perform annually and I was excited to see how Dr. Harter’s would compare to last year (in which she performed selections by Prokofiev—a composer near and dear to her!). This year’s concert was a complete departure from last year’s—but just as delightful! Her program featured the music works and letters of Robert and Clara Schumann, Johannes Brahms and Heinrich von herzogenberg. I was particularly excited about this music and these letters because they came straight out of the German romantic era—a movement that swept the arts and permeated society itself in Germany during the 1800s. They took their romantic notions very seriously! As such, the music and letters explore many emotions, bringing one to tears with or joyous laughter. They did this by means of particular intervals in the music that create tension or a particular term of endearment in a letter.

The letters gave critical insight into the thought-processes of the composers and how they made their living, as well the effect of their music on themselves and their audience. These letters also provided intimate glimpses of how these people interacted and how their music reflects not only their ideas and notions, but the ideas and notions of society. Dr. Harter drew an apt and interesting parallel between the art of writing a letter and the art of music itself. In her own words: “all of the little things make a letter personal and unique: salutations, endearments, inquiries about health and happiness…after you drop your work into the mailbox, there is a physical sensation of accomplishment, followed by that anticipation that you might get a reply from someone else in the world that also practices this lovely art”. Just as the minutiae of a letter make it unique and whole, so too in music do the smaller things, like motives, cadences and key changes, distinguish the piece from others as well as making it a completed work. The sense of accomplishment in finishing a letter or completing a musical compositions are similar—one must wait to see how his/her masterful creation is received and hope that somebody else in the world understands the underlying message of their creation.

I hope to see even more people at her recital next year! It’s an event not to be missed!

Interview: Questions by Laura McLain. Conducted by Laura McLain and Brigid Hannon.

1)How long have you been playing the oboe and why did you choose to focus on the oboe over other instruments?
I started in 3rd grade – it was one of those “meet the band instrument” days in music class. Everyone I knew played the flute or clarinet, and the oboe sounded kind of neat. I tried it out on that day and actually got a sound, and had some lung capacity, so they pushed for me to try it. When I went home that night and told my parents I wanted to play the oboe, they had to open up the encyclopedia to find out what it was.
Knowing what I know now, I would probably pick the cello or French horn – great instruments, great expressive qualities, great ranges, and no reeds!

2)How do you feel about your recital?
It was fine. (Nothing’s ever perfect…)

3)If you had to choose only three composers to listen to for the rest of your life, who would they be?
I think you helped me pick these: Antonín Dvořák (Czech, 1841-1904), Francis Poulenc (French, 1899-1963), Astor Piazzola (Argentine, 1921-1992) – all three have great variety in their writings, a lot of folk influences, lots of different genres.

4)Best musical event you have ever attended or participated in?
The best $10 I ever made: I joined the “Jazz Chamber Music” course during my senior year of undergrad. Of course, my friends told me that I was in the wrong room that first day. I told them I was taking sand paper to my “square” (or “classical”) corners. The director taught me a lot about reading chord changes and how to improvise (“no such thing as a wrong note, just wrong resolutions” was his motto), but I always impressed the jazzers with my sight reading skills. Late in the semester, a cold December night in Pittsburgh, the group went to a jazz club downtown – the performing space was in the basement, and cold and dank. But we had a blast performing everything. The instructor’s sister was a jazz vocalist, so she came and sat in while the group of us made up little riffs to back her up. It was a great evening – and we each made $10! (I think I spent mine all on hot chocolate that night!)

5)What advice would you give to music students who do not know which career path to follow?
The best advice, make sure to enjoy what you’re doing, no matter what. It’s great to be personally invested in all of your work, but find time to be yourself on your own time too. Balance is important, and I’m still working on that myself.

6)How did you end up at Rhodes?
A little luck. I feel like I was in the right place at the right time. I had finished my comprehensive exams at the University of Connecticut and was teaching at the Oberlin Conservatory when I had the interview here at Rhodes. I had two one-year contracts when I was teaching mostly music courses for the general liberal arts student including a course entitled “Paris at the Turn of the Twentieth Century.” I then went to Georgia State University for a year while I finished defending my dissertation. I came back to Rhodes on a one-year contract and then won the tenure track job. I feel very fortunate to be in a place where I can continue to learn too – and also to model the ideals I feel are important – a musician, an educator, and a scholar.

7)How do you spend your free time? Favorite Memphis activity?
Free time?! What’s that?! Grading…practicing…sleeping…
Really, I schedule time to play badminton a few times a week – I’ve been playing since high school and there are few places in town to play, including the navy base in Millington. I love to go hear live music on Beale Street, and now that the new smoking laws are in effect, the weeknights are pretty breathable!

8) Do you watch tv? what shows? What is the last movie you saw in theaters?
I watch way too much television and I don’t even have cable! Numbers – because it’s about a college professor who works with the FBI, and I have a thing for numbers. NCIS – I have a few navy connections anyway, and Mark Harmon is good eye candy! Then I have my collections of tv on DVD: Frasier, M*A*S*H, Chuck, Star Trek Next Generation, Home Improvement, etc.
The last movie – well, does the Metropolitan (NY) Opera productions in the movie theatres count?! (http://www.metoperafamily.org/metopera/broadcast/hd_events_next.aspx)

I saw the last James Bond movie, and I’m looking forward to this upcoming one.

9) Is there a person or event that has shaped your life significantly?
This took a while to think about, but I don’t know why. One of my oboe teachers in undergrad (I had three…) made a huge impact on how I do things here at Rhodes. He also coached my wind quintet and a number of other performing classes. Once, the quintet had been booked for a lunchtime concert at the PPG building downtown Pittsburgh where business people were to bring a brown bag lunch. My teacher showed up with his own brown bag lunch “to make sure there was someone in the audience.” He was our cheerleader (who also then critiqued our performances at the next coaching time…) but he was always there to make sure we had an audience. I try to do that here – I always try to make events that I have students involved with, including sporting events. It’s nice to have a friendly face in the audience.

- Brigid Hannon, Laura McLain

Review of Professor Bryant’s Recital: An Evening in Old Vienna

2008-11-30T12:18:00.002-06:00

On Monday November 10th, 2008, as I entered Tuthill Auditorium in Hassell Hall, I came in expecting a great piano performance and some interesting music—what I got was much, much more. After Professor Bryant’s opening remarks about the content of the program, I knew I was in for a treat! He organized a concert of purely Schubert music, and not only for piano, either. The program featured a couple of piano solos, a collection of art songs for voice (Sandra Franks) and piano, and a piano trio with cello (Iren Zombor) and violin (Wen-Yih Yu). Professor Bryant transitioned from his solo pieces to the arts songs and from art songs to the trio by sharing tidbits about Schubert’s personal life, musical style and also his own personal experiences in Vienna with some of the music on the program. This touch made the performance very personal and educational. I especially enjoyed how special the piano trio was to Professor Bryant. He was asked to sight read it when he was in Vienna! His deep connection not only with this piece, but several others on the program made the aural experience simply phenomenal! I particularly enjoyed the Schubert art songs, both for their inherent lyricism and the distinctive motives in the piano accompaniment. Each piece had a specific motive and key that fit in exactly with the subject matter of the song—this was especially noticeable in Auf Dem Wasser Zu Singen (“To be sung on the water”) because the arpeggiated chords in the accompaniment sounded like rippling water. I highly encourage all students to attend faculty music concerts; they’re a great way to hear beautiful music and learn something, too!

Interview with Professor Bryant about his recital on Monday Nov 10th, 2008: Questions by Brigid Hannon. Conducted by Brigid Hannon.

1) How do you feel about your performance on Monday Nov 10th?

“I was really ecstatic about it! I was thrilled with the audience’s reaction, especially at the end of the recital, at the end of the trio—how well it was received. I just feel really good about it! Actually, when I think about other recitals some I haven’t felt as good about as I did this particular one.”

2) How did you go about preparing for this concert?

“One of the solo pieces, the impromptu, I’ve known forever…since 1981 when I was in Vienna! The very first piece, Moments Musicaux was brand new to me. I’ve taught it to students but this is the first time I’ve learned it and performed it. I learned it about a month before the fall semester began. The soprano and I decided which songs to perform, 4 of the 5 I already knew.”

3) Favorite Piece?

“I believe my absolute favorite of the whole thing was my second solo piece and that’s the impromptu in G-flat Major. That was one piece I learned over in Vienna, 27 years ago, so its been a part of me that long! The trio is my absolute favorite piece of chamber music for the reasons that I explained during that recital about the personal meaning it had to me.”

4) Practicing techniques or memorization tips?

“It depends on the style and the actual piece of music it is. I always catch my self with every lesson where someone’s memorizing something, saying ‘One time with the music one time without the music. Even if you have to break it down phrase by phrase.’ Drilling it over and over with the music so that you get that visual reinforcement and then trying it by memory.”

5) How did you get interested in Piano?

“I was reared in a small town, a small town in North Georgia and we were a family of five. There were three of us boys, I was the youngest of the three. To be completely honest with you, Brigid, each of us took piano and started either when we were in kindergarten or first grade. A lot of it was a competitive thing. It did work out that my older brothers one by one dropped off around fifth or sixth grade. By that time I was with a teacher and she realized that I had some stuff. That I had some extra gifts and that of the three guys I was a natural at it.

6) Favorite composers to play music of?

“What I did the other night is certainly a favorite. Most of that is because of my year in Vienna and the experiences I had there. So Schubert is one of the first ones that comes to mind. Also Rachmaninoff and late Beethoven. He [Beethoven] spent the later period of his life in Vienna and I got to walk on some of the streets where he walked and visit parks where he did some of his composing.

7) What is the most exciting or memorable experience in your life?

“Well if I think of everything in my life I think it would just hands down have to be the birth of my children. That moment when the child is born is just one of the few times where my jaw just has dropped and I found myself speechless. That’s just something that can’t be put into words just how wonderful that was. When I got to hug my son for the first time was one of life’s greatest moments. I can still remember that electric moment when I could first hug him.

8) What do you do in your free time?

Most of it is spent playing with my son—that’s anything from soccer to baseball, a little bit of football. But his favorites are soccer, baseball, jump rope and anything having to do with High School Musical. He’s the only one at home now that my daughters are both in college, that way the spare time is spent mostly with him.

- Brigid Hannon

Chamber Music Concert

2008-11-30T12:12:00.002-06:00

On Thursday November 13^th, 2008 I braved the blustery winds and made my way over to Hassell Hall to attend the Rhodes Chamber Music Concert. All of the performers were current Rhodes students and I was impressed with the wide array of instruments and diverse repertoire. Each ensemble was comprised of a different group of instruments, and the ensembles ranged from a string trio performing selections by Antonin Dvorak, to a guitar ensemble imitating the sounds of rain in Leo Brouwer’s Cuban Landscape with Rain, to a quintet including bassoon, oboe, French horn, clarinet and piano playing Beethoven—and everything in between! I love watching how expressive the instrumentalists are while playing the music. Violinists are particularly fascinating to watch because of their arm movements, and the way they tend to lean into phrases and relish sustained notes. There were a number of talented violinists at the chamber music concert that evening, all of whom engaged with the music in different ways. Another instrument and instrumentalist I enjoy hearing and watching is the flute. The only noise I can coax out of a flute is a shrill high note, so hearing beautiful legato phrases and high notes that don’t induce head-aches is a real treat! My favorite piece of the program (aside from the Geographical Fugue) was “upbeat” from Springsongs, by Gary Schocker. Nicole Baker played flute and Tyler Turner accompanied on piano. The duet was riveting and beautiful. It required quite a deal of breath support and control as there were several runs up to the higher notes in the flute’s register—but Nicole managed it with lovely musicality and grace. In fact, it sounded like something out of a movie soundtrack from a 1960s or 70s classic!

Of course, no chamber music concert is quite complete without the rhythmically demanding, spoken word piece called “Geographical Fugue” by Ernst Toch. The entire Music Theory 206 class clambered on stage to show off their skills! I walked out of the theater that night thinking about “Trinidad! And the big Mississippi…”.

I think more students should attend chamber music concerts. It’s a great way to hear new music and support your friends! It was so fun to cheer on my friends and it’s always a comfort to the performer to see a familiar, smiling face in the audience! The next Rhodes student performance is the Wind Ensemble performance on Thursday December 4^th at 7:30 in the BCLC ballroom. I hope to see you there!!

- Brigid Hannon

La Traviata: Mysterious, Unknowable

2008-11-12T08:56:00.002-06:00

On Saturday October 25^th, 2008, I attended Opera Memphis’ performance of Verdi’s classic, La Traviata at the Orpheum Theater in downtown Memphis. I was particularly excited about the performance because while it was my third time seeing this operatic masterpiece, it was my first time hearing it sung in Italian. Back home in St. Louis operas are done in English so it was a real treat to hear the lovely, lilting phrases and melodious arias in their mother tongue. In terms of casting, Opera Memphis brought in Kallen Esperian, no doubt to boost ticket sales because of her famous name due to her notable talen in her hay day. I have to say, I prefer Pamela Armstrong’s rendition of Violeta (as seen in both the 2001 and 2007 versions of La Traviata, produced by Opera Theatre of St. Louis) because her singing was more powerful and evocative. While Kallen did an ok job, I was less-than impressed. She barely grazed some of the higher notes and her voice was not the big, booming operatic voice—filled with passion and angst—that one would expect from an opera star playing Verdi’s Violeta: especially during her duet with Alfredo in which they sing about the mysterious unknowable qualities of love. I was very impressed, however, with Kirsten Piper-Brown’s performance as Violeta’s maid, Annina. Her voice was rich and much more of an aural presence than Kallen’s. It commanded my attention and though she sang little, it was enough to leave a lasting impression. So, La Traviata was not the best I’ve seen from Opera Memphis, but I’m not going to let that discourage me from seeing other shows—and you shouldn’t either! The next operas on deck for the 2008-2009 season are Scott Joplin’s Treemonisha and Gounod’s Faust.

- Brigid Hannon

The Academy of St. Martin in the Fields: An Un-regrettable Experience

2008-11-12T08:51:00.004-06:00

So who exactly is St. Martin and why is he in a field? This is what I found myself wondering on Tuesday evening, October 28^th 2008, while sitting in one of the back pews of Immaculate Conception Cathedral in Midtown Memphis. On that particular evening I was fortunate enough to attend a performance by The Academy of St. Martin in the Fields Chamber Ensemble, touring the states through Concerts International. I say fortunate both because I only had to pay $5 to see this show, which started at $50 per ticket (ah, the perks of being a student) and because this group of prodigiously talented musicians was traveling through Memphis on their 2008-2009 US tour. As expected with such a well-known name, the church was full. It was a predominantly older crowd, with a sprinkling of students. The program consisted of a string sextet by Brahms, Prelude and Scherzo by Shostakovich and a string octet by Mendelssohn. This small group of eight string players dazzled young and old audience members alike. Their skill was advanced, their technique was impeccable and their tonality (thanks both to the instrumentalists and the wonderful acoustics of the cavernous venue) was expressive, arresting—even celestial (pun intended, the performance being in a church and all). The group is based in London and the players come from all over the UK and one from Bombay, India. Needless to say, if you ever find yourself in the same city as these musicians, attend one of their concerts! You will not regret it. It’s an un-regrettable, highly enjoyable experience! For more information on this chamber group visit the following website: http://www.asmf.org/

- Brigid Hannon

Avenue Q

2008-10-23T08:27:00.002-05:00

On Saturday October 4^th, 2008 after a satisfying BBQ dinner at Rendesvous, my friends and I made our way down Main St. to the Orpheum, where the bawdy puppet musical, “Avenue Q” was playing. So what’s so great about a musical with puppets, you may ask. Well, I asked myself this very same question and because of my skepticism put off seeing this production for several years (I’ve had the soundtrack in my “favorites” playlist on Itunes for years). I wondered, why bother seeing puppets perform? I can envision the action just by hearing the songs. Well, as it turned out, I was not completely right. “Avenue Q” is more than what the catchy, politically incorrect songs lead on. For starters, it won the 2004 Tony Award for best musical, surprising most who assumed Wicked was a shoo-in for the award. Personally, I find “Avenue Q” to be a shoo-in. Who could resist puppets singing about racism, sexual preferences and schaudenfreude? In addition to the “wickedly” witty lyrics and catchy tunes, the cast, staging and set provide enjoyment and amusement. During the show, tv screens descend at pivotal moments and play funny cartoon clips which go along with the plot and make jokes involving sexual innuendo. The set doesn’t change from the apartment complex located on Avenue Q, but it’s used creatively for various events such as Christmas Eve’s wedding, Kate Monster and Princeton’s date night, and the grand opening of Kate Monster’s “Monstersorrie School”. Another bonus to seeing the show in person is that you can see the actors who manned (or “wo”manned) the puppets and I was introduced to my new favorite puppets—the bad idea bears! While the idea of the “devil on your shoulder” is cliché, these bears jazzed it up and had impeccable comedic timing.

I particularly loved that the actors sang the songs differently from the Broadway recording I have. This made the show unique and personal to this traveling cast—and as a consequence worth my money! My only complaint would be that the woman playing Gary Coleman didn’t sound enough like our favorite Diff’rent Strokes character.

Unfortunately, the traveling company left Memphis on Sunday October 5^th, but don’t miss it if it comes to your home town or you happen to be in New York (where it always seems to be playing)!! If you’re a musical junkie don’t despair because “Mamma Mia” is running from November 18^th-23^rd and “The Pajama Game” is closing out 2008, running from December 9^th-14^th. Buy your tickets now! Student tickets are available for $20!!

Multicultural Celebration at U of M

2008-10-15T16:36:00.002-05:00

Rhodes Orchestra ToMoRrOw !!!

2008-10-15T15:32:00.000-05:00

LITTLE COW BIG DEAL FOR BUCKMAN SEASON

2008-09-30T13:08:00.001-05:00

"Hungary’s hottest export since goulash." Funkhaus Europa

"A crossover mixture that radiates the spirit of an alternative traveling circus, Little Cow moves between melancholy and a wild party…catchy songs . . . Top music from a top band." Sound & Image Magazine

Don't miss one of the brightest stars on the world music circuit, Hungary’s Little Cow! This raucous ensemble takes listeners on a joy ride through the carnivalesque and the lyrical, the melancholy and the whimsical with absurd humor and all things known to keep a party going. The band is celebrated for their Gypsy, Balkan, rock, pop, ska and dance music fusions. Little Cow has played all of the hottest venues from New York's reputed Joe's Pub to Globalfest to the esteemed Kennedy Center and are a featured artist on Putumayo World Records. Bring your dancing shoes for an unforgettable night at the Buckman!

WHO: Little Cow

WHEN: Sunday, October 5, 2008, 7 p.m.

TICKETS: $28 for adults, $25 for seniors and students

BOX OFFICE HOURS: Monday through Friday between 10 a.m. and 4 p.m. or 1 hour prior to a performance. Call (901) 537-1483.

WHERE: Buckman Arts Center at St. Mary’s School,
60 Perkins Extended, Memphis, TN 38117

CONTACT: For more information or to arrange an interview with the artist(s), please contact Cindi Younker at cyounker@stmarysschool.org or (901)537-1483.

IMAGES: See attached

ARTIST VIDEOS: www.youtube.com, search “little cow”

Little Cow (Kistehén Tánczenekar) was founded by László Kollár-Klemencz after the great success of his songs for the popular Hungarian cartoon, Little Yellow Cow. This funny figure, which won the audience award at the International Animation Festival in Ottawa in 2002, was brought to life by László and his creative partner, Igor Lazin. In the same year, the protagonist, Little Cow, became the main advertisement figure of Hungary‘s Sziget Festival.

The band first formed to play for the Sziget Festival, with a makeshift set-up and a limited repertoire. At the time, the band was just a hobby of the members. Nevertheless, László and his band mates managed to produce two albums, A Kis Tehén (The Little Cow) in 2002 and Csintalan (Naughty) in 2004.

Little Cow became a full time band, following the phenomenal success of their song Szájbergyerek (Cyber Boy). Although not broadcast on any commercial channels, it’s popularity spread quickly via the Internet. In Hungary, Cyber Boy was a runaway hit breaking music industry records, including most ring tone-downloads, video of the year on Hungarian VIVA Television, and Song of the Year at the Fonogram Awards. Little Cow’s fame began to spread abroad when it was selected for the British Beginner’s Guide to Eastern Europe compilation album. The band was soon bombarded with invitations to music festivals, village days, cultural celebrations and TV shows.

By 2006 they were one of the Hungary‘s most popular bands. Their next album Szerelmes Vagyok Minden Nobe (I’m in Love with Every Lady) was published by EMI in Hungary and internationally by Eastblok Music. In 2007 Csintalan became a Platinum selling album.

Today, they are touring the world. They were selected by UK’s Songlines Magazine as a featured artist for their Top of the World CD and for the Gypsy Grooves album for Putumayo World Records.

Little Cow’s music has been described as “crazy listening”, “underground pop” and “a village version of Beatles” with its Gypsy, Balkan, rock, pop, ska and dance music. The mood of their music races from serenity, absurdity and humor to mature, deep and poetic. The Buckman is pleased to introduce the Mid-south to Little Cow on Sunday, October 5 at 7 p.m. Visit www.youtube.com and search for “Little Cow” to catch one of their kitschy videos or see a rollicking live performance. Tickets are available on line at www.buckmanartscenter.com or by calling (901) 537-1483

Raconteurs Concert

2008-09-30T12:30:00.003-05:00

My first visit to the Cannon Center downtown was as pleasant as I could have hoped. It’s usually used for ballets and symphonies, and even when I first entered the auditorium, I couldn’t help noticing that it looked exactly like an opera house. To be honest, I thought the venue was just a little too nice for the Raconteurs, who are a charming combination of power pop, fuzzed-out blues, and Americana, all taken to the next level. I wanted to see this band in a dingy bar somewhere, where the pervasive smell of cheap cigarettes, stale beer, and incredible body odor that only Memphis concertgoers seem to be able to muster, lingered in the air like good, old-fashioned industrial pollution.
Well, we did have stale beer and Memphis B.O. at least, so by the time the opening act came out, I was in my concert state of mind. The Kills took the stage with high expectations from this reviewer, and over the next 45 minutes, proceeded to ruin all of them. The Kills are a two-member band, consisting of “Hotel” Hince and “VV” Mosshart, with both playing guitar and doing vocals, although Hince plays guitar a bit more, and Mosshart sings a bit more. They’ve been compared to other minimalist electronic acts like Suicide and Gary Numan, but trust me, they are nowhere near as good.
They had a drum and bass machine on stage while they played their set, and I must say, it was a little excessive. The bass was so huge that it nearly rattled my hipster glasses right off my face. The drum machine was staid and completely free of any kind of dynamics. And worst of all, Mosshart would not stand still for more than 5 seconds. She seriously must have walked nearly a mile with all of her prancing, gallivanting, showboating, and posing. In her sad attempt to be Iggy Pop/Mick Jagger/Freddie Mercury, she forgot that her band sucks.
Madam, you are no Karen O.
After the Kills played some of their more popular songs, like “U.R.A. Fever,” “Sour Cherry,” “No Wow,” and “Fried My Little Brains,” they left the stage, and the unwashed masses started pouring into the auditorium. It was actually a much older crowd than I was expecting, and almost the entire younger, college-age crowd was up front in the standing room section. The roadies worked quickly, and before you knew it, the Raconteurs were taking the stage.
Now, maybe this is something that has always been around and I just don’t know it, but it seems like the only purpose of standing near the front of the stage nowadays is to take as many pictures on your phone/digital camera as possible. And judging from the pictures people were taking, it seemed like the only reason anyone was there last night was basically the same reason I was there: to see Jack White, the likely savior of traditional rock and roll.
This was the second time I had seen Mr. White live, and I have been listening to his music since the eighth grade. When I was in high school, he was my guitar god, and in some ways, he still is. The applause of the audience was noticeably louder when he took up his ax, and right from the start, my nose started to twitch: the tension in this band must be unreal.
The drama played out over the entire show. He played the first five minutes with his back to the audience, as if he was trying to hide himself so that his friends could share in the limelight for just a little while. He would often sit down to play his instrument, effectively disappearing from the view of many people in the audience. And his demeanor was remarkably different from that of a White Stripes show; when he is on stage with Meg, he really gets into the music, screwing up his face along with the guitar, and evincing some kind of emotion. But during the entire show, he played with pursed lips, half-open eyes, and an expression taken right off of George Harrison. He was different around this band, around his good friends. I thought it was kind of sad to see this, to see Jack White stuck in a cage.
But ladies and gentlemen, Jack White is seriously just too good to be kept under wraps like that. After a particularly blistering blues/rock solo, I actually turned to my friend and said, “It’s just not fair how much better he is than the other guys in this band.” Still, despite White’s indomitable abilities on guitar, the band motored through some fan favorites, like “Many Shades of Black,” “Old Enough,” and the title track from their new album, “Consoler of the Lonely.” Brendan Benson, the other guitarist and singer, was totally on point the entire show, especially since he had to pull some slack; Jack White came out after about the fifth song to address the troops, made chit-chat, talked about eating at Interstate Barbeque, and then apologized about a disc in his neck, which he said was also affecting his vocals. I thought nothing of it, until the end of the show.
The Raconteurs were tight for the first 45 minutes, but after that, they got increasingly jammy. I don’t like jam music. It’s repetitive, boring, pointless, and unsatisfying. And until the end of the first set, the Raconteurs just jammed away. It was incredibly disappointing. But as always, there was an encore. (Does anyone not play encores anymore?) And man, this encore was better than the whole show so far.
The first set was noticeably free of the radio hits, “Steady As She Goes,” and the newer “Salute Your Solution.” But the Raconteurs brought it out in full force. After playing two powerful, cagey numbers, they pulled out the big guns to satiate the crowd. And unfortunately, because Jack White couldn’t sing, they brought out Mosshart of the Kills. I could have cried. She had to read the lyrics off a piece of paper, and something happened to White’s guitar. During “Steady As She Goes,” the last song, he went through three guitars to get the right sound, but he eventually fixed it. The set ended to raucous cheers and applause, and the band took a bow before they left the stage, which I had never seen before.
All in all, the concert was a solid B-. The Raconteurs took a little too much liberty with the jam session, and the opening band was abysmal live. But they completely redeemed themselves with some swift, tight rock songs, and awesome audience rapport. If anything, I would recommend buying the Raconteurs albums, and getting a few Kills tracks. But please, if you get the chance, go see the Raconteurs if only to see Jack White. He is just too good to believe.
- Jake Smith

- Photo: Lindsay Smith

MSO: David's Perfect 10

2008-09-29T15:56:00.011-05:00

On Saturday September 20^th I attended the Memphis Symphony Orchestra’s (MSO) performance of “David’s Perfect 10”. This evening there was a guest violinist, Juilliard grad Nadja Salerno-Sonnenberg—whose performance was nothing short of show-stopping! She strode on stage beaming and utterly confident in her abilities—I could tell her performance was going to be standing-o worthy because of her pants. I know this sounds strange, but her black and white striped and shimmery pants were so ridiculous-looking that I assumed she must be so good on violin that her skill would distract the audience from her unconventional choice of attire. This proved to be true! She and the MSO’s performance of Piazolla’s “Four Seasons of Buenos Aires” was an aural sensation. Some of my friends even commented that “halfway through we decided it was ok she wearing those pants”! Salerno-Sonnenberg put on a theatrical as well as a musical performance by swaying to the pulse of the music, while simultaneously dazzling everyone with her effortless runs on the violin.

The rest of the program paled in comparison. I was particularly confused by the placement of Ravel’s “Bolero” after Piazollo’s “Four Seaons” because “Bolero” is repetitive and a bit grating on the nerves. It does not implement any virtuosic solos nor innovative melodies. It’s the same motive over and over again. I felt that the best way to send off the audience is to leave them inspired and in high spirits—exactly how everyone felt after Sonnenberg’s spell-binding performance!

- Brigid Hannon

For a schedule of what, when and where Nadja performs next visit:

www.nadjasalernosonnenberg.com/concerts.html

For more information about the MSO’s upcoming concerts visit:

www.memphissymphony.org

Visiting voice professor: Stephen Smith

2008-09-29T15:53:00.001-05:00

On Thursday September 5th I attended a vocal performance concert in which a visiting voice professor from Middle Tennessee State University, Stephen Smith and accompanist Lynn Rice-See performed a variety of “arias and art songs”. His selections included “Sonnets of Petrarch” by Franz Liszt, “Nessun Dorma” from Giacomo Puccini’s opera, Turnadot, and songs by Richard Hundley and Richard Strauss—to name a few. My favorites by far were “Nessun Dorma” and all of his Strauss songs. He sung the Puccini aria with such spirit and compassion. When he hit and sustained the highest note in the piece the resonance and tone was so beautiful and full that it gave me goose bumps! Likewise, I could tell that he felt most connected and passionate about his Strauss selections because of his added animation and careful phrasing of each song. It’s hard to explain, but as a singer I sensed that he had an even higher regard and deeper appreciation for these songs than any of the other songs performed. My beliefs were confirmed when I attended his master class the following day because he confided to us that he did in fact like his Strauss selections the most out of the concert repertoire! The rest of his pieces were performed well but did not inspire or affect me in the same way his delivery of the “Nessun Dorma” and the Strauss songs did.
- Brigid Hannon

Clough-Hanson Gallery at Rhodes

2008-09-26T09:42:00.004-05:00

On Wednesday September 24, I decided it was time to see the fist exhibit this semester for the Clough-Hanson Gallery. I had seen flyers around campus for the Memphis World exhibit, so I knew that there would be old photos taken from the Memphis World newspaper. What I did not expect was the flood of emotion that came from seeing these photographs. MEDGAR EVERS’ GRIEVING FAMILY that appeared in Memphis World on June 22, 1963 was the most moving photo for me. The photograph shows Evers’ wife, two children, and brother seated at the funeral. The raw emotion on their faces nearly had me in tears as well. That such a good man was killed and his family made to suffer in grief tore me up. That photograph really is worth a thousand words. Another favorite of mine, SEQUIN CLUB MEMBERS BRILLIANT FORMAL WITH FRENCH THEME, taken by Hooks Brothers Photography, showcases young women dressed for a dance. The dresses and smiles the women wear really caught my eye. The fact that all of the people in the photos are real people who led real lives at that time really resonates. The photograph topics vary a lot, so you get an entire cross-section of African American life from 1931 through 1973. In total, the Clough-Hanson Gallery showcases nineteen photographs while the Memphis Brooks Museum of Art hosts the remaining two hundred and three. I highly recommend that everyone go to this exhibition and get a taste of our city’s history. I think you will all find it more than worth your time.

- Leah Bachmeyer