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(04/23/09 1:47am)
____simple_html_dom__voku__html_wrapper____>The Jacobs School of Music will present its annual Spring Festival of Woodwinds Brass and Percussion, featuring the Wind Ensemble, Symphonic Band and Concert Band, at 8 p.m. Thursday in the Musical Arts Center.The evening will feature the music of special guest composer Jonathan Newman, as well as musi0c by Rossini, Tchaikovsky and Puccini. Before the festival, smaller musical groups will perform short sets in the lobby beginning at 7:15 p.m. “We’re just trying to make it a very special event for these people,” conductor Stephen Pratt said.Along with Pratt, the conductors include Jeffrey Gershman, Paul Popiel and David Woodley.Gershman will conduct the world premiere of “Symphony No. 1 for Band,” a three-movement piece by Newman. “It’s so brand-new that we just got the final parts of the music just a few weeks ago,” Pratt said. “It hasn’t even been heard before.” After “Symphony,” Pratt will conduct the Wind Ensemble in the North American premiere of “Climbing Parnassus,” another Newman piece. Newman, a New York-based composer, is a “brand-new voice compositionally,” Pratt said.“We think he has potential to be one of the leading composers for the next few decades,” he said.Guest saxophonist Professor Otis Murphy will play a solo during the Wind Ensemble’s performance of Puccini’s “Tosca Fantasy.”“How many world’s-best saxophonists are there?” Pratt said. “Not many. Dr. Murphy is certainly right up there with some of the best in the world. If he were playing at Carnegie Hall, it would be $80 a ticket. Here he plays for free.”Murphy actually prefers playing with the IU students over seasoned professionals. “Normally playing as professionals we just show up, have one or two rehearsals and we perform,” Murphy said. “But it’s a real treat to play here with the students because we often learn the music from the beginning together, and that’s really different and neat.”
(04/23/09 1:43am)
____simple_html_dom__voku__html_wrapper____>Take timeless, accessible dance music performed by two IU student big bands and add two distinguished professional vocalists and two accomplished Jacobs School of Music jazzmen.The finished product: this year’s annual Big Band Extravaganza.The Jacobs School of Music will present this year’s Big Band Extravaganza, “When Swing Was King,” at 8 p.m. Saturday at the Musical Arts Center.IU jazz faculty members David Baker and Brent Wallarab will lead the student big bands for the Extravaganza. This year’s concert will feature music from some of the swing era’s most prolific big bands, including Count Basie, Tommy Dorsey, Benny Goodman and Duke Ellington.“During the Second World War in the 1940s, it was the time when jazz music was the most popular it’s ever been,” Baker said. “In times of stress, people turn to music, and swing music is about as good as it gets when people want to dance again. We’re revisiting that era for the extravaganza.”The concert will feature guest vocalists Delores King Williams and Everett Greene, who also performed last year.“Williams and Green are just amazing,” Wallarab said. “They really know how to connect with the audience. Plus the young musicians in the band, the IU students, are really having a good time with this, and you’ll be able to see that as they’re playing it.”This year marks the first Big Band Extravaganza for Wallarab as a full-time Jacobs faculty member. He is the lead trombonist in Baker’s Smithsonian Jazz Masterworks Orchestra and a national authority on swing history.“I think (Wallarab) really makes an effort not just to make us sound good but to educate us on what it will be like as a musician in the real world,” said sophomore Alex McNeilly, an alto saxophone player. “He spends a lot of his time just studying music from the swing era, so he’s really knowledgeable. He really cares about the music and really gets excited about it, and it’s just great for us to learn from him.” Even though the music featured in the extravaganza is decades old, don’t expect it to be inaccessible, Wallarab said.“This music has really survived the test of time,” he said. “It’s still recognizable. There’s always people from every generation who discover this music and become attracted to it. Most pop music is kind of disposable and isn’t considered that much once it’s run its course. But swing still has a tremendous appeal.”The main reason why Baker puts such an emphasis on jazz music is to reveal America’s musical roots, he said. “One thing that’s very important for us and me as a teacher is that people have to know their heritage,” Baker said. “It would be like somebody who was born in Austria not knowing about Mozart. If we don’t keep it alive, I’m not sure what that says about our respect for our history and our culture.”Baker’s efforts for jazz have not gone unnoticed. “I really admire David in every regard – as a musician, composer, teacher and mentor,” Wallarab said. “He’s been one of the greatest influences in my life, both professionally and personally. It’s a thrill to be considered a colleague of his, yet at the same time he’s somebody that I continue to learn from.”
(04/10/09 12:50am)
____simple_html_dom__voku__html_wrapper____>For a man about to end a 44-year singing career, IU professor Timothy Noble is surprisingly upbeat. He smiles, chuckles, cracks jokes and even breaks out into a spirited Flo Rida rap and Soulja Boy dance routine. IU Opera Theater’s “The Most Happy Fella” will be the last production of Noble’s distinguished singing career. The production will run this weekend and next at the Musical Arts Center.Noble will star in Friday’s and April 18’s performances as middle-aged Tony Esposito, who falls in love with beautiful Rosabella. Since she doesn’t remember him, Tony sends her a picture of his young, handsome ranch hand, Joe, instead of himself during their mail correspondence, and comedic mishaps and mischief ensue.“It’s a role that I’ve always wanted to do,” Noble said. “I’m the most happy fella because I’m a pretty upbeat kind of guy. It’s also an old man’s role. I can’t do a lot of the lead roles now because I’m too fat and I’m too old, but this is perfect.”For the student performers in “The Most Happy Fella,” having Noble as a cast member has proved to be a great learning experience. “In this stage of the game, we’re learning our craft and he’s been through his career already,” said doctoral student Elisabeth Marshall, who plays Rosabella. “But it’s not nerve-wracking at all. He put the whole cast at ease right at the beginning.”Noble is a renowned baritone who has previously performed leading operatic roles such as Rigoletto and Falstaff at venues like the Metropolitan Opera in New York and San Francisco Opera, as well as abroad in Italy, the Netherlands, France, Germany and Canada.Despite his full professional career, Noble has no regrets about ending it. For now, he would rather teach than perform, and he plans to stay at IU as a professor “as long as they’ll have (him).”“How can I be sad when I’ve done all I’ve done?” he said. “It’s just part of the deal. It’s time to pass the torch. This chapter’s not mine, it’s for the students. The fun part now is to watch them blossom.”“The Most Happy Fella” originally debuted on Broadway in 1956, with the book, score and lyrics by Frank Loesser. “Loesser did it all,” said stage director Vincent Liotta. “He was a more universal talent than most composers for musical theater.”This production features much more dancing and acting than the opera student performers are used to. “You take a whole bunch of opera students who have never had an acting or dancing lesson in their lives and put them in a show where they really have to act and really have to dance,” said doctoral student Bethany Barber, who plays Cleo. “It can get really interesting.”Both Liotta and Noble were stunned at how well the students caught on. “I expect good singing, and there is,” Noble said. “But what really blew me away was how well these kids can dance.”Joshua Bergasse is the choreographer, and the production is conducted by Broadway veteran Constantine Kitsopoulos. Liotta said this version is much shorter than the original production.“It’s keeping with the modern musical style,” Liotta said. “The audience is going to love the big rowdy showbiz stuff, but they’re also going to love the sweet, romantic side of it. There’s a lot to love.”Noble said he loves that this is his last stage performance and that he can finally be home for good.“I’m having the time of my life because I know it’s the end,” Noble said. “After being on the road 40 years of my life, I finally don’t have to pack a suitcase anymore. I don’t have to stay in another hotel again for weeks on end. I can go home to my own bed at night and finally have my family around me.”Not everyone is excited with Noble’s decision to quit singing.“I wish it weren’t true,” said Barber. “It’s such a joy and honor to work with him, and it makes me sad to think he’s leaving. He’s such an amazing performer. And he’s still got it.”
(03/27/09 3:31am)
____simple_html_dom__voku__html_wrapper____>The IU Ballet Theater will present “Variations on a Russian Theme,” which combines a shortened version of Tchaikovsky’s 19th-century classical ballet “Swan Lake” and the world premiere performance of “My Eyes Opened” by Pennsylvania Ballet choreographer-in-residence Matthew Neenan.“I think every ballet dancer knows ‘Swan Lake’ because it’s the ultimate ballerina role,” said Demetria Schioldager, who dances as Odette, the White Swan. “I’ve always wanted to do the role ever since I saw it. It’s been around for over 100 years. The choreography – when you do it – you feel like you’re part of the history of the ballet,” she said.This version of “Swan Lake” was staged by IU Ballet Department Chair Michael Vernon and choreographer and American ballerina Cynthia Gregory, who famously performed the role of Odette/Odile with the American Ballet Theatre.“Having Cynthia Gregory here was a huge help because she was the most famous one who ever performed in Swan Lake,” Shioldager said. “If you looked to perfection of the role, she’s it.” Grace Reeves, who will perform as Odile, the Black Swan, studied Gregory’s performance on YouTube. “She really mastered the role, and everything she had to say was full of wisdom,” Reeves said. “She’s so nice and helpful, but she’s like a legend.”Reeves said acting the part of Odette’s evil dissembler is as difficult as the choreography. “I have to show that I’m this evil imposter to the audience, but still pretend like I’m Odette, loving and great, and trick the prince at the same time,” she said. “Both roles at once can be hard to remember.”Vernon said that this is the first IU ballet in which only IU ballet majors will perform.“I’ve stopped this policy of having guest artists,” he said. “We have dancers that are very accomplished.” “Swan Lake” will last about half as long as the classical production. “We always have to build new audiences, and I think one way to do that is to take the classics and present them in a way that is meaningful to young people,” Vernon said. “I think the way to present ‘Swan Lake’ is to cut it, because a lot of the old ballets have a lot of filler in them. I love the tradition, I love the past, but I’m not married to it.”
(03/12/09 12:40am)
____simple_html_dom__voku__html_wrapper____>Watching a fashion show is like seeing a fairy tale unfold – with slender supermodels as the heroines and outrageous fashions as the costumes. The unfortunate truth is that some trends are best left to fairy tales. Remember Jean Paul Gaultier’s cone-shaped bras back in the good old 1990s? That only worked on Madonna. With countless options to choose from, it is becoming more difficult by
the season to pick flattering pieces that will suit your particular
shape.
To make it easier for you, we spent hours toiling over today’s top
trends and came up with tips on looking skinny without sacrificing
style.
Let’s get to it:1.One of the most crucial things you should take away from this column is the importance of streamlining. You always want to make a continuous line, which gives the illusion of a longer leg and, therefore, a leaner silhouette. A definite faux pas is leggings that fall short of your boot, giving the impression of a chopped-up leg. A simple fix to this problem is to add tights that match the color of your shoes, creating a longer, leaner look.2.When wearing jeans keep in mind that lighter and brighter usually equals heftier and chubbier. Gray jeans add to the width of your leg while a dark wash is a sure way to subtract pounds. Heels and boots are a skinny jean’s best friend; flats, on the other hand contribute to a short and squat figure. Lastly, beware of bulky sweaters. When worn appropriately these can really add the “umph” factor to your outfit, but when worn incorrectly, they can sabotage it. Try to pair them with a skinny, body-conscious dark jean or legging. Adding a pair of heels wouldn’t hurt either. 3.Sweater dresses are a tricky trade. Making them work for your body without accidentally adding heft to your shape can be difficult. This look is best dressed up. Instead of bare legs, use one of our tips and try dark tights paired with a tall wedged boot. Be careful not to get that chopped-legged look by wearing a mid-calf boot or leggings. Or forget about the sweater dress and try sporting a high-waisted skirt with a streamlined top. Complete the look with a corset belt and a pair of simple heels.
(03/06/09 6:28pm)
____simple_html_dom__voku__html_wrapper____>“Reggae is the beat of the people. It is the universal language,” said Aston “Family Man” Barrett, one of the original members of the legendary reggae band Bob Marley and the Wailers. “The message of it – the roots, the culture and the reality is for all ages and all times. It’s like the moon. The older the moon, the brighter it shines.”The Wailers played to a packed house on Thursday at the Bluebird Nightclub as part of their “Exodus” tour. The band played all of the songs from the 1977 “Exodus” album plus several other hit favorites during the encore including “Redemption Song,” “No Woman No Cry” and “Get Up Stand Up.”Time magazine named “Exodus” the Album of the 20th century.“The music from ‘Exodus’ is the music of the ages. It reminds people, especially young people, to keep them in line so they won’t walk on the wild side,” Barrett laughed. Coyaba, a local reggae band opened the set and Yvad Davy, a Jamaican acoustic guitar player who is also a backup vocalist for the Wailers, served as the interlude before the Wailers took the stage.“Natural Music,” the Wailers’ opening song and the opening song on the “Exodus” album, got the crowd swaying and cheering.Before playing “Exodus,” the fifth song on the Wailers’ set list, lead vocalist Elan Atias urged audience members to “take it up to the next level.” He jumped around the stage, clapping and doing a series of high knees exercises while the crowd clapped in the air and waved their arms. His athletic energy stayed up through the end of the show.“Ah, I love the music,” Atias said. “The music gets me energy. It’s so positive. It’s just a vibe I get that I want everyone to get, too.” Everald Gayle, who was professionally trained on the trombone in Jamaica, has been with the Wailers for two years. “I’m always enjoying myself playing with the Wailers,” he said. “We are family, like brothers. The message is in the music and it doesn’t have an age limit, so people of all ages just gravitate toward it.” Shawn Minnich, a Bloomington native, had been to more than ten Wailers’ shows before last night’s concert. “I’m a huge reggae fan,” he said. “Seeing Family Man up there was so incredible. The show was just awesome.”“Young people who could not come see us when Bob was alive – they are coming now. The music draws them because the message is for all,” Barrett said. “The beat of the people is a universal language that people all over the world can understand. Our music gives out those loving vibes and those happy vibes. The drumbeat shows true love. And we keep nice because our Rasta man vibrations is positive. We got those herbal remedies.”The touring lineup of the Wailers includes Barrett on bass, Elan Atias on lead vocals, Chizzy “Audley” Chisolm on guitar, Anthony Watson on drums, Keith Sterling on keys, Chico Chinn on trumpet and Everald Gayle on trombone. Barrett, who contributed largely to the Wailers sound and is the only member from the original lineup, has a few final words of advice for the young people upon his departure for the next stop on the Wailers’ tour.“Bob and me, we were chosen of the nation to spread the message of our roots. Don’t forget the movement; always keep it in mind. You’ve got to be strong and stay close to the Almighty One. The devil will tempt you to the maximum capacity so keep praying for strength, wisdom and overstanding. Not understanding, overstanding. You don’t get it until you overstand.”
(02/27/09 5:17am)
____simple_html_dom__voku__html_wrapper____>Talk to local jazz pianist Monika Herzig about America’s waning interest in jazz and her voice will grow in volume and passion. “We’re losing jazz out of our listening environments,” she said. “These other styles have taken over, but we need to find ways to keep it in our environment. We need to keep fighting for such an important part of our heritage.”Herzig will team up with other female jazz artists for “Women in Jazz” at 3 p.m. Sunday at the John Waldron Arts Center. The event will honor Women’s History Month and close the 2009 ArtsWeek celebrations. It will feature three generations of female jazz musicians, including Bloomington High School North students Thea Bransby and Mailyn Fidler.“Women in Jazz” will begin with a 45-minute panel discussion during which each artist will tell her unique story as a female jazz musician. Afterward, the women will perform a 90-minute concert. The event is free.“It’s a special bonding thing for us to pull together and do this,” Herzig said. “I’m usually the only female when I go out. As a player, I’m usually the last one who gets a call because the guys usually like to work together. So you have to take your own initiative and start your own projects. Music-making for us is different. It’s a little more special and emotional.”Not all women feel left out of the jazz scene. “Women in Jazz” bassist Jennifer Kirk said women bass players and other female musicians are everywhere, but they tend to stay hidden.“I have never, ever felt any kind of discrimination being a woman,” said Kirk, who has been playing jazz since the 1980s. “If you could pick up an instrument and play it, it didn’t matter who or what you were. As long as you could cover the gig and cover the book, you’re hired.” But it hasn’t always been that way.“Historically, women were never a large group in jazz,” said “Women in Jazz” vocalist Janiece Jaffe. “Classical music has seen plenty of women, but jazz has always been completely littered by men.”Because playing jazz music meant hanging around men at bars and clubs late at night, participating was socially unacceptable for women, Jaffe said. “Society has changed,” Herzig said. “More and more women are being involved, and you don’t get weird looks anymore playing late at night at a bar. It’s accepted now.”Aside from acceptance as musicians in a male-dominated industry, “Women in Jazz” has another looming problem. According to the Recording Industry Association of America’s 2007 Consumer Profile, jazz music accounted for only 2.6 percent of all music sold that year. This figure scares Herzig. “Jazz is losing its commercial value,” she said. “It’s the one musical style that was completely created in America, so we should be proud of that. Learn about jazz. We should all be conscious of it because it’s the root of most popular music today.”Kirk said she believes people should support local musicians, no matter the genre. “This will be a special night,” she said. “Most of the music you will hear is written and arranged by women. It betters all of us, the whole community, when people take an hour and a half out of their day and sit and enjoy something like this.”
(02/26/09 3:38am)
____simple_html_dom__voku__html_wrapper____>IU Opera Theater will present George Frideric Handel’s baroque opera “Giulio Cesare,” written in 1724, this weekend and next at the Musical Arts Center.The opera unfolds during the period when Roman dictator Giulio Cesare, known by most as Julius Caesar, meets Egyptian queen Cleopatra and helps her in war against her brother and husband King Ptolemy.The opera will be sung in Italian with English supertitles projected above the stage.Guest Stage Director Tom Diamond, IU alumnus and Conductor Gary Thor Wedow and graduate student Daniel Bubeck, who plays Giulio Cesare, open up about the politics, music and sex appeal in IU’s fifth opera production this season.Exploring ‘Cesare’ with show’s lead, director, conductorDaniel Bubeck (Giulio Cesare)Indiana Daily Student: What is your favorite part in “Giulio Cesare”?Daniel Bubeck: I love the third act aria when I’m shipwrecked. I’ve just fought Ptolemy’s army, and I end up washed up on shore. I’m downtrodden, but amazed that I’m still alive. I get to sing my one beautiful slow aria that I’ve been waiting the whole opera to sing.IDS: What do you like about Handel’s version of this story?Bubeck: Handel picked a good story, but I think the audience needs to realize that this opera is about the voice. Come to the opera for the music. This was the music that won me over to classical music.IDS: What is the most challenging part about performing this opera?Bubeck: It’s a lot of music. Four of the rage arias are very difficult in that they move very fast. You’ve got to be in top form – otherwise, you’ll die by the end.Tom Diamond (Stage Director)IDS: What is your favorite part in “Giulio Cesare”?Tom Diamond: It’s like turning to a parent and asking who is their favorite child. There’s one great song after the next great song. There is a wonderful scene when Caesar and a violinist have a duet, and they make music together. We have this young violinist from France (Romuald Grimbert-Barre) who’s amazing.IDS: Is this opera only for seasoned opera-goers?Diamond: Definitely not. It’s a great story and the music is so tuneful. I think it’s for everybody. And it’s sexy, really sexy. Because it’s a love story. And it’s Cleopatra. And it’s Egypt. You know? These hot climates and Romans and Egyptians together – I think is hot stuff!IDS: How do you think IU ranks as an opera and music program?Diamond: IU is a famous school and certainly the largest music school on the continent. My expectations were high, and they met them. And this audience is one of students and people who love the opera. So it better be damn good.Gary Thor Wedow (Conductor)IDS: What is your favorite part in “Giulio Cesare”?Wedow: I think baroque opera is a bit like jazz because it has these improvisational elements to it. I love the idea that we’re all going into the pit and on stage and everybody’s going to do something slightly different, because we have given them the freedom to experiment.IDS: What do you like about Handel’s version of this story?Wedow: Handel is the great dramatist. It’s all about human emotions, sexual politics, the struggle for power and romance. Handel had this incredible ability to write arias that, besides being beautiful music, also illustrated the psychological dilemma of the actor. I just love that this year’s Bloomington ArtsWeek theme is “Politics and the Arts.” This opera fits in perfectly.IDS: What do you want the audience to think after they see “Giulio Cesare”?Wedow: Someone once complimented Handel on what entertaining music he had written. He responded, “I didn’t write it only to entertain you, but to make you a better person.” This production taps so many issues that are important to us. I’m hoping that the audience will be entertained, but also enriched.
(02/12/09 1:42am)
____simple_html_dom__voku__html_wrapper____>During the Great Depression, fashion was put on the back burner because of the poor economic climate. Because Americans were forced to ration fabric, fashionable women used their sewing skills to alter their clothes and update them in creative ways to keep up with the trends. Women today are faced with similar challenges. There are tons of ways to stay stylish on a budget if you can think outside the box.A few simple modifications and a resourceful imagination are all you need to completely resurrect your wardrobe. Adding accessories, cinching your silhouette, enhancing old looks with trendier pieces or altering outdated items to make them more modern are just a few tricks you can use to spice up your options.We came up with a few key ideas that you can copy and incorporate into your own closet. 1. Cinch shapeless silhouettes. We took a mod vintage shift dress and made it more sophisticated by adding an embellished waist-cinching belt, pearl drop earrings, a cocktail ring and a more flattering luggage-colored platform heel. Have any baby doll or sack dresses from a few seasons ago? This is a fantastic way to update these outdated pieces.2. Reuse outdated items. If you still think exposing your muffin top is cute, you’re seriously delusional, because ew. However, you don’t have to donate short tops to Plato’s Closet just yet. Reuse these usually unflattering pieces by wearing them with a high-waisted skirt or pant for a much more flattering look. Feel free to accessorize with bangles, earrings and a killer high heel.3.Glam up a simple piece. The last few seasons we’ve been seeing a very simple, shapeless silhouette, but this spring brings a more tailored, accessorized feel. We took a cocktail dress from a few seasons ago and vamped it up by adding a cropped fur coat, opaque tights, patent Mary Janes, a chunky pearl bracelet and earrings. Check out local stores like Bella Donna or Urban Outfitters to stock up on fun jewelry and accessories to update your wardrobe, or browse Cactus Flower for some unique vintage pieces. Stay classy, IU!
(02/05/09 3:02am)
____simple_html_dom__voku__html_wrapper____>An illuminated fairy godmother, a wiggy wicked stepmother, sexy fairies and a female Prince Charming - this isn’t a typical Cinderella story. The IU Opera Theater will present Jules Massenet’s “Cendrillon,” which is based on the familiar fairy tale, Friday at the Musical Arts Center.This particular version of the fairy tale is set in early 19th century Napoleonic France, and boasts tons of visual components designed to keep the audience engaged. “I try to do scenery that is very stimulating, that moves and evolves and changes in front of the audience’s eyes,” said C. David Higgins, professor and set designer for the production. “The scenery is meant to be like an early 19th-century engraved watercolor toy theater.”The scenery won’t be the only visual draw in “Cendrillon.” New York-based guest director Chuck Hudson plans to challenge the cast with his directing style. “I’m a really physically specific director, and this production embodies stylized movement. It’s even slightly acrobatic,” Hudson said. “I have a very particular approach when I’m working with young singers. It is physically engaging and emotionally demanding and involves a lot of musical preparation.”Hudson said this production will be much more sparkly and magical than the “Cinderella” the audience is used to. “We’re using fiber optics and bee lights, or Christmas tree lights, when the fairy godmother flies in,” Higgins said. “Her costume and wig are illuminated with LED lights. These things are all very modern but it’s done in a sort of early 19th- century style.”The 19th-century Romantic period costumes are another highlight of the production.“I love the wigs,” said Charis Peden, who plays Madame de la Haltiere, better known as the evil stepmother. “They’re amazing. Everything is much more pastel than the Disney version everyone has seen.”Higgins said this particular version is probably the most accurate representation of Charles Perrault’s 1697 version. “This is the most French version of the story,” Higgins said. “Since Perrault was French, this opera is closest to the original.”“Cendrillon” will be performed in French, with English subtitles displayed on a screen above the stage.“Director Chuck Hudson is fluent in French, and he can interpret the texts from the original language, which brings a special sensitivity to the material that another director wouldn’t have brought,” Higgins said. “He’s also a movement specialist and brings that dancer sensibility.”Hudson’s previous work with legendary mime artist Marcel Marceau might explain his physical and visual approach to directing. “I really focus on stylized period movement,” Hudson said. “For instance, all the performers have to learn how to bow correctly, sit correctly and move in accordance to the period. It’s all very precise and very comic.”Peden thought of a background story to bring her character, the stepmother, to life. “It’s very problematic to play an evil character,” she said. “I had to create a first marriage for her and other past experiences in order to build someone so excitable and self-obsessed.”For those familiar with the Disney version, “Cendrillon” might have some surprises in store, including a mostly female cast. Two alternating female cast members, Laura Wilde and Heng Xia, play Prince Charming, a “pants” role, meaning a male character played by a woman.“In this art form, it is really quite usual to cross-dress,” said Alain Barker, director of marketing and publicity for Jacobs School of Music. “It really depends on the quality of voice that the director is looking for. Since Prince Charming calls for a soprano, it makes sense that a female should fill the role.”Massenet’s “Cendrillon” originally debuted in Paris in 1899, but fell out of popularity until recently.“It was not one of Massenet’s most popular operas,” Higgins said. “It’s been rediscovered ... Operas come in and out of fashion, but this is the time for ‘Cendrillon.’”
(01/30/09 3:33am)
____simple_html_dom__voku__html_wrapper____>In celebration of the Chinese New Year, the Divine Performing Arts, a New York-based authentic Chinese dance and music company, will perform at 2 p.m. and 7:30 p.m. Saturday at the Murat Theatre in Indianapolis. The Indiana Falun Dafa Association is responsible for bringing Divine Performing Arts to Indiana for the first time.Lixuan Tackett, a volunteer for the Indiana Falun Dafa Association, said the audience will be brought to tears.“This kind of entertainment isn’t just great, it’s enlightening,” Tackett said. “It heals.”Divine Performing Arts combines choreographed Chinese folk dance and acrobatics with a more than 40-piece live orchestra, which plays a fusion of Chinese and Western music. The entire performance is set to a digital backdrop custom-animated to match the story lines, lighting and rhythm of the performers. Tackett said the costumes are handmade and were heavily researched before their construction to ensure of authenticity. The costumes were also designed to enhance the visual experience of the dances.“The dancing is a very distinctive, comprehensive system of training that used to be performed in royal courts for the Chinese emperors,” Tackett said.Tackett said ever since China’s Cultural Revolution more than 40 years ago, the country’s 5,000-year-old culture has been severely damaged at the hands of the Communist regime. “DPA is trying to revive the Chinese traditional sense of culture, that essence that has been recently lost,” Tackett said. “When people watched the Beijing Olympics, they saw the formality and technique, but the essence was gone. The respect for heaven and earth, humanity, peace and harmony in dancing has all been lost since the religion was taken away.”The performance will include dances portraying ancient folk tales from Chinese history, and all the originally composed songs will be sung bilingually in Chinese and English. Divine Performing Arts’ name comes from China’s ancient nickname, the “Land of the Divine.” “The Chinese consider their rich culture bestowed by Heaven,” Tackett said. “DPA is trying to revive that divine culture through their performances.” Unlike the Western New Year, the Chinese New Year, also known as the Spring Festival, is based on the lunar calendar and falls on a different day each year. This year, Chinese New Year’s Eve fell on Jan. 26. The Chinese New Year festivities last for 15 days and will end Feb. 10. “It’s just like Christmas in America,” said Yan Jin, the president of IU’s Chinese Student and Scholar Association. “It’s the most important holiday of the year. There’s a big family reunion and everyone gets together and has a feast.”Depending upon the region in China, there are different traditions for celebrating the new year, but the holiday represents a new start for most Chinese people.In preparation, the entire family gets together to clean the house and cook the feast in advance for Chinese New Year’s Eve, Jin said. “Of course I miss it,” said Yan Zhuang, a graduate student at IU. “My entire family is together, doing the housework and shopping. There aren’t any concerns about work or anything, so it’s a really special time.” Red fireworks are another big tradition for the Spring Festival. Although they have been banned in the past because they caused injuries, China recently allowed their use again in celebrations.“Well, anything red is typical right now,” Zhuang said. “It represents happiness, so it’s everywhere – decorations, coats, shirts, sweaters, fireworks – it’s on everything.”Most Chinese people on the mainland watch the Spring Festival Gala broadcast live on China Central Television. Jin said it is the largest TV performance in China, and everyone watches it together as a family in the hours before midnight.Divine Performing Arts will bring the Chinese New Year celebration to those who can’t experience it in China this year. “This is the best opportunity for Westerners to learn about ancient Chinese history and culture,” Tackett said. “You just have to be there to feel it. When the curtains go up, people will be amazed at the beautiful colors, the energy, the backdrop, the handmade costumes and the movements. Hearts will be pounding.”
(01/16/09 4:13am)
____simple_html_dom__voku__html_wrapper____>IU Jacobs School of Music students Kiri Deonarine, Ljubomir Puskaric and Jung Nan Yoon were named winners of the Metropolitan Opera National Council Indiana District competition Jan. 10 at IU’s Musical Arts Center.“It’s been week after week perfecting the music for the competition,” said Puskaric’s voice instructor, Jacobs professor Robert Harrison. “It’s nitty-gritty work because the competition is so steep. It forces me to be highly critical – I pick and I pick until we make things as perfect as they can be. It’s a lot of long hours and hard work, but it’s necessary.”Most of the candidates who auditioned for the Met’s Indiana District competition were Jacobs School of Music students.“Compared to other districts, the competition is high here,” Harrison said. “I would say we’re on the same level as the east and west coast districts.”“I certainly didn’t expect to win,” Deonarine said. “My father always said that you have to audition a couple of times before you really start to succeed, and it was my first time to compete.”The judges for this year’s competition, who included Timothy O’Leary, the new general director of Opera Theatre of St. Louis; Jane Bunnell, mezzo-soprano; and Brian Zeger, the artistic director of The Juilliard School, who represented the Met, awarded $4,000 in total prize money.The three winners will advance to the Met’s Tri-State Regional Auditions at the University of Cincinnati on Sunday. The winners of the regional rounds will go on to compete in the National Semi-Finals on Feb. 15 and the Grand Finals Concert on Feb. 22 at the Metropolitan Opera in New York.Puskaric realizes the competition he will face in the next rounds will be fierce.“I don’t have much time to think about my feelings right now,” he said. “All I can think about is concentrating and preparing for regionals on Sunday. But I wouldn’t consider this competition the one and only. You never know what is going to happen – you could get sick, get distracted by something else, or it just might not be your day. This is a career where you use your body, and it doesn’t always react the way you want it to.”
(01/09/09 2:53am)
____simple_html_dom__voku__html_wrapper____>The Metropolitan Opera National Council will audition new opera talent at IU’s Musical Arts Center Saturday at 1 p.m. The Indiana District competition is part of the national competition, and it is free and open to the public. The Metropolitan Opera sponsors the auditions in order to find new, opera talent. Only about 25 applicants will audition.“This competition is a real career opener for the auditioning singers,” said Maria Levy, the executive administrator for the IU Opera and Ballet Theater. “Many singers who audition for the Met in the Indiana District get their start in this competition.”Past winners have gone on to join successful opera companies, develop lasting professional singing careers, sing with the Met and even teach at IU. Some of those success stories include IU alumni Sylvia McNair in 1982, Elizabeth Futral in 1991, Angela Brown in 1997, and Larry Brownlee in 2001. Not only do winners claim bragging rights from the competition, but they receive prize money from the Metropolitan Opera. The judges, who represent the Metropolitan Opera, will decide the number of winners and how much money they will get. The judges include Timothy O’Leary, the general director of the Opera Theatre of Saint Louis; Jane Bunnell, mezzo-soprano; and Brian Zeger, the artistic director of the Department of Vocal Arts at The Juilliard School. “Singers have been awarded up to $6000,” Levy said. The Indiana District winners will go on to compete in the Tri-State Region Finals of the competition in Cincinnati on Jan. 18. If successful in the regional competition, finalists will go on to the final auditions in New York in February. The Indiana District winners will also sing in a special PBS-televised concert in New York.Levy said that even the losers will benefit from auditioning.“Auditioning for the Met is a way that singers can be identified for different potential opportunities, even for those who don’t win,” Levy said. “After the auditions are over, judges give feedback sessions for the singers. It’s a nurturing process, and it opens lots of possible doors.”Each vocalist will perform one prepared selection and the judges can ask to hear more selections if needed, Levy said.Most of the applicants have studied with their voice teachers and coaches well in advance to prepare for the competition.Applicants are required to be American or Canadian citizens between the ages of 20 and 30 with ample musical training, including the ability to sing in more than one language.“They must be the most qualified, top-of-the-line singers in order to win over the rest of the applicants,” said Levy. “We expect a lot of young talent this year.”
(11/15/06 4:32am)
The audience fell silent after Daniel Bolshoy and Julie Nesrallah struck the last chords of a passionate, Spanish-influenced guitar ballad. The crowd waited for the duo to say something insightful about the song.\n"Singing that song makes me feel like I'm about to grow a mustache. It's so deep," Nesrallah instead joked. \nThe Nesrallah-Bolshoy Duo performed Saturday night at the John Waldron Arts Center. Bolshoy and Nesrallah combined classical guitar with opera-style vocals for what Bloomington Classical Guitar Society President Mark Bisesi called a truly unique performance.\nThe couple played against a stark, black background with only a bouquet of pink roses on a white stand as a decoration, showing that the focus of the evening would be the duo and their music. \nThe Nesrallah-Bolshoy Duo performed five sets of 27 songs written by four different Latin composers. Most of the songs were relatively short, lasting about two minutes each, but they reflected a spectrum of emotions, ranging from happy and nostalgic to mournful and distressed.\nDuring the performance, it became obvious that Nesrallah is also an actress. Even though the songs were sung in a foreign language, the mezzo-soprano's expression revealed their exact meaning. In "Cuba dentro de un piano" ("Cuba Within a Piano"), Nesrallah evoked a sassy, defiant Cuban woman, and in "La rosa y el sauce" ("The Rose and the Willow"), her strong voice held such a sadness that the audience was clearly moved. \nThe duo's classical guitar style was different from normal rock 'n' roll strumming. \n"It's comparable to piano music as opposed to pop music," Bolshoy said. "You use all five fingers instead of a pick. You hear so much more music at once."\nHowever powerful their music might be, Nesrallah and Bolshoy didn't seem to take themselves too seriously. The couple joked with the audience and each other throughout the entire concert. \n"We have a comedy routine at the Holiday Inn that runs every Friday night," Nesrallah joked.\nAfter the concert, Nesrallah and Bolshoy graciously thanked everyone for coming and chatted with people in the audience. Bolshoy praised the Bloomington Classical Guitar Society for its work.\n"It's a really nice thing they do for the community. The society is all nonprofit, and it's great that they think classical guitar is an important cause," Bolshoy said.\nMembers of the audience told the duo that the smaller size of the auditorium and the audience made the event more personal and special. \n"It was just wonderful," said Ginnvor Bullard, a member of the guitar society. \nJudging by the standing ovation after Nesrallah and Bolshoy finished their performance, the audience seemed to agree. \nBolshoy and Nesrallah are award-winning artists who perform throughout the world, both individually and as a duo. Both artists will have CDs out this year. For more information regarding their music, visit www.julienesrallah.com and www.danielbolshoy.com.
(11/09/06 4:30am)
Daniel Bolshoy, an Israeli, and Julie Nesrallah, Canadian-born with Lebanese roots, try to inspire others to live peacefully through their work. The duo wants to make an example of their relationship and show that peace can be achieved between dueling cultures. \n"It sounds strange," Bolshoy said, "but we hope to inspire those two countries (Israel and Lebanon) to get along."\nThe Nesrallah-Bolshoy duo will perform at 8 p.m. Saturday at Bloomington's John Waldron Arts Center Auditorium. Nesrallah, a mezzo-soprano and Bolshoy, a classical guitarist, will play 27 classical songs infused with many international influences.\n"The music is nonstandard classical," Bolshoy explained. "The songs have to do with popular or folk music from different South American countries." \nThe concert will also feature five songs inspired by various Emily Dickinson writings. \n"It will be an incredibly unique program," said Mark Bisesi, president of the Bloomington Classical Guitar Society. "The songs will be performed in an intimate setting, and the combination of vocal and instrumental should be quite a treat. Both are magnificent performers, and it's a real privilege to have them in our community."\nThe Bloomington Area Arts Council and the Bloomington Classical Guitar Society both sponsor the concert as part of a performance series for the BAAC.\nJocelyn Robertson, director of performance and special events for the BAAC, said this partnership is common.\n"We usually work with the Bloomington Classical Guitar Society for a section of the series," she said. \nBolshoy first became involved with the Bloomington Classical Guitar Society while earning his doctoral degree at IU, beginning in the fall of 2002. He and Nesrallah have already performed two concerts together in Bloomington, along with several other individual performances. \nThe couple first met and performed together at a musical festival in Ottawa, Canada, in 2001 and have been touring together and dating ever since. They reside in Canada but continually tour and perform worldwide as a duo and individually.\nBolshoy currently teaches guitar classes at Concordia University in Montreal and has performed at many prestigious festivals and concerts internationally. Bolshoy will record a CD in the spring and next year will tour the West Coast. He is also planning a 40-concert tour in Canada for next year.\nNesrallah is an opera singer who has performed with many opera companies across the country. In 2004, she was invited to sing for Princess Haya of Jordan for a benefit to help impoverished girls study music in Canada. She recorded an album with harpist Caroline Léonardelli in September and will star as the title role in "Carmen" for the Syracuse Opera in Syracuse, N.Y. She completed all of her classical training in Ottawa and Montreal.\nTickets for the concert are available online at www.bloomingtonarts.info or at the John Waldron Arts Center the night of the show. Prices are $15 for the general public, $12 for students and seniors and $10 for guitar society members.