Audition Festival Concert
Elisabeth McBrien
Issue date: 2/22/07 Section: Entertainment
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This weekend, I went to see the Audition Festival College Concert: a performance given by the Hartt School students and faculty involving dance, instrumentals and theater. Going into this, I must admit that I had my suspicions.
How would it be possible to combine all three of these very different musical assemblages without ending up with a choppy pile of confusion? What I learned was, well, just how little I know about these kinds of things.
Each performance truly blended seamlessly into each other, leaving no single piece sticking out like a sore thumb or hidden by overwhelming surrounding performances.
The Hartt Wind Ensemble, directed by Glen Adsit, commenced the evening with the piece "Recoil," a song which perfectly matched the ethereal atmosphere. A lone, silver light illuminated the empty stage while music rumbled from the depths of the pit. Then, without a single pause, the entire stage burst into light and a dancer (Justin Andrews) glided across the stage, moving and contorting to the playful pluckings of a bass player (Robert Black).
The performances kept melting into each other, each one more smoothly than the last. It was obvious that making such seamless transitions took a lot of work and almost mathematical precision. Various areas of the stage were illuminated for each recital, giving each performance a chance to shine.
After one piece in virtually total darkness, the auditorium lights flashed on and two actors (Ryan Cummings and Justin Fuller) in business suit costumes, from what seemed to be the 1940s, came striding down the isles, howling at each other from across the vast room. Some audience members even had to scrunch up in their chairs so the actors could get by them. Such an interactive performance seemed to reinvigorate the audience with energy generated by the two.
I also noticed how important the order of each piece proceeded, making for a wonderful contrast. At times, the contrasts were almost amusing in a way. After a powerful and elegant vocal performance by Cynthia Cook, the auditorium suddenly erupted with a crash and an almost savage percussion echoed throughout the chamber causing a woman in the front row to shrink, wide-eyed, back into her chair. This trio (including Gene Koshinski, Bill Solomon and Tim Broscious) delivered a thrilling and extremely tight collaboration.
One of my favorite performances was the violin recital from Anton Miller. The piece started off sweetly, with rich, velvety tones. Then, it slowly progressed into a frantic, fast-paced stream of complex notes, which left me in a full-on sweat.
This is not to say that each performance did not affect me in a certain way. Each one was as unique and enjoyable as the last, and I was able to absorb each piece despite the fleeting amount of time they were shown.
In hopes to deliver a balanced and objective report, I have failed in my search for any negative aspects of the show.
In truth, this wonderful collaboration of the Hartt faculty and students truly made for an inspirational and entertaining evening - a perfect way to celebrate the University's 50th anniversary.
How would it be possible to combine all three of these very different musical assemblages without ending up with a choppy pile of confusion? What I learned was, well, just how little I know about these kinds of things.
Each performance truly blended seamlessly into each other, leaving no single piece sticking out like a sore thumb or hidden by overwhelming surrounding performances.
The Hartt Wind Ensemble, directed by Glen Adsit, commenced the evening with the piece "Recoil," a song which perfectly matched the ethereal atmosphere. A lone, silver light illuminated the empty stage while music rumbled from the depths of the pit. Then, without a single pause, the entire stage burst into light and a dancer (Justin Andrews) glided across the stage, moving and contorting to the playful pluckings of a bass player (Robert Black).
The performances kept melting into each other, each one more smoothly than the last. It was obvious that making such seamless transitions took a lot of work and almost mathematical precision. Various areas of the stage were illuminated for each recital, giving each performance a chance to shine.
After one piece in virtually total darkness, the auditorium lights flashed on and two actors (Ryan Cummings and Justin Fuller) in business suit costumes, from what seemed to be the 1940s, came striding down the isles, howling at each other from across the vast room. Some audience members even had to scrunch up in their chairs so the actors could get by them. Such an interactive performance seemed to reinvigorate the audience with energy generated by the two.
I also noticed how important the order of each piece proceeded, making for a wonderful contrast. At times, the contrasts were almost amusing in a way. After a powerful and elegant vocal performance by Cynthia Cook, the auditorium suddenly erupted with a crash and an almost savage percussion echoed throughout the chamber causing a woman in the front row to shrink, wide-eyed, back into her chair. This trio (including Gene Koshinski, Bill Solomon and Tim Broscious) delivered a thrilling and extremely tight collaboration.
One of my favorite performances was the violin recital from Anton Miller. The piece started off sweetly, with rich, velvety tones. Then, it slowly progressed into a frantic, fast-paced stream of complex notes, which left me in a full-on sweat.
This is not to say that each performance did not affect me in a certain way. Each one was as unique and enjoyable as the last, and I was able to absorb each piece despite the fleeting amount of time they were shown.
In hopes to deliver a balanced and objective report, I have failed in my search for any negative aspects of the show.
In truth, this wonderful collaboration of the Hartt faculty and students truly made for an inspirational and entertaining evening - a perfect way to celebrate the University's 50th anniversary.
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