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January 31, 1971 - Image 2

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The Michigan Daily, 1971-01-31

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THE MICHIGAN DAILY

Sunday, January 31, 1971

4

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Superlative soprano

-Daily-Tom Gottlieb
music
"igh Level Ranters: Low level
By LUKE BALDWIN one point Tom Gilfellon quip- set was Collin Ross' perform-
he High Level Ranters (Ce- ped that "We have recently been ance on the Northumbrian Pipes
Band) from Northumber- named in the Guiness book of (a double reeded instrument,
d, England, made their open- records:" Johnny Handle rang- played with a bellows at t h e
appearance at the Ark Fri- ed from being very funny to waist, similar to Irish Pipes). Al-
, and a long day of travelling tolerably obnoxious. though Ross hasn't been play-
iarently took its toll on their The second set soon slipped ing the twenty to thirty years
sic into drinking songs, and though generally required to master the
Tom Gilfellon's lilting v o i c e instrument, his technique seem-
orts aboutheadtheingrobut (from seemed to be somewhat lacking ed quite polished.
b White. Michael Cooney, in sharpness, he performed these The brightest spot in the group
D vid R ) I songs well. was Alstair Anderson, the con-

By A. R. KEILER
Coloratura sopranos have al-
ways inspired a unique kind of
enthusiasm. For one thing, they
are generally rarer than other
breeds of singers. For another,
the trills, leaps and pyrotechnics
which make up a large part of
the coloratura repertoire are a
kind of vocal obstacle course
with all of the excitement and
that feature of will-she-make-it
-or-won't-she that audiences
are particularly fond of getting
caught up in.
Last night the University
Musical Society presented Bev-
erly Sills in a recital of arias.
some lieder of Strauss and a
song cycle of Milhaud.
Her florid singing has clarity,
accuracy and beauty of tone.
The speed with which she can
manage leaps and embellish-
ing or ornamental passages is
uncanny. Her range is warm
and even. and unbelievably flex-
ible, and she has at her com-
mand, especially up to mezza
forte volume, a range of color-
ation foreign to most lyric or
coloratura sopranos.
Her gift for languages is also
remarkable and is, by the way,
at the bottom of much of the
stylistic appropriateness of her
interpretations. Her pronuncia-
tion is flawless, she does not
have to accommodate vowels,
and knows the different expres-
sive features of each language.
But what is most striking
about Miss Sills is not so much
her technical gifts, but rather
the way they are put at the
musical substance of her sing-
ing. She has the sense of con-
tinuity of musical phrasing, a
variety of legato and staccato
singing and the rhythmical
flexibility and control that one
finds more often in instrumen-
talists.
The program included several
arias from two operatic roles
particularly associated with
Miss Sills, Julius Caesar and
Manon. She grouped the three
Handel arias which opened the
program into an arrangement of
fast-slow-fast that helped to
make of them a kind of chamber
cantata. From Manon she chose
the Recitative and Gavotte
"Obeissons, quand leurs voix ap-
pellent". Both composers reveal-
ed the expressive scope of her
characterizations. She avoids
both unnecessary and inappro-
priate dramatic gestures, and
any coy or mannered intrusions

into the musical line. The
rightness of her characteriza-
tions is a result of their direct-
ness in mood and emotional
identification, and in her natur-
al handling and understanding
of the texts.
For these reasons, she is not a
great opera singer who can also
sing lieder well (or for that mat-
ter vice versa) but an artist
whose gifts are as appropriate
to opera as they are to the lied.
In the latter category she gave
us four Strauss lieder and the
charming Chansons de Ronsard
of Milhaud. She was as much at
home with the soaring lyrical
line of Strauss as she was with
the style of Milhaud.
Miss Sills is, I believe, unequal-
led among present day singers
for the concentration in one ar-
tist of so much technical skill,

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4

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d I T
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DIAL
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Another fine double bill

nma

11 :

GENE WILDER

I

16

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lan(
ing
day
app
mu
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rep
Bob

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and

JEAN PAUL BELMONDO in
"MAN FROM RIO"

arad iav zronme rg) , was very
disappointed at the disunity of
their music. They just didn't
seem to play well together.
The band, which is made up
of Colin Ross on fiddle, T o m
Gilfellon on guitar, Johnny Han-
dle on accordian, and Alstair
Anderson playing concertina, is
midway through a ten day tour
of the states. They specialize
in English traditional music, and
are generally accustomed to
playing for dances in Britain.
The tone of the evening seem-
ed to be established in the first
set. All of the musicians seem-
ed to be competent on t h e i r
instruments, and did some nice
things individually. But when
they performed as a group, the
music was rather bland.
I attributed their lack-luster
performanceof theyfirst set to
travel fatigue (they arrived
just about an hour before they
were scheduled to start), a nd
problems in the sound system.
But their performance never
seemed to jell, as the evening
went on.
The band was, however, in
command of the audience, and
their conversation between songs
was quite amusing. Since much
of English music is centered
around the pub, many of their
songs were drinking songs. At
At State & Liberty Sts
DIAL
662-
6264

A song about Newcastle Brown
Ale proved to be very popular as
the audience sang out on the
chorus: "Here's to the bottle
and the glass/ And here's to the
bonnie winsome lass/ In the eve-
ning time none can surpass/
Drinking at your leisure."
Gilfellon also did very respect-
able versions of the cumulative
songs "The Barley Mow," and
"The Bottling Rat."
The band then did a nmedley
of English marches (of a some-
what different genre than ty-
pical American "marching
band" music). But again, one
got the impression he was hear-
ing four solo performances of
the same song, rather than a
group effort.

certina player. Bending a n d
swaying like a mythical sailor
on the poop deck, he played the
fastest concertina I have ever
heard. Though he has not tot-
ally perfected his art, he will
undoubtedly be one of the
world's great concertina play-
ers.
The accordian also provided
an interesting change from
American music. Thanks to
Lawrence Welk, it has to be
just about the most anti-charis-
matic instrument there is. At
times it made the group sound
like a Polish polka band, but
at other times it added a full,
unique sound to the music.
Tom Gilfellon probably left
me the most nerplexed. Playing
See LOW, Page 7

I1

DOUBLE F
"Liza Shou
"Best Act
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Year!'
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JA CK N/CHOL'SQN
FIVE m XRf IPIEWES
"YEAR'S BEST"
--N.Y. Film Critics
OPEN 1 P.M.
SHOWS: 1:20, 3:10, 5 P.M.,
7 P.M., 9 P.M.

The Michigan Daily, edited and man- >'(
aged by students at the University of
Michigan. News phone: 764-05521 Second I4 '
Class postage paid at Ann Arbor, Mich-
igan, 420 Maynard St., Ann Arbor. )
Michigan 48104. Published daily Tues-
day through Sunday morning Univer-
sity year. Subscription rates: $10 by
carrier, $10 by mail,
Summer Session published Tuesday
through Saturday morning. Subscrip-
tion rates: $5 by carrier, $5 by mal, CLAUDE CHABROL FILM FESTIVAL
FEBRUARY 1-7 ALSO..
'THEG
A films from the man who learned suspense from Hitchcock.H
Creator with Godard and Truffaut of the NEW WAVE Chabrol
De srnge atexposes the swell of passion with sudden violence.
o husads ns.Heroic astronomy and the subtle grace of the 7 Capital
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JuY ".W.. t he Cinema of Cruely and Compassion"
auti aloveakngda-
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wife
drivenr with Ali M
to find Sunday-"Goo
Oti :I Monday-''
Jacqueline Sassard and Stephane Audran in LES BICHES STARTS
WEDNESDAY
A MURDER IN EVERY MOVIE:
( Mon., Feb. 1-LES COUSINS 1958. Country cousins come to live
with decadent Parisian Jean-Claude Brialy.
Thu., Feb. 4-LEDA (WEB OF PASSION) 1959. Jean-Paul Bel-
i mondo's gastronomic orgy. An emotional film of love and murder.
Also being shown Feb. 5.
Sat., Feb. 6-LES BICHES 1968. Another triangle of lesbianism F
and irony. Chabrol "back in business again."
Sun., Feb. 7-LE SCANDALE-CHAMPAGNE MURDERS. Chabrol
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Poramount Pictures Presents
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A Poromount Picture
"A New York version of
RADUATE"0-Judith Crist
'IS AVRY RMY, mcYAPPU
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H MIT - NU3AT LIBERTY
DOWNTOWN ANN ARSON
INFORMATION 761-9700
"American "WTilderness"

-X
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f t
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* Mail to: MUSKET, Michigan Union, Ann Arbor, Mich. 48104 *
S (Please enclose a self-addressed stamped envelope) U
ยข w
* Name _______________ Phone u
Address-
* a
i DATE PRICE No. Tickets Amt. *
Wednesday, Feb. 17 8 p.m. $3.25 $NoTks t
E Thursday, Feb. 18 8 p.m. $3.25
U Friday, Feb. 19 7 p.m. $3.75 _
* Friday, Feb. 19 10 p.m. $3.75 I
Saturday, Feb.20 7 p.m. $3.75 _
* Saturday, Feb. 20 10 p.m. $3.75 _
s TOTAL ENCLOSED $_
* r
Alternate Date and Time__
No Make Checks Payable to MUSKET
Nomail orders accepted after Feb. 5, 1971
mm mm m m mm m mm mm m mm m m mm m m mm mmmm mm m mm m

y

I

BLOCK TICKET SALES
February 3, 7:00 p.m.
Musket Office, 2nd floor Michigan Union

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FILM FESTIVAL
TONITE
Les Cousins, 1959
Country cousin Gerald Blain
comes to live with fast-moving
Parisian Jean-Claude Brialy.
"Our initial impression of the
two cousins - Blain as moral;
Brialy as decadent - are later
undermined and our sympathies
are evened out."-Robin Wood
0
People are not so simple as they
first appear; vices are in certain
ways virtues, and vice versa.

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