n THE MICHGAN DAILY
Arts & Entertainm ent Wednesday, February 9, 1977 Page Five
PIANO TECHNIQUE FLAWLESS:
Bolet
concert,
moving-
Diana Ross dazzles home-
town with funky favorites
By SUSAN BARRY
SATURDAY night at Hill Audiorium pianist
Jorge Bolet tucked the tails of his tuxedo
neatly over the piano bench, gazed contempla-
tively over the keys for a few moments and
then rapturously, enfolded himself into the Al-
legro of Haydn's Sonata in E-flat major. The
intensity of his concentration sparked an electric
current through the audience that caused it to
sit as if suspended, in anticipation of each care-
fully and thoughtfully executed cadence.
The Allegro began with a tinkling celerity of
of chords that tumbled from the keyboard with
a lightness that made the clarity of the rapidly
rolling passages all the more incredible in their
contrast.
The following Adagio began with minor hesi-
tative chords that had a shimmering effect, sug-
gesting a summer rainfall.
THIS RATHER poetic quality carried over into
the Presto, with its light, slightly picaresque
mood. The airy runs had a quality of innocence
evocative of a Blake poem. The long, rapid, sec-
tions of this Presto were performed with a clar-
ity and precision that was absolutely chilling in
its execution.
The Sonata was followed by Schumann's Car-
naval, Op. 9. This piece superimposed a melange
of melodical moods that varied from the open-
ing stately chords of the Preamble, suddenly
breaking into a rash of unexpectedly frenzied
runs, a rhumba-like beat, -and several dramatic
waltz rhythms. The most remarkable quality of
this piece was reflected in Bolet's ability to cre-
ate flowing, reflectively gentle melodies and
build them with such care and precision as to
create a rather stirring effect.
The final section, entitled Marche des Davids-
bundler contre les Philistins, was marked by a
flurry of loudly punctuated chords which 'seemed
to bounce off one another and roll majestically
over the keyboard. This was the most physically
demanding point in the evening and Bolet's
concentrated exertion infused this section with,
such magnetism it spirited the audience to sev-
eral enthusiastic ovations before the intermis-
sion.
THE Sonata in F-minor by Brahms began with;
strong chords in the Allegro from which
emerged a soft melody, somewhat restrained at
first, then expanding and asserting itself, vary-
ing slightly thematically, and returning in its
original form.
The Andante was an extensive melodic meta-!
phor borrowed from the accompanying verse by}
S ernau of "two hearts . . . that hold each other
in sacred embrace." The mellifluous theme wasI
performed with an expressive delicacy so elo-
quently it was inspirational. The melody deep-
ened and began to soar, resolving in several ap-
proaches to ending the movement, first on an'
ethereal note. then settling. into a reflective maj-
esty, sudden flourishes, and finally glissandos.
This section provided the most moving moment
of the evening.
The Scherzo followed with hesitant chords ris-
ing and diminishing to achieve a playfu'ly wary'
effect.
THE INTERMEZZO presented a series of
superimposed chords and progressions in the
treble with rumbling chords in confirmation in
the bass. Soft treble chords interceded and;
seemed to vibrate with what was a harp-likeI
effect.
The Finale began with snatches of melody that
emerged into a distinctive theme and then'
branched out into menacing progressions of
strategically punctuated chords.
The entire sonata demonstrated the absolute
eenius of Bolet's mastery of a variety in tech-
nione and the effect was breathtaking.
After another ovation Bolet returned to play
three finales. The first was a brief Debussy con-
certo. The second was Beethoven. The third en-
core was a Chopin concerto in which Bolet
By MITCH DUNITZ !
DIANA ROSS returned to De-
troit minus the Supremes
last week for six nights of what
in this writer's opinion, was
one of the finest performonces
displayed in the metropolitan
area in recent years.
Dazzling with enthusiasm, and
filled with warmth. Ross was
at her best for two energy-filled
sets last Friday. From the first
moment she set foot on stage
through the encore, the audi-
ence was under her complete
control.
Since .the beginning of her ca-
rear 'in 1961, Diana Ross has
risen to the top quickly. She.re-
corded hit after hit, first with
the Supremes, then alone, and
also, branched out into moviesI
where she received an academy
award nomination for her por-!
trayal of Billie Holiday in Lady;
Sings the -Blues, and drew'
large afdiences to see her sec-
ond film, Mahogany. All of
these elements of her past were
evidence at Ford Audtiorium.
SHE OPENED the concertI
with such nightclub standards
as Here I Am and The Lady is-
a Tramp. After what was to be
the first of many costume chan-
ges- Diana emerged the "Disco
Bach
'Queen" to sing her recent hit,
Love Hangover. This was fol-
lowed by a tribute to the work-
ing girls - Billie Holiday, Jo-
sephine Baker, EthelaWaters,
and Bessie Smith. Eachi char-
acterization brought about a
change of costume; the most
stunning was that of Josephine
Baker. Covered with green plu-
mage, Ross characterized the
European singer of the thirties
with all the sleaziness of Bette
Midler.
The first set ended with My
Fan. Diana Ross has long in-
cluded this song in her act and
it was obvious why when the
crowd gave her an ovation as
she left the stage.
The second set commenced
with what Ross labeled the
"Motown Story." - Such fa-
miliar 1960's tunes as Baby
Love, Someday We'll Be To-
gether and I Hear a Symphony
seemed to be exactly what the
audience wanted to hear.
AFTER A FEW more contem-
porary songs, Ross began to
finish the show with her hits
Theme From Mahogany and
Ain't No Mountain High Enough.
)Kor her encore Diana walked
up and down the aisles of the
audience as she sang Reach Out
and Touch. Indeed, it was an
amazing ending to an incredi-
ble concert.
So what's next for Diana
Ross? She'll be playing the
part of Dorothy in the movie
version of The Wiz. This is
bound to be quite a hit - any-
thing Diana does, she does
well. In view of the perform-
ance she gave it is not at all
surmrising that Diana Ross
broke Judy Garland's box office
attendance records on Broad-
way recently. Let's face it,
she's a star.
Join The Daily
Arts Department!
Phone 764-0562
FEB. 6-7-8-9
LYMAN
WOODARD
11Photo by MITCH DUNITZ
J/i(Ii loss
Students
play
switched hands
with the oppos:
size further the
ment.
Co-op to show War
By DAVID KEEPS
THE ANN ARBOR Film Co-op
presents an unusual double
feature of Andy Warhol films
this Thursday, including the
rarely seen' 1968 film, Flesh
and the ever popular Women
in Revolt.
Joe Dallesandro stars in Flesh,
which is quite possibly the ear-
liest Warhol film available
through commercial distribu-
tors. Like earlier Warhol films,
Flesh, the rambling and peri-
odically boring story of a New
Flutist,
f f
panis t
perform
By DAVID MASELLO
FLUTIST Nancy Waring and
pianist Sarah Hershey
are a spectacular duo. Their
talents were combined last Sat-
urday in a performance at the
Pendleton Arts Information Cen-
er.
Every note was perfectly pro-
nounced in the Hummel Sonata
n D major for Flute and Piano.
aring was not hesitant in any
ay. Every phrase, every trill,
very note was expressed with.
singing clarity. The Andante
ovement was the showpiece
or Waring, and she sustained
otes with total confidence and
nending stamina. Her flute
as played with, grace and
ghtness, similar to that of
ean Pierre Rampal's.
All of Chopin's genius was
eard in Hershey's perform-
nee of his Grand Valse Bril-
te in E-fiat.Maor. The in-
trent "grandness" of the piece
as 'picked un by Hershey. Her
roportion, timing, and inter-
retation were a stimillati"g
isplay of perfection. ThwQ only
ing 'that bothered H-rcthev. as
he exlained was that. "the
iano was really in rather poor
ondition. There was no low C
o V had to hit a higher C. We
racticed three honrs iust be-
re the concert and I'm afraid
at the piano died as a resut."
ershey's vplaying obvirumisv
rought life back to the piano.
Hersheyhand Waring were
fied by the Ensemible Wnnod-
ind ()intet for thQ onclYnd-
e Poulenc "Sestet." The dno
as as excellent h-re as thovu
ere in solo. A rather -inlent.
temporary piece, "Sevtet"
Use for nrecise timing; and all
ayers abided by this. The ela-
ate' tonauing by Warinq was
notable feature of the Atioro
vace movement. Ini-i+1al
alogue of phrases by each i"-
ment and gracefit solos
Gated the charrvi-emerinelike
ivertissemenft mry. nt.
York City hustler, focuses on,
the inertia and inane mundanel
affairs of a group of urban mis-
fits.
Fragments of low-key comedy
and h'iman emotion filter
thro',th throw-away dialogues
and static camera set-ups. Dal-
lesandro plays dumb Joe with
matchless ease and is well sup-
ported by cameo performances
from Louis Waldon, Candy Dar-
ling and Jackie Curtis.
UNLIKE Flesh, Women in Re-
volt is a deliberate and highly
successful example of Warhol's
ability to nurture underground
snoerstars who are versatile and
charismatic noamatter what
ridiculous situation they are
placed in. This film is a rau-
co;is, rollicking farce involving
members of PIG, the acronym
for Politically Involved Girls.
The three charter members,
played by transvestites Candy
Darling, Holly Woodlawn 'and
Jackie Curtis, represent hilari-
ously pure stereotypes that in-
clude the Long Island, star-
struck sub-deb and the Puerto-
Rican model - nymphomaniac.
Partially the fantasies of their
own device, each actor adds a
larger-than-life mania to their
performance, making them bad,
bawdy, beautiful and howlingly
funny.
To the uninitiated, Warhol
films often seem too strange,
MAJOR EVE
R EG RETS TO
th e
and played corresponding lines By JIM STIMSON (Torge Marsh's violin some TIE DOUBLE concerto be-
ite hands. This served to empha- T OCAL classical music fans times go lest in the depths of gan witha graceful plaintive
magifiene o Boets ahiee- were treated to a free flill Auditorium during these melody backed by a turbulent
magnificence of Bolet's achieve- concert last Friday night, cour- movements. In theslower sec- continuo. Continuo is the
tesy of the University of Michi- ond movement, which used far "rhythm section" of a baroque
gan School of Music and Jo- fewer instruments (about half ensemble, and consists of harp-
Shann Sebastian Bach. of the orchestra's 22 members), sichord (played by Gary Miller)
The University Chamber Marsh's violin part as well as and cello (by Michael Sebas-
'liol L insIIf Choir and Chamber Orchestra those of the oboe (Mae Weeks) tiana), played in unison.
performed an all-Bach concert and flute (Meta Orear) stood The tempo shifted down for
in Hill Auditorium, and a re- out more clearly. The overall the doleful middle section, han-
sponsive crowd may have as- performance was, quite .satisfy- dIed very sensitively by the vio-
sured that the event will be re- ing despite its shortcomings. lin duo. The contrasting final
peated. TIE CHAMBER CHOIR then movement was as forceful as
"Two years ago we tried the 'joined the orchestra for the the middle was sweet.
same thing, and got the same I motet, "K omm, Jesu, Komm", The final selection was the
response," said conductor . a work infused with peace and mote, "Iobet Den Herrn"
Thomas Hilbish, "so we'll prob- subMission. The final choral (Praise the Lord), and it came
ably do it every year." suffered from a slowish tempo, off better than the first motet.
"IT WAS not work for me, which caused some choir mem- It was a joyous hymn of praise,
it's so enjoyable," he continued, bers to strain for breath. and ended the concert on a de-
"and the students love to do it." The most exciting perform- cisively inspirational note.
The program opened with ance of the evening was render-
E Bach's majestic Brandenburg ed by violinists Michelle Ma- Johann Sebastian Bach lived
' Concerto No. 2. The feature in- karski and Ronald Copes for to the age of 65, and was pos-
strument of the work is cornet, Bach's double violin concerto sibly the most prolific compos-
and its part in the concerto is in I) minor. Both musicians are er in history., If the Music
one of the most difficult in the I University graduates and are School has an all-Bach concert
repertoire. Robert Grim played now married. This latter item
the part on piccolo trumpet, could account for the relaxed evrer hy o' aet
War~hol which the same range as and intimate quality of their in- repeat pieces until it's time for
a cornet. This bright horn lends terplay. the tricentennial.
a heraldic quality to the first Said conductor Hilbish of the
ean p n a and third movements, both ,violin duo, "It's a pleasure to
hol, who made art from a Camp-pighValgo odc'te ol lot-
bell's soup can, ridicules taboos sprightly allegros.kconduct them. I could almost
an teas god ase"asifit C o _n c e r t m a s t e r walk off the stage." .
and treats 'good taste" as if it -
were a bad headache that will1
eventually go away.
This double feature, screened l PRESTON STURGES' DOUBLE FEATURE Showtimes11-3-5-7-9
in Aud A, Angell Hall, will un- All Seats $1.25 'til 5;bO
doubtedly prove irresistible to Sulivan s Trv els
the established Warhol fan. YetSuiva s Travels
these outrageous landmarks in (AT 7)O'O E S
the underground cinema are im- A successful Hollywood director 'ired of mak-
portant beyond their cult sta- ing such epics as "Ants in Their Pants in 1939"
tus because beneath thesur- hits the road to research a serious film, "Broth-ME
studies that are drenched with er Where Art Thou?" The result is comedy.
existential and madcap respons-
es to the boredom of everydayHad the Co queringrs
living. (AT 9:05
Sad-sack Eddie Bracken, discharged from theA
Marines for hay fever, is forced by comrades
NTS OFFICE to return home as a war heror
UIfShowtimes 1-3-5-7-9
AINEMA GUILDEBOTH SHOWS OLD ARCH AUD. All Seats $1.25 'til 5:00
ANNOUNCEGEL FOR $20
ait . _
i
'A
ANN AUICCI F[LM CC-cr)
*e@SeO@SO*@@S@@@@O@S@S@..O.@@O
TONIGHT in AUD. A, ANGELL HALL
The Werner HerzogFestival begins with:
EVEN DWARFS
STARTED SMALL
(Werner Herzog, 1968) 7 & 10:30
Twenty-seven dwarfs in a deformatory for deviant dwarfs, stage
a wide uprising when the director takes a day off. These anar-
chists dwarfs really go berserk, bombarding the deputy with stones
and live hens, smashing. furniture, dressing dead insects with
miniature clothing, marching in procession through smoking
flower pots ("the flowers are dead, let's burn them"), holding
aloft a pet monkey tied to a cross, etc. "wildly funny and
obscenely terrifying."-London Interantional Film Festival. All
dwarf cast. German with subtitles.
SIGNS OF LIFE
(Werner Herzog, 1967) 8:45 ONLY
An intense, remarkable film about the Titan-like revolt of one
man against the world. The story concerns a Gernan soldier
assigned to guard an ammunition depot in a crumbling fortress
on a Greek island towards the end of World War IL Paralyzed
by theimonotony of his existence, he suddenly runs amok,
threatening to blow up the fortress, and in one last gesture of
defiance, bombards the town with fireworks. Ann Arbor Premiere.
German with subtitles.
Admission-$1.25 Single Feature
$2.00 Double Feature
"
THURSDAY, in AUD. A-
AN[Y WARHOL NIGHT
AT 7:00 ONLY
"FLESH"
"WOMEN IN REVOLT"
AT 9:00 ONLY
"
THE ANN ARBOR 8mm FESTIVAL
SCHORLING AUDITORIUM at School of Education
FRI., SAT., SUN.-FEB. 11-13
Admission $1.00 each Showing
"
FRIDAY, in MLB 4-
"A FUNNY THING HAPPENED ON
THE WAY TO THE FORUM"
AT 7:00 ONLY
"HOW I WON THE WAR"
AT 9:00 ONLY
JEFF BECK
Has Cancelled His Tour
JEFF BECK WILL NOT APPEAR AT
CRISLER ARENA ON FEBRUARY 27
Ticket refunds are available at the Michigan
Union Box Office, 11:30-5:30, Monday thru
Friday. Tickets purchased at Hudson's will be
refunded at Hudson's.
. -
A Reading of E. P. s Cantos in Italy
From 1 July to 25 August a tiva
voce reading of Ezra Pound's Cantos
will be the center of a study session
at Brunnenberg Castle in Northern
Italy. The castle is the home of
Mary de Rachewiltz, the daughter
of the poet. In add.ition to critical
studies of materials related to the
Cantos, independent work will be
offered in beginning and advanced
Italian, Latin, reek, Chinese and
Provencal. Workshops in music (for
ONCE UPON A TIME
APPEARING
TON IGH T
MOJO BOOGIE BAND-APPEARING FEB. 10, 11, 12
THEROADHOUSE
/2 OFF ON PITCHERS-Wed. niahts
I