THE MICHIGAN DAILY
Arts & Entertainment Tuesday, April 1 9, 1977 Page Five
UMS benefit standard'
"Man in the Moon Marigolds': Memorable,
By SUSAN'BERRY Matilda's rabbit and calls up the
By-JIM STIMSON, twice the width of his waist), oven was contrasted with the principal of the high school toE
Ormandy has complete assur- dreamy romanticism of the next T'HE ARENA THEATRE, be- inform him that Mrs. Hunsdorf-'7
THE PROGRAM for last Fri- ance and authority at the podi- selections, two nocturnes by De- cause of its structure and er called to tell him she wishes j
day's Eugent Ormandy's Uni- um. He warmed up the orches- hussy. "Nuages," the first noc- size, has an amazing capacity she was dead."
versity Benefit concert was a tra with Beethoven's "Lenore" turne, had a haunting and far- to present powerful drama with That this scene was carried
traditional one. It included Beet- Overture. off theme, carried well by David an intensity that is nearly shock- off with such a compelling in-,;
hoven's Fifth Symphony and At several points in the Leo- Updegraff's violin. "Fetes" fol- ing. This potential has been ex- tensity is the highest compli- ;
"Lenore" Overture, Debussy's nore, the music builds to a high lowed "Nuages," and it built plored often in the past with -
"Nuages" and "Fetes," and Re- volume, then suddenly breaks from a quiet introduction to a varying results. Last weekend ._ _ _ _
spighi's Pines of Rome. into a softer section. The break heraldic climax, amply pow- Roadside Attractions' The Effect
Perhaps these time-worn vet- is signalled by Ormandy's pre- ered by the brass section. of Gamma Rays on Man in the
erans were easier for a student cision baton-stroke, and the or- The final selection was Re- Moon Marigolds took full advant-
orchestra to play with a guest chestra sounded surprised at the spighi's Pines of Rome, an age of these possibilities, and
conductor. Or maybe the plan- violence of the transition. But evocative "symphonic poem." the result was truly memorable.
ners thought a benefit concert by the end of the Leonore, and ! The first movement used a Divina Cook played Beatrice
audiepce would appreciate the certainly in the following piece, noise-maker (a la New Year's Hunsdorfer, an aging, embitter-
standard selections. Beethoven's famous Fifth Sym- Eve) to produce a carnival f ed failure of a woman whose
Whatever the reasons, the re- phony, Ormandy had the dyiam- atmosphere. The next sections energetic hostility is absorbed
sult was a rousing evening of ics of the orchestra well under were calmer, and even included in draining all possibility of
recoded ighingae's ong pleaureMaster ofSCience
old favorites. Battle - scarred control. a recorded nightingale's.song, pleasure from the lives of her
warhorses though they are, the As the evening passed, the Actually, there was no prob- two daughters,layed Patric- The Master of Science i
pieces performed by Ormandy orchestra seemed to warm to lem with the program. The audi- ia Albrecht and Lavinia Moyer. (MSS) is a 48 credit-hour
and the tUniversity Symphony the music. By the end of the ence enjoyed it, the student No occasion is so unusual as earth or bioloical science
Orchestra still had some fife in Fifth, the pizzicato was crisper , musicians enjoyed it, and even 1 to prevent Beatrice from reach- required for admisson. The
them. and more audible, and the horns ' Maestro Ormandy looked pleas- ing into her emotional bag of 0 Basic Environmen
brighter. Volume and precision ed. He was so pleased that he I tricks and extracting some ele- Appled Ecolov,,
AND SO GOES Ormandy, itare vital to Beethoven. called his young charges the;ment of self-persecution to pre- Science, E nvironm
seems. A short but powerfully- "Junior Philadelphia Orches- vent any occasion rescuing her Cr micalAnpvss,
ment to Cook's performance. tion as the intimidated Matilda
The audience could feel nothing was no less than perfectly exe-
but compassion for this woman cuted. All her movements were
who throughout the play was so remarkably and consistently
offensively obnoxious. childlike, from the trembling of
The performance of Albrecht her tortured face to her tiptoe-
added irony to this reaction. Al- ing with anxious excitement to
brecht's sensitive characteriza- add the finishing touches to her,
display.
The timing and strong charac-
terization of this play added up
to an explosive performance.
Roadside Attractions will be
welcome to share any similar
productions with the Ann Arbor
community in the future. ;
~ ~
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built man (his shoulders look THE TURBULENCE of Beeth- tra."
GuA areri wrap-up superb
By KAREN PAUL performing on a Joseph Guar-
neri instrument of 1728, carried
EXPERIENCING the perfect- his many medolic passages with
ed union of the Guarneri grave and maintained the pro-
String Quartet and Beethoven per quartet texture rather than
on Saturday night caused me to taking over as a solo instru-
regret that I had missed the ment. David Sayer added depth
other concerts in a series of per- through countermelodies en-
formances of the complete hanced by the beautiful tone of
Beethoven string quartet cycle. his 1669 Andrea Guarneri cello.
began fugally, then grew into
rich chords of organ-like sonor-
ity. Violin solos in the fourth
movement sounded much like a
late romantic violin concerto,
and the cellist easily perform-
ed in the high range of, his in-
strument.
The Guarneri String Quartet
created a masterful rendition
i
i
z
i
prisoners from their undeserved
torment. So when daughter Ma-
tilda (Albrecht) retreats into
scientific experimentation and
ends tp a finalist in a school
ecience fair, Beatrice reacts to
the news as to a personal af-
front. "How could you do this
to me?" bellows Beatrice, and
the tortured Matilda looks gen-
uinely remorseful for her trans-
gression into success.
WHEN BEATRICE consents
to accompany her daughter to
the final rounds of presentations,
she is taunted by daughter Ruth
(Mover) with her old high school
nickname "Betty the Loon." In-
stantly her face contorts with
the memory of her obviously
devastating adolescence and in
a panic of gelf-pity she poisons
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The musicians, prforming the
quartets Op. 18, No. 2, Op. 59,
No. 3 and Op. 132 in Rackham
Auditorium, displayed An inti-
mate understanding of Beethov-
en's music from his earliest tof
most mature quartet styles.
Evident from the opening
measures of Op. 18, No. 2 was
the Guarneri Quartet's homo-
geneous blend of tone, precise
technique and exacting interpre-
tation. The four musicians
seemed to be playing of one
mind - each nuance being
thought out and executed withs
an absolute control.
Violinist Arnold Steinhardt,
of Op. 59, No. 3. After a slow
THE OTHER MEMBERS of introduction, the first movement
the quartet, John Dally, violin became a lively dialogue be-
and Michael Tree, viola, were tween the instruments, the third
better able to demonstrate their |movement flowing gracefullyI
remarkable ability in the Op. and the lightning speed of the
132 quartet, because Beethoven last movement sparking the
gave the four instruments a audience to an enthusiastic
more equal footing in this piece. standing ovation.
The Guarneri quartet captured ! The series ended with a con-
the sophisticated intricacies of cert on Sunday afternoon in
the work composed of 25 years which the Guarneri String Quar-
after Op. 18. They smoothly tet performed Beethoven's quar-
transacted changes of texture, tets (Op. 18, Nos. 4 and 6, Op.
character and dynamics. Each 95 and Op. 135, to complete the
movement evolved from its mo- cycle: I was unable to attend
tif-like kernels into the large, but do not doubt -that it was
complex forms of Beethoven's every bit as great as Saturday
late period. The third movement night's concert.
I
T om Waits: One of a kind
By BILL STIEG
"HE'S AN ORIGINAL," Bon-
nie Raitt once said of Tom
Waits, who went out of his way
to stay in flophouses when on
tour with her last year.
No one who saw the raspy-
voiced singer-poet Friday night
at the Michigan Theatre will
argue with that statement.
Waits, an enigmatic spokesman
for the seedy side of America,
lived up to his burnt-out image'
for an hour and a half, includ-
ing three encores, before stumb-
ling off stage for good.
During that hour and a half,
he growled out more than a doz-
en of his bluesy songs, backed
by a very tight sax, bass and
drum combo. Waits played pi-
ano on about half the selections,
and on. the others he simply
stood- at the mike, writhing
spastically and fishing for cig-
arettes in an old, dirty sport
coat.
HE LOOKED LIKE a half-
drunk, half-storied bum who had
just caught a couple of hours
sleep, probably in a hotel lobby
or train station. Which is just
the image he wanted to project.
Contrary to present appear-
ances, the 26-year-old Waits and he loses some of the inti-
grew up in a middle-class home macy and rapport with the audi-
in southern California. After ence evident in his live album,
high school, he began working "Nighthawks at the Diner."
nights as a dishwasher, short- Nevertheless, he came across
order cook and janitor, sleeping quite well Friday night, delight-
in the daytime. ing the somewhat rowdy mid-
Waits writes songs about the night audience with his antics
seamy night world he his will- and poetry.
ingly subjected himself to. His He sang seven songs off his
songs are vivid portraits of the new album, Small Change, in-
"bowels of the metropolitan re- cluding the title cut, which be-
gion," as he says, but they have gan beautifully with Waits
a romantic, almost sentimental lighting a cigarette on the dark-
touch to them. ened stage as the sax started
to moan. It was a typically
AS MIGHT BE- EXPECTED, brilliant bit of showmanship
Waits would best be heard in a that somehow captured the es-
dark, smoky bar. But now that sence of Waits' world of "warm
he hasquite a large following, beer and cold women," across
big concert halls are necessary, town from easy street."
RUDOLF STEINER INSTITUTE
OF THE GREAT LAKES AREA
Every child has natural creative abilities that need to be
nurtured. Sheila Dailey, a certified teacher trained in the
arts, will conduct
A CHILDREN'S
ART WORKSHOP
exploring themes contained in fairy tales and legends
through painting, movement, and clay modeling, for chil-
dren ages 5-9,
at RUDOLF STEINER HOUSE
1923 Geddes Ave.
Saturdays, 10-11:30 a.m., beainninq April 30
Fee for six sessions: $25
For more information, please call 761-7183
MAJOR EVENTS uww ,
OFFICE Presents:
DGGIE
* ISITHERS
- - - -----
"Live" in Ann Arbor
SUN.- WED.
APRIL 24-252-27
LYMAN
WOODARD
ORGANIZATION
cov Q. 2.00
[ I c'1
r vz
also appearing
STARFIRE
Disco
THUI±S.-FRI.-SAT:
COMMANDER CODY
WEDNESDAY, APRIL 20, 1977
CRISLER ARENA-8 P.M.
RESERVED SEATS $6.50
I.