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e tiurint

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KANA
STUDENT 10% OFF
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-'I,


Crepe
town
Chez Crepe
328 S. Main
Hours: 5 a.m.-8 p.m. Tuesday-
Thursday, until 9 p.m. Friday;
10:30 a.m.-9 p.m. Saturday, until
4 p.m. Sunday

Handel's 'Messiah': Baroque beauty
M ig ty
chorus~l
Handel's Messiah
Hill Auditorium
Friday-Sunday, December 3-5

Fishamble Street; the best judges
allowed it to be the most finished
piece of Musick. Words are wanting
to express the exquisite Delight it af-
forded to the admiring crowded
Audience. The Sublime, the Grand
and the Tender adapted to the most
elevated, majestick, and moving
Words, conspired to transport and
charm the ravished Heart and Ear.
Although three years passed before
the Messiah came to be recognized as a
great work by more stubborn audiences
in England, by 1750 it had received
tremendous acclaim and Handel began
conducting it annually in popular
benefit concerts.
In Ann Arbor, annual performances
of the Messiah have been a tradition
since 1929, when the Choral Union first
sang the oratorio under the direction of
Latin professor Henry Simmons Frieze.
This year, as in the past, Donald Bryant
will direct the titanic forces of the
University Symphony and the Choral
Union, a group comprised of over 300

singers from both the University and
the community._
While the musical forces of the
Choral Union are abnormally large for
a performance of Baroque music, they
have long been spectacularly suc-
cessful in carrying-off performances of
the Messiah notable for their intensity
and aural grandeur.
Also on hand this year are an im-
pressive group of soloists to perform
the work's many arias and recitatives.
Fourteen-year-old Benjun Mehta, a
familiar face to Ann Arbor audiences,
will act as boy soprano for the third
straight year. Sherry Zannoth, a native
of Detroit and a soprano with the
Metropolitan Opera should do
beautifully with her arias, having
already sung the part at her Carnegie
Hall debut following her victory in the
New York Oratorio Society Com-
petition.
Mezzo-soprano Lorna Myers is
familiar to those who saw her sing
Mendelssohn's Elijah in last year's
May Festival. She also knows the

Messiah well, having performed it un-
der Donald Johanos. Tenor Joseph
Evans has compiled an impressive list
of leading roles with opera companies
around the country and should be
especially powerful in the opening
recitative and aria and later in "Thou
shalt break them with a rod of iron,"
which immediately precedes the
"Hallelujah" chorus.
Arthur Thompson, a Juilliard
graduate and bass with the
Metropolitan Opera rounds out this
grouping of outstanding vocalists. One
should look forward to his rendition of
the stormy aria "Why do the nations so
furiously rage together?"
With a musical assembly this im-
pressive, the University Musical
Society's presentation of Messiah
promises to be more inspiring than ever
before-and what a superb way to get
into the holiday spirit! Tickets are
available at the Box Office of the
University Musical Society in Burton
Tower or phone 665-3717.

By Ben Ticho
TN PEU DE la gaie Paris ici en
. Ann Arbor? Mais non, cher
ami.
While not quite Champs Elysees
material, Chez Crepe affects a stylish,
comfortable atmosphere for casual
wolfing down of those wonderful filled-
pancake things. From the red checker-
board tablecloths and demure candles
to the fine champagne and careful
charm of hostess Margaret Ludwign,
Chez Crepe exudes fine dining with only
a slight taint of pretension.
The menu lists salads, soups, and the
like, but the real reason to come here is
crepes. Crepes in many forms and
guises, from creamed ham to creamed
chicken to creamed corn. Also,
creamed broccoli, creamed spinach ...
Frengh-style cuisine tends to go a little
heavy on the sauce routine, I've
noticed.
The mix-and-match dinner specials

By Robert Cassard

let you combine your choice of three
vegetable crepes or a single meat crepe
and a vegetable crepe with salad and
beverage for under $7. And it's a very
filling meal, for those unconvinced of
the substantial matter of flour, eggs,
and water. Chez Crepe crepes, formed
before your very eyes if you arrive at
the right time, put those flimsy Magic
Pan versions to shame. These have a
tensile strength that won't tear, rup-
ture, or spill any oftheir precious con-
tents. Very gratifying, considering how
good they taste.
Once done with the main course, you
sit back and sip coffee or tea in
preparation for- the meal's final
assault-the great crepe dessert. You
look down the list of ice-cream filled,
mousse-filled, sugar-filled crepe con-
fections and wish you'd saved a little
more room.
The "crepe de fleur" doesn't really
look like a flower, but, as fried and
vanilla ice-cream dishes go, it's
delightful. One complaint: the mousse-
crepe, though eminently satisfying to
chocolate fans, contains no detectable
rum. As all would-be French cuisine
connoisseurs agree, mousse without
rum is like going to the Rose Bowl
without beating Ohio State.
Chez Crepe, despite the verbiage
francais, isn't a "fancy," L'Escoffier
style restaurant. There is no battery of
tailed stewards, waiters, and flunkies
hanging over you; the service here is
solicitous, pleasant, and prompt, not
overwhelming.
So if you're in the groove for some
sweet, saucy, culinary fun, if you're
tired of pizza but not ready for pate de
fou expensif, if you want a quietly
classy dinner date, make the walk down
to Main Street. Your French won't im-
prove much (obviously), but the old
taste buds will learn a whole new
language.
'a,
F , F «f'0
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v 44.4,
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F x.
4n: fly

1133 E. Huron

Former location of Raja Rani

SAVE BIG DOUGI
\ \THIS CHRIST
2BIG Ni
MIDI'
~ MADW

EAT IN OR CARRY OUT--CONVENIENT TO HILL

GEORGE Friedrich Handel's great
oratorio the Messiah was first
performed in Dublin, Ireland during
April of 1742. Faulkner's Journal, a
monthly publication of the time,
described its first performance in this
way:
On Tuesday last Mr. Handel's
Sacred Oratorio Messiah, was per-
formed in the new Musick Hall in


209S. State St.,AnnA rborMI 48104(
is pleased to pres
dpeial Guest Appearance
G s3P As
&rCr



Three
artists
Trio Sonatas
Itzhak Perlman and Pinchas Zuckerman
Angel
By Lauris Kaldjian
SOLO violinist need concern him-
Aself with two variables: himself
and his violin, and between the two
there is only one will. In chamber music
that one will must contend with others
requiring a sacrifice of independent
liberties that is often too unbearable
and the unfortunate result is imbalan-
ced and strained music (not to mention
relations).I
But it is refreshing when two solo
violinists need not surrender their in-

dividual freedoms for the sake (and
ruin) of ensemble, for the music that is
made is double rich. In such a com-
patible spirit do violinists Itzhak
Perlman and Pinchas Zukerman com-
bine their extraordinary talents to
create music in which neither artist
alone would suffice?
The trio sonatas here are scored for
two violins and continuo. Perlman and
Zukerman are joined by the ever-
faithful Samuel Sanders (harpsichord)
and cellist Timothy Eddy who together
provide sensitive accompaniment that
enhances the ensemble's impact.
This digital recordiing features trio
sonatas by C.P.E. Bach, J.C. Bach, and
J.G. Goldberg, contemporaries of the
18th century. Despite the Baroque
similarities, these sonatas exemplify
three different styles of composers who
were all influenced by the master him-,
self, Johann Sebastian Bach.
Carl Philipp Emanual (1714-82), the
second surviving son of Bach's first
wife, was a virtuoso keyboard perfor-
mer and a renowned composer. His
Sonata in G has three movements
marked Allegretto, Andantino, and
Allegro. Characterized by tender
swells and a relaxed melodic line, the

Allegretto offers the violins lyric
material. The plaintive A ndantino has
a sweet sorrow about it; its melancholy
is occasionally broken by major chords
that shine as hope in the dark, minor
setting. The Sonata ends with a playful,
sometimes teasing Allegro sparling
with ornamentation.
After his father's death in 1750
Johann Christian Bach (1735-82, born to
Bach's second wife) continued his
musical education with his half-brother
Carl Phillip Emanuel. Johann
Christian's Sonata in B flat is more
sedate and settled than his brother's,
but no less beautiful. The opening
Allegro integrates long phrases in
which the continuo's importance is in-
creased.
Johann Gottleib Goldberg (1727-56)
was reportedly a student of J.S. Bach
before studying with Bach's eldest son
Wilhelm Friedman. (Yes, this is the
same Goldberg whose name is attached
to Bach's famous Variations.) Until
about thirty years ago Goldberg's
Sonata in C was attributed to Bach; but
this misnomer can only be to his credit.
Goldberg begins his Sonata with a
stately Adagio reminiscent of Bach's

slow sonata movements; however its
lines are not as recognizable and
demand particular attention while
maintaining an overall perspective to
reveal the complete rhythm and reason
of the composition. Following is an
Allegro Moderato that delves into
polyphony with a not so elaborate three
part fugue. After a pure, flowing Largo
in the relative minor, the Sonata con-
cludes with a splendid, dancing Gigue
that ever pushed onward with lively
triplets.
In each of these sonatas Perlman and
Zukerman follow each other with ut-
most care and ease. Accompaniment
lines are means of support not merely
filler. In addition to hearing, at times,
the performers' actual .breathing
(thanks digital) one can sense their
violins breathing together as if they
were connected to the same pair of
lungs.
Perlman and Zukerman's laudable
performance is accompanied con-
sistently by a shimmering harpsichord
and a sure bass line. Listen to this
superb recording and hear what words
only attempt to express: a musical.
dialogue between friends who find the
conversation soothing and delightful. 0

box office, M-,-, -5. -ormore into, call::eel
2nd Show - Dec.4- Detroit - Madison Theatre

Chez Crepe: More than just a pancake

6 Weekend/December 3, 1092




-' --~'I Weekei


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