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February 09, 1983 - Image 5

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The Michigan Daily, 1983-02-09

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ARTS

The Michigan Daily

Wednesday, February 9, 1983

Page 5

I -

Earthy baritone shuns image

By George Shepherd
SWEDISH BARITONE Hakan
Hagegard is familiar to many only
as the cute, bumbling Papageno in
Ingmar Bergman's film The Magic
Flute. In recent years, however,
Hagegard has had an increasingly
packed schedule of lieder- recitals, or-
chestra concerts, and opera perfor-
mances. Hagegard's song concert this
evening at 8:30 p.m. in Hill Auditorium
is part of a 19-concert U.S. tour which
will end in Carnegie Hall in New York.
Hagegard's boyish appearance,
cheery charm, and casual everyday
dress-which make him the heartthrob
of many youthful altos and
sopranos-conflict with the common
perception of a classical singer. When
asked in a recent telephone interview if
he abstains from certain food,
speaking, or travelling on performance
days, he replied, "No, I'm not that kind
of singer."
Yet Hagegard's refreshingly earthy
manner conceals a hard-working
dedication to his craft. "To succeed,"
he said, "a singer must put 24 hours a
day into the job. Luck is not important
to have a career. It's absolutely hard
work."
Born in Karlstadt in 1945, Hagegard
studied at the Karlstadt Conservatory
and at the Stockholm Royal Music
Academy. At age 23, he made his debut
with the Stockholm Opera as Pagegeno,
the same role that gave him his big
break in the 1975 film. Hagegard, like
many Scandinavians, worked hard to
learn foreign languages. In addition to
his native Swedish, he speaks five other
tongues. He noted that it is often hard
for American singers because they

don't-learn foreign languages as
children.
The unmarried Hagegard's schedule
forces him to be away from Sweden for
long periods of time. In addition to this
two month American tour, he will sing
opera in France during April and May,
in Australia in August and September,
and in Argentina in October. "If you
don't like to travel, forget it," he said.
Mr. Hagegard denies that lieder con-
certs are infrequent because they are in
foreign languages and are boring: "I
don't see lieder as a dying art form. I
think it will become more and more
popular." He admitted that lieder con-
certs challenge the audience, however.
"I ask the audience to be prepared for
my concerts, not only myself. We
shouldn't live in a society where the
audience says 'feed me.' "
After the huge success of The Magic
Flute film, Hagegard was swamped
with offers from opera houses wanting
him to recreate his Papageno. He
refused, fearing a typecast in this role
that would limit other opportunities. In
fact, he has not played the part since
the Bergman film.
Hagegard's lyriic baritone, similar to
that of Dietrich Fischer-Dieskau, is of-
ten too high for operatic baritone roles
and too low for tenor rolls. Fischer-
Dieskau claims that, while young, he
strove and strained to become a tenor.
Hagegard thinks this idea is silly, "I'm

very happy as a lyric baritone, thank
you."
Hagegard says that the opera house
requires a different approach from the
lieder stage. "Opera and lieder use
totally different kinds of singing. I use a
different voice in each; stronger for
opera, more lyric for lieder." Hagegard
abhors the idea that lieder and opera
are musical museums for relics of the
past. "My approach to singing and
music is very much from the life around
me."
Hagegard's partner tonight will be
pianist Thomas Schuback who is also a
conductor at the Stockholm Opera. The
two have worked together for 10 years
and have both studied with lieder
coaches Gerald Moore and Eric Werba
Tickets will be $6 to $16. Call the
University Musical Society at 665-3717
for details.
,ANN ARBOR
2 INDIVIDUAL ThEATRES
Sib A a ,t.0700
$1 75 W E D NESD AY
S HOW S bef ore6 p.m.
FROM DAVID CRONENBERG,
CREATOR OF "SCANNERS"
JAMES DEBORAH
WOOD HARRY
VIDEODROME

Daily Photo by ELIZABETH SCOTT
It's too bright for this Sun Messenger, so he puts on his shades at the WCBN bash Sunday night.
"CBN bash f11s the airwaves

By Joe Hoppe
W CBN (88.3 on your dial) raised
$600 over the $12,000 they were
shooting for in this year's on-the-air
fundraiser. Hooray!
The very successful fourth annual
fundraiser culminated Sunday night
with the CBN Bash in the Union
Ballroom. Everyone that contributed
$4 .or more received a ticket. Many
people made their contributions at the
door just so they could get into the bash.
The bash in the ballroom was a big-
time production. The bands weren't
playing as usual on a simple riser op-
posite the door; instead they played on
a huge temporary stage to the right.
P-eal rock 'n' roll colored lights hung
from scaffolds up near the ceiling.
They'd flash and turn colors just like
for ACDC. It was some set-up.
The bands that performed had
musical styles as diverse as those
played on 'CBN. That was on purpose.
It was supposed to be a sampler. It was
a tremendous success-there was-
rockabilly, country, new wave, rock 'n'
roll, salsa, swing, blues, and beatific
steel drum music.
It was a happy evening. WCBN was
happy because it got a lot of money.
The people were happy because they
got to see good music being played,
they got to dance, and they didn't have
to study. The musicians were happy
because they were donating their time
to a worthy cause and they were doing
what they like to do best. It's good to see
happy musicians doing what they like.
No one looked bored. And they were en-
thusiastic, too.
George Bedard and the Bonnevilles
started things out with rockabilly and
country. George plays lead and sings
and the Bonnevilles are a rhythm
guitar, bass, drums, and crying coun-
try-and-western steel guitar. The Bon-
nevilles weren't playing much of the big
rockabilly hits that you hear all over.
Eddie Cochran's "Summertime Blues'
was the only big hit they played and
George did it with just the right yodel.
The band really excelled in its ren-
ditions of George Jones cry-in-your-
beer country tunes-it had to be the
steel guitar. Bedard and the Bon-
nevilles seemed fond of show tunes,
coming across with a haunting "Good,
the Bad, and the Ugly" theme from
Clint Eastwood's spaghetti western and
a "Hawaii Five-O" rocker that would
have done any late '60s wedding band
proud. Their high spot was a medley
called "The World's Cheapest Dance
Tune" by Bedard. They rocked through
"Wooly Bully" into "Windy" into
"Wipe-Out" into "Tears of a Clown"
and back to "Wooly Bully" as
everybody bopped.
Nonfiction played the most energetic
set of the night. The only breaks bet-
ween songs were when drummer Bill

Frank pounded out a new tempo. The
three piece band was tight-they should
be; the guitarist and bassist are the
brothers: Ben and Larry Miller. Their
brotherhood helped out in the close
vocals too, especially one intro for
"Walkie Talkie" which had them
speaking simultaneously for a couple
minutes-harmonic and confusing.
Nonfiction plays all originals. They're
poppy, a little new wavish, but mainly
just fast rock 'n' roll. The pop isn't
wimpy, either. Nonfiction doesn't
compromise, and the hooks are strong.
"In fatu fatu fatu ation" still sticks in
my head.
The Sun Messengers are from
Detroit. The Sun Messengers played
trumpets, trombones, saxophones, an
upright bass, a guitar, drums and at
times, a harmonica. They started out
with some big band swing and
everybody that knew how to, jitter-
bugged. The band was having fun.
They got really upbeat and did some
pseudo-funky, almost rap stuff. They
put or ,3-D glasses, squirmed around,
and the guy that was singing took out a
harmonica. It squeekedand squawed
and then the band danced. The har-
monica howled and sirened and the
band sang "We're gonna have a good
time tonight" in response. The Sun
Messengers closed with some different-
than-the-previous-band but entirely
gratuitous salsa-type stuff. Had a good
time tonight.
The World Famous Trinidad Tripoli

Steel Band is from Port-of-Spain,
Trinidad and eight of its nine members
were present. One was a very young
girl. The "steel" in the title is referring
to the great gleaming oil drums on
which they play. The oil barrels were
covered with gold prisma stripe, pain-
ted metallic red and green, and done up
in pearl lacquer. Didn't look much like
old oil drums. The heads of the drum
are sectioned off like a turtle's back;
each section is a different note. The in-
struments were developed from the
hundreds of empty oil drums left lying
around Trinidad/Tobago after it stop-
ped being a military port during WWII.
See what the ingenious islanders do
with American garbage! The oil
barrels sound like marimbas, or syn-
thesizers, or hammond organs, or
millions of ecstatically chirping
crickets. "Where is the noise coming
from?" One thinks when the band
begins. Certainly not from the regular
drum set or the bass they've got up
there.
The WFTTSB used to play at malls. I
once saw them do a truly interesting
rendition of "Sabre Dance." They must
have felt that they could be themselves
at the Union. The band played calypso
and down home reggae. A pretty
woman sang. Thousands of gas drum
metal crickets chirped harmoniously.
The people were dancing.
Everybody had fun.

-f
-AIX

Irena, Olga, Masha ...
Courage to Dream
Russia, 1900
THREE SISTERS
by Anton Chekhov
Directed by Mary Kelly
February 9-12 8 pm
February 13 2 pm
Power Center
f icke s on sale at the Professional
Theatre Progran Ticket Office
For infornalion cal/ 764-0450

WED-12:45, 2:35, 4:25,6:15, 8:05,
9:45 (R)
THURS - 6:15, 8:05, 9:45
GOLDEN GLOBE WINNER
BEST ACTRESS
-N A DRAMA

MERYL
KEVIN

i

I.

The R. C. Players present
MAMAS, DON'T LET
YOUR BABIES
GROW UP TO BE
PLAYWRIGHTS
AN ACTOR'S EVENING OF
SAM SHEPARD
FEBRUARY 10-12, 8:00
EAST QUAD AUD
ALL TICKETS $1.00

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