Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue


Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

October 30, 1984 - Image 7

Resource type:
The Michigan Daily, 1984-10-30

Disclaimer: Computer generated plain text may have errors. Read more about this.

The Michigan Daily - Tuesday, October 30, 1984 - Page 7
Royal Winnipeg Ballet


regal performance

By Marla Gold
The Royal Winnipeg Ballet company
from Canada danced its way to perfec-
tion Saturday night at the Power Cen-
ter. The wide variety of dances, from
cute, albeit very talent numbers, to
more serious pieces, provided a com-
plete range of the talents of the dan-
cers, and enough excitement for the 80
percent filled auditorium to make it a
pleasing and memorable night.
The company started off the night
with a lively "ballet-folk" dance which
quickly drew the audience in. Svea
Eklof and Mark Lanham danced the
leads with amazing grace and agility.
Eklof danced on pointe with seemingly
as much ease as when she had both feet
on the ground.
Lanham was not present only as her
lifter either, as his talent was
showcased in a solo, replete with boun-
ding leaps, wonderfully executed.
Their small orchestra played a
Romantic piece by Alexander
Glazunov, but with its out-of-key string
section and weak overall sound, the en-
semble did little justice to this par-
ticular piece. This did not take anything
away from the dance, though, as the
distinctive George Balanchine
choreography was executed with a won-
derful sense of style and virtuosity on
the part of the dancers.
All five female dancers and the lead
male dancer had opportunity in this
piece to showcase their individual
talents during short solos.
The second dance, "Belong," was
dramatically different, creating a sen-
sual mood through the psychedelic
lights that emphasized the passion of
the writhing bodies of Sarah Slipper and
Andre Lewis.
Slipper twisted around and through
Lewis with awe-inspiring movements,
first slow, then increasingly urgent as
the dance progressed. This technique
held the audience so captivated that a
collective sigh of relief was heard each
time a difficult move was executed

The finesse demonstrated by these
two dancers was incredible, offset only
slightly the the menacing canned ac-
companying music, which hissed
through the speakers. Slipper and
Lewis deserved the earringing ap-
plause after this dance by their superb
precision in this difficult dance, made
simple by their virtuosity.
The dance following the first inter-
mission should have been left off the
schedule. "Translucent Tones"
illustrated choriographer Nils Christe's
interpretation of a Bela Bartok concer-
to: the power and joy of life of yellow,
the harmony and settling qualities of
blue, and the full and fiery richness of
Maybe the idea was nice with groups
of dancers wearing costumes the color
of the mood supposedly created by the
music. The dancing was perfectly syn-
cronized, but the jerky movements of
blue were irritating, while the fiery red
was almost embarassing to watch. The
symbolism of the dance did not do
justice to the dancing of the ballet com-
The crowd seemed pleased with this
dance, but this reporter just yawned.
The piece de resistance was saved for
the finale, a four movement symphony
by Joseph Hayden. The cute antics
seemed a bit campy at first, but quickly
gave way to the true talents of the dan-
cers, combined with mime to enhance
the fun.

Among the more memorable skits
were the male dancers imitating moves
traditionally female, and the pantaloons
worn by all of the dancers. They
clowned around with such style that to
blink was forbidden.
The dance inspired multiple ovations,
but maybe too many, because the
crowd stopped clapping before the cur-
tain could be raised to allow the dan-
cers who were not in this piece to
receive their curtain calls.
Hello ... is that right?
The Daily?
The Michigan Daily?
Carries Bloom County ...
Now in


Friday, November 2
Your Complete Guide to the General Election Information

This is Ivo Pogorelich's head. Pogorelich will perform a piano performance at Rackham Auditorium tonight.

Pogorelich brings his prov oking piano style

By Neil Galanter

FEver since not winning first prize in
last Chopin Competition in Poland,
pianist Ivo Pogorelich's career has
boomed down the path of success at a
greater pace than many pianists who
have won a major competition like the
Although Pogorelich did win five
.Yugoslavian competitions in his
'homeland, the 1980 Montreal Inter-
i national Competition, and the 1978
Allessandro Cassagrande International
competition in Italy, it was the furor that
arose due to his being bounced out of
":the finals in the Chopin Competition
because of his unconventional style of
interpretation that has led him to such

recognition and fame.
His appearances at the Chopin Com-
petition aroused the sort of frenzied
mass demonstrations that are usually
reserved for rock stars, and he has
gained and captured the interest of
many as something of an extraordinary
non-conformist phenomenon.
To be sure, Pogorelich's playing is
anything but conforming, standard or
ordinary; however, his playing has that
certain sense of novelty and originality
which generates the type of visceral,
hair-raising piano playing that is so
Born in Belgrade, Yugoslavia in 1958,
Pogorelich began playing the piano at
the age of seven. His further studies
took him to Professor A. N. Timahkin at
the Central Music School in Russia, and

then in 1975 to Vera Gornostaieva at the
Tchaikovsky Conservatory, also in the
Soviet Union. Pogorelich claims that he
learned the common "ordinary" piano
playing from these people, but his
biggest influence was, the Russian
pianist Alice Kezeradze with whom he
studied and subsequently married.
In May 1981 Pogorelich gave a very
highly acclaimed recital debut at Car-
negie Hall and shortly thereafter he
made his American Orchestral debut
with the Caramoor Festival under the
baton of Julius Rudel. Since then he has
gone on to perform with many of the
major orchestras of the world including
the Berlin Philharmonic, Boston Sym-
phony, Chicago Symphony, Los Angeles
Philharmonic, Philadelphia Orchestra
and many others.
This season Pogorelich will perform

with the orchestras of Berlin, Boston,
Callas, Detroit, and New York as well
as numerous recital appearances. That
brings us to the next hot item.
Pogorelich will be in town this evening
to perform a recital at Rackham
Auditorium at 8p.m.
This is definitely a fine opportunity to
see and hear not only a unique in-
dividual but also a very brilliant pianist
with stimulating, thought provoking
ideas. The program will consist of:
Bach's English Suite No. 2, Haydn's
Sonata No. 3 in a Minor Op. 28.
At press time the concert was sold out
except for standing room places. In-
formation on prices and availability
may be obtained by callling the Univer-
sity Musical Society at 665-3717 during
their office hours: 9:00 a.m. to 4:30 p.m.

Dance Theater II the tune of a different atmosphere


S-A iinrn-w/
by Don Nomdllo
AKA Father
Guido Sarducci

By Tracy Uselmann
Anyone who enjoys attending dance
,performances in large auditoriums
with many people will find quite a dif-
ferent atmosphere at Dance Theatre II.
The theatre is in a small room with
chairs set on hand constructed platfor-
ms. The stage is practically in the laps
of the audience, creating a much more
B a Fae
(Continued from Page 1)
Researchers say progress in preven-
,ting organ rejection may eventually
make baboon heart transplants as ef-
Y. fective as human heart transplants. but
it is not known how long a baboon's heart
will survive inside a human chest.
BABY FAE almost died several
hours before the transplant "and there
was simply wasn't enough time" to
determine whether the human heart
was compatible "even if we had known
about that heart," Schaefer said.
Because the transplant team didn't
attempt to find a human donor, the

personal effect than an auditorium.
Plus, the company is somewhat diver-
se, but mainly focuses on modern dance
with much training in ballet.
While they are rather popular in the
Ann Arbor area, there are a few factors
working against the company. First,
the company has been unstable for
about sixteen years. It has been under
the direction of Mr. J. Parker Copley
since January. The stage is very small
and the dancers are not professional.
This can lead viewers in the wrong
Since Copley has taken the company,
he has done wonders. The dancers have
been trained extremely well. The per-
formances on stage are so
professionally danced that one would
never know that these dancers were not
training for careers in dance.
Watching Copley's repertoire is like
watching a whole new style of dance.
When it seems that all movements of
the body have been invented, he creates

more for his dancers. Others involved
in choreography at Dance Theatre II
are Sarah Megee Martens and Laurice
There were two premiers performed
on Wednesday night. The number titled
"Souls" emphasizes Copley's talent in
choreography. the movements and the
interactions between each dancer
created a unified mood. As one dancer
mentions in the company, "The effect
of unity is created because we all get
along and work so well together."The
other premier titled "Bless You Boys!"
was amusing, but it was not one of the
stronger numbers performed that
The company obviously has potential.
With such a professional group and a
talented director, Dance Theatre II
may progress rapidly. Since Copley has
taken charge, the company has alredy
already had performances in Detroit
and Ypsilanti. Upcoming performances
are Octber 26, 27, at 8 p.m. and October

28 at 4 p.m. Also November 2 and 3 at 8
p.m. and November 4 at 4 p.m. at Per-
formance Network, 408 W. Washington.



Back to Top

© 2022 Regents of the University of Michigan