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ARTS
The Michigan Daily Friday, March 28, 1986 Page 7
Virtuoso brings back the past
intermission, with a program of vir- heroicism, which, almost a century should not play Bach. Ricci's style Bach.
B John Abdenour tuoso caprices by Szymanowski, after its heyday, has virtually does not translate well to the music of Ricci has an expansive, passionate
By Weiniawski and Ernst. It was quickly vanished from the concert stage, and other eras. In a mystifying quirk of style, and, as evidenced by the
obvious that this music is the very from the artistic consciousness of our programming, the concert opened programming in the second half, as
T IS A SHAME that there was stuff of Ruggiero Ricci; he com- culture. with a piece by the French late affinity for works of outlandish
an empty Seat in Rackham municated its essence to the audience Ricci is a part of this aesthetic, and baroque composer Jean-Antoine technical difficulty. Within the
Auditorium Wednesday evening (and with a clarity and impact that left the in reviving Szymanowski, Weiniawski Desplanes. The heavy overlay of limited technical and emotional
there were quite a few); those not in listener dumbfounded. and Ernst he destroyed the cynical Romantic phrasing and emotion was range of Bach and Beethoven he sou-
attendance missed the opportunity to In the hands of another musician misconception, born of the austere more than this early piece could bear. nded confined. In the Bach piece one
hear violinist Ruggiero Ricci, and to these works, with their violent swings musical and artistic taste of our time, It sounded confused and managed to did not sense the subtle beauty of the
experience a performance by an old- of passion and extravagant that these works are throwaway convey no meaning. harmonies playing against one
world virtuoso. A member of a pyrotechnics, would assume their pieces meant to showcase a perfor- Beethoven's Sonata in G Major, Op- another, or the structure of the coun-
vashin n b eedoafryr twensi on -n familiar, stereotypical image as mer's athletic prowess. He left the 96, followed. Although the sense of terpoint in the fugue. The Beethoven
try, the wil t e ntihcerapieces of virtuostic fluff bereft of audience with a sense of loss, of the anachronism wasn't as strong here, I just never seemed to catch fire.
Ricci lets the music pour out in a deeper feelings or artistic value. passing of an era. was still less than convinced by the Mr. Ricci's accompanist, James
Not only did Ricci imbue these Two beautifully played encores, of performance, despite some lovely Wilhelmsen, deserves high praise.
passionate, intensely heartfelt pieces with the artistic legitimacy Kreisler and Chopin, closed the con- moments. There was no sense of His reading of the Beethoven was
torrent. Such playing, reminiscent of they enjoyed in the era of their cert to a standing ovation. sonata-allegro architecture, and the delicate and sensitive, making the
Heifitz or Kreisler, stands worlds creation, but he gave the audience a The first half of the concert presen- emotional levels of the piece seemed most of a playful dialogue with the
apart from the sterile perfection of a glimpse of the Romantic aesthetic, ted problems, however. A man whose inconsistent with the music itself. violin. His Chopin was lovely, and he
Pearlman or a Minsk. with its lush, sensuous melodies, soul is so thoroughly and joyously in- Many of the same shortcomings matched Ricci's thunder and light-
The real fireworks began after the liberal rubato and triumphant fected with Chopin and Paganini plagued the Sonata in C Major by ning in the Szymanowski.

Broza'sfolk breaks

language barriers

By Peter Ephoss
RARELY DOES the Ark get to
prove that folk music is truly an
international phenomenon; but it will
Sunday night. Who is performing?
Julio Iglesias? Nope. An Edith Piaf
Revue? Not quite. Instead, the Ark
will play host to Israeli singer David
Broza.
Broza spent his early childhood in
Israel with a few years in Madrid,
and was schooled in London. This
unique universal experience, affor-
ded him because of his father's job
changes and some time in a boarding

school, allowed him to be fluent in
three languages- Hebrew, Spanish,
and English.
While he was at a London boarding
school, Broza roomed with a
Lebanese Palestinian named Louis
Nahas, whose family had fled from
Israel during the 1948 Israeli War of
Independence. The two quickly
became friends, and Nahas taught
Broza how to play guitar. While the
two get along musically, politically it
is a different story. "He would not ac-
cept Israel," Broza said.
After a year and a half in the Israeli
army as a guard, Broza joined an Air
Force entertainment troupe to com-
plete the other half of his compulsory

'Academy' drop-outs

By Alan Markiewicz
C OPYCATS abound these days in
the movie business. Film
producers' fears have translated into
a rash of movies that all look the
same. Thus it is not surprising that the
cop-comedy, Police Academy III:
Back in Training, also gives one an
annoying feeling of deja vu; this film is
so literally stale that it manages to
strikingly resemble its first
predecessor, Police Academy, minus
several good jokes.
Concerning this movie's prequels,
Police Adacemy was a surprise hit
and a box-office smash back in the
summer of '84. It was the story of a
police academy which accepted any
recruits, no matter how bumbling or
off-the-wall they might have been.
Last year the less funny Police
Academy II further followed the
recruits' escapades as they took to
the streets as graduates of the
academy.
Police Academy III's plot takes
these bumblers back to where they
were most hilarious - the academy.
The governor declares that financial
troubles demand the closing of one of
the two state police academies. Which
academy is to remain open depends
on the performance of trainers and
trainees in the next few weeks. The
odd-ball academy's commandant
calls back the group of graduates to
insure that training runs smoothly. Of
course, the training turns out as
smooth as sandpaper.
The movie's producers, however.
are the ones who end up looking most
foolish. This latest Police Academy
lacks the character development that
the first film had. By the time the
academy's clowns are put to the test
in the film's climax, the audience

doesn't have an actor or actress with
whom to identify. Characters are
presented only as the butts of jokes or
as persons with queer talents, such as
karate or sound effect imitating. Not
even Steve Gutenberg as the trainer
Mahoney is given a role of any sub-
stance; while in the first movie one
sympathizes with him as a moral
leader of the recruits.
At times, the new trainees provide
laughs due to their oddity. One who
stands out most is Zed (Bobcat Gold-
thwait), a punk-rockish recruit whose
voice sounds like fingernails on
chalkboard and who gets high on tear
gas. The relationship between he and
Sweetchuck, his wimpy roommate at
the academy, is probably the funniest
aspect of the film.
Overall, though, the movie reminds
one of a Three Stooges rerun seen too
many times. The humor is all slap-
stick and lowbrow, which is fine, but
several of the jokes fall flat.
Moviegoers who have seen the first
two Police Academy's will find that
those films' gags are boringly reused
here (for example. the wife who
violently refuses to let her husband go
to the academy for training). Even
other movies are blatantly ripped-off,
such as Psycho and the James Bond
films.
Someone who hasn't seen the
prequels might enjoy Police
Academy III if only because of its
zany situatons. But to pay $5 to see a
movie whose jokes you've already
seen isn't just foolishness, it's a
crime.

military service. His only demand
while in this troupe was that he sing
only in English and Spanish.
Shortly after his release from the
army, Broza met up with Yonatan
Geffen, a noted Israeli entertainer.
Geffen gave him a spot on his Gef-
fen's Little Talk Show, and Broza's
career took off.
While performing in Israeli clubs
and bars, Broza overcame his anti-
Hebrew sentiment ("I always have to
be against something") and recorded
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his first album, David Broza, which
included his most popular song, "It
will be O.K." ("Yehiyeh Toy" ),
which was re-released after Anwar
Sadat's historical visit to Jerusalem
in 1977, and captured the mood of the
country.
After Broza's second album, Cards,
two important things happened.
Broza met his current wife, Ruth, and
she convinced him to abandon the
folk-rock style of Cards and moveto
to translated Spanish songs. This
changesmade Broza even more
popular in Israel. His 1983 release
The Woman by my Side went triple
platinum, a feat difficult to achieve in

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a country with only one million
households.
Once his status in Israel was
assured, Broza attempted to go inter-
national. For the last year Broza has
been based in New Jersey and touring
the United States. Becoming a
million-seller in America seems
unlikely, but his trilingual show at the
Ark on Sunday will be a unique
experience.
David Broza's performance at the
Ark on Sunday night at 8:00.
Tickets are $8, $7 for students and
members. Limited tickets are still
available at Schoolkids' Records,
in addition to those sold on Sun-
day at the door.

r iIirnrnrnjr~g -1

Coming Soon DAILY
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and
present.

SHOAH
A FILM BY CLAUDE LANZMANN
April 6-10, 13-17
at the Michigan Theater
April 6 & 13: Part I, 12 noon; Part 1I, 6:30 p.m.
April 7-10; Part I, 6:30 p.m.
April 14-17; Part 11, 6:30 p.m.
"EXTRAORDINARY..
'SHOAH' IS SIMPLY ONE OF THE GREATEST
"Ei M F ED MAfnE flfhmT MISQ ITS"

INTEUATIfnNA,

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