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Up and coming Russian pianist, Oleg Volkov, graces Kerrytown Saturday.
olkov: friends
with teget
by Kirk Wetters
The recent pianistic sensation Oleg Volkov visits Ann Arbor for his first-ever
Michigan concert Saturday. Volkov described the program in arecent interview:
"It has pieces that are not well known, like Prokofiev's "Sarcasms" and the
Schubert A minor piano sonata, and really well known pieces like Chopin
Preludes and Waltzes."
Volkov will demonstrate his technical skill in Rachmaninov's piano tran-
scriptions of violinist Fritz Kreisler's "Liebestraum" and "Liebesfreud." About
the pieces, Volkov said, "'Liebesfreud' is considered the most difficult work that
Rachmaninov ever wrote for the piano. So it's a challenge, andI like challenges."
As a personal friend of Volkov's great-grandmother and a fellow Russian,
Rachmaninov is a musician with who Volkov strongly identifies. He also
admires Rachmaninov's ability to combine talents as a pianist, composer and
conductor. "I wish I could come to his concert once and hear him live," he said.
"When I hearhis recordings, it's an absolutely unbelievable experience. I cannot
imagine what people could feel when they were in the hall."
Volkov's belief in the unique value and power of live performances is
especially admirable in light of the modem emphasis on recording. He said,
"When I come to the ball, my goal is to push the audience to enjoy, and if they
leave the hall in a better mood, trying to forget their problems, that's the best."
Volkov has no particular interpretive axes to grind, but he is respectful and
meticulous in his approach to music. "First of all you have to follow the score
very carefully," he said. "It's like reading a book: You have to read between the
lines, but first you have to read what's on the line. Some people try to put in
something new without reading correctly what the composer wanted - in this
case it's more the performer than the composer."
Although he believes that the composer's intention should be primary in any
performance, Volkov thinks that some interpretation is both inevitable and
necessary. "You have to have ideas when you go on stage and play for people,
because if you don't-- if you just follow the score - it's boring. You have to
express your own understanding, but inside the style and inside what the
composer wanted to say, and make it clear for people," he said.
Volkov willbe playing at the Kerrytown Concert House, a smaller venue than
Hill or Rackham, but this more intimate environment should make the concert
even more memorable. Also, ticket prices are reasonable'-only $5 for students
a great opportunity for those who don't have $30 to spend on concerts.
OL EG VOLKOV will perform Saturday at 8 p.m. at the Kerrytown Concert
House. Tickets are $10 and $15, students $5. For reservations, call 769-
2999.

Nederlander breaks barriers

1h11 :11 ill : F,

by Aaron Hamburger
Producer Gladys Nederlander sees
her TV movie version of Tennessee
Williams' play "Orpheus Descending"
as a real way to break down barriers in
television. The movie, adapted from the
New York and London success starring
Vanessa Redgrave and Kevin Ander-
son, will be featured in this weekend's
Women in Film series.
Nederlander believes seeing the
movie is just as good as the real thing.
"It's really an exciting thing to be able to
see a Tennessee Williams on the stage
turned into amovie. Wehardly changed
anything."
Unfortunately, filmed plays are not
as regular an occurrence as Nederlander
believes they ought tobe. "We knew we
couldn't do this on the regular net-
works," said Nederlander. "They get a
glaze in their eyes when you talk about
theater. Ted Turner is a man who really
wants tododifferentandunusual things.
We were fortunate because of "Orpheus
Descending"s enormous success we
were able to make it for TNT."
The experience of making the film
version of a play Nederlander had pro-
duced in New York and London proved
enjoyable for the producer. "We went
down to Jacksonville, Florida, real Ten-
nessee Williams country," she said.

"Filming in Jacksonville was like going
back in time. And the people were just
incredible. We did tons of research and
found out all kinds of things. I didn't
know 'Orpheus Descending' was one
of Williams' favorite plays, that he
changed the title several times and went
over and over it."
Nederlander makes no bones about
her admiration for Vanessa Redgrave,
the screen and stage icon who won an
Oscar for her performance in the film
"Julia" and can currently be seen in the
Merchant Ivory masterpiece "Howards
End." "Vanessa Redgrave is the most
professional woman I have ever worked
with. If the first call is at eight, she's
there at seven-thirty, dressed, ready. She
never needed to do a scene twice. She
was incredible."
Nederlander has returned to her the-
ater roots since making "Orpheus De-
scending." Her last production, "Death
and the Maiden," a hit play in London
written by Ariel Dorfman, featured such
Hollywood stars as Glenn Close, Gene
Hackman and Richard Dreyfuss. De-
spite the play's huge success in London,
the play was savaged by New York
critics, including make-'em-or-break-
'em New York Times critic Frank Rich.
"I will never understand it,"
Nederlander said. "Twenty minutes af-

1111 :11~:1

ter I read the reviews I went to the
theater because there was amatinee and
Glenn walked in and said, 'I don't be-
lieve what I read,' and Gene cane in
and said, 'I knew there was a reason I
shouldn't have come to Broadway' and
Richard came in and we all said how is
it possible? If Frank Rich doesn't like
something he can destroy it."
Nederlander's current Broadway
production is a musical version of Neil
Simon's play "The Goodbye Girl," star-
ring Martin Short and Broadway staple
Bernadette Peters. Advance word has
been good, but there has been some
trouble behind the scenes as high-pro-
file director Gene Saks ("Lost in Yon-
kers") was canned in favor of veteran
Michael Kidd.
In general, Nederlander feels that
the entertainment industry is a environ-
ment conducive to women. "It's very
easy in the entertainment business for
women. It's ninety percent the project,"
said Nederlander, who believes the ad-
vent of cable has opened up many more
opportunities for women and minori-
ties.
Gladys Nederlander will speak about
"Orpheus Descending" Saturday at
7:30 in Angell Hall Aud A as part of
the Women in Film series. Admission
is free.

Russell Unplugged
On Sunday at 4 p ml., Ku y town
Concert House is hosting guitarist
David Russell, not a guy who just
picked up a few chords here and there
by sitting down with "The Compleat
Beatles." . Guitar Magazine called
Russell," ... one of the most brilliant
of the new generation of concert per-
formers." Where else can you get into
aone-night-only "unplugged" concert
for just five bucks? Call the Kerrytown
Concert House at 769-2999 for reser-
vations.
Nosaic o' Music i
The Collage Concert hits hill Au-
ditorium. The University Symphony,
Symphony Band, Chamber Choir and
other friends combine for one hour of
non-stop music. Highlights of the pro-'
gram include Tchaikovsky's 4th,
Mozart's "Magic Flute" and Cole
Porter's"Let'sDoIt"; they'll alsothrow
in some Bernstein, Bartok, Paganini,
Schubert, Haydn, Beethoven, Copland,
Rachmaninov, Ligeti, Stravinsky and
Monteverdi forgoodmeasure. It's free,
but so popular they'll probably start
charging admission any year now; get
there early. The performance begins at.
8:15; doors open at 7:55.
May Fest Mixed Bless
At long last, the University Muss-
cal Society has announced their plans
for this year's 100th annual May Fes-
tival - and it's a mixed, yet promis-
ing, bag. On the first two evenings
May 6 and 7 - the Metropolitan
Opera Orchestra will perform, con-
ducted by James Levine. Programs
include a bunch o' Berg (which we
like), including his Violin Concerto
performed by Itzhak Perlman, as well
as the "Wozzeck" and "Lulu" suites.
The Met Orchestra will also perform
Stravinsky's "The Rite of Spring," an,
appropriate enough choice for the May
Festival. Then, on Saturday May 8
there's a gala dinner and a "cabaret
ball" with the Jimmy Dorsey Orches-
tra-joy, joy. The music resumes on
Sunday the 9th, however, with the
Detroit Symphony Orchestra under
Baltimore's David Zinman perform-t
ing the Verdi Requiem. Tickets for
individual concerts and package deals
are available now; for more informa-
tion stop by the Burton Tower box
office or call 764-2538.

,0

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0

Tennessee Williams' play "Orpheus Descending", adapted by TNT, stars Vanessa Redgrave and Kevin Anderson.

Imagine all the people playing with Pigface

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By Jason Vigna
Imagine this: twelve incredible
musicians. Collectively, their albums
have soldmillions. Any one ofthem can
be found on asmany as adozen albums.
Several have headlined world tours.
Now let's take the daydream one step
further.Imagine them all playing in Ann
Arbor-and not even getting paid for it!
No this isn't a dream, or even a once-in-
a-lifetime charity event. This is the ev-
eryday reality of Pigface.
Sound too good to be true? It should
be. No arrangement of the stars (no pun
intended) should be able to bring to-

gether Nivek Ogre of Skinny Puppy, En
Esch of KMFDM, Martin Atkins of
PiL, William Tucker of Ministry and
My Life With the Thrill Kill Kult, An-
drew Weiss of the Rollins Band, Hope
Nichols ofFetchin'Bones, MattSchultz
of Lab Report, and Paul Raven of Kill-
ing Joke. Invisible Records managed to
do it though; perhaps by offering some-
thing not even the stars can promise:
constant fun.
That's the whole secret behind
Pigface-plain old fun. According to
drummer Martin Atkins, "We're not
doing it for some ridiculous, pathetic

reason. We're doing it because we're
having a good time."
For those of you not familiar with
"the coolestband in the world" (-CKCU
FM), here's the lowdown: essentially,
Pigface is an experimental psychedelic
journey into industrial rock with a re-
volving door cast of characters. The
musicians change every night, and so
does the show. They've played with
cellists, flamenco dancers, bagpipe play-
ers, harpists, and other completely ran-
dom people, as well as with better-
known freaks such as Trent Reznor and
Black Francis Perhaps Atkins said it


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best when he commented, "[What you
should have] is like a plastic insertpage
that's like ...an oil-filled lava lamp tho
keeps changing. As you touch it, it
becomes something different. That's
whatPigface is." Thefunny thingishe's
right.
Some have called Pigface a "s-4
pergroup." but this is something of4
misnomer. "It's not about doing the
name thing," insisted guitarist William,
Tucker. "For every 'name' we have in
the group, we have a total unknown.'
You may be asking yourself, "Why
should I go watch William Tucker drool
on his guitar for three hours?" That's a
good question, but one that can only be'
answered by experience. According to'
Atkins, "The chemistry that's involved
with Pigface flows off of the stage, and,
people get plugged into thatchemistry"
There's something truly wonderful
about watching En Esch prance around
in his gigantic purple shorts, or hearing
Hope Nichols righteously howl "Hips,-
Tits, Lips, Power!"
Oh, one other thing. Atkins asked,
me to remind you all to "bring a change
of underwear. We won't be responsible
when people lose their bowels."
PIGFACE plays the Blind Pig
Saturday at 9:30p.m. Tickets are }
$9.50 (p.e.s.c.) at Ticketmaster. Call
763-TKTS.
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