RTS Standing ovation closes out the CSO triumph BY KATY THOMPSON Ricardo Averbach and the Campus Symphony Orchestra brought the audience to its feet in Tuesday's performance with their hardest assignment yet, Beethoven's No. 9. Immediately following the con- cert, Averbach said, "This perfor- Beethoven's Ninth mance took alot of effort and organi- zation. I'm glad that it went well." Hill Auditorium The highlight of the performance April 5, 1994 was the Finale, "Ode to Joy." Two choirs and four soloists, as well as the Campus Symphony Orchestra came together for an incredible performance, if not for the decibel level alone. The finale started with the cellos quietly playing the familiar melody of the "Ode to Joy." Then, quickly, it spread throughout the whole orchestra. Suddenly, Averbach made it explode with all the voices and instruments playing together in an eruption of volume. Fortunately, the sheer volume didn't drown out any of the melody, but added to the general celebration. The Orchestra and voices complemented each other well, and Averbach let the choir and the Symphony play as one. Bass Leslie Guinn opened his solo powerfully, leading the Orchestra with "O friends, no more these tones!" Tenor Mark Beudert followed in a strong, clear voice which could be heard throughout the auditorium. Combined with soprano Jane Schoonmaker-Rogers and contralto Rose- mary Russell, Guinn and Beudert sang together with the two choirs for a striking interpretation. Although at times the voices were muddled with the orchestra, all in all the effect was impressive. Since the voices didn't enter the piece until the last movement, it was up to the Orchestra to showcase the first three movements, which they did well. The first movement started out slowly, but the CSO quickly warmed up to the piece and made it their own. They manipulated the melody with contrast and expression. Building throughout the second movement, the orchestra evoked a dainty melody, which appeared to dance throughout the hall. Averbach was an animated conductor, almost reaching into the instruments for the sounds. The concert ended with a standing ovation, which was certainly deserved on all parts. 01 Meryl Streep and Jeremy Irons fall short of expectations in Bille August's "The House of the Spirits." LackigLatin stifles the 'Spirits' 0 BY CAMILO FONTECILLA When I was a child, my father told me a story about his travels through the Chilean grasslands at the base of The House of the Spirits Written for the screen and directed by Bille August; with Winona Ryder, Meryl Streep, Glenn Close, Jeremy Irons and Antonio Banderas. the Andes. One day he stopped at an isolated country house and asked to stay the night. The mistress of the house gladly took him in, but warned him not to be alarmed by the clocks chiming at midnight. Sure enough, when the witching hour came, the house shook with the clamor of count- less clocks. My father searched the house for the origin of the sounds, but wherever he looked, there were no clocks to be found. "The House of the Spirits" per- haps offered a chance to further un- derstand the magic of Chile, a land seasoned by ocean currents and moun- tainous chill. But the film is actually filmed in Portugal and Denmark! This displacement is a reflection of the paradox that permeates this film. It is not Latin enough, not native enough, not rugged enough. Despite some glimpses of genuine roughness, it is obvious that Bille August is more comfortable representing the north- ern coolness that was so finely drawn in "The Best Intentions." The magic that was evidently so integral to Allende's tale never finds The magic that was evidently so Integral to Allende's tale never finds Its place In August's film. It flitters in and out; Instead of I canvassing the story it PCsRsbecomes little more than a feminine wile. The Housing Direc ch Advisory Committee 1s Molding a Pgbll Comments $rssion ay, Arl 994 b fom 4:0 tO * This is an opportunity ii;te Univr'iycommunity to provide i as needs or qualities desired of: b ,...anew Housing Director. ne w imit ivida .lots will fille.n t e fr rve a k - 1 .lease aj764- O.Dean of Stud .)ffic by1,l to sign up for t. ncourage icipation and vlur: i u its place in August's film. It flitters in and out; instead of canvassing the story it becomes little more than a feminine wile. With its loss, the por- traiture of the female characters also loses consistency. As a result, what should have been a story about women rising spiritually above their men comes dangerously close to being the oft-told tale of one man, his errors and his eventual redemption. This man is Esteban Trueba (Jer- emy Irons). From poverty he rises to become a powerful landowner, a ruth- less potentate with a keen eye for business and politics. He then weds Clara (Meryl Streep), who has se- cretly loved him since childhood. Clara has clairvoyant and telekinetic powers, and she anticipates almost every death in the film. Ferula (Glenn Close), Esteban's single sister, moves in with them. As the bond between Clara and Ferula tightens, Esteban sees his patriarchal control threatened. Thus, he banishes his sister from his home, but she condemns him with a curse of eternal loneliness. Meanwhile Blanca (Winona Ryder), daughter of the Truebas, is flourishing. In her youth, she falls in love with Pedro (Antonio Banderas), a laborer on her father's property and W a strong advocate of worker's rights. Esteban hates him for his revolution- ary tendencies, and when he discov- ers that he is sleeping with Blanca, he is out to have his head. Fdrula's curse takes effect, and Clara, avowing never to speak to Esteban again, moves back to the city with Blanca. The birth of Alba, daugh- ter of Blanca and Pedro, and the on- slaught of the 1973 military coup lead the film to its climax. In the span of these 40-some years there is obviously much more that stirs the Trueba family, including Esteban's bastard son (fruit of the rape of a native woman), the political intrigues of the conservative right, and the lesbian allusions in the Clara- F6rula relationship. This lack of fo- cus often ails the film, and in particu- lar its main through-line, Clara's life. As we approach the end, however, it experiences a surprising rebirth. Blanca's story, as she undergoes the trials of military questioning and tor- ture for Pedro's protection, is quite absorbing. While most of the cast seems oddly out of place (excepting a grounded Banderas), Ryder is startlingly bril- 0 liant. Who would have thought she would find her niche in a story drenched with Latin passion; she is commanding, comfortable and brings genuine fire to the last third of the film. Ryder draws a solid close to this travelogue of lust, hatred and land- scapes, a book with many scattered pictures, some affecting and effec- tive, others blurry and trivial. An in- fusion of Latin spirit mighthave given this "house" the truth it sorely lacks. THE HOUSE OF THE SPIRITS is playing at the Ann Arbor 1&2 and Showcase. YOUR BEST OF BALLOTS ARE " BEING COUNTED... RESULTS NEXT THURSDAY wound . u. "4,. f .. f < ':, V., J... J". " "5fi P Vr 1 ,. x. 1 ! 1{ " ; . " " Y. . :',. . BSI f' 1:}1...1 } 1 ff.'. ..1". . r :: : '