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April 12, 1996 - Image 5

Resource type:
The Michigan Daily, 1996-04-12

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Ift Ekhitau tailg

Springtime and Cherry Orchards,..
The master of modern drama comes to Kerrytown this week as the
MorrisCo Art Theatre presents Anton Chekhov's "The Cherry Orchard."
Showtimes are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. at
the Kerrytown Concert House. Call 769-2999 for more information.

April 12,1996

Vocal virtuoso Bobby McFerrin conducts Detroit Symphony

By Stephanie Love
For the Daily
After establishing himself as a one-man vocal en-
semble, why would a man who loves to sing decide to
take up conducting? Lofty musical ideals, or perhaps
the desire to show the world that a popular artist can
successfully perform art music? One might think so,
but according to Bobby McFerrin, "I wanted to give
myself a 40th birthday present,
d I wanted to do something BOBBY MC
really different and challenging.
Conducting seemed the most ARTURO &
challenging thing I could think AND THE D


&'+ A n"%&Y

The Detroit Symphony Or- Y MPHr N Y
chestra is featuring renowned Where: Orchestra
vocalist and conductor Bobby When: Tonight and
McFerrin this weekend at Or- at 8 p.m.
chestra Hall. Famous for his Tickets are $15-$
tcean Spray and Levi's com- through the Orche
rcials and of course his hit office. Call (313)
single "Don't Worry, Be Happy," more information.
McFerrin isn't as widely known
for his conducting, a fairly recent undertaking.
Starting in 1989, McFerrin worked with conductors
including Seiji Ozawa, Leonard Bernstein and Ben
Zander at Tanglewood in preparation for his debut,
conducting Beethoven's Seventh Symphony with the
San Francisco Symphony Orchestra on his 40th birth-
day. That was six years ago, and invitations from
other orchestras are still pouring in.
But Bobby McFerrin the conductor? "Audiences
nerally respond very well. A few orchestras that
I'm facing for the first time might have a little ambiva-
lence on their part. But things seem to work out as we
rehearse and get to know each other," McFerrin said
in a recent interview with The Michigan Daily.
McFerrin likes to think of his conducting as a
tribute his parents. "My parents were classically trained
singers and I heard a lot of classical music as I was
growing up. I think in some way I'm trying to honor
the music of my parents ... but it's really my music


too. It's the music they've set me with as a child, the
classics, jazz, gospel, spirituals and rock 'n' roll. It's
all inside me. It probably all comes out when I'm
conducting, too."
Today, McFerrin studies conducting with the mu-
sic director of the St. Paul Chamber Orchestra Hugh
Wolf. He also studied at Michigan with the recently
retired Gustav Meier. "I'm studying as I go along. It's
on the job training," McFerrin
FERRIN, said.
E RN This weekend's concert in-
NDOVAL eludes Bizet's "March of the
TROIT Toreadors from "Carmen," "An
American in Paris"by Gershwin
and Bernstein's Overture to
Hall "Candide." McFerrin will also
Saturday perform a set of a cappella se-
37 and available In addition, celebrated jazz
stra Hall box and classical trumpet player
333-3700 for Arturo Sandoval will perform
an original composition as well
as Haydn's Concerto for Trum-
pet and Orchestra. Sandoval, a full professor at Florida
International University, has performed with the BBC
Symphony, the St. Petersburg Symphony and the
Atlanta Symphony. He maintains one of the most
extensive educational programs for jazz and classical
study in the industry, with more than 50 performances
and clinics per year.
Despite his newfound fame in conducting, McFerrin
knows what his true passion is: "If I had to choose, I
would most definitely choose singing. There's no
doubt in my mind that I will always be a singer." And
of course, it is his singing that has brought McFerrin
the most success.
Since his recording debut in 1982, McFerrin has
practically reinvented the voice as a jazz instrument,
promoting the idea of improvisation to a wide range
of audiences. In addition to singing the theme for
"The Cosby Show" and the main theme from Bertrand
Tavernier's film "'Round Midnight," McFerrin has

earned 10 Grammy awards, recorded a No. I pop
single and collaborated with artists such as Jack
Nicholson, Manhattan Transfer, Chick Corea, Herbie
Hancock and Robin Williams.
Since 1990, McFerrin has conducted such ensembles
as the Detroit Symphony, the Cleveland Orchestra,
the Los Angeles Philharmonic and the Boston Pops.
In 1994, he was named Creative Chair with the St.
Paul Chamber Orchestra, perhaps the ultimate tribute
in his movement toward classical influences.
After two successful albums, "Simple Pleasures"
featuring "Don't Worry, Be Happy," and his first
classical recording,"Hush," a set of duets with cellist
Yo-Yo Ma, McFerrin released "Paper Music" in June
1995. This latest work is his first recording as a
conductor and vocalist in collaboration with the St.
Paul Chamber Orchestra.
This impressive history continues with the antici-
pated release of a second album with the St. Paul
Chamber Orchestra featuring pianist Chick Corea.
McFerrin is also commissioned to compose an opera
for the San Francisco Opera with librettist Ishmael
McFerrin has formed two touring groups, the vocal
ensemble Hard Choral and ajazz trio called Bang Zoom,
enabling him to continue his careerinjazz while branch-
ing out into the realms of classical music.
So what is the goal of McFerrin's music? "Tran-
scendence. The goal is joy, that's the bottom line," he
said. "I want people to feel that they've had an
emotional ride of some kind, that they're not the same
people leaving the hall as when they entered. To me,
music is the best community building tool there is.
When you get people together making music you all
of a sudden become a community - people who are
togethersinging and dancing seem to melt the barriers
a lot quicker than anything else I can think of."
But McFerrin stresses that as far as intentional
musical causes go, he isn't trying to make any kind of
statement through his conducting or his singing. "I
have no causes, no agendas. I simply enjoy making

Shankar visits Rackham
Forty years after making his American
debut, legendary sitarist Ravi Shankar
makes his first appearance in Ann
Arbor Saturday at 8 p.m. at Rackham.
Celebrating his 75th birthday this year,
this virtuoso is known as India's "most
esteemed ambassador" for his
pioneering work in bringing Indian
classical music to the West, by means
the sitar. Shankar made his
merican debut in 1956 and quickly
became an idol to many young
Americans. His concerto for sitar and
orchestra stands out as the only like
piece written for the instrument.
Shankar has composed many film
scores, including those for the movies
"Gandhi" and Satayajit Ray's "Trilogy."
He was also a performer at the 1969.
Woodstock festival. Saturday, he will
Joined by Abhiman Kaushal on the
la. A lecture and demonstration of
Indian classical music on the sitar will
be given by Rajan Sachdeva of the
Institute of Indian Music at 6:30 p.m.
at the Michigan League.
- Nikhil Chawla
Perso ties nspire dancers fareweli perfonnance

Bobby McFerrin takes the stage at Detroit's Orchestra Hall this weekend.
Working the c.atvk
Bronze Elegance returns to the Union

By Liz Shaw
For the Daily
If you can't get to Paris to see the
spring lines, the shows in Milan don't
fit into your travel plans, and you
can't afford that jet to New York for
fashion week, you're in luck this
The Alice Lloyd Hall minority coun-
cil, Minority Youth Striving to Incor-
porate Cohesiveness (MYSTIC), is
about to show you the fashionable time
of your life-and then some. Taking to
the runway for another year, MYSTIC
is presenting its annual Bronze Elegance
Fashion Show this Saturday night at the
Michigan Union.
Returning to coordinate the show
again this year is Mark Broomfield, the
man who made last year's presentation
any fashion diva's dream and a half.
Joining him will be 35 new models to
spice up the stage and the ordinary togs
that for one night are transformed into
the extraordinary costumes of a very
elaborate celebration.
"This year's show is going to dis-
play the great organizational skills of
students of color in Alice Lloyd, and
how they can all work together to
create a professional fashion show,"
said DeJuan Woods, the Minority Peer
Adviser for Alice Lloyd and for the
fashion show.
This year's show has an extremely
diverse backing, getting funding from
organizations all over campus and
throughout University Housing. It has
the support-through walking the run-
way and running the show - from both
undergraduate and graduate students.
"I'm pleased that we could get both

Where: Michigan Union Ballroon
When: Saturday at 7:30 p.m.
(after-party at 11:30 p.m.)
Tickets are $6 for the show, $4 for
the party, $8 for both at the
Michigan Union Ticket Office. Call
763-TKTS for more information.
grad and undergrad students to work
together for this effort. It was a great
learning experience on both ends,"
Woods said.
The show is set for its first run in
front of eager Alice Lloyd residents
who have been witnessing many of the
dress rehearsals all semester long, not
to mention the fashion show fans across
campus who patronize the show year
after year. The energy is high and ev-
eryone involved seems ready to burst
out onto the stage Saturday night.
"I look forward to this being the
culmination of a lot of hard work this
year to put together a professional show
that still has a youthful spirit," Woods
So gather all your fashion-impaired
friends, put on your Saturday best, and
get thee to this show - not to mention
the ultra-cool after-party.
But as MYSTIC has proven year af-
ter year, Bronze Elegance is bigger than
any old party. It is much more than a
parade of fancy frocks and lively liv-
ery: It's a celebration of unity. And this
is one extraordinary alliance of fashion
and diversity you'll never see on any
Paris catwalk.

Chrys Gee
orthe Daily
"No Shirt, No Shoes, No Service" is
a collective concert that marks the end
of five undergraduates' educations at
the University. As it highlights each
dancer's own movement style and per-
sonality, the overall feel of "No Shirt,
No Shoes, No Service"is one of matur-
ing artists working within their own
aim of experiences and values.
"Three Dreams from the Diary of a
Young Woman." choreographed by
Aimee McDonald, uses text from the
artist's personal journal, as well as music
by Lisa Gerrard, the Alloy Orchestra
and the Breeders. McDonald explained
that when choreographing she tends to
utilize breath rhythms and an action's
natural flow, rather than impose struc-
ture onto movement. "This can be diffi-
cult for the dancers," McDonald said.
ince they all come from distinct dance

Where: Betty Pease Theater
When: Friday and Saturday
at 8 p.m.
Tickets are $5,
backgrounds. Also, they all breathe dif-
ferently and have their own sense of
timing. Getting them to dance together
has been challenging."
McDonald explained that dance ex-
plores "the journey to becoming an inde-
pendent individual and artist. The devel-
opment of the person and the artist are
equally important tome; they go together."
Often the bravest thing for any artist
to do is to do something simply.
McDonald's method of self explora-

tion allows the viewer to participate in
the artist's inner emotions. However,
the three sections of her work also bring
up universal feelings of isolation, love
lost and ultimately group acceptance.
"Don't Reach Back," choreographed
by Julia Ingalls, is a ghoulish and play-
ful quartet. Using a music collage that
includes the Police, Funkadelic and the
Kronos Quartet, "Don't Reach Back"
depicts "how people are shut off. Yet at
the same time, everyone just wants to
break through ... to anybody," Ingalls
explained. "I do think the piece is about
death, but it's not about depression. It
comes from my experiences. It's about
strength really."
Ingalls will also perform "The
Walk," which will be accompanied live
by folk singer and songwriter Brian
Lillie. Ingalls explained that the dance
deals with "being in an uncomfortable
place and then being stripped out of it.

In the end, you look back ... and you're
OK. Sometimes itjust takes a longtime
before you get to that place."
"Six Degrees" was inspired by cho-
reographer Nancy Moran's recent trip
to Costa Rica. Complemented with text
by Heather Aldridge, this piece investi-
gates dancers connecting and discon-
necting on stage. It confronts the myth
of the United States as ameltingpot and
land of opportunity.
Moran will appear in an athletic solo
called "Analysis," which was co-cho-
reographed in conjunction with Assis-
tant Professor Evelyn Velez-Aguayo.
Another piece, "Late One Evening,"
created by Cheryl M. laquinto and
danced to music by Cole Porter, deals
with a young woman an verge of mar-
riage who is looking back upon her
The concert also features solo and
group works by Joanna Chozen.


"I do!"

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