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February 07, 2000 - Image 8

Resource type:
The Michigan Daily, 2000-02-07

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8A - The Michigan Daily - Monday, February 7, 2000


Rhys o es
diverse offering

Jarvi conducts
orchestra at Hill

By Jee Chang
For the Daily
The University's Dance Department
put on a dynamic performance this
weekend at the Power Center with
"Worldwide Rhythms."
The show opens up with a lively
"Street Facade" scene from Bahia,

Power Center
Feb. 3-6, 2000

Brazil. With a
collaboration of
dancers, vibrant
colored costumes
and live tradition-
al music, it made
it impossible for
the audience to
expect anything
less than a pas-
sion-filled perfor-
mance. "Street
Facade" illustrat-
ed the celebration
of "Carnaval,"
through modern

group of musicians used objects like
hollow tubes, glass jars, wood pipes,
sticks and spoons to produce a unique
sound of various textures and beats.
The second act moved to choreogra-
pher Donald McKayle's famous "Rain-
bow Suite," a work that depicts the life
of chain gang prisoners in the south.
Bret Caburnay opened the act with an
astonishing performance. His move-
ments were not only packed with ener-
gy, but he moved passionately across
the stage with purpose in every move-
The next act, "Brincando El Charco,'
lacked the appeal of the others.
Although the dancers' performance
was graceful in itself, there was too
much symbolism dumped onto the
audience. This act brought up some
controversial issues as did the subse-
quent piece "Slips of the Night." This
work featured a string of paper coming
out of a face sculpture that looked like
the Virgin Mary and chantings in the
These two acts were explorations of
different heritages and languages from
various cultures, but they could have
been artistically presented in a different
manner. There were also a lot of move-
ments going at one time, which made it
difficult to follow the central focal point

By Joe Chang
For the Daily
Starting with Arvo Part's "Symphony
No. 3," the Gothenburg Symphony
Orchestra quickly established their abil-
ity to surround the audience at Hill
Auditorium with angelic sounds. The
lyrical lines tossed back and forth
between the strings created a tense con-
Conductor and music director

Neeme Jarvi, who
Hill Auditorium
Feb. 5, 2000

serves the Detroit
S,y m p h o n y
Orchestra in the
same capacity,
was able to bring
each individual
player into one
unified voice. It
is always easier
for orchestras to
play loud, crash-
ing notes. as
opposed to quiet,
controlled tones,
but the. orchestra
had no problem
achieving either

Giya Kancheli's "Vom Winde
Beweint." Bachmet enchanted the audi-
ence with this four movement piece
through his zeal and delicacy. The
orchestra did an excellent job compli-
menting the violist in his solo, as he
wove in and out of melodic harmonies
The low rich tone of the viola filled
the auditorium with sounds of sorrow
and love. The romantic piece was
played with such ease by Bachmet, as
he moved up and down the viola with
quick movements.
Bachmet's deep vibrato intensified
the piece, redefining the ability for the
sounds of a viola. Bachmet achieved a.
great range of sound qualities He was
not afraid to attack the instrument too
produce aggressive tones. At the same
time, he could gracefully pour out soft
and delicate tones.
The orchestra selected a perfect
concluding piece, Shostakovich's-
"Symphony No. 6 in b minor, Op.
54." This piece reaffirmed the passion
of music in the auditorium. The brass
and percussion brought the piece to
life, with their loud and bold sounds.
The Gothenburg Symphony fin-'
ished with a much appreciated:
encore. Through this performance,;
the orchestra once again showed the
audience the rich, vibrant tones of
each section.

Courtesy of University Dance Department
Dancers flock together in full-blown costume during the Worldwide Rhythms performance.

movements. Dancers performed with
zeal, which drawed in the audiences
Between the first act and the second
act, the audience was visited by a group
of musicians that performed a short live
piece. Unlike traditional instruments
encountered in most music groups, this

through the dance. Since the two acts
were so packed with symbolism, it
became overwhelmingly difficult to
understand the meanings. The various
actions taking place on stage only dis-
tracted the audience from the message.
The show ended astoundingly with
"Canto America," which is inspired
by the simplicity of peasant workers
throughout Central and South Amer-
ica. This act concluded the show on

a good note. The dancers went all
out to show to the audience what
they were all about, and indeed they
amazed the audience with different
dance syles and moving music. The
last act was so good, that the whole
show of "Worldwide Rhythms,"
packed with its color, energy, sym-
bolism and passion, would be defi-
nitely worth watching again just to
revisit "Canto America."

quality. Jarvi brought each section to
life, proving the importance of the con-
ductor's role.
Jarvi led a performance highlighting
viola soloist Yuri Bachmet playing

ar +

'Goblins' new Gameboy staple

Computer emulation has changed
the face of playing old video games.
You can play classic games, from the
common as dirt blue blinking Atari
2600 "Pacman," to hard to find
imported Super Nintendo games like
"Bomberman 4," with only a few
minutes on the Internet, even if it's at
best questionably legal.
There is one important functional
flaw to emulation; you are tied to
your computer to use it. Sitting at a

" Bar Specials Nightly

Grade: B
Ghosts 'n Goblins
For Gameboy
Reviewed by
Daily Arts Writer
Ted Watts
handheld systems

desk is not the
best place to
play a game.
And a laptop,
while much
more mobile,
still requires a
certain amount
of stability and
is limited in its
are the answer. A

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research but the market itself when
they were first around. Classics from
the old 8-bit NES have been appear-
ing again. And Capcom has initiated
their own entry into the fray.
"Ghosts 'n' Goblins" is Capcom's
first classic re-release for the
Gameboy. Legendary in its reputa-
tion, the game was huge in its time.
You are Arthur, and you need to
save the princess or something. But
largely, you need to kill a lot of
zombies and other supernatural
flora and fauna. You start throwing

a lance, but can get various weapon
powerups so you can toss axes, fire-
bombs and the like.
The old, simpler games were
based on pr'etty much one thing;
being difficult. Modern games on
the other hand are based on game
length. Both types of games wanted
to give their customers value for
their money; "Ghosts 'n' Goblins"
does this by making you play por-
tions of the game over and over
until you get them right. It's a type
of gameplay that is foreign to mod- -
ern gaming; but it is what a lot of
people were raised on.
So basically you need to dust off
your old pattern making skills, or
reawaken the specific patterns you
developed for the game a dozen years
ago. And if you don't go insane from
being unable to get past a first level evil
balogna loaf with wings, you should be*
experiencing some nice nostalgic vibes.
"Ghosts 'n' Goblins" is just the
beginning; Capcom is amazingly
going to release "Resident Evil" on
the Game Boy soon, proving that
handheld re-releases don't need to
be relegated to older classics, But
"Ghosts 'n' Goblins" is exactly the
same as it was in days past, except
now you can take it with you.


Brown Jug's


Gameboy can outperform an old Nin-
tendo system. But of course, Ninten-
do games came and went years ago.
So we get to re-releases, games that
have stood up to not only market

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Spanish culture and civilization
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Acting and London theatre
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