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6 - Tuesday, January 31, 2012
The Michigan Daily - michigandaily.com
UPO's sound to fill
Hill with classics
Ray tempts on'Born'
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"It's
liaikovsky and duct an operetta with dancers,"
Lees said. "Since you need the
auss on bill for right flow and perfect tempo to be
natural to their movements. But if
U' orchestra there are no dancers - as in this
performance - then it becomes
By JON ODDEN the responsibility of the orches-
Daily Arts Writer tra and the musician to evoke the
dancer."
e basic idea behind the con- To transfer every sublime cab-
one of two halves," said riole and pirouette from the visual
opher Lees, lecturer of intotheauralpresentsachallenge,
ting which Lee explained requires the
sociate UiVerSity conductor to have a honed set of
tr of . intricate skills. Those chops will
tras. Philharmonia be puttothe test asthree graduate
r than Orchestra students - Matthew Dell, Antho-
erarch- ny Do Hoon Kim and Christo-
mbrella Tomorrow pher Whittaker - conduct a suite
aemati- at 8 p.m. from Tchaikovsky's "Spyashchaya
defines Hill Auditorium krasavitsa," better known as "The
oncert, Free Sleeping Beauty Ballet."
re pre-"The Tchaikovsky is a rous-
g three ingly fun piece, both to hear and
ibly engaging pieces, which to conduct," Lees said. "And peda-
split, complement each gogically, it's great for this orches-
tra because it requires them to
s explained that the first turn on a dime. The intensity of
& tomorrow night's Uni- the rhythmic alternations is tax-
Philharmonia Orchestra ing, but the students have done
t references music from masterful work with it, which
age, opening with Johann reflects the effort and talent that
s II's "Die Fledermaus." they all share."
pbeat, ever-popular Vien- After a brief intermission,
verture should bring light- the orchestra will return to play
d character to the concert's Dvorak's Symphony No. 8. Per-
vith its ludicrous plot and haps less known than his No. 9
musical character. "New World" Symphony, No. 8
wn as "The Waltz King" shares the same musicalvoice and
work in bringing the dance Czech folk heritage that makes
o prominence in 19th cen- any Dvorak work instantly recog-
ienna, Johann Strauss II nizable.
sed some of the most iconic "The work unfolds from an old
and operetta music in the man's perspective," Lees said.
assical canon. "Die Fleder- "Unlike the buoyant music of the
or "The Bat," tells the story first half, the opening movement
xication, a formal ball, dis- is very contemplative with a qua-
revenge and prison. si-nostalgic air."
difficult enough to con- The first movement flows with
a compelling cello, bassoon and
horn melody that repeats within
the section. Interspersed between
these clamatorial moments of
rumination are rousing music in
deep rhythm.
"Then, in the second move-
ment, the music lies between light
and shadow," Lees said. "Which
is to say that it's hard to tell
whether we're hearing a hymn or
a funeral dirge. There are som-
ber organs spliced with chirping
birds. The crafting is precise and
flowing, which leaves you feeling
as though you've existed on the
precipice throughout."
On reaching the third move-
ment, the violins lead in with a
gypsy folk tune. Its music is buoy-
ant and rolling without the anxi-
ety of the earlier movements.
"What makes this section so
special is actuallythe coda, which
is often mistakenly confused
for the start of the fourth move-
ment," Lees said. "Each measure
becomes compressed as the activ-
ity and speed grow exponential-
ly."
With the coda propelling the
symphony into the final move-
ment, the orchestra breaks into
fanfare heralding a dance. The
instruments follow a simple tri-
adic melody underpinning the
movement. Eventually, the entire
orchestra - even the timpani -
bound out in fortissimo as the
symphony reaches its conclusion.
"All of the music on this show is
magnificent in different ways and
I promise that this is a program
that you will come out humming
tunes to," Lees said. "This music
and the experience of being part
of the collaborative process and
acoustic of the orchestra will stay
with you for a long time."
By KATIE STEEN
Daily Arts Writer
Lana Del Key has beena buzz-
word in music chatter since the
debut of her self-released music
video for
"Video Games" ***1c
- a mash-up
of faded vin- Lana Del
tage clips and
beautifully
bizarre scenes Born to Die
of Lana - and
her recent, Interscope
awkward per-
formance on SNL. Del Rey-con-
0
"I hope I wasnt as bad as Ke$ha..."
verts h
and ch
Marily
criticiz
tured n
produc
her ide:
ject - L
name
she wa
wearin
woulds
A s
Born
Rey's fi
album
has an
her sin
it mayI
her in
about
had co
could
ciating
female
In a
toDie,I
range,c
satile b
ave deemed her enigmatic chilling deep-voiced moments,
arming, comparing her to beginning the album's namesake
n Monroe. Lana-haters track, "Born to Die," with a rich
e her for her manufac- lowness that channels Florence
nature, dismissing her as a Welch and Cat Power. She sounds
t of her CEO. father. Even mature and experienced, at times
ntity is a controversial sub- fazed, but soon begins begging in
Lana used to go by her birth an eerily childlike voice, "Kiss me
Lizzy Grant, back when hard in the pouring rain."
s a thinner-lipped, jeans- Her instantaneous transitions
g, overall-average girl who from breathy vocals and sensual
sing in New York bars. lyrics to girlish naivetd offer a
somewhat unsettling dichotomy
to her image. There's something
off about Lana's music - she's
ultry-voiced youthful to the point of being
babyish, yet pushes the sex-kit-
sellout, ten image. Nothing exhibits this
more thanthe song"Lolita," anod
to the novel by Vladimir Nabo-
kov. She sings in a little-girl voice
to Die marks Lana Del aboutkissinginadarkpark,joined
rst LP, a highly anticipated by a chorus of children warning,"I
by those wondering if she know what the boys want, I'm not
ything more to offer than gonna play." The song is menacing
gle "Video Games." While but backed by an irresistible beat
be temptingto deconstruct and syrupy singing, demonstrat-
nterviews and speculate ing Lana's ability to be simultane-
where she has or has not ously coquettish and creepy.
llagen injected, doing so But the transfixing nature
sean missing out on appre- of Lana's vocals isn't enough to
a rare voice in the realm of carry Born to Die. The album is
singers. unashamedly produced, incor-
Imost every track on Born porating orchestral flourishes,
Lana flaunts her wide vocal innumerous sound effects of
creating a sound that is ver- incoherent yelling and a hip-hop
ut distinguishing. She has backing in almost every song.
Born to Die beguiles, enticing lis-
teners with cheap appeals to pop
and hip hop.
Even with these studio addi-
tions, bombastic anthems beg-
ging to be remixed such as
"Lucky Ones" and "Dark Para-
dise" drag on for four minutes.
When the melodies are unable to
distract listeners from the large-
ly unoriginal lyrics, it becomes
apparent that Born to Die is an
hour's worth of anti-feminism.
Virtually every song declares
Lana's willingness to submit to
some guy. At times, Lana seems
critical of the cognac-chugging
gamers she falls in love with, but
mostly she sounds defeated and
willingto accept a life of unrecip-
rocated longing.
Despite spending 15,tracks get-
ting to know Lana, her status as
an artist remains ambiguous. She
sings repeatedly about the Ameri-
can Dream and seems to predict
her fame in the song "Without
You" with lyrics about her time
in the limelight. At the same time,
she claims she's willing to give it
all up for aman and relies heavily
on in-studio additions to accom-
pany her admittedly impressive
singing. But interpret Lana how-
ever you want - she doesn't need
your money and she's already get-
ting her 15 minutes.
0
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RELEASE DATE- Tuesday, January 31, 2012
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
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(c)2012 Tribune Media Services,IInc.
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