8A - The Michigan Daily - Monday, November 20, 1995 Panavision yields a new point of view The Tafelmusik orchestra, low s o By Matthew Steinhauser Daily Arts Writer Tafelmusik - one of the continent's premier period performance groups - took all in attendance at Rackham Au- ditorium Wednesday evening back to the 17th century for an evening of Ba- roque music. The performance featured the music of Henry Purcell in the 300th yearafterthe English composer's death. Tafelmusik arrived in Ann Arbor for itsUniversity Musical Society debut with a growing reputation for playing an au- thentic, spirited brand of Baroque music. Afterits inception in 1979,violinistJeanne Lamon took the helm as music director in 1981. All the members of Tafelmusik contribute an expertise in performance on period instruments, and arter 14 years, Lamon has channeled this expertise, cre- ating a rich, vibrant sound. T-SHIRT ® PRINTING LOWESTPRICES! HIGHEST OUA LITYI * FASTESTSER VICE! * 1002 PONTIAC TR. ® 994-1367 Tafelmusik Review Rackham Auditorium November 15 Tafelmusik seems to value subtle expressiveness without overindulgence, yet for much of the first half of its program, the orchestra over-restrained itself to the point of sounding passion- less. Although the orchestra played ev- ery selection on the evening with tech- nical control and balance that flirted with perfection, often during the open- ing selections, it failed to capture the spirit of the music. While deftly, grasp- ing control over the measured rhythms, and subtleties of the period music, the Canadian group often sacrificed its reso- nant, sonorous potential, leaving the music limp and unimpressive. Tafelmusik opened the evening with a wimpering rendition of Purcell's Suite from "The Fairy Queen." The orchestra sounded more like it was playing back- ground music at a party rather than taking center stage for a captive audi- ence. Despite its lack of vigor in the opening piece, Tafelmusik maintained a light touch, creating tight, polished music. In Antonio Vivaldi's Concerto for Two Violoncellos in G minor, the or- chestra controlled its sound nicely, back- ing up Christina Mahler and Alan Whear. In many of the faster sequences where the violoncellists played simul- taneously, they muddied their sound. But when the two violoncellists played off of one another, their notes melded beautifully together, creating brisk, spir- ited progressions. Handel's Concerto Grosso in B-flat Major fit perfectly with Tafelmusik's strengths. The orchestra displayed a skill for interpreting the roles of every member of the orchestra. In Handel's concerto, the orchestra deftly withdrew, allowing perfect exposure for the deep notes of the bassoon complemented by the sweet sounds of oboe above. A small portion of the orchestra took the stage for the performance of Purcell's Fantasia Upon A Ground for Three Violins and Continuo in D Ma- jor. The smaller group of musicians allowed Lamon to give the audience a more exposed sampling of her sub- dued, eloquent talent. The group completed the evening with Bach's Orchestral Suite No. 1 for Two Oboes, Bassoon and Strings in C Major. Tafelmusik set a lively tempo in the Ouverture, maintaining it through- out the suite. Each member's instru- mentation fit snugly with the over-arch- ing dynamic ofthe orchestra. The cham- ber group finally released a powerful, rich sound, while playing in unison. Tafelmusik salvaged the "Celebra- tion of Purcell" in the latter portions of its program Wednesday evening. After opening with a feeble rendition of Purcell's Suite from "The Fairy Queen," the group recovered the mature, lush sound, that entitles it recognition as one of the world's premier, period instru- ment orchestras. By Alexandra Twin Daily Arts Editor While many of us are sitting huddled in front of our computers, our lips pressed against a stack at the Grad, our noses deep into books, attempting to absorb it all by reading, or perhaps sniffing the eau d'Acadamia, there's something a little different going on in the film department. They are, for all intents ande purposes, making a movie. Yeah, sure, you say, they're film majors, they do it all the time. But this is a little different. This semester marks the first time that the Advanced Film- making class has combined with the Acting for the Camera class in the Mu- sic School to make what is probably the closest thing to areal film that either the film or acting students will get to expe- rience during their time at the Univer- sity. It seems logical enough: Filmmak- ers-in-training should get to direct and photograph actors-in-training; actors- in-training should get to work with and be directed by filmmakers-in-training. Yet, for all its logic, it's something that has never happened before. To add to the aura of the "real thing," this joint class's project was filmed - thanks to a special program that the University's film department annually participates in - with a Panavision 16mm camera. It's the kind of camera that would be used on a real movie set. In exchange for covering the cost of shipping and insurance, as well as bring- ing in a Panavision representative to speak with the students, the film depart- ment has use of the camera for about $4,000. It would normally cost about $250,000 to buy such a camera, but here, from Halloween through Thanks- giving, students essentially get to use it for free. But more important than the fact that high-tech equipment is being made available to students is the overall rel- evance of this joint project. Filmmaking Prof. Robert Rayher - who, along with Acting for the Camera Prof. Janet Mailey, co-instructs the class --said "It's about breaking down walls and expanding notions of education, so that students, through multiple view- points, can have a richer experience. We want to build bridges between the parts of the University that, as yet, don't work too well or too often together. Theater and film have operated out of the Frieze Building for years, but this is the first time that they've worked as a unit." Said Reeb Venners (BA Film '96), who, during the shoot, experienced the roles of camera operator, assistant di- rector and sound recordist, among oth- ers: "It's the first time I've gotten to interact with other film students on a production. The experience was mostly valuable because we got to learn pretty close to the way a real crew works, and the Panavision camera's been cool." Megan Weikart (BA '96), who was referred to by her classmates as being something of a "jack of all trades," or "really knowing her stuff' enjoyed the opportunity to work in a group atmo- sphere for the first time. "This was great, because in classes, we go over all these cameras, but you're not always working with a whole group like this, really putting out something together." "While the script ('A weekend in Madison,' by Kathleen Tolan) and the set are a bit limiting," acknowledged Matthew Heckerling (BA Film '96), who served as director and assistant director on different days, "getting to be in this environment and seeing how many people you really need to get everything done has been really useful. Not to mention the fact," he added a little sheepishly, "that I'm in love with the camera. It's the best camera in the world." "Getting to work with professional actors was great," enthused Tim Aten (BA Film '96), who spent several days on the set as director. From the actor's perspective, the ex- perience was similarly rewarding. Said Kim Gainer (BFA Theater '96): "I think it's been really helpful to me as a theater student in that it throws an interesting spin on things. You get to shoot in 16mm. You get to see the dynamics of how it all works." "I've never done anything like it," said Camilo Fontecilla (BFA Theater '96). "It (film) really forces you to look back at what you're doing as an actr* because it doesn't have the same cont nuity as theater." "You really need to be prepared as A actor in a way that's very different froi theater," agreed Ingrid Eggertsen (9 F Theater '96). "It (film) is a lot of hurry up and wait," admitted Kristen Savage (BFA Theater' 95), "but the degree ofprofes- sionalism exhibited by the film stu- dents has been really impressive: They're learning, too." "It's like a team sport," said Rayher.' "I think that everybody did a really great job of working together." Sitting in on the last day of shooting, there is a real sense of a workshop atmosphere: The two classes really work off of each other as a coherent troupe, even teasing and amusing each other in-between takes. "It was fun working with the actors," said Venners, "they were very actor- like - witty and entertaining." None of the students found it diffi- cult or confusing to have two profes- sors working with them simultaneously. Said Acting Prof. Janet Mailey, "We (she and Rayher) both knew the poten- tial difficulty of having two professors and so we just made sure to keep it in mind at all times so that there wouldn't be any difficulties." Overall, the experience was so successful that Mailey and Rayher intend to team up again next semes- ter for the same type of project, combining his Advanced Video pro- duction class with her Intro. Acting for the camera class. "What's most important here," con- cluded Rayher, "is not that you get to use or experience this or that piece of equipment. What we're really con- cerned with is the mind, the soul that gets behind that camera. We want stu- dents to truly experience the art offilm- making and that's why this is so impor- tant; it's about enhancing the larger picture." Perhaps the whole experience was best summed up by Luis Salazar (BFA Film '96) who said, quite simply: "You get to experience what an actual film is like." g r4m 01 k ya A e d w i x- k a S, y ' a v n w ® R "t X I jpy d. n n + h 5FeF M NJU r "?i r y§ h x m M 6 " A'i A - .bTL_ i * I ' ° -mt Y "Y°r ,* i . 4 i &- ts. 3 " a«t. 'a''x* . ,_ ^ k § t t 0, ". M -_a k K'. tl aw'*Y rat 7 a i . 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