Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

ACROSS
1 Quick
6 Zurich-based
sports org.
10 Dis
13 Metaphorical title
word in a
McCartney-
Wonder hit
14 Major
composition
15 Dr Pepper
Museum city
16 Played hooky
from the office?
18 Journalist/author
Larson
19 Telegram period
20 Long in the tooth
21 Texas-Louisiana
border river
23 “Without 
further __ ... ”
25 Taco toppings
26 Was sorry to have
set the alarm?
31 Random selection
32 Give a
halfhearted effort
33 Gratified and
then some
36 Pizzeria staples
38 Romantic dining
spot
40 Bush advisor
41 You can skip it
43 Piaggio transport
45 X or Y preceder
46 Made it through
the Civil War?
49 Lunchbox
container
51 “Wait Wait...
Don’t Tell Me!”
airer
52 Small creek
53 Meet at the poker
table
55 Hound sound
59 Downwind
60 Reached the
2016 Olympics
the hard way?
63 Joker, for one
64 Continental
divide
65 “Buffy” spin-off
66 Superhero
symbol
67 They’re fixed
shortly after
being
intentionally
broken
68 Crystalline stone

DOWN
1 Bench mates?
2 Bump up against
3 Little, to Luis
4 Rubber stamp
partner
5 Highlight provider
6 Barnyard regular
7 2001 Apple
debut
8 Lab coat
9 Welcomes
warmly, as a
visitor
10 Ready in a big
way
11 Cupcake cover
12 Uses a fireplace
tool
15 Online workshop
17 The Platters’
genre
22 x or y follower
24 Senior, to Junior
25 Amulet
26 Emulates
Eminem
27 Meter or liter
28 Revelations
29 Plants used to
make tequila
30 Cashed, as a
forged check
34 “... happily __
after”

35 Say no to
37 Tangled
39 Put in one’s two
cents
42 Mrs. Cullen in
Stephenie
Meyer’s
“Twilight”
44 Venomous snake
47 “I know, right?”
48 Sign next to free
samples
49 Hint

50 Luau
entertainment
53 Gala giveaways
54 “Electric”
swimmers
56 “For that reason
... ”
57 Told a fantastic
story, perhaps
58 North __
61 URL ending
62 Identify on
Facebook

By Debbie Ellerin
©2017 Tribune Content Agency, LLC
01/20/17

01/20/17

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Friday, January 20, 2017

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

xwordeditor@aol.com

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INTERESTED IN WRITING FOR ARTS? 
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anay@umich.edu or npzak@umich.edu

NETFLIX

Neil Patrick Harris as Count Olaf.

If you’re seeking a lighthearted 

series to add to your Netflix queue, 
now is the time to turn away. The 
series itself warns viewers to “look 
away, look away, look away” as the 
opening titles for Lemony Snicket’s 
“A Series of Unfor-
tunate Events” play 
across the screen. 
And 
they’re 
not 

wrong in advertising 
the revival as such 
— the series is, after 
all, modeled after 
the very unfortunate 
events of the Baude-
laire children follow-
ing the tragic demise 
of their parents in a 
horrible fire.

“A 
Series 
of 

Unfortunate Events” lives entirely 
in its own little world, free from the 
constraints that a period piece can 
often put on a work of fiction. At any 
given moment, a trolley car could 
pass by on the street or a character 
could abruptly make the switch 
between cell phone and typewriter. 
This decision to keep the series out 
of a set time period is a deliberate 
and risky move, but in keeping with 
the gothic, absurdist fiction of the 
novels on which the series is based 
— it works. Without worrying too 
much about the setting and relative 
era, it makes it easy to focus more 
heavily on the characters as they 
progress from one tragic event to 

the next.

One of the many themes that is 

drawn from “A Series of Unfortu-
nate Events” is its comparison to 
the novels in regards to the close-
mindedness of the adults, who con-
tinuously ignore the children’s keen 
observations. As they are handed 
off from one guardian to the next, 
each of whom is very noticeably 
Count Olaf (Neil Patrick Harris, 

“How I Met Your 
Mother”) in dis-
guise, the adults are 
completely 
oblivi-

ous to the devious 
plot of their sinister 
guardian. Because 
the children are 
looked at as wealthy 
and 
somewhat 

spoiled to the pub-
lic eye, their com-
plaints 
regarding 

the 
labors 
and 

hardships 
they’ve 

endured at the hands of the Count 
and his band of goons often fall on 
deaf ears. This ongoing theme is 
what makes “A Series of Unfortu-
nate Events” unique, as it brings to 
attention the oversight that children 
often face at the hands of the “all-
knowing” adults. It’s a role reversal 
that is revisited time and time again 
throughout the canon and Netflix 
adaptation. The fact that “A Series 
of Unfortunate Events” dismisses 
this long held-belief and places an 
importance on the knowledge of 
children in a way that is often dis-
missed in mainstream media is not 
only unique, but keeps the series 
interesting as well.

On that same note, Neil Patrick 

Harris is spectacularly spooky as 
the sinister Count Olaf, a distant 
relative-turned-actor 
intent 
on 

stealing the Baudelaire’s inherited 
fortune through trickery and devi-
ous plots. At first, it’s difficult to 
dismiss Jim Carrey’s (“The Mask”) 
performance in the 2004 film adap-
tation of the same name in place of 
Harris’ Count Olaf, whose perfor-
mance is slightly softer than Car-
rey’s. However, one soon falls into 
a rhythm with the devious Count, 
who balances out his personality 
with a eccentricity that completes 
the dark humor of the series.

As the episodes progress, Pat-

rick Warburton (“Rules of Engage-
ment”) appears on screen as the 
omnipresent 
narrator 
Lemony 

Snicket, whose sole purpose, it 
would seem, is to remind viewers 
of the dark and dreary situation in 
which the children find themselves. 
Anecdotes are often provided by 
the dreary narrator as he recounts 
the case of the Baudelaire children’s 
misfortunes and points out just how 
unfortunate their situation has truly 
become. The jokes are purposefully 
missing the punchline, as Lemony 
Snicket exists solely to remind us 
of the bad — there isn’t much good 
to begin with in this never-ending 
cloud of terrible, awful events. 
Then again, if you’re looking 
for a happier tale, you’ll prob-
ably be better off watching 
“Fuller House.”

All eight episodes of “A Series 

of Unfortunate Events” are cur-
rently streaming on Netflix.

‘Unfortunate’ fortunately fantastic

MEGAN MITCHELL

Daily Arts Writer

A

“A Series of 

Unfortunate Events

Series Premiere 
(Episodes 1 & 2)

Netflix

TV REVIEW
Love for ‘L’amour de loin’

New 
York 
City’s 

Metropolitan 
Opera 
is 
the 

oldest and one of the most 
respected organizationsw of 
music drama in the nation, as 
well as the country’s largest 
classical 
music 
institution. 

Founded in the 1880’s, it can 
trace its history back to the 
Gilded Age of America, when 
its host city was dominated 
by 
men 
with 
names 
like 

Morgan, 
Carnegie 

and 
Rockefeller, 

whose legacies live 
on 
in 
the 
City’s 

famous 
landmarks. 

In 
its 
modern-day 

location 
positioned 

as part of Lincoln 
Center, the Met sits 
just across the street 
from Juilliard, and 
its impressive arched 
façade 
takes 
one’s 

breath away. Inside 
the 
building 
the 

gold 
and 
glittering 

surfaces 
dazzle 
the 
eyes, 

while the opulent red carpets 
muffle your footsteps. The 
chandeliers, which rise to the 
plane of eye-level as you ascend 
to the upper balconies, look 
like mechanical sunbursts. To 
attend a performance in that 
building is an experience like 
no other, and so when I stepped 
off the plane at Laguardia at the 
beginning of Winter Break, the 
Met wasn’t simply something 
I looked forward to seeing — 
it was my entire reason for 
coming.

Earlier this academic year 

I glanced through the Met’s 
season when it was announced, 
expecting to find the usual, 
standard-fare Verdi, Puccini 
and Wagner — the classics, the 
tried-and-true and what have 
you. And I certainly did find 
them, as anticipated, and all of 
those composers are excellent 
at what they do and masters of 
the form, but honestly, they just 
don’t particularly interest me. 
Mostly this has to do with the 
fact that my tastes tend to be 
more modern, or else be even 
older than those three. But 
something else in the season 
was entirely unexpected and 
electrifying. During the month 
of December, the Met would 
be performing “L’amour de 
loin,” an opera composed about 
16 years ago by the Finnish 
composer Kaija Saariaho, who 
— to me at least — is one of the 

most interesting compositional 
voices active today.

Immediately after learning 

that “L’amour” was going to be 
performed, I set about trying 
to find a way to see it. I asked 
a few of my New York friends if 
I could stay with them around 
the holidays. I spoke with 
my parents about arranging 
transportation 
to 
the 
City. 

Over the course of the next 

few 
months, 
the 

trip began to take 
shape — the germ 
of my suggestion to 
my parents ended 
up blooming into a 
full-fledged family 
vacation to the City.

Saariaho 

herself 
is 
what 

might 
be 
termed 

a 
post-spectralist 

composer. 
Spectralism, 
a 
movement 

originating the the 

second half of the last century, 
focuses on the study of the 
physical properties of sound 
itself — its overtones, timbre, 
etc. — and the subsequent 
construction of music based 
on 
these 
properties. 
Some 

composers who are associated 
with this vein include the 
Frenchman Géard Grisey and 
the 
Brit 
Julian 
Anderson. 

Saariaho, on the other hand, 
takes heavy influence from 
spectralism — in terms of her 
sound-world — but composes 
music that is perhaps more 
Romantic in spirit, and more 
liberated. 
She 
takes 
the 

sonorities of spectralism and 
forms 
them 
into 
colorful, 

lower-case 
impressionistic 

images. Her great strength lies 
in her deft control over all of 
the timbral elements within 
her narrative, and the rich, 
large-scale palette of “L’amour 
de loin” allowed her to display 
this to the full.

“L’amour” has a simple plot, 

and, like an extremely high 
number of other operas, it’s a 
love story. The events of the 
drama follow Jaufré, a French 
nobleman and troubadore in 
the 12th-century who, through 
words and the image woven by 
a travelling pilgrim, falls in love 
with the countess of Tripoli, 
Clémence, from across the 
Mediterranean Sea. With the 
pilgrim as an interloper, and 
two begin a sort of extremely 

long-distance 
relationship, 

culminating in Jaufré crossing 
the Sea to meet the countess, 
only to die in her arms.

In the Met’s production — 

the first time they’ve produced 
an opera by a female composer 
in over a century, and only the 
second time ever at that — the 
stage is intersected by dozens 
of strings of vibrant, luminous 
color, 
which 
throughout 

the 
production 
move 
and 

imitate 
the 
Mediterranean 

Sea. Visually, in this way the 
production was magnificent. 
Through the beautiful French-
language libretto, themes of 
idealized love, piety, devotion 
and obsession are all explored. 
Arias and duets are interwoven 
in a captivating manner. The 
music throughout remains as 
a sort of haunted dream-scape, 
moving by slight adjustment 
through the range of nebulous 
moods that populate the opera.

After the curtain Fall, one 

thing in particular lingered 
in 
my 
mind: 
Namely, 
I 

contemplated the fact that a 
plot of such pure simplicity 
can 
nonetheless 
produce 

an 
engaging 
work 
of 
art. 

Much of this interest was 
surely generated through the 
arresting image on the stage, 
and the music propelled and 
commented upon the story in 
intriguing ways, but neither of 
these seem to fully explain the 
reason why the whole thing 
works.

In 
the 
end, 
the 
only 

explanation I can propose is 
simply that we, as a species, are 
endlessly fascinated with the 
concept of the unattainable — 
a figure which is at the core of 
this opera. Each of us engages 
in idealistic fantasizing about 
that which we realistically 
acknowledge we can never 
attain, whether it’s a faraway 
love, a meaningful contribution 
to the world or anything else. 
Perhaps, because of our own 
obsessions, watching a tale of 
idealistic devotion play out 
onstage is a form of cathartic 
giving-over, 
a 
vicarious 

consummation of our desires. 
Or 
perhaps 
its 
presence 

onstage is a type of validation, 
a sort of acknowledgement 
that unattainable desire is a 
universal. Whatever it is, its 
place at the center of our art is 
key to an understanding of who 
we are. 

DAYTON

HARE 

Classical Music 

Columnist

CLASSICAL MUSIC COLUMN

THE METROPOLITAN OPERA

A production of “L’amour de loin” at the Metropolitan Opera 

6 — Friday, January 20, 2017
Arts
The Michigan Daily — michigandaily.com

