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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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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

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