I was a huge band nerd in
high school. I spent my summers
going to band camps, playing in
wind ensembles, learning about
the repertoire, playing under
various conductors and just
enjoying the music. I’ve been
playing in wind ensemble for the
past 10 years of my life, and it’s
a type of ensemble that I truly
believe is underappreciated.
Largely
overshadowed
by
orchestras, I think that — unless
someone ever played in a wind
ensemble at some point — people
wouldn’t be able to tell you much
about what they are. Because
their origins stemmed from
early marching bands, wind
ensembles didn’t gain legitimacy
until the second half of the
20th century, and even then,
they were viewed as an inferior
orchestra.
But if there’s any place to
experience a wind ensemble, it’s
at the University. The Midwest
has a tradition of great band
programs, and it’s largely thanks
to our obsession with football.
Where
there’s
a
football,
there’s a marching band.
Midwestern
schools
like
the University, Michigan State
University, Illinois and Iowa
have long-lasting legacies of
great band and wind ensemble
programs
because
of
this
emphasis on football. Because
football became so popular,
schools started to put more
funding into band programs,
which helped to promote the
inclusion of wind ensembles in
many music schools across the
Midwest.
The
University’s
band
program,
in
particular,
is
particularly
well-known
because
of
its
dominant
tradition. Conductors like H.
Robert Reynolds solidified the
place of wind ensembles and
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ACROSS
1 Scratch __:
woodworking
tools
5 Split wide open
9 Green “Sesame
Street” character
14 Scallion relative
15 Sea predator
16 Asian city
translating to
“place of the
gods”
17 *Protection for a
press feeding
frenzy?
19 Tight headgear
20 Masseur’s
workplace
21 Word with fly or
about
22 Shining example
24 What a burglar
hopes not to be
26 *Result of
nodding off at an
auction?
27 *Sandwich-centric
extremists?
30 Fort Collins sch.
31 Merits
32 Italian capital
34 Dilute
38 Letters for John
Smith?
39 Besmirch
42 Dudley the
Dinosaur’s org.
43 Books with test
answers
45 Twitter’s bird, e.g.
46 One with a title
48 Cry of discovery
50 *Where to read
all the latest
computer port
news?
52 *Female
employee of a
tech giant?
56 Poems of praise
57 Lincoln output
58 “No seats” sign
59 Egg producer ...
and product
62 Tuesday dish?
63 Rating reduction
responsible for
the answers to
starred clues
66 Expect
67 Northern
terminus of I-79
68 Lute family
members
69 ATM features
70 Kind of lily
71 Tendency
DOWN
1 Help for the poor
2 Sob
3 Acting on bad
advice
4 __ jump
5 Explode
6 Parched
7 Chem. pollutant
banned in 1979
8 Canvas support
9 Elvis hits, e.g.
10 Decathlon event
11 Chocolate
substitute
12 “Me too”
13 Lost it
18 Elder hostile?
23 River through
New Mexico
25 Seaside eagle
26 Immobilizing law-
enforcement tool
27 Nose, slangily
28 Camp sight,
perhaps
29 Forrest Gump,
for one
33 Some are
tributarios
35 Cordial greeting
36 Notion
37 Not
40 Budget competitor
41 Cylindrical
sandwich
44 Took care of
things
47 Sorrow
49 Construction site
apparatuses
51 World’s third-
largest island
52 Tiny bits
53 Serious fight
54 Former
Portuguese
territory in China
55 Aconcagua’s
range
58 Way more than a
sip
60 Paradise
61 Animal home
64 Willamette Valley
state: Abbr.
65 Obstacle
By David Alfred Bywaters
©2018 Tribune Content Agency, LLC
02/16/18
02/16/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, February 16, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
I’ve never seen the Detroit
Opera House as lively as it was
last Saturday night. It was the
second day of the largest snowfall
of the winter season, and, while
waiting in line outside the Opera
House entrance, I could sense
the solidarity that the weather
had created. Some guests stood
shivering in short miniskirts and
pencil heels, others had given
up and worn their bulky snow
boots, but we had all braced the
outdoors and made it here. After
trudging through slush and
unplowed sidewalks, we were all
ready.
From Feb. 8 to Feb. 11, the
American Ballet Theatre came
to Detroit to perform one of the
most classic love stories of all
time:
Shakespeare’s
“Romeo
and Juliet.” The 1938 ballet,
composed by Sergei Prokofiev
is a classic in its own right,
and these shows demonstrate
its
timeliness.
They
were
co-sponsored by the University
Musical Society, accompanied
by the Michigan Opera Theatre
Orchestra and conducted by
Charles Barker. For Saturday
night’s show, Romeo was played
by David Hallberg, a principal
dancer with the ABT since 2006,
and Juliet was played by Isabella
Boylston, principal since 2014.
Principal dancers for the other
showings
included
Misty
Copeland, Herman Cornejo, Hee
Seo, Cory Stearns, Stella Abrera
and James Whiteside.
So much of Shakespeare’s
genius lies in his dialogues,
and I was worried about how a
ballet with no speaking would
be able to represent this. I had
never been so wrong. Whatever
Kenneth MacMillan’s rendition
of “Romeo and Juliet” lacked in
dialogue, it made up for in raw,
heartbreaking emotion.
The
contrast
in
Romeo
and
Juliet’s
personalities
was apparent 10 minutes into
the
three-hour
production.
Boylston, as Juliet, gracefully
leaped across the stage in a baby
blue dress, playing pranks on her
beloved Nurse, played by Nancy
Raffa. At one point, Boylston
jumped right into the Nurse’s
lap, soliciting laughs from the
audience. Sitting there, with her
arms wrapped around the Nurse
and her feet curled under her
thighs, Boylston was the perfect
picture of childlike innocence.
She hadn’t met Romeo yet, thus
her life was untainted with
messy love affairs and broken
hearts.
The moment that Romeo and
Juliet met each other was the
moment that I realized how
wonderful this production was
about to be. When Hallberg
laid his eyes on Boylston for the
first time, he just stared. The
stage was full of whipping skirts
and laughter, but the section
of the stage that Hallberg and
Boylston occupied was frozen in
time. Hallberg was awestruck;
it seemed as if every limb of his
body was focused on Boylston.
Boylston’s
naivety
suddenly
disappeared, and she adopted
a sense of beautiful dignity
instead. For a full thirty seconds,
I couldn’t tear my eyes away
from the couple. Finally, they
both realized that their love
was forbidden. After dancing
tentatively with each other,
Hallberg and Boylston parted
with a sense of unfinished
business.
Every subsequent time that
Hallberg and Boylston met,
varying emotions were reflected
through their dancing. After
meeting at the ball for the second
time, Hallberg and Boylston
embarked on a passionate and
slow dance, each reveling in each
other’s bodies and movements.
Both afraid of being caught by
their families, their dance was
filled with haste and passion,
like they wanted to squeeze out
their last moments together
before time ran out. In the
famous balcony scene, Boylston
and Hallberg’s slow movements
dripped with romance and love.
Boylston held her arabesques
for what seemed like minutes at
a time, letting the audience soak
in her form and grace. When
Romeo realized that he would be
banished from Verona, Boylston
and Hallberg’s dance was filled
with sorrow and longing for a
better fate.
All
this
built-up
emotion
crescendoed beautifully in the
final scene of the play. Romeo,
upon seeing Juliet’s body and
thinking she was dead, stopped
moving. Hallberg’s face worked
with emotion and his limbs
froze. The audience could sense
his helplessness and desperation
at
seeing
his
lover
dead
without warning. He rushed to
Boylston’s body, held her in his
arms and faced the audience
head-on. It felt like the audience
wanted to call out to Hallberg
and help him; his pain seemed
unbearable.
After
Romeo
committed
suicide,
Juliet
awoke
from
her slumber and saw Romeo’s
lifeless body beside her. Sitting
on the crypt in a pale pink slip,
aghast that she could have
caused this, Boylston was the
picture of vulnerability. This
one scene perfectly captured the
whole production. Brimming
with sentiment, sorrow and
love, the ABT sprinkled more
emotion into a play that was
already heartbreaking to begin
with. “Romeo and Juliet” was
ravishing for the eyes and even
more touching for the heart.
American Ballet Theatre
retells ‘Romeo and Juliet’
TRINA PAL
Daily Arts Writer
WIKIMEDIA COMMONS
COMMUNITY CULTURE REVIEW
The moment
that Romeo and
Juliet met each
other was the
moment that I
realized how
wonderful this
production was
about to be
Concert band continues
wind ensemble tradition
RYAN COX
Daily Arts Writer
marching bands in the musical
environment of the University.
And the University’s Concert
Band
continues
this
legacy
today.
In their most recent concert,
titled
“Inspirations,”
the
ensemble played pieces from
a variety of composers, with
works written over the past
80 years. A lot of these pieces
were standards in the wind
ensemble
repertoire,
like
Morten Lauridsen’s “O magnum
mysterium”
and
Leonard
Bernstein’s
“Overture
to
Candide.” However, pieces like
“Shoutout” by the University’s
own Roshanne Etezady and
“Fever”
from
“Lost
Vegas”
by another School of Music,
Theatre & Dance Professor,
Michael Daugherty, showed off
works that will soon join the
ranks of these classic, revered
wind ensemble pieces.
I was familiar with a lot of
the music on the program, and
even have had opportunities
to see and play some of these
pieces in high school. But I had
never heard these pieces played
so cleanly and so expressively.
One of the last pieces I played in
high school was “English Folk
Song Suite” by Ralph Vaughn
Williams, and it was also one
of my least favorite pieces I
had ever played. Every time we
rehearsed that piece, I wanted
to get up and leave. However,
when
the
ensemble
started
with the opening theme to the
march, I couldn’t help but hum
along. It was just played in a
way that engulfed me into the
performance. Every rhythm was
carried throughout the hall with
style. The dynamic range was
huge; I felt like I had to lean in to
hear their quietest pianissimo.
The group brought new life to a
piece that was essentially dead
to me.
It was also nice to hear some
Bernstein on the program, the
ensemble no doubt celebrating
the centenary of his birth.
However,
while
there
were
many prolific composers from
the past in attendance, two of
the composers on the program
were
actually
University
professors who attended the
concert. After their pieces were
performed,
both
Roshanne
Etezady and Michael Daugherty
were invited to take a bow with
the ensemble after their pieces
were performed.
Etezady’s
piece,
while
short, was filled with opposing
rhythms and tonalities that
seemed to capture my attention
for what seemed like much
longer than the three minutes
the piece lasted. Daugherty’s
piece felt explicitly modern,
featuring both the saxophone
and trumpet sections (as well as
several other sections) to create
a soundscape that captured
the excitement and jazz of the
Las Vegas strip. I couldn’t help
but smile when the saxophone
section stood up in the middle of
the piece and shredded through
a technically demanding soli.
With all of these contrasting
styles, it did seem a bit hard for
me to adjust my ears to some
of the more drastic changes,
but I think the program order
made sense, and I appreciated
the ideas director Courtney
Snyder had, both in regards to
programming and conducting.
After playing in this ensemble
for the past three semesters, it
was an exciting experience to
see it from the other side of the
stage. With “Inspirations,” the
University’s concert band shows
that the wind ensemble is alive
and well in the music world.
COMMUNITY CULTURE REVIEW
Disagreement is central to the
art of fashion. Debates among
industry
insiders
determine
what’s cool, what’s not, what’s
tasteful and what’s excessive.
Yet there are a few things upon
which they concur indisputably.
Naeem Khan is one.
A
humble
New
York
Fashion Week veteran, Khan
is known for his intricate
detailing
of
classically
feminine silhouettes. At his
Fall Winter 2018 collection, he
maintained his reputation as
New York Fashion Week’s most
exciting evening connoisseur,
juxtaposing
American
and
Spanish
influences
through
his creations and their musical
accompaniment.
SZA’s Ctrl boomed across
the gallery space before the
production
began.
Hoards
of ageless women posed for
photographs
bathed
in
the
runway’s orange light, toting
characteristically Khan pieces
(a turquoise fringe shift here,
a baroque embroidered pant
there). As the orange glow
dimmed, signalling the start of
the show, it was replaced with
the beam of dozens of backlit
smartphones, each grappling
for the best possible angle to
capture the first model. SZA
was halted and replaced by a
more traditional, synth-heavy
runway beat.
Naeem Khan NYFW18
TESS GARCIA
Daily Style Editor
NEW YORK FASHION WEEK
Read more at
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6 — Friday, February 16, 2018
Arts
The Michigan Daily — michigandaily.com