Satie quickly abandoned his "Velvet Gentleman" attire in favor of a bohemian look complete with three-piece suit, bowler hat, and ubiquitous umbrella.
The grand opening of the Fine Arts Center - April 20 through 25, 1936 - was a transformative event in Colorado Springs. About 5,000 people, a sixth of the city's population, attended the festivities. These included a performance by Martha Graham, a recital by violinist Albert Spalding, Erik Satie's symphonic drama "Socrate" (the stage setting included mobiles designed by then-unknown Alexander Calder) and Manuel de Falla's "El Retablo de Maese Pedro," a short opera for marionettes.
DAYTON -- This isn't quite goodbye. It is the end of an era. The dance and music company Rhythm in Shoes, which burst onto the local scene in 1990 seemingly out of nowhere, will present its final major theater concert Friday and Saturday, May 7 and 8, with the Dayton Philharmonic. The performance at the Schuster Center is part of the orchestra's SuperPops Series. If the troupe's history could be condensed into a few minutes, it might look something like a new piece co-founder and co-director Sharon Leahy has assembled for the occasion. That is a montage of Rhythm in Shoes' greatest hits, done to Ravel's "Bolero." Beginning with "Rhythmetic," one of the company's building blocks, it will flow on through a dozen other fully performed live snippets, each about 45 seconds long. "For our fan...
The sinking of the Titanic might not immediately spring to mind as fertile fodder for comedy, but the musical "Pluck" finds mirth in the maritime disaster. A British import and Edinburgh Fringe Festival crowd-pleaser, "Pluck" combines slapstick and sonatas in a whimsical tribute to the musicians who - as legend has it - bravely played on and went down with the massive ship. Of course, in this irreverent version, they perform an encore underwater, crawling crablike along the ocean floor while playing Erik Satie's "Gnossiennes No. 1.
Man on Wire, James Marsh's documentary, may have been put here to do the same. What some of us remember as an elaborate daredevil stunt, Evel Knievel without the motorcycle, was in fact a work of performance art - "the artistic crime of the century," as the movie's press material describes it. [Philippe Petit] was no mere circusact shill, drumming up publicity for some three-ring payday in the future. He was un homme d'honneur, a Hemingway-esque big-game hunter who affirmed life by defying death with grace and style. Or so he and Marsh would have us believe. And the highest compliment I can pay Marsh's stunning movie is that, while watching it, all of my reservations magically disappeared. Man on Wire, named for the criminal offense as it appeared on the police blotter, is thrilling, ch...
... the towers, Marsh goes with stills, Erik Satie's first Gymnopedie providing a slight breeze...
While Pitt's Music on the Edge series has long brought in top-notch performers from around the world for concerts and workshops with the program's composition students, such opportunities were a bit scattered. "We're not a conservatory, we're not a school of music," [Matthew Rosenblum] says. "We're a liberal-arts university, so nlost of our [undergrad] students are doublemajors in music," he says, "but the composers don't have the same types of opportunities to get their pieces played as they would at these other local universities. IonSound's first concept "in residence" takes place on Sat., Sept. 20, at Bellefield Auditorium, intitled Mirrors and Minimalism, the program includes works by some household names - relatively speaking - such as Philip Glass ("Piece in ie Shape of a Square...
... Glass ("Piece in ie Shape of a Square"), Erik Satie ("Pieces in the Shape of a Pear") and Steve ...
When asked what I'm currently listening to, I tend to get some funny looks when I say something like Bikini Kill, Marvin Gaye and Erik Satie. The same goes for John Brown's Body drummer Tommy Benedetti. He may play in a reggae band, but he's not shy when he tells people that he's a metalhead.
The program was framed by songs about love. It opened with Britten's setting of Auden's "Tell Me the Truth About Love" and ended with a setting of Arnold Weinstein's "Amor" from "Cabaret Songs" by William Bolcom. In between, there were other songs in the Cabaret tradition by Ned Rorem, Arnold Schoenberg, Francis Poulenc and Erik Satie. She captured the essence of poetry of Guillaume Apollinaire, set so perfectly to music by Poulenc, as well as the deliriously seductive heroine of Satie's "La diva de l'Empire" (Dominique Bonnaud-Numa Bles). She also captured the Viennese spirit of Schoenberg's aria "aus dem Spiegel von Arkadien," with its text by Schikaneder. For our readers who missed this event, I suggest a visit to the record department of Barnes and Noble to purchase a copy of Measha...
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