Category: NYC

Photo by Timothy Diovanni

Hypercube: Brain on Fire

(le) poisson rouge 10/15/17

 

If you want to learn about philosophy in action, talk to Hypercube, a NYC-based contemporary music ensemble comprised of saxophone, percussion, guitar, and piano:

“A hypercube can be described as an analogous shape, a 3-dimenseional cube, in four or more dimensions. The cube formation is essentially a 3-dimensional equalizer. We like to think that it enters another dimension when the music is added,” Erin Rogers, saxophonist, explained over e-mail.

Does the music transport to another dimension? Or is this just lofty language – is the actual experience more conservative?

To answer these questions, I will describe the musical experience. Mikel Kuehn’s Color Fields (2006/8) sounds like painted landscapes. Barren, desolate tundra morphed into desert glow. In the most colorful moments, it is hard to determine which instrument is playing which line. Disembodied sound eliminates the individual, presenting a blurred image.

These mixing timbres – a fancy term to say how an instrument sounds because of its physicality (i.e. what makes a clarinet sound like a clarinet and not a flute) – are explored in Andriessen’s Hout (1991). I appreciate Rogers’s commentary before the piece; she describes how the instruments interact through a displaced motive. Tree branches shoot out, overlapping, rustling into each other. Rare unisons sound like the manifestation of unshakeable wood.

Behind me, as I listen, ice cubes rumble. Spaghetti and meatballs float in waiters’ hands. This is a new concert experience for me – I am used to the absence of most extraneous sounds – and I am not very happy about it (boohoo for me, I guess).

Rogers leans back with her instrument, like a rocker with their guitar or mic stand. Jay Sorce, spectacled, navigates his instrument’s fingerboard, stoically, with an occasional head wiggle. A grey-haired man in the front row moves his head in time with the music, outwardly satisfied. Unflinching precision masks Chris Graham’s face; he is a Secret Service agent on the marimba. Between pieces, he appears relaxed, friendly, smiley. Pianist Andrea Lodge’s head bounces in a groove. Yellow, blue, pink light shroud the performers, their instruments, sheet music, and iPads. One forlorn disco ball dangles, misplaced, from the ceiling.

Photo by Timothy Diovanni.

Most composers treat Sorce’s guitars – he plays both acoustic and electric – with extra care, making sure to not have them overpower the ensemble. Schuessler’s Liminal Bridges (2016) and Hurel’s Localized Corrosion (2009) stand in contrast: Sorce shreds, riffs, wails, screams eruptions of living sound. Flutter-tonguing in the saxophone complements these outbursts. Who knew these instruments could mix so convincingly?

Considering these sound worlds, does the program achieve its goal of setting the audience’s “Brain on Fire”? This program is as a challenge to concertgoers: the music should, in theory, cause vigilant attention, surprise, visceral responses. Hurrel’s Localized Corrosion best accomplishes this task for me.

Intense, overwhelming sound catapults the piece. Thunderclaps in the bass drum, a growling saxophone, trembling guitar. Quick switch in texture. Sad vibrations stream from the solo guitar. Ensemble jumps at him, vigorous, interruptive. Disconsolate saxophone sighs: hell-plunging, uneasy piano pulsations: metallic acceleration on a small gong: vigorous, bold guitar. A bass drum orgasm terminates in profound stillness. Tense energy radiates from the stage. 10, 15, 20 seconds. Nothing. The performers hold their positions. Lodge rustles; her head moves slightly downward. Then, they release their stance, breaking the spell.

Because of its multifarious, competing textures, Hurel’s work causes continual engagement.  This is not mind-numbingly music: it cannot be turned into Muzak, lightly pacified in shopping malls and convention centers. It demands the precision and daring of this ensemble to strike the deep chasms between passages, to become alive. Provocative music ignites an experiential fire.

Photo Courtesy of davemalloy.com

Fresh off starring in his other musical, Natasha, Pierre and the Great Comet of 1812, Dave Malloy, Brittain Ashford, and Gelsey Bell are currently performing in Malloy’s show Ghost Quartet. Performing with them is  Brent Arnold, who was not part of the Great Comet cast, but is just as talented.

The show, currently being performed at Next Door at NYTW is in an intimate space that brings all of the audience close to the chilling performance. In the performance I attended, Ben Stiller was sitting right behind me, reminding me once again of the wide range of people you will see while exploring New York City. The show is centered around a “haunted song cycle about love, death and whisky.” Indeed, during one of the songs, everyone in the audience is handed an actual shot of whisky to drink with the cast. As a result, many of the performances are 21+ (a few shows have specifically been allocated to be for all ages). Throughout the performance, the audience is transported across multiple centuries and characters and, at times, plunged into complete darkness as Malloy’s gorgeous, yet eery songs emanate throughout the small theater.  

As the show rushes towards an unknown ending, the audience is asked to participate by directly supplying the music for the show. While there are multiple articles online that go into much more depth about the plot, I definitely recommend going into the show having not listened to the songs or knowing the plot. With such an intimate setting, the experience when seen fresh is absolutely one not to miss.

While tickets to Ghost Quartet’s initial run are sold out, the run is being extended today, October 11, to include more showings, as announced by the NYTW via twitter yesterday.

As stated in their tweet, tickets will go on sale at noon here. For more information about the show, you can also check out the NYTW website here.

Sondra Radvanovsky in the title role and Joyce DiDonato as Adalgisa in Bellini’s “Norma.” Photo: Ken Howard/Metropolitan Opera

 

Monday was opening night at the Metropolitan Opera. The evening was a chance to be seen, to be heard, to be loud. Half-drunk, piss-colored prosecco glasses hovered through the Met lobby. Red-headed twins in matching green dresses pranced down the stairs. Muted elegance hid in an alcove, a sentry with a light-blue, fluffy overthrow. Folks met colleagues with half-hearted smiles, and lovers embraced joyously. Noise echoed throughout the space, filled with exclamations of “You…look superb”, clacks of skyscraper heels, Italian murmurs, Russian rumors, small talk on the summer weather. Press congregated in an impenetrable, baseball-diamond formation. A gaggle of photographers snapped ferociously.

Eventually, an unseen magnet dragged us from the velvety mulling spaces into the theater. The performance began promptly 20 minutes late with a rendition of the National Anthem. Maestro James Levine conducted. The audience largely did not sing along.

Of course, there was an opera to be had tonight: Vincenzo Bellini’s Norma (1831). For those who don’t know Norma, here is a quick summary:

Norma is a priestess in Gaul (think France) during Roman occupation. She had two kids with a Roman governor, Pollione, but now he’s seeing Adalgisa, another priestess. Adalgisa tells Norma about Pollione, which makes her (understandably) furious. Act 1 ends in a heave.

Norma considers killing her children—Hello Medea!—but draws her dagger away at the last moment. Adalgisa enters and Norma is apparently A-Okay with her and Pollione: she even suggests that they run off to Rome together. Adalgisa is aghast. She hopes to reconnect Norma and Pollione.

Segue to a rather boring male chorus. The Druids want to revolt. But it’s not time yet, says Norma’s dad Oroveso. Snooze.

Final scene. Norma learns that Pollione will stay with Adalgisa. She strikes the war gong three times, the Druids fire up a frenzy (torches!). The drama blusters to a close: Norma tries to get back with Pollione, he refuses, she decides to kill herself, Pollione joins her and they walk into the pyre together (How sweet!).

For this vocal masterclass disguised as an opera, a producer could simply put a white backdrop on the Met’s stage without too much injustice. That said, I thought the staging admirably captured Bellini’s late romantic aesthetic. Dark, disorientating pines and scattered, encroaching moonshine complemented the characters’ interactions.

Joyce DiDonato as Adalgisa in Bellini’s “Norma.” Photo: Ken Howard/Metropolitan Opera

As an audience member proclaimed at intermission, though, “people care mostly about the voices in this work.” Tenor Joseph Calleja (Pollione) was casual, reserved, despite the heady topic (love). He infused more devotion as his character was whirlpooled into the tragedy. Soprano Joyce DiDonato (Adalgisa) had a silvery tone when she sang high. Her acting felt spontaneous and intense. Sondra Radvanovsky (Norma) embodied tender, moving Romanticism in her famous aria, Casta Diva. Throughout the marathon, Radvanovsky executed rocket-powered scales, winding phrases, and dancing grace notes—markers of the bel canto style–with ease.

Although I haven’t seen it posited elsewhere, the bel canto singing style extends to instrumentalists at well. In Casta Diva I was impressed by the flutist’s phrasing and tone, which built a solid foundation for Radvanovsky. In an exposed clarinet and flute duet in the first act, the intonation was sparkling clean. Their effort created an appropriate holiness. Overall, the orchestra’s fortes just felt way too safe. More sound! (Please.)

Cadenzas—extended, solo passages usually for one or two musicians—allow singers to showcase their vocal prowess. Duet vocal cadenzas are especially difficult to execute because both singers must be perfectly synchronized in their tempo alterations and dynamic choices. Radvanovsky and DiDonato had to perform several of these duets. In the first act, their intonation suffered in their upper register. However, they solved the problem in the second act, summoning the pristine beauty of the bel canto style.

Although I have several reservations about the plot, one scene stands out for its drama. When the Druids find Pollione in their temple, they bring him to Norma to kill him. Instead, Norma tries to convince Pollione to return to her. He refuses; Norma indicates that she will kill Pollione’s lover. She recalls the Druids and announces that a guilty priestess shall burn on the pyre. They implore, “Who is she?” Norma hesitates. The Druids ask again, “Who is she?” Norma, “It is I.” The singers captured the tragedy of the moment with intense, palpable stillness. When the orchestra reentered on their soft sostenuto, the mood was solemn, desolate. Radvanovsky pleads and prays, her accepted devastation processes to its infernal . Here, I believe the production succeeded: the prolonged silence followed by the tragic orchestra created a poignant ping that made me empathize with Norma’s fate. Such pathos proves that a moving Norma is not just about the singers, rather how different operatic elements–orchestra, staging, choreography, ensemble–interact with each other. The experience can only be endured through a live performance.

 

Norma runs through December 16, with casting changes. The opera will be broadcast live October 7, at 1:00 PM, on WQXR 105.9 FM.

For anyone in MusicHum, this opera presents the perfect opportunity to see an archetype of bel canto. Tickets in the boonies aren’t as cheap as they once were: the best you can do is a $25 rush ticket the day of the performance on the Met’s website (rush tickets are cheaper than student tickets.). Information and ticket listings on metopera.org.

 

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Photo Courtesy of Matthew Murphy


Hal Prince has undoubtedly influenced the world of Broadway, inspiring others to pursue careers in the theatre industry. When entering the theatre, the expectation was that the show, in the process of highlighting Prince’s works, would using meaning

The Prince of Broadway celebrates sixteen shows that the legendary Hal Prince directed, and as the musical states, some of them were flops and some were successes, but all of them, he believed, were creatively daring and meaningful. Thus, it was up to the audience’s discretion for this show if they agreed with his direction of this somewhat-seeming self-serving musical, and with the statement aforementioned, some of the performances were flops and some were major successes.

Tony Yazbeck in Follies. Photo by Matthew Murphy.

For instance, Tony Yazbeck truly shined throughout all numbers he was in, most notably in “The Right Girl” from the musical Follies. His exquisite tap dancing followed by his intense acting sent the crowd roaring for more of his excellence. And that wasn’t the only star performance by Mr. Yazbeck. Even from his first spotlight on the Friedman theatre, one could tell by his poise that he would shine in every performance that he was staged in, success or flop.

However, with many successes, there are usually some flops tagged along. In this showcase of a musical, there were clearly some weaker moments. For example, pretty much every time the eponymous “Hal Prince” would narrate in the transitions between each performance, the delivery fell flat. It was almost to the point of cringeworthy between musicals that we were anticipating when the dialogue would end in exchange with the performances of yesteryear.

Overall, whether you are a Broadway aficionado wanting to relive some of the glories of the Great White Way or a newcomer wanting to delve deeper into the greats of the past, the Prince of Broadway is a wonderful showcase of brilliant performance and a pleasant night at the theatre.

Prince of Broadway is part of the Manhattan Theatre Club which offers a program called “30 Under 30” where anyone under the age of 30 can qualify for $30 rush tickets. Click here for more information.

Starting today, July 24, NYC enters its 2017 Summer Restaurant Week. Despite the name, this popular event actually takes place over the course of three weeks, as the event goes until August 18. For lunch/brunch, restaurants are offering a $29 pre-fixe menu, and for dinner, they’re offering a $42 pre-fixe menu. While some restaurants offer different dishes for each meal, for others, these menus are exactly the same, so try and score a lunch reservation if you can. Or a brunch reservation if it’s the weekend!

Keep in mind, though, that certain restaurants only offer their pre-fixe menus at certain times. Many only have Monday-Friday lunch menus this year, so save yourself the disappointment and use the filters on the Restaurant Week website. You can choose whether you want a Sunday Brunch restaurant, a Monday – Friday lunch, a Monday- Friday dinner, etc. You can also select filters for neighborhood, type of cuisine, and more, and you can even check out the menu on the same site!

When booking these reservations, it’s also important to note what time the restaurants serve these meals, especially when it comes to brunch because times for brunch tend to vary the most. This might take a little sleuthing (aka going to the restaurant’s website), but it’s better than showing up to a restaurant planning on paying $29 and ending up with a $60 bill.

Here are some of the restaurants our staff at The Lion is most excited for:

  • Ai Fiori: Our managing Editor, Veronica Roach, ate here during winter restaurant week and wouldn’t stop talking about their delicious soup and dessert.
  • Nobu: It’s some of the best sushi you’ll ever have, according to Tech Team member Will Essilfie, and you get to dine somewhere Drake once rapped about. What’s not to love?
  • Gaonnuri: What makes this restaurant special isn’t the food, but the views, which are breathtaking. If you’re looking for an upscale place with amazing ambience and views, this is the place to go.
  • Red Rooster: A fantastic restaurant with an amazing vibe and menu. Great place to visit Uptown, hear some good music, and talk with friends.
  • Tao Downtown: The atmosphere at this restaurant is quite hip and resembles a bar or nightclub. The Asian food served is also quite good, but it is not one of our Directors of Campus Outreach, Yi Jun, calls authentic Chinese food.
  • Cafe Boulud: This is a good French restaurant on the Upper East Side and has a very clean and classic decor. The food is pretty good, and the restaurant has a very classy atmosphere. It is a perfect place to go to after an outing to the Metropolitan Museum or after shopping on the Upper East Side.
  • Root and Bone: Our Editor in Chief, Arlena McClenton, is eager to try Root and Bone’s shrimp and grits. She’s always searching for authentic Southern food in NYC.
  • Indochine: This restaurant is great as it was a ‘young and hip’ atmosphere and ambience. However, while the food tastes pretty good, keep in mind that it is not traditional Vietnamese cuisine but instead a French fusion.
  • Aureole: Delicious modern western cuisine that is totally worth every dollar. It is quite fancy, so be prepared to spend once you get there if you don’t go during Restaurant Week.
  • Tuome: This restaurant serves a delicious fusion of Asian and western cuisine for a reasonable price. Yi Jun, one of our Directors of Campus Outreach, would recommend it for dinner if you find yourself in the East Village.