A wonderful performance, with so much positive energy, I only wish this might have been out doors somewhere in the prime of summer, everyone dancing and whatnot. The action on stage was incredibly entertaining, and the performers did a great job of expressing themselves instrumentally and physical. The talking drum was absolutely particularly astounding. I had no idea the melodic capabilities of this instrument. I think I’ll be picking one of these up in the future.

What a great performance Saturday evening. Ruggle’s Sun Treader was heart wrenching Gloomy. So much despair, I wonder if he had a good life. I felt like a was stuck in fits of rage. Fieldman’s Piano and Orchestra was a nice contrast, with its delicate impressionist touch. The Conchord Symphony was perhaps the perfect middle ground. It is a wildly weird exposition. It carried a sense of mystery, peace, but also frustration. IT was my favorite, and I particularly liked the gruesome big band section with jazz drum kit.

Such a great evening. Cowell’s tone clusters sounded absolutely enchanting in the hall, and are something that must be appreciated live. All the pieces where very unique, especially Mass Transmission, which featured a very captivating text. I also really liked the driving rhythms of Concerto for Organ and Percussion, something that’s often missing from the symphony.
I’m excited for Saturday’s performance.

This piece demonstrates the potential of modern theater, with it’s innovative use of film and live acting. The sets, which are largely projected, provide an immersive background for an amazing actor. The set design and acting were absolutely astonishing. I could not believe the fluency in which Yves Jacques switched between roles. The shadow scene stood out to me for is innovative use of lighting. Overall, this piece took theater to a whole new level for me. I’m so happy to have had this experience!!

An absolutely amazing performance. The sound was fantastic, and the playing executed with the utmost finesse. Opus 95 in F-minor, I found to be particularly impressive. The speed and precision, especially in the pianissimo sections, were astounding. I also very much liked the “Harp” section of Opus 74 in Eb-Major. The performers were expressive and fun to watch, making for a more moving experience.

This show was absolutely amazing and unlike anything I had seen before. My experience with dance is rather limited, especially when it comes to it’s more modern forms. This performance however, ignited some passion to experience more.

As I watched, my eyes starred, transfixed by the beauty before them. The dancers ebbed in and out of contorted interlock, that was both strange and provocative. There actions seem to emanate from some source beyond their body, maybe their mind or soul. Gregor’s investigation into conscious is profound, and he wonderfully illustrates the tug a war of intentions, as people’s thoughts and emotions drive them forward.

I can’t wait to see more of McGregor’s work, and feel very lucky to have had this opportunity.

Going into the performance, I was hesitant of the film accompaniment. Based on the clips I had seen, I thought it would remove from, or pollute the experience. As the piece started, I was surprised to see the movie did not begin with the music. I liked this, because I felt it separated the two entities in a way that highlights the music as it should. I found myself going long stretches of time without watching the film. I little old man man, who may have been birthed by the mother in the water, certainly captured my attention. When the music grew dull, I found the screen a great entertainment. I think the multimedia approach to this show works creates an interesting twist on the music and wider audience appeal.

Going into the performance I didn’t quiet know what to expect. As I walked in, the the first knee play was going on. It’s stately style, created the sense of entering a grand hall. Below me the choir stood isolated by light. I was struck by the boldness of their presence. The lighting of this opera was absolutely stunning. I particularly liked the scene with the the space messenger boy who carried an illuminated cube and threw paper airplanes. The stage was much like a developing painting, with set and characters changing location at various speeds. Because my eyes were often following a single performer for awhile, I would often be surprised by rather dramatic changes that had taken place on the other side of the set. That being said, I feel I missed out on a lot, because my view of the the left of the stage was limited.

Interpretation of this work is hard. After the performance, I was left in unsure of what I had just seen. As the night went on, the work’s various repeated texts echoed in my head. These are the days my friends, oh these are the days. These texts, which appear largely disconected from one another, do create a sort of collage, that gets deeply engrained in your mind. Its abstract sentences, leaves interpretation to the brain, which can play tricks on you. Wilson’s and Glass’ presentation of concepts is fascinatingly different than anything I’ve seen before. I did find my self getting impatient though parts with relentlessly intense themes.