Word: cohler
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Dates: during 2000-2009
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...feeling that BachSoc is bound by camaraderie, not by didactic force. Everyone teaches and learns at the same time. Of course Yuga [J. Cohler ’11, music director] is a leader, but he’s very receptive to the feedback of the others. People are there not to compete but to experiment and to explore the boundaries of their musicality. They’re always striving to improve themselves under their own terms. Alan Gilbert [’89], the new conductor of the New York Philharmonic, is a family friend, and he conducted BachSoc...
...practicing in Straus C basement,” Yuga J. Cohler ’11 says as he recalls how he met his future roommate, Nico A. Olarte-Hayes ’11. “It was about 3:00 a.m..I figured no one would be there. Then all of a sudden, someone barged into my room...
This, of course, was Olarte-Hayes, a joint program cellist and Physics concentrator, who supposedly lived in Canaday, but may as well have called Straus basement home. “He prioritizes his cello over almost everything else in his life,” Cohler says...
...sung by Tines and Selowsky, were also notable. Both illustrated a keen understanding of comedic timing and, when necessary, emotional sensitivity. Tines in particular shone in both his sotto-voce singing and his demonic fury during the graveyard scene.The orchestra, under the direction of a very capable Yuga J. Cohler ’11, provided a solid foundation for the production. It was evident that the players as well as Cohler were intent on presenting a rhythmically precise performance, which proved to be no mean task. Although there were some initial troubles settling into a rhythmic groove...
...strength and comes into her own by the end.” Unlike the straightforward and approachable libretto, many still regard the music itself as a significant challenge for the performers and the audience alike. With musical content that is strikingly 20th century, music director Yuga J. Cohler ’11 notes that devices such as irregular and syncopated rhythms contribute to the rather bizarre quality of the music, which is neither completely dissonant nor exclusively modern. “Stravinsky wrote it in a more convoluted way than was necessary,” Cohler said. However, Crutchfield believes...