Word: lohengrins
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...Enigma” Variations.Almost immediately after the lights dimmed and 24-year-old guest conductor Michael Sakir planted his feet on the podium, the orchestra jumped into a frenzied arpeggio followed by several cymbal crashes. With the boisterous opening of the prelude to Act III of “Lohengrin,” the strings were quickly overpowered by the brass line—though not enough to hide the fact that the violins were out of tune. Despite the unbalanced opening, the swashbuckling theme was well articulated by the brass section for a clean end. Like...
...come as a surprise that the Wu-Tang Clan were classically inclined; in the beat for Ghostface Killah’s “Black Jesus,” the RZA samples a chorus from Wagner’s “Lohengrin.” If the German composer’s rabidly racist devotees (Hitler was one of many) had lived long enough to hear it, they would have surely soiled their lederhosen...
Conventional wisdom has it that late Romantics were given to excess. But aside from a few interpolated (and exciting) high notes, there is nothing egregious about the performances. Indeed, as contemporaries of many of the operas--De Reszke was born in 1850, the year of Lohengrin's premiere--the old singers project a freshness and an unforced vitality that are often lacking today...
...King Kong gather energy and begins to rocket towards its conclusion, the scenes grows progressively more jarring. The entrance of Lohengrin (played with unsettling gangsta coldness by Andres Ramos Nolasco '99, the first of several actors and actresses to play the part before the end of the show), perhaps one of the greatest single scene of any production this semester, is a case in point. Though they are garbed in virtuous white, Lohengrin and his posse burst into the Ex more like characters out of Boyz'n the Hood than heroes of an Arthurian legend. Wearing stuffed animals--those archetypal...
...Ryan McGee and set designer Sarah Knight '00 to resemble a pep rally from Hell, a shlocky interactive wedding (with, admitedly, an infinitely-better-than-average wedding band performance by Harvard's own B-Side), and the show's pinnacle--a hilarious gender-bending, mimed depiction of Elsa and Lohengrin's wedding night (performed with just the right mix of sincerity and tounge-in-cheek self-awareness and down-right bravery by Jordin Ruderman and Joseph Subotnik '00) and you'll begin to understand the aesthetics of King Kong...