Word: mahlers
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...night in an exciting recital of art song given by the Radcliffe Choral Society (RCS). “Beau Soir,” as the evening was aptly titled, proved to be an elegant assortment of lesser known gems from the greats; though the operas and symphonies of Mozart, Mahler and Brahms make frequent programmatic appearances, audiences are rarely given the opportunity to experience their lieds. Given its simple nature and exclusion from a larger plot, the art song as a form stands little chance of earning the recognition the aria enjoys; a ditty addressed to gentle breezes is easily...
...young European Muslims suggests a parallel with European Jews. Despite centuries of racial, religious and social discrimination and economic deprivation, not to mention the pogroms and ghettos of the World War II era, Jews have produced philosophical, artistic and scientific geniuses like Baruch (Benedict) Spinoza, Felix Mendelssohn, Gustav Mahler, Franz Kafka, Albert Einstein and Marc Chagall - not suicide bombers. Jack Hoffmann Allerod, Denmark Your cover headline "Why Some Young European Muslims Are Turning to Extremism" makes a rather broad assumption. Aren't there any disaffected young Muslims in the U.S.? Aren't any of them unemployed and angry about living...
...action thereafter is driven almost purely by dialogue. Sophie, Hans, and other student members calling themselves a part of “The White Rose” are interrogated at the Gestapo headquarters, where the slimy, power-hungry officer Mahler (Jeremy R. Steinemann ’08) persuades reluctant Gestapo Chief Mohr (W. Brian C. Polk ’09) to hold the captives indefinitely. Mohr, in fact, stays true to his promise and does not let his prisoners go free...
...bureaucracy is most prominently personified by Steinemann’s Mahler. Although at times he seems to be just reciting lines, Steinemann succeeds overall in his portrayal of one example of a revolting “follower” of the System. Standing in stark contrast to Mahler’s devilish and truly exasperating persona is Kawaller’s Sophie Scholl, as the flawless angel who works hard to expose Mohr’s sense of humanity...
...Kawaller’s Sophie seems to succeed in her mission, it is largely because of the “father-daughter” dynamic, which is somewhat forcibly and awkwardly established in the script between Mahler and Sophie from the beginning of the play. (At one point, Sophie pointedly asks Mahler, “What is your father’s name? Robert?” to which Mahler responds, “My name is Robert.”) The sometimes clumsy script is ably repaired by the quality of the interaction between the two players...