Word: nichts
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...sixty-member Collegium mixed choir serenaded audiences Friday evening with a truly classic program. Most notably, the evening’s Brahms theme was very well carried in “Warum ist das Licht gegeben dem Mühseligen” and “Lass dich nur nichts nicht dauren.” The versatile talents of the chorus were displayed in the former work with an achingly beautiful rendition of the first movement followed by rounds in the second movement. Especially praiseworthy was the piece’s sensitive harmonization between the soprano and alto parts...
...highlight of the evening, however, is “Terminating, or Lass Meine Schmerzen Nicht Verloren Sein, or Ambivalence.” Set in a psychiatrist’s office, it focuses on the conversation between a shrink, Laura (Kiran Deol), and her needy, gay patient, Hendryk (Clint Froelich). Hendryk is a marvelously crafted character, at once thoughtful and highly amusing. He lapses into different states throughout the fairly long scene and muses on existence and the inherent ambivalence of man. While Hendryk is ranting, Laura is concerned with her own pain and pleads with her lifelong partner...
...Boston Cecilia hits with ease: the narrator will call, "Sie aber sprachen," and the chorus will resound with the answer, "Jesum von Nazareth." The chorus does not back down from the lines which most directly implicate "the Jews". At the proper moments they exhort Pilate to accept Jesus ("Nicht diesen, sondern Barrabam") and crucify him ("Kreuzige! Kreuzige!") with dramatic sincerity. These are the lines both Stephen Jay Gould and certain Christian members of the panel audience said made them feel uncomfortable. Obviously, Gould is typical of the performers, for they all seem to "face" controversy with a loyal...
Compared to the outbursts of "Du liebst mich nicht" (You love me not), the opening song, "Im Fruehling" (In Spring), seemed only a bright little ditty. Still, the performance was commanding, mostly because Goode's reserved dynamics suited Upshaw's light voice well, "Du Liebst" was was a fine show for a voice equally suited to the roles of Susanna and Cherubino. Upshaw is far bolder than most vocalists in dramatizing the meaning of the words with gestures and expressions, and she diverted many pairs of eyes from reading the program to staring at the stage. "Die Junge Nonne...
...music, and he uses the source material as the launching point for his own rhythmically relentless, acerbically orchestrated commentaries. "Music," he says, "is power, passion, pulse, pain." In the psychologically astute The Man Who Mistook His Wife for a Hat, for example, Nyman used a Schumann song, Ich grolle nicht, as the musical foundation of the opera to illustrate the eponymous victim's visual agnosia: unable to synthesize visual images, the man relied on Schumann's music to help him apprehend the world. In The Piano, Scottish folk tunes suffused the keyboard reveries that gave the mute heroine...