Word: raveled
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...evening’s plucky all-Ravel program featured four works by the 20th-century French composer. It got off to an energetic start with “Alborada del gracioso,” a brief selection whose title suggests the early morning serenade of a jester. The performance took full advantage of Ravel’s Impressionistic score, leaping into noisy climaxes and slipping suddenly into murky, bass-dominated string arrangements. Spirited castanets set off the piece’s Iberian influences, and a patient bassoon solo broke through the enthusiastic cacophony of metrical shifts and rhythmic switches...
...voice with African rhythm and Spanish guitar feels like several fusions too far. But Kidjo's African dance-hall cover of the Rolling Stones' Gimme Shelter with Joss Stone is as irresistible as the original. And Lonlon, an African folk a cappella adaptation of Bolero, might have pleased even Ravel...
...every musical genre, even those that seem far away from his own area of expertise. He says his favorite genre is “anything that is passionate, dynamic, and heartfelt.” His list of favorite composers ranges from John Coltrane and Miles Davis to Mozart and Ravel. Although the technical aspects of the demonstration would perhaps have been most useful for musicians, Viglione applied his philosophy more broadly. After finishing, he hung around to answer questions and sign autographs, clearly excited to have the opportunity to talk one on one to fellow musicians and fans. When asked...
...Gregory M. McWilliams ’09 certainly portrayed the military aspect, but his bombastic approach sometimes neglected the piece’s subtleties. Both Amy T. Wu ’09 and Darius W. Weil ’09 made their HPS debuts playing compositions by Maurice Ravel. Wu’s light touch and Weil’s technical facility brought out the fanciful Frenchness of Ravel’s music. At the end of the evening, the audience did not leap to its feet, but its response was certainly enthusiastic. A promising opening to the season...
...realizes she has been acting out a fantasy, not conducting a love affair. The opera comes to a close with her wistful sigh floating high above the orchestra. Despite its frivolous trappings, La Rondine has a core of cynicism and bears about as much relation to Lehar as Ravel's fierce La Valse does to the waltzes of Johann Strauss...