Word: sibeliusã
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...electrifying rendition of Bela Bartok’s suite from “The Miraculous Mandarin,” however, the BSO delivered an unpolished, bland, and thoroughly disappointing performance under Sung’s baton. In her subscription series debut with the BSO, Sung opened with Jean Sibelius??s “The Bard,” a little-known tone poem from the Finnish composer’s “dark period.” The exploratory rubato and ethereal runs in principal harpist Ann Hobson Pilot’s introductory solo were masterfully evocative...
...dancers return again and again, sometimes as mischievous island spirits, and sometimes as plain old dancers. Sibelius?? score has its whimsical moments, but they are always shaded with pathos, and this darker side helps to ground a play that could very well fly off into sugary, magical fantasy. Prospero’s exile is something that needs to be deeply felt as the price paid for the omnipotence he enjoys on the island. While Prospero’s tale would be compelling on its own—Lazarcheck’s stage presence is strong—Sibelius...
...spirits that are dancing, hear the music, but the actors can’t necessarily have access to that field of vision during the play. It adds another field of dimension.” Music Director Julia S. Carey ’08 chose Finnish composer Jean Sibelius?? music for “The Tempest” for this production. Just as “The Tempest” was Shakespeare’s final play, this was Sibelius??s last major work. “At this point in his life, Sibelius...
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