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HomeMy WebLinkAboutThe Citizen, 1989-04-19, Page 27week at the Brussels Hotel. Larry Mercey and the rest of the band brought their special brand of country and -western music to audiences for three consecutive evenings. Hit musical Pai Joey returns to Grand The Grand Theatre’s smash hit musical, “Pal Joey’’, will return to London following a three-week transfer to the National Arts Cen­ tre, announced Elaine Calder, The Grand Theatre’s administrative director. Tickets are now on sale for performances beginning Thursday, May 25. During the original London run, “Pal Joey’’ garnered rave reviews and played to many sold out houses. Attendance figures con­ firm that more than 22,800 people (90.5 per cent of capacity) saw this hit production, making it one of the most popular in The Grand’s 18-year professional history. Demand for tickets remained high throughout the four week run. The NAC transfer creates an opportunity for those who were unable to secure a ticket to the original run to see this wonderful production when it returns home to The Grand. Prices range from $13.50 to $24. $13.50 rush seats, subject to avail­ ability, will be on sale for students and seniors for the Saturday mati­ nee performance, one hour prior to curtain time, in person only. For ticket information, please visit The Grand Theatre Box Office at 471 Richmond Street or call (519) 672-8800. Toll Free from area code 519 at 1-800-265-1593 and the Detroit area at (313) 961-4918. THE CITIZEN, WEDNESDAY, APRIL 19, 1989. PAGE 27. I * 1 I I Phone 357-1630 for 24 hour movie information Playing from Friday to Thursday, April 21 to 27 Showtimes: Friday and Saturday at 7:00 and 9:30 p.m. Sunday to Thursday one show each evening at 8:00 p.m. Winner of 4 academy awards including best picture and Dustin Hoffman for best actor. I I I I 1 Music Review Group flawless; repertoire not BY BONNIE GROPP Intricate arrangements and mas­ terful execution of dynamic en­ hancement were the highlight of Blyth Festival’s Sunday matinee performance of the Great Lakes Quintet. The major flaw in their repertoire appears to be one that is in common with many classical musi­ cians. Why do brilliantly talented musicians when playing for audi­ ences in smaller areas find it difficult to put together a perfor­ mance package that effectively combines the esoteric with the entertaining? For most of us who have not frequently been exposed to classical music, too much at one time may become somewhat pond­ erous. Perhaps groups like the Great Lakes Quintet plan their musical repertoire for consistency as opposed to variety but even the most avid music lover may find too much Mozart wears on you. The program began with Claude LeJeune’s composition “Revecy Venir du Printemps”, which, though not familiar to me, was very well done and quite pleasant to listen to. Following this Guy Few, one of the two people on trumpet introduced the Quintet’s newest member, Rachel Thomas, who replaced former tenor trombone player, John Jowett. Ms. Thomas is from Toronto and is currently attending the University of Toron­ to. She attended summer school in Banff and has been named the Outstanding Musician at the Music Festival in Toronto. The next selection was a Suite by Johann Sebastion Bach. It began with “Air Pour les Trompettes,” which was written originally for the keyboard but most feel that Bach had trumpets in mind. Second was “Fantasie in C, BWV 570,’’ which was for me the most emotionally-. moving selection in the program. With this hauntingly beautiful composition the Quintet demon­ strated sensitivity and depth in their delivery. It was written for one of Bach’s students when the composer was 23 years of age. The last movement in this particular selection was Little Fugue in G minor, a more familiar classical composition than the previous ones. “Serenade, K.406” is from the classical period. It was composed by Wolfgang Amadeus Mozart and was arranged for the Quintet by their french horn player Ms. Lise Vaugeois. By the middle of this piece I began to feel rather overwhelmed; well actually dazed might be closer. I noticed those around me becoming restless and fidgety too. Again, though the arrangement was well done and the performance flawless, 15 minutes of Mozart following Bach, for your typical music lover is just a little long. The piece consisted of four separate movements and is un­ usual for brass instruments. The first movement was “Allegro’’ followed by a delicate “Andante” then moved on to a “Menuette in Canone” and finally finishing with a theme variation. Following intermission the mood ot the selections lightened. “The Canzone personare No. 4” was done in a five point stereo technique. Mary Jay on trumpet moved to the left side of the Theatre, while Ms. Thomas stood at the right. Bass trombone, Tomas Allen and Mr. Few stood on either side of the balcony and Ms. Vaugeois remained on stage per­ forming at distances took away nothing from the artistry of the performers. The five musicians executed attacks and releases per­ fectly, displaying the discipline involved in their performance. Ms. Vaugeois explained that while in Sweden she had heard the horn that was used to call cattle thinking it very pastoral. She stated that on her return she wanted to imitate the sound in a Canadian way. She succeeded. “Opus One” was performed on a garden hose by Ms. Vaugeois. The arrangement was a semi-comic piece imitating the sounds of cattle lowing. “The Carnival of Venice” was arranged by Mary Jay who said it was a familiar tune for her father as he listened to her practice it so frequently. Concerned with the type of music the Quintet would play when they visited her home­ town of Bedford, Nova Scotia he requested the “Carnival of Ven­ ice.” Thomas Allen arranged the next selection of songs written by Harvey Schmidt from the movie “A Texas Romance”. The story took place in 1909 Texas and involved a young woman and her relationship with the local postman. The five movements in the set depict the progression of the affair from its early courting stages until the demise of the young woman follow­ ing their marriage. The piece included all types of songs from band to classic and demonstrated the broad range the group has mastered. The Quintet then did a question and answer session which was enjoyed by the audience. Questions from the floor covered the technical and personal aspects of the ensem­ ble. George Gershwin’s highly re­ cognizable “Porgy and Bess” was the source of the next three selections. The bouncy, “I Got Plenty of Nuthin’ ”, followed by the dramatic delivery of “Bess, You is my Woman Now” was an excellent and exciting contrast. The third offering was the boisterous “It Ain’t Necessarily So” that had everyone’s toes tapping. My only disappointment was that they did not play “Summertime”. The second half of the program I believe left the audience wanting more, which is the way true professionals should leave their audience. Perhaps that is why the complex classical compositions were all featured together, at the beginning. Spring Concert and Art Exhibition Central Huron S.S. Clinton Wednesday, April 26 8:00 p.m. Admission: Adults $3.00 Students $1.00 EVERYONE WELCOME