ASO: Robert Spano with Tom Sherwood & Charles Settle

I’ve only attended one or two of the ASO’s pre-concert talks that are hosted by Metzler — they aren’t bad but they also aren’t really my thing — but I went to the one this evening because, frankly, I had nothing better to do than get there early. It was actually pretty interesting: Avner Dorman, the composer of the first piece on the program, ‘Spices, Perfumes, Toxins!,’ was there to talk about his work and he was actually somewhat interesting. The piece, it seems, originated as just a percussion duo and was later expanded to become a concerto. This really showed in the piece as the orchestra merely filled out the sound a little in the first movement but played a more complementary role in the second and third movements. He said of the title that he had decided to write each movement around an idea that was both enticing and dangerous: Spices taste wonderful but, in excess, can cause digestive issues (you can tell the man is Jewish); Perfumes “seduce but can also betray;” and Toxins can be quite intoxicating as well as being deadly.
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Malpaso Dance Company

I have, on occasion, gone to dance concerts that I thought might not be so great but that had really good accompaniment with the idea that if I wasn’t enjoying the dance performance, I might be able to just close my eyes and enjoy the musical performance. Unfortunately, this has never worked for me. This evening, I had the opposite wish — that I could close my ears and just enjoy the dance performance — while watching the first of three pieces that Malpaso Dance Company had programmed for the evening.
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EVIDENCE, A Dance Company

There seemed to be a lot of confusion around the Evidence, A Dance Company performance tonight at the Ferst. I got an email at 3p stating the the show was at 6p rather than 5p, as was printed on the ticket. Then they started about half an hour late. Finally, the program listed the pieces in the wrong order. It was, however, certainly an enjoyable show of Ronald K. Brown’s choreography.
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ACP: Brahms, Mozart, & Chausson

The Atlanta Chamber Players began their concert at the Cecil B Day Chapel at the Carter Library a little late. Apparently, the featured guest artist, Robert McDuffie, was running late due to traffic. When the concert finally began, McDuffie and Pridgen performed Brahms’ Violin Sonata no. 1 in G major. McDuffie didn’t seem to be playing his best through the first movement, though he seemed to gain more control as the piece progressed. I have to admit to zoning out a little during the second movement — though I blame that on Brahms, whose work has never really captured my esteem, and on my own fatigue from a long, stressful week.
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Chamber Cartel: George Crumb

This evening’s concert by Chamber Cartel was at the First Existentialist Congregation of Atlanta next to Candler Park. It is a neat little space that loves to eat sound. Worn pine floors, decorative panels in the ceiling, and beadboard half-walls greedily gobble up any passing tone like a child…um…greedily gobbling…things. That’s not to say that you can’t have a nice, intimate chamber concert there, but it’s best to program with the limitations of the venue in mind. Another problem facing this concert was the unfortunate presence of a child who was not ready to be a good audience member and who tended to be noisiest during the quietest parts of the works. With that said, Chamber Cartel did manage to produce a very engaging, if not quite excellent, concert of works by George Crumb there.
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Gotta Dance Atlanta: Surface

I ended up walking out of this performance tonight because the really lousy accompanying music was way too loud for comfort. It was so loud, in fact, that it was being pretty seriously distorted by the sound system that wasn’t designed for that kind of use. It was bad enough that if I had been on an aisle then I would not have even waited for intermission. I don’t know if they just didn’t have monitors and couldn’t hear the music on stage, but that still isn’t an excuse for blasting their audience’s eardrums like that. If all you need is to hear your cues, you can get a low-end monitor for $50 that will do your performers better than trying to reflect the sound off the back of the theater and will make your work come across as much better produced. Hell, running the sound through a little boom box with a mic input will probably be as good as the sound was for your rehearsals. There may have been something worth watching if the sound were bearable, but I recall nothing about the performance but the assault on my ears.

Atlanta Shakespeare Company: The Complete Works of William Shakespeare (Abridged)

Even if you’ve seen it before, Atlanta Shakespeare’s production of “The Complete Works of William Shakespeare (Abridged)” is worth seeing. They do an even better job than they did when I saw them put it on several years ago and it’s updated a bit in a way that keeps it relevant and hilarious.
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