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Though it doesn't look like the chilly North Atlantic of Iceland, where American violinist Hilary Hahn and German pianist Hauschka recorded their 2012 CD "Silfra," this music video (by Hayley Morris) from one of the album's tracks has a captivating, stop-action charm that matches the music's forward-spinning energy.
The two musicians discussed the CD for two years, but when it came time to record it with producer Valgeir Sigurðsson in Reykjavik, they did it without scores, and mostly in single takes. In all but one of the CD's tracks, Hauschka plays a "prepared" piano, with various objects and dampers placed on the strings.
Hahn and Hauschka (born Volker Bertelmann) will perform "Silfra" at a show Sunday evening at Aria in Minneapolis, the opening date of a new concert series presented by the Schubert Club. Called Mix, the series (being done with Liquid Music) presents two more shows this winter/spring, including pianist Anthony de Mare (April 13) and alt-chamber group Ethel (June 3). De Mare will reinterpret songs by Stephen Sondheim for solo piano. Ethel will present works by contemporary composers, including Mary Ellen Childs, as well as video projections.
The Hahn/Hauschka show has just a few standing-room tickets remaining, which will be sold at the door on Sunday. Tickets for the two later shows are still available.
The Jungle Theater brings back "The Mystery of Irma Vep," with Steven Epp (at left) and Bradley Greenwald, as part of its 2014 season. Star Tribune photo by Tom Sweeney.
Wendy Lehr, currently wonderful in "Driving Miss Daisy" at the Jungle, will be back a year from now when the Minneaplis theater presents her in "On Golden Pond." Bain Boehlke directs and costars in that show about a couple celebrating 48 years of marriage at a lake cabin. (Nov. 7-Dec. 21, 2014).
Also in the 2014 Jungle season:
"Shakespeare's Will," by Vern Thiessen. Boehlke directs Cathy Fuller in the one-woman play about Shakespeare's wife, Anne Hathaway. (Feb. 7)
"Detroit," the play by Lisa D'Amour, won an Obie and was a Pulitzer finalist. Joel Sass directs. (April 11-May 25)
"The Heiress," a Tony-winning play by Ruth Goetz & Augustus Goetz based on Henry James' novel "Washington Square," will be directed by Boehlke. (June 20-Aug. 10)
"The Mystery of Irma Vep," by Charles Ludlam. The high-speed Victorian comedic melodrama won good reviews in 2010, and returns, again directed by Sass, with Steven Epp and Bradley Greenwald. (Nov. 7-Dec. 21)
Season tickets are now on sale. 612-822-7063, www.jungletheater.com.
Eric Moore (center) leads "Tear This Cabin Down" to close Act 1 of "Ghost Brothers of Darkland County"
Associated Press photos by Michael Conroy
A few thoughts about “Ghost Brothers of Darkland County,” the John Mellencamp/Stephen King musical that was performed Thursday at the State Theatre in Minneapolis.
In “The Nose,” Kovalyov’s search for his missing nose, as orchestrated by a young but clearly fearless Dmitri Shostakovich, is a big noisy affair. Effusions of brass and long interludes of pure percussion mark the score, and the singing is mainly declamatory and boisterous. No attenuated love arias or heartbreak-by-moonlight songs here. What opera ever composed has so much work for the trombones?
The ICON movie theater in St. Louis Park was full on Saturday for the Metropolitan Opera’s live telecast of Shostakovich’s seldom-produced “The Nose,” which premiered there in 2010 and is being revived this season. (The high-definition video will be seen again this Wednesday evening in several Twin Cities theaters. Details here.)
South African artist William Kentridge, who made his Met Opera with this brilliant production, has imagined a frenetic world of creatures made out of typography, of inky figures drawing monstrous cartloads as if all Russia were their burden. Then these figures drag in a new scenic element -- a cramped barber shop, a tilted sleeping room on which Kovalyov tosses and turns in misery on his too-small bed.
Kentridge brings great inventiveness and hurly-burly to bear on the Gogol story. Presented in the black, gray, white and brilliant red color scheme of the Russian Constructivists, it’s a world where a newspaper office becomes a towering front page, out of which explode the pressman, the editors and reporters, each singing from their own grimy, newsprint-strewn window.
At one point, type moves like iron filings on a magnet until cohering into a giant image of Joseph Stalin, evoking the era when Shostakovich was emerging as a composer.
The production design shies away from the usual illusions of depth, opting instead for ladders, trap doors and trompe l’oeil effects in a dizzying, floor-to-ceiling 2D effect, like Rowan and Martin’s Laugh-in as imagined by El Lissitzky. When an animated nose takes a dive, it splashes into a movie-reel swimming pool. The profusion of these dynamic visual effects throughout the opera is perhaps its biggest attraction. They added to, rather than distracting from, the music and the singers.
The crack Met orchestra was here conducted by Pavel Smelkov, and the terrific costumes are by Greta Goiris.
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