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  1. #1
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    Default Van Zweden and Dallas Symphony Orchestra

    Van Zweden and Dallas Symphony Orchestra

    12:00 AM CDT on Friday, April 25, 2008

    By SCOTT CANTRELL / The Dallas Morning News

    From apocalyptic blasts of chorus, brass and percussion to all but inaudible high violin tremolos, the Morton H. Meyerson Symphony Center was the scene of a sonic extravaganza Thursday night. In his last program here before taking over as the Dallas Symphony Orchestra's music director, in September, Jaap van Zweden whipped up every possible bit of drama in Verdi's Requiem, at the same time imposing intense discipline.

    Incoming DSO conductor Jaap van Zweden led the orchestra in a riveting performance of Verdi's Requiem on Thursday night. Mr. van Zweden milked the score's crunches and drives of tension, deftly timing hesitations before pivotal downbeats. On scales both great and small, he paced the music with strategic authority. Even those super-pianissimos made the hair stand on end.

    The DSO played as if transfixed, trumpets and trombones producing thrilling dins and percussionist Douglas Howard whomping the big bass drum within a micron of its own requiem. On quite another plane, the violins played now with blazing virtuosity, now with sweet near-nothingness.

    But the star of the show was the Dallas Symphony Chorus, prepared by David R. Davidson. I've often found this group too covered in tone and inadequately supported, but there wasn't a bit of that Thursday. From mere whisper to full-throated roar, the sound was solid, focused and well-projected, with impressively clear diction.

    The soloists were a mixed bag. Christine Brewer sang gorgeously, but hers is a soprano more creamily Straussian than spicily Verdian; this of all scores wants more garlic and cayenne. Mezzo Jill Grove did her job without quite stirring the blood.

    Stuart Neil produced the biggest-beef sounds I can remember hearing from a tenor, but also exquisite hushed croons. Unfortunately, there wasn't much in between, and in ensembles he was often louder than the other singers. Bass Raymond Aceto supplied some imposing sounds, but little in the way of line or elegance, and his intonation was uncertain.

    Tuning in solo-ensemble passages repeatedly went adrift. The unaccompanied "Pie Jesu" was excruciating, each of the four singers apparently in a different tuning system. Ouch!


    -------------------------------
    A "Real" article --- but....
    with the "Van" part ---
    I just wanted to Fuck with You

    ~~8 U.S.C. § 1182(f)~~

  2. #2
    Atomic Punk chefcraig's Avatar
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    Yes, Van Halen is commonly mistaken for...

    "The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore, all progress depends on the unreasonable man."
    George Bernard Shaw

  3. #3
    Sinner's Swing! Wickett's Avatar
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    Default





    James Van Der Beek
    Don't drink the Jim Jones punch. They're called theToxic Twins for a reason...

  4. #4
    Atomic Punk MF5150's Avatar
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    Default

    Quote Originally Posted by Wickett View Post




    James Van Der Beek
    That was hilarious in the Van Helsing outakes where the director or somebody is in this big hall and he yells, "I GIVE YOU....VAN HALEN!"
    My man, when you are fantasizing, don't go for attainable, you can get attainable at the local Applebee's. - Dave's Dreidel

  5. #5
    Hang 'Em High
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    Default




    ~~8 U.S.C. § 1182(f)~~

  6. #6
    Hang 'Em High
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    Default Van Wilks


    ~~8 U.S.C. § 1182(f)~~

  7. #7
    Atomic Punk chefcraig's Avatar
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    Hey Rover, I beat ya to it on the "Van Hefflin", with my blearily-eyed created masterpiece at the top.
    "The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore, all progress depends on the unreasonable man."
    George Bernard Shaw

 

 

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