Posted by Marina Kifferstein » Add Comment »
One night after an impressive performance by the Oberlin Contemporary Music Ensemble at DiMenna Center, the Oberlin Orchestra delivered a knockout punch with a Carnegie Hall concert on Saturday, January 19, 2013. With many American orchestras in steady decline, we have to ask: why people just don’t seem to like orchestras as much as they used to? It’s easy to conjure images of a 106 year old audience member noisily opening a cough drop, a vast array of empty seats, the jaded face of a long-tenured violist shaping into a yawning “O.” Orchestra is a dying art form, and we might as well pull the plug, right? Well, maybe not. Anyone who was lucky enough to get a ticket to the Oberlin Orchestra’s sold-out performance at Carnegie Hall would have a hard time maintaining this view. The vitality of the Oberlin students, led by enthusiastic maestro Raphael Jimenez, earned them a standing ovation from an audience that didn’t know quite what had hit them.
Composer Christopher Rouse (photo credit: christopherrouse.com)
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Posted by Marina Kifferstein » 1 Comment »
I don’t think there is any other place in the world quite like the Oberlin Conservatory of Music. Its unique atmosphere of collaboration, support, and experimentation sparks innovation that creates space for all kinds of eccentrics to gather and make great music. As an Oberlin grad, I had some anxiety about writing a review of the Oberlin Contemporary Music Ensemble (CME) with International Contemporary Ensemble (ICE) concert on January 18, 2013 at the DiMenna Center for Classical Music. What if my memory of playing in CME was too idealized, tainted by nostalgia? What if I was expecting too much? After seeing the concert, my conclusion is that you can take the ensemble out of Oberlin, but you can’t take the Oberlin magic out of the ensemble. The DiMenna Center was flooded with the spirit of Obies past and present, and their performance was sublime.
Violin soloist David Bowlin (photo credit: Will Roane)
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