Being a former trumpet player, I found much of the first piece of music rather boring. It just lacked the brass sound that I love. The second and third pieces fully brought out the crisp brass sound and even highlighted the strength of the sound. I recall one of the best parts of playing any piece is to be able to gradually play louder and louder, allowing the music to grow in intensity and fill up a room. It invigorates you with power and makes you feel unstoppable. Although I no longer play, the pieces brought back the memories of the days I played.
Another thing I had noted was the immensity of the chorus. We had once talked about the ability of the human voice to completely fill the room when we had gone to the opera, but the chorus at Carnegie composed of at least 50 different people was deafening loud. There is such great power to the human voice. It was clearly the dominating sound throughout the final piece (of course the translations also made the song paint a clearer picture of what the song is showing). It might just be my youth drawing me to the loudness of the brass and chorus but I usually always associate loudness with power (sometimes jubilee and celebration) in a piece of music.
I had also found it very interesting that one of the pieces we had heard was at one point lost for 200 years and was found only days before the composer’s works were being collected to be made into a book. Coincidence or not?
Although I am not a huge fan of classical music, the Orchestra of St. Luke’s was enjoyable. What struck me as the most interesting was the movement, which flowed through every aspect of the orchestra. You could trace it from the movements of the conductor which varied based on the emotion conveyed, to each individual moving with passion while playing their intruments, to each section of the orchestra as a whole, and was tied together by the movement of the music which flowed through the hall. I found myself not only listening to the music but also watching each group of instruments move with the music, in a way, from these movement I could deduce the emotion which the music conveyed without even really listening. At parts where the music would become militant I could tell by the vigorous movement of the conductor in unison with the violent stabs of violinist’s bows into the air almost like an army of soldiers saluting or when it was sad I could see the slowness and gentleness in the orchestra’s movements it was really interesting. I also was not expecting to see another opera but the last performance was great and the storyline was amazing, although I did get a bit lost while trying to read the translations. It was through and through a good experience and the hall was very beautiful.
When I approached BAM Harvey expecting to see “Six Characters in Search of an Author” I was firstly struck by the modernity and light emitted from the building which set it apart from the surrounding neighborhood. I told the woman at the Box Office that my professor had left me a ticket for the play under the name Drabik and this is where things got a bit confusing. The woman handed me a ticket and said hurry they may not let you in then kindly escorted me to a door and said “once it starts you can’t leave because it’s a live recording”. As the door closed behind me and I turned around I immediately saw a small room with a band set up, many cameras, and about 8 people seated (none of them my classmates). So I awkwardly sat down and realized “oh shoot this is not the right show”. I ended up watching a live recording of a small podcast called B-Side and got a free performance from a small Brooklyn-based indie band called Empyrean Atlas. I actually really enjoyed their music although their interviews and stage presence were at times painfully awkward. The band was composed of a drummer, a bassist, and three guitars and the lead-man also switched to a saxophone for a few songs. The music was entirely instrumental and ranged from slow ambient to more upbeat afro-pop influenced sound. Overall, after I overcame my panic at the fact that I had sat through the completely wrong performance I sort of laughed at the ridiculousness of the situation and was appreciative of the fact that I found a new band to listen to. Here is a link to the show if anyone is interested: http://vimeo.com/110581319 And a link to Empyrean Atlas’s bandcamp: http://empyreanatlas.bandcamp.com
Each performance and studio brought very unique stylistic differences and each studio’s aimed impact for the audience varied greatly as well.
ALVIN AILEY AMERICAN DANCE THEATER
I didn’t necessarily enjoy this performance as much as the others. The music was harshly, industrial which in my opinion suited the performances mechanical and uniform style. Furthermore, the unshapely black smocks which each performer wore added to this uniformity. Although the performance was very robotic and formulaic and at times seemed to be discordant due to the lack of connection between the rhythm of the music and the movements of the dancers, their was an underlying level of unity which allowed the piece to flow and come together.
LUCINDA CHILDS DANCE COMPANY
Of all the performances this was my favorite. The entire time I analyzed each couple and began to see each color with the differing styles of each couple as a part of a documentation of a romantic relationship. Alternately, I saw that it could be a general representation of the trials and tribulations as well as the benefits of a romantic relationship rather than the rocky relationship of one couple. With each movement the audience could see either the tension in the relationship, or a simple dip could be interpreted as the dependency on had on the other, and the red performance I remember as being implicitly sensual. This one truly amazed me because it was a perfect representation of how body language can be utilized to convey so much meaning, its truly like a language of its own.
SEBASTIEN RAMIREZ & HONJI WANG
From the moment Ramirez and Wang entered onto the stage I knew this performance would be different from the others. Even their casual, non costume seeming, clothing gave the performance a different energy completely. Their incorporation of modern street style dancing into traditional ballet was very fun and energetic and also portrayed a relationship between the two dancers. Some of the moves they did were very impressive and evoked verbal responses from the audience. Overall, It was very playful and I feel like it really woke up the reinvigorated and woke up the crowd.
SEMPEROPER BALLET DRESDEN
The final performance was also particularly interesting to me. It was a very complex intertwining of playful, silly dancing and a very serious social commentary. When it began I was confused at whether the singular man dancing was part of the performance or just a transitional skit between performances. I really liked that they were so inclusive and interacted with the audience it added a new level of entertainment and excitement to the performance. Furthermore, the music was really interesting and I like how they incorporated a sort of tribal vibe to it. It was surprising when the performers, in identical suits and ties, sat in the semi circle and the mood immediately became very serious and somber. I think the first round of the performers systematically flailing with the last man falling to the ground was a bit of a shock to the entire crowd. Aesthetically, the circular wave they created was very interesting. I feel as though the choreographer was making a commentary on the cyclic nature of a workingman’s lifestyle, which much of society believes is the norm. It conveyed this idea that we end up living to work rather than working to live and in the end some of us begin to get fed up with this systematic, mundane lifestyle and become bogged down by the tiresome cycle of life (symbolized by the man falling to the ground). Contrastingly, the silly parts of the dance were a reminder to let loose, live a little, and find some joy in the simple things in life even if it is just randomly dancing.
This play has most definitely sparked the question of what is real and what is fiction. Even out of the context of the play reality is always something that is relative to the viewer. Everyone has their own interpretation of what they see this interpretation cultivates their own reality. This individualized reality explains why there is such a large variance in the comments made about the play. There are those who believe that the characters were never real and therefore the daughter and son never died, and there are those that believe everything that occurred on stage was real (at least in the sense of the play). It all depends on perception.
I personally believe that within the realm of the play, the characters that appeared on stage were real people. The events that transpired on the stage were real in the play. These characters were not simply fictional but real living people. This point can be made when the father talks to the director about the nature of his work, after the director claims the father is a madman. The father rebuts, stating that the director himself is the true madman, making the stories of fiction into reality when there are already real stories going on in reality that do not need to be dramatized. The father’s family, the characters, were symbolic of this. Their entire lives had turned out to be one giant tragic plot and in the end they wanted their story to be told, and an ending of their story to come.
These characters provide a dynamic view of reality. As I mentioned before there is no single reality, as every person has their own perception of it. Every single character has their own perception, they all provide a piece of the overall picture and interpreted different events in different ways. They all made the story a more realistic one, and was also a source of great confusion from many onlookers. Nevertheless all the pounding emotions led to the intrigue of the director and with each passing minute of the director he had become more and more enamored by the stunning story. As the family members were going on about their miserable and bleak lives, the director would make some remark such as “Brilliant” or “Perfect” indicating his isolation from the family’s tale, for he was just one of the audience right now, taking everything in and looking at what riches this play can bring him once performed on stage. Once the play comes to the close, the girl drowning and the boy shooting himself, the director’s mind is changed on the subject. He was no longer just the spectator, no longer just the listener, he was in the midst of the action. The horrible cruelties and drama that the family had was no longer “fiction” to him as he was in the presence of it.
The overall play was bleak and morbid and very much unlike other tragedies. Generally tragedies were produced and created to allow onlookers to feel a sense of relief that their own lives were not as damaged as the lives of the characters. However after this play I could not leave feeling any more thankful for my own life with the lack of as significant hardships, but leaving upset with the unfolding of all the events in such an unexpected and horrible climax.
My apologies to Professor Drabik for being delinquent in posting until this time.
This was my second time seeing an orchestra perform at Carnegie Hall. The first time I attended such a concert I was 12 years old. I went as a favor to my dad, who was going to see one of his students perform. To a 12 year old, the idea of seeing classical music live may not be overly thrilling, but I was really surprised at how much I enjoyed the performance.
So, six years later, I again find myself, once again seeing a classical performance. I found the most captivating piece in this concert to be “The Tempest.” I feel every movement was perfectly executed by the orchestra. I think the contrast within the piece itself between the movements also contributed to my profound enjoyment of it. I will definitely be open to attending more concerts of this nature in the future.
Going to Carnegie Hall on Thursday night was a fun experience.
The place itself was amazing. It is so grand and regal. That definitely left an image that’s hard to forget. Like the place, the performance was unforgettable too.
Although I am not a fan of classical music, I really enjoyed what was played that night. It was really captivating and I was energized with every performance. I was confused at how some of us were sleeping… (Not naming any names haha.)
I think the most memorable thing from that night wasn’t the music, but the instruments themselves. As the way the violins moved as they were played, it looked almost like a synchronized dance. It was just surreal.
This was definitely one of the more relaxing performances we have been on. Our past visits to performances required us to listen as well as watch what was happening on stage, and understand the plots, and the artist’s intent but for this performance, I was able to just close my eyes and listen. There were less boundaries in this performance, since the music predominately appealed to our ears, I felt more freedom to sit back, relax, close my eyes. The funny thing about this performance was that I felt more engaged with what was happening on stage even though I wasn’t watching. My heart rate would increase and I would feel nervous and tense when the music escalated to match the plot’s climax, and the story I was creating in my head that went along with the music would also change accordingly. When I did open my eyes, I loved watching the first violinist’s movements, she really had a stage presence among the many musicians surrounding her. Maybe it was her seating position on stage or the way she used her whole body to play the violin, it was just captivating. Not only her, but every musician seemed to show a bit of their own personality and style of playing in the way they moved to the music. I really appreciate how music can affect your mood, and the different senses that it indirectly affects. Relating this back to Fall for Dance, when many responses (myself included) were about music and how it made the listeners feel, I could feel the uneasiness of the situation in Tchaikovsky’s The Tempest and jumping on the bandwagon, this piece was easily my favorite from Thursday’s performance.
This was my second time going to an orchestra, the first time I went was back in Korea. This was when I was very little, and I ended up leaving the orchestra with my brother early to play outside. It was way too boring for me to just sit there and listen. However, this time, it was different. I listened and watched all the movements on the stage. The movement of the conductor, the movement through the music, and the movement of the singers were all interesting. The music went from soft to hard and the transition was very smooth as well.
Carnegie Hall definitely looks amazing from the outside as well as in the inside. I passed by Carnegie Hall several time and always wondered what the inside would look like, and it did not disappoint me. Although the seats were uncomfortable, it was a great experience and would love to visit again.
The performance we saw on Thursday was incredibly memorable and engaging.
First off: Carnegie Hall. Amazing! The building was beautiful, the interior was beautiful and the hall gave off an intense vibe of culture. It was simply a joy to be there and moreso to see a performance there. As soon as I saw the hall, I could not help but snap a picture.
Onto the performance: all of the pieces were fairly great. They were all perfectly complemented by the mesmerizing conducting of Pablo Heras-Casado, who gave a whole other level of energy to the performance. That was the moment I realized how truly integral a good conductor is to a good performance. One piece in particular etched itself into my mind: Mendelssohn’s “Die erste Walpurgisnacht” (The First Walpurgis Night). The narrative involved with this piece made me look forward to it even before the show had started. When the orchestra played it and the singers sang with their powerful voices, I was absolutely mesmerized. The innate story of the piece also appealed to me deeply: an oppressed group winning out against the majority. The ending of the piece was also, by far, my favorite part of the entire night.
Afterwards, an evening spent at the diner with the rest of the class made for an extremely memorable night.
For me, listening to the wonderfully spectacular classical music was only 90% of the performance. The other 10% came from actually looking at the musicians play their instruments. While looking at the orchestra as a whole, one cannot help but notice how animated it is. You have the violin player gracefully moving her bow to and fro. You have the cello player tapping his feet to keep the rhythm. You have the percussionist, every now and then, getting out of his chair, reaching for his cymbals and preparing for his grand moment. Each and every musician in the orchestra was animated in some manner. I wondered to myself why this was. I questioned it in my mind. Surely, they have played these pieces numerous times. I doubt that it has the same awe-inspiring effect as it does to the audience.
Then it hit me! It all came down to one word: Passion. To these musicians, playing Tchaikovsky’s The Tempest or Purcell’s Suite from “A Midsummer Night’s Dream” is something much more than a simple gig at Carnegie Hall. To them, it is a part of their passion. Playing a crisp, clean note, rising and falling perfectly to crescendos and decrescendos, and ignoring the disturbance of syncopation is part of who they are. Playing the piece of music perfectly is their goal for that night. Perfection, in fact, is their goal in life. Their passion takes control of them, both mentally and physically. A musician, truly engulfed by his or her passion, cannot help but physically feel the music. One notices the swaying to the pace of the music, and the sharp leans and head turns as the music makes sudden changes. You can only imagine that the musicians are seconds away from jumping out of their chairs with excitement! Even the conductor himself, who is in charge of guiding these talented musicians, is under the influence of his own passion. You cannot help but notice him bump and two-step to the music, or should I say his and the orchestra’s music.
I was anticipating that this night would be a great night. It definitely was. Like Pun, this is my first time stepping into the Carnegie Hall. I couldn’t stop looking around at the architecture of the place. The architecture was simple, everything was very smooth and rounded, and surprisingly I didn’t see a fancy chandelier hanging down from the middle of the hall. This all adds up and concurs with the fact that Carnegie Hall has one of best acoustics of any halls. It was probably one of the nicest halls I’ve seen as well. Even with seats up in the balcony everything sounded very crystal clear 🙂
On to the pieces: I think all the performances were executed very well, though I personally preferred the first half of the performance prior to the intermission.
Henry Purcell’s Suite from A Midsummer Night’s Dream: Appetizer! What a great way to start! The pieces were very hip and flow very nicely for me. It reminds me of the Bach Invention pieces. In those pieces, the right hand would usually play a part, and the left hand would play the same part after the right hand stopped while the right hand accompanied, and so on. It has a back and forth feel, and thats how I felt when I heard the Purcell piece. I especially like these two, i-I and ii-VII. Here is the full suite for the orchestra:
And here is ii-VII:
Tchaikovsky’s The Tempest, Op. 18: This piece was probably the main course! Tchaikovsky was extremely talented in creating this piece, and it was executed very well by our conductor Pablo Heras-Casado! I especially enjoyed the sudden soft and loudness of the piece, which makes me feel very calm one minute, while alert the next! I was especially attention to the violinist, who’s bow was flickering at the speed of light at one point in the piece. This piece reminded me another piece that I enjoy hearing as well, Robert W. Smith’s The Divine Comedy: I. Inferno. This piece is based on Dante’s Inferno, and creates a auditory stimuli through how Dante perceived hell was like. Here is a performance of the piece (this is played by a band, not an orchestra):
Luigi Dallapiccola’s Piccola Musica Notturna: I don’t really have much to say. The piece was executed fine, but I didn’t feel that this piece was as rich as the others, especially the first 2.
Felix Mendelssohn’s Die Erste Walpurgisnacht, Op. 60: I don’t know how I feel about this piece. The sing along part was definitely a plus, plus the ending was probably the best part about this piece. I guess this piece was the long and fulfilling dessert the finished the course of dinner!
Ahh, how can we forget, crazy man in front of the hall.
Just when we thought the night was over, a random man, presumably drunk, approached us and started talking to me. No fear, the guy just was trying to make new friends, gave me a fist pound, and talk about the cops of Connecticut, some cause and affect, and murmured some other stuff. Thanks for the reassurance guys LOL
And then, diner after diner, time for some diner food! 😀
I share the awe that many of my classmates experienced after listening to Tchaikovsky’s “The Tempest.” This was certainly my favorite performance from the four that we saw at Carnegie Hall because it was very engaging since the piece seemed to tell a story, yet at the same time this performance was calm and pleasant. I was utterly surprised at how well the piece portrayed a serene and yet, an eerie atmosphere at the sea. It seemed as if we were in fact hearing the sea rather than an orchestra. Further, the piece perfectly flowed through an occurrence of events in Shakespeare’s play.
Tchaikovsky is a VIRTUOSO in his contributions to classical music. However, our conductor Pablo Heras-Casado also deserves many compliments because he was spectacular in the manner which he led the orchestra in playing Tchaikovsky’s work. The music and the instruments lived along side with him. He lived with every note played through his body motioning, it seemed as if channeled the music through his body.
P.S. By the way, this is what was happening in the piece:
“Starting with the sea, the uninhabited island, the mighty and forbidding figure of the magician Prospero, then switching to the graceful and womanly Miranda, rather like the primordial Eve, she has never laid eyes on any breed of man (besides Prospero), until struck by the tempest she is flung ashore with the handsome youth Ferdinand; they fall in love with each other, and I think at this point in the first half of the overture there should be a wonderful and poetic motif, as Miranda gradually becomes more animated and leaves behind her childhood innocence to become a young woman in love. In the second half of the overture her and Ferdinand’s passion should already be in full sail, as they embrace the fires of love… the middle section of the overture would be grouped into three main sections: the half-beast Caliban, the enchanted spirit Ariel, and his chorus of elves. The overture ought to end by depicting Prospero’s renunciation of his magic powers, the blessing of the young couple’s union, and the return to the mainland.”
I never really listen to classical music or orchestral performances on my own, but this was a very enjoyable experience. This was certainly my favorite performance that we have seen for this class. The music was so relaxing that I could just sit back and let it happen. At other performances, I have always tried to analyze what is going on and what it could all mean, but with this performance I just sat back and enjoyed it. I think part of the reason why is that I knew I would not be able to really critique the music, but also because its was just a very relaxing performance. My favorite piece from the night was Tchaikovsky’s piece from The Tempest, as it was very engaging. The atmosphere at Carnegie Hall was also fantastic, as the building was amazing and despite having balcony seats, the stage was clear and the music was easy to hear. This is definitely a performance I would want to repeat.
Perhaps both at the same time, as intended by Pirandello: tragedy (the story of the messy family drama Six Characters are trying to relate) and comedy (the story of a rehearsal unexpectedly interrupted by those 6Ch.).
The play (not the play-within-the play, but the Six Characters in Search of an Author strikes me as extraordinarily clear-headed & logical, in fact even cool in its detached observations of us, humans – in life not very apt at logic and often not aware of our weaknesses & emotional tangles.
And perhaps our confusions here (yes, in plural – as evidenced by your numerous, great posts: rich in observations, right in the impulse to question!), vis-a-vis this play, are not due to the complexity of the play itself, but exactly to our human uncertainties and paradoxes.
Late thoughts on Six Characters in Search of an Author
First things first, thank you so very much Professor Drabik for the press tickets! They were absolutely amazing and the play was confoundingly great. My apologies for not bringing up my thoughts about the play during class, but here they are.
The play was pretty brilliantly produced. The way they used the lighting, the shadows, and the stage in order to alter the way we saw certain things and make us view things the way they wanted us to. It was all just so brilliantly planned and acted out. There were a couple of things that I was wondering about after the play:
1) Who exactly was the woman sewing at the beginning, and what was her purpose in the play? Could she be the author (although unlikely, just kind of a random thought)? – I only recall seeing her at the beginning, at the end, and when she brought out the bird with the cage.
2) Why was the name of the little girl (Rosetta) mentioned once and only once, while every other time she was just referred to as the child?
3) The director said at one point that the characters themselves were the authors or something along those lines. Could the six characters be the authors themselves?
During class many people were debating the idea of whether it was fiction or reality. In my opinion, there was no doubt it was fiction. During the scene where they were behind the curtain and both the actors and the characters were yelling “Reality!, Fiction!”, but afterwards only the actors appeared up front, dazed and confused. I think that this meant the actors were so “into their roles” during rehearsal, for lack of a better term, that they essentially brought to life these six characters and their story. Of course the experience is real, but that still doesn’t make the fiction a reality. The six characters and their story are still just words on a page.
This was my first time ever setting foot in Carnegie Hall. I’ve only actually seen the outside of Carnegie Hall a total of two times; the first on the way to Fall for Dance, and this was the second. I played in my high school orchestra as the 1st chair Violin myself, and I know the feeling of walking out on stage by yourself and hearing the audience applaud you. It’s exhilarating, but it also puts a huge amount of pressure upon your shoulders.
The inside of the hall is quite beautiful and it’s such an amazing privilege, and what a luxury, to be able to just sit inside and do nothing but listen and enjoy. My favorite piece was the one by Luigi Dallapiccola with the full orchestra. I’m not sure how to quite explain it, but I just really enjoy the sound of a complete orchestra. There are certain parts in the music that sound as if different sections of the orchestra are having a conversation with one another. One section plays a couple of lines and another answers back, sometimes mimicking, sometimes in response, sometimes almost in retaliation as if they were in a friendly competition. Those are the parts of the music that I enjoy the most, whether it’s listening to it as the audience, or playing it in an orchestra.
Although this play was really enjoyable, I was utterly confused throughout the whole event. My confusion didn’t really deter me from watching it, but rather kept me on my toes. It would have made it so much easier to follow the play if the subtitles didn’t distract from watching the actual play, but glancing at the subtitles once or twice for a scene was enough to figure out the overall situation. The story itself did remind me of Inception, as Erica mentioned in her post. Like the movie “Inception”, “Six Characters in Search of an Author” had many layers of reality. There was a layer in which we exist as an audience that was watching a fictional play containing characters who are brought to life by professionally trained actors. Pirandello plays with this layer of reality by tugging at our emotions and while I was watching the play I unknowingly began to believe the story’s verisimilitude. Then the layers after this start to get all fuzzy. This is when it begins to confuse me, I don’t know whether or not to believe the characters are the creation of an author’s imagination that have come to living, or if the whole event was fictional in the layer of reality which the actors’ and actresses’ existed. But the last layer is the reality of the characters. I don’t doubt that they were living and breathing and have complex lives as the author of their story intended, but whether they actually existed in any reality besides their own is the question we are all asking. This was a thoroughly enjoyable play that got us all talking about so many aspects of theater, writing, life, so even though I was extremely confused, I enjoy this confusion because it sparked a really great conversation in class.
I can only vaguely remember the play The Tempest (I read it at least 5 years ago, and my memory is really bad), but I do think that it was a very interesting choice to place the piece with Goethe poem. Both have themes of magic, spirit, conspiracy, etc.
It’s been a long time since I went to an orchestral performance at Carnegie Hall, and I’ve never been to a classical concert. Thursday was the first, and the best.
Purcell’s suite was great for falling asleep to…
Tchaikovsky’s piece on The Tempest impressed me in its depiction of the storm. I haven’t read The Tempest and therefore cannot go into details, but the magnitude of the storm and the calmness of its eye are great.
Dallapiccola’s piece made some sense as a depiction of a deserted summer night.
Mendelssohn’s Die erste Walpurgisnacht orchestrates a poem of a Christianized people who still follow parts of their old religion. It had this interesting stanza:
Dieses dumpfen Pffafenchristen,
Lasst uns keck sie überlisten!
Mit dem Teufel, den sie fabeln,
Wollen wir sie selbst erschrecken.
These stupid Christians
let us boldly outsmart them!
With the very devil they invent
We’ll terrify them.
This helps uncover a major flaw in the “Christianizing” of the old days: the people were never changed in their hearts. Instead they were forced into a new mold in which they continue to do what they used to.
The best part of that concert was hearing the trombones.
I found it hard to sit still when I was watching this concert. In fact, I usually feel impulsive when I listen to fast paced music. That’s why I like to do something else while I listen to it. Commonly, I walk or run when I listen to energetic music, but I also like to listen to music that goes along with with something I watch, like a movie or music video. Since there was little for me to do, I decide to take a few notes during the performance.
I felt a shortage of space in my seat, but I notice a huge space in front of me in Carnegie hall. So even though it is a large building, the audience cannot access a lot of the extra space. I believe it was unfair that people who pay so much money for the performances have so little room, while the people working get to stand in the wide aisles. I think it would be better if all the chairs were removed to allow people to stand and watch the concert. In general, the building seemed poorly adapted to people’s comfort, but offered good acoustics because I could hear the music loud and clear.
The music in Carnegie hall varied from quiet and slow to loud and fast. The slow music made me feel bored because there was little energy in the music and nothing interesting in the performance to watch. However, I really enjoyed the fast paced and energetic music because I like to feel energized by music. Also, the prominent thing to watch was the conductor’s movements and orchestra’s playing, so when they played an energetic song, everyone looked like they were really focused and active. The conductor would give such grand motions that it seemed he would fly away. He would stand on his toes and hold his arms as high as possible. He seemed to possess enough energy to play all the instruments on his own to make that awesome music. What’s an orchestra without a conductor?
Most of you have not posted anything about this concert yet. Unlike the other performances where full attention was necessary, I could listen to this while taking look at how the audience is feeling. It seems some of my peers were focused on the concert, while several felt a little bored. (I was doing this at the intervals I felt bored so I guess that is what I should expect.) I noticed one delighted face, however, and that was the professor. No surprise she chose to come to this performance. It is good to share with others experiences you like.
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ce of events in Shakespeare’s play.
