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Show Forum 6 A&E January 25, 1994 Escher In Utah- - A Retrospective crowd and to educate the general public rather than only the art community. Amy Fribcrg Forum Staff Writer One of the most comprehensive and important exhibits of M.C. Eschers original prints, woodblocks, drawings and (over 200) took place at the Utah State Fairpark. The retrospective exhibit opened Dec.18 and was extended twice until Jan.9. Most people have seen at least one of Eschcrs works. He uses mathematics, scicnceandart tocrcate his own worlds. By using a process called tessellation (a repeating pattern without gaps or overlaps) he explains many science and mathematical equations, like metamorphosis. Escher takes the impossible and makes it seem possible, and he tempts you to believe in the worlds he creates, said Rock Walker, producer of the traveling show. The exhibit has traveled through Albuquerque, N.M., Salem, Ore., and Madison, Wis. The exhibit is now on its way to Seattle. Walker said he plans to travel with the exhibit until 1998 Eschers 100th birthday. He then plans to build a museum for the exhibit in California. Walkers goal in each city is to have 10 percent of the population visit the exhibit. wa-tercol- InSaltLakeCity,anexpected73,000people should have attended for this goal to have been met. The show was extended twice, but only about 60,000 people attended. Mauri tz Cornelius Escher was bom in the Netherlands and spent his life in Europe. Heretumed to the Netherlands, where he died in 1972. As a carpenters apprentice, he learned woodcut and art. He made $1,600 during his life with his art work. Even though most people consider Escher an artist more than a scientist or a mathematician, he never titled himself. You cant take me as a real artist, said Escher. The theme of the show was Escher in Education. Walker said his main in objective purchasing and displaying Eschers work is to educate. The exhibit was displayed at the Fairpark rather than at an art museum in order to attract a diverse The exhibit consisted of some of Eschcrs very popular pieces as well as some of his unfamiliar early pieces. A few of Eschers pieces displayed were: MetaThree Worlds, Bond of morphosis, Union and Sky and Water 1, the theme visual of the exhibit, in which a bird evolves into a fish. Still Life and Street, a view of a desk with books stacked on the sides, becomes a street scene in the background. Self Portrait in Reflecting Sphere and Vcrbum,abiblical study of creation with evolution working from the center, were also included in Walkers collection. The most popular part of the exhibit seemed to be the gift shop. At any given time, more people were buying Escher tiles, pop-u- p books, calendars, etc., than actually viewing the original pieces. Kate Kilpatrick, senior psychology and art major, said, This city isnt ready for visual art. I think that is why there was a strong commercial aspect of the show. ts, M.C. Escher's 1956 lithograph. Bond Of Union, was one of many pieces that made a stop at the state fairgrounds. The traveling exhibit featured many of the artist's most popular pieces, as well as many lesser known works. Murder And Mayhem In Capitol Theatre Anne Van Alstyne Forum Staff Writer tion, Ewers visited Scotland to absorb the so important The Utah Opera CfXTKxI its performances of Macbeth on Saturday evening, Jan. 15. Bagpipes greeted opera patrons as they entered the Capitol Theatre lobby, and Act Is thunderstorm and three covens of witches powerMysathemoodofdaiknessanddoom. Macbeth is both a strong opera and a greatpieceof theater, said Anne Ewers,Utah Operas General Director and Stage Director for this production. And a great piece of theater it is. David Ganos sets, Susan Memmott Allreds costumes, Nicholas Cavallaros lighting. Conductor Anton Coppola and 52 members of the Utah Symphony Orchestra, the 15 principal singers, Gene Pack, and the eight supers and the five children all blended together perfectly for a dramatically entertaining evening. A stage director of international disdne- - Ellipsis tangibleandintangiblefeatures increatingtheauthenticityof the production, she explained. Her itinerary encompassed the locale of every scene in Shakespeares play. A feeling of isolation pervades the countryside because of the distances and the solitary castles enclosed by water The experience was damp, dark, eerie, mystical, said Ewers. And it is precisely this effect she conveys to her audience. She integrated the inspiration exfrom the trip into ha tensive study and research. t I have made several changes which I believe benefit the psychological and historical credibility of the opera, said Ewers. For one, she has selected several secondary figthe Doctor,Lady-in-WaitinServant ures and has woven them into and Fleance additional scenes throughout the opera. This assists the audience in a better understanding of who these characters really are. Ewers explained that, Macbeths last aria has much more remorse than Shakespeare ever intended. The most he ever says at the end of Shakespeare is that he recognizes a lot of blood has been shed but its not woe is already-complete- d g, me. Literature and Art Ewers further explained that the Macbcths were real people, and Shakespeare villainized them to placate his patron James I who was descended from of Scotland Stuart line of monarchs. the Banquo, And why would Verdi, who was Italys Black & White Issue Submit your: creative writing poetry prose photography paintings pottery sketches most promising young composer, select Macbeth to make into an opera? The stay is consistently gloomy and gives little chance for scenes of contrasting brilliance. Furthermore, it has no love interest at all. Macbeth did not conform to the popular formula fa Include your name address phone number title return envelope Italian opera, a story in which a soprano and a tenor share a love that is prevented by a baritone. Itwas, indeed, thefirstof theverismo operas, a style holding that truth and realism are a part of art Up until that point in time, operas always had a happy ending no matter what Even the ending of Romeo and Juliet was changed to please the audience. (with potuge) Send to: Robin Larsen Westminster College of SLC 1840 South 1300 East or at the ASWC office Drop-of- f Reward. S10 per published page Deadline; February IS Verdi used a different approach in writing his Macbeth, one that served drama first and music second. His arias are part of the dramatic development, not interruptions of it, or mere illuminations of it Previously, in order to better serve the aria and not the drama, all action would stop while the arias were sung, and the effect was a bit artificial dramatically. It hoi been Verdis desire to write such a work for sane time, but what finally prompted V 1 1 him , surprisingly, was the unavailability of his favorite tenor. A noted baritone did become available.and in Verdisopinion, he suited the part of Macbeth perfectly. The baritone, said Verdi, had a wonderful commanding voice, just like that of a would-b- e king And Verdi worshipped the Bard. He wrote, He is one of my favorite poets. I have had him in my hands from my earliest youth, and I read and reread him continually. Verdi was particularly fascinated by the witches, and he wrote, The main roles of this opera are, and can oily be, three: Macbeth, Lady Macbeth and the chorus of witches. The witches dominate thedrama;everythingstems from them ... They make up a real character, and one of greatest importance. Ewers has kept Verdis three covens of witches but cast three principal singers as lead witches. It was Ewers feeling that the number three is very important in Shakespeare. It represents past, present, and future. In the play Shakespeare refers to three witches, not three covens, but having so many witches on stage at once, singing together, is very effective. Shakespeare had only three assassins attempt to kill Banquo and his son, so it is understandable that Fleance, the son, could escape; whereas, in the operatic version, there are at least 20 assassins, leading the audience to wonder how the son could possibly have gotten away. Perhaps, again, the large number serves thedramatic effect, and effective it was. To highlight any one principal singer in this production w ould be unfair. The voices were all exquisite: Mark Rucker, who was indisposed but performed Macbeth anyway, Frances Ginsberg as Lady Macbeth, Andrew Wentzel as Banquo, Richard Drews as Macduff, James Miller as Malcolm, Gabriel Medina as Fleance, Allison Chamey as Victoria Maris, Colleen Butler and Mary Ann Dresher as the witches; Dana Slabaugh, Kimberly Mumford and Eric Glissmeyer as the apparitions; Joseph Onstott as Servant, and Robert Prosch as the Murderer. Gene Pack, KUER classical music host and local stage veteran, was an excellent choice King Duncan. Additional sold-operformances were held Jan. 17, 19,21 and23,andasimulcastwas heard or KBYU-Fchi the 19th at 7:30 pin. Judith Frisbee-GoinDirectaof Public Relations Utah Opera, said their patrons attend the opera to be entertained, as well as emotionally and intellectually stimulated. Well, this opera goer certainly was! Lady-in-Waitin- fa ut M s, fa g, |