page 2
Who
they
they
do
think
are?
Review by Bart Becker
From all indications. Deep Purple is swaggering at the
front of a long line of sassy, punk-rock bands. In the heavy
metal scene they are enjoying as much popularity as any
band. America's rock critics also have begun to hail their
excellence (although that may be a dubious honor,
America's rock critics being a mildly disjointed group.)
They sfways have been a slightly insolent bunch of boys.
More importantly they always have been able to put their
stage sound down on vinyl pretty successfully.
The new Deep Purple album. Who Do We Think We
Are!, is no exception, beginning with the mocking title.
The first cut, "Woman From Tokyo," starts out with a
riff right out of the Rolling Stones. But then it settles back
into the predictable, rocker format. It's passable rock 'n
roll, but so is a lot that's heard on the radio.
"Mary Long" is more of the same. The lyrics ("How did
you lose your - virginity? When will you lose your
stupidity?") apparently are directed at somebody in
particular. Again, the cut is okay, but no reason to buy the
album.
It's followed by "Super Trouper," just another rock
song. It sounds like much of what they've done in the past.
Deep Purple has a distinctive enough sound.
What they're lacking is variety. Essentially the same riff
that set their arrangement of "Kentucky Woman" apart
from the rest of 1969 is still evident, with slight variation,
on at least two different songs on Who Do We Think We
Are!
Side One ends with "Smooth Dancer" which moves a
little faster ai';u harder than the rest of the side.
Deep Purple does have lyrics to their songs, but the
lyrics are a poor second to the instrumental tracks. Which is
not to say that Ian Gillan's voice is poor, it's utilized as
another instrument, not as a front for the band.
Side Two Is considerably superior to Side One. Rat Bat
Blue" is far superior to any other tune on the alburn.
Despite some occasionally simplistic lapses, Jon Lord's
organ work is ear-grabbing. If you drool over Keith
Emerson, you'll probably slobber a little about Lord, too.
"Rat Bat Blue" also stands out because the whole of
Side One seems like variations on the same theme. Side
Two kicks open a little more.
The second cut, "Place in Line," is a bluesy attempt.
Some thought seems to have been given to the lyrics, too.
They're distinguishable and appropriate, albeit a little
humorous knowing from who they come: "Everybody's
shuffling to keep a place in line."
At its end the song shifts gears, featuring some flash rock
'n roll guitar playing by Ritchie Blackwell and another dose
of organ madness from Lord. It ends up with some gopd
rocking.
"Our Lady" closes out the album with more heavy
metal.
In addition to working as Deep Purple, three of the
members are working on individuals projects. Ian Gillan,
lead vocalist, has produced the first album by an English
rock group called Jerusalem.
Organist Jon Lord has ventured back into the classical
music of his former training and turned out something
called "Gemini Suite", of which little is yet known.
Blackmore will be out sometime in the nebulous future. J
Opera Napoleon captures 'petulant master of Europe'
Review by Raymond Haggh
A monumental achievement. That's the only way
to describe the School of Music's Napoleon which
premiered Friday night at Kimball Recital Hall.
Musically, visually and dramatically it was a success.
Only hours after the 1812 battle of Borodino,
Napoleon, who already is becoming aware of his
inevitable downfall, is drawn in a series of episodes
through his mind of the past and of the future. The
skillful contrast of these episodes by librettists Bill
Wallis and Dean Tschetter gives a panoramic portrait
of Napoleon's complexity-the dynamic, willful and
petulant master of Europe.
Robert Beadell, given this first-rate libretto,
responded by composing his finest piece in this opera.
(He has two operas already to his credit. His
experience in the medium shows.)
Frequently the music receded into the
background, leaving the drama itself or visual effects
to take precedence. Napoleon derives much of its
sweep from its combination of dramatic media. This
is not to say it is not a singer's opera. All characters
are given ample opportunity to sing in the best
operatic traditions.
John Zei is ideal in appearance to play Napoleon.
He has a fine grasp of the character, and is a rich and
sonorous baritone. Beautiful and experienced Emily
McKnight sang Josephine, Napoleon's wife, with great
vocal beauty and expressiveness. Wallis sang Duroc's
part with conviction and understanding. Supporting
roles sung by Jon Gruett, Jeannie Dietrich, Kent Hall,
Jill Eiche, Raymond Miller, Dale Ganz, Charlotte
Bumgarner and Lynelle Frankforter contributed to
the effectiveness of the production.
The staqinq. visual effects and costumina were
j -----
Enormously creative and talented
his wife Jane ' (she designed the
staging,
spectacular.
Tschetter and
costumes), together with a remarkable crew of
technicians, should be applauded. Smooth scene
changes, movements on an off stage, effective film
sequences and the operation of the production's
whole complex machinery were exemplary.
Finally, praise for musical continuity must go to
Conductor Richard Grace. He did a magnificent job,
aided by his musical staff, the orchestra and choral
conductors Ray Miller and David Rich.
Fortunately, this production will be televised on
KUON Saturday; we will have the opportunity to see
it again and become better acquainted with it.
The first impression was overwhelming. Although
all of the subtleties of text and music are not
immediately apparent, certainly its gripping ending
provide the necessary denovement with Napoleon's
defeat.
1
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daily nebraskan
Wednesday, february 1, 1973
