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About The daily Nebraskan. ([Lincoln, Neb.) 1901-current | View Entire Issue (Nov. 19, 1984)
1 0 Pago 10 Daily Mebraskan Monday, November 19, 1C34 ill Ik .i n (j ttu l4l V 4I A rl ms s Rcvic v fey r.cn3. 2j Kcjpclnimn Daily Netrsskia G?ai3r Editor In the beginning, Maestro Richard Schumacher said. "Let there be music," and it was good. Schumacher led the Masterplayers, a European chamber music group, through six rarely-heard classical works Thursday evening for an appreciative Kimball audience. The Masterplayers is composed of 16 top-quality performers from various symphony orchestras and chamber music groups in Europe. Schumacher assembl ed them into a cohesive group that now tours the world. Schumacher's conglomeration pulled off a remarkable performance for the Kimball and Co. Performing Arts Series remarkable in that the players, all used to being soloists and leaders in their own orchestras, comple- Amaaeus comotnes ravMcmnei Review by Togsr Swjtnscn Daily Nebraskitn Staff Ee porter A vulgar manner, a picturesque musician. "Amadeus," now showing at the Cooper Theatre, combines the raunchy personal ha,bits of clas sical composer Wolfgang Amadeus Mozart with his resounding music the "voice of God," as his contemporaries called it. Combining these contrasting ideas fell on the shoulders of Tom Hulce, best known for his role as Pinto in "Animal House." Hulce plays a man who sees life, as an endless playground with out any rules or standards of conduct. He infuriates and em bar asses his father and his wife, Avant garde trombonist to perform at Kimball Miles Anderson, Virtuoso Trombonist and exponent of avant garde music, will pres ent a free recital Tuesday at 4:30 p.m. in Westbrook Recital Hall. Anderson, a multi-talented musician, has been a member of the San Francisco Sym phony, Los Angeles Philhar monic, Los Angeles Brass Quin tet, Les Brown Jazz Orchestra, and a faculty member at Cali fornia State University at Nor thridge. Presently, he is on the 'Like a Virgin9 video blends trash with Madonna glamour By Scott Harroh DalHy Nebraska Staff Reporter Msdonna, "Like a Virgin": Glamour blended with trash is not only the formula for Ma donna's unique look, but for her videos as well. This elaborate piece was shot in Venice and shows the singer getting sugges tive with a gondola boat, looking gothic in a palace and playing lossy face with a man wearing a lion mask. It's a brilliantly ro mantic slab of irrelevance as glossy as the song itself. Video Chaka Eban, "I Feel FerYcu": One would think that Chaka would make a video as quirky and provocative as her sizzling new single, but alas, she did not. In this video breakdancers bop and pop away around a grafHti frocked stage as Khan lip-syncs with about as much plausible strength as Boy Georg'e fist. Jini Eexidrix, "Are Yea Ex perienced?": This piece of vintage concert and concept footage was 1 as well as kings and a cardinal. Had Mozart not had such astound ing talent, his personality would have made him a good sports commentator, possibly even rival ing Howard CoselL Hulce seems to relish the role of a little kid with the world at his feet, but there is another side to this com plex character which eventually destroys Mozart. Besides being an incorrigible "creature," as he is referred to, he is also deeply troubled by the rejection of his works. This is especially true of rejection by his father, who can never be pleased with Mozart's w ork or with his lifestyle. Mozart eventually be comes a manic recluse whose faculty of the California Insti tute of the Arts. He has also produced two records of his solo perfor mance. As a soloist, he has toured Australia, Japan, and Mexico, and was the first brass player to receive a Solo Recitalists Fellowship from the National Endowment for the Arts. Anderson's appearance is funded by UNL and the Na tional Endowment for the Arts. recently discovered and now is being shown. The most interesting thing about it is that it portrays raunchy, effusive rock in a simpler manner that modern day tech nology ever could. Bur&n Duran, 'The Wild Boys": This is perhaps the most bizarre video ever made. The British band cavorts around an eerily-lit, futuristic stage filled with androids, monsters and many things too strange to de scribe. The most unusual scene involves a windmill that vocalist Simon LeBon is strapped to; it dips into a pond and tortures him relentlessly. This looks fairly inventive, but it would be more impressive if we knew what it's supposed to mean. Pat Benaiar, "We Belong": Perhaps Pat got the message after her corny "Love is a Battlefield" video that she's incapable of mak ing a serious, elaborate concept promo. So she made this simple video, which shows several close ups of Benatar singing some pseudo-love anthem ?s child ren wearing robes hold candles and harmonize. Leave this sort of preposterous, kiddie-oriented sap for Diana Ross, Pat. mcnted each ether beautifully. The orchestra opened with selections from two operas from Italian composer Domenico Cimarosa. The selec tions contained no solos and consequently highlighted the group as a whole orchestra. The final movement was especially forceful, highlighting violists Anders Lindgren of the Royal Swedish Chamber orchestra and Jan VVillem Van der Efk of the Belgian National Orchestra. Cimarosa's works have often been compared to those of Wolfgang Mozart's, and some of the master's style wa3 conveyed in Schumacher's interpretations. But, for the most part, they .were a bit shallower than Mozart's works. To make that point, Schumacher guided his ensemble through an unfinished Mozart triple concerto in A major for violin, viola and cello. Violinist Vesselin Para chkekov made a strong argument for Mozart's brilliance. 7, work drives him to the grave. But in the time between his talented apprenticeship and his ignoble burial in a common grave, Mozart sets Europe on its listening ear with hundreds of works simply written down flawlessly from memory. If "Amadeus" were only a chronicle of life of Mozart, the film could not hold the audience for its three-hour fun. Luckily, conflict and suspense run through out the film. Antonio Salieri, one of Mozart's jealous contemporar ies, tells the entire story of he and Mozart through lengthy flash backs. The sight of a shriveled and nearly senile Salieri, played by Murray Abraham, 32 years alter Mozart's death nearly seems comical But Salieri's cynical story reveals what a scheming scoun drel he was and how much he hated Mozart He aims this hatred not only at Mozart, but also at God. Salieri sees God as a venge ful tormentor who chose to make him court composer to the Holy Roman Emperor, only to be up erminator pits man, Review Roger Quiring Dally Nebr&skan Staff Reporter Suspense is the best quality of "The Terminator," now showing at the Plaza theaters. The words "action-packed" and "violent" also quickly come to mind. But to tell the truth, the chase scenes and special effects tend to become drawn-out and overused. Before the movie is even half over, the body count is too high to worry about The basic premise of the movie is that in a post-nuclear holo caust future, an emnity has deve loped between man and machine. The machines that "rose from the ashes of, nuclear war" decided that people were a threat to their existence. Therefore, the ma chines have spawned cyborgs humanoid machines whose sole C7 "fm. m g&.m9,.gzm :30am- II II M llli I . Paraschkekov continued hh mastery of the concert with a virtuoso rendering of Johann Bach's "Concerto for Violin, Oboe and Orchestra in C-Minor." Along for the ride was oboist Vladimir M&liy of the Slovak Philharmonic Orchestra. Maily did more than coast, though. The range of emotions evoked by the three movements cf the piece were largely due to Malls work. Tclemsnn's "Concerto for Violin, Horn and Orchestra" featured Paraschkekov again, and hornist Deborah Sturman of the Israel Chamber Orchestra. Sturman missed a few notes, but made up for it with rarely-heard range and articulation. Schumacher and the orchestra, called back for an encore, treated Kimball to Sameul Barber's "Adagio for String Orchestra, Opus 11." The next concert at Kimball will be by jazz cornetist Wynton Marsalis Nov. 23. The concert is sold out. staged by a "childish, dirty-minded fiend" like Mozart. His hate of Mozart overshadows his great ap preciation for Mozart's work and the entire film consists of his plots to ruin Mozart and hence ruin God. Salieri's obsessive nature con trasts with Mozart's carefree nature until the concluding scenes. Then, Mozart's obsession with writ ing music installs the same leer in his own eye and the same exhaus tion that Salieri feels while trying to destroy Mozart. The audience learns to both despise Salieri for his treachery and to pity him for his fruitless attempts at glory. He proclaims himself the "Patron Saint of Mediocrity." Unlike Salieri, Mozart's troubles are not borne alone. Stansi Mozart, Amadeus' wife, played by Elizabeth Berridge, tries to make sense of her husband's erratic behavior and spending habits. Her calm, competent presence lends some stability to the turmoil that Mozart and his . 1 J T "3 purpose is human termination. Arnold Schwarzenegger- looks and acts the strong, silent type that his role as Terminator requires. The object of Schwarzenegger's hunt is Sara Conner. Conner is played as well as possible by Linda Hamilton. In the future war be tween man and machine, her son John Conner will be a savior of mankind. To prevent his birth, the Terminator has been sent back to kill his mother. But all is not hopeless; a human from the future also manages to come back to defend her from the Ter minator. Kyle Reese played by Michael Bien is the warrior of the future. Of course Reese and Conner pair off and oppose the Terminator. It seems as if Bien is going to choke on his introductory lines "of the movie, but its hard to blame him briliwMce radical musicial ideas create. Peter Shaffer's screenplay por-x trays Mozart's Europe, as formal and deeply traditional but with cracks starting to show in Euro peans' morals and attitudes. The lavishncss with which the upper classes surrounded themselves con trasts with the hideous poverty of the squalid streets that Mozart repeatedly stumbles through after a night of revelry. The costuming, the scenery and the acting all add to the authenticity of this musi cal drama. The staging of the operas and concerts leave no de tail unnoticed, they are worth the price of the film by themselves. While not being a farce, "Ama deus" manages to amuse the audience with fanatical humor, especially Mozart's outrageous and annoying "hyena" laugh, un leashed at most inopportune times. The serious aspect of the film attempts to show the con flict between success and self- 5 fulfillment through the life of a brilliant but troubled young man. In either case "Amadeus" suc ceeds brilliantly. machines . i because they ar e really weak The rest of the movie is one long shoot-'em-up chase scene in stolen cars with stolen guns. There is, cf course, time enough for Bien and Hamilton to show how human they both are and to create the crucial John Conner. The movie wraps up with a long chase scene in an automated factory. Brad FiedeL musk producer, and Stan Winston, creator of the Terminator effects, deserve credit for making the movie what it is. Without their work, the movie may never have made it to the screen. Pugsley the pet lizard should also get credit lor doing a better job of acting than Schwar zenegger. The audience did not seem to mind the weak structure of the movie and laughed at some of the excessive violence and Schwarzenegger's mindless acting. r m. W& tit, JA f'& w