Philip-glass-ensemble * Notes *
Yesterday evening the Philip Glass Ensemble played Music in Twelve Parts at Davies Hall. The vocalist, Lisa Bielawa, was unbelievable. The parts without her, 9 and 10, seemed inhuman and overly synthetic. The playing was, with the exception of Mr. Glass', very dexterous. Much stamina must have been required for the performance. Overall, the piece certainly has a hypnotic ethereality, but one could see how the pall of repetition could also inspire mere listlessness.

* Tattling * 
Many of the people in the center terrace seemed bored, as if they were only there out of duty. Though easily ignored, there was much whispering, photograph-taking, and reading of mobile devices during the music.

I was late, not once, but twice. The will call line was utter chaos, and I barely slipped into the hall before the music started. Then I managed to be quite tardy after the dinner break. One could just blame a pernicious Belgian influence, though it is hardly fair.

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10 responses to “Music in 12 Parts”

  1. sfmike Avatar

    I noticed a lot of phone cameras during the performance, particularly one jerk in the third row center of the orchestra. As somebody who takes lots of photos at public performances, can I just offer two basic pieces of etiquette? Don’t ever, and I mean ever, use a flash in a concert hall. It doesn’t make the photo any better, and it’s seriously annoying. Second, wait until the performers are bowing. Don’t take photos during the performance because it’s totally distracting for audience members behind you. There, I’ve said my piece.
    I was really pissed off with everybody being seated late during the first hour until I heard about the will-call disaster, and then all was forgiven. Didn’t notice the center terrace being particularly bored because I figured there were plenty of other bored people too (though I wasn’t one of them, oddly enough).
    Love your backhanded compliment review, and my new favorite phrase is “pernicious Belgian influence.”

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  2. Doug Gary Avatar
    Doug Gary

    What an absolute treat to see this important piece live. It was a great use of Davies, too. I was kinda amazed at SF Performances’ will call fiasco: Let’s see, we have how many will call tickets and how much time? Maybe let’s think about some extra windows and tables, etc. Anyhow, it was fun. Flipper’s provided quick service in time to make it back for #7. Hooray for Hayes Valley. I kinda liked the two pieces without voice. They helped me take in each instrument’s part more, and then the return of that wonderful soprano was all the more sublime.

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  3. Not For Fun Only Avatar

    By “pernicious Belgian influence”, I assume you mean the french fries?

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  4. The Opera Tattler Avatar

    Camera etiquette seems like it should be easy enough, and yet!
    I enjoyed the performance, but obviously with reservations. I’m also flattered to have provided a favorite phrase!

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  5. The Opera Tattler Avatar

    I agree that the absence of the singer made her return prominent, it was quite an effect. In fact, it was hard for me to hear anything except her voice during Part 11.

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  6. The Opera Tattler Avatar

    Certainly couldn’t mean anything else, heavens forfend.

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  7. Immanuel Gilen Avatar

    Heavens forfend? Are you speaking in Ye Olde English code now so as to fend off my supposed perniciousness?
    That has to be one of the most awkward sentences I’ve ever constructed.

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  8. The Opera Tattler Avatar

    “Zounds! where thou wilt, lad, I’ll make one; an I do not, call me a villain and baffle me.”

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  9. Immanuel Gilen Avatar

    Come, come, you talk greasily; your lips grow foul.

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  10. The Opera Tattler Avatar

    By my soul, a swain! a most simple clown!

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