Great Noise Ensemble's Revelation: Contemporary Classical Concert
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The last date listed for Great Noise Ensemble was Friday April 5, 2013 / 8:00pm.
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When Agnes stumbles upon her late sister's Dungeons & Dragons notebook, she takes off on a revealing quest that finds her battling evil cheerleaders, randy ogres and homicidal faeries (with more than a little gore). Presented by Rorschach Theatre, the heartwarming action comedy She Kills Monsters -- a 2012 GLAAD Award nominee -- goes deeper than the fantasy game to explore the wounds of adolescence in a high-octane and dramatic fashion. Acclaimed Vietnamese-American playwright Qui Nguyen mashes up reality and fantasy, adds a dash of '90s pop culture and pays homage to the geek and warrior in all of us in this empowering story about embracing your inner badass. Learn More
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About The Program
Stephen Albert’s *_Treestone*_ is a collection of moments captured from the story of Tristan and Iseult from Finnegan’s Wake, set for soprano, tenor and chamber orchestra. “The story of Tristan is communicated in coded fragments by different persons, challenging our reason and powers of intuition,” writes Albert in his program notes. “Our associative memory is forced to the edge, deciphering and piecing together Joyce’s abbreviated, irreverent and often deranged version of the tale.” *
Daniel Felsenfeld’s *_*The Curse of Sophistication*_ takes its title from a line in an Elvis Costello song, as do the movement titles—though there its relationship with Mr. Costello ends. “Anyone who toils in the garden of so-called high art knows its traps and pitfalls, its unfairnesses and inequities, its Obsessions, Temptations, and Posessions. It can be a family, high culture; it can also be a foe, a difficult climb and, indeed, a curse,” says Felsenfeld. This concerto was written for GNE pianist Molly Orlando Palmiero and Great Noise Ensemble, and receives its world premiere at this performance. *
Aleksandra Vrebalov’s *_*Transparent Walls*_ is a meditation on the subtle, often invisible relatedness among everything, those connections we see only in rare moments of clarity. Vrebalov says, “In those moments it seems that time slows down and lets us glimpse through otherwise opaque walls that all of a sudden become transparent, become like a magnifying glass. And we see through, we feel the force of knowledge, we feel the timelessness that consumed us, and an eye-blink later, we are back, with walls opaque again. In this piece, I explore the moment of being in front of transparent walls, with answers just about to reveal themselves, while the moment in time is stretched to an unidentifiable length and we are generously let in.”