![]() ![]() ![]() It’s certainly not GOOD, but once I accepted that, I was able to have a decent time. I wanted to see this show for 1) Carolee Carmello and 2) to see for myself if it really was that bad. My seat said “partial view” but I really didn’t miss much, if anything. $25 + $5 in fees - I ended up right around where the mezzanine overhangs the orchestra, off to one side. I got my Bad Cinderella ticket through the digital rush (which was still available several hours after 11 AM, although I had to try a few times). Also of note, the actor playing Frankie was Boq when I saw the Wicked tour last summer - I really liked him in that and seeing him in such a different role was so exciting since Boq really doesn’t allow a performer to show off their strengths. I truly don’t know how Ben Platt puts himself through that show every night - immediately after the show, he was escorted from the stage door to a private car, and I don’t blame him at ALL. I walked back to my hotel and then sat there for a few minutes in total silence because I felt like I needed some time just to process the show. At curtain call I couldn’t even cheer because I was on the verge of crying. I went into this show almost entirely blind (I knew the story of Leo Frank but none of the musical material) and oh my god. While it hurt me to use it, it did mean that my Parade ticket (albeit in the back row of the mezzanine and costing $15 more than through Telecharge) didn’t cost me anything. The 4 full length CDs are housed in a clamshell box, which also includes an illustrated 32 page booklet featuring detailed liner notes by James Nice and Stephen Whittington.I’ll try to keep this brief, but a few months back, I got the dreaded gift card as a gift from someone who didn’t know any better. Disc 4 also finds space for Satie's single-act, neo-Dada lyric comedy Le Piege de Medusa, comprising 'seven tiny dances for Jonah the Monkey', illustrated by Cubist painter Georges Braque., as well as his 'Christian ballet' Uspud from 1892. Intended to be heard in the background, rather than actually listened to, these five disparate pieces have been cited as a conceptual precursor to the ambient, minimal, functional and serial works of Brian Eno, Paul Hindemith, Steve Reich and Philip Glass.Īlso included are the experimental pieces Descriptions automatiques and Sports et divertissements, the latter a collection of 21 miniatures from 1914 published with illustrations by Charles Martin. Solo piano performed by Bojan Gorisek.ĭisc 4 leads with Satie's often referenced (but seldom heard) musique d'ameublement (furniture music), written to order for various benefactors between 19. This third disc also includes The Puppets Are Dancing, written for the French Futurist dancer/poet Valentine de Saint-Point in 1913, and the ludic Trois valses distinguees du precieux degoute ('Three Disgustingly Precious Waltzes'), a barbed swipe at rival Maurice Ravel, premiered at an exhibition of works by Picasso, Matisse and others in 1916. These include piano and orchestral versions of his scores for the celebrated 'Cubist' ballets Parade (1917) and Mercure (1924), as well as a seldom-heard organ 'diversion', The Statue Found (1923). Also included is Satie's score for Entr'acte, Picabia's dazzling multi- media 'instantaneist&' ballet. Relache dates from 1924, while Cinema is Satie's music for an intermission film by Rene Clair.Ĭubist Works on Disc 3 offers four works composed by Satie between 19 for his collaborations with Pablo Picasso. ![]() Performed on piano by Bojan Gorisek, this disc includes Trois morceaux en forme de poire, performed by Satie in 1923 at Tzara's notorious Soiree du Coeur a Barbe, as well as Ragtime Dada, an extract from the ballet Parade performed at Dada events staged by Kurt Schwitters and Theo van Doesburg in 1922. An enthusiastic Dada activist in Paris between 19, Satie collaborated extensively with Tzara, Man Ray, Pablo Picasso and Jean Cocteau. This meditative 70 minute recording features 40 repetitions of the motif, performed by Alan Marks on piano.ĭisc 2 is a collection of Dada-related works, including music used by Francis Picabia, Tristan Tzara, Kurt Schwitters and Rene Clair. First performed under the supervision of John Cage in 1963, this radical, enigmatic, proto-Surrealist work is now recognised as a significant milestone in the avant-garde canon. Les Disques du Crepuscule presents a comprehensive 4 disc CD boxed anthology by visionary French avant-garde composer Erik Satie, collecting together works associated with the Dada, Cubist and Surrealist art movements, as well as his celebrated musique d'ameublement (furniture music) written between 19.ĭisc 1 offers Satie's extraordinary Vexations, the score for which is just three lines long, yet a complete performance (840 repetitions) may last for anything between 14 and 28 hours. ![]()
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