Juan De Anda | Features Editor
[email protected]
Every musical performance the music department puts forth has me enticed and longing for more. I, along with others in the audience, are mesmerized by each personality that takes the stage and guides us through a world of music that many people don’t have the privilege of seeing and experiencing. I can’t say anything less about the City College World Music Ensemble’s presentation of music from Ireland, China and the Caribbean Nov. 2.
One word: phenomenal.
A thorough sexual history and assessment of overall health is important to men and women, and there are treatment paths to seek out in regards to ED, that’s for discount levitra sure. The blood circulation increases in the muscles of the reproductive organs and increase blood cost cialis viagra flow to the genital areas. Plus you have abundant flavor choice sildenafil 100mg which is hardly found in any drugs. However, Kamagra is available at a much lower price than you would pay at your local pharmacy. purchasing viagra in canada The talented ensemble was directed the energetic Bob Wrenn. As he jumped maniacally up and down, violin strings breaking apart like so many split ends; Wrenn appeared to move as a puppet to a musical puppeteer.
During the performance, it seemed as if Wrenn’s jolly personality was transmitted to the musicians and audience alike. The entire audience was participating with either their keys jingling, patting their heads, and snapping fingers. The musicians were so rejuvenated and enlivened by their performance they began to stand up and move about the City College auditorium toward the end of the performance.
The musical pieces from each geographical region were just as fun and bouncy as Wrenn’s personality. The Irish music consisted of different styles of music such as jigs, reels and polkas. The music had the big, sweeping feel of Oscar winning scores like of “Titanic”, “Braveheart”, and “The Chronicles of Narnia”. The polkas had the audience pounding their hands and feet with joy and elation till it seemed there was a stampede to be unleashed. The Irish music was mad hopping brilliant.
The mad hopping elation stopped as Chinese music began to fill the auditorium and thoughtful contemplation settled in. This portion of the performance had dance, poetry and choreography by Allegra Silberstein, a member of the World Music Ensemble. Silberstein would recite a poem and then do an interpretive dance to accompany the music that sounded like rushing rivers, gusty winds and tweeting birds. The experience was transcendent because the audience was immersed in 4,000 years of tranquil and traditional Chinese history, philosophy and culture.
The Caribbean music was the best part of the musical ensemble and suiting as the conclusion of the concert. The entire spirit of the Caribbean was present and the demented puppet returned and infected everyone. Even the raptors and walls of the auditorium were shaking a rain of dust on the people present singing and dancing to mambo and drumming from Jamaica, Haiti, Trinidad and Cuba.
