Argento in Living Color

By Hanna Morgan

Colorful. My first experience at an opera was, well, colorful. The costumes of the eleven UMD students who performed in the Dominick Argento opera, Postcard from Morocco, represented every hue on the color wheel. The various characters were dressed in beautiful purple Victorian dresses and striped vests and carried around decorated pieces of luggage of different shapes, sizes and hues. Besides the visual color, the opera itself was colorful, or unique, in its plot. This kept me engaged throughout the opera, as I had no idea what would happen next.

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Dance Exchange

By Hannah Morgan

The last thing I thought about this morning when I turned on my computer was how far the energy that powered it had come from. Same thing when I got dressed; I was more concerned if my clothes matched than what distance they had traveled, or what had powered the factory they were made in. But that is the difference between me and Cassie Meador. She thinks about these things.

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The Grass Is Not Always Greener

By Sydney Held

In Edward Albee's Everything in the Garden, "green" has a double meaning. Jenny and her husband Richard's garden is flourishing with green but their income is diminishing. The protagonist Jenny decides to disobey Richard and take a job, selling her body for money, in order to keep up with their wealthy inner circle of friends where money seems to be valued above all else. The performance was a reminder to me that the grass will always seem greener on the other side.

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Classical Accents

By Robert Lee Wolfe III

It's difficult to entertain a conversation about classical music in the twenty-first century without addressing the decline of the form. The spattering of remaining young musical aficionados regularly laments the sea of gray heads amid the array of empty seats at most classical performances.

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Militant Civil Disobedience and an Idea for Fortune’s Bones

February 22, 2012
By Dave Eberhardt

This blog was submitted through our Share Your Story webpage by Dave Eberhardt. Aside from some light edits, we present his story as it was provided to us.

The Fortune’s Bones project and Ms. Barnwell’s work looks impressive. As a member of CORE (vice chair) in Baltimore in the 60s and later a peace protester imprisoned for an anti-war protest, I can identify — I hate it when these things get co-opted — as we used to say — by any power structure, which hopefully it won’t be.

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