TS oliverioof GSU creates "Common Ground" The Atlanta Ballet by AlexanderGlazounov, and cho­ previous selections. This move­ "Common Ground" reography is by Dennis Nahat. This ment evokes the thought that we Through the years, The At­ dance was an excellent choice to evolve from our ancestors and cre­ lanta Ballet has delighted audi­ move from the strictly classical ate offspring that are both of past ences with lofty presentations, but ballet of Paquita to the modern and present. none as energetic and haunting as ballet of "Common Ground". By far, "Common Ground" is the world premiere of "Common "Common Ground ", a col­ the best of the three offerings.The Ground". laboration between composer lighting was superb in creating The enure presentation be­ James Oliverio and choreographer ethereal illusions of space and gins with Paquita (1983 Pre­ Toni Pimble, is a modem ballet time. The costumes added the miere), a classical Russian Ballet that is both haunting and provoca­ splash of color needed to contrast originally choreographed on two tive. with the starkness of space, and acts by Marius Petipa. This one- The First movement "Ances­ the music of James Oliverio was act adaptation, staged by Hans tors" begins with the dancers dim ly culturally neutral, and evoked a Meister, was eloquently danced illuminated and shrouded in fog. feeling of distance through time. by the corps with a splendid pas de This first movement emulates the Oliverio, a visiting professor deux by the leading couple. emergence of the world and man. of music at Georgia State Univer­ The ballet then moves into a The following movement, "Ever sity, has many credits to his name. presentation of Starlight , a ro­ Present," is set to to rhythmic He has won four Emmy awards, mantic and moving dance pre­ music of a harp melody, and it the Meet the Composer Award sented in six movements. The explodes in color when the multi­ (for Concerto for Orchestra) and dance combines classical ballet colored corps glide across the various commissions. His works James Oliverio and Toni Pimble choreography with overtones of stage. The third movement, have been performed by the Cleve­ missioned to compose a score for music and choreography is great, sweeping modern movements. "Union (Pas de deux)" is intro­ land Orchestra, the Symphonies the beginning of the four years credit must also be given to the The subdued lighting and cos­ duced by a dance in which the of Atlanta, Cincinnati, Spokane Olympic Cultural whirlwind here principal dancers and the corp. tumes in various hues of blue cre­ corps usher in the lead couple, and others. He recently was com­ in Atlanta. The world premiere is Their disciplined and fluid move­ ates a feeling of dream-time and culminating their union. missioned by Fernbank Museum scheduled in February, and it is to ments give visual completeness to serenity. The final movement, "Prog­ to compose the inaugural score be performed by the Atlanta Sym­ impressions created by music, The musical selections are eny (Those Yet To Come)" com­ for the opening of their newest phony. lighting and costumes. Bravo! from The Seasons and Raymonda bines many movements from the facility. He has also been com­ Although the combination of -Joy Burnette Edgewood The gSU 31 Sculpture Terrace Forum Concert Series Contemporary of Philharmonic Quartett Berlin by violinist Daniel Strabrawa's Sculpture and GSU Recital Hall sensuous yet raspy tone and cellis t Georgia Terrace Concerts Jan Diesselhorst's deftly light Photography State hand.The last movement of 13 A marvelous, thoroughly en­ Haydn, a martial romp through University thralling Philharmonic Quartett various keys and sonorities, pre­ Berlin performed music by Haydn, ceded in matchless harmony to a Beethoven and Ravel for the sec­ hot-blooded conclusion. "Contemporary Sculpture and small scale works. Lee redeemed himself with a classical ond in the 1992-93 Terrace Con­ These "Teutonic" qualities Photography" Underwood's massive pieces, style portrait of a seated lady who cert series Sunday, November 8 in that the Philharmonic Quartett "Framework" and "Address" exudes grace beyond her crino­ October 31-November 15,1992 the GSU Recital Hall. From their communicates did not overbur­ show a fine integration and con­ lines. Sally Conart Hughe's pho­ opening "Rider" Quartet of Haydn den the colorful shifting and ex­ trol of materials. As large as they tos of suburban children pressed through the neo-classically auda­ otic textures in Ravel's F Major are, their details and finesse made the edge of sexual innocence and If you blinked, you missed it. cious lines in Ravel, this polished Quartet. After the transfixing close examination compelling. On knowing. The viewer feels like a ensemble held the house in a grip metaphysics of Beethoven, the The only flaw with the Edge wood a smaller scale, Walter voyeur and it's hard to remember of musical fervor and technical Ravel wafted in a kind of rarified Sculpture Forum's show, "Con­ Vemelson's mixed media kites if sjustchild'splay. ScottMartin's facility of uncommon power. The sensuality, muscular rather than temporary Sculpture and Photog­ cried out for nearer inspection and series of office workers trapped major work of the evening, brittle, yet warm and eminently raphy," was that it was up for only a lower flying altitude. Speaking by reflections were additionally Beethoven's late E-flat Quartet, graceful. Beethoven appeared as eleven days. The open exhibition of flying machines, Vaughn powerful images. He should have Op. 127, achieved not only a the source of all of Bartok's later highlighted the work of students Randall' s "Human in Control" was guarded against explaining his breadth and poise of remarkable evolution: melodic kernels could and faculty from Georgia State a contraption that Michelangelo metaphor with the caustic text execution, but it possessed an in­ explode into bursts of rhythmic University along with others. The might have drawn in a sketch­ taped by each print, though. wardness, what the Germans call vitality or turn inward, as though unjuried "cattle call" format book. Swinging from the rafters, "Contemporary Sculpture and "innigkeit," that never relented, the poet were musing on the very rounded up a surprisingly cohe­ the iron cage with its weighted tail Photography" should have been no matter what effect required by sources of creativity. The sive group of works. The com­ was made to be sat in and maneu­ required viewing for all GSU stu­ Beethoven. "Scherzando vivace" made white mon thread uniting the show was vered up and down. Its menacing dents. The strength of both the The jaunty, sophisticated fig­ sparks fly, while the Finale rose a high level of craft and technique. posture and acrobatic entry keep it photography and sculpture de­ ures of Haydn's G Minor Quartet, buoyant and fluent after the emo­ From David Landis' lacquered from being a mere toy. partments deserves more atten­ Op. 74, No. 3 opened the evening, tional storms. These were com­ concrete carvings to Valerie More unified in size but varied tion. The works of these talented the second movement of which, pelling readings of staples of the Brown's portrait series of "Maxil- in subject matter, the photography and open-minded individuals "Largo assai," proved to be a repertory by an intelligent, ardent las, Mandibles and Necks," the section held its ground among the might have been a source of pride romantic meditation in the and musically powerful group. A exhibition ran the gamut in mate­ 3-dimensional pieces. James and unity for the campus. "empfindsamer" (emotional) fine concert. rials, ideas and styles. Robinson II's square dance series school of Bach sons. The Berlin The sculpture portion of the -Heather Leigh -Gary Lemco came close to mocking the people ensemble itself produced a rich show was balanced with large and who take the dance seriously. He yet chaste patina of sound, marked

10 Tuesday Magazine November 17, 1992