Kanye and Drake have been on the same stage in Los Angeles since playing the Coliseum six months ago, or maybe nowhere near the same ball. We are, of course, talking about a joint performance by UCLA and USC marching bands (mentioned here in alphabetical order – no bias) that crossed the threshold of the official opening of the Hollywood Bowl summer season on Friday night.
Gwen Stefani, LA Phil, Gwen Stefani takes a lot to shade With LA Phil, a pair of world-class ballet dancers, John Williams performing film music, Branford Marcellus, and Williams made an amazing appearance to conduct their own world-premiere piece. But the joint force of the USC and UCLA bands was billed as a historic, first-of-its-kind contribution to the performance of Stephanie’s “Holback Girl” in a nearly 10-minute spread service that stopped the fireworks. Above the bandshell.
This “Tusk Square” climax was the cherry on top of the evening dedicated to the 100th anniversary of the Bowl. (This is actually the 101st, but 2021 was still a bit too epidemic-y to throw a fair party.) “Under the stars” but much better than enough star power on stage to think-out, something for each-bowl-air lineup.
The proceedings began with “Centennial Overture” and an unannounced cameo by Williams, or, as he has long been considered among Bowl season ticket holders, God. “Our dear friend John Williams – maybe you know him – wrote an Overture especially for our celebration,” Dudamel said. “John first performed here 40 years ago in 1978. At the time, he wasn’t conducting his own music, but we persuaded him to do it. The biggest … “Williams is followed by a pole – the piece below may have been written in support of the millennium instead of almost a century – the Millennium Falcon, that is.
Williams’ music also made for another highlight of the first half of the evening, as a possible under-heralded feature for the musician’s jazz styles emerged from his “Catch Me If You Can” score of 13 minutes, with the saxophone great Marcellus. Major twists from principal LA Phil percussionist Matthew Howard on Vibraphone and frequent Marcellus collaborator Eric Revis on double bass throughout the piece.
Before the interview with Roberto Bolley (American Ballet Theater’s lead dancer from 2009-19) and Tiller Peck (also New York City ballet’s lead dancer from 2009), two traditional classical pieces poetically executed the eight-minute masterpiece George Balanchine. Ballet choreography, as Philharmonic plays parts of Stravinsky’s “Apollo”. Another young artist was spotted in front of the August Orchestra as the first performance ended with Spanish violinist Maria Duanas provoking a drunken audience with Ravel’s “Tijigane”.
The second act immediately took a turn for the better with DJ Novena Carmel, currently joining the KCRW “Morning Becomes Eclectic” celebrity, James Brown and other beats with Sisterly Dance Trio Let It Happen. Let It Happen will be back at the end of the night, doing very good choreography during “Hollaback Girl” when the pyrotechnics shut down and Stephanie goes out for a chipple costume change in the extra marshal.
Before appearing on Royal Night for the last time, Stephanie hit the stage for her seven-song set in a hyperbolically frilly pink outfit that opened up to reveal matching tights – closer to what she could wear on a mat. Believing in his OC roots. Speaking of which, Stephanie congratulated the crowd for offering some Gwen-A-Likes. “I can see people wearing my costume from the mat ball, which is incredible. I know it took a long time to make that costume. You look amazing.”
Many of the opening nights at the Bowl have featured rock bands from Phil, or the front of the Hollywood Bowl Orchestra, such as Steele Dan, Moody Blues and Journey; Other solo artists to join the orchestra for First-Night Extravaganza include John Legend and Diana Ross. It seems like a good bet that Stephanie will bring her band along, and maybe even her dancers; They are clearly in practice, as Stephanie set up a co-headlining at the Crypto-dot-com Arena in January as part of the Super Bowl Festival, where she again proved herself one of the best show-women of modern pop. But for Friday’s extravaganza, with the exception of three backup singers, she kept her musicians at home and relied solely on Phil’s support with Derek Hodge’s arrangement. This inevitably raised the question of how appropriate his pop hits were Pure Orchestra
As her (or no doubt) lead song, “Evening in Pops” was the most obvious choice for “Don’t Speak” for symphonic treatment, so it wasn’t surprising to hear it come as the opening number. “The Sweet Escape” was not such a clear candidate for Dudamel-ization, and it was not necessary for any band to present itself as something improved in any way. With “SpiderWebs”, the adaptation made some sense: it’s not such a complete leap, anyway, no doubt when LA Phil from his Ska stage to the horn on the record making it easy on 76 (or so) trombones. To offer Two more string-sweet songs followed – “Used to Love You”, then new husband Blake Shelton came out to repeat his recorded duet song “Someone But You”.
It was with “Just a Girl”, perhaps surprisingly, that the form was completed and one of her signature songs really took its own life without the rock band – its well-known riff Danny Elfman seems to have come out of the score. Philharmonic hand. Stephanie described it as “a song I wrote back in Patti and Dennis’ home in Anaheim” – they would be her parents – “and I wrote the song very easily. I didn’t even know I could write the song, and I wrote it because it’s mine.” It was from the heart. And then all these years go by, and I think this song is really more relevant now than ever before. You tell me. ” At one point, Stephanie, catwalking on a platform around the pool section, urged the men in the crowd to sing the chorus and the women to keep quiet. Man, they felt like a woman.
There was some comedy, both intentional and unpredictable, when Stephanie talked to the names about how bad she was – all the names, she swore – and said that Shelton had trained her to remember Dudamel’s name. “Tomorrow” as a mnemonic instrument. “Gus-tabo, Gus-tavo, I love you, Gus-tavo,” she sang, “you’re always Dutch-e-mail. Dodd-A-mail, “he added, correcting himself immediately.” Yes! It worked! ” Well, that’s the excitement that counts. The master did not seem to like Mangling; At the very least, when the singer humiliates him, “What to do now? Let’s do another!” Let’s do that! “
And there was a lot left to spend for Kerala’s finals, with opposition school saints walking down the aisle and on stage, playing in unison with many collegiate conductors, but offering studies in the midst of many different dances. The style of the two university cheerleaders. (For the record: USCs were very traditional, and UCLA went from the Sassi music video to something more.)
Participating in the climax were members of the Youth Orchestra of Los Angeles (YOLA), the largest of the philharmonic organizations, or students receiving free music education as a result of its patrons. As a benefit, the opening night of the Bowl will help some Vila-back girls to fund their dreams come true, where one day they too can play Stravinsky and Stephanie on the same night.
Optional screen reader