We began the evening when we picked up them up at the Detroit Opera House.  Although I had previously had lunch with him, this proved to be my best chance to get to know him.  I was interested to hear what they would think about our tour.

We took the long way to Mexicantown along Michigan Avenue toward Rosa Park, while pointing out sites, such as the former Tiger Stadium and Slows BBQ.  As it turned out, they’d already been to Slows and raved about its great barbeque.  

As we approached Michigan Ave and Rosa Park I told them about Corktown—its Irish origins and its current evolution.  A quick turn down Bagley took us into the heart of Mexicantown.  Beginning with Honeybee Market, we went all the way down and pointed out restaurants like Mexican Village that are familiar to locals like us.  In our own Americanized way, he could see touches of Mexico in the neighborhood.

After stopping by St. Anne’s and taking some pictures, we ended up at our ultimate destination: Taqueria Mi Pueblo.  This was a place that, when I mentioned at our first meeting, his eyes lit up.  The mere mention of taqueria-style tacos and a nice glass of horchata was like heaven.

At this point, I began to learn about Lomeli’s history.  He has been performing professionally for about four years.  His big break came in 2006 when he became the first Mexican to win Placido Domingo’s opera competition, Operalia in both the opera and zarzuela divisions.

“Many competitions are judged by singers.  However, this one was judged by directors of the main opera houses in Europe,” Lomeli said, as he explained how opera competitions work.

Our dinner was a bit surreal in how music and food mixed together.  Now, I have been to Mi Pueblo a number of times.  However, this was the first instance when Guns N’ Roses playing.  It wasn’t just GNR but the live version of “Sweet Child O’ Mine”—a song that both Lomeli and I both instantly recognized.  He reminisced briefly how he used to perform this same song with bands during his youth.  Throughout dinner, Lomeli peppered us with snippets of songs in Spanish that were playing.

One of the things that he shared was how different opera is than popular music.  While popular groups use relatively the same set list, there are more variables in opera—among them, with each performance using different orchestras and learning new scores for them.

“In opera, you have 500 pages of music to learn for five shows (i.e Don Giovanni).  You’re always learning a new score.”

While Lomeli spoke about opera, he also talked about what it took to get there.  Part of it involves sacrifice, which for some performers, means giving up relationships.

“It hurts like hell, but I’m used to it.  It’s my job.  It’s my passion.  It’s my life.  You could do it for fun and be mediocre.  However, if you want to be the best, you need to do what it takes.”

Lomeli gave credit to his parents.  Besides the fact that he was raised by a lot of women (his mother and grandmother were both singers), his parents instilled a sense of tenacity that would prove valuable.

“My parents had a saying.  You get only one day to whine and say how you hate the world.  On the next day, you have to find a solution.  They would ask me, ‘So what are you going to do next?’ ”

As our evening unfortunately came to an end, we were all able to learn from each other.  Lomeli and McMahon were able to see some of the sites, especially in Mexicantown, that they may not have otherwise seen.  For him, he was literally able to get a taste of home. However, this wasn’t really about food or sites, but about peering into other worlds.  In the same way that they left with an insider’s look into Detroit, we were able to do the same with opera.

Author: José A. Rodríguez

The Tchaikovsky Ballet, one of Russia’s most distinguished ballet companies, will perform their critically acclaimed production of Sleeping Beauty at the Detroit Opera House March 26-28th.  The production will feature Tchaikovsky’s whimsical score and Marius Petipa’s original choreography.

The story, based on the 1697 books by Charles Perrault, begins in an imaginary kingdom far away where a king and queen celebrate the long awaited birth of their only child, Princess Aurora.  All are invited to attend the celebration including fairies who, invited as godmothers, offer the princess blessings of beauty, wit and grace.  In a vengeful twist, an angry fairy puts a curse on Aurora that can only be undone with her true love’s kiss.  Sleeping Beauty is one of the most enduring fairy tales of all time, popularized in the U.S. by Walt Disney’s 1959 adaptation that featured music from the Tchaikovsky ballet.

A special dinner and dance package will be offered to audiences during the Saturday night performance on Saturday, March 27 at 7:30 p.m.  The package will include a three course meal and a glass of wine at Shiraz in Bingham Farms at 5:00 pm, a premium seat at the opera house during the performance and complimentary transportation to the restaurant from the opera house and back for $89.

An intermediate and advanced ballet class will also be offered on Saturday, March 27 at 11:00 a.m. for free to Sleeping Beauty ticket holders and $25 for the general public.  The class will take place in the Margo V. Cohen Center for Dance at the Detroit Opera House in the Ford Center for Arts and Learning, 5th floor.

The Tchaikovsky Ballet Theatre of Perm, Russia premiered their first ballet season in 1926 and is known for producing both classical and contemporary works, with an emphasis on the ballets of Pyotr Ilyich Tchaikovsky.  The company is unique in that it draws all of its dancers from its own school, one of the most prestigious training institutions for ballet in Russia.  The artists from the company have distinguished themselves in international and national competitions.  The company is also greatly influenced by several Kirov artists and shares the styles and standards of the Kirov school, which is historically known for its structured and refined approach to ballet.

Tickets for the March 26-28th performances of Tchaikovsky Ballet’s Sleeping Beauty at the magnificent Detroit Opera House range from $29-$76 and are available at the Detroit Opera House ticket office (1526 Broadway, Detroit, 48826), by phone at (313) 237-SING (7464) or online at www.MichiganOpera.org.  Tickets are also available at all Ticketmaster outlets, by phone at (248) 645-6666 or online at www.Ticketmaster.com.

The Tchaikovsky Ballet’s Sleeping Beauty:

• Friday, March 26, 2010 7:30 p.m
• Saturday, March 27, 2010 2:30 p.m
• Saturday, March 27, 2010 7:30 p.m
• Sunday, March 28, 2010 2:30 p.m

The first part entitled “Club Havana” instantly put me into a Cuban frame of mind. Their outfits recalled an early 20^th century Cuba. Their lithe movements were drenched in longing sensuality. As I took in every detail of each movement, I saw how the men pursued the women only to be pushed away. The whole back-and-forth dynamic was something very palpable.

Following the first intermission, Ballet Hispanico graced the audience with “Locked Up Laura.” The postmodern dance centered around a female dancer that seemed to be coaxed back onto the stage. A friend of mine attending the show with me said it best when she compared it to a line in Pink Floyd’s “Comfortably Numb, “Come on it’s time to go.” Aside from the music, the bulk of the accompaniments were, in fact, stage calls for her. Particularly striking were the moments when the female dancer’s limbs were moved with invisible strings.

The last two pieces, “Triptico” and “Batucada Fanástica” were full-on tributes to Brazil and its music. Where the Cuban dances were more about longing, these performances were about the joy of Carnaval. From the music to the outfits, I could see Brazil written all over. The dancers’ shoulders and hips were doing the talking. The smiles on their faces were a complete contrast with the stern, yet smoldering demeanor during the Cuban dances.

Watching Ballet Hispanico was a real treat. I have to admit that, afterward, I was left with a real hankering for some Buena Vista Social Club, whose music was used during the first Cuban dance. Even though I’m not Cuban, there was something familiar about the music that wrapped around me like a blanket.

I give the performance a reluctant B+. I would have given it an A, except that I wasn’t fond of “Locked Up Laura” being included in the performance. I liked the piece but not alongside the other ones. I thought that it would been better by itself or as part of another program. Just as well, Ballet Hispanico did a great job and put on a stellar performance.

Author: José A. Rodríguez

Photos: Rosalie O’Connor & Ballet Hispanico

Several new works will make their Detroit debut in this two-performance engagement.  With choreography by Annabelle Lopez Ochoa and music by Bart Rijnink, “Locked Up Laura” made its world premiere in August 2009 and explores the human struggle to maintain authenticity in the face of routine, as seen through the lens of an artist. After making its world premiere in December 2009, “Triptico” is a daredevil interpretation of Grammy Award-winning Oscar Hernandez’ commissioned score, taking an athletic approach to the romantic pas de deux and challenging traditional Latin rhythms with choreographer Ron De Jesus’ power, speed, and control of contemporary partnering.

Ballet Hispanico will also perform two signature works from their extensive repertory.  Pulsing with an infectious Cuban beat is “Club Havana,” which fuses with the rhythms of the conga, rumba, mambo and cha cha with choreography by Pedro Ruiz and music by Lopez, Gonzales, Salim, Prado and Repilado. With choreography by Vicente Nebrada and music by Luciano Perrone, “Batucada Fantastica” will conclude each performance with a rousing homage to the Brazilian Carnival with electrifying performances by eight soloists that culminates in a riot of ensemble dancing.

A special Valentine’s Weekend package, entitled “La noche del amor” or “night of love,” will be offered for the Saturday, February 13th performance at 7:30 p.m.  The package will include: two premium box seats tickets, two beverages and chocolate roses for $190.  Latin salsa classes will be offered on Friday, February 12 at 6 p.m. for free to Ballet Hispanico ticketholders and $25 for the general public.  All ages and skill levels are invited to attend.  The salsa class will take place in the Margo V. Cohen Center for Dance at the Detroit Opera House in the Ford Center for Arts and Learning on the 5th floor.

Celebrating over 40 years of artistic and cultural expression, Ballet Hispanico boasts a rich, diverse repertory of over 90 works and consists of thirteen dancers from around the world.  Having performed for over 2 million people, the company has performed in 11 countries on three continents.

Ballet Hispanico tickets at the magnificent Detroit Opera House, February 13-14, 2010 range from $29-$76 and are available at the Detroit Opera House ticket office (1526 Broadway, Detroit, 48826), by phone at (313) 237-SING (7464) or online at www.MichiganOpera.org.  Tickets are also available at all Ticketmaster outlets by phone at (800) 745-3000 or online at www.Ticketmaster.com.

The plot is intricate and so reading a good summary is essential. This production is a real treat for Sondheim-lovers , an adequate night for Sondheim-take-him-or-leave-him people, and a night in hell for Sondheim-I’d-rather-eat-my-own-foot-than-watch-this individuals.

With classically trained voices and acting chops, overall, this ensemble contained no weak links.  Each cast member shone individually. Leslie Uggams as “Desiree Armfeldt” and Ron Raines as “Fredrik Egerman” had a playful and comfortable chemistry.  It was a pleasure to watch two seasoned professionals handle the dialogue and difficult music with such seeming ease.
Lisa Vroman as “Countess Charlotte Malcolm” displayed impeccable comedic timing and provided most of the night’s big laughs. Edward Watts as “Count Carl-Magnus Malcolm,” Desiree’s current lover, had a big booming voice and played the part of the egomaniacal Count with relish. The scenes between him and his put-upon Countess were especially hilarious.

Kevin Thomas Campbell as “Henrik,” had a strong voice and was able to capture the conflict between his love for the seminary and his strong physical urges. And Lindsey Rider as the maid, “Petra,” displayed a killer bosom and vocals on her powerhouse number.
Unfortunately, this November 14th show had one major unforgiving flaw—the atrocious sound system.  Even though the company all had trained voices that could handle using no microphones as in opera, since this was a musical, every performer was wearing a pack. Sometimes, inclement weather makes the mics pop and crackle. Although Saturday’s performance was on a precipitation free night, the mics popped, crackled, and thumped throughout the two hours-plus show.  There was incessant feedback and sometimes they weren’t even on when the actor commenced singing. This is inexcusable! The Detroit Opera House is as professional as you can get in this town, perhaps in all Michigan. This isn’t Broadway and Detroit’s audiences are forgiving to a point.  However, it became so bad that the audience would murmur and look among themselves for the greater part of the show. Major props go to the actors who carried on with no missteps or dropped cues. It was not fair to them or the audience who paid more than $100 for some seats.  This production is lovely-beautifully acted and sung, yet the poor sound production made this night’s music a little unbearable.

Author: Yana Levovna

Pilobolus began in 1971 as a renegade dance company that quickly gained a reputation for its innovative explorations of athleticism and dance through groundbreaking performances.  Currently, Pilobolus has three companies: Pilobolus Dance Theatre (the umbrella of its concert dance companies), The Pilobolus Institute (its educational programming) and Pilobolus Creative Services (its division specializing in movement services for various media, events and clients).

I was fortunate to be able to catch their November 1st performance.  I’ll be honest when I say that I didn’t know what to expect.  I had checked out their website and my fiancée told me about one of their performances she saw on the 2007 Academy Awards.  Even with all of this, I knew that I had to keep an open mind.

Let me say that I was glad that I did.  The group of about six or so performers performed pieces that just broke all sorts of boundaries.  I consider myself a relative novice in terms of dance terminology and styles.  In a lot of ways, it’s good because I wasn’t looking at the performance from a dancer’s perspective but from someone with a clear slate and no real frames of reference.  I had to suspend any notions that I carried in about what “dance” is and is not.

In their performances, the dancers performed independently, as well as weaving themselves into physical forms that almost reminded me of something out of Voltron (where each of the robots combined into one big one).  It’s a ridiculous comparison although the only one that I can use to describe what I saw. I remember during one piece the dancers combined to form an airplane, where one of the dancers was the front propeller.  Trust me-you would have had to see it to believe it.  The music, the dancers and their expressions formed a true tapestry.  There were no words for expressing themselves—only their movements and facial expressions.  At no point during the show was I losing interest. If anything, I was waiting for the next piece.  Unfortunately, there was a break during each piece for the dancers to change costumes.  When the time came for them to take their bows, I was really saddened. I ended up a true convert.

So when Pilobolus comes through town again and I hope that they do soon, do yourself a favor: buy a ticket and come in with an open mind.  I promise that you will not leave disappointed.

This sellout year was BravoBravo’s 10th anniversary. This year’s theme was the 1920s’ Jazz Age. As a result, many guests were dressed up in zoot suits and flapper outfits.  Speaking of zoot suits, the musical high point was musical act Cherry Poppin’ Daddies who had their hit “Zoot Suit Riot.” Local entertainment included local jazz groups, as well as Paxahau and Movement Festival (Detroit Electronic Music Festival) acts and ones sponsored by Fusicology.com.

For those of you that weren’t fortunate enough to attend, keep your eyes open for next year’s event. Be sure to bookmark BravoBravo’s site: www.bravobravo.org. Tickets sell out fast so be ready to act fast next year. If this year is any indication, next year will be even bigger and hotter than this year.

[Show as slideshow]

Fusicology.com is a multifaceted website and media entity promoting diverse, local and authentic music and culture through event listing and relevant content, with roots in the city of Detroit.

Both Monica Blaire and Doc Holiday will be featured in the Cadillac Café, which will be transformed into the McDonald’s McCafé’ as part of one of the most talked-about event.  This year, BravoBravo! will feature more than 10 national and local acts including DJ Captn 20, The John Arnold Trio, Malik Alston & the Linwood Ensemble and DJ Frank Raines from Funk Night Detroit.  Additional artists include the internationally renowned Chuck Flask, Jenny LeFemme, Michael Geiger and Paxahau and Movement Festival. Headlining the main stage, the Hard Rock Café presents the Cherry Poppin’ Daddies. who combine punk, rock, jump blues, and jazz to electrify the ears of the party-goers.

The BravoBravo! 10th Anniversary event is June 5, 2009 at the Detroit Opera House (1526 Brodway, Detroit, MI) from 7:30 PM-12:30 AM.  Tickets are available online at  http://www.motopera.org/tickets/reserveSeats.aspx?id=2001, in person at the Detroit Opera House box office or by phone at (313) 237-SING.  Attendees must be over 21.

VIP packages are still available.  Please contact Stephani Yates at  mailto:syates@motopera.org for more information.