Orquestra de Sao Paulo with Evelyn Glennie | Harris Theater | Classical, International | Chicago Reader

Orquestra de Sao Paulo with Evelyn Glennie Recommended Soundboard Critics' Picks

When: Mon., Oct. 12, 7:30 p.m. 2009

“In some respects my hearing is superior to the average nonimpaired person. I simply hear in a different way.” “No one really understands how I do what I do. Please enjoy the music and forget the rest.” “If the audience is instead only wondering how a deaf musician can play percussion then I have failed as a musician.” In the essays on hearing and disability from her Web site, Evelyn Glennie is as defiant in discussing her deafness as she’s been in overcoming it. Having inspired repertoire from many important composers, she’s forged a solo career that redefines the possibilities for classical percussionists. Glennie joins Orquestra de Sao Paulo—an ensemble that has really blossomed in the past decade—on its U.S. tour under 29-year-old conductor Kazem Abdullah. Together they perform one of Glennie’s signature pieces, James MacMillan’s Veni, Veni, Emmanuel, which pulls a 15th-century French Advent plainsong into the late 20th century; in its striking middle section, marimba darts above the serene orchestral refrain. Abdullah, whose career has gotten a push from his successful Met debut in January, leads the orchestra in two works by Brazilian composers: Alberto Nepomuceno’s genial “O Garatuja” and Heitor Villa-Lobos’s “Bachianas Brasileiras no. 4,” from his popular series of nine that funnels Brazilian ethnic music through Bach. The program concludes with Bartok’s jarring Suite From The Miraculous Mandarin. On Tuesday, October 13, Glennie will answer questions following a screening of the documentary Touch the Sound at Access Living, 115 W. Chicago; the event runs from 5:30 till 7:30 PM. —Steve Langendorf

Price: $25-$55


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