If anger is a step on the road to recovery, I left the theater slightly further along that path. FischerвЂ™s delivery was straightforward and respectful, and as a non-Black person, hers was not the right voice to narrate that uniquely Black experience. The final spoken story, recited in conjunction with violinist Mazz SwiftвЂ™s poignant arrangement of вЂњGoinвЂ™ Home,вЂќ was the only one that looked mostly outward, confronting the audience with a Black artistвЂ™s memory of encountering the video of George FloydвЂ™s murder under a police officerвЂ™s knee and the deluge of вЂњare you okay?вЂќ messages from well-meaning friends afterwards. In other words, people like myself, and probably most of the audience on Friday night. It gave narrative power to people with class privilege: to shelter in place instead of working on the front lines, or to channel oneвЂ™s attentions into art, or even to take time and stop and mourn what has been lost. But as a whole, вЂњInternal ChamberвЂќ was obviously created in a bubble. This criticism is not to trivialize anyoneвЂ™s individual experiences, whether of processing grief and loss or of finding tidbits of joy or meaning in a dark time. One could think of few better portents for the future where Giddens is concerned. Beside her, Das (a Silkroad founding member) beamed like a proud father as his hands raced across his tabla. And tabla master Sandeep DasвЂ™s newly commissioned arrangement of Rabindranath TagoreвЂ™s вЂњEkla Cholo Re,вЂќ a Bengali song that was a favorite of Mahatma Gandhi - here Giddens sat center stage with crossed legs, her banjo in her lap as one might hold a sitar, singing the acrobatic melody with only the slightest wobble of unfamiliarity. This is how you get pieces like вЂњSilent City,вЂќ a shattering meditation for Western strings, percussion, and kamancheh (a Persian bowed string instrument about the size of a viola but played upright, a la cello) composed by the groupвЂ™s kamancheh player Kayhan Kalhor. The facile takeaway from a Silkroad performance would be that music is a universal language its true lesson is that common ground can be found if people are willing to adopt a beginnerвЂ™s mindset and cooperate to find it.

The musical branch of the larger Silkroad organization, Silkroad Ensemble unites instruments from numerous countries, traditions, and tuning systems, weaving their unique sounds into a singular whole through custom compositions. Friday evening, Giddens made her long-awaited live debut as the groupвЂ™s artistic director in the world premiere of вЂњPhoenix Rising,вЂќ a new program set for an American tour in 2022, featuring new commissions and arrangements as well as a few tried-and-true Silkroad favorites. Giddens, a singer, songwriter, and multi-instrumentalist, was named the organizationвЂ™s new leader during the socially distant summer of 2020, with executive director Kathy Fletcher describing her as вЂњthe unicorn we were looking forвЂќ - Silkroad focuses on music of the Americas in addition to its home ground of Europe and Asia. Because when Rhiannon Giddens tells you to sing along, you very well sing along.ДЄnd so begins a new era for the multidisciplinary global arts collective, originally the brainchild of world-famous cellist and musical goodwill ambassador Yo-Yo Ma.

It took a few moments for it to catch on, but eventually the sound was echoing from all around the room. She hummed the note into her handheld microphone once, twice - and then fluttered her fingers at the audience and hummed again. Behind her, several instruments droned a sustained C. CAMBRIDGE - With her bare feet visible beneath her floor-length skirt, the new artistic director of Silkroad stepped delicately onto the stage of the Loeb Drama Center.

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