Xinfony VII (wow, SEVEN already? We haven't even had Melizo 4. Sob.) was quite good. I think it was better than the previous Xinfony, and the alumni band and the guest percussion ensemble managed to wow me the most. My sister was one of the emcees, and her voice was so low because she was having a sore throat, which was scary because it made her sound like me. The resemblance was uncanny.
But I shall dwell on the selfish and superficial! The air-conditioning at the stall seats were apparently not working, and several people who decided to revive the layered look from last fall/autumn suffered the most. It was so bad, someone reportedly lost 5 kg sweatin' it out. (Ok, I'm only kidding. But it was that bad.) Beneath the layers of synthetic fibres that became scratchy in contact with perspiration that clumped skin and wiry shirts together, the mother of all discomfort, I could see the suffering in their bloodshot eyes as they tried catching up with their sleep (or rather, their sleep caught up with them) during the more avant-garde and experimental percussion ensemble. Then again, Xinminians tend to have a knack for inappropriate dressing. Some looked like hookers, and I'm still trying to erase the awful mental image than had been superimposed by the trauma.
But Xinfony was good, really. To be frank, they were close to receiving standing ovations, but there's still something missing. Most aesthetic groups find the learning process of a piece extremely tiring, but injecting some emotion and feeling into the piece via dynamics makes everything more exciting, everytime. That's why I really liked the percussion ensemble. They made clever use of the atonality of the song and their pianissimos were really soft and their fortississimos were quite adaquete. But gah still no one can appreciate unconventional music.
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