New York City Ballet’s “Architecture of Dance: New Choreography and Music Festival” Culminates with World Premiere of Mirage

By -

New Ballet Set to Esa-Pekka Salonen’s Violin Concerto and Choreographed by Peter Martins

Hailed by the New York Times as an “ambitious festival of modern music,” the “Architecture of Dance” festival has brought new music and architecture to the forefront of dance this spring. Following world premieres of three new scores by Thierry Escaich, Jay Greenberg, and Bruno Moretti and six new ballets choreographed by Melissa Barak, Mauro Bigonzetti, Wayne McGregor, Benjamin Millepied, Alexei Ratmansky, and Christopher Wheeldon, the New York City Ballet’s “Architecture of Dance: New Choreography and Music Festival” culminates on June 22 with its final premiere: Mirage, set to Esa-Pekka Salonen’s powerful Violin Concerto, with choreography by New York City Ballet’s ballet master-in-chief Peter Martins and scenic design by Santiago Calatrava. The Violin Concerto, a co-commission of the NYCB, the Chicago Symphony Orchestra, and the Los Angeles Philharmonic, will receive its New York premiere with the composer conducting the New York City Ballet Orchestra with violin soloist Leila Josefowicz, the concerto’s dedicatee. When Salonen and Josefowicz premiered the work with the Los Angeles Philharmonic in April, Mark Swed described it as “pure, euphoric poetry with a singular sound and voice” (Los Angeles Times).

Commissioned score by Esa-Pekka Salonen; new ballet (Mirage) by Peter Martins
World premiere: Tuesday, June 22 at 7:30pm
Wed, June 23 at 7:30pm
Sat, June 26 at 2pm and 8pm

Ticket purchases
Tickets are available through Center Charge at (212) 721-6500, through the NYCB web site, www.nycballet.com, and at the theater’s box office. Ticket prices range from $15 to $125.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In &quo
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

The Art of String Quartets by Brian Ferneyhough

By -
Image
When an artist sets paint to canvas, there are brush strokes used for different effects. Sometimes those strokes are subtle, imperceptible; they produce works of art like the Mona Lisa . Other times the very obvious nature of the stroke is the art, as in works by Van Gogh. With some composers of music, the notes on the page are their craft. How those notes translate into an aural experience is what defines some composers as great artists. Brian Ferneyhough has a masterful command of the techniques of putting notes on the page. These techniques are sometimes so subtle, even though written in black and white, they escape detection. Some of what he attempts with his music is just that, to escape detection, to bury the framework, diverting the ear away from the structure, so only the music is heard . The subtlety is so fine it is almost imperceptible. Even though he studied at several institutions, he is considered self-taught, studying scores from Boule
Read more