To Sir Frederick Ashton’s fast footwork and musicality belongs the Australian Ballet’s double bill “The Dream” and “Marguerite & Armand.” To the charming misadventure distillation of Shakespeare’s A Midsummer Night’s Dream bubbles “The Dream.” To the legend of Margot Fonteyn and Rudolf Nureyev, dovetails Amy Harris’s Marguerite, in Harris’s last stage role before her retirement. After 22-years with the company, Harris bids farewell in a delicious camellia-bloom, echoing Marguerite’s own departure (thankfully for altogether different reasons; Harris is retiring from the stage, whereas her character Marguerite is dying of tuberculous).FREE ARTICLE
Hua Hsu wrote in March for the New Yorker a quarantine-inspired piece about the BBC radio show “Desert Island Discs.” The program, which began during World War II as “part of the BBC’s broader effort to make life during wartime slightly more bearable” as Hsu puts it, presents interviews with cultural icons from various fields who are each asked to prepare a list of eight tracks that they would bring with them were they to be stranded on a desert island. Hsu uses “Desert Island Discs” to further his own investigation of the role of music in our lives and particular cultural moment, and, more profoundly and pertinently, to think about the underlying question of the show: “How do you find meaning in total isolation?” In the radio recording studio, the question takes a hypothetical form: What would you grasp for, in a song, if you were forced into isolation? In the midst of our current pandemic, the question becomes more literal: What do you listen to, to find meaning for yourself, now that you have been “forced” into indefinite isolation?
Miami City Ballet in George Balanchine's “Serenade.” Photograph by Paul Kolnik
When a choreographer takes on volcanic and iconic works from American musical giants like Leonard Bernstein and John Adams one move they could take is to cool them down with a couple of more soothing European works in between.Continua a leggere