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
“I remember the day.” So begins Pulitzer Prize-winning composer David Lang’s crowdsourced lament, a eulogy for the lost, an encomium for those still with us, a sorrowful remembrance of a bygone world, one forever changed when some 3,000 lives perished on that horrific Tuesday in September. Making use of a single day as metaphor to cut to the heart of humanity, the 2016 Lang composition, “the day,” was commissioned by contemporary cellist Maya Beiser as a prequel to Lang’s 2003 opus, “world to come,” which was composed in response to 9/11, with “The Day” receiving its West Coast premiere over the weekend at CAP UCLA’s Royce Hall.
Wendy Whelan and Maya Beiser in “The Day.” Photograph by Reed Hutchinson / CAP UCLA
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