Texturally, François-Xavier Roth and Les Siècles’ serve up diaphanous performances.
Contra-Tiempo sees the pandemic as an invitation for transformation: the performance questioned who we are, how do we move among each other, and what gives us joy.
Body and Soul generates a whirligig of passions — joy, frustration, pleasure, and rage.
Re-envisioning and performing this beloved classic ballet with dancers that identify as disabled seems to me to be the definition of courageous.
Bottom line: these are excellent performances and a valuable documentation of Elliott Carter’s early work.
Egon Wellesz’s Weimar era critique of the cruelty of nations that are victorious in war still rings hauntingly true.
The 51-minute piece represents a digital time capsule. It comprises 16 short episodes — reflections in movement of lives caught inside the pandemic — crafted by dance-maker collaborators.
Community is what I miss most of all the pandemic’s deprivations—doing stuff with others.
The film allowed me to see the dancers’ connections to each other, and their connections to the quarries themselves.
Dohnányi and Schnitzler’s “pantomime” The Veil of Pierrette receives its first, and resplendent, recording.