Evgeny Kissin (above) plays Beethoven’s Piano Concerto #1 in a 2007 performance with the Verbier Festival Orchestra conducted by Esa-Pekka Salonen.
Watch and listen here.
I first fell in love with this concerto when Helgi Tomasson set his ballet PRISM to it for the New York City Ballet in 2000.
Soprano Julia Smith sings a Richard Strauss rarity, ‘Epheu’, with Jonathan Fisher at the piano, at the Elizabeth Harwood Prize Competition at The Royal Northern College of Music in March 2020.
Watch and listen here.
The Hymn to the Sun from Pietro Mascagni’s opera IRIS, performed in 1996 at the Palazzo del Quirinale in Rome by the orchestra and chorus of the Teatro San Carlo, Naples. The conductor is Paolo Carignani.
Watch and listen here.
Above: NY Philharmonic cellist Eric Bartlett
Cellists of The New York Philharmonic play Bach’s Suite No. 1 for Unaccompanied Cello in G-major from their homes during the pandemic.
Watch and listen here.
A collection of Verdi arias:
Alessandra Marc ~ Pace pace mio dio – FORZA DEL DESTINO
Bruno Prevedi – MACBETH ~ O figli o figli miei!
Anna Moffo – SIMON BOCCANEGRA – aria
Anselmo Colzani – Il Trovatore ~ Il balen del suo sorriso
Elizabeth Connell – La luce langue – MACBETH – Met bcast 1
Richard Tucker – LOMBARDI – aria
Miami City Ballet‘s Artistic Director Lourdes Lopez introduces Claudia Schreier’s PLACES, created at the time of the pandemic. The piece premiered digitally on November 19th, 2020.
Watch and listen here.
CHOREOGRAPHY Claudia Schreier
MUSIC Jorge Mejia
CINEMATOGRAPHY Alexander Iziliaev
LIGHTING DESIGN John Hall and Alexander Iziliaev
COSTUME DESIGN Eleanor Wolfe
BALLET MASTER Joan Latham
DANCERS Nathalia Arja, Emily Bromberg, Renan Cerdeiro, Satoki Habuchi, Kleber Rebello, Damian Zamorano
MUSICIANS Jorge Mejia, Piano; Daniel Andai, Violin I; Sheena Gutierrez, Violin II; Modesto Marcano, Viola; Shea Kole, Cello; Antonio Escobedo, Double Bass
French soprano Sabine Devieilhe sings Olympia’s showpiece “Les Oiseaux dans la Charmille” from Offenbach’s CONTES D’HOFFMANN. Watch and listen here.
In January 2019, Mlle. Devieilhe gave a recital at Weill Hall here in New York City that was simply delightful.
Miro Magloire’s New Chamber Ballet have released NOCTURNE, a filmed ballet choreographed by Miro to the first and second movements of Johannes Brahms’ violin sonata No 1, opus 78. The dancers are Anabel Alpert, Megan Foley, Amber Neff, and Rachele Perla, and the score is performed by Doori Na (violin) and Sean Kennard (piano). Costumes are by Sarah Thea, assisted by Lauren Carmen. NOCTURNE was shot at Please Space, Brooklyn.
The film was directed by Emily Kikta and shot by Peter Walker; Emily and Peter, members of New York City Ballet, have together formed KW Creative. As dancers, they have a unique gift for capturing dance on film. After watching the ballet, be sure to watch the interview with Emily and Peter further down the link:
Watch NOCTURNE here.
Anyone who has ever attended a New Chamber Ballet performance knows that Miro always takes you as close to dance as you can possibly get; but with NOCTURNE, KW Creative will make you feel like you are dancing yourself. The brilliant camera work brings you right into the action, much as the film ‘Backstage at the Kirov’ makes you feel like a fifth cygnet. And, as music and dance are equally essential to New Chamber Ballet‘s artistic credo, I can enthusiastically heap praise on the excellent rendering of the Brahms score by Doori Na and Sean Kennard.
The eerily atmospheric setting of Please Space after dark lends an air of mystery to NOCTURNE. The ballet evokes a feeling of urban Wilis carrying on with their nightly rituals. And, as with GISELLE, the coming dawn signals the end of their mystic rites. Amber Neff (above), who had opened NOCTURNE emerging hesitantly to dance in the sacred space, returns to her safe haven. The ballet has a timeless feeling; one could imagine these sylphs gathering to dance each night at moonrise for ages to come.
Still photos by Miro.
Miro Magloire’s New Chamber Ballet have released NOCTURNE, a filmed ballet choreographed by Miro to the first and second movements of Johannes Brahms’ violin sonata No 1, opus 78. The dancers are Anabel Alpert, Megan Foley, Amber Neff, and Rachele Perla, and the score is performed by Doori Na (violin) and Sean Kennard (piano). Costumes are by Sarah Thea, assisted by Lauren Carmen. NOCTURNE was shot at Please Space, Brooklyn.
The film was directed by Emily Kikta and shot by Peter Walker; Emily and Peter, members of New York City Ballet, have together formed KW Creative. As dancers, they have a unique gift for capturing dance on film. After watching the ballet, be sure to watch the interview with Emily and Peter further down the link:
Watch NOCTURNE here.
Anyone who has ever attended a New Chamber Ballet performance knows that Miro always takes you as close to dance as you can possibly get; but with NOCTURNE, KW Creative will make you feel like you are dancing yourself. The brilliant camera work brings you right into the action, much as the film ‘Backstage at the Kirov’ makes you feel like a fifth cygnet. And, as music and dance are equally essential to New Chamber Ballet‘s artistic credo, I can enthusiastically heap praise on the excellent rendering of the Brahms score by Doori Na and Sean Kennard.
The eerily atmospheric setting of Please Space after dark lends an air of mystery to NOCTURNE. The ballet evokes a feeling of urban Wilis carrying on with their nightly rituals. And, as with GISELLE, the coming dawn signals the end of their mystic rites. Amber Neff (above), who had opened NOCTURNE emerging hesitantly to dance in the sacred space, returns to her safe haven. The ballet has a timeless feeling; one could imagine these sylphs gathering to dance each night at moonrise for ages to come.
Still photos by Miro.
Oberon's Glade 