I had a brief chat with ABT’s music director, Ormsby Wilkins, about the recently rediscovered Benjamin Britten orchestration of Les Sylphides that the company is using this season. How is it different from the one they were using before, by Roy Douglas? On first hearing I found it lighter, more classical, with more detailed voices. But I wondered whether the differences went deeper. You can link to the conversation here.
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New York City Ballet went back to basics this week with its “Black and White” program. All Balanchine, all modernist ballets performed in pared-down leotards and tights: The Four Temperaments, Episodes, Duo Concertant, and Symphony in Three Movements. Here’s my review of the evening for DanceTabs.
And a short excerpt: “The program, a compilation of modernist ballets set to music by Webern, Hindemith, and Stravinsky that span three decades (1946-1972), is a kind of compendium of the choreographer’s most radical, game-changing esthetic. Its distinctive mix of courtliness, mystery, and eroticism still surprises. Not to mention its musical intelligence, which can make sense of a work as impenetrable – and as seemingly undanceable – as Anton Webern’s pointillist Opus 21 symphony.”
The “Black and White” program repeats on Sept. 28, Oct. 1, Oct. 4, and Oct. 13.