NYCB의 막간 시즌 시작.
비를 뚫고 (이번 주 내내 비 ㅠㅠ) 갔는데 충분히 보람이 있었다.
로빈스, 발란신, 그리고 윌돈의 작품 한 작품씩.
아~주 간단한 감상만.
처음 시작한 2 and 3 Part Inventions는 로빈스의 작품으로 무대에서 가까운 객석 왼쪽에 피아노가 마련이 되어 피아니스트가 직접 피아노를 연주하고 남녀 네 커플이 공연을 한다.
바흐의 피아노 선율에 맞춰 심플한 의상과 안무가 좋았다.
두번째 아폴로.
스물네살의 발란신이 안무를 하고, 스트라빈스키와 두번째로 호흡을 맞춘 작품이며 이 작품으로 안무가로서 국제적으로 명성을 떨치기 시작했다고 해서 흥미롭게 봤다.
초기작이라고 생각하고 봐서 그런지 이제까지 본 발란신님의 작품과는 조금 느낌이 다른 것 같고, 아주 파워가 넘치고 극적인 아름다운 작품이었다. 개인적으로 연기가 있는 작품들을 좋아하므로 조금의 스토리가 있고, 연기를 하는 작품이라 그것도 마음에 들었다.
시작하면서 풍차돌리기 스타일(?)로 류트를 켜는 아폴로가 인상적이다. ㅋㅋ
아폴로와 세 명의 님프(가 아닐까::)가 출연하는데 세 발레리나는 키도, 몸매도 맞춘듯 올망졸망 날씬하고 아름다운 무용수들이었고, 아폴로는 금발백안의 몸이 좋은 청년이었다.
(출연진은 나중에 추가하겠음)
세번째 Mercurial Manoeuvres. 수성으로의 항해 정도 되려나?
쇼스타코비치의 곡에 윌돈의 안무인데 굉장히 멋있는 작품이었다. 발레곡으로는 특이하게 피아노와 트럼펫을 위한 오케스트라 연주가 되었다. 그래서 트럼펫 부분은 힘차고 멋있었고, 피아노 독주에서는 드라마틱한 장면들이 연출되었다.
시작부분이 아주 인상적이다. 붉은 커튼과 조명들 사이에서 붉은 옷을 입은 남자무용수가 출연, 조명이 밝아지고 휘장이 걷히며 옆에서 춤을 추는 여자무용수들이 드러난다.
아폴로도 좋다고 생각했는데 세번째 작품을 보고 나니 이게 가장 좋았던 듯.
일행 여섯이 전부 이 작품이 제일 좋았다고 했다. 사실 안무나 음악보다는 규모도 크고 출연진도 많아서 일단은 사이즈 자체가 다르니.. ㅎㅎ
아래는 사이트에서 퍼온 작품 소개.
나중에 읽어보려고... 플레이빌의 소개만 간단하게 읽고 공부를 안했음. ^^
Inventions and Sinfonias (1720-1723) by Johann Sebastian Bach
Choreography
Jerome Robbins
Premiere
June 4, 1994, School of American Ballet, Juilliard Theater
Original Cast
Kristina Fernandez, Eliane Munier, Riolama Lorenzo, Jennifer Chipman, Benjamin Millepied, Amaury Lebrun, Alex Ketley, Seth Belliston
Average Length
27 min.
J.S. Bach wrote these piano studies, Inventions and Sinfonias, between 1720 and 1723 to help instruct his son in the playing and handling of two- and three-part pieces. They are mostly short studies and have been given neither tempi nor dynamic marks. There are as many interpretations as there are pianists, as one can conclude by those recorded. Glenn Gould has even rearranged the order, mixing the two and three parts alternately. Jerome Robbins selected about a dozen of all the pieces for this work. Johann Sebastian Bach (1685-1750) was born into a family of musicians successful for over two centuries. Although later in his career he became most noted for his choral and other church-related compositions, he also left a large body of instrumental music for solo instruments and ensembles. While his popular reputation was eclipsed by the fame of his sons, he was revered by musicians and composers. Finally in the 19th century Mendelssohn brought his music to public attention and he became recognized as one of the greatest of all composers.
June 12, 1928, Diaghilev's Ballets Russes, Théâtre Sarah Bernhardt, Paris
Original Cast
Alice Nikitina, Lubov Tchernicheva, Felia Doubrovska, Serge Lifar
NYCB Premiere
November 15, 1951, City Center of Music and Drama
NYCB Original Cast
André Eglevsky, Maria Tallchief, Diana Adams, Tanaquil Le Clercq
Average Length
28 min.
Balanchine regarded Apollo as his artistic coming of age. He said that through the creation of this work, he learned he could "dare not use all my ideas, that I too, could eliminate. . . to the one possibility that is inevitable." The ballet depicts Apollo, the young god of music, who is visited and instructed by three Muses, who were also children of Zeus and thus his half-sisters: Calliope, Muse of poetry, whose symbol is a tablet; Polyhymnia, Muse of mime, whose symbol is a mask that represents the power of gesture; and Terpsichore, Muse of dance and song, whose symbol is a lyre. Stravinsky, who possessed a strong interest in Greek mythology, conceived of and composed the score as a ballet. It was with this work, his second ballet set to the music of Stravinsky, that Balanchine, at age 24, achieved international recognition and began his lifelong partnership with the composer. Igor Stravinsky (1882-1971), born in Russia, is acknowledged as one of the great composers of the twentieth century. His work encompassed styles as diverse as Romanticism, Neoclassicism and Serialism. His ballets for Diaghilev's Ballets Russes included The Firebird, Petrushka, The Rite of Spring, and Apollo. His music has been used in over thirty ballets originating with New York City Ballet from 1948 through 1987, including Danses Concertantes, Orpheus, The Cage, Agon, Monumentum pro Gesualdo, Rubies, Symphony in Three Movements, Stravinsky Violin Concerto, Concerto for Two Solo Pianos, Suite from L'Histoire du Soldat, Concertino, and Jeu de Cartes.
Piano Concerto No. 1 in C minor, Op. 35, by Dmitri Shostakovich
Choreography
Choreography by Christopher Wheeldon
Premiere
April 28, 2000, The Diamond Project IV, New York City Ballet, New York State Theater
Original Cast
Miranda Weese, Jock Soto, Edwaard Liang, Elena Diner, Aubrey Morgan
Average Length
23 min.
This witty and cheerful piece for 21 dancers opens with an explosive male variation — a series of bravura leaps performed to a trumpet solo — that is followed by rapidly shifting ensemble work for a corps of women which materializes from behind gauze panels on each side of the stage. After a quietly mesmerizing pas de deux of unfolding turns, arrested leaps and intricate lifts, the ballet ends with squadrons of dancers flying on and off the stage in ever-changing directions, patterns, and diagonals. An early reviewer compared the work's intricate geometry to the paintings of Kandinsky and Malevich.
The score by Russian composer Dimitri Shostakovich (1906-1975) fell in and out of favor with the Soviet government as the composer's creative development and fortunes were often determined by political events in the Soviet Union. Shostakovich studied at the Leningrad Conservatory, where his work was encouraged by Alexander Glazounov, the Conservatory's Principal. Shostakovich's 1926 graduation piece, The First Symphony, catapulted him to prominence. During the next decade he composed a satirical opera, The Nose(based on a story by Nicolai Gogol), three full-length ballets, and the first of many film scores. Shostakovich, whose work was influenced by Gustav Mahler and Cesar Franck, wrote 15 symphonies (several of them with epic themes relating to the Russian Revolution and World War II), concertos, quartets, operas, and patriotic cantatas.
Christopher Wheeldon, a former soloist with New York City Ballet, retired from dancing in May 2000. He was born in Somerset, England, and joined The Royal Ballet in 1991, the same year he won the Gold Medal at the Prix de Lausanne Competition. In 1993, he was invited to become a member of the NYCB corps de ballet. In addition to dancing, he has choreographed works for New York City Ballet's Slavonic Dances (Dvorak) (1997) and Scènes de Ballet (Stravinsky) (1999), Boston Ballet, Colorado Ballet, Ballet Inc., The Royal Ballet, the Royal Ballet School, and the School of American Ballet. His work can also be seen in the feature film Center Stage (released May 2000). In 2000, Mr. Wheeldon was selected as New York City Ballet's first Artist in Residence.
