Magloire’s New Chamber Ballet in World Premiere, Nov. 22 & 2

Posted on November 20, 2024 by editoreusa

MIRO  MAGLOIRE’S  NEW  CHAMBER  BALLET  CELEBRATES  20TH  ANNIVERSARY  SEASON with the WORLD PREMIERE of ‘STARGAZING,’ to a commissioned score by CHRISTIAN-FREDERIC BLOQUERT

Friday & Saturday, November 22 & 23 at 7:30 PM

Mark Morris Dance Center, 3 Lafayette Avenue, Brooklyn NY

Tickets: $38

Reservations: https://memoryforgot2024.eventbrite.com   

Dancers:  Anabel Alpert, Megan Foley, Nicole McGinnis, Amber Neff, Rachele Perla

Musicians: Madeline Hocking, violin         Sophiko Simsive, piano 

Choreographer Miro Magloire continues to celebrate the 20th Anniversary Season of his New Chamber Ballet with the world premiere of “Stargazing,” set to the commissioned score, “Memory, Forgot,” by contemporary French composer Christian-Frederic Bloquert.

In honor of this special season, Magloire describes “Stargazing” as “a rhapsodic fantasy that revolves around the interweaving of music and dance.”   The choreography is performed in New Chamber Ballet’s signature, in-the-round setup, with the audience seated up-close and able to see the dancing from various angles.

Christian-Frédéric Bloquert (composer)

Christian-Frédéric Bloquert is a French composer and conductor. He is the co-founder and Music Director of the BeComEnsemble. His works have been performed by the Berklee Contemporary Symphony, the MIVOS Quartet, the PHACE Ensemble, the Symphony Orchestra of Brasilia, the Juilliard Symphony, the Basel Sinfonieorchester, and the Ensemble InterContemporain amongst others.

He was the recipient of the 2020 ASCAP Foundation Morton Gould Young Composers Award and, in 2021, he was a finalist of the Basel Composition Competition. Later that year Bloquert also won the Juilliard Orchestra composition Competition. Bloquert was a 2022 Blueprint Fellow and he was commissioned by the 2022 edition of the New York City Ballet’s Choreographic Institute for which he also won the 2022 Israel/Pellman Prize.                                                                                                        Bloquert’s score for “Stargazing,” written for piano and violin, subtly evokes two iconic ballets: Tchaikovsky’s Serenade and Stravinsky’s Agon.  The score was commissioned by the Charles and Joan Gross Family Foundation.

Madeline Hocking, violin

Hailing from Qathet, Canada, Madeline Hocking is a violinist, violist, composer, and artistic director committed to giving contemporary music the attention and passion it deserves. She thoroughly enjoys collaborating with composers on world premieres of their works, as well as interdisciplinary projects involving improvisation and electronics. Madeline is a member of the Boston-based Semiosis Quartet, an ensemble dedicated to new music, and co-founder/co-artistic director of Noise Catalogue, an award-winning collective based in New York City. She also co-hosts an ongoing concert series with violist and composer Trevor New, ‘Telematic Collisions’, which employs cutting-edge technology to maximize audience interactivity and accessibility. 

Madeline has achieved widespread recognition as both a chamber music and soloist, having soloed with the American Composers Orchestra, the San Francisco Conservatory Orchestra, the Vancouver Philharmonic, the Strathcona Symphony Orchestra, and the Comox Music Centre Orchestra. She’s been featured as a chamber musician in the New York Philharmonic’s ‘Nightcap’ series and as a solo performer at IRCAM forum, as well as being featured at Lincoln Center, Carnegie Hall, National Sawdust, the Banff Centre, the Bang on a Can Marathon, and countless festivals across North America. As a composer, her works have been performed at venues across the US, Canada, and Hungary. Madeline received her Bachelor’s degree from the San Francisco Conservatory of Music, and a Master’s degree in contemporary violin from Manhattan School of Music.

Sophiko Simsive, piano

Hailed as an “exceptional musician of rare talent who promises to become one of the leading pianists of her generation” by pianist Jean-Yves Thibaudet, Simsive began her studies at the age of three and, since then, has been invited as a recitalist to prestigious venues such as Berliner Philharmonie and Concertgebouw. Simsive has performed with the Residentie Orkest, Yale Philharmonia, Noord Nederlands Orkest, Jeugdorkest Nederland, and MSM Philharmonia, and has worked with conductors such as Lev Markiz, Peter Oundjian, Jan Willem de Vriend, and Jurjen Hempel.

Simsive is the pianist of the prestigious Claremont Trio. She has performed with chamber groups including the Calidore String Quartet and has collaborated with prominent musicians such as Kian Soltani and Gilbert Kalish. As a soloist and chamber musician, she has been featured at renowned festivals including the Yellow Barn Festival, the Music Academy of the West, and the Verbier Festival. Simsive serves as a Senior Teaching Assistant at Yale University, where she co-teaches alongside violinist Wendy Sharp. She is also a Chamber Music and Private Piano Instructor at the Brooklyn Conservatory of Music.

Simsive holds a Doctor of Musical Arts degree from the Manhattan School of Music where she studied with Solomon Mikowsky. Her past teachers include Boris Berman, Jacques Rouvier, Mila Baslawskaja, and Maka Aladashvili. Simsive is represented by Interartists Amsterdam Management.
www.newchamberballet.com

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Magloire’s New Chamber Ballet in World Premiere, Nov. 22 & 23

Posted on November 6, 2024 by editoreusa

MIRO  MAGLOIRE’S  NEW  CHAMBER  BALLET  CELEBRATES  20TH  ANNIVERSARY  SEASON

with the WORLD PREMIERE of ‘STARGAZING,’ to a commissioned score by CHRISTIAN-FREDERIC BLOQUERT

Friday & Saturday, November 22 & 23 at 7:30 PM

Mark Morris Dance Center, 3 Lafayette Avenue, Brooklyn NY

Tickets: $38

Reservations: https://memoryforgot2024.eventbrite.com   

Dancers:  Anabel Alpert, Megan Foley, Nicole McGinnis, Amber Neff, Rachele Perla

Musicians: Madeline Hocking, violin         Sophiko Simsive, piano 

Choreographer Miro Magloire continues to celebrate the 20th Anniversary Season of his New Chamber Ballet with the world premiere of “Stargazing,” set to the commissioned score, “Memory, Forgot,” by contemporary French composer Christian-Frederic Bloquert.

In honor of this special season, Magloire describes “Stargazing” as “a rhapsodic fantasy that revolves around the interweaving of music and dance.”   The choreography is performed in New Chamber Ballet’s signature, in-the-round setup, with the audience seated up-close and able to see the dancing from various angles.

Christian-Frédéric Bloquert (composer)

Christian-Frédéric Bloquert is a French composer and conductor. He is the co-founder and Music Director of the BeComEnsemble. His works have been performed by the Berklee Contemporary Symphony, the MIVOS Quartet, the PHACE Ensemble, the Symphony Orchestra of Brasilia, the Juilliard Symphony, the Basel Sinfonieorchester, and the Ensemble InterContemporain amongst others.

He was the recipient of the 2020 ASCAP Foundation Morton Gould Young Composers Award and, in 2021, he was a finalist of the Basel Composition Competition. Later that year Bloquert also won the Juilliard Orchestra composition Competition. Bloquert was a 2022 Blueprint Fellow and was commissioned by the 2022 edition of the New York City Ballet’s Choreographic Institute for which he also won the 2022 Israel/Pellman Prize.                                                                                                            Bloquert’s score

 for “Stargazing,” written for piano and violin, subtly evokes two iconic ballets: Tchaikovsky’s Serenade and Stravinsky’s Agon.  The score was commissioned by the Charles and Joan Gross Family Foundation.

Madeline Hocking, violin

Hailing from Qathet, Canada, Madeline Hocking is a violinist, violist, composer, and artistic director committed to giving contemporary music the attention and passion it deserves. She thoroughly enjoys collaborating with composers on world premieres of their works, as well as interdisciplinary projects involving improvisation and electronics. Madeline is a member of the Boston-based Semiosis Quartet, an ensemble dedicated to new music, and co-founder/co-artistic director of Noise Catalogue, an award winning collective based in New York City. She also co-hosts an ongoing concert series with violist and composer Trevor New, ‘Telematic Collisions’, which employs cutting-edge technology to maximize audience interactivity and accessibility. 

Madeline has achieved widespread recognition as both a chamber music and soloist, having soloed with the American Composers Orchestra, the San Francisco Conservatory Orchestra, the Vancouver Philharmonic, the Strathcona Symphony Orchestra and the Comox Music Centre Orchestra. She’s been featured as a chamber musician in the New York Philharmonic’s ‘Nightcap’ series, and as a solo performer at IRCAM forum, as well as being featured at Lincoln Center, Carnegie Hall, National Sawdust, the Banff Centre, the Bang on a Can Marathon, and countless festivals across North America. As a composer, her works have been performed at venues across the US, Canada, and Hungary. Madeline received her Bachelor’s degree from the San Francisco Conservatory of Music, and a Master’s degree in contemporary violin from Manhattan School of Music.

Sophiko Simsive, piano

Hailed as an “exceptional musician of rare talent who promises to become one of the leading pianists of her generation” by pianist Jean-Yves Thibaudet, Simsive began her studies at the age of three and, since then, has been invited as a recitalist to prestigious venues such as Berliner Philharmonie and Concertgebouw. Simsive has performed with the Residentie Orkest, Yale Philharmonia, Noord Nederlands Orkest, Jeugdorkest Nederland, and MSM Philharmonia, and has worked with conductors such as Lev Markiz, Peter Oundjian, Jan Willem de Vriend, and Jurjen Hempel.

Simsive is the pianist of the prestigious Claremont Trio. She has performed with chamber groups including the Calidore String Quartet and has collaborated with prominent musicians such as Kian Soltani and Gilbert Kalish. As soloist and chamber musician, she has been featured at renowned festivals including the Yellow Barn Festival, the Music Academy of the West and the Verbier Festival. Simsive serves as a Senior Teaching Assistant at Yale University, where she co-teaches alongside violinist Wendy Sharp. She also serves as a Chamber Music and Private Piano Instructor at the Brooklyn Conservatory of Music.

Simsive holds a Doctor of Musical Arts degree from the Manhattan School of Music where she studied with Solomon Mikowsky. Her past teachers include Boris Berman, Jacques Rouvier, Mila Baslawskaja, and Maka Aladashvili. Simsive is represented by Interartists Amsterdam Management.
www.newchamberballet.com

This performance is supported by the Amphion Foundation and the Aaron CoplandFund for Music.  An earlier version of this piece was commissioned by the New York Choreographic Institute.

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Concert by Nippo-Americana pianist Kiana Reid for the Concert Season of Mema-Trapani Classica

Posted on November 3, 2024 by editoreusa
On Wednesday 30 October at 6.30 p.m., the concert of Kiana Reid, winner of the second prize at the “Domenico Scarlatti” International Piano Competition, was held in Trapani, in the Church of Sant’Alberto in via Garibaldi. The Japanese-American musician performed a program that spans three centuries of music history, including Domenico Scarlatti’s Sonata in E major K20, Robert Schumann’s Fantasies in C major Op. 17, Franz Joseph Haydn’s Sonata in F major Hob XVI:23 and Sergej Rachmaninov’s Musical Moments Op.16.
Kiana Reid represents one of the most promising pianists of her generation. She began studying piano at the age of six in Japan, and quickly conquered the most prestigious stages in the world, from the Suntory Hall in Tokyo to the Musikverein in Vienna, from the Pierre Boulez Saal in Berlin to the Central Music School of the Moscow State Tchaikovsky Conservatory. Her talent was recognized with numerous first prizes in competitions, including the Takamatsu International Piano Competition in Japan, the Palma d’Oro International Piano Competition, and the Sergio Fiorentino. International Piano Competition.
 Trapani concert season is organized by Mema (Mediterranean Music Association) and Trapani Classica, with the contribution of the Ministry of Culture and the Sicilian Region – Regional Department of Tourism, Sport and Entertainment, in collaboration with the Museum of Contemporary Art – Oratorio San Rocco Cultural Center,  the Goethe Institut, the Italian-German Cultural Institute – Trapani Section and the Free Municipal Consortium of Trapani.
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THE ORCHESTRA OF THE BRONX WILL PRESENT ITS ANNUAL HANDEL’S ‘MESSIAH’ AT LEHMAN COLLEGE

Posted on October 29, 2024 by editoreusa

THE ORCHESTRA OF THE BRONX WILL PRESENT ITS ANNUAL HANDEL’S ‘MESSIAH’

DECEMBER 8 AT LEHMAN COLLEGE,

JOINED BY SOLOISTS AND CHORUS OF THE BRONX OPERA

and 23 GUEST SPEAKERS, REPRESENTING RESIDENTS OF THE BRONX

The Orchestra of The Bronx, led by conductor Michael Spierman, will return to Lehman College with its annual holiday production of Handel’s “Messiah”.   

Soloists and chorus are members of The Bronx Opera, directed by Ben Spierman.

The unique production includes 23 guest speakers—all noted members of the Bronx community—who introduce each musical section, speaking Handel’s text.

Guests include political, business, media, and education notables – an honor student, a waiter in a popular restaurant, a hip-hop artist – a real cross-section of Bronxites.

Sunday, December 8, 3 pm

Lovinger Theatre at Lehman College, 250 Bedford Park Blvd. West

Free admission – all welcome

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Orchestra of The Bronx, Oct. 20: Mozart, Mendelssohn, Beethoven

Posted on October 4, 2024 by editoreusa

THE ORCHESTRA OF THE BRONX

Michael Spierman, conductor

plays

Beethoven, Mendelssohn, Mozart

Guest Violinist: Sharon Gunderson

Sunday October 20, 3 pm

Lehman Center’s Lovinger Theatre,

         250 Bedford Park Blvd. West

Free Admission – no reservations necessary

Information: 929.222.3973

Michael Spierman, founder/conductor of The Orchestra of The Bronx, announces the opening concert of the 2024-25 season.  The 40-member orchestra of musicians drawn from other major orchestras and Broadway shows, joined by guest violinist Sharon Gunderson, will perform a program of Beethoven, Mendelssohn, and Mozart, Sunday October 20, at 3 PM, at the Lehman College Lovinger Theatre, 250 Bedford Park Blvd. West, Bronx, NY.

Felix Mendelssohn’s Overture to The Hebrides (Fingal’s Cave) was inspired by the composer’s 1829 trip to Fingal’s Cave on the island of Staffa, off Scotland’s west coast.  Mendelssohn was overwhelmed by the scenery and wrote to his sister Fanny: “To make you understand how extraordinarily the Hebrides affected me, I send you the following, which came into my head there.”  He included the first 21 bars of the overture of Fingal’s Cave, which Mendelssohn wrote to capture the Atlantic swell, the sound of the waves crashing into rocks and lapping against each other.  Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, the 10-minute Overture, dedicated to King Frederick William IV of Prussia, received its world premiere on January 10, 1833, in Berlin.

Mozart’s Violin Concerto No. 5, often referred to by the nickname “Turkish”, like Mozart’s other violin concertos, is an early work, written in 1775, when the composer was 19 years old, and premiered during the Christmas season that year in Salzburg.  It is not known for whom it was written, but Mozart himself may have played it since he was said to be an accomplished violinist.  It is the third movement that gives this concerto its “Turkish” nickname, as the violin and orchestra take up what is meant to suggest wild Turkish music.  Turkish culture was fashionable in 18th-century Europe, with Turkish coffee, Turkish subjects in dramas and paintings, and popular stories about Turkey in many operas.

Beethoven’s Symphony No. 8 in F Major, fondly referred to by the composer as “my little Symphony in F”, is generally regarded as light-hearted, though not lightweight, because of its short length, lighter tone, and frequent return to the musical styles and forms of the eighteenth century.  However, beneath the gaiety of its surface lies much complexity and a promethean connection.  The premiere took place February 27, 1814 at a concert in Vienna.  Beethoven was growing increasingly deaf at the time, but insisted on leading the premiere.  Reportedly, “the orchestra largely ignored his ungainly gestures and followed the principal violinist instead”.

Sharon Gunderson (violinist) is a native of Flagstaff, Arizona, and received her Bachelor of Music degree from Boston’s New England Conservatory.  During her 26 years in NYC, Sharon has performed at Lincoln Center, Carnegie Hall with the American Symphony Orchestra and other orchestras, and has shared stages with Andre Watts, Itzhak Perlman, Helene Grimaud, and Yo-Yo Ma.  In the pop world, she was a member of the orchestras of Andrea Bocelli, Johnny Mathis, Dianne Reeves, and Bernadette Peters.  In 2008, she and pianist Mary Bopp founded Chamber16, a dynamic consortium of artists presenting classical, modern, new music and improvisation.  Sharon has worked with The Orchestra of The Bronx for over 20 years.

Conductor Michael Spierman has been Music Director of The Orchestra of The Bronx since 1973, and is also co-founder of the Bronx Opera and Artistic Director since its inception in 1967.  He has been guest conductor of orchestras in Brazil, Mexico, Bulgaria, and England.  A member of the Hunter College music faculty from 1970 to 2008, Spierman was also former Chairman of the Music Panel of the New York State Council on the Arts.  Spierman is one of the conductors invited annually for the Lincoln Center, Alice Tully Hall sing-along of Handel’s Messiah.

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“Migrants” by Antonio Fini a success at Manhattanville University

Posted on June 19, 2024 by editoreusa

By Tiziano Thomas Dossena

Antonio Fini and the National Ballet of Kosovo amazed the public on June 6 at Manhattanville University’s Little Theater with an outstanding performance. The program, called “Migrations,” was choreographed masterfully by Mr. Fini and was performed flawlessly and with remarkable energy by the dancers.

Organized by the Albanian American Educators Association, the evening started with a welcome and introduction by Jacqueline Kapaj-Vieira, Executive Director and President of the AAEA, followed by an award presentation to the Nika Family, which has done a lot to support Albanian American dance projects. Lucrezia Lindia and Nerieda Rama, respectively Vice President and Secretary of the AAEA, handed out the awards.

From the left: Dr. Lucrezia Lindia, Vice President of AAEA, the choreographer Antonio Fini, and Tiziano Thomas Dossena.
The Nika family’s acceptance speech…

After that, the dancing started and took over the emotions of everyone present…

As the program stated, “In the choreography of “Migrations,” colors play a significant role. As the dancers move across the stage, layers of vibrant colors are added, representing the diverse cultures that migrants carry with them and acquire during their journey. These colors symbolize the richness and diversity that emerge from the encounter of different traditions and stories. A distinctive element of this performance is the use of Arbresh songs, which the dancers sing during their performance. These songs not only add an engaging musical element to the choreography but also represent a deep connection to the culture and roots of the Arbresh. The melodies and lyrics of the songs narrate the stories of a migrant community, evoking feelings of nostalgia, hope, and resilience.”

Mr. Fini, a dancer of Arbresh origins, which stands for Italian Albanian, chose to create this choreography to explore “the universal theme of migration through the language of movement”.

The effect was sensational also because the dancers reproduced the imagery with a flare and precision that was deeply appreciated by the public. The duet with Aulonë Nuhiu and Fatmir Smani was touching and complemented by a marvelous musical background. That was also a surprising factor in the performance: the songs may not have been understood by most of the public, being in a foreign language, but their sentiment was carried perfectly and was able to create a mood that clarified the dance representation evermore.

Another section, performed by Leonora Rexhepi, Sead Vuniqi, Fisnik Smani, and Kreshnik Musolli. was also enticing and matched by a superb song.

 The final section was danced by a trio of women, Vjollca Llugiqi, Luljeta Ademi and Mërgime Morina

was as interesting and stunning as the other two.

Overall, Mr. Fini was able to convey his message very clearly and effectively, as he always does. The director of the National Ballet of Kosovo (Baleti Kombëtar I Kosovës), Sinan Kajtazi, is also to be complimented for his work and ability to ensure the positive outcome of the evening.

GALLERY

National Ballet of Kosovo (Baleti Kombëtar I Kosovës),

Director: Sinan Kajtazi 

Dancers 

01. Aulonë Nuhiu

02. Besarta Gashi 

03. Drilon Podrimçaku 

04. Donmir Bilall

05. Elmedina Berisha

06. Fatmir Smani

07. Fisnik Smani

08. lir Krasniqi 

09. Jeta Musolli

10. Kreshnik Musolli

11. Leonora Rexhepi

12. Liridon Mziu

13. Luljeta Ademi

14. Marigonẽ Beha

15. Mërgime Morina

16. Muhamet Bikliqi

17. Blerta Fanaj

18. Sead Vuniqi

19. Vjollca Llugiqi

20. Vlora Prizreni

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Philippe Jaroussky wins the 16th Traetta Prize 2024

Posted on June 9, 2024 by editoreusa

French countertenor Philippe Jaroussky has been named the winner of the 16th Traetta Prize 2024 “in recognition of his passionate and enduring commitment to giving voice to the rediscovery of the European roots of 18th-century music.”

The Traetta Prize is an award presented by the Traetta Society in recognition of achievements in the rediscovery of the roots of European music. It is named after the composer Tommaso Traetta (1727-1779) and is awarded annually during Traetta Week, a week of commemorative celebrations dedicated to the composer, taking place over the eight days between the day of his birth and the day of his death (March 30 – April 6).

The Traetta Prize aims to honor individuals who have been committed to expanding the knowledge of 18th-century musical production.
The Prize borrows Traetta’s name as a symbol of a long list of unfairly forgotten composers such as Leonardo Vinci, Pasquale Anfossi, Antonio Sacchini, Nicola Vaccaj, Leonardo Leo, Domenico Cimarosa, or Vicente Martín y Soler, among others.

Premio Traetta

Born in 1978, Philippe Jaroussky has emerged as the most admired countertenor of his generation, as confirmed by the French awards’Victoires de la Musique’ (‘Revelation Artiste Lyrique’ in 2004, ‘Artiste lyrique de l’année’ in 2007 and 2010, CD of the Year 2009) and multiple Echo Klassik awards in Germany (2005, 2008, 2011-2012, and 2015).
Jaroussky’s technique allows him the boldest nuances and the most impressive vocal acrobatics. He has explored a vast repertoire, from the refinement of Italian Seicento with Monteverdi, Sances, and Rossi, to the extraordinary brilliance of Handel and Traetta’s arias. He has collaborated with renowned orchestras on period instruments such as L’Arpeggiata, Les Arts florissants, Ensemble Matheus, Les Musiciens du Louvre, Le Concert d’Astrée, Le Cercle de l’Harmonie, and Europa
Galante, with conductors such as Christina Pluhar, William Christie, Jean-Christophe Spinosi, Marc Minkowski, René Jacobs, Jérémie Rhorer, Emmanuelle Haïm, Jean-Claude Malgoire, and Fabio Biondi.
He has been praised for performances in all the most prestigious concert halls of his native France (Théâtre des Champs-Élysées, Théâtre du Châtelet, Salle Pleyel, Salle Gaveau, Opéra de Lyon, Opéra de Montpellier, Opéra de Nancy, Arsenal de Metz, Théâtre de Caen) and abroad (The Barbican Centre and Southbank Centre in London, Palais des Beaux Arts in Brussels, Grand Théâtre du Luxembourg, Konzerthaus in Vienna, Staatsoper and Philharmonie in Berlin, Teatro Real in Madrid, Carnegie Hall, Lincoln Center in New York, and recently Palau de les Arts in Valencia).

Philippe Jaroussky has received numerous awards for his recordings: with Heroes (Vivaldi opera arias) and La Dolce Fiamma, he achieved gold disc status; his homage to Carestini (with Concert d’Astrée and Emmanuelle Haim) won CD of the Year at Victoires de la Musique and Midem Classical Awards in 2009; his Stabat Mater with soprano Julia Lezhneva and I Barocchisti won the 2014 International Classical Music Awards for Best Baroque Vocal Album and Best Opera Album. Regarding the 2013 release Farinelli: Porpora Arias, Gramophone wrote: “Jaroussky’s swift passages in the rapid heroic arias are precise… but the most exceptional moments are the slow arias that seem tailor-made for Jaroussky’s sweet and graceful melodic singing.”

In recent years, he has collaborated with singers like Cecilia Bartoli and Nathalie Stutzmann, as well as singing and conducting the Artaserse Ensemble, the baroque orchestra he founded in 2002.
In 2017, he established the Philippe Jaroussky Music Academy to enable the discovery and study of classical music for less privileged youngsters and support young musicians in entering the professional world.

————————————————-

More info:
Traetta Prize : http://en.wikipedia.org/wiki/Traetta_Prize

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MARTITA GOSHEN’S EARTHWORKS  

Posted on June 9, 2024 by editoreusa

in the premiere of  ‘WAY OF THE WHALE’

Dedicated to marine biologist and expert in cetacean intelligence Dr. Roger Payne,

and composer/cellist David Darling

Friday June 14, 8 PM

The Scripps Studio Theater, 551 Grand Street

(top floor of the Paul Taylor Dance Company Studios)

Tickets: $25

Reservations: e-mail requests to whaledance2024@gmail.com

Choreography: Martita Goshen with company members Annmaria Mazzini, Kim Grier-Martinez,

Grace Ho, Yonna Lee, Patricia Ruiz, and Carla Rigon

Music: David Darling, and Dr. Roger Payne’s Songs of the Humpback Whales

Sound Design: Gregory Kostroff

Lighting Design: Aaron Copp

_______________________________________________________________________________

“Ms. Goshen’s dances spring from her respect for the earth and its preservation.”               

The New York Times

“With every ounce of her being (Goshen) pours her love and passion into her company.  A true artist and guardian of nature, she will forever whisper the spirit words of the natural world” 

 broadwayworld.com

“…her dances are brave and haunting proof that movement can be just as powerful as speech.”       

The Washington Post

Choreographer Martita Goshen returns to the Scripps Studio Theater with the world premiere of “Way of the Whale,” a tribute to the great whales and prayer for their survival, on June 14th at the Paul Taylor Dance Company Studios, 551 Grand Street.  The work is set to music by late composer/cellist David Darling and to a variety of the songs of humpback whales, blue whales, dolphins, and natural waves from recordings by Dr. Roger Payne.  

The work is dedicated to the late Dr. Roger Payne, a great scientist, humanitarian, and marine biologist who discovered that humpback whales sing and who created a recording of their voices in the 1970s.   At that time, notes Martita, “it was not known that whales were so sentient and possessed such highly evolved intelligence,” adding “(it) really saved these whales from extinction.”  Dr. Payne’s book Among Whales was universally praised and brought to life the awesome presence of these great, noble – and desperately threatened – creatures.

“Way of the Whale” is also dedicated to the late composer/cellist David Darling, Grammy award winner for his album “Prayer for Compassion.”   Martita has selected several of his songs from that album for her new work.

Martita Goshen was born in Montevideo, Uruguay, the daughter of American parents in the U.S. Diplomatic Corps, specializing in Latin American affairs.  Growing up in some remote corners of South America, she was profoundly impressed by her time spent with the Indigenous people and one of the tribes in the Upper Amazon, which fostered her love and respect for the earth and its preservation, a theme reflected in her works.   Her dance experience is derived from a diverse background, including studies with Anna Sokolow, Limon, Zena Rommett, and Christine Wright, among others.

“Way of the Whale” is made possible by the generosity of

Jody and John Arnhold, the Great Mother Earth Fund, and

loyal friends of Goshen’s Turtles Inc. around the globe.

Special thanks to Noah Aberlin of the Paul Taylor Dance Company.

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LA CENERENTOLA IN PERU

Posted on May 5, 2024 by editoreusa

From the 8th to the 12th of May, the Teatro Municipal in Lima (Peru) will present La Cenerentola, a production already seen at Tempio Pausania and on the circuit of the Opera Network of the Marche Region, curated by Matteo Anselmi and directed by Andrea Foti. In the cast, former students of the Accademia Rossiniana, Alberto Zedda as Chiara Tirotta (Angelina), Pietro Adaíni (Don Ramiro), Giuseppe Toia (Don Magnífico), Matteo Mancini (Dandini), Giacomo Nanni (Alidoro), Patricia Calvache (Clorinda) and Tamar Ugrekhelidze (Tisbe). (Ph Marilena Imbrescia)

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OPERAMYLOVE selected by Feedspot as one of the Top 25 New York Classical Music Blogs on the web.

Posted on April 29, 2024 by editoreusa

Opera, My Love Magazine has been selected by the panelists of FEEDSPOT as one of the Top 25 New York Classical Music Blogs on the web.

GO TO FEEDSPOT

https://blog.feedspot.com/new_york_classical_music_blogs/
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