It was the first time this ever happened, and it was pretty wonderful. March 18 at the New World Center in South Beach, dancers of Miami City Ballet and musicians from the New World Symphony got together for Inside the Music: Movements, a surprising program boasting seven ballet world premieres -- including one ravishing short dance film -- plus music spanning four centuries, and some of the most exciting musical performances of the season. These two neighbors should get together again. Soon.
These were well-made dances, promising and occasionally more. The language of the seven young choreographers was conservative, thoroughly grounded in and seldom deviating from the Balanchinean mold, yet never less than entertaining. Most promising of all is this glimpse at a possible future in dance, at the sort of experiment that has paid off elsewhere.
William Forsythe, one of today’s leading choreographers, began just this way, making dances among friends within the young Noverre Society inside the Stuttgart Ballet with its orchestra players. Musicians also surely benefit from this. NWS Fellows already enjoy an enviably wide repertory, but collaborating with another kind of artist can only broaden their own artistry. Inside the Music was a win-win proposition.
Sara Esty’s Road Movies, set to the opening movement of John Adams’ s 1995 score, opened the show. A luminous Chase Swatosh stepped out first, joined in time by Renan Cerdeiro, Bradley Dunlap, Leigh-Ann Esty, Jennifer Lauren, and Nicole Stalker. Kelly Bunch’s violin and Michael Lenville’s piano breezed through Adams’ complex score, making it sound easy and at one point near the end making the dancers hit one last gorgeous stage picture just as the music stopped. Esty’s choreography throughout was sensitive to the music, and if she hasn’t yet found a language of her own, she has a beautiful way with the language she’s inherited.
Ariel Rose’s Dyad followed, set to Johann Sebastian Bach’s popular Concerto No. 5 for Harpsichord and Strings, exquisitely played by Nina Zhou at the piano backed by the NWS Fellows. Shimon Ito, Alex Manning, and Damian Zamorano, all shirtless wearing black pants, had a few sexy little shoulder shimmies, then joined Nathalia Arja in Rose’s fluid dance. The lively Arja has real chispa, and Ito was a strong, attractive partner. The first of three tiny, clever Interludes by Tricia Albertson and an irresistible Christie Sciturro followed, one or two-minute whimsical encounters of ballerina and oboist all over the house. The NWS oboist, Kevin Pearl, showed wit, a luscious mellow tone, and not bad-at-all legs (yes, they made him dance at the end as well).
Cerdeiro’s Preludes, set to George Gershwin’s Three Preludes, was a little tame for this music. The musicians more than made up for it, though. Robert Smith’s jazzy piano, Audrey Wright’s easy violin, and especially Jeremy Morrow’s incredibly precise yet sensual trombone and Henrik Heide’s flute with its shades of Claude Bolling all got to the heart of Gershwin’s score. The 10 dancers were splendid.
A new short film followed called Danse sacrée, choreographed and directed by Zoe Zien with videographer Bruce Pinchbeck, set to the first movement of Claude Debussy’s (1904) Danse sacrée et profane. Shot in a dream-like atmosphere at Fairchild Botanical Garden, with the score played live by the NWS Fellows, the dance began at a huge banyan tree and moved through the grass as the dancers seemed to float through a tribute to Nijinsky. Brianna Abruzzo, Cerdeiro, Ito, and Helen Ruiz were stellar, and the camera obviously loves Patricia Delgado. It is a lovely film.
A very academic duet by Eric Trope called Nine Chapters, set to Johannes Brahms’ moving Sonata No. 1 for cello and Piano, seemed not quite finished, and not up to the score’s emotional breadth. Still, Aaron Ludwig’s burnished cello sounded like a what every dramatic tenor aims for. Colorful in every way, from the tight choreography to the colorful tights, Leigh-Ann Esty’s The Cantina Band had everyone smiling and set the joint jumping to John Williams’ bar scene in Star Wars. No surprise, the NWS Fellows make one hot jazz band.
The most satisfying new dance came at the end, Acantilado by Adriana Pierce, set to Alberto Ginastera’s 1953 Variaciones Concertantes. Tricia Albertson, Emily Bromberg, Sarah McCahill, Leslie Overholt, and Chase Swatosh -- all with ideal follow-though in every phrase -- created delicious tension in this dance, which was not exactly plotless and suggested an outsider and the community that made him that. As that outsider, Jovani Forlan looked like a starlet, danced like a star, and stole the show with a touching fusion of innocence and desire. Here is a dancer to watch.
Puerto Rican percussionist Sammy Figueroa is one of the hidden gems of South Florida. Unassuming and with a puckish sense of humor, Figueroa is a versatile, resourceful player whose extraordin..
The accolades are impressive: Fred Hersch has been called “a pianist, composer and conceptualist of rare imaginative power,” by The New York Times; “ the most arrestingly innova..
The New World Symphony’s 2014-2015 season opened Oct. 11 with quite a party, hosted from the podium by Michael Tilson Thomas with jazzy panache to beat the band. And the band itself, well, l..
Perhaps you’re wondering what singer-pianist Johnny O’Neal will do during his appearance on Saturday. So is he. “I never go by a set list,” says O’Neal, who will perf..
The green lawn at the Miami Beach Botanical Garden was raucous on this Sunday afternoon with the calls of frogs, cicadas, crickets, and birds. The event was Frozen Music: Picnic 5, and the sounds ..
The fusion may sound a bit unexpected at first: soul, gospel and flamenco music together. But upon careful listening, common elements emerge: Heart-felt emotion is the core of each. Once they ..
A band with roots in Brazil, Canada, Cuba, Haiti and the United States will perform Saturday in Miami to support a new-to-our shores international jazz festival. Haiti Jazz Foundation USA presents..
Last June the Miami Gay Men’s Chorus (MGMC) celebrated its 15th anniversary in the traditional Miami Latin style of a quinceañera. Replete with damas in floor-length rainbow-hued dres..
Siempre Flamenco, a Miami based Flamenco arts organization, is widely recognized in town for the quality of the festivals they have presented in Miami. The organization was founded by the husband ..
Ser amante del tango conlleva sentir la pasión, los quebrantos, y la nostalgia del amor. Por eso este baile y su música nunca pasan de moda. Y de la mano -- y pies -- de jóven..
La fusión puede sonar algo inusitada al principio: música soul y góspel con flamenco. Pero, al escuchar con detenimiento, se descubren elementos comunes. Todos estos g&eac..
Al director y actor teatral José Manuel Domínguez no le interesa que lo consideren héroe por el hecho de que es invidente. Domínguez, en vez, se siente más c..
En el lenguaje yoruba, la palabra “ilé” significa casa, y eso es justo lo que ha sido en los Estados Unidos el sur de la Florida para la cultura, la danza, la música y la..
De la rumba a reggaetón, del tango, el mambo y la bossa nova al hip hop, por más de cien años, la música latina, ha sido la influencia foránea más importa..
Out in the Tropics, el festival celebrado en Miami dedicado a artistas y temática GLBTQ ( las siglas en inglés de Gay, Lesbiana, Bisexual, Transgénero, Queer), en su quinta ed..
Llevarlo todo a su mínima expresión. Depurar, limpiar, reducir hasta llegar al hueso. Así buscan comunicarse a través de la danza y de la música Carlota Pradera..
Todo eso que suena a cliché sobre los hispanos -- que si son apasionados, tienen ritmo, y destilan sensualidad -- perfectamente podría aplicarse a los bailarines de Ballet Hisp&aacu..
De repente, es como si todo el sur de la Florida hubiera caído bajo el embrujo del flamenco. Ya sea por otra celebración del Flamenco Festival Miami en el Adrienne Arsht Center f..