By trying to respect Prokofiev's musical intentions, Mr. Yet because the couples were not significantly different in character, the second pas de deux became theatrically redundant. For instance, the only reason for two gentle pas de deux appeared to be that the score included two gentle movements. Muniz and an equally quiet one for Annemarie Lucania and Dieter Riesle.Īlthough much happened in ''Sonata Russe,'' the choreography remained enslaved by the music. Between the vigorous sequences came a quiet pas de deux for Ms. Galante had dancers cross their arms in front of them and place their hands firmly on their hips, just as they might in certain forms of Russian folk dances. To emphasize the score's folk motifs, Mr. The first and last of the ballet's four movements consisted of nonstop energetic activity for five couples. Unfortunately, his choreography followed it pedantically. Galante, a trained pianist as well as a dancer, had carefully analyzed the score. The program included another premiere, Marcus Galante's ''Sonata Russe,'' to a recording of Prokofiev's Violin Sonata No. Despite some shaky intonation, the live music did much to make the ballet joyous. Vivaldi's score was performed by the Ars Musica Chorale and Orchestra, conducted by Italo Marchini, with Judith Burbank, soprano, and Susan Ward, mezzo-soprano, as soloists. If ''Gloria'' was slightly deficient in its choreographic architecture, it remained pictorially attractive. There were also striking moments when soloists danced at stage center while other dancers took measured steps across the back of the stage as if they were figures on a frieze that had come to life. Later, they were pushed about by imaginary gusts of wind.
Thanks to Kathy Kaufmann's lighting, they could have been rejoicing in a sunlit meadow. ''Gloria'' began impressively with dancers sweeping across the stage. Even more appealing were the sequences for all 14 members of the cast. There were serene passages for Victoria Hall and Oswaldo Muniz. But whereas the ear had no trouble assimilating the many musical episodes, watching the action stop and start made the ballet fragmentary.įortunately, the fragments were pleasant ones. Anastos devised brief choreographic episodes. Vivaldi divided his composition into short sections, to which Mr. Light and airy in texture, it proved appropriate for a ballet celebrating the beauty of creation.
He choreographed ''Gloria'' to a religious cantata with the same title by Vivaldi that, though always stirring, is never overpowering. Anastos directs this Newark-based troupe, which performs throughout New Jersey. Nevertheless, the sacred and the secular harmonized today when the Garden State Ballet offered Peter Anastos's new ''Gloria'' at the Montclair State College Memorial Auditorium. The music was liturgical, but the choreography looked pastoral.
0 kommentar(er)
