Jonathan Porretta to Perform in Molissa Fenley RetrospectiveDecember 2007 (Rachel Foster, too)
Posted 03 June 2007 - 03:08 PM
I've yet to see Foster and Moore, but I can say that Porretta is astonishing in the role. According to the post-performance Q&A last night, with Boal, Fenley, and Porretta, Porretta will dance the role during the Fenley retrospective at the Joyce. I can't recommend this enough for our NYC contingent.
Posted 04 June 2007 - 09:42 PM
Posted 04 June 2007 - 10:17 PM
After reading the posters to the PNB Stravinsky at 125 thread (thank you!), I have decided to catch this. But remember, your credibility is on the line.
Posted 05 June 2007 - 07:53 AM
Given that foundation, I feel as strongly as I do about going out of your way to see this NYC performance Helene mentions because of the "astonishing" performance Porretta gives (to use Helene's word). I didn't attempt to read into the ballet a theme or even an image, those who look for that may be disappointed. OTOH, it would be worth a 10 mile walk across Manhattan just to see this amazing dancer unleashed.
Beyond all of that, I think one's reaction to this piece (be it: "absolutely amazing", "ho-hum", or "what a waste") will depend primarily on one's relationship to Stravinsky's masterpiece: The Rite of Spring. I have loved this music most of my life. Back in my college days, I would say that the Rite of Spring transformed my relationship to 20th century classical music. I just don't see how one could not be blown away by this performance if you love this music. Done well, and Porretta does it very well indeed, it was for me as if I was watching a vision that Igor himself might have seen in his mind's eye as he wrote this music. It had all the "pagan" quality he said was his inspiration, but yet was completely abstract -- although with a slight whiff of the human struggle from the primative, a slave to his world, to the human spirit, bold and free in command of his world.
Posted 05 June 2007 - 08:15 AM
Posted 05 June 2007 - 09:08 AM
I suspect you are right about the dancer (the performance) being the deciding factor. That may explain Peter's commitment to it also. At the Q&A after Friday's performance I asked him what it "felt like" mentally/emotionally during and after performing such a piece (the dancer that night, Rachel Foster, was not in the room, so Peter was the only person there I could direct that question to). One comment that sticks in my mind from his reponse was him saying that there is a quiet part (quiet in the sense of the dancing) most of the way thru the piece where the performer essentially sits at the rear of the stage. He said by that time he would be exhausted and mentally spent. He used that time to "recover". He said he loved that feeling: to be totally used up and somehow at peace after having been in such a primative place that Stravinsky's music takes you, but then to know there was one final push yet to come in that wild, "all the stops out" finale.
I suspect his attachment to this piece is all about, as you suggest, the dancer. He wants others to feel that sense of being at peace resulting from having given it your all.......or to say it in my own way (which may have nothing to do with what Peter might say ).....to feel perhaps the place a Hindu monk must go after a long meditative trance made possible by years of disciplined training and committed execution.
Posted 05 June 2007 - 09:12 AM
Posted 07 June 2007 - 10:34 PM
Posted 01 September 2007 - 06:39 AM
The program also includes
Calculus and Politics and Lava Field
Posted 07 November 2007 - 09:03 AM
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