Olivier Wevers Whim W'him
Posted 29 December 2009 - 11:15 AM
I went to an open rehearsal for the program last night (along with Helene, who had many interesting things to say about it) and was gobsmacked by the material -- very dense, detailed, musical and eccentrically beautiful. It's running at On the Boards January 15-17, and I highly recommend seeing it.
Posted 29 December 2009 - 11:39 AM
Because of the structure of the piece -- 4 movements choreographed, with three chosen by draw before each performance,
Wow, wow, wow, did I say wow?
Posted 29 December 2009 - 12:58 PM
Posted 29 December 2009 - 03:51 PM
From the Whim W'him website:
Whichever of Vivaldi's original seasons is picked will be omitted from that show. In its place, music will be played for the corresponding season from the suite composed by Byron Au Yong. Neither dancers nor audience will know ahead of time which season is going to be replaced.
Which season ends the particular performance determines if it closes on a note of hope or gloom...
The dancing will be to Vivaldi, but one movement of the Vivaldi music will be replaced by Byron Au Yong's score.
Posted 29 December 2009 - 05:04 PM
Posted 05 January 2010 - 05:12 PM
For Oregon Ballet Theatre fans, OBT Lighting Designer Michael Mazzolo is the lighting designer for "3 Seasons".
Posted 14 January 2010 - 11:12 PM
I saw the dress rehearsal tonight, with the props, costumes, and lighting and all three pieces look great. What's really remarkable that except for a couple of water bottles in the blocking rehearsal I saw last week, the choreography for "3Seasons" was just as clear without the props as with them. (With them was richer, but there wasn't anything obviously missing without them.) "X stasis" looks just as fine close up in the space at On the Boards as it did on the McCaw Hall stage when it was danced in the Choreographer's workshop.
All four seasons of "3Seasons" are danced, three to the Vivaldi score and one to an original score by Byron Au Yong, played by an ensemble of cello, violin, drums, and very small (toddler?) piano. The dancers know only before the piece begins which movement they will dance to the Au Yong score, and it's not announced. Tonight, the third part was by Au Yong, and in the center of two sections that sounded a bit like social dance music was a section that resembled a George Crumb sound scape. The choreography fit the score really well, however different it was from the Vivaldi.
In "FRAGMENTS", which I had never seen before, there are two remarkable solos. In his preview for The Seattle Times, Michael Upchurch wrote,
"Probably never," he laughs. His hands are full, he says, with choreographing, fundraising and administration.
Porretta thinks that's a shame: "He looks incredible doing his own choreography. It's very hard to duplicate.
The male solo, to Mozart's "Ave Verum Corpus", quoted by Tchaikovsky and used as the opening movement of Balanchine's "Mozartiana", was beautifully danced tonight, but Wevers' demonstrating it must be extraordinary.
There is so much beautiful detail for arms and hands in "3Seasons" and lovely work for the ensemble. In all three works, Wevers explores many kinds of relationships with depth. The only way I can describe the experience of watching it is that it's like being in Finland, taking a cold shower, then a sauna, then a run through the snow and a jump into an ice bath, then getting raked and beaten on the back with birch branches, then soaking in a tub, and then having a massage. Each one is so different, but the key is getting them all in a row, as one experience.
Posted 17 January 2010 - 01:51 PM
makes me sorry I censored myself from posting, "If you can't buy a ticket, mug someone for theirs."
In her preview for Seattle Times, Sandra Kurtz wrote:
There were times when I thought I could feel a touch of the spirit of Mark Morris in the room, not just for the humor, but for the way in which the dancers, when in groups, looked like a real, interdependent community, and the hand dance, the kind of beautifully focused section that spun itself into continuing revelation.
Posted 18 January 2010 - 08:52 AM
Everything was terrific, but I thought 3 Seasons was remarkable. Wevers used the music in absolutely amazing ways. The quality of the dancing by these highest possible calibre dancers was extraordinary. Their sense of ensemble could be cut with a knife. The standing ovation was instant and left NO ONE in their seat. In particular, I thought Wevers did a masterful job of understanding his dancers strengths and choreographing to those strengths. All dances are a reflection of the original cast to some extent, but in this production, I think this aspect is particularly evident.
When the final curtain set, all I could think of was......."we've just seen the birth of something important".
Oh, and BTW, the lighting was superb. I don't think I have ever seen such dramatic and appropriate lighting in such a small venue (400 seats?) before. Congrats to Michael Mazzola.
Posted 21 January 2010 - 03:13 PM
Posted 30 January 2010 - 09:51 AM
Posted 02 March 2010 - 02:39 PM
Anyone who listens to rumors (much less reading into the comments of 3rd parties as this critic does in this article) that somehow Lucien, Olivier, and Kaori have a spiteful, hateful relationship is out on Pluto somewhere. Besides, I can't imagine anyone who follows Olivier Wevers (or PNB for that matter), and claims to be knowledgable enough to be a critic, wouldn't know the personal relationships btwn these 3 over a 10 year period. Such a "critic" gets an F in my book for not paying attention. Both marriages and the split were well discussed even in public by the principles and other first hand observers (I know since I attended some of these events).
I think someone is allowing their personal prejudices to influence their "critical judgment" here.
Posted 02 March 2010 - 06:19 PM
Is it art? Is it misogynistic? (sp?) I was out of town so couldn't attend, but if Donald Byrd is talking about it (he wasn't gossiping, just criticizing the dancer's dry humping), I think we can have a legitimate discussion of what is dance and what is just shock value.
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