, I missed that review somehow. While Macaulay's examination of Viscera
may help me to get on better with it - the similarity he finds between Liebermann's concerto, which I've heard a few times now, and not in the awful YouTube performance* linked to in his review but in the one the composer recorded with the BBC Scottish Orchestra and Stephen Hough, and Shostakovich
, the unbearable straining portentous banality of whose music puts it at the bottom of my list, seems already to help me to get it at arm's length, where it doesn't bother me so much. (Yes. I'm having a lot
if trouble with this!)
But what really took me in this rich review is this:
To return to Miami City Ballet is like being welcomed home. The dancers flood the theater with qualities of warmth and vitality that are like no other ballet company’s. Yet what is so remarkable is their selflessness: they place all their energies at the service of music and choreography.
The guy lives and works in New York, mostly. That's his home, where he sees a lot of NYCB and ABT and lots of other dance. And so watching MCB in south Florida, he feels at home. I'm no Macaulay, of course, and I live in Chicago, but on Thursday I'll be going home to Florida, to watch MCB, "like no other".
*The slam-bang way these two pianists treat the music (just the last movement) doesn't seem to me to do it justice, and hearing it, I wondered, Is there more to this than they reveal? But even with the clarity and fine perspective Hough and Liebermann bring to his score, I don't get much beyond the concerto's "infernal" quality, in every sense of the word (which I think I saw somewhere the composer himself applies to the last movement).
Edited by Jack Reed, 01 February 2012 - 07:46 AM.