Tag Archives: dance

Our year in pictures – 2015

It was quite a year at CLS. We began 2015 with our Émigré series, full of music by composers who travelled the globe looking for fame and fortune, new artistic experiences, or just a safe place to call home. We did some travelling of our own when we visited Mexico in the spring, before setting up camp once again with Opera Holland Park over the summer. This autumn saw the beginning of our RE:Imagine series, which explores composers’ new interpretations and perspectives on existing works. Take a stroll with us down memory lane and see some of our highlights from 2015…

With the help of some brilliant cat gifs, we channelled our inner dancers for the tango-inspired CLoSer: To and From Buenos Aires. We also reminded ourselves just how weird cats can be!

The real dancers who joined us for the concert were brilliant, though!

 

In April, Russian-born New York composer and violist Ljova joined us for a special residency. He delighted us all with his beautiful blend of classical music, Russian folk, Klezmer and jazz, reflecting his own émigré roots. In anticipation of his arrival, we all thought up our favourite viola jokes…

Continue reading Our year in pictures – 2015

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Month in pictures – September and October

We’ve had two very busy months at CLS. Our RE:Imagine concert series got off to a flying start in September with CLoSer: Debussy, Copland and Dance at Village Underground, and continued at Southwark Cathedral with an atmospheric celebration of the music of one of the most romantic cities in the world, in Venice: Darkness to Light. But that’s not all we’ve been up to so far this autumn. Take a look at some of our highlights of the last two months…

CLoSer: Debussy, Copland and Dance saw us return to the intimate setting of Village Underground with a programme exploring music written for dance from Rameau’s 18th century take on the classical Pygmalion myth to Copland’s evocative Appalachian Spring. The concert opened and closed with two brand new dance interpretations of Debussy’s Prélude à l’après-midi d’un faune by choreographer Tony Adigun, one contemporary classical, one urban. Photographer James Berry was on hand to capture the concert as it happened. Take a look at some of his stunning pictures…

Whether you missed the concert, or would just like to relive the evening, you can still watch short highlights on our website.

Our second RE:Imagine concert took us to the magnificent Southwark Cathedral to celebrate one of the world’s most wonderful cities, with Venice: Darkness to Light. Soprano Elin Manahan Thomas and countertenor Alex Potter joined us for JS Bach’s re-imagining of Pergolesi’s Stabat MaterTilge, Höchster, meine Sünden, and Latvian composer Ugis Praulins continued our theme of re-imagining the works of Bach, with his arrangement of movements from the Mass in B minor. Here are some lovely photos of rehearsals by James Berry.

On top of all that, it’s been very busy in the education department, as we returned to Suffolk and Essex for our annual Lullaby Concert tour and workshops with Orchestras Live. We also brought a Very Special Bear’s first concert to Warwick, Basingstoke and Saffron Walden with the help of the excellent Simon Callow, who was an absolute natural at conducting! Take a look behind the scenes to see us wrestling with balloons, and a lovely Paddington Bear card made by one of our younger audience members in Basingstoke!

Our RE:Imagine series continues in the new year with The Viennese Salon in the Sam Wanamaker Playhouse at Shakespeare’s Globe, and our next Crash Bang Wallop! family concert will take place on 12 December. We hope to see you there!

Crash Bang Wallop! Let it Snow
Saturday 12 December 2015, 11.00am
Cadogan Hall, 5 Sloane Terrace, London
Tickets: £8 Children, £10 Adults, £30 Family (four tickets)
Box Office: 020 7730 4500 / cadoganhall.com

The Viennese Salon
Sunday 24 January 2016, 2.00pm
Sam Wanamaker Playhouse, Shakespeare’s Globe, London
Tickets: £62 (premium), £15 – 48, £10 (standing)
Box Office: 020 7401 9919 / shakespearesglobe.com

RETROSPECTIVE – CLOSER: DEBUSSY, COPLAND AND DANCE

After weeks of excitement, our RE:Imagine series opened on Tuesday night with CLoSer: Debussy, Copland and Dance at Village Underground. We were joined by the exceptionally talented dancers Katie Neal and Dani Harris-Walters who performed new choreography by Tony Adigun to Debussy’s Prelude a l’apres-midi d’un faune.

Here are some beautiful photos from the concert by the wonderful James Berry, along with some of our highlights from the evening and lovely audience feedback we received.

Don’t forget, you can watch highlights from the concert on our Youtube channel until 30 September.

The next concert in our RE:Imagine series is Venice: Darkness to Light at Southwark Cathedral on 14 October, when we will be exploring the music of this beautiful city through works by Bach, Vivaldi, Liszt, Stravinsky and more. We’re especially excited to be joined by CLS favourite Elin Manahan Thomas in Bach’s take on Pergolesi’s dark and mournful Stabat Mater. We hope to see you there!

Venice: Darkness to Light
Wednesday 14 October 2015, 7.30pm
Southwark Cathedral, London
Tickets £25, £15, £5* (*restricted view)
£5 tickets available for students and 16-25s (pre-register at www.cls.co.uk/cls-fiver) Box Office / 020 7377 1362

DEBUSSY AND L’APRES-MIDI D’UN FAUNE

We can’t wait for the beginning of our new RE:Imagine series with CLoSer: Debussy, Copland and Dance on 22 September, which celebrates music written for dance with works by Bach, Debussy, Rameau and Copland. Our blog series exploring the stories behind the music has looked at Copland’s Appalachian Spring and Rameau’s Pygmalion. It now concludes with Debussy’s stunning Prélude à l’après-midi d’un faune…

Prélude à l'après-midi d'un faune

CLOSER: Debussy, Copland and Dance
Tuesday 22 September 2015, 7:30pm
Village Underground, Shoreditch
Tickets £15 or £5 for students and 16-25s (pre-register at www.cls.co.uk/cls-fiver) available from Spitalfields Music Box Officeor via phone on 020 7377 1362.

BEHIND THE SCENES – CLOSER: DEBUSSY, COPLAND AND DANCE

The first CLoSer concert of our RE:Imagine series celebrates music written for dance, from Bach to Debussy and Copland. But what about the dancers? In this blog we explore the famous names behind the famous works…

Martha Graham

Martha Graham is often called the “Mother of Modern Dance”. Born in 1894 in what is now Pittsburgh, she was the daughter of a doctor who believed that movement could benefit those suffering with nervous conditions. Despite this, her deeply religious parents forbade the young Graham to learn to dance, and it wasn’t until her father died that she finally began her formal dance training.

Martha_Graham_1948
Martha Graham in 1948

Graham’s style was known for its violent and jarring movements, and alteration between tension and relaxation which represented a huge shift from the traditional styles which until that point had dominated. Here is Graham presenting her 1930 piece Lamentation, a physical exploration of grief.

Graham’s and Aaron Copland’s collaboration in the early 1940s on Appalachian Spring has produced one of the most iconic American works of the 20th century, distilling into a story of the pioneers the spirit of America’s hope, optimism and aspiration.

Vaslav Nijinsky

Nijinsky was born in Kiev in 1890, the second son of two touring dancers. Unlike Martha Graham, Nijinsky began his dance education very young, performing professionally by the age of seven.

Vaslav Nijinsky in 1909
Vaslav Nijinsky in 1909

When he was 10, Nijinsky joined the Russian Imperial Ballet School, where his exceptional talent, particularly for spectacular leaps, was soon noted. It was this talent that prevented him from being expelled from the school when his academic performance didn’t match his dancing. By the time he graduated, Nijinsky’s prowess was well known, and he secured a position first with the Mariinsky Theatre, and later guest appearances at the Bolshoi Theatre.

In 1912, Nijinsky began choreographing for the Ballet Russes, for whom he created his interpretation of L’apres midi d’un faune shown above, and garnered a reputation for his outlandish and controversial style. Indeed, his choreography for Stravinsky’s The Rite of Spring was more than partly responsible for the riots that broke out following its Paris premiere.

Come along to our next CLoSer event on 22 September and see two new urban and contemporary dance interpretations of L’apres midi d’un faune, with choreography by Tony Adigun.

CLOSER: Debussy, Copland and Dance
Tuesday 22 September 2015, 7:30pm
Village Underground, Shoreditch
Tickets £15 or £5 for students (pre-register at www.cls.co.uk/cls-fiver) available from Spitalfields Music Box Office or via phone on 020 7377 1362.

How to dance the tango (in cat gifs) – Part Two

In continuation of our last post and in advance of our next CLoSer concert and FREE tango taster, To and From Buenos Aires on 25 February, we are delighted to present Part Two of ‘How to dance the tango (in cat gifs)’. Having already learnt the basics in Part One, our animated feline friends will now lead us through the exact steps and movements needed to conquer this sensual, romantic, elegant dance.

As we mentioned before, the tango is all about the relationship of the man and woman and so the very first thing you need to do is to find a partner and embrace

find a friend

The embrace should be sensual, loose but firm, and very poised. In other words, both you and your partner’s postures should be impeccable.

posture

Within the embrace, there should be a clear leader (this is normally the man).

leader

Generally speaking during the dance, both parties mirror each other.

mirror

The tango steps is a simple combination of two slow walks and a “tango close”. The five steps are counted ‘slow, slow, quick quick, slow” or ‘walk, walk, tan – go close’, the latter cue helping dancers remember when to close their feet and stop temporarily.

close

The basic steps needed can be better explained on this diagram. Remember to count ‘slow (1), slow (2), quick (3) quick (4), slow (5)’ (sorry, we just couldn’t find a cat gift to explain this…)

Each step begins and ends with the knees bent – there should be no rise and fall, sway or body flight… just smooth, seamless movements.

stiff legs

As we mentioned in the last post, the walk is absolutely crucial to the tango. Each step should be a short, staccato-like movement.

staccato movements

Tango walks typically curve gradually to the left.

don't forget you have to move to the left

Remember to be considerate of others on the dance floor. The tango is danced anti-clockwise like a horse race. Dancers try to stay on the outside edge of the floor and away from the middle.

anti clockwise

Once you’ve mastered the basic steps, you can add all sorts of embellishments from shimmies, swivels and turns.

embellishments

To find out more about dancing the tango, come along to next concert, To and From Buenos Aires (details below), which features a FREE tango taster. 

CLOSER: To and From Buenos Aires 
Wednesday 25 February 2015, 7:30pm
FREE tango taster from 6:45pm 
Village Underground, Shoreditch
Tickets £15 or £5 for students (pre-register at www.cls.co.uk/cls-fiver) available from Spitalfields Music Box Office or via phone on 020 7377 1362.