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Or, worse, when that world is breaking down with such vehemence that the air seems to grow more toxic by the minute? In Alexei Ratmansky’s new ballet “Solitude,” dancers waver and buckle as inner and outer forces wreak havoc on their bodies. Ratmansky’s latest ballet, his first as artist in residence at New York City Ballet, is about war — the devastating war in Ukraine, the country where Ratmansky grew up and where his parents still live. That grief — the solitude of “Solitude” — is apparent from the start. The principal dancer Joseph Gordon kneels before the limp body of Theo Rochios, a young student of the company-affiliated School of American Ballet.
Persons: Alexei Ratmansky’s, Gustav Mahler, Ratmansky, David H, Joseph Gordon, Theo Rochios, Gordon Organizations: New York City Ballet, Koch, American Ballet, Rochios Locations: New, Ukraine, Russian, Kharkiv
For the choreographer Alexei Ratmansky, the last two years have brought an uncomfortable intermingling of life and art. “My parents in Kyiv are awoken at night by explosions,” he said in an interview at Lincoln Center. “It gets harder and harder and heavier because no one sees any light. Ratmansky, 55, has kept the image filed away, part of a mental gallery of the horrors of war. Now it has found its way into a dance, his first for New York City Ballet in his new role as artist in residence.
Persons: Alexei Ratmansky, , , can’t, Gustav Mahler Organizations: Lincoln Center, New York City Ballet Locations: Ukraine, Kyiv, Kharkiv
It is enough time to listen to the Spice Girls’ “Spice” album (40 minutes), Paul Simon’s “Paul Simon” album (42 minutes) and Gustav Mahler’s third symphony (his longest). It is enough time to roast a chicken, text your friends that you’ve roasted a chicken and prepare for an impromptu dinner party. Five hours is about how long many workers spend on email each day. It’s a weird thing, workplace chatter like email and Slack: It’s sometimes the most delightful and human part of the work day. It can also be mind-numbing to manage your inbox — to the extent you might wonder, couldn’t a robot do this?
Why did Field create Tár as a lesbian rather than a straight woman, or one of the great men themselves? The decision by director and screenwriter Todd Field to make Tár a lesbian unsettled me. The film’s core is not so much about a lesbian predator but about the more general use and abuse of power, including sexual power, that Lydia wields at will. So why did Field create Tár as a lesbian rather than a straight woman, or one of the great men themselves? — “Tár on Tár,” and is soon to conduct a landmark live recording of Gustav Mahler’s “Symphony No.
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