Word: monreal
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Dates: during 1970-1979
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...final work was Lorenzo Monreal's version of Carmina Burana. A series of sketches accompanied by Carl Orff's lusty medieval songs, the work is a luxuriant celebration of the pleasures of the flesh. Accordingly, every element in this production was pushed to abnormally heightened intensity. With the placement of the accompanying Harvard-Radcliffe choruses along the walls of the theater, the sound engulfed the audience from all sides, rather than just from the orchestra pit. And the visual scene was intensified by the moving colored lights and the looming shadows of the dancers projected onto a backdrop...
...company's resident choreographer Lorenzo Monreal is the exception, carrying off what choreographers Charles Neal, Saeko Ichinohe and Ze'eva Cohen attempt but fail. Monreal creates a highly-charged atmosphere in "Piosenki" which underlies his expressive end, unlike the other three who substitute the ambience of drama for its substance in "Yin and Yang," "Chidori" and "Goat Dance." Danced to throaty cabaret songs composed by Zygmunta Koniecznego, Monreal's duet has less specific associations than the other drama and succeeds in its allusiveness. Laura Young and Woytek Louski sweep through a succession of breath-arresting lifts, revealing the tenderness...
...contrast, Monreal's second contribution, "Classical Symphony" to Prokofiev, shows off the company's technical powers and little besides. Ron Cunningham's "Holberg Suite," Frank Ohman's "Serenata," and Helen Heineman's "Sinfonia" do the same. Traditionally choreographed in alternating sections for soloists and the corps de ballet, the works don't give themselves the chance to develop a broader vision...