Word: mozarts
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Dates: during 1990-1999
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Other staging effects contribute to the half-serious tone of the play: the Devil rises up from beneath the stage with a fine ominous flourish that is quickly and comically undercut by the revelation of his face, and the strains of Mozart's Don Giovanni are continually succeeded by Shavian reversals of the famous legend. Costumes, too, are magnificent, including a perfect reproduction of the turn-of-the century upper-middle class English motorist's get-up (frock coat, cap and goggles) and the impressively stony garb of the Statue...
...smart, sensitive Raven's End (1963) to the Lolita-in-reverse All Things Fair (1995), Widerberg sympathized with kids who valiantly and vainly fought the system. His 1967 hit Elvira Madigan, a lusciously limned story of love on the run, put Piano Concerto No. 21 on the charts. Mozart never sounded so sexy as when he underscored the doomed nuzzling of Pia Degermark and Thommy Berggren...
...final presentation, a world-premiere ballet called "Flights of Fancy," frankly has no Latin flavor at all. But despite that flaw, the piece stuns, enchants and even raises giggles from the audience. Set to Mozart's 29th Symphony, "Flights of Fancy" fuses vivid color and classical music into a charming treat for both eye and ear. Against a pure white background, four female and three male dancers (each clad in a different shade of the rainbow) and a chorus in bright red recall the delightful simplicity of a Sesame Street skit. Daniel Pelzig's choreography is a welcome breath...
...Mozart's symphonies without subtitles, his 29th is the second most widely performed, after the 40th. Rather than suffering from overexposure, the symphony is still fresh on a sixth or seventh listen. Its attractively slight orchestration calls for strong individual performances of the sort that the Brandenburg Ensemble was especially prepared to offer. After three second-billings in a row, the group gave an authoritative reading of each of the four movements...
Laredo seems to be a better symphony conductor than a concerto conductor, since the Mozart offered him a chance to think like the concertmaster he used to be. The strings were together and the winds were together. If Laredo's choice of tempi was often less than daring, he made up for it by successfully turning the minuet into a scherzo. He seemed to want the fourth movement to sound like Mendelssohn's "Italian" symphony, with pleasing results...