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...breathtaking set; the wings were adorned with bouquets while garlands and bells hung from above. In a series of dances to commemorate moments when the town bells would be rung—dawn, prayer, work, war, and peace—Boston Ballet’s principals and soloists performed with grace. Soloist Rie Ichikawa (as Dawn) and Whitney Jensen (as Spinner), one of the corps de ballet, gave particularly technically sound performances. They were accompanied by more than 30 young students of the Boston Ballet School, who were endearing in their meticulous symmetric formations and tiny pink tutus...

Author: By Alyssa A. Botelho, CONTRIBUTING WRITER | Title: Boston Ballet Imbues Coppélia with Spirit | 4/13/2010 | See Source »

...embellishments crisp enough to make Mendelssohn—the master of this so-called fairy music—proud, benefited from a feathery orchestral texture and methodically precise fingerwork on de la Salle’s part. A syncopated waltz transitioned into a breakneck Presto in the third movement. Soloist and ensemble approached the closing tarantella with a startling recklessness that Luisi impressively translated into exhilaration...

Author: By Monica S. Liu, CRIMSON STAFF WRITER | Title: Guests Bring Flair To Traditional BSO | 11/16/2009 | See Source »

...professional violin soloist and a member of the Harvard-Radcliffe Orchestra, has been assisting Mike with the technical aspects of the violin part. “It’s been a unique perspective seeing the piece come together because usually I will play pieces that have been written already,” she said...

Author: By SOFIE C. BROOKS, CONTRIBUTING WRITER | Title: Hopped Off a Plane at LAX... | 11/5/2009 | See Source »

...micro level, with constant subtle variations on otherwise repetitive riffs. This is most evident in Chippendale’s frenetic drumming, which offloads much of its traditional duty as repetitive time-keeper to Gibson’s chunky, rhythmic bass. Chippendale is thus free to play as a soloist in a jazz combo, exploring every possible subdivision and inversion of the dominant rhythmic motif. The drums in “Nation of Boar” heighten tension as they increase in complexity, reaching a frantic virtuosic peak before lunging back into a pounding 4/4 rhythm...

Author: By Mark A. VanMiddlesworth, CRIMSON STAFF WRITER | Title: Lightning Bolt | 10/16/2009 | See Source »

Though he began his career as a soloist for the famed Martha Graham company in 1939, he struck out on his own in 1944, the beginning of his almost 50-year collaboration--both professional and personal--with composer John Cage. He strayed from Graham's romantic, balletic style and instead emphasized sudden changes of direction and insisted that the dance moves, musical score, set design and costumes all be prepared independently of one another...

Author: /time Magazine | Title: Merce Cunningham | 8/10/2009 | See Source »

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