- 12/04/2014 - Half the Sky's NICHOLAS KRISTOF / A Path Appears
- 11/25/2014 - 'Read and Share' Book Club
- 11/18/2014 - UC Berkeley Department of Theater, Dance and Performance Studies presents REGENTS' LECTURE: LUIS VALDEZ
- 11/13/2014 - Presidential Inaugural Poet RICHARD BLANCO / The Prince of Los Cocuyos
- 11/10/2014 - London's School of Life's ROMAN KRZNARIC / Empathy
Tag Archives: Mark Morris
Musical morsels become masterpieces in the hands of composers like George Frideric Handel and Wolfgang Amadeus Mozart. Spring forward 200-plus-odd years and find dance and design have their modern day monument builders as well.
When choreographer Mark Morris and designers Isaac Mizrahi (costumes) Adrianne Lobel (sets) and Michael Chybowski (lighting) unleash their collective talents in a Cal Performances presentation and world premiere of Handel’s Acis and Galatea, arranged by Mozart, you might think there’s no cause for frosting on the proverbial cake.
But buttercream aside, there’s more: the Mark Morris Dance Group will be joined by the San Francisco-based Philharmonia Baroque Orchestra and Chorale and guest soloists Sherezade Panthaki (soprano), Thomas Cooley (tenor), Zach Finkelstein (tenor), and Douglas Williams (bass-baritone). Conductor Nicholas McGegan will lead the musicians, rounding out the star-studded team. And that’s not even mentioning Morris’ uniquely and collectively talented dancers.
In sum, the originally tiny work, written in chamber form in 1718, is likely to be a grand, sensory explosion of sight, sound and movement, during three performances at Zellerbach Hall, April 25-27. … Continue reading »
What happens when you shake, stir and allow to mingle a music-savvy choreographer (Mark Morris), two earth-and-occasionally-ear-shattering composers (John Cowell, Igor Stravinsky), a marvelously matched foursome (American String Quartet) and a nimble jazz/pop/avant-garde trio (The Bad Plus)?
You get a mixed drink — and that’s exactly what Cal Performances’ Ojai North! 2013 festival served up on Wednesday night at Hertz Hall. Ojai North! continues through June 15.
The performance came amid a day saturated with sound and sights: a red fish blue fish concert in the campus’s faculty glade preceded; a screening of Salomé with live accompaniment followed. Poised on the first-day precipice of Northern California’s strong-arm extension of Southern California’s annual Ojai Valley music festival, much mention was made of Morris’s position as Music Director. The appointment pivots each year: Morris is the first choreographer to assume the role. … Continue reading »
Cal Performances 2013-14 season features a return residency for the Vienna Philharmonic Orchestra, the world premiere of Mark Morris’s Acis and Galatea (see video above), a celebration of Kronos Quartet’s 40 years, and an emphasis on Brahms, with performances by Yo Yo Ma, Emanuel Ax and Anne Sofie von Otter, as well as a host of dance, new music, theater, jazz and early music concerts.
“These are all my children,” said Director Matías Tarnopolsky, explaining why it was so difficult to choose which performances to highlight. … Continue reading »
Exploding onto the main stage at Zellerbach Hall like the Fourth of July wrapped in black, white, red and green packaging, Mark Morris’s The Hard Nut made its triumphant return to Berkeley.
A three-year hiatus extended the production’s every-other-year tradition with Cal Performances. The last time Bay Area audiences boogied to Act I’s Gallop or swooned during the Nutcracker Ballet-inspired spoof-fest’s breathtaking duets and glorious ensemble machinations was 2009.
Although little has changed in the elaborate, 20-year old production created in 1991 during Morris’ stint in Brussels as Director of Dance at the Théâtre Royal de la Monnaie, audiences have. Expectations increase, rather than fall, when the economy slumps and the advent — some say onslaught — of technology raises the bar every time a production is remounted. The show’s big numbers (48 crew members backstage, 32 dancers, 20 pounds of confetti used in the snow scene) prove only that Morris wasn’t kidding when he said the production was not created to tour or to make money for the company. … Continue reading »