Word: virtuosos
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...Carlos, and Kammermusik No. 2, composed by Paul Hindemith in 1924. The works are not masterpieces, but they show a couple of sides of Balanchine's genius: Kammermusik is a sophisticated display of how motion can illustrate music. Ballo is a bravura piece for his newest virtuoso, Merrill Ashley...
...little style, diction, and well-placed resonance can do even for a role like this. Wood resembles a jack-in-the-box out of the box, his long, gangling figure springing about beneath a jolly mop of brown hair. Best is his voice, which he uses like a virtuoso, rasping out some lines, snarling others like Burgess Meredith, or shooting up into a terribly British falsetto a la Rex Harrison. He conveys the tremendous nervous energy trapped inside him, which, unable to escape, manufactures a haggard lethargy; but here again the production seems unsettlingly close-to-life: Is it Simon...
...luckier than a singer. He can go on performing as long as his fingers maintain their strength and coordination. At 73, Vladimir Horowitz seems to be just as brilliant as when he first played the U.S. exactly 50 years ago. Last week in New York, the famed Ukrainian-born virtuoso celebrated the anniversary of that debut with some of the most electrifying music-making ever heard in Carnegie Hall, a hall that has had its share of excitement over the years...
...appearance, wrote scribes of the era, was "cadaverous," and there was something so supernatural about 19th century Violin Virtuoso Nicolo Paganini "that one looked for a glimpse of a cloven hoof or an angel's wing." Onstage, the maestro would often contort his body into bizarre stances. His tours de force, like playing a pizzicato accompaniment with his left hand while bowing with his right, prompted audiences to whisper that Paganini was in league with the devil. But alas, he was merely mortal, according to an article in the Journal of the American Medical Association. The violinist, writes...
...recently-formed Boston Repertory Ballet, presents A Week of Ballet, culminating in a performance at MIT's Kresge Auditorium at 8 on Saturday, January 28. The evening will feature special guest artists Lydia Abarca and Ronald Perry of the Dance Theater of Harlem in pas de deux from the virtuoso "Le Corsaire" and the Balanchine-Stravinsky "Agon," as well as the Repertory company in Antony Tudor's "Soiree Musicale," Director Samuel Kurkjian's snappy "Speed Zone", and the world premiere of a new Kurkjian work, "A Cole Porter Suite." The week preceding offers lecture-demonstrations and master classes by members...