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Theo Verbey
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Dance Channel TV - Dance Reviews
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added by
theoverbey
on
2 May 2012
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http://www.dancechanneltv.com/blog/categories/d...
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CEDAR LAKE CONTEMPORARY BALLET, AMERICA’S EURO ZONE OUTPOST
At UCLAlive
By Steven Woodruff
There were three clear choreographic vantage points on view for Cedar Lake Contemporary Ballet’s program for UCLAlive on Friday evening. Regina van Berkel’s Simply Marvel gave us some full throttle dance with specific linkages to music both old and new. It was spectacularly costumed (also Berkel) and offered an evolving sense of direction from the meandering formlessness of the opening, set to a solo piano (Theo Verbey), to the well-arranged trios and duos of the concluding sections which were set to Paganini’s virtuosic variations on an operatic theme...
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Cedar Lake Contemporary Ballet, Vienna Boys Choir at Cent...
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added by
theoverbey
on
25 Apr 2012
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http://burke.patch.com/blog_posts/cedar-lake-co...
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Founded in 2003 by Nancy Laurie, Cedar Lake Contemporary Ballet has garnered the attention of audiences and critics alike through its company of 16 extraordinarily talented dancers, as well as its commitment to acquiring and commissioning groundbreaking new works by emerging contemporary choreographers.
Artistic Director Benoit-Swan Pouffer has been credited with introducing the works of numerous up-and-coming choreographers from across the globe, and the March 10 program serves as evidence of this commitment. Saturday's performance features the world premiere of “Simply Marvel” by Dutch choreographer Regina van Berkel, “Grace Engine” by Canadian choreographer Crystal Pite and “Hubbub” by Swedish choreographer Alexander Ekman.
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Amsterdam Sinfonietta: Songs of Death | Muziekgebouw aan ...
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added by
theoverbey
on
11 Apr 2012
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http://www.bachtrack.com/review-amsterdam-sinfo...
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"Mussorgsky’s Songs and Dances of Death is a work that has been orchestrated many times by great names including Rimsky-Korsakov, Glazunov and Shostakovich, which made me very curious as to what Theo Verbey’s 1994 orchestration would sound like. It stayed rather close to the original piano score (definitely more so than, for example, Shostakovich’s orchestration – which sounds as much like Shostakovich as it does Mussorgsky). This meant that the orchestra played a subdued role, which the Amsterdam Sinfonietta did surprisingly effectively. This allowed for the real star of the evening, mezzo-soprano Christianne Stotijn to become the focal point. Stotijn is an incredible singer: her voice is clear, warm and powerful and her stage presence is mesmerizing. But what made this performance memorable was her understanding and execution of the songs." Submitted by Renée Reitsma, April 10th, 2012
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