OCTOBER 4–6, 2019
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October 4–6, 2019 at the Touhill PAC
Nine Sinatra Songs -- a romantic portrait of seven couples that traces the path of their relationships. One of renowned choreographer Twyla Tharp’s most frequently performed works, the ballet has become a fixture in the repertories of dance companies worldwide. Dancers swing, swirl, tango and cha-cha through a glittering ballroom to Sinatra’s most recognizable songs. The October performances will also include George Balanchine’s Concerto Barocco, a first for Saint Louis audiences and Gen Horiuchi’s More Morra.
Balanchine Repetiteur and Former Principal of New York City Ballet
Friday, October 4 at 6:30pm
Nilas Martins, born in Copenhagen, received his early dance training at the Royal Danish Ballet School. In 1984, he moved to New York and enrolled at the School of American Ballet. In 1986 he became a member of New York City Ballet and in 1993, was promoted to Principal dancer. Mr. Martins danced numerous featured roles and worked closely with choreographers William Forsythe, Peter Martins, Trey McIntyre, Kevin O’Day, Jerome Robbins, Susan Stroman, Richard Tanner among others. Since 1996, Mr. Martins has been a Répétiteur for the George Balanchine Trust and stages ballets for companies domestically and internationally.
Mr. Martins will give a pre-performance talk on Friday, October 4 at 6:30pm.
Open to the public.
© Richard Avedon
The Richard Avedon Foundation
The songs of NINE SINATRA SONGS
by Frank Sinatra
Softly As I Leave You
Strangers in the Night
One For My Baby
(and One More For the Road)
All the Way
The music of
Music by Frank Sinatra, With Appreciation to Sinatra Enterprises and The Frank Sinatra Foundation
This Series also features:
October 4–6, 2019
The October performances will also include George Balanchine’s Concerto Barocco, a first for Saint Louis audiences. Considered “spiritual perfection” by dance critics and the ballet where the master found his true self, Concerto Barocco is an icon of his spare, neo-classical style. Set to Bach’s Double Violin Concerto in B Minor, the work is exceptionally demanding of its dancers with Balanchine’s most difficult choreography that requires split-second timing, extreme precision and great stamina.
The opening weekend also includes an original work, More Morra, by Gen Horiuchi.
About the ballet:
CONCERTO BAROCCO // NYCBALLET.COM:
Concerto Barocco had its beginnings as a School of American Ballet exercise and was first performed for the Latin American tour of the American Ballet Caravan in 1941. When it entered the repertory of the Ballet Russe de Monte Carlo in 1945, the dancers were dressed in practice clothes, probably the first appearance of what has come to be regarded as the modern ballet costume pioneered by Balanchine. Concerto Barocco was presented on the first performance of New York City Ballet in 1948, along with Balanchine's Orpheus and Symphony in C. It is considered the quintessential Balanchine ballet of its period, its manner entirely pure, its choreography no more, and no less, than an ideal response to its score, Bach's Double Violin Concerto in D Minor. About the ballet, the critic Clive Barnes wrote, "The three hallmarks of the American classic style are poetry, athleticism, and musicality, and these three graces are exquisitely exploited by Concerto Barocco."