THE GLASS SHŌ ~ Preview of Potential Energies from Nouveau Classical Project

On Thursday, May 29 (8 pm EST), the Nouveau Classical Project and TrioDance Collective present the world premiere of a new modern ballet titled Potential Energies at BAM Fisher’s Fishman Space. The 50-minute piece, choreographed by Barbie Diewald to music by rising composer Trevor Gureckis, will be seen in a single performance. NCP’s Artistic Director Sugar Vendil also directed the production.

Potential Energies Trailer from The Nouveau Classical Project on Vimeo.

Composer Trevor Gureckis did an interview for the latest episode of The Glass Shō and spoke about the piece. The interview appears in the first half of this episode.

The Glass Shō: Episode 9 (Remembering Fred Ho with Marie Incontrera/Nouveau Classical Project)

the glassshoA1

Click here for tickets/info for Potential Energies

Nouveau Classical Project (

Inhyun Kim and Luna Cholong Kang ~ On Luna’s Upcoming May Carnegie Hall Debut

Composer and founder of Ear To Mind Inhyun Kim, and solo flutuist Luna Cholong Kang had a few minutes to discuss the upcoming Zankel at Carnegie Hall debut on May 2nd for the flutist and some of the pieces scheduled for the evening. Among them are 3 (technically 4) world premieres (one of them by Inhyun herself and an existing piece by Oliver Knussen with new choreography by Coco Karol). The program is as follows:

Reiko Fueting: New Work (US Premiere)
Jolivet: Chant de Linos
Oliver Knussen: Masks, Op. 3 (World premiere of this version choreographed by Coco Karol)
Inhyun Kim: Luna (World Premiere)
David Lang: Vent
Poulenc: Sonata for Flute and Piano
Telemann: 12 Fantasias for Flute without Bass
Julia Wolfe: New Work (World Premiere)

CM: Please talk about this upcoming concert debut at Zankel Hall and the special pieces selected for it.

luna1Luna: My first performance, Olliver Knussen’s Masks, was chosen to be my introduction as an artist to my audience. Its purpose is to make my mark, through movement, as one of the many performers who strive to reach beyond the restrictions of genre.

I am ecstatic and even humbled by the fact that I will be performing three completely new compositions by three incredible composers. Kim, Fueting and Wolfe’s works will undoubtedly be marveled for years to come and I am honored to be their first muse.

CM (To Inhyun): What can you tell us about the premiere of your piece ‘Luna’ other than it having the same name as the soloist?

inhyunkimInhyun: Luna is my motivation and inspiration for this piece. I want the audience to feel and hear what I did when I first heard Luna’s play style. Luna has captured the original image, the essence and innocence of the flute. I will be expressing this ancient originality through a contemporary paradigm, in my own language. I plan to make my composition series an ode to living contemporary musicians as I had done with “Parallel Lines” for Jenny Q. Chai.

Ear to Mind presents Flutist, Luna Cholong Kang in solo recital with Performer, Coco Karol from A. Mert Erdem on Vimeo.

CM: I’m very happy to see that Coco Karol is going to have a big role in this concert–Can you guys talk about her involvement with the performance of Olivier Knussen’s ‘Masks’?

cocokarol1[Pictured right, Coco Karol]
Inhyun: Coco will be the choreographer of the entirety of Masks. Many movement interpretations will be based off of the original performance of Masks but it will all be with a dash of heart and soul from Coco Karol. We are under deliberations as to whether Coco will be performing personally on stage.

CM (to Luna): Is this the first time you have worked with a dancer as part of your program?

Luna: Yes, it the first time I have worked with a performance artist in my program. I am thrilled to be given the chance to interpret Coco’s masterpiece of choreography on stage. Working with Coco has been the chance of a lifetime, not only will I be given the opportunity to enrapture my audience with music but also expand my performance into movement. In this debut I want to become one of the many new age artists who deteriorate the limitations of genre.

CM: Can we expect to see a CD recording in the future?

Luna: Absolutely, we plan on releasing a CD recording in the near future. I am in contact with several labels and planning to release my first CD in 2015. All 3 premiered pieces will be included.

Luna C Kang performing ‘Syrinx’ by Debussy from A. Mert Erdem on Vimeo.

Click here for info on Luna’s debut at Zankel Hall

Luna Cholong Kang

Inhyun Kim

Ear To Mind Korea

Battery ~ Randy Woolf and Kathleen Supove Kickstarting a Kickboxing Piece

Randall Woolf and Kathleen Supove–Photo courtesy of Randall Woolfrandywoolfkathysupove

Composer Randy Woolf and his wife pianist Kathleen Supove have made many interesting collaborative efforts together, but this one will probably be very hard to beat. They have been working on Battery, a concerto for piano and orchestra–a different kind of piano concerto that involves choreographed boxing. Sounds crazy in print, but if you take a look at what Kathleen does in the video link below, you’ll see she’s up for the boxing aspect of the task as well as the piano one.

The premiere of Battery will take place Feb 23, 2014, and the folks that are working with Randy and Kathy are choreographer Heidi Latsky and ensemble Le Train Bleu, with conductor Ransom Wilson. The funds of the campaign will be going to them.
Click here or on one of the bottom links to contribute.

Randy and Kathy had a minute to talk to us about it. Continue reading

Loom Ensemble ~ Erosion CD Release Party (A Review)

The Loom Ensemble performing excerpts from Erosion: a Fable during their CD release party at Theaterlab (Photos courtesy of Loom Ensemble)_MG_7991

World in One Pan Arts Collaborative
Loom Ensemble
Album Release Concert
Featuring live excerpts from Erosion: a Fable
Music by Sasha Bogdanowitsch and Loom
Also featuring SoCorpo (Sasha Bogdanowitsch & Sabrina Lastman)
Choreography by Neva Cockrell
TheaterLab, NY
Thurs, April 11th, 2013

In such a small space as the room inside TheaterLab, which felt to me more like the space where Loom rehearses, there was quite a sparkling little program in the guise of a CD release party that was put on by the Loom Ensemble with a great deal of spirit and warmth that would entertain anyone that appreciates the craft of both music and dance. Continue reading

The Loom Ensemble ~ On Erosion: A Fable and the Release Party

The Loom Ensemble performing Erosion: A Fable. From L to R: Raphael Sacks, Michael Bauer, Zoe Anastassiou, Neva Cockrell and Sasha Bogdanowitsch.loomensemble

The Loom Ensemble, a multi-tiered collective of dancers and musicians, both of whom have been doing both of those activities in full force, are about to release a recorded version on CD of their opera titled Erosion: A Fable. Though this is based on the staged version where the entire ensemble sings, this is a bit more representative of the suite they performed at the Vital Vox Festival as the paired-down Loom Trio. That same trio made up of composer and Loom co-founder Sasha Bogdanowitsch, and singer-dancers Raphael Sacks and Kate Hamilton had a few minutes to speak to The Glass about Thursday’s CD-release party for the Erosion CD (at Theaterlab, 357 West 36th, bet. 8th and 9th Aves.) as well as other cool things. BTW, you are invited to come down for this concert, and you can buy tickets for the CD release party by clicking here or on the link at the bottom.

CM: Can you talk about this CD release concert on Thursday?

Raphael: Loom’s big performance event of the Spring at Theaterlab is our album release party. We combine music from the album with new contemporary modern choreography and narrative excerpts from the Erosion show that some the music originally came from, as well as snippets from the piece you saw at the Vital Vox Festival. Continue reading

Vital Vox Festival ~ 2012/13 (A Review)

Performing excerpts from Erosion: A Fable on the festival’s 1st night, The Loom Trio are (L to R): Sasha Bogdanowitsch. Kate Hamilton and Raphael Sacks
(Photos courtesy of Neva Cockrell)

loom trio

The 4th Annual Vital Vox Vocal Festival (2012/13)
featuring Pamela Z, Sasha Bogdanowitsch and The Loom Ensemble and Trio, Unearthish (Sarah Bernstein and Satoshi Takeishi), Philip Hamilton, and Lisa Karrer with David Simons
Roulette, Brooklyn, NY
Monday, March 25th, and Tuesday, March 26th, 2013

After its postponement from the planned October dates last year due to Hurricane Sandy, The 4th annual Vital Vox Festival at Roulette finally commenced a year and a half after its last appearance in November 2011, and this year’s show was focused on the use of vocals with electronics. Displaying, as always, a variety of styles, abilities, and combinations of instruments, I can say with great certainty that all of these acts proved that they have immense creativity with a technology that continues to astound, titillate and baffle me.

First Night–Monday, 3/25
The show began ever so radiantly with Philip Hamilton, and the beginning of his set was without effects, displaying only the depth of his dynamic vocal in a stark but rich atmosphere. He then progressed to using delay effects and looping for the rest of his sequence titled Vocalscapes: Solitude. His use of electronics, which later on during the Q&A he revealed was being used for the first time ever, was astonishingly rhythmic in its musicality, and his sharp and muscular voice provided a crisp, bright, worldly and invigorating breath of fresh air that set the pace for the rest of the evening’s program. Continue reading

Maya Beiser’s Elsewhere at BAM (A Review)

Maya Beiser and Helga Davis performing in Elsewhere at BAM (Photo courtesy of Rebecca Greenfield)

Beth Morrison Projects
A Cello Opera conceived by Maya Beiser and Robert Woodruff
Maya Beiser, cello
Helga Davis, vocals
Music by Missy Mazzoli, Eve Beglarian, and Michael Gordon
Words by Henri Michaux and Erin Cressida Wilson
Choreography by Brook Notary
Film by Peter Nigrini
Brooklyn Academy of Music, NYC

Saturday, October 20, 2012

Written by Jeremy Shatan

The “story” of Lot’s wife – no more than a sentence in Genesis – is like a tea bag. Add the boiling water of imagination and emotion and it can expand into a fascinating and complex brew. This is precisely what Maya Beiser and her collaborators have done in “Salt”, the stunning third section of her “CelloOpera,” Elsewhere, which finished its four-night run at the Brooklyn Academy of Music last Saturday. With music by Missy Mazzoli and words by Erin Cressida Wilson, the unnamed wife of Lot, who was turned into a pillar of salt in punishment for looking back on Sodom, becomes a stand-in for the suffering of women across centuries and cultures – painful torments that often seem to take place “elsewhere.”

Wilson’s lyrics turn Lot’s wife into a three-dimensional character, a woman locked in a brutal marriage (and by the end of the piece, in jail) who is forced to give up her home and looks back, not in anger or curiosity, but because she recalled “The first painting our girl ever drew – forgotten and still-taped above the kitchen sink.” In performance, Lot’s wife is embodied by the astonishing Helga Davis, a pure theater artist with a gorgeous voice and true commitment to her craft. Using precise movements and a diverse array of voices, Davis is riveting. At one point the lights behind the stage went to full brightness and I took a quick look around the nearly sold-out theater. Not one person was anything but rapt and completely focused on the performance. Continue reading

BODYART with PUBLIQuartet (A Review)

West 4th Music Collective
with PUBLIQuartet
Baruch College, NY
Friday, October 5th, 2012

Written by Sharon Mizrahi
© 2012 Sharon Mizrahi

A look through the program for BODYART’s debut of Loft reveals several poetic epithets about the dance company. The collaboration, launched in 2005, features “human theatre,” captivating viewers with “moving imagination.” At the Baruch Performing Arts Center, founder and artistic director Leslie Scott illustrated this expressive approach by attempting to unite her “human theatre” with live music.

The opening movement quickly blossomed into a play on both geometry and gender from the all-female group. Jagged twirls and angular arcs peppered the choreography, though the dancers achieved fluidity nonetheless. Intriguing was the use of techniques frequently performed by male-female pairs, such as lifting one another into the air and launching elaborate back-twirls. Yet often the lifts and twirls would taper off in the final few seconds, seemingly propelled by too little force. Continue reading