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2.2.09

See Also: Mozart Dances



Mozart Dances
Mark Morris Dance Group
Kennedy Center Eisenhower Theater

Much of the appeal for a musician was to see how Morris realized the form of the score with corresponding visual ideas, staging the cadenza to K. 413's first movement as a little scene, for example. Most of the slower middle movements were relaxed, with softer, often pink lighting (designed by James F. Ingalls), and the bubbly outer movements percolated with jauntier movement. When there was repetition in the music, the corresponding visual ideas returned as well, developed and elaborated in a way that showed how musical ideas, when they return in these forms, are both familiar and new. While Oppens could have been tighter and more coherent in K. 413, she was solid and more consistent on the solo of the B-flat major concerto, K. 595, which underlay the final act, Twenty-Seven. The troupe of dancers formed crisp ensembles, working best in small groups and seeming a little off kilter when amassed as a whole.
Charles T. Downey, Mark Morris Makes Mozart Dance (DCist, February 2)

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