THE TROUT by Mark Morris Dance Group


What did critics say about THE TROUT by Mark Morris Dance Group?

This spirited triptych of the dances of the “most influential choreographer alive” (New York Times) presents works set to music by Monteverdi and Brahms that reveal the intricacies of romantic love and a world premiere on Schubert’s famous “Trout” quintet.

The production premiered last weekend at the Lincon Center as part of the Mostly Mozart Festival.

Mark Morris Dance Group (MMDG), founded in New York in 1980 by choreographer Mark Morris, has the mission to develop, promote and support Morris dance, music and opera productions and to serve as a cultural resource for engaging and enrich the community. MMDG has been called “the preeminent modern dance organization of our time” (Yo-Yo Ma). Live music and community engagement are essential elements of the Dance Group, which has toured with its own musicians, the MMDG Music Ensemble, since 1996. Through Access / MMDG programming, the Dance Group provides educational opportunities in dance and in music to people of all ages. and her abilities on international tours and at home at the Mark Morris Dance Center.

Since opening in 2001, the Mark Morris Dance Center in downtown Brooklyn has provided a home for the company, a resource for music and dance lessons in all styles for all ages and abilities, and a rehearsal space. for the dance community and free outreach programs. MMDG is dedicated to increasing access to the arts and brings to this proposed project its commitment to community programming with a focus on underfunded areas, its high artistic standards rooted in the work and vision of Mark Morris, and a philosophy of open access and “dance for all”.

Let’s see what the critics have to say!

Alastair Macaulay, NY Times: The marvelous simplicity of the Morris dancers’ scenic manners tends to be more lovable than the schematic material given to them. Mr. Morris makes sure that we record his patterns – they often come as punchlines, more jerky and finished than the musical figures they illustrate – after which his reiterations are more than we need. An effortless lift, in which a woman is held aloft by her pelvis while her head and limbs aim down, soon looks like a gadget.

Apollinaire Scherr, Financial Times: The school of fish nature of the ensemble would not have been so noticeable if The Trout had not followed the Love Song Waltzes of 1989, the hard lieder of Brahms and the I Don’t Want to from 1996. Amour, aux madrigaux de Monteverdi (all the music live and made exciting). For each of the songs, a different dancer stood out. Whether in love or refusing, she has maintained a unique relationship with the group at hand. The drama was deeply touching because it was so special.

Elizabeth Zimmer, Village Voice: Morris likes quirky structures and showing off parts of the body – elbows, for example – that don’t often attract attention in dance scenes; her craft is a fusion of folk, ballet and modern idioms that manages to seem entirely natural. He has started, in recent months, preparing dances for a cold room, so to speak, ready to resuscitate after he leaves – but he’s only 61 years old. Did working on the Schubert scare him? The Viennese composer was only 31 years old.

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