October 22nd, 2013 §
Watching this video is tough for someone who loves music, musical instruments and antiques. trip pop Russian band Cats Park destroys a gorgeous old C. Goetze signed black upright piano. When the paint started to flow I thought it might just by water based and wondered how they would clean it off. How wrong I was.
If Hollywood can blow up cars and buildings (less and less, more and more done purely in CGI), indie music videos should have the right smash old pianos in the pursuit of art.
Apart from the death of the piano, a quite beautiful and simple video. Like most good videos, there’s a single strong image and it’s followed through consistently. We create and then we destroy. There is no permanence. Echoes of Shelley’s Ozymandias. Even truer in emotional terms. The closest couples often become the most bitter enemies or the most estranged souls on the planet.
Blowing up pianos - Cats Park Your Love is a Sin Continues »
October 19th, 2013 §
Volkoper plays an interesting role in the arts life of the Austrian capital. Viennese love both their operetta and their comic ballet and Volksoper must feed this sweet tooth.
Often the works are either historic pieces or imported. This year Volksoper ballet director Vesna Orlic and Staatsoper dancer and choreographer Andrey Kaydanovsky have collaborated on a new program called Marchenwelt or Fairy Tale World. The two parts are unified by dramatic Russian music, first Modest Mussorgski’s Pictures from an Exhibition and then Rimsky-Korsakov’s Scherezade.
Boris Eder’s brilliant turn as the Genie stuck in a lantern in Orlic’s 1001 Nights
Kaydanovsky has contemporised The Ugly Duckling for his fairy tale. His version includes high fives, industrial agriculture and sport hunting with rifles. And why not? Fairy tales should be timeless.
Marchenwelt Ballett at Vienna's Volksoper: A Fairy Tale Evening Continues »
October 12th, 2013 §
As the final show of this summer’s ImPulstantz, Vienna was privileged to welcome the premiere of a new work by underrecognised but brilliant Elio Gervasi. One of the first choreographers to bring modern movement to Vienna, his improvisational influence spread wide. Gervasi, like many creative geniuses, is often a bit gruff. Strong movement is his native idiom not redundant words and empty promises. After blooming at the end of the nineties and start of the noughts, Gervasi’s company was one of the first dance companies to fall victim to the city of Vienna’s heavy arts cuts starting in about 2004. For several years, Gervasi worked in miniature with either principle muse Leonie Wahl or at most a quartet of dancers. Most of the others, including Homunculus are no longer here at all.
Elio Gervasi's Solo with Guests (Part Two) in Vienna's Odeon Theatre Continues »