Sim Posted December 6, 2021 Share Posted December 6, 2021 Well this looks like it could be very beautiful... https://www.laopera.org/performances/upcoming-digital-performances/between-the-rooms/ 2 Link to comment Share on other sites More sharing options...
alison Posted December 6, 2021 Share Posted December 6, 2021 Ooh, Kim Brandstrup! Count me in 2 Link to comment Share on other sites More sharing options...
Sim Posted December 6, 2021 Author Share Posted December 6, 2021 49 minutes ago, alison said: Ooh, Kim Brandstrup! Count me in And Emily Dickinson...it gets better and better!! Link to comment Share on other sites More sharing options...
Scheherezade Posted December 7, 2021 Share Posted December 7, 2021 And I'm sure that many will have heard Joelle Harvey at the ROH and other venues. But is anyone familar with Anna Clyne's work? Link to comment Share on other sites More sharing options...
FionaM Posted December 7, 2021 Share Posted December 7, 2021 Thank you for this alert … I’d seen a post by Alina many months ago mentioning this collaboration. Delighted to hear more about it. From the webpage: A NOTE FROM DIRECTOR/CHOREOGRAPHER KIM BRANDSTRUP Anna called me at the peak of lockdown asking me to work with her on Between the Rooms. We both agreed that the poetry of Emily Dickinson, who lived alone in one room for the last 20 years of her life, seemed strangely topical. And very appropriately the first part of our collaboration took place between Anna’s secluded workroom in upstate New York and mine in London, on Zoom. The prep for the shoot and the initial rehearsals were held at a similarly cautious distance—and in masks. However, when the date of filming finally arose in early May, when the masks and distance were abandoned, the sheer exhilaration of the dancers being able to freely move and touch again was palpable. It was the first time Alina and Matthew had ever danced together and the chemistry was instantaneous—the liberating sense of close physical proximity and touch were unmistakable and very moving. Thus this sense of longing for touch and closeness—after a year of isolation—has become an important part of the film. However, Emily Dickinson’s solitary life was a clear and personal choice and the film celebrates her poetry’s powerful ability to evoke the physical world outside the room—a celebration of our ability to conjure up, through poetry, music, movement, an imaginary otherness even when we are alone in our rooms. 1 Link to comment Share on other sites More sharing options...
Ian Macmillan Posted December 7, 2021 Share Posted December 7, 2021 Emily Dickinson - a powerful poet: Because I could not stop for Death He kindly stopped for me ... I'm trying to remember in which choral work this was set. 1 Link to comment Share on other sites More sharing options...
JohnS Posted December 8, 2021 Share Posted December 8, 2021 Wikipedia has this which might give a clue: The poem has been set to music by Aaron Copland as the twelfth song of his song cycle Twelve Poems of Emily Dickinson. And again, by John Adams as the second movement of his choral symphony Harmonium, and also set to music by Nicholas J. White as a single movement piece for chorus and chamber orchestra. Link to comment Share on other sites More sharing options...
Ian Macmillan Posted December 8, 2021 Share Posted December 8, 2021 John: It was Adams' Harmonium - we (Cambridge Phil) did it some years ago, and I recall being taken by the text. Many thanks! 1 Link to comment Share on other sites More sharing options...
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