February 17, 2013 |
Carmina Burana , the Carl Orff cantata that inspires extremes of adoration and revulsion, emerged a changed piece Thursday night. It ascended from its typical semiprofessional performance circumstances to the best this city can offer: the Philadelphia Singers Chorale at its full-tilt best, with the Philadelphia Orchestra in precise form under guest conductor Rafael Frühbeck de Burgos. Frühbeck came into this string of Kimmel Center performances (opening Thursday and continuing Saturday)
November 13, 1987 |
The Choral Arts Society and full orchestra under conductor Sean Deibler performs Carl Orff's earthy cantata, "Carmina Burana," at the Academy of Music Sunday at 7:30 p.m. This excellent ensemble usually offers major yet rare choral works that deserve more frequent hearings, but this time aims the varied skills of its choristers at this more familiar, undeniably powerful work. "Carmina Burana" is a unique blend of hedonistic drama and hypnotic rhythms, a work with a completely unique signature.
August 6, 1986 |
Audiences love John Butler's lusty ballet, Carmina Burana, and its throbbing, pseudo-antique score by Carl Orff. Many critics find it vulgar. It's as speciously medieval as the images on modern Tarot cards. But it has been a seat-filler for many dance companies since Butler created it for the New York City Opera in 1959. One reason is a blatant sexuality that confirms the old chestnut that dance is the vertical expression of a horizontal idea. In a triumphant performance by the Pennsylvania Ballet and a 100-voice choir at the Mann Music Center last night, torrents of wild paganism and pounding movement were tempered by moments of tenderness.
April 19, 1990 |
The Pennsylvania Ballet brought one of its old favorites, "Carmina Burana," out of repertory mothballs last night at the Shubert Theatre and proceeded to give an electrifying demonstration of just why this show-bizzy, glamorous number is the company's most requested dance. Although it wasn't in the active repertory during Robert Weiss' tenure as artistic director (1982-1989), "Carmina Burana" wasn't forgotten. Frankly, it's not hard to understand why. For starts, there is Carl Orff's spine- tingling choral music, which takes its text from medieval poems celebrating life's earthy pleasures and delicious vices.
February 17, 2003 |
Degas fever grips the region as the Philadelphia Museum of Art show and Matthew Neenan's new ballet open. At the Art Museum, long lines and a gift shop full of ballet trinkets testify to the appeal of the French painter, born in 1834, who made his ballerina fetish a lifelong study. At the Academy of Music, the Pennsylvania Ballet premiered Le Travail, corps member Neenan's fourth choreography for the troupe and the first work for which it has commissioned an original score. Media-based composer Robert Maggio, 39, begins his ambitious 25-minute piece with a quote from Adolphe Adam's music for Giselle, but it soon develops into dense waves of practically Prokofievian drama, more elaborate by half than what occurs on stage.
March 10, 2007 |
Pennsylvania Ballet unleashed a triumph Thursday night, with its world premiere of a steamy, explosive new Carmina Burana at the Academy of Music. Any worries about replacing John Butler's version - a favorite for four decades - now can be forgotten. The hour-long ballet, choreographed by corps de ballet member and de facto resident choreographer Matthew Neenan, sped along in a revel of eruptive jumps, sexy duets and full, lush ensemble sections. Loosely based on a series of poems about drinking, gambling, fate, life and love, it was danced in an ever-changing variety of skin-tight costumes.
February 21, 1986 |
The Pilobolus dance group can make six bodies look like one, one body look like six, and however many bodies there actually are up there on stage look like an animal only a 6-year-old has seen in his dreams. The company makes these complicated configurations seem easy. But the one thing Pilobolus finds difficult is to refrain from humor. It takes a droll frame of mind to name a company after a fungus, and drollery sometimes informs the titles of its dances, as well. Pilobolus' most famous piece is called Untitled; and it's partly the title that has given the dance its fame.
March 30, 2004 |
In celebration of its 130th anniversary, the Mendelssohn Club accomplished what is, for many, the impossible: Its Sunday concert at the Kimmel Center gave you reason to respect Carl Orff's annoyingly popular Carmina Burana. These choral settings of ribald poetry by sodden medieval monks have always given audiences reasons to be at least superficially excited. Whether drinking songs or dreamy odes to queens and goddesses, the tunes have the insistent simplicity (though not the charm)
April 26, 2015 |
Nothing all that unusual seemed likely to unfold at the Philadelphia Orchestra's second consecutive subscription week with principal guest conductor Stéphane Denève: A potentially pop-slanted John Williams film score suite; Graffiti , a choral work by the increasingly popular Magnus Lindberg; and excerpts from Prokofiev's Romeo and Juliet ballet. Yet the orchestra, Philadelphia Singers Chorale, and the audience had plenty to contend with at Thursday's concert, which was one of the more distinctive programs of the season - a confounding, mixed success.
August 5, 1987 |
The Pennsylvania Ballet was not to be outdone by the weather last night. The program presented at the Mann Music Center was every bit as sizzling as the air. The major portion of the program was given over to Carmina Burana, John Butler's intense interpretation of Carl Orff's fire-and-brimstone score. The program opened with Ravel's seething Bolero, choreographed by artistic director Robert Weiss. Sandwiched between the two works were dazzling virtuoso pas de deux - the high-flying Corsaire, which featured an absolutely outstanding performance by Marin Boieru, and Balanchine's take on Neopolitan verve, Tarantella.