As I noted in my review of Bernstein Dances (review click here), seen at the Dorothy Chandler in rotation with Bach, Neumeier is at his best when at his least literal. The chorus under Grant Gershon (with the children’s chorus directed by Fernando Malvar-Ruiz) was magnificent, though their power was unfortunately diminished by being placed so far from the orchestra.Ĭlocking in at 3.5 hours of dance, Neumeier’s choreography naturally had its high and low points, especially given the complexity of the religious subject matter. The continuo accompaniment of organ, viola da gamba and cello was richly colored. Partially it is the nature of the beast – maintaining the integrity of all elements is a delicate balancing act.įrom a musical perspective, LAO’s esteemed conductor James Conlon conveyed the richness, majesty and tenderness of the oratorio – the urgency and drama of the piece centered squarely in the orchestra. Like the Gluck, the results of Bach’s Passion are mixed. In 2018, he tackled Gluck’s Orpheus and Eurydice (review click here) at LAO, directing, choreographing, lighting, designing and costuming the production. Los Angeles isn’t new to the mammoth undertakings of this energetic choreographer. Bach’s masterwork, St Matthew Passion, choreographer John Neumeier brought his 1980 German production to Los Angeles, and the valiant, committed dancers of The Hamburg Ballet seized the stage, pushing the chorus to the back behind a black scrim and the soloists into the pit. It is a risky business when singers in an opera or oratorio are transplanted from their rightful place on stage. LA Children’s Chorus director – Fernando Malvar-Ruiz Libretto – Picander (pen name of Christian Friedrich Henrici), with text from the Gospel of MatthewĬhoreography, Staging, Set and Costumes – John Neumeier (JRo) Xue Lin with The Hamburg Ballet © Kiran West Bach, St Matthew Passion: Singers, Dancers of The Hamburg Ballet, Los Angeles Children’s Chorus, Chorus and Orchestra of LA Opera / James Conlon (conductor).
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