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Austin Goodwin and Emily Tate in an early rehearsal for Martha Graham’s Dark Meadow, one of two works in this spring’s 2015 Juilliard Dances Repertory program. (Photo by Rosalie O’Connor)The 2015 Juilliard Dances Repertory concerts feature two 20th-century classics that are as physically demanding as they are visually stunning: Martha Graham’s 1946 Dark Meadow and Merce Cunningham’s 1999 BIPED. But it’s not just the 58 dancers who’ve been challenged by these ambitious productions—Juilliard’s costume and scene shops have also had unique problems to solve. Sarah Adriance reports.
Early Love for Early Music
Photo by Jonas SacksFirst-year violin students at London’s Guildhall School of Music and Drama aren’t typically allowed to take secondary lessons on a Baroque violin, but Rachel Podger wasn’t going to let policy interfere with passion. “I got hold of an instrument and did it anyway,” she told The Journal—and her commitment to historical performance hasn’t wavered since. On March 19, the acclaimed British violinist and conductor will make her Juilliard415 debut leading an all-Vivaldi program; later this spring she’ll serve as the ensemble’s concertmaster in programs in New York, Boston, and London.
Beyond the Machine: Multisensory, Multidiscipline, Multimedia
Cubicle by alums Macy Sullivan (pictured) and Phoebe Dunn is one of the pieces in this year’s Beyond the Machine festival. This month, Juilliard’s Center for Innovation in the Arts presents Beyond the Machine, a festival that celebrates interdisciplinary collaboration as well as the interplay between art and technology. The first installment (for the Juilliard community only), on March 19 and 20, features premieres by several alumni that make innovative use of recorded sound, video projections, and interactive elements. Part two of the festival, on March 27 and 28, is open to the public. Read more in The Journal. |
