Kyle Adam Blair - pianist, new music specialist, vocal coach
Theatre
Hallelujah Junction
(on-stage piano)
3/7/2020 - 3/8/2020 / Spreckels Theatre / San Diego, CA
from City Ballet of San Diego: "Balanchine and More"
music by John Adams
choreography by Peter Martins
Mark Polesky and Kyle Adam Blair, pianos
- - -
Hallelujah, the Hebrew expression for “Praise the Lord,” is familiar in music, such as the “Hallelujah Chorus” from Handel’s “Messiah” and Leonard Cohen’s omnipresent song. The expression also fuels the rhythms of “Hallelujah Junction,” one of four ballets showcased this week in City Ballet of San Diego’s Balanchine and Beyond.
Peter Martins’ “Hallelujah Junction,” set to John Adams’ score of the same name, has been called a living locomotive. The artistic director of New York City Ballet utilizes delayed repetition between two pianos. Rhythms are based on the word “hal-le-lu-jah.”
“It’s one of the most complex ballets because of the shifting music,” says ballerina Ariana Gonzalez. “Two pianos play on stage and the counts are crazy. We go from 10 sixes, to a seven, to a 10, so it’s extremely difficult. Costumes are stark black and white, to mirror the piano keys.”
Gonzalez partners with husband Geoff Gonzalez for intricate twists in the duet midway through the company premiere.
“There are configurations and patterns, and it’s intensely athletic,” Geoff said. “We study count boards because the dance and music counts aren’t the same. We live for this kind of thrill and to be dancing at this high caliber..."
(San Diego Union-Tribune)
(on-stage piano)
3/7/2020 - 3/8/2020 / Spreckels Theatre / San Diego, CA
from City Ballet of San Diego: "Balanchine and More"
music by John Adams
choreography by Peter Martins
Mark Polesky and Kyle Adam Blair, pianos
- - -
Hallelujah, the Hebrew expression for “Praise the Lord,” is familiar in music, such as the “Hallelujah Chorus” from Handel’s “Messiah” and Leonard Cohen’s omnipresent song. The expression also fuels the rhythms of “Hallelujah Junction,” one of four ballets showcased this week in City Ballet of San Diego’s Balanchine and Beyond.
Peter Martins’ “Hallelujah Junction,” set to John Adams’ score of the same name, has been called a living locomotive. The artistic director of New York City Ballet utilizes delayed repetition between two pianos. Rhythms are based on the word “hal-le-lu-jah.”
“It’s one of the most complex ballets because of the shifting music,” says ballerina Ariana Gonzalez. “Two pianos play on stage and the counts are crazy. We go from 10 sixes, to a seven, to a 10, so it’s extremely difficult. Costumes are stark black and white, to mirror the piano keys.”
Gonzalez partners with husband Geoff Gonzalez for intricate twists in the duet midway through the company premiere.
“There are configurations and patterns, and it’s intensely athletic,” Geoff said. “We study count boards because the dance and music counts aren’t the same. We live for this kind of thrill and to be dancing at this high caliber..."
(San Diego Union-Tribune)
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