»Liebeslieder«

Next to George Balanchine, Jerome Robbins had a key role in turning the New York City Ballet into one of the most important dance companies in the world. In his Pas de deux Other Dances the romanticism of Chopin’s music blends with the elegance of classical ballet technique in a way that is both sublime and natural. What happens to our perception of movement when it is constantly repeated, albeit in different situations? Lucinda Childs deals with this question in her ballet Concerto, creating dance architectures in pure form to Henryk M. Górecki’s hypnotic music. By contrast, George Balanchine’s Liebeslieder Walzer whisk us away to the world of Viennese balls. Four pairs of dancers, singers, and pianists meet as if for an exuberant Schubert celebration on a stage that is transformed into a ballroom by Johannes Brahms’ Liebeslieder-Walzer and his Neue Liebeslieder.

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