Martin Cid's Blog: Martin Cid Magazine, page 95

Complexions Contemporary Ballet Marks 30 Years of Artistic Excellence

Complexions Contemporary Ballet, widely known as Complexions, is set to commemorate its 30th anniversary under the direction of its Co-Founders Dwight Rhoden and Desmond Richardson. This milestone celebration will unfold over two weeks at The Joyce Theater. Enthusiasts can secure tickets for this much-anticipated engagement at The Joyce, with prices ranging from $27 to $82, available for purchase online at Joyce.org.

In celebration of Rhoden’s artistic legacy, which has captivated audiences around the globe for three decades, Complexions will present a retrospective with the theme “Love Revolution.” Co-Founder and Artistic Director Desmond Richardson commented, “Dwight is not only a friend but a master craftsman and prolific artist. His choreography is enchanting to dancers, probing their artistry, passion, technique, and soul. His humanity resonates in every movement, and it is my honor to be an ambassador for his work.”

The anniversary repertoire promises to showcase premieres alongside audience favorites, including Avè Maria, Growth, Naked Perfume, Mercy, Higher Ground, Star Dust, and other dynamic works with scores spanning from Beethoven and Tchaikovsky to Earth, Wind & Fire. The world premieres include:

Rhoden’s Bolero, a new work for the entire company choreographed to Maurice Ravel’s dynamic composition, underscores the collective spirit and the strength derived from a shared purpose. As the piece unfolds, it illustrates the internal struggle within the journey to unity. Bolero delves deeply into the human psyche, using struggles, challenges, and triumphs as a basis to convey the intensity of living life anchored in love.

Additionally, there are two world premieres featuring duets choreographed by Rhoden with identical movements but set to different musical pieces. Pas De Deux, set to the music of Johann Sebastian Bach, and Benny, set to music by Sir Elton John, are largely experimental. These works explore the concept of movement as a language, allowing the performing artists to interpret the choreography uniquely according to the music and the narrative they aim to express.
In commemoration of this landmark season, the company will present “30,” an anniversary tribute ballet enriched with spoken word by Resident Poet-Journalist Aaron Dworkin.

Jillian Davis and Joe Gonzalez in Endgame by Dwight Rhoden

The New York premieres feature:

Rhoden’s This Time, With Feeling, a neoclassical ballet set to an original score by David Rozenblatt. This work is staged within a traditional framework that has been broken down, deconstructed, and reassembled. The piece unfolds in a juxtaposition that initially houses an internal energy within its design structure, eager to be expressed. It delves into natural emotions without boundaries yet within a construct, finding the ‘feeling’ in the composition that is eventually unleashed. Rhoden and Rozenblatt have a collaboration history spanning over two decades, most recently co-creating the acclaimed work, The Lightning Round, for The Houston Ballet.

Blood Calls Blood, a quartet commissioned by the New Orleans Ballet Association in 2023, is choreographed to the remarkable music of Grammy-nominated artist Chief Adjuah. In two movements, the piece constructs a world where energies clash in chaotic and passionate ways, depicting the human spirit’s restless yearning for understanding, love, and harmony at its core.

The company will also premiere Cry Me, a new work by former company member and resident choreographer Jae Man Joo, set to the music of Phillip Glass. This piece captures a spectrum of emotions—passion, love, and grief—and is set to a poem by Joo, which is included at the end of the press release.

The engagement will feature Retro-Suite, a celebratory suite of works highlighting Complexions’ 30-year history, including such classics as Growth, Naked Perfume, Avè Maria, and Mercy. The musical accompaniment spans from Tchaikovsky and Handel to Earth, Wind & Fire and Elton John. This suite includes the return of Rhoden’s For Crying Out Loud (2023), set to U2’s acoustic album Songs of Surrender, unfolding in an interconnected “wandering narrative.”

The special Gala Night program on Tuesday, November 19 at 7 p.m., will honor Dwight Rhoden and Dr. Donald J. Rose. This event features the World Premiere of “30: Ode to the Dance of Revolution,” written and performed by Resident Poet-Journalist Aaron Dworkin, alongside performances of Retro-Suite, the Complexions Academy Pre-Professional Program students, and special guests. “30: Ode to the Dance of Revolution” is a compelling blend of spoken word and music, celebrating the transformative power of dance, with Dworkin’s words accompanied by Michael Abels’ evocative composition “Global Warming.” Rhoden, whose illustrious career spans over three decades, co-founded Complexions and has redefined contemporary ballet through a multicultural approach, creating over 100 ballets and collaborating with renowned companies and artists worldwide.

Dr. Donald J. Rose, a sports medicine physician, orthopedic surgeon, and Founding Director of the Harkness Center for Dance Injuries at NYU Langone Orthopedic Hospital, will be presented with the 2024 Elegy Award. Dr. Rose has served as an orthopedic consultant for numerous dance companies, including Complexions, Alvin Ailey American Dance Theater, Martha Graham Dance Company, Dance Theatre of Harlem, and STREB Extreme Action, as well as for Broadway and Off-Broadway productions. Additionally, he has been an orthopedic consultant for the National Football League, Cirque du Soleil, The Joyce Theater, and SUNY Purchase, and served as the New York medical director for the Women’s Association of Volleyball Professionals tour.

Victor Pasmore and Patrick Heron at VIII São Paulo Biennial, 1965: A Retrospective

Hazlitt Holland-Hibbert and Frankie Rossi Art Projects are pleased to announce an exhibition featuring the works of two of Britain’s leading abstract artists: Patrick Heron (1920-1999) and Victor Pasmore (1908-1998). This presentation revisits their groundbreaking joint exhibition at the VIII São Paulo Biennial in 1965, a pivotal event in the careers of both artists and a significant moment in the international reception of British abstraction beyond the confines of the UK, US, and Europe. In the absence of any photographic records of the original exhibition in Brazil, this reimagining offers an opportunity to experience the historic show anew through several key works that were initially part of the presentation, along with additional important pieces from the same period.

Heron and Pasmore, both of whom were among the most prominent artists working in Britain during that era, were selected by the British Council to represent the UK at South America’s largest art exhibition, which subsequently toured venues in Santiago, Lima, and Caracas over the following two years. Although they had never before exhibited together in a dedicated two-man show, their works collectively embodied a non-representational, formalist vision balanced by natural artistic intuition. Their approaches stood in stark contrast to the highly recognizable Pop Art style that was flourishing in the 1960s, and their expressive brushwork and asymmetry showcased a distinctly European aesthetic, offering a counterpoint to the American-style painting that likely dominated the British Council’s selection committee’s perspective at the time.

Patrick Heron’s works, such as Clear Blues in Green and White: August 1962, reflect his growing preoccupation with achieving intuitive painterly balance rather than strict formal precision. He eschewed rigid lines and symmetry in favor of creating subtle formal and chromatic harmonies. Meanwhile, Victor Pasmore’s works, exemplified by pieces like Brown Development No. 3 (1964), feature gestural brushwork and suggestions of organic forms that reveal an underlying sensualism within his rigorously abstract practice.

The pieces exhibited by both artists at the Biennial were indicative of the future directions their practices would take. For instance, Heron presented fifteen of his most recent paintings from the years 1962 to 1964, which employed color as the primary compositional element. In works such as Big Red Horizontal with Ultramarine: 1964, he created vibrant ‘color-shapes’ loosely juxtaposed on the canvas. These works foreshadowed the increasingly complex forms that would emerge in his paintings later in the 1960s and into the 1970s, as Heron sought to explore the spatial possibilities within color.

Left: Victor Pasmore in his studio in Blackheath, London, 1965 © Romano Cagnoni, 2024.
Right: Patrick Heron in his studio in St Ives, Cornwall, 1965 © Patrick Heron Trust. All rights reserved, DACS 2024.

Victor Pasmore, on the other hand, contributed thirty-one works encompassing both painting and three-dimensional constructions, dating from 1957 to 1965. This exhibition represented the zenith of his mixed-media approach, utilizing unconventional materials such as spray paint, collage, and Perspex to create his unique abstract style. Works like Abstract in Black, White and Mahogany (1965-66) highlight his return to painting within his constructed reliefs, which would dominate his practice from that point forward, emphasizing the interplay between clear structural organization and linear outlines.

Hazlitt Holland-Hibbert and Frankie Rossi Art Projects have curated a selection of works from the original show to create a retrospective time capsule of this career-defining moment for both Pasmore and Heron. By revisiting their abstractions that transcended geographical boundaries, the exhibition offers a unique insight into the practices of two of the most innovative modern British artists during a period when their work was in remarkable harmony.

Accompanying the exhibition will be a catalogue featuring two essays by Herbert Read and Alan Bowness from the original Biennial catalogue, as well as a new essay by Chris Stephens, the Director of the Holburne Museum.

“Sing: Thriller” Animated Short Film on Netflix: Our Adorable Animals in a Halloween Dance to Michael Jackson

“Sing: Thriller” is an animated short film from Illumination Entertainment. Featuring the voices of Matthew McConaughey, Tori Kelly, Nick Kroll and Scarlett Johansson among others. It is written and directed by Garth Jennings.

Netflix brings us a delightful animated short to get us in the Halloween spirit. We’re all familiar with the beloved characters from Illumination Entertainment, and now they’re back in this special Halloween edition. This rhythmic concert kicks off with a bang and continues into our friends’ house, all set to Michael Jackson’s iconic song, “Thriller.”

The film is just ten minutes long, but the animation quality is top-notch, living up to the standards of the studio behind the Minions. This charming piece is perfect for young viewers. Enjoy!

Where to Watch “Sing: Thriller”

Netflix

“I am a Killer” Season 6. Documentary Series on Netflix: Six New Stories of Murder from U.S. Prisons

“I am a Killer” is a Netflix docuseries created by Franckie Williams and Romaine Chapman.

The United States houses approximately 160,000 convicted murderers within its prison system, with over 20,000 homicides occurring annually across the nation. “I am a Killer” is a gripping documentary series that delves into the lives of inmates convicted of murder. These individuals, sentenced to lengthy prison terms, openly admit their guilt and take responsibility for their actions. Confronted with years behind bars, they recount their stories, providing a raw and unfiltered look into their lives and crimes.

This documentary series has proven to be a notable success for Netflix, now returning for its sixth season. Consisting of six episodes, each chapter features a unique story of murder and the inmates who acknowledge their culpability. Despite their attempts to find redemption after years of incarceration, their path to atonement remains fraught with challenges.

What sets “I am a Killer” apart is its innovative approach: it presents the perspective of the murderer without glamorizing their actions in the style of Hollywood. These criminals are real people, many of whom express genuine remorse for their deeds. The series continually raises a poignant question: Can a single moment of violence irrevocably determine a person’s fate? This question lingers throughout each episode, prompting viewers to reflect on the complexities of justice and redemption.

The series also explores whether these individuals are products of their upbringing and social circumstances. Is there a possibility for these criminals to find redemption? “I am a Killer” offers an intimate face-to-face encounter with these inmates, detailing their lives in prison and how they have evolved over time. It also highlights the efforts of institutions to rehabilitate these offenders and provide them with a sense of purpose.

This series, rich in human interest, addresses the theme of social reintegration, giving viewers a candid look at who these murderers are and their reflections on their past actions. Ultimately, “I am a Killer” presents a stark and unembellished portrayal of the murderer, leaving it up to the audience to decide whether they wish to delve into these harrowing stories or not.

This documentary series is an unflinching examination of crime and punishment, challenging viewers to contemplate the nature of guilt, repentance, and the possibility of forgiveness.

Where to Watch “I am a Killer”

Netflix

“Ancient Apocalypse” Season 2. A Netflix Documentary Series: Graham Hancock and His Fascinating Theories on Lost Civilizations

“Ancient Apocalypse: The Americas” is a documentary series hosted by Graham Hancock.

Archaeologist or pseudoscientist? Graham Hancock is a journalist whose passion for archaeology has driven him beyond the realm of expert opinion. He is on a mission to prove an intriguing theory: the widely accepted and academic stance is mistaken in certain respects, and forgotten civilizations existed that were far more advanced than what mainstream science tells us.
Graham Hancock’s books have sold millions of copies worldwide, continually sparking controversy.

Netflix brings us this second season, where the journalist continues his quest to find remnants of these civilizations lost to history (according to his theory).

This journey will take us through Indonesia, Malta, Mexico, and other parts of the world, raising profound questions about the great flood from thousands of years ago and, more importantly, the chronological errors of official sources.
Hancock focuses his attention on pyramids in all their forms, conducting investigations that lead him to suggest that the earliest ones were created during the last Ice Age, approximately 20,000 years ago.

About the Documentary Series

We don’t wish to delve into controversies or side with anyone, but “Ancient Apocalypse” has one great virtue: it is fantastically produced and represents a significant effort at the production level for a documentary.

In the eight episodes of this season, we are taken to various locations around the globe as Graham Hancock’s theories are explored: computer-generated reconstructions are made, high-tech experiments are conducted, and no expense is spared on travel for production.

In the absence of a time machine to verify the stances of one side or the other, the documentary series possesses a compelling ability to persuade, although it omits the opposing viewpoint: where are those who refute these theories? We would have liked to see the academic perspective, as “Ancient Apocalypse” strictly presents the journalist’s theories.

Nevertheless, it convinces, provides data, and all the research and theories do not seem to be the product of a crazed fan of “The X-Files” and conspiracy theories. The documentary seriously, orderly, and coherently presents the positions of a man who asserts something extraordinary: science is wrong, and the history of civilizations has not followed a linear progression; rather, there have been forgotten civilizations of which there is evidence.

Our Opinion

Whether Graham Hancock’s theories are entirely correct or not, the series “Ancient Apocalypse” boasts an extraordinary production and will be especially appealing to those who believe that not everything we are told is true. Beyond academic positions, it remains necessary to rethink history to discover other truths within it.
Enjoy it.

Where to Watch “Ancient Apocalypse: The Americas”

Netflix

“Sweet Bobby: My Catfish Nightmare” – A Documentary on Netflix: The Very Strange Romance of Kirat Assi with a Certain Bobby

“Sweet Bobby: My Catfish Nightmare” is a documentary directed by Lyttanya Shannon.

Have you ever chatted online? Whether through various messaging apps, chat rooms, social networks, or messaging applications, we’ve all done it at some point. However, Netflix presents an unusual and atypical story of a woman who met someone online, embarked on a long-distance romantic relationship, and then encountered a plethora of unexpected twists and turns.

Kirat Assi met Bobby through Facebook. They first met in person one day in the south of England, but primarily maintained a long-distance relationship. The story takes a dramatic turn when Bobby gets shot six times and ends up nearly dead in a hospital in New York, subsequently entering the witness protection program.

But the story doesn’t end there: while committed to Kirat, Bobby had a child with his ex-wife, all while communicating with Kirat through voice messages and chats. It was a long-distance relationship taken to its absolute limits.

And wait, there’s much more, but you’ll have to watch the documentary on Netflix to discover how this story of online relationships and false identities concludes.

About the Documentary

This documentary is straightforward yet well-executed in terms of production. Kirat shares her story, detailing how she met Bobby and the intricacies of their relationship, providing the audience with some of the files and conversations they exchanged over the years.

The narrative primarily hinges on the testimonies of Kirat, her mother, and her sister, culminating in a significant surprise at the end. “Sweet Bobby: My Catfish Nightmare” features compelling dramatizations and is narrated with a strong sense of rhythm, incorporating numerous cinematic elements and effective editing, almost resembling a romantic thriller.

Our Opinion

While it may not be the documentary that will change your life, it is an intriguing story strange enough to capture the audience’s interest. It is narrated with considerable efficiency and cinematic flair, making it a compelling documentary of an exceptionally bizarre story.

Where to Watch “Sweet Bobby: My Catfish Nightmare”

Netflix

Movie Review: “Justice” – A Realistic Take on the Classic Thriller

“Justice” is a Polish movie directed by Michal Gazda starring Olaf Lubaszenko and Jedrzej Hycnar.

“Justice” is a Polish thriller that caters to aficionados of traditional crime dramas: a heist, multiple murders, and the ensuing investigation. The film presents well-crafted characters with rich backgrounds and distinct personalities, all under the lingering shadow of Poland’s communist past. It is an engaging thriller, competently directed and well-acted, adhering strictly to the conventions of the genre. While it may not surprise in this regard, it does stand out in its screenplay and character development. Here, there are no purely good or evil individuals; instead, it offers a human story that comprehensively explores both sides of the narrative.

Don’t expect high-speed chases or grand action sequences. Instead, anticipate well-developed characters and a consistently coherent storyline in a thriller that entertains without excelling in visual spectacle.

As many are aware, Netflix has taken an interest in the Polish film industry, which is now amassing a commendable catalog of recent high-quality productions. The selection includes various genres, from romantic comedies to deeply introspective films that delve into the profound impact of the communist era on Poland and the nation’s subsequent reconstruction. “Justice” aligns with this trend, presenting cinema that avoids depicting characters in a favorable light. Instead, it immerses viewers in their pasts, elucidating the circumstances that drive their actions, without justifying or morally judging them.

The film does not feature Hollywood-style actors, nor does it boast a stylized and elegant production. It opts for a much more realistic, accurate, and effective approach, setting itself apart from traditional American thrillers in terms of narrative pacing and, most notably, its treatment of the script and characters.

In this way, “Justice” emerges as a compelling thriller replete with fascinating characters, each burdened by a past rife with mistakes. There are no paragons of virtue here; rather, the characters come across almost like real people.

Our Opinion

The realistic spirit that “Justice” brings to the thriller genre is appreciable. While it may not astonish in its production or visual style, the film successfully narrates a story with realism in every sense, especially in its portrayal of the central characters. This film is a notable example of how the Polish film industry is contributing meaningful and grounded stories to the global cinematic landscape.

Where to Watch “Justice”

Netflix

Philharmonia Orchestra announces second half of 2024-25 London season

The 2025 Southbank Centre season begins with visionary pianist Pierre-Laurent Aimard joining the Philharmonia, conducted by Manfred Honeck, for a programme spanning the Romantic period. Pierre-Laurent Aimard has earned a reputation as one of the most respected interpreters of Beethoven’s music and on 2 February (3pm) he treats us to a performance of the Third Piano Concerto. The programme also features Dvorak’s Symphony No. 9 ‘From the New World’ and the overture to Weber’s Der Freischütz (The Marksman).

Guest Conductor Marin Alsop leads the orchestra in a Latin American flavoured Valentine’s Day evening that features the world’s leading classical accordionist, Ksenija Sidorova, and 2023 UK Tango Champions Iro Davlanti-Lo and Adrien Bariki-Alaoui. Including Gershwin’s Cuban Overture and Bernstein’s Symphonic Dances from West Side Story, the all Piazzolla second half includes Aconcagua Concerto before Tanti Anni Prima for solo accordion and tango dancers and the famous Libertango unites them with the orchestra for a barnstorming finale. 

In addition, there is a free pre concert talk with Marin Alsop discussing the programme (6pm), and a free post concert tango workshop with Iro and Adrien on the Clore Ballroom, providing the perfect end to the evening!

The spotlight is on the Philharmonia’s Joint Principal Clarinet Mark van de Wiel in a free early-evening concert (20 Feb, 6pm RFH) which features Ruth Gipps’ Rhapsody and Weber’s Clarinet Quintet to celebrate his 25-year long career with the orchestra.

Philharmonia Chamber Players Beethoven’s Septet Yaroslava Trofymchuk. Credit: Camilla Greenwell

Discover spellbinding violinist Daniel Lozakovich, born in 2001 and signed by Deutsche Grammophon at just 15 years old. He joins the Philharmonia for Prokofiev’s Violin Concerto No. 2 – a chance to experience different facets of Lozakovich’s ‘exceptional talent’ (Le Figaro).  Rachmaninov’s Second Symphony, boasts many memorable moments for the second half of the concert (20 Feb, 7.30pm)

Conducted by Paavo Järvi, two of Stravinsky’s thrilling ballet scores, Petrushka and The Firebird, frame the UK premiere of a new cello concerto by Estonian composer Erkki-Sven Tüür. Cello Concerto No. 2 ‘Labyrinths of Life’ is Inspired by a poem by Federico García Lorca and was written for soloist Nicolas Altstaedt (27 Feb). 

Genre-defying violinist Nemanja Radulović, the Philharmonia Orchestra’s Featured Artist this season, is soloist, director and arranger in this deeply personal programme: Nemanja Radulović: Journeys with a violin (28 Feb). Bach is the epicentre of Radulović’s musical journey. He has chosen three of Bach’s ever-fresh violin concertos – in the third, he is joined by the Philharmonia’s Concertmaster Zolt-Tihamér Visontay.  In between, enjoy a whistle-stop musical tour of Europe. Radulović brings his distinctive flair to music from his native Serbia, his adopted home of France, North Macedonia and Spain, in four folk-inflected pieces taken from his acclaimed album Roots.

Sensational young pianist Mao Fujita gives the first of two performances of Mozart with the Philharmonia (2 March). In his mid-twenties, Fujita already has a string of competition successes and a universally acclaimed recording of Mozart’s complete piano sonatas under his belt. His affinity with Mozart and deep affection for his music shines through in his performances. To pave the way for Mozart’s sparkling final piano concerto, Piano Concerto No. 27, K. 595, conductor Giedrė Šlekytė has chosen Kodály’s reworking of Hungarian folk tunes, Dances of Galánta. The second half features Brahms’s stirring First Symphony. Mao Fujita plays Mozart’s Piano Concerto No. 25, K. 503, on Thursday 20 March.

Ryan Bancroft has chosen one of the best-loved pieces by his compatriot Charles Ives – The Unanswered Question – to open his concert (6 March) before award-winning American pianist Michelle Cann makes her Royal Festival Hall debut, bringing her her flawless technique and joyous energy to Beethoven’s playful Piano Concerto No. 4. Strauss’ exhilarating Also sprach Zarathustra, a highlight of the classical repertoire, rounds off the evening. 

Enjoy one of Beethoven’s most popular works, Septet, Op. 20, in a free early evening concert: Philharmonia Chamber Players: Beethoven’s Septet (20 March).

In the second of a pair of concerts with the Philharmonia, Mao Fujita plays one of Mozart’s greatest concertos, Piano Concerto No. 25 K. 503. The young Japanese pianist is taking the classical music world by storm with his technical mastery. Celebrated for his interpretation of Mozart, he makes a second stop in London as part of a UK tour with the Philharmonia. Mendelssohn’s ‘Reformation’ Symphony, written when he was just 21, showcases his unmistakable genius for melody and orchestral colour. Osmo Vänskä has chosen Missy Mazzoli’s These Worlds In Us to open the programme. Dedicated to the composer’s father, who was a soldier during the Vietnam War, it’s a moving reflection on memory, grief and love. Mao Fujita plays Mozart’s Piano Concerto No. 27, K. 595, on Sunday 2 March. 

Only a handful of people have held the position of Principal Conductor of the Philharmonia Orchestra. Riccardo Muti was at the helm from 1972 to 1982, succeeding Otto Klemperer. He is acknowledged as one of the world’s leading interpreters of Verdi, and one of the great conductors of our time. As the Philharmonia prepares to celebrate its 80th anniversary, his much-anticipated return is one of the highlights of London’s musical calendar. This performance of Verdi’s Requiem (27 March) also features  the peerless mezzo-soprano Elīna Garanča and rising star soprano Juliana Grigoryan as well as tenor Piotr Beczała, bass Ildebrando d’Arcangelo and the Philharmonia Chorus.

Three French composers rub shoulders in a captivating Sunday afternoon concert Santtu conducts French masterpieces (30 March). Debussy’s sensuous Rhapsody for clarinet and orchestra is an opportunity to savour the skill of Mark van de Wiel, Principal Clarinet of the Philharmonia Orchestra since 2000. Then soloist Javier Perianes joins the orchestra in Saint-Saëns’s last Piano Concerto  No. 5 ‘Egyptian’ before Franck’s Symphony in D minor, a rewarding listen, is performed in the second half.

The harp takes centre stage in a free early-evening performance by members of the Philharmonia Orchestra: Philharmonia Chamber Players: Spotlight on the Harp (10 April). The Philharmonia Orchestra’s Principal Harp, Heidi Krutzen, has chosen these two beguiling pieces to perform with six long standing friends and colleagues, Ravel’s Introduction and Allegro and Marjan Mozetich’s Angels in Flight. 

In the first of three Philharmonia concerts marking the 50th anniversary of Shostakovich’s death, Principal Conductor Santtu-Matias Rouvali opens with Prokofiev’s ‘happy and uncomplicated’, Mozart-inspired Symphony No. 1. Shostakovich was just 19 years old when he wrote his First Symphony as a graduation piece at the Leningrad Conservatory and already, we hear the composer’s distinctive voice and mastery of the power and potential of the orchestra. Shostakovich was at a much lower point in his rollercoaster relationship with officialdom when he composed his Violin Concerto No. 1. Written in the shadow of his denunciation by the Soviet authorities, the piece did not receive its premiere until after Stalin’s death. Tonight’s performance by the Philharmonia’s Featured Artist Nemanja Radulović is a chance to experience his ‘energy and firepower’ (Gramophone), but also his warmth and empathy.  

For Santtu conducts Shostakovich and Mendelssohn (13 April), the Philharmonia pairs Shostakovich’s extraordinary final symphony – Symphony No.15  – with the famous Rossini William Tell Overture quoted in its first movement. Completing this afternoon’s trio of masterpieces is Mendelssohn’s beloved Violin Concerto. Its heartfelt, singing melodies are in the hands of Arabella Steinbacher, one of today’s foremost violin soloists. 

Oh To Believe in Another World (24 April) is an animated film by artist William Kentridge to ‘illuminate and honour’ Shostakovich’s powerful Symphony No. 10. Shostakovich’s symphony premiered a few months after the death of Stalin, and in it he puts into music the violence and dread of Russia’s years under the dictator’s regime. Using collage, puppets and masked actors, William Kentridge creates a dream-like ‘Soviet museum’ to accompany the symphony, featuring a cast of characters including Lenin, Stalin, and Shostakovich himself. William Kentridge works in many disciplines, from drawing, sculpture and textiles to dance and opera. Much of his work addresses the politics of oppression, in his native South Africa and around the world. To complement Shostakovich’s symphony, Marin Alsop has chosen Leonard Bernstein’s Chichester Psalms. Bernstein was a huge admirer of Shostakovich, both as a composer and on a personal level. Commissioned by the Dean of Chichester Cathedral, these hopeful and life-affirming psalm settings are a plea for peace. 

The Bach Choir and the Philharmonia Orchestra join forces for an evening of British music – Belshazzar’s Feast (8 May) – full of gripping stories and stunning landscapes including Delius’s The Song of the High Hills; the World Premiere of Richard Blackford’s tribute to Gaudí’s masterpiece La Sagrada Familia Symphony with an accompanying film highlighting the ornate details of the cathedral; and finally Walton’s Belshazzar’s Feast for huge orchestra, eight-part choir, organ, and two brass bands, transports us to the fabulously wealthy and decadent city of Babylon, where we witness the downfall of its tyrannical ruler.

Music of Today: Composer’s Academy (11 June): be the first to hear new works by the Philharmonia’s 2024/25 Composers’ Academy Fellows. In the course of their Fellowship, these three composers have taken part in masterclasses, workshops and mentoring with Philharmonia musicians. Each of them has created a ten-minute piece for this evening’s performance.  

The Philharmonia and Principal Conductor Santtu pull out all the stops in the finale of the 2024/25 season (11 June). They’re joined by Nikolai Lugansky for Rachmaninov’s Third Piano Concerto. One of the all-time great interpreters of Rachmaninov, Lugansky understands this most challenging and rewarding of concertos inside out. Ravel’s Alborada del gracioso (Dawn Song of the Jester) is a beguiling short piece with a Spanish flavour, complete with castanets, and a harp imitating the strumming of a guitar. La Valse is an altogether darker affair – Ravel’s deconstruction of a Viennese waltz is said to represent the cataclysmic impact of the First World War.  In Pines of Rome, Respighi uses a huge orchestra to paint four pictures of Rome in thrilling detail: the innocence of children playing, gloomy catacombs, a gentle nocturne, and finally a victorious Roman legion returning home. Every member of the Philharmonia will be turning the dial up to 11 to bring their 2024/25 season to a roof-raising close. 

hilharmonia Orchestra announces second half of 2024-25 London season

The 2025 Southbank Centre season begins with visionary pianist Pierre-Laurent Aimard joining the Philharmonia, conducted by Manfred Honeck, for a programme spanning the Romantic period. Pierre-Laurent Aimard has earned a reputation as one of the most respected interpreters of Beethoven’s music and on 2 February (3pm) he treats us to a performance of the Third Piano Concerto. The programme also features Dvorak’s Symphony No. 9 ‘From the New World’ and the overture to Weber’s Der Freischütz (The Marksman).

Guest Conductor Marin Alsop leads the orchestra in a Latin American flavoured Valentine’s Day evening that features the world’s leading classical accordionist, Ksenija Sidorova, and 2023 UK Tango Champions Iro Davlanti-Lo and Adrien Bariki-Alaoui. Including Gershwin’s Cuban Overture and Bernstein’s Symphonic Dances from West Side Story, the all Piazzolla second half includes Aconcagua Concerto before Tanti Anni Prima for solo accordion and tango dancers and the famous Libertango unites them with the orchestra for a barnstorming finale. 

In addition, there is a free pre concert talk with Marin Alsop discussing the programme (6pm), and a free post concert tango workshop with Iro and Adrien on the Clore Ballroom, providing the perfect end to the evening!

The spotlight is on the Philharmonia’s Joint Principal Clarinet Mark van de Wiel in a free early-evening concert (20 Feb, 6pm RFH) which features Ruth Gipps’ Rhapsody and Weber’s Clarinet Quintet to celebrate his 25-year long career with the orchestra.

Philharmonia Chamber Players Beethoven’s Septet Yaroslava Trofymchuk. Credit: Camilla Greenwell

Discover spellbinding violinist Daniel Lozakovich, born in 2001 and signed by Deutsche Grammophon at just 15 years old. He joins the Philharmonia for Prokofiev’s Violin Concerto No. 2 – a chance to experience different facets of Lozakovich’s ‘exceptional talent’ (Le Figaro).  Rachmaninov’s Second Symphony, boasts many memorable moments for the second half of the concert (20 Feb, 7.30pm)

Conducted by Paavo Järvi, two of Stravinsky’s thrilling ballet scores, Petrushka and The Firebird, frame the UK premiere of a new cello concerto by Estonian composer Erkki-Sven Tüür. Cello Concerto No. 2 ‘Labyrinths of Life’ is Inspired by a poem by Federico García Lorca and was written for soloist Nicolas Altstaedt (27 Feb). 

Genre-defying violinist Nemanja Radulović, the Philharmonia Orchestra’s Featured Artist this season, is soloist, director and arranger in this deeply personal programme: Nemanja Radulović: Journeys with a violin (28 Feb). Bach is the epicentre of Radulović’s musical journey. He has chosen three of Bach’s ever-fresh violin concertos – in the third, he is joined by the Philharmonia’s Concertmaster Zolt-Tihamér Visontay.  In between, enjoy a whistle-stop musical tour of Europe. Radulović brings his distinctive flair to music from his native Serbia, his adopted home of France, North Macedonia and Spain, in four folk-inflected pieces taken from his acclaimed album Roots.

Sensational young pianist Mao Fujita gives the first of two performances of Mozart with the Philharmonia (2 March). In his mid-twenties, Fujita already has a string of competition successes and a universally acclaimed recording of Mozart’s complete piano sonatas under his belt. His affinity with Mozart and deep affection for his music shines through in his performances. To pave the way for Mozart’s sparkling final piano concerto, Piano Concerto No. 27, K. 595, conductor Giedrė Šlekytė has chosen Kodály’s reworking of Hungarian folk tunes, Dances of Galánta. The second half features Brahms’s stirring First Symphony. Mao Fujita plays Mozart’s Piano Concerto No. 25, K. 503, on Thursday 20 March.

Ryan Bancroft has chosen one of the best-loved pieces by his compatriot Charles Ives – The Unanswered Question – to open his concert (6 March) before award-winning American pianist Michelle Cann makes her Royal Festival Hall debut, bringing her her flawless technique and joyous energy to Beethoven’s playful Piano Concerto No. 4. Strauss’ exhilarating Also sprach Zarathustra, a highlight of the classical repertoire, rounds off the evening. 

Enjoy one of Beethoven’s most popular works, Septet, Op. 20, in a free early evening concert: Philharmonia Chamber Players: Beethoven’s Septet (20 March).

In the second of a pair of concerts with the Philharmonia, Mao Fujita plays one of Mozart’s greatest concertos, Piano Concerto No. 25 K. 503. The young Japanese pianist is taking the classical music world by storm with his technical mastery. Celebrated for his interpretation of Mozart, he makes a second stop in London as part of a UK tour with the Philharmonia. Mendelssohn’s ‘Reformation’ Symphony, written when he was just 21, showcases his unmistakable genius for melody and orchestral colour. Osmo Vänskä has chosen Missy Mazzoli’s These Worlds In Us to open the programme. Dedicated to the composer’s father, who was a soldier during the Vietnam War, it’s a moving reflection on memory, grief and love. Mao Fujita plays Mozart’s Piano Concerto No. 27, K. 595, on Sunday 2 March. 

Only a handful of people have held the position of Principal Conductor of the Philharmonia Orchestra. Riccardo Muti was at the helm from 1972 to 1982, succeeding Otto Klemperer. He is acknowledged as one of the world’s leading interpreters of Verdi, and one of the great conductors of our time. As the Philharmonia prepares to celebrate its 80th anniversary, his much-anticipated return is one of the highlights of London’s musical calendar. This performance of Verdi’s Requiem (27 March) also features  the peerless mezzo-soprano Elīna Garanča and rising star soprano Juliana Grigoryan as well as tenor Piotr Beczała, bass Ildebrando d’Arcangelo and the Philharmonia Chorus.

Three French composers rub shoulders in a captivating Sunday afternoon concert Santtu conducts French masterpieces (30 March). Debussy’s sensuous Rhapsody for clarinet and orchestra is an opportunity to savour the skill of Mark van de Wiel, Principal Clarinet of the Philharmonia Orchestra since 2000. Then soloist Javier Perianes joins the orchestra in Saint-Saëns’s last Piano Concerto  No. 5 ‘Egyptian’ before Franck’s Symphony in D minor, a rewarding listen, is performed in the second half.

The harp takes centre stage in a free early-evening performance by members of the Philharmonia Orchestra: Philharmonia Chamber Players: Spotlight on the Harp (10 April). The Philharmonia Orchestra’s Principal Harp, Heidi Krutzen, has chosen these two beguiling pieces to perform with six long standing friends and colleagues, Ravel’s Introduction and Allegro and Marjan Mozetich’s Angels in Flight. 

In the first of three Philharmonia concerts marking the 50th anniversary of Shostakovich’s death, Principal Conductor Santtu-Matias Rouvali opens with Prokofiev’s ‘happy and uncomplicated’, Mozart-inspired Symphony No. 1. Shostakovich was just 19 years old when he wrote his First Symphony as a graduation piece at the Leningrad Conservatory and already, we hear the composer’s distinctive voice and mastery of the power and potential of the orchestra. Shostakovich was at a much lower point in his rollercoaster relationship with officialdom when he composed his Violin Concerto No. 1. Written in the shadow of his denunciation by the Soviet authorities, the piece did not receive its premiere until after Stalin’s death. Tonight’s performance by the Philharmonia’s Featured Artist Nemanja Radulović is a chance to experience his ‘energy and firepower’ (Gramophone), but also his warmth and empathy.  

For Santtu conducts Shostakovich and Mendelssohn (13 April), the Philharmonia pairs Shostakovich’s extraordinary final symphony – Symphony No.15  – with the famous Rossini William Tell Overture quoted in its first movement. Completing this afternoon’s trio of masterpieces is Mendelssohn’s beloved Violin Concerto. Its heartfelt, singing melodies are in the hands of Arabella Steinbacher, one of today’s foremost violin soloists. 

Oh To Believe in Another World (24 April) is an animated film by artist William Kentridge to ‘illuminate and honour’ Shostakovich’s powerful Symphony No. 10. Shostakovich’s symphony premiered a few months after the death of Stalin, and in it he puts into music the violence and dread of Russia’s years under the dictator’s regime. Using collage, puppets and masked actors, William Kentridge creates a dream-like ‘Soviet museum’ to accompany the symphony, featuring a cast of characters including Lenin, Stalin, and Shostakovich himself. William Kentridge works in many disciplines, from drawing, sculpture and textiles to dance and opera. Much of his work addresses the politics of oppression, in his native South Africa and around the world. To complement Shostakovich’s symphony, Marin Alsop has chosen Leonard Bernstein’s Chichester Psalms. Bernstein was a huge admirer of Shostakovich, both as a composer and on a personal level. Commissioned by the Dean of Chichester Cathedral, these hopeful and life-affirming psalm settings are a plea for peace. 

The Bach Choir and the Philharmonia Orchestra join forces for an evening of British music – Belshazzar’s Feast (8 May) – full of gripping stories and stunning landscapes including Delius’s The Song of the High Hills; the World Premiere of Richard Blackford’s tribute to Gaudí’s masterpiece La Sagrada Familia Symphony with an accompanying film highlighting the ornate details of the cathedral; and finally Walton’s Belshazzar’s Feast for huge orchestra, eight-part choir, organ, and two brass bands, transports us to the fabulously wealthy and decadent city of Babylon, where we witness the downfall of its tyrannical ruler.

Music of Today: Composer’s Academy (11 June): be the first to hear new works by the Philharmonia’s 2024/25 Composers’ Academy Fellows. In the course of their Fellowship, these three composers have taken part in masterclasses, workshops and mentoring with Philharmonia musicians. Each of them has created a ten-minute piece for this evening’s performance.  

The Philharmonia and Principal Conductor Santtu pull out all the stops in the finale of the 2024/25 season (11 June). They’re joined by Nikolai Lugansky for Rachmaninov’s Third Piano Concerto. One of the all-time great interpreters of Rachmaninov, Lugansky understands this most challenging and rewarding of concertos inside out. Ravel’s Alborada del gracioso (Dawn Song of the Jester) is a beguiling short piece with a Spanish flavour, complete with castanets, and a harp imitating the strumming of a guitar. La Valse is an altogether darker affair – Ravel’s deconstruction of a Viennese waltz is said to represent the cataclysmic impact of the First World War.  In Pines of Rome, Respighi uses a huge orchestra to paint four pictures of Rome in thrilling detail: the innocence of children playing, gloomy catacombs, a gentle nocturne, and finally a victorious Roman legion returning home. Every member of the Philharmonia will be turning the dial up to 11 to bring their 2024/25 season to a roof-raising close. 

“The Substance” – Movie Review: Thrilling, Morbid, Ironic, Exciting, and, Above All, Eccentric

“The Substance” is a movie starring Demi Moore and Margaret Qualley. It is written and directed by Coralie Fargeat.

“The Substance” emerges as a film designed to stand out in every aspect, employing stark contrasts in its cinematography, embracing a Kafkaesque narrative, and maintaining a pace full of dramatic turns. It features an electrifying visual style and is driven by the performances of two exceptional actresses to tell a convoluted story filled with ingenious touches.

The mastermind behind this film is Coralie Fargeat, who not only wrote the screenplay but also directed the movie. Fargeat successfully makes “The Substance” her own creation on all levels, crafting a unique visual style characterized by provocative imagery and rhythms.

Plot

The plot revolves around a television presenter who is on the verge of being fired. She learns about a peculiar company offering a unique rejuvenation treatment. This treatment is based on cellular division and involves extracting her DNA to replicate it in a younger, improved woman—essentially a better version of herself.

The Substance

The Cast

The cast features an outstanding and grotesque performance by Dennis Quaid in the role of a producer. However, the spotlight is on Demi Moore and Margaret Qualley, who portray two women that, in reality, are one and the same. Both deliver remarkable performances, with the fantastic news being Demi Moore’s return to cinema in a substantial role. This film is one that has much to convey, provoking thought and leaving a lasting impression on the audience. Demi Moore’s comeback is significant, demonstrating her enduring talent as a versatile actress who takes risks in her roles, despite the public sometimes remembering only a few of her minor performances.

Moreover, Margaret Qualley steals the show. She is sexy, provocative, and intense in every scene, making it impossible not to notice her. This role will undoubtedly be a milestone in her career, paving the way for even more substantial roles in the future.

Transition to Great Cinema

Above all, the film belongs to Coralie Fargeat, the director and screenwriter. She surprises, provokes, and shows promise for creating more significant films in the future. With “The Substance,” she has delivered a stunning debut—exquisite, filled with irony, provocation, and, most importantly, immense power and daring.

Our Opinion

This film is destined to become a cult classic in the coming years. Do not miss it. It is as if Wes Anderson had a terrible night dreaming about Kubrick, giving us his worst nightmare.

“The Substance” is pure electricity, provocation, dynamism, and strength in both its script and execution.

The post “The Substance” – Movie Review: Thrilling, Morbid, Ironic, Exciting, and, Above All, Eccentric appeared first on Martin Cid Magazine.