Soprano Anna Caterina Antonacci makes a rare New York appearance in Era la notte, a one-woman show featuring arias by Monteverdi and others, November 13 and 14 at the White Light Festival. “Unconventional and intense, [she] has become a specialist in the intimate affair, comfortable and potent in the early music repertory,” says the New York Times.
Mark Morris’s masterpiece “L’Allegro, il Penseroso ed il Moderato” celebrates its 25th anniversary at Lincoln Center’s White Light Festival, November 21-23. The New York Times notes the occasion with a feature noting it features “choreography that speaks to the soul.” Read more about the work here.
My days spent in sorrow, God ends nevertheless with joy. The wisdom of the ages is imparted through the pure voices of youth in this rare stateside appearance by the legendary St. Thomas Boys Choir of Leipzig, Bach’s own choir, along with the Leipzig Baroque Orchestra. The 800-year-old ensemble visits the Church of St. Mary the Virgin, in the heart of Times Square on Tuesday, November 12, to present two intimate Bach cantatas followed by Vivaldi’s triumphal Gloriaand Magnificat. (Photo: Gert Mothes)
Join us tomorrow for a free, 90-minute discussion with leading artists and scientists as we explore the concept of time and its relationship with music. This White Light Festival conversation will be moderated by John Schaefer, host of WNYC’s Soundcheck and New Sounds, and will include a live performance of Steve Reich’s iconic time-shifting piece Clapping Music.
What does science teach us about the dimension of time? How do we, as individuals and audience members, experience time? How do artists illustrate time in their work? For this multidisciplinary panel, consider time as interpreted by Buddhist psychotherapist Sylvia Boorstein, cognitive neuroscientist Daniel Casasanto, composer Georg Friedrich Haas, author and physicist Alan Lightman, and film director Peter Mettler.
December 9 at 4:30pm
Elinor Bunin Munroe Film Center
The superb Estonian National Symphony Orchestra and Estonian Philharmonic Chamber Choir, led by conductor Neeme Järvi, arrives in New York for a special White Light Festival program featuring music by Veljo Tormis, Arvo Part, Mozart and Sibelius, on Sunday, November 10 at Lincoln Center’s Avery Fisher Hall.
(Photo: Mait Jüriado)
In addition to the live performance events, Lincoln Center’s White Light Festival is presenting two films later this week. "The End of Time" from director Peter Mettler encourages viewers to ruminate on the nature of time, on our constantly evolving universe and bodily transience. This ephemeral journey moves from scientists probing the attributes of time at a particle accelerator to volcanic eruptions, funeral rites, deteriorating urban landscapes, and an observatory that can see ten billion years into the past. (November 9)
For “Into Great Silence,” filmmaker Philip Gröning contacted the Carthusian monks nestled deep in the French Alps about creating a documentary way back in 1984. Sixteen years later they called him back. To capture this rare footage, which resulted in a Sundance Special Jury Prize, Gröning entered this still point of the turning world alone, filming the solitary and contemplative lifestyle of the Carthusians to record an experience of timelessness and silence in which boundaries between movie theater and monastery dissolve. (November 10)
Akram Khan’s Olivier Award–winning solo work, DESH, is the story of a transplanted artist seeking identity and balance in an unstable world, presented at Lincoln Center’s White Light Festival in its U.S. premiere. Bengali for “homeland,” DESH uses mercurial choreography and fantastical animation to explore the land of Khan’s ancestors, our collective frailty in the face of natural forces, and the dreams and stories that help us survive and grow. Two performances only: November 6 and 7 at the Rose Theater at Jazz at Lincoln Center.
The Cleveland Orchestra returns to Lincoln Center for a special one-night only performance in the White Light Festival on Monday. The concert, led by their music director Franz Welser-Most, features Messiaen’s “Trois petites liturgies de la Présence Divine” and Beethoven’s “Grosse Fuge” and “Mass in C Major.” Learn more here.
This week, Lincoln Center’s White Light Festival presents “The Manganiyar Seduction,” an event filled with ecstatic eruption of sound, light, and color, returning for three concerts after its successful 2010 presentation. Reviewing those concerts, The New York Times extolled: “I found it impossible to sit still, so buoyant and compelling were the work’s lively rhythmic currents. And after a thunderous finale, during which the set’s lights coursed in waves like a Broadway billboard or a football-stadium display, the instantaneous ovation that followed was as tumultuous as what had come just before.”
Learn more about these performances, running October 31-November 2, here.
(Photo: Stephanie Berger)
Composer and filmmaker Michel van der Aa is featured in today’s New York Times about his life and work, including “Up-close,” his cello concerto/film mystery which receives its first US performance tonight at Lincoln Center’s White Light Festival. Why does he use film with music? The artist says: “I kept on getting ideas that I couldn’t just say in music.” Read more here, and see the concert tonight.
(Photo: Maikel Samuels)