Behind the Scenes with BMD: Le Sacre du Printemps
The artistic partners involved with BMD’s upcoming premiere of “Rite of Spring” provide an exclusive inside look at the creative process.
| The Witkowski Piano Duo | “Otherworldly” Designs | Meet BMD’s Newest Dancer |
“Rite of Spring” According to The Witkowski Piano Duo
How do you know Lucy and BMD?
We are very excited to be working with this wonderful and creative dance company! We were invited to be part of this performance by composer and BMD’s music director, Larry Alan Smith. Fabio has known Larry for quite a long time—when he attended the Hartt School of Music for his undergraduate degree in piano performance Larry was the Dean of the Hartt School. Obviously Fabio is very happy with this opportunity to work with Larry again!
Have you played Rite of Spring before? Clearly a very challenging work—can you say more about the challenges? What you find beautiful and special about the work?
We have not performed it before, so it is very exciting to be working on this masterpiece, and particularly thrilling to know that in a few weeks we will perform it with dancers, as the composer originally conceived the piece. Now that we are actually working “hands on” on this piece that we have heard throughout our entire lives, we are both even more fascinated by the composition’s vitality, the variety of sound combinations, and its unique rhythms and textures, all of which collaborate to create a vibrant work of art. It is just incredible how fresh and modern this piece still sounds, even after 99 years!
When rehearsing this piece, we need to pay particular attention to coordinate the positions of the hands for the piano four-hands ensemble. Actually, the dancers are not the only ones having to choreograph this work—we also need to carefully plan the movement of our hands and arms, literally to avoid hitting each other or getting our hands stuck! Probably no other piece in the four hands repertoire requires such a thoughtful planning of how to divide the keyboard amongst the two pianists.
On the musical side, it is just astonishing how Stravinsky blends together extremely simple Russian folk tunes with tribal, instinctive rhythms, and highly complex textures and patterns. The end result of this wide fusion is a piece that is considered by many music experts as one of the greatest achievements of the 20th century, but is also very appealing even to untrained ears!
Please tell me a bit about both of you, where you live, studied.
We are both from Brazil and have been living in the USA for a long time now. We both have received degrees in piano performance—Fabio has a bachelor’s and masters degree from the Hartt School, Gisele has a Master’s from Manhatthan School and a Doctorate from the Hartt School. For the past 12 years we have been directing the music program at the Hotchkiss School, a very nice private boarding school in Connecticut. We love performing and teaching!
When did you meet? Do you perform together often?
We met in Brazil, then re-met in the Czech Republic during a festival, and soon afterwards got married and started playing as a piano duo, a little more than 10 years ago. We feel very lucky—not only we do what we love, but also we get to do it with whom we love! While we continue to play several solo concerts, and continue to collaborate with other musicians and orchestras, the most significant part of our concerts is dedicated to our piano duo—both four hands and two pianos. We have played many concerts in the US, Brazil, Europe, and China. We do participate often in several music festivals in the US, South America, and Europe—that is something we absolutely love doing: getting to know the local culture, working closely with students, and performing during concerts. Lastly, we have already performed in the Kennedy Center once, back in 2001, so we are very excited to come back to this extremely important venue!
What are some of the surprises people can expect from this music and the experience?
Well, we obviously don’t expect the same level of turmoil the piece enjoyed when it premiered in 1913 at the Théatre des Champs-Élysées in Paris. That was quite a shocking moment in music history! For this performance, the initial surprise certainly lies in the instrumentation: most people are familiar with the orchestral version of the piece, but are unaware that Stravinsky also created a piano four hands version of the piece that was actually published before the orchestral one.
It is quite surprising how good the piece sounds on the piano! Stravinsky certainly explored the possibilities of the piano extremely well: percussive sounds, lyric passages, large chords, fast passages, and a huge dynamic range.
Having just two musicians (instead of a full orchestra), and a smaller dance company will certainly create a very tightly integrated experience—that will probably be a very unique feature of this performance. Furthermore, having a smaller number of dancers and musicians on stage will certainly give audiences the opportunity to really appreciate and be amazed by the level of individual virtuosity this piece requires from everyone involved.
When will you join Lucy in rehearsals? Have you accompanied dance performances before? What is different about accompanying dance than other music performances?
We will rehearse with Lucy and the company the week of the performance, starting on Tuesday. We have collaborated countless times with orchestras, chamber groups, singers, but never with dancers. We can’t wait to add that new experience to our duo! Collaborating with dancers will add a new dimension of movement and figure to our music; we are certain it will be very rewarding and inspiring! Learn more about The Witkowski Piano Duo.
“Otherworldly” Designs for “Rite of Spring”
Award-winning set designer Tony Cisek (www.tonycisek.com) is planning something otherworldly for BMD’s “Rite of Spring” premiere. When he initially met with Lucy Bowen McCauley and came to an early rehearsal, he was excited by Lucy’s vision of a dance about “awakening, birth, and discovery.” “The dancers come together in a moment of reference to a bigger power or a magnetic force.” He wanted to create an energy and unpredictability to the design—one that is evident from the sci-fi-like sketch that combines an earthy, raw environment with a metallic/mineral orb in the sky. He wanted to create an energy between the set and the dancers and play off Lucy’s desire to have audiences share in the discovery and adventure on stage.
Cisek’s vision for costumes is in the hands of his expert collaborator on this project, Chelsey Schuller (http://chelseyschuller.com). She is creating costumes with fabrics that are held on by undergarments which resemble a skeletal muscular system. At one point the dancers will peel their outer costumes away, says Cisek, “to reveal their visceral selves.”
Cisek is a busy man. While working on BMD’s world premiere of “Rite of Spring” he is also at work on a show at Ford’s Theater, the remounting of a production at the Alabama Shakespeare Festival, and one for Gala Hispanic Theater.
Learn more about “Rite of Spring”, which premieres at BMD’s upcoming performances at The Kennedy Center on March 1 and 2.
Meet BMD’s Newest Dancer — Antoine Lee
Tell us a little bit about yourself.
Hi. I’m Antoine and I’m BMD’s newest company member. I’m 23 years old, and I’ve lived in DC since I was about twelve years old. Before then I lived in Springfield, MA.
When did you realize you wanted to be a dancer?
My love of dance stemmed from my interest in theatre. At the age of 5 I was introduced to musical theatre when I listed to the recording of Phantom of the Opera. From then on I was hooked! I was also very athletic in school, involved in track, and soccer. Once I started dancing and experienced the melding of athleticism and theater, I had a new healthy obsession.
I recently graduated from Marymount Manhattan College in New York City. I spent my summers at The Ailey School, American Ballet Theatre Collegiate, Dance Theatre of Harlem, and Merce Cunningham.
What does it feel like being a new company member?
Right now is an incredibly productive time in my life. Being new to Bowen McCauley Dance, there is always something I can rehearse or a part I can learn. The dancers in the company are fantastic teachers and have great advice to offer.
You are not only a recent college graduate and a new company member. You are dancing in your first newly interpreted work. What’s that like?
Working on a new interpretation of “Rite of Spring” and originating a role is very exciting. It’s one of these moments when you really feel like an artist. What’s most challenging about “Rite of Spring” so far? The music, music, music. Stravinsky is no joke! The complexities in his compositions are at best, baffling. I couldn’t imagine playing this piece!
What will someone unfamiliar with dance see if they come to “Rite of Spring?”
I’d say it’s not just about dance. There are amazing feats of strength and agility, a compelling story, beautiful scenery. Not to mention world-class musicianship. There is nothing like hearing live music.
I’m really excited about our March 1 and 2 performances at The Kennedy Center. On any given night there the energy is palpable to say the least. To be performing at such a historic venue is an honor and a blessing. Learn more about Antoine.
