Waltz draws her 10 Schubert selections from both books of the “Impromptus,” rapturously played onstage by pianist Cristina Marton, and four of Schubert’s more familiar Lieder, rendered in person by mezzo-soprano Ruth Sandhoff. Waltz and Thomas Schenk have fashioned a dramatically raked platform that is smeared with blood and seems to have split in half, providing two dancing levels and what looks like a swimming hole at the back. Gender matters little, as solos and ensembles flood the space, sometimes controlling the situation, at other times yielding supremacy to a colleague. Two events happening on different levels from opposite sides of the stage seem a formal response to Schubert’s developmental skill and harmonic scheme. For sheer astonishment, there’s the male duet in which one standing dancer stretches another across his midsection and spins, until the carried performer manages to crawl up to his partner’s back. Yet here the music acts like a power source, permitting the dancers to recharge their energies and sensibilities and perform without it.
Comment on Dance review: Waltz & Guests casts Schubert in new light
By Allan Ulrich, San Francisco Chronicle: Entertainment
Sat, 10/25/2014 - 5:00pm
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