by Scott Lozier
There was a moment late in second piece of Morris on Mozart where the music and dance were so good that I suddenly realized I hadn't been paying attention. I heard every note and saw most every move, but I hadn't been actively paying attention. I had been lulled into a dream. I was taken to another level. Morris on Mozart at the Opera House was that good. If you missed this show, Alvin Ailey comes in April.
Morris on Mozart was in three pieces: Eleven, Double, Twenty-seven.
The opening was a stunning tableau. The dancers were silhouetted against a drop straight from Franz Kline. The canvas was off-white with three huge black brush strokes. As if a giant dancer had brushed against the canvas.
Eleven: Piano Concerto No.11 in F Major. Almost entirely female dancers.
Double: Piano Sonata in D Major for two pianos. Just the male dancers.
Twenty-seven: Piano Concerto No. 27 in B-flat Major. Morris brings the two previous pieces together with both the women and the men.
Hearing live music makes me wonder why I never listen to Mozart at home. Why? Because it's just not the same. Not as good or as immediate. Morris always works with live music. It makes the performance better.
After the show I saw two young dancers I knew from Harvard on T. I barely recognized them bundled up from the cold. I asked them what they thought. That smile that young people get when they can't contain the joy at what they'd experienced came across them. "Beautiful. The definition of beautiful dance," they both told me.
Thanks to Celebrity Series from bring Mark Morris to Boston!
[Caption: Opening sequence from Morris on Mozart]
[Caption: Movement 2 from Morris on Mozart]