{"id":15936,"date":"2013-11-13T08:31:37","date_gmt":"2013-11-13T13:31:37","guid":{"rendered":"https:\/\/www.ludwig-van.com\/?p=15936"},"modified":"2013-11-13T08:31:37","modified_gmt":"2013-11-13T13:31:37","slug":"national-ballet-innovation-translates-benjamin-brittens-musical-geometry-into-motion","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2013\/11\/13\/national-ballet-innovation-translates-benjamin-brittens-musical-geometry-into-motion\/","title":{"rendered":"National Ballet Innovation translates Benjamin Britten’s musical geometry into motion"},"content":{"rendered":"
\"Jos\u00e9<\/a>
Jos\u00e9 Navas works with Tiffany Mosher in rehearsal for Watershed<\/em>, which opens at the Four Seasons Centre on Nov. 22 (Bruce Zinger photo).<\/figcaption><\/figure>\n

On Nov. 22 — the 100th anniversary of Benjamin Britten’s birth as well as St Cecilia’s Day — the National Ballet of Canada unveils a new programme of modern shorts that includes one of Britten’s iconic works.<\/p>\n

Montreal dancer-choreographer Jos\u00e9 Navas, founder of the Compagnie Flak, has created a new piece on Britten’s Four Sea Interludes<\/em> — an orchestral suite made up of the entracte music from the opera Peter Grimes<\/em>.<\/p>\n

For all the people who were deeply moved by the Canadian Opera Company’s fall production of Grimes<\/em> on the same Four Seasons Centre stage, it is a chance to revisit the emotional power behind Britten’s spare composerly craft, but in a completely different medium.<\/p>\n

To set the mood, here are the Sea Interludes<\/em> from Leonard Bernstein’s last recorded concert (with the Boston Symphony in Aug., 1990). Listen as you read on:<\/p>\n