Archive for month: August, 2019

Raise the curtain! When the Orchestre Philharmonique du Luxembourg plays the first bars of Edvard Grieg’s orchestral suite Peer Gynt in the Grand Auditorium, the participants of the music theatre workshop prepare for their grand performance. For five days, together with workshop leader Elisabeth Schilling, they will develop a choreographic painting of the Scandinavian world of Peer Gynt with its trolls, fairies and other mythical creatures, which is a central component of the great concert “Peer Gynt” – A Musical Fantasy in the series “OPL Familles” in October.

8-12 years
Workshop in German
Free registration: workshops@philharmonie.lu
Participation requires attendance at all dates (including the final performance).

“Of trolls and magical beings”
Tuesday 10.09.2019 – Friday 13.09.2019 09:00-13:00 (D)
Saturday 14.09.2019 10:00-13:00 (D)

Final performances as part of the “Peer Gynt” concert project
Friday 11.10.2019 10:00 (D)
Saturday 12.10.2019 11:00 (D)

Nina Kupzcyk Concept, Director
Elisabeth Schilling workshop leader & choreography

 

Last June Cathy Krier and Elisabeth Schilling appeared together on stage for the first time to premiere the research piece ‘Mosaikgleiche Augenblicklichkeiten – Skizzen zu Ligeti’ at the MonoLabo Festival in Luxembourg.

Here is the article in the Newspaper of the Letzebuerger Vollek:

‘Let’s go into the lair and into the of vivid of the evening. The first performance was of very great beauty: “Mosaikgleiche Augenblicklichkeiten, Skizzen zu Ligeti”. This creation by Elisabeth Schilling (choreographer) and Cathy Krier (pianist), requires a lot of body control and powerful piano skills. Cathy Krier, whose international reputation is well known, played the piano studies of the Hungarian composer György Ligeti magnificently. Music and visuel poetry go hand in hand. Elisabeth Schilling is perfect, her body leaves, her body travels, her body is both space and sublimation. The dancer’s movements are jerky, sometimes violent, the two artists join a state of mind similar to trance. Cathy’s fingers crystallize the music, offering her that vertigo that the interpretation needs. Sometimes her fingers are like automatons, then, in the following second, they take on the grace of a swan. Elizabeth is silent, while her whole body unveils mysteries associated with Ligeti’s music.’