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

 

On 25th August Luxembourgish pianist Cathy Krier and Elisabeth Schilling performed a research work named ‘Mosaikgleiche Augenblicklichkeiten’ at Kunstfest Weimar.

Here are some impressions captured by Candy Welz.

 

‘The first performance was of 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. Elisabeth is silent, while her whole body unveils mysteries associated with Ligeti’s music.’

Michel Schroeder, Zeitung zum Letzeburger Vollek

**** The Herald: ‘Playful, spectral and stirringly beautiful.’ Mary Brennan

**** The Scotsman: ‘Schilling’s fascinating moving sculpture helps us see fabric in a whole new light.’ Kelly Apter

‘The performance was extraordinary – unlike anything I’ve seen before.(…) I found it beautiful and intriguing and surprising. How could one performer imbue inanimate material with so much life and meaning? I also found FELT disconcerting, awkward, funny, utterly hypnotic and ultimately unreadable – in the best possible way.’ Tom Jeffreys, writer for FriezeThe IndependentThe Telegraph, ArtReview

‚She has developed a unique art that is open to other disciplines, which she willingly shares with a neophyte audience in unusual places. If we also count the choreographic commissions created for the prestigious Tate Modern (London), it is not surprising to see the rapid evolution of this young choreographer who sees dance as an artistic whole.’ Gregory Cimatti, Le Quotidien

‘Birthing on to the stage before writhing around and growing, Felt takes us through the cycle of life within a single performance. This riveting performance by Elisabeth Schilling is enclosed inside the mysterious black felt; yet it feels like the powerful energy contained within could burst forth at any moment from within the amorphous folds.’

Tabish Khan, Art Critic and Visual Arts Editor

‚Elisabeth Schilling keeps surprising (…). Her dance choreographies are unusual,
explosive and abstract. They play with our perception. Some (audience members)
even spoke of a new art form between choreography and performance, between visual art and dance and material that has come to life.’ Anina Valle Thiele, Tageblatt

‚Elisabeth Schilling’s disobedient creatures: This project can be seen as analogies to the research of Joseph Beuys, who was also interested in the artistic potential of felt, or to Sasha Waltz’s latest creation, Kreatur.’
Marie-Laure Rolland, La Glaneuse

’FELT’, only the title of her new solo act is already program.’
Thierry Hick, Luxembourger Wort

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.’

 

‘It was tremendous to welcome Elisabeth here in Shetland as part of her Scottish Tour. The piece captivated the audience, it felt accessible and relatable. I just feel rather lucky that we got to have her here. She gave so much and it was such a pleasure.’

Kathryn Gordon – Shetland Arts

 

“Absolutely remarkable.” Marie-Laure Rolland, Luxemburger Wort

“Extraordinarily intimate […], fascinatingly multi-layered.” Sonja Sünnen, Trierischer Volksfreund

“Elisabeth Schilling is a poetic dancer and choreographer who creates great spaces full of imagination. ” ARD / Saarländischer Rundfunk

“…the intensity of her performance holds great resonance. “ Rachel Elderkin, The Stage UK