Leah Hollingsworth watches an innovative balletic performance with music by Max Richter, Jessie Montgomery, Carlos Simon, Ysaÿe and Bach at the Wu Tsai Theater, David Geffen Hall, New York, on 27 February 2025
It was nearly 10pm and the New York Philharmonic’s David Geffen Hall was buzzing with excitement as people young and old alike made their way to their seats, nearly filling the great hall to capacity. The Kravis Nightcap Series is curated by composers and performers from an array of artistic disciplines; this evening’s collaboration was the work of violinist Hilary Hahn and choreographer and ballerina Tiler Peck.
The programme opened with Max Richter’s Mercy for violin and piano, and Hahn’s effortless legato and long, meditative phrases complemented perfectly the elegance of the choreography. Jessie Montgomery’s Musings followed, for which Hahn was joined by youngster Amaryn Olmeda, in a fabulous set of movements reminiscent of Bartók’s 44 Duos but each with a distinctly different influence and character. The two violinists brought to it great synergy and a sense of fun.
Carlos Simon’s Between Worlds was remarkably performed by Olmeda, her charisma filling the stage. She continued with Ysaÿe’s Ballade op.27 no.3, for which she was joined by dancer India Bradley for an arresting performance.
Hahn returned to the stage with the Courante from Bach’s Partita no.1 – reminding us that there is simply nothing as elegant, clean and effortless as Hahn’s Bach. Seth Parker Woods gave a soulful performance of the final two movements of George Walker’s Cello Sonata but his intonation was too characterful for my taste. The final work, Simon’s be still and know, was a celebration of beauty and art and brought all four musicians and three dancers together on stage in a collaboration that uplifted the spirit and calmed the soul.
LEAH HOLLINGSWORTH
Read: Violinist Hilary Hahn announces return following injury
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