On Saturday afternoon, June 21, student dancers and musicians from the Boston Conservatory at Berklee delivered an impressive performance in Studio E at The Linde Center for Music and Learning, part of The Tanglewood Learning Institute (TLI).
This event served as a reminder of Tanglewood’s significance, which transcends its stature as the country’s premier summer music venue. It also functions as a prestigious educational hub for musicians, composers, and performing artists, including dancers.
Studio E, the performance space at The Linde Center, is a unique venue for dance. Its black box design is enhanced by abundant natural light, with floor-to-ceiling glass walls that frame stunning views of nearby red oak trees.
This blends beautifully with the experience of watching dance and listening to music, making it an extraordinary setting.
The concert commenced with two solo music pieces: “Memory,” composed for violin by Chen Yi, and J.S. Bach’s Cello Suite in C, BWV1009.
Kristen Barrett, the violinist, and cellist Madeleine Corrigan demonstrated a remarkable level of skill, showcasing their transformation from students to accomplished musicians poised on the brink of professional careers.
Their performances began on stage alongside the orchestra, allowing them to step forward into the dance space for their solos before returning to the ensemble.
This format successfully balanced an informal atmosphere with a sense of formality.
Following the solos, the concert featured “Onward Still,” a choreographed work for ten dancers by Ken Ossola, accompanied by original music from Polle van Genechten and lyrics by Martino Müller.
Ossola’s extensive background with the globally recognized Nederlands Dance Theater in the Hague enriches his credibility as both a dancer and choreographer.
His program notes for “Onward Still” beautifully encapsulated the essence of the work: “A fleeting breath where time dissolves, past and future entwined in now.”
The piece began with music devoid of a clear time signature, creating an ethereal atmosphere that encouraged viewers to settle into the dancers’ movements.
As the performance progressed to a recognizable tempo, the initial feeling of disappointment quickly dissipated, giving way to a vibrant energy as the dancers engaged profoundly with the rhythms.
This piece offered multiple learning dimensions for the student performers. It required not only strong dance technique but also a keen sense of unison and intricate patterns in their spacing and formations.
Despite its challenges, the work served as a learning tool, allowing the dancers to grow stronger with each performance.
Notably, Tamia Jaune executed choreography with a balance of attack and fluidity. Derek Lee showcased lightness in his movements, while Sayler Nguyen captivated audiences with her expressive demeanor, often appearing surprised and engaged while performing.
An area for further development would be their performance expressions, suggesting room for creative growth that could elevate their artistry.
For an audience to offer feedback on facial expressions, particularly in a non-narrative ensemble piece, indicates a high level of satisfaction with the overall performance quality.
The music accompanying the dance, “One Stream,” composed by van Genechten, was exquisite and deserving of acclaim.
The musical collaboration involved numerous talented individuals: strings and vocal arranger Patrice Jackson, conductor Matthew Marsit, musicians and singers, and especially percussionists Jin Cho and Yuth Cañizalez.
The resulting sound, particularly as it built and developed throughout the piece, was beautiful and reached dazzling heights with the addition of the three vocalists.
The remarkable connection between the dancers and musicians was evident, particularly given what was likely a limited rehearsal period. This speaks to the skill of Boston Conservatory associate professor of dance and rehearsal director John Lam.
Their collaborative efforts provided invaluable learning experiences for these emerging artists.
Mark Rulison, Production Manager of Tanglewood Learning Institute, emphasized that this event marked the first direct collaboration between the Boston Conservatory at Berklee and Tanglewood, with hopes of continuing this association into the future.
If this inaugural performance is an indicator, the partnership between the two institutions is likely to yield remarkable results.
While Tanglewood is well-known for its high-profile performances featuring prestigious orchestras and artists like James Taylor, the venue also nurtures smaller, intimate performances such as this one.
Attendees are encouraged to seek out these unique experiences amidst the larger offerings, as they provide a rich cultural tapestry that enhances the overall summer experience at Tanglewood.
image source from：theberkshireedge
