Carmina burana nashville

O Fortune, like the moon you are changeable, ever waxing and waning. Hateful life, first oppresses, and then soothes as fancy takes it; poverty, and power it melts them like ice. The vocal writing, whether loud or soft, is all in-your-face, homophonic brilliance. Rhythm is the binding element, the main thing Orff relies on to create a propulsive and cohesive work, and it changes a lot, sometimes from measure to measure.

The chorus also must contend with some unusual language and strive to spit out the words with vigor. Orff originally intended for the work to be staged, connecting every musical moment with some sort of action.

But not this time. For this production the Charleston Symphony is teaming up with the Nashville Ballet. Shopkeeper, give me color to make my cheeks red, so that I can make the young men love me, against their will. Look at me, young men!

Let me please you! Katie Vasilopoulos, a company dancer playing the role of the Swan, said the production was introduced in by Artistic Director Paul Vasterling and has been presented in Nashville a few times. It starts down-to-earth, emphasizing the human condition. Dancers wear flats, she said.

In the tavern, the women are on pointe, the dresses are streamlined. The Parchment section features a new set of paper-like costumes, with words from the text projected upon them. The Fortuna character remains present throughout, personifying the wheel of fortune that gives and takes away. On stage, the dancers are surrounded by sound, which energizes them, she said.

Off stage they are frantically changing costumes in anticipation of the next section. Copeland wrote the piece two ways, originally for 13 instruments. Then he expanded it to full orchestra. We did it there in the Schermerhorn and did it in its original instrumentation. Then the next month we went to TPAC and performed the large-scale version at the Ballet so the audience could hear it both ways if they wanted. That was a beginning of a new part of our relationship.

It was after those performances that the seeds of Carmina Burana began to take root. Enlivened by the new possibilities opened up by their work together on Appalachian Spring , the Symphony and the Ballet brainstormed new ways to collaborate, eventually realizing a shared love for the beloved piece. We just started working right away.

It was a couple-year process getting to where we are now. The ballet has been part of the repertoire. It just kind of rolled from there. While all involved had no shortage of enthusiasm for the collaboration, there were still many logistical difficulties to confront once a unified creative vision had been established.

The biggest of those difficulties was how to make such a performance work within the restrictions of the Schermerhorn, which is notably not a multi-purpose hall. The chorus will be behind the stage. Performances take place at 8 p. Tickets are selling quickly and may be purchased online at NashvilleSymphony. A comprehensive press kit, including a fact sheet and backgrounder, high-resolution images and performer bios, is available on Dropbox here.

Symphony and Ballet officials are also available for advance interviews.