The New York City Ballet on Thursday, June 13.
One of my all-time favorite albums—of any genre—is Five Tango Sensations, composed by Ástor Piazzolla and performed by the bandoneón master himself with the Kronos Quartet. It’s a dazzlingly rich, textured composition (one often hears the analogy that Piazzolla did for the tango what Chopin did for the polonaise), and it showcases just how expressive and evocative the bandoneón, a relative of the accordion, can be. To me, that was a wonderful surprise.
Bruno Moretti’s accordion-centric score for “Oltremare,” one of the works included in the City Ballet’s Here and Now program, doesn’t have quite the same passion as Piazzolla’s work, but it, too, makes vivid use of its distinctive solo instrument. Mauro Bigonzetti’s choreography isn’t particularly remarkable, but Moretti’s music makes “Oltremare” memorable nonetheless, and it made me think about how important music is to the success of dance.