Born in Canada moved to Peru's altiplano at the age of six; came to the U.S. at 10 to discover that you don't use your feet to dribble the ball. Learned from the git-go that "America" is an idea, not a place.
When it was new, in Paris, in 1841, it was exotic, atmospheric, exhaling a mossy dark fragrance of olden times, a tale of a disguised prince, a dishonored maiden, and supernatural revenge; what we call “Gothick.”
By the time Camille Saint-Saëns got serious about composing Samson et Dalilah in 1877, grand opéra had already received its death blow, though nobody realized yet that the perky, melodious little opéra comique named Carmen was really an assassin.
I felt as if I had been strapped to a platform and slowly driven through one of sculptor Richard Serra’s immense steel plate installations, with my eyes fixed three inches from its surface, the better to appreciate every noble rusty nuance.
Carry your impression of the couple with you as you view the remarkable assembly of art works which were their everyday home environment. You’ll find connections between artists and images you’d otherwise miss.
The choreography is fluid, flexible, constantly folding, an interaction of equal mutual forces embodied by undifferentiated partnering as unlike the polar gender opposition of classical ballet as imaginable.