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LOVE TAKES SHAPE for couples in mt o asneya swo anyesd. Fa rnodmc onme wf o ar tnadb leex, cJ iet ri no gm, e Robbins’ In the Night features three creoluaptiloenssinhidpisf.ferent stages of their First Couple Tb ehtewf ei resnt ct ho eu mp l en ei swy oa un nd ge, xt chi et i nl ogv. eT h e y ful no ai stoanc, rdoos tsi nt hgeosnt aagned, odfrtaepni ni ng poevrefre ceta c h of l tohwe irn. Tg ,hme iirmmi cokvi enmg et hnet smaur es iscoaf st ai tnsdo f t l y lt ial tkse at nh de i sr l oe ywel sy ogfrf oewa cs h. Toht ehye rc. aTnh be ar er ei lsy nbuoiwldoinrrgyb, oetnwlyeaennttihciepmat.ion of the bond Second Couple Te shtea bs el i cs ohne dd ct yopuep loef hl oavsea. Tmhoerye m o v e ahci gr ho s, sa nt haei rs ot af gree gwailti ht yt shueri rr ohuena dd isnhgetlhde m ab su itlhdeapnida nr oe l reiansges. To nh ewr ei t hi s dhyi sntaomr yi ci n tmh ae di re rtehl ae tmi o mn sohriep ,c bo umt f toi rmt aebhl ea .s Tohnel iyr his Nocturne in C-sharp minor, Op. 27, No. 1 q ,ubi eutt ehnedr oc of ot hl ,efior rrme laalt ri oe np sl yh imp .aDr keeedp ltyh e aCfhf eocptiendkbeyp thMe raur inar’ es cl ei pt treorcsa, tleadb el ol evde , “ M y shoisrrdoewa,t”hw. hich remained with him until Opus 55, Nos. 1 & 2: Nocturne in F minor and Nocturne in E-flat major NO pe xuts, 5R 5o bt ob iancsc uo sme ps abnoyt ht wn oo cctounr tnreass tf irnogm loves. The first, Nocturne in F minor , sets tt hy pe ep oa fc el ofvoer, awrheesrt er aa isntehde asne dc omn da t, u r e Nocturne in E-flat major fans the flames oT fh ae fni eorcyt uarnnde st ewmepr ee sct ou mo upso rseelda tbi oe nt ws he iepn. 1b e8 g4i2n na inndg 1o8f 4C4h, owp hi ni c’ shdsei gc lni na lee idn t hh ee a l t h froSmhocrhtrlyonaifcteirllnheisssfa. iled engagement to Ml o na rgi ar e, Cl aht oi opni ns hbi pe gwa ni t ha tnheea raluyt dh eo cr a d e - Gweeor regoef tSeann ds eienn1a8s3o7p. pTohsoi ut egsh –t hCeh ot wp ion ra ensde ri nv de de paenndd seennt s–i tti hv ee ,i rS ai nntde nbsoel da n d smoamneyt oi mf Ce hs ot upmi nu’ sl twu oo rukssl. oAvse Ci nhsoppi irne’ds
mo f osvuermp reins et s, ma ruecshulri ek,ewt hi teh rloi tmt l ea nmc eo m e n t s between the two. Third Couple Tt ahkee smtuhsei cs ti angt ee n. Rs ief pi erse as es nt ht i en gf i np ahlycsoi cuapl l e dc he as irrgee, dt hwe i at hi r ebme towt i eoenn. Tt hh ee sbe atlwa nocies or ef upnoiwt eetri ms hei fat sn da st itmh eeyasgeapi na .r aTtheeai rn hd e a d s qf i un idc kt hl ye ms nsaepl vaews af ay l lbi ne fgo br ea ct kh ei ny tion ee va ictha b l y oi st hd ei srs. oMnuacthe lwi ki et ht hq iusi ec ot umpol em, et hnet smouf s i c rthesrooulvgehththaet htwigoh.light the desire coursing Isnh itphse al sa st th secyednaen, tche eocnotuhpel essa ma ree sptaasgsei,n g bp ul etans oa nt tt roigees t wh ei trh. Tehaecyh eoxtchhear nbguet samp pa lel a r taon db ewohcactu’ sp ti eo dc owmi t eh. tAhse ai ru ot hwonr aa fnf ad i rdsa n c e wo brsi teerrv eCsh, e“rt yh le Al u. Or es soof l raosmo abnecaeuht iof ul dl lsy t o o mw oumc ha np raonmd i ss pe ,i na sn dh eeraoc fhf mi n at on tghaet hnei gr hs th.”i s iUnptrhi sei nwga. kAet ot hf itsh es t 1a 8g e3 0i nNhoi vs ecma rbeeerr, Ccohmoppionswera, syesttill finding his voice as a Nocturne in E-flat major ad lerpe tahd yt hraetvwe aol us ltdh de el yf irni ce ahl ,i se ml a ot et ri own oa lr k s . It th’ si s f ei tat irnl yg pt hi eacteRtoobebvi onks ewt oh ue l fdl eteutri nn gt ,o ae lnmc oous tn at enrosni ynmt hoeu sf i nn aa lt umr oe mo fetnhtes coof ut hp el e s ’ ballet. hf eewa letrh pdi ee cc lei sn, ewd i, thhe Owpruost e5 5f e awme or na gn d tl ehses f. eSwa nhde’ sc rooml ep sl ehtief tde, da nf rdo mp e lrof ov er mr teod cr ea lraettiaoknesrh, iapn edvtohl ev ierdoinnct eo - ap ams soiroen a t e enduring, yet strained, connection. Opus 9, No. 2: Nocturne in E-flat major An or gc ut uarbnl ye , CRhoobpbi inn’ ss mt u or ns ts rteoc tohgen bi zeagbi lnen i n g of Chopin’s catalogue for the final section of In the Night, using the second no fo nc toucrtnuer nf reos mt o hui sn df ier rs st cpourbe l ti shheepdasses ti n g m1 8e3e1t i-n3g2s wo hf tehneCchoouppilne sw. aCso mj u ps to 2s e1dy iena r s oP ladr,i st h, si sh op ri et lcye arfet ef lre chtes lheifst ehai sr lhyoyme aerl as ni nd
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a r t oational nn uo ca tnucrenseos f cChhoos pe ni nf’ so rmt uh sei cb;atlhl eet fcooumr e from different periods of Chopin’s career. Opus 27, No. 1: Nocturne in C-sharp minor Rn oo cbtbuirnnse’ oopf eansse tt hoef bt wa lol etthwa ti tChhtohpei nf i r s t cs toamg ep of os re da iyno u1 n8 g3 6c .oTuhpel emt ou seixcpsl eotrse tahne ii nn nt oh ce emn tu ns iecw’ s lgorvaed, unaol di notue bn ts irteyf. l Ienc tt ehde mw ai ds set mo fb wr oriiltei dn gi nt hhei sc oowmnp ol osvi tei oanf f, aCi rh. o p i n iMn aW1r 8i h a 3 i W 6 le , o C tr d h a z o v i p n e i l s n i k n i r g , e a t c h o y r o n o u n u n e g c g h t w e D d o r e mw s i a d t n h e n fhreo’ md oac wc aeslilo- tnoa-ldl yo gPiov lei ns hpfi aa mn oi l yl e ws shoonms . Ep rnoapmoos reetdo, 1i t6p- yr oema rp- ot el dd MC haor ipai ni nt o St heepitreemnbgearg. eDme sepnitt en et hv eeri nl ei tdi at lo omp tairmr iiasgme,. o s w i m t Ah iss tai mf f eec pt iaosnsse dg r, eMwa rcioal’ ds er re, sapnodn tshe etior cg oe rs rt ue sr ep oonf dl oevnec, eCdhwo pi ni nd lseedn. tI nMaa rf ii na aal collection of his compositions, including
SPOTLIGHT
Love Phases
Explore the dynamics of love of the three couples in Jerome Robbins’ In the Night.
By Amanda Coleman
10 HOUSTON BALLET
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