FIRST POSITION
A creative partnership naturally eDme secrrgi eb di nfgr ot hme itrh we i or rf kr i et ongdesthhiepr. , Fc raeral et yi v ee xl yp, laaci ands et mh ai tc ablel yc,aaunsde st hp ei ryi taurael l y aligned, their collaborations have been “super organic.” W Fa e W r l l c e h h y e , a n h n e a d r k t J n i u s e l t i w i e c K h d e e ir n w e t c a c t n o o t m r e s d m S t t i o a ss n p i t o a o n r n t e n d e r we xipt hl oWr i ne rgntehre t foo currelaotveeas , cal acsosni ccaelpbt atlhl eatt has been influential for both. The piece twa ikt ehsat hdei f ffeorremn tosf ef ot uo rf pmr oi nvceimp aelndt as ,necaecrhs asocclooimstps.anied by the corps de ballet and Farley shares: “The first movement [rSe tl aotrigoen]sihs i ap .mTohtehseerc- do na udgmh toevre m e n t [aPmh ial il ae ]f ei smt awl eo pmaasl ed ef rdi eenudx s, .aEnrdo tshi es n A ca g s a t p .” e is a men’s trio with the whole n oFt oornWl y et rhneemr, atthi ce asl tl yr ubcut ut rhei srteosroi cnaal tl ye s amnodv ae rmt iesnt itcsaal lsy eaxst ewnedl il .nHg et hsee ecsl atshsei c a l
SILAS FARLEY’S FOUR LOVES takes iwnhs pi ci hr awt i eo nf eferlolmo vteh. eDde irfifveerde nf rt owma yt hs ei n aa nn cdi eAngta Gp er e, et hkewr eo ar dr es mS t eo ar gnei n, Pg sh ibl ieah, iEnrdo s , love that one word cannot convey. Storge: Familial Characterized by a deep, enduring sense oh fo ll od ys af lot ry, f Sa tmo irlgye. Si tsetahdef ansatt aunr adl ul onvf eo rocne ed , Shteorrcghei li ds tohreal os vi set earmf oort hh ee rr hb ar os tfhoerr. I n ef eseslesnsctea,bSl teoar ng ed isse tchuer ek, i gnrdo owf i lnogv ef r tohma tt h e nwaet ua rr ae l ccl oo ns en et oc tai onndsswh aerhe aovuerwl i ivtehs twh oi tshe. Philia: Friendship Philia is characterized by a deep, mutual ac hf foeoc tsieo nt obbeet wf rei eenndi ns .dPi vhiidl iuaailss twh eh ol o v e tphear ts of onraml lse wv ehl ,e ennpj oe yoipnlge ec ao cnhn eo ct ht eorn’ sa ct hormo pu ag nh yl iaf en’ ds us up ps pa onrdt idnogwena sc .hTohtihs etry p e ob fa sl oevdeoi ns omf tuetnu as le ae dn ma si rvaot il ou nn .t aPrhyi l ai an ids celebrated for its emotional intimacy snyemo cpl ah sosni ci ca lf oBraml a an sc hwi ne lel tarsa tdhi tei o n o f abstract ballets organized into four pi satnheel ss;ptihr ei t uf rai le gnrdasnjdodk ae ut ghha tt etrh oe fb a l l e t Balanchine’s The Four Temperaments . Ideas flowed freely between the aprrtoi cs et iscsp. Wa ret nr neer sr dr eucrai nl l gs pt hl aeyci nr ega t i v e sa nn idp rpeect es i ov fi nagsvc iodreeofso ro fFma rol evye mo veenrt Zt oh oa mt Farley had sketched in the studio. “It was helpful to be able to bounce icdheoarse oogf fr oa pf hh iemr, hbaesc at hu es es ehne s, ea sotf htei m i n g aa nn ds wperro ps oomr t ieoonf, tahned qtuheast thi oenl pseIdh a d a s a c o mE apcohsoefr,”t hWe efor nuerrl oevxepsl ahi na ss .i t s oi nwtnh ed icsot mi n pc toi sviet imo ne,l owdi itch tahl el mf o eu r ultimately weaving together in the final movement. Throughout, various pn au iarni nc ge ss oo ff it nh set rf ouumr el no vt se se.xWp reersnsetrh e says that he aimed to create music that audiences could “relate to and remember” because everyone can
ac lnods et h, ter uj osyt i tnhgaftrci eonmdessh ifpr os m. h a v i n g Eros: Romantic NE raoms erde fae frtse rt ot hr oe mG raenet ki c gaondd opf al sosvieo, n a t e love. Eros is characterized by intense ea mc c oo tmi opnaanl iaenddbpy hayssei cnasleaot tfrlaocnt gi oi nng, o f t e n ae nn dc odme ps iarses feosr tahneotthhrei lrl poef ri ns of ant. uEartoi os n ab no dn dt h. Ee rporsoifso du insdt i nd ce tp ftrho omf ao trhoemr at yn pt iecs oa nf dl o ev me dout ieo nt oa li tps afsosciuo sn .oInt cpahny sbi ec abl o t h exhilarating and complex, reflecting the ve xa pr iroeus ss wr oamy sa np teioc paltet reaxcpt ei or ni e. n c e a n d Agape: Spiritual As agcarpi fei ci isa ol fl ot evne .dI et fiisncehdaar sa cutne cr oi zneddi tbi oy naa l , db ee ienpg, aolft rout hi set ri cs , coofnt ec ne rwn iftohro tuht ee wx peel lc-t i n g ap ne yr st ho ni nagl fi en erl ei nt ug rs na. nTdh ii ss fl oo cv ue ster da nosnc et hn ed s gr er ce ea itveirnggoaondd. Ii ts’ ss eme onraesaab ov iurtt ug ei viinn gmtahnayn religious and philosophical traditions. music,” Werner explains, “then to see wi nhc raet ’dsi bc ol emdi anng coeur ts odfoiitn, gt os us ec eh tbheeasuet i f u l moWvehmenenthtse.”curtain rises, Farley and Wanedrnneoruhriosphevtihewatetrhse’ swpoirriktsw. ill inspire “ h a“ Ws br ei tei nn gs ot hrei cphi ef oc er ,”mWe ei nr nme re dr ei tf al et ci nt sg, oa nn dt hs eo nI ahtoupr ee tohf al to vs oe mi ne mb oydoywe nl s el i fcea, n have that experience too.” expWeirtihenthcee sthcoesree cloovmesp.lete, dancers jFoai rnl ee dy pt hr ea i ps ea si r Hi no us shtaopni nBga tl lheet p i e c e . dt eacnhcneircsa’ l cporl ol awbeosrsa,t wi v ee l sc po imr iitnagntdh e i r contributions. “I think that because the four loves… ao rf et hseo dpar ni mc earl st ht oa tbtrhi ne gr et’hs esipr ascteo rf oi ers a,” l l Farley reflects. v i dWe oe rs noef rhsi hs ai nr ei tsi at lh wa toFrakr wl e iyt hs et nh te dancers. “It’s stunning having been kind of in the wilderness writing the
SPOTLIGHT
Love Defined Take a closer look at Four Loves’
inspiration: the concept of the four types of love, stemming from Greek philosophy.
By Amanda Coleman
10 HOUSTON BALLET
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