Watching Mark Morris’ dancers swoop and soar in V, (the number five, a reference to the number of musicians playing Schumann’s Quintet in E-flat major) was entirely thrilling. There are no stars in the company so the group has to work very hard—they do but it doesn’t show. The work is a pure representation of dance integrity.
Crossroads, the premiere of an evening–length work in three parts with choreography by Amanda Selwyn and company is abstract with a focus on decision-making and what an often disturbing process this is. It was exhilarating to watch the very well-tuned dancers move in solos, duets, trios, and sometimes as a complete group, each showing inner strength while maintaining an essential understanding of personal place and where their bodies fit into the space.
When I was first invited to attend the Bach Choir of Bethlehem’s Christmas Concert in Advent 2014, I had no idea that that and the Bach Festival in May would become annual traditions. I believe that I have missed only one year since then, and now my wife has become as attached to these events as I am. From the gusto with which the people of Bethlehem celebrate the Christmas season, the liturgy celebrated in the local Moravian Church—which includes a prayer for the Holy Roman Emperor, Rudolf II—and the spirit of the Bach Festival, now in its 112th year, one can readily grasp the vitality of tradition in this originally German city—and it’s infectious, I can attest.