LE TRAIN BLEU

"...the music would vibrate and glitter around you, with the bewildering but satisfying precision of a dream." -New York Times

BREAKING NEWS

OUR NEXT CONCERT IS MARCH 25 AT DROM    Featuring pianist Kathleen Supové in a program of significant and exciting premieres



 

RESERVE TICKETS

KATHLEEN SUPOVE WITH 

LE TRAIN BLEU MARCH 25

RESERVE TICKETS




Randall Woolf's brand new kickboxing piano concerto Battery in a World Premiere

The amazing Kathleen Supové is also a trained kickboxer! 

 

Randall Woolf has written an awesome  new concerto to showcase Kathy's dual talents, with choreography by Heidi Latsky.  It promises to be a wild ride!


The rest of the program is no less interesting: premieres by Daniel Wohl, Ted Hearne,  and Sean Friar, all played by LE TRAIN BLEU with Ransom Wilson.  We are excited about the whole show!



MARCH 25


 DROM


85 Avenue A 

(betw 5th/6th)


Doors open 6:30pm




GET TICKETS


Los Angeles composer SEAN FRIAR


NYC composer Daniel Wohl


Versatile performer and composer Ted Hearne




A few of our awesome musicians!



"...incisive and joyous..."  -New York Times







OUR NEXT GALAPAGOS CONCERT WILL BE REPEATED AT

(le) poisson rouge!

Friday April 20, 8:00 pm

galapagos art space, 16 Main Street, dumbo, Brooklyn, NY

www.galapagosartspace.com 

 

Sunday April 22, 7:30 PM

(le) Poisson Rouge, 158 Bleecker St., NYC

www.lprnyc.com 

 

We are excitrd to repeat our "prison" themed concert at the famed and prestigious club (le) poisson rouge in Greenwich Village!  

 

Jacob TV- Grab It!, for Saxophone and Boombox

'JacobTV is preoccupied with American media and world events and draws raw materials from those sources. His work possesses an explosive strength and raw energy combined with extraordinarily intricate architectural design?.

Limor Tomer, former curator of the Whitney Museum of American Art in New York

 

Frederic Rzewski- Coming Together and Attica, narrated by Corey Dargel

'Minimal music is perhaps best described as slowly changing relationships. During the 1960's, process music began to bridge a gap between the highly experimental and academic electronic music and the popular music of the time. Linear additive (or subtractive) process is defined as the addition (or subtraction) of one event at a time. The event could be a note, a word, etc.'- Donna McCabe. FEATURING A NEWLY COMPOSED VIDEO BY BROOKLYN BASED ADAM KENDALL

 

Corey Dargel- More Last Words from Texas (World Premiere)

Five new songs setting to music the last statements of executed offenders put to death by the state of Texas., sung by Corey 

 

Michael Gordon- Yo Shakespeare

Gordon's urban, gritty and visceral masterpiece.  it includes electric guitars, accordion, 3 sampling keyboards, and panpipes! 

 

galapagos art space
16  main street, dumbo,brooklyn 
Island Seating: $25 / $20 Balcony
www.galapagosartspace.com
 
Sunday, April 22  7:30 pm
(le) poisson rouge
158 bleecker street, manhattan 
table seating: $20 advance / $25 day of show
standing room: $15
Friday, April 20  8:00 pm
galapagos art space
16  main street, dumbo,brooklyn 
Island Seating: $25 / $20 Balcony
www.galapagosartspace.com
 
Sunday, April 22  7:30 pm
(le) poisson rouge
158 bleecker street, manhattan 
table seating: $20 advance / $25 day of show

                                                                                                       the magnificent Corey Dargel

 

 

Friday, April 20  8:00 pm
galapagos art space
16  main street, dumbo,brooklyn 
Island Seating: $25 / $20 Balcony
www.galapagosartspace.com
 
Sunday, April 22  7:30 pm
(le) poisson rouge
158 bleecker street, manhattan 
table seating: $20 advance / $25 day of show

 

Friday, April 20  8:00 pm
galapagos art space
16  main street, dumbo,brooklyn 
Island Seating: $25 / $20 Balcony
www.galapagosartspace.com
 
Sunday, April 22  7:30 pm
(le) poisson rouge
158 bleecker street, manhattan 
table seating: $20 advance / $25 day of show
standing room: $15

 

 

Friday, April 20  8:00 pm
galapagos art space
16  main street, dumbo,brooklyn 
Island Seating: $25 / $20 Balcony
www.galapagosartspace.com
 
Sunday, April 22  7:30 pm
(le) poisson rouge
158 bleecker street, manhattan 
table seating: $20 advance / $25 day of show
standing room: $15

 

Our recent collaboration with Lar Lubovitch

 

We once again collaborated with the Lar Lubovitch Dance Company!  We repeated our debut performance of Stravinsky's edgy Histoire du Soldat in New York for three sold-out performances, February 10-12.  The story of a soldier who makes a pact with the Devil, it was designed to be danced, acted and played.  This time around, the three actors telling the story were Broadway and Hollywood's Reed Armstrong, downtown singer-songwriter star Corey Dargel, and the famed offscreen singing voice of Audrey Hepburn, Natalie Wood, Deborah Kerr, and Marilyn Monroe: Marni Nixon.   It was quite a show!

LE TRAIN BLEU

 LE TRAIN BLEU is a new musical collective formed by internationally celebrated flutist and conductor RANSOM WILSON.  The group features some of the most artistically compelling young musicians in New York, who are hand-picked for their brilliance as well as their expressive qualities.  Le Train Bleu dedicates itself to the highest levels of excellence and excitement in the performance of new and unusual music, with a few acknowledged masterpieces in the mix as well. 

NEW FEATURE!!!  Text to join our mailing list...takes 1 minute!

It's so easy..just text LETRAINBLEU to 22828.  You will immediately receive a reply asking for your Email address, and that's it!

You helped us present our January concert!

 

DER SIGNAL at the Galapagos Art Space 
To Do's: 5
VIEW
EDIT
DASHBOARD
Thanks to the support of our fans, we presented Martin Bresnick's amazing opera, in Yiddish, Russian, and English,with 3 singers and stunning shadow puppets.

 

Thanks for your donations and to Indie GoGo for hosting our campaign!  

 

 

 

 

 
OUR DEBUT GETS A RAVE FROM THE NEW YORK TIMES!!

NEW YORK TIMES

 

DANCE REVIEW

Succumbing to Temptation (and the Devil) in a Quest for Money

By ROSLYN SULCAS

Published: March 25, 2011

“Histoire du Soldat” should be “read, played and danced,” wrote its composer, Stravinsky, and its author, Charles-Ferdinand Ramuz, when the work was first performed in Lausanne, Switzerland, in 1918. And although the piece is often presented as a musical suite, those instructions have frequently been taken to heart. With its crisp narrative — a soldier sells his violin (and thus his soul) to the Devil, fights to win it back, but ultimately loses it again — its dance-rich, jazz-influenced melodies; and its dramatic text, “Soldat” (“The Soldier’s Tale”) offers abundant collaborative possibilities.

Enlarge This Image

Andrea Mohin/The New York Times

Nicole Corea, Attila Joey Csiki and the violinist Tim Fain in “Histoire du Soldat” (“The Soldier's Tale”) at the Galapagos Art Space.

It has been taken up by all sorts of musical, theatrical and choreographic luminaries (John Cage once played the Devil, making a lot of noise, according to Elliott Carter, who was playing the narrator, alongside Aaron Copland as the Soldier. And in a one-night-only production at the Galapagos Art Space in Dumbo, Brooklyn, on Wednesday night, the conductor Ransom Wilson introduced his new ensemble, Le Train Bleu, in a version of the piece choreographed by Lar Lubovitch and shaped by a dramaturge, A. Scott Parry.

It was a riveting hour and a brilliant setting for “Soldat,” perfectly suited to the jazz-ensemble feel of the six-member group of musicians, even though Mr. Lubovitch had only half a small stage to work with. Aside from that handicap, the choreographer also has a tough task because the text (here a colloquial English translation from the French by Michael Flanders and Kitty Black) is so dramatic as to make danced exposition seem vaguely superfluous.

Mr. Lubovitch occasionally falls into that trap, but for the most part, he finds ingenious ways to deploy the limited space, deepening our sense of the music’s spare yet rhythmically complex instrumentation, and suggesting facets of the Soldier’s character that aren’t overtly present in the text.

At the start his Soldier (Reid Bartelme) enters to a brisk, military beat, with exaggerated, falling-forward marching steps. But once his soldierly identity is established, Mr. Lubovitch gives the steps a rag-doll, floppy-legged quality that suggests the character’s vulnerability to the temptation that the Devil (Attila Joey Csiki) will offer in the form of a book that has the secret to wealth.

That puppetlike movement is reminiscent of the Fokine-Stravinsky ballet “Petrushka,” as is the propulsive folk-dance violin solos, played with wonderful vividness and accentuation by Tim Fain. (The percussive emphasis of “Soldat” also frequently recalls “Petrushka”: the Devil, like the Moor in that ballet, gets a dance to a drumming beat.)

Under Mr. Wilson’s baton, the Train Bleu ensemble was both incisive and joyous in execution. The actors, William Ferguson (the Narrator), John Arnold (the Soldier) and Reed Armstrong (the Devil) were enthralling storytellers, the dancers (particularly Mr. Csiki) theatrically compelling. Jennifer Tipton’s lighting unobtrusively created a sense of shifting place and space. The only caveat? The production’s one-night stand. Bring it back!

 

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