"Le Train Bleu's gorgeous performance was most vivid ... the music would vibrate and glitter around you, with the bewildering but satisfying precision of a dream. " -The New York Times
Friday April 20, 8:00 pm
galapagos art space, 16 Main Street, dumbo, Brooklyn, NY
Sunday April 22, 7:30 PM
(le) Poisson Rouge, 158 Bleecker St., NYC
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!
the magnificent Corey Dargel
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 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.
It's so easy..just text LETRAINBLEU to 22828. You will immediately receive a reply asking for your Email address, and that's it!
|DER SIGNAL at the Galapagos Art Space|
|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!
NEW YORK TIMES
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.
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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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