LE TRAIN BLEU

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

WELCOME TO GALAPAGOS!!!
Le Train Bleu
April 29, 8pm
DO THE TWIST!  Concert and CD Release Party

DO THE TWIST! 


(Click on the composer's name to get a biography and more information)


Christopher Cerrone-Memory Palace

Ian Rosenbaum, Percussion


John Halle- The Twist 

Lucy Deghrae and Ilana Zarankin, sopranos

Le Train Bleu (live)


John Halle-PPS-23

Lucy Deghrae and Ilana Zarankin, sopranos

Le Train Bleu (prerecorded)

Video by John Halle 


John Halle- Full Spectrum Dominance

Corey Dargel, Narrator 

Margaret Lancaster- Narrator and tap 

Members of Le Train Bleu (prerecorded)

Video by John Halle

Sean Friar- Little Green Pop (NY Premiere)

 Le Train Bleu (live) 

LE TRAIN BLEU

Ransom Wilson, Artistic Director


Jennifer Grim, flute

Kemp Jernigan, oboe

Anton Rist, clarinet and bass clarinet

Saxton Rose, bassoon

Jonathan Carroll, horn

Hugo Moreno, trumpet

Jennifer Griggs, trombone

Patrick Posey, soprano and alto saxophones

Philip Bravo, alto and tenor saxophones

James Moore, electric guitar

Tyler Wottrich, piano

Victor Caccese, percussion

Ian David Rosenbaum, percussion

David Southorn, violin

Alex Shiozaki, violin

Wei-Yang Andy Lin, viola

Colin Stokes, cello

Patrick Duff, electric bass



Our CD "Outrages and Interludes" is now available on the Innova label!  

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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. 

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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