Babatunji in Biophony.
Photo by Quinn B. Wharton.
Choreographed to Bach’s concerto in D Minor (utilized famously by George Balanchine in 1941), Concerto for Two Violins is a sleek and sharp salute to ballet’s past while marking the continued evolution of neoclassicism. Balanchine’s training in music theory provided one visual conception of the score. As King investigates the densely layered contrapuntal voices for himself, we hear beloved melodies anew. San Francisco Chronicle dance critic Alan Ulrich wrote that the piece delivered what LINES Ballet audiences have come to expect: “dancing of immense pliancy and emotional resonance by a team of amazingly resilient performers who relish the challenges that King’s choreography throws their way.”
Commissioned in 2010 by Les Ballets de Monte-Carlo, King’s masterful Writing Ground draws inspiration from poems by award-winning author Colum McCann. An emotionally searing and lyrical work, set to a collection of sacred early music from the Jewish, Christian, Muslim, and Tibetan Buddhist traditions, Writing Ground challenges the Company to explore new physical territory. Writing Ground “illustrates the power of Alonzo King’s story-telling at its height” (Huffington Post).