Saturday, June 22, 2013
First published over a year ago, this review is of the Cirque de la Symphonie and their performance with Lincoln's Symphony Orchestra.
Cirque de la Symphonie will be performing with LSO again in the 2013-2014 season! Visit the Lincoln Symphony website today for more info and ticket purchases!
To a near capacity crowd, conductor Edward Polochick warmly expressed his appreciation for what he considers “the best audience in the world.” Friday night, the Lincoln audience gasped, sighed, laughed, and cheered—responding as one to the thrilling performance on stage.
Lincoln’s Symphony Orchestra (LSO) opened its season last night, Sept. 16th. Having just made the move from the smaller venue of Kimball Recital Hall, some may have wondered if LSO could fill the 2,210 capacity of the Lied Center. With the help of Cirque de la Symphonie, LSO played to a packed house.
Performing such favorites as Tchaikovsky’s Sleeping Beauty Waltz and Swan Lake, John Philip Sousa’s The Stars and Stripes Forever, Saint-Saens’ Danse Macabre, and Rimsky-Korsakov’s Snow Maiden: Suite and Danse des bouffons, LSO could have brought down the house with the music alone, but paired with the artistry and acrobatics of Cirque de la Symphonie, the audience was blown away.
As the aerial artists spun and twisted with graceful, athletic skill, and spun or flipped almost to the ground, the audience would gasp... and then sigh with relief. Christine Van Loo and Elena Tsarkova were graceful artists with silk aerials, and Aloysia Gavre astounded everyone as she hung by one hand or just her feet while spinning with the rhythm of the music.
Vladimir Tsarkov was a favorite with the children in the audience, a bright glittery costume, and a face painted like a mime. Feats of juggling prowess and moments of clownish silliness kept the audience full of applause and laughter. The strength of Jarek and Darek’s “Duo Design” was yet another show stopping performance.
Alexander Streltsov first came on stage with his spinning cube act, but he stole the show completely during his aerial performance. Perhaps it was the masculine quality of his dance and performance, soaring out over the audience and back over the orchestra with the silks like a cloak, or the exceptional, exquisite, and perfect choreography. The music and acrobat were one in this performance—drawing in the audience and taking their breath away.
Bravo, LSO on your season opener! The spontaneous standing ovation at the end was absolutely deserved.