As January draws to a close, we’re looking back at some of the highlights from our Instagrammer in Residence, Dolly Brown aka @londonlivingdoll to share some of our favourite shots.
Throughout the month, she has been backstage with the Royal Ballet for Les Enfants Terribles, been in rehearsal with the London Symphony Orchestra and Sir Simon Rattle for Peter Sellars’ new opera, Le grand macabre, visited The Curve to see the new installation by Siobhan Davies Dance, material / rearranged / to / be and made it just in time to see The Vulgar: Fashion Redefined in the Art Gallery.
I’m pleased to announce that throughout the month of January I will be working with @barbicancentre as part of their Instagrammer in Residence programme. I will be taking you into their exhibition “The Vulgar: Fashion Redefined”, curated by Judith Clark, and behind the scenes with @londonsymphonyorchestra for their upcoming performance of György Ligeti’s anti-opera opera “Le grand macabre”, conducted by Sir Simon Rattle and directed by Peter Sellars. I’m also hoping to show you some of @barbicancentre’s upcoming dance offerings. All in all, an exciting start to 2017 – please stay tuned! To read more about the residency please see the link in my profile #IgBarbican #barbican
Maestro: Sir Simon Rattle conducting @londonsymphonyorchestra in Ligeti’s “Le grand macabre” in an innovative staging by the legendary theatre and opera director Peter Sellars. Sellars’ staging makes no bones about the fact that the “macabre” in the title is death and sets the action in a modern time where nuclear holocaust destroys the farcical kingdom of Breugelland. I’ve already seen a review that criticises the staging for eradicating the comedy from the piece but Sellars’ point is that we live in dark times and that art is the light that must, more than ever, continue to shine. This production moves to Berlin so Berliners be quick and get your tickets!
Final shot from this past weekend’s performance by @londonsymphonyorchestra of Ligeti’s “Le grand macabre” at the weekend. These ‘half staged’ performances have been a hallmark of the collaboration between Sir Simon Rattle and Peter Sellars, starting with a revelatory Bach St Matthew’s Passion in 2010. Last year’s performance of Debussy’s “Pelléas et Melisande” (also @barbicancentre) involving a set consisting of solely of some neon tubes was pared back yet devastating and musically lush. This Ligeti has been another huge success and I feel privileged to have seen it and to have been backstage with these incredible artists. Pictured, Pavol Hunka as Nekrotzar, i.e. Le grand macabre, i.e. Death, as he is about to lay waste to the world.
We’ll be announcing February’s Instagrammer in Residence soon so make sure you’re following us on Instagram @barbicancentre for more unique views of the Barbican architecture and our programme, seen through the lens of Instagram.