A New Ballet by Cathy Marston
Music by Laura Rossi
Joffrey Ballet perform the American premiere of Cathy Marston’s new ballet Atonement in her re-imagining of Ian McEwan’s 2001 novel-turned Academy Award-winning film with music by Laura Rossi.
Performed by Joffrey Ballet at the Lyric Opera House, Chicago 17-27 October 2024 with the Lyric Opera Orchestra conducted by Scott Speck.
Witness the U.S. premiere of renowned choreographer Cathy Marston’s ‘Atonement’ in her re-imagining of Ian McEwan’s 2001 novel-turned Academy Award-winning film.
The poignant story follows Briony Tallis, revealed in the book as its author and now portrayed in the ballet as a celebrated choreographer, as she grapples with the haunting echoes of her past through a breathtaking dance of redemption.
Marston’s adaptation unfolds the tragic love story of Briony’s older sister, Cecilia, against the historical backdrop of 1935 England to explore the intricate layers of societal norms and the enduring impact of a single lie. Enveloped in Rossi’s evocative musical score, with dynamic choreography portraying the complexities of self-deception, the transformation of memory, and the weight of guilt, Atonement shares an emotionally charged experience with a startling twist finale that will linger in the soul.
About the music for Atonement:
Interview with Ian McEwan & Cathy Marston:
Ballett Zürich rehearsals:
Ballett Zürich rehearsing to Atonement piano score performed by Luigi Largo:
Atonement Ballett Zürich Trailer:
Atonement Joffrey Ballet Trailer:
Atonement premiere by Ballett Zürich at Zurich Opera House in April 2024 performed by the Philharmonia Zurich conducted by Jonathan Lo.
Based on the novel by Ian McEwan, the ballet is choreographed by Cathy Marston with a 2 hour score composed by Laura Rossi.
‘In her first new creation for the Ballett Zürich, Cathy Marston and her longtime artistic partner Edward Kemp transfer the action of Atonement to the world of ballet. In their adaptation, Briony Tallis becomes a celebrated choreographer who attempts to come to terms with the fateful transgressions of her youth in her dance pieces. With her large-scale narrative ballet, Cathy Marston reflects on the minor and major self-deceptions that shape our memories, and on the difficulty of dealing with guilt – the guilt of others, but especially our own.’
More info here
‘This first act gets under your skin. Not just because of the plot, but also because dance and music are so closely intertwined. It is ballet music, as has been the custom since the late 17th century, written especially for this production. When Briony dances across the stage, completely lost in her fantasies of the future, Laura Rossi's music has a dark, almost threatening undertone. This close connection between music and choreography runs through the whole piece. Wonderful!’ Senior web - Bernadette Reichlin
'It was a fortunate decision by Cathy Marston to hire the English composer Laura Rossi for the ballet music. Rossi is a professor of film music in London, but also works in many other areas, from classical to pop. The musical tapestry for "Atonement" was woven together, so to speak: Marston and Rossi discussed the design of individual scenes in a number of Zooms between Zurich and London.
The result is a melodious, dynamic and colorful ballet music, molto espressivo, often with a lot of brass, played with verve by the Philharmonia Zurich under Jonathan Lo. Melodic arches swing over the base, with each of the three main characters assigned a single instrument: piano for Briony, violin for Cecilia, cello for Robbie. Leitmotifs can be heard, and sometimes one also thinks one can hear quotes from old ballets such as "Giselle."
After the second, final curtain call, the audience, including author Ian McEwan himself, was enthusiastic, even giving a standing ovation.' Tanznetz - Marlies Strech
‘Laura Rossi’s score is at time late romantic and threatening, at other times playful and pastoral, hammer martially in drill scenes and in the hail of bombs at Dunkirk, and is characterized by the subtlety of chamber music in the intimate pas de deux and pas de trois and Briony's reflective daydreams. Certain instruments are assigned to Briony, Cecilia and Robbie, and motifs of memory emerge. Laura Rossi has found a cinematic-musical language for the individual scenes, that is easy to listen to and able to capture the events succinctly. The Philharmonia Zurich under the direction of Jonathan Lo leaves nothing to be desired in terms of sparkling color in the execution of the composition.’ Oper-aktuell
“Laura Rossi's music drives the action. It begins sweetly where there is an idyllic atmosphere and strikes where there is war. But whenever one is tempted to accuse it of mere illustration, the music cleverly escapes into other sound worlds and new colours: The violins from the orchestra pit buzz as if all the insects in the world were calling out "wrong, wrong" to the ensemble. At times one gets the impression that the Philharmonia Zurich, under the direction of Jonathan Lo, is playing along to a silent film.” NZZ - Lilo Weber
“Marston’s adaptation unfolds the tragic love story of Briony’s older sister, Cecilia, against the historical backdrop of 1935 England to explore the intricate layers of societal norms and the enduring impact of a single lie. Enveloped in Laura Rossi’s evocative musical score, with dynamic choreography portraying the complexities of self-deception, the transformation of memory, and the weight of guilt, Atonement shares an emotionally charged experience with a startling twist finale that will linger in the soul.” En Face Magazine
‘The music by composer Laura Rossi is also smooth. A catchy soundtrack with rich strings and brilliant brass, freshened up by percussion and piano.’ SRF - Andreas Klaeui