DSO's ReMix is a blend of sass and introspection

Karina Canellakis
Dallas Morning News

The Dallas Symphony Orchestra’s ReMix concert Friday night will be hard to beat as the season’s most fun. The DSO has struggled a bit to find an identity for these smaller-scale and more casual concerts in the Dallas City Performance Hall, but this program — imaginative, for sure — fit the space and ambience to the proverbial T.

Contrived and led by the orchestra’s excellent assistant conductor, Karina Canellakis, the program framed two introspective pieces with two sassy and often frenetic ones. The two central pieces were danced by members of Dallas Black Dance Theatre II.

In 13 minutes, flutters, pulsings, rustles, razzings, cascades, glissandos and echo effects gradually coalesce into up-and-down scales and overlapping chantlike melodies. With dancers at sides and in front of the stage, Nycole Ray’s choreography of stretching, writhing and flailing, sometimes paralleled the music, sometimes counterpointed it. In either case, it gave the music a physicality that probably aided audience engagement, and the dancers’ supple athleticism amazed.

The dancing was fluent and beautiful.

Once again, Canellakis proved both authoritative and musically expressive, and she spoke engagingly from the stage. Unnecessarily wide spacing of players in the Hindemith made for some slippage of ensemble in the most frenetic music, but otherwise the performances were committed and accomplished.

The DSO’s program books remain user-unfriendly. Between minuscule print and too-dim light, the audience couldn’t know that the Hindemith had four movements, thus the applause between them. 

Read the rest of the review here