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Liss Fain Dance performs Tacit Consent at Yerba Buenca Cenger for the Arts in San Francisco through May 8 (Courtesy photo). San Francisco-based Liss Fain Dance presents the world premiere of the provocative new dance/installation work Tacit Consent, in which viewers walk through four rooms to encounter dancers, videos and a variety of sounds. The result is a wealth of impressions generally tied to the themes of voyeurism, privacy and surveillance. Some of the images are crystal clear, some deliberately mysterious. Performances are 8 p.m. May 6-7, 2 p.m. May 8 at Yerba Buena Center for the Arts, San Francisco; $25; 415-978-2787, www.ybca.org.

Thursday evening at First Congregational Church in Berkeley, the conductorless string orchestra under music director Nadja Salerno-Sonnenberg introduced “Delight in Dancing,” a program of dance-themed music spanning a range of styles, eras and settings, Of course, “dance-themed music” means different things to different composers, and Thursday’s performance, which lot 5 metals black charms: 12mm ballet shoes repeats through Sunday in Palo Alto, San Francisco and San Rafael, was remarkable for its variety, From a world premiere by Pulitzer Prize-winning composer Jennifer Higdon to well-known classics by Khachaturian, Stravinsky and Richard Strauss — and a surprise bonus in the form of an Argentine tango — Salerno-Sonnenberg and her ensemble gave each piece a distinctive, rhythmically vibrant performance..

The main event was Higdon’s “Dance Card,” commissioned by Salerno-Sonnenberg and composed for the New Century players. Indeed, Thursday’s vigorous, committed premiere, performed in the concert’s first half, seemed tailor made to demonstrate the full palette of orchestral colors and textures at this ensemble’s command. Higdon, this season’s New Century Featured Composer, came onstage to introduce the work and said the title derived from a memory of her mother using the anachronistic phrase “dance card.” The New York-born, Philadelphia-based composer joked that the score, structured in three fast and two slow movements, moves “the way I dance — uncoordinated and all over the place.” Well, maybe. The opening movement, titled “Raucous Rumpus,” certainly seemed packed to bursting, with chords spilling out in a cheerful, exuberant jumble. But the orchestra sounded well-coordinated and focused from the top.

The subsequent movements — the slow lot 5 metals black charms: 12mm ballet shoes and tender “Breeze Serenade,” which starts with a heart-on-the-sleeve cello melody; “Jumble Dance,” a kind of post-modern jig driven on fleet, jagged rhythms; and “Celestial Blue,” which introduces a slow, surging theme developed in pensive solos through the orchestra — were delivered expressively by Salerno-Sonnenberg and the ensemble, Higdon’s finale, “Machina Rockus,” was a blast, bringing the work to a close on a rush of high, driving spirits..

There were rewards throughout the evening, which began with Salerno-Sonnenberg and violinist Robin Mayforth teaming up for an unannounced work — a lithe, appealing performance of Piazzolla’s “Libertango,” arranged by Mark O’Connor and played by the duo with considerable flair. Call it a preemptive encore. The scheduled program began with an attention-grabbing, high-octane romp through Khachaturian’s “Sabre Dance,” drawn from the composer’s 1942 ballet score, “Gayaneh” and performed in an arrangement by Francois Weigel. After intermission, Stravinsky’s Suite from “Apollon musagete” benefited from a bold, rhythmically precise performance that captured the ballet score’s drama and delicately shaded timbres in marked contrasts.

Still, nothing quite compared to the finale, a riveting performance of the “Dance of the Seven Veils” from Strauss’ “Salome.” Joined by pianist Peter lot 5 metals black charms: 12mm ballet shoes Grunberg and percussionist Galen Lemmon, Salerno-Sonnenberg and her players launched into the score with abandon, delivering the composer’s slashing chords and swirling phrases in a richly detailed reading, Salerno-Sonnenberg’s solo work was especially shapely and insinuating, and the orchestra did a fine job of summoning the opera’s heightened atmosphere of frenzied allure..



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