Cities and landscapes are soundscapes. Perhaps no one knows this better than artists whose places of residence are reflected in poems, compositions, and paintings. George Gershwin, for example, acquired a collection of taxi horns in Paris in order to retain their very special sound spectrum in his ears. When he set about writing An American in Paris in 1928, the Seine metropolis provided him with the setting for a flâneur on his travels, who "strolls through the streets, absorbing the various impressions and sounds of the city, and is overcome by patriotism when he hears a blues theme."
This is precisely what choreographer Jeroen Verbruggen brings to the stage at Munich's Staatstheater am Gärtnerplatz, as the opening piece of the two-part production Stravinsky in Paris. Verbruggen immerses ...
