Le Petit Prince

Audio Excerpts

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Draw Me A Sheep

44 Sunsets

Desert Overture

The Fox

Pas De Deux

The Stars Are Like Bells

Performances

June 4-12, 2016 - National Ballet of Canada. Four Seasons for the Performing Arts, Toronto

Reviews

"Composer Kevin Lau's music [for the opening of the ballet] is fierce, pounding, ominous, and dissonant in ways that evoke and perhaps even quote the opening passages of Stravinsky's The Firebird. [Eventually] Lau's music shifts from the strident phrasings of the opening scene to melodic passages that are beautiful, moody, and melancholic...The musical accompaniment of the ballet's final scenes also includes some of Lau's finest writing; lush but subdued orchestral passages are interrupted by drifting phrasings on piano that are intimate, lyrical, and inward. One can almost hear the murmur of Saint-Exupery's lines, which form a coda that is both sad and triumphal: 'And no one will ever understand how such a thing could be so important!'" - Daniel Baird, The Walrus

"From the pit comes ninety minutes of powerful original music by Toronto composer Kevin Lau. To introduce each character, he weaves through different musical styles, at times evoking the rich tonality of Sergei Prokofiev, pastorale woodwind themes of Aaron Copland, brassy celebrations a la John Williams, and moments that can only be described as distinctly Lau. He uses cinematic textures and dramatic bursts of energy like a fine film composer, yet employs returning thematic narrative elements like in the great ballet scores of the past." - Michael Morreale, The Dance Current

"Lau's gorgeous orchestral score is the final piece of the puzzle, like the choreography, bringing contemporary daring to a distinctly classical palette." - Kelly Bedard, My Entertainment World

"Kevin Lau's score, commissioned expressly for this work, steps away from the classical sounds associated with ballet. The use of piano and live voice evocatively match the choreography, reinforcing certain feelings like the mysteriousness of The Garden of Roses as the dancers eerily bourree off stage, hair long and dishevelled, dresses billowing against the sparse, otherworldly sounds of the orchestra." - Grace Smith, The Dance Current

"If [choreographer Guillaume Cote] portends a bright future for Toronto ballet choreography, Kevin Lau represents the same for music for the stage. The composer has a lot of experience for someone still in his 30s, much of it in the writing of music for film. This experience shows in an uncanny ability to evoke mood with a few, simple musical strokes. [The score] more than succeeds as a beguiling vehicle for Cote's story. The orchestration is colourful, deftly interweaving textures and changing shapes..." - John Terauds, Musical Toronto

"[The ballet's] balance of spectacular choreography and soul-driven music complemented by the innovative set supports a new kind of storytelling in ballet that appeals to a broad audience." - Liz Ostil, The Dance Current

"Replete with powerful brass and lyrical violin solos, [Lau's] tuneful score gave the entire production a potent musical underpinning." - Oksana Khadarina, DanceTabs

"With impassioned dancing by a cast of almost 30, a monumentally impressive set by Michael Levine, video contributions by Finn Ross and a bold, brassy, sometimes Prokofiev-channeling orchestral score by Kevin Lau, Cote's new ballet packs quite a wallop, more than enough to bring an enthusiastic Saturday opening night audience to its feet." - Michael Crabb, The Toronto Star

Articles

"The Prince We Do Not See" - MacLean's

"Le Petit Prince is 'make or break' for dancer-turned-choreographer Guillaume Cote" - CBC

"Original music the other ingredient of Le Petit Prince" - Toronto Star

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