I’ve always been fascinated by creative personalities extending their channels of expression beyond what they’re most known for (see an earlier entry) and this past week brought news of two not-so-young talents continuing to do just that. Paul McCartney joins the world of the dance with the New York City Ballet and a ballet score to be called Ocean’s Kingdom, that will premiere at Lincoln Center’s New York State Theater (ok, now called the David H. Koch Theater) this fall. NYCB ballet-master-in-chief Peter Martins will provide the choreography. (Martins & McCartney; neat ring to it.) It’s described as a fanciful love story in four acts, with the earth and ocean realms intersecting as settings. Just another niche to tackle for McCartney, 68, who’s already branched off into classical music, poetry, painting, and even children’s literature.
And across the pond, the lesser-known musical dimension (surprise to me) of actor Anthony Hopkins, 73, will be showcased in a UK tour this summer that will include an original piece written for the City of Birmingham Symphony Orchestra, as well as compositions from his films August and Slipstream. His most recent foray into music was “Venetian Medley,” featured along with Jorge Drexler’s score in the Ivory-sans-Merchant film, The City Of Your Final Destination (2010).
(The endeavors for both McCartney and Hopkins related to the arts for sure, which is why the Nabokov literature-and-science mix seemed so interesting. Which reminds me: Alexander Borodin, a composer I noted as one of the worst in history, had a parallel life as a chemist — he should have given up the day job).