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    Skeletons in the closet

    Tango-dancing Houston maestro prepares for a family reunion concert

    Joel Luks
    Aug 30, 2013 | 12:53 pm

    You may know Antoine Plante as the curly haired brunette who waves his arms in front of Mercury - The Orchestra Redefined. You may know him for his charming Québécois brogue that tickles his Texanisms. You may even know him as a party guy who isn't shy to impersonate movie characters to entertain his guests.

    But most likely you don't know the maestro as a tango bailarin.

    Tango was all the rage when classically trained Plante lived in Canada. In the late 1990s, he and his brother, Denis, would frequent an Argentinean bar in which the sassy dance was part of the daily charm. Musicians jammed, couples put on the moves and wine flowed. The Plante compadres were so infected by the lively rhythms that they both took up tango dancing, they traveled to Buenos Aires to purchase bandoneóns (accordions essential in tango music) and became part of the scene in Argentina and at home.

    In tango speak, you can call the siblings milongueros.

    "I'll come clean," Antoine Plante tells CultureMap. "We really started doing the tango because we wanted to meet girls."

    Dancing tango, Plante says, is how he wooed his wife, Lori Muratta.

    "I'll come clean. We really started doing the tango because we wanted to meet girls."

    Denis Plante went on to master the bandoneón, a switch from his earlier focus on jazz guitar. Today, the composer-cum-performer is recognized as an international virtuoso. He performs regularly with symphony orchestras and chamber groups, and has recorded albums with the Astorias, Quartango and Bataclan ensembles. Denis Plante's debut solo CD, Cantos de Bandoneón, is a collection of original compositions, some of which are narrative in nature. Take his three-movement work "Noche de Tango." It tells the story of a man who upon returning to his hometown encounters a much different world — and struggles to fit in.

    Antoine Plante, who studied at Conservatoire de Musique de Montréal and at Rice University, was content on the viola de gamba and as a conductor, later establishing one of the most successful period instrument chamber orchestras in Houston and in the country. Mercury - The Orchestra Redefined hits all the right notes with Houston audiences. But his bandoneón, sadly, lives silently somewhere in a dark closet.

    The brothers will reunite for a performance at Miller Outdoor Theatre, set for Saturday at 8 p.m. The program, titled "8 Seasons," includes Astor Piazzolla's Estaciones Porteñas (Four Seasons) andAntonio Vivaldi's Le quattro stagioni (The Four Seasons). Do the math.

    "It's unclear if Piazzolla meant for a musical connection to exist between his composition and Vivaldi's," Antoine Plante explains. "Piazzolla is more abstract than Vivaldi. Piazzolla describes a mood but doesn't paint a picture."

    Still, there's an undeniable link in the overarching theme, especially bearing in mind that Vivaldi's seasonal sketches rank high in popularity, perhaps even in the top five classical music compositions of all time. Vivaldi's Four Seasons has been used for commercial purposes extensively. It's over recorded. It's heard in elevators, hospitals, hotels, weddings, restaurants . . . brunch and mimosas, anyone?

    But, as Antoine Plante points out, the concerti aren't often performed live in their entirety.

    "When listeners experience the piece as a whole, they are surprised," he says. "They are even amazed to learn that the music is accompanied by poetry, which we plan to project above the orchestra so everyone can follow along."

    Although audiences may be familiar with the lovely birds, flowing streams and bucolic dances evoked by the colorful oeuvre, there are other allusions that are, shall we say, less well-mannered. Like a barking dog and a bunch of drunks that pass out because of their indulgence.

    As for the concert, Antoine Plante confides that he's thinking about dusting off his concertina to perform alongside his brother in an impromptu encore selection, taking a nostalgic trip down memory lane to when the single dudes were on prowl for the ladies. He'll be forgiven if he isn't up to the task, but here's something else to ponder.

    What if he were to delight us with a dance demonstration? Wouldn't that be lovely.

    ___

    Mercury - The Orchestra Redefined presents "8 Seasons" Saturday, 8 p.m., at Miller Outdoor Theatre. Admission is free; tickets are available for covered seating.

    Jonathan Godfrey, concertmaster, will be the featured soloist in Vivaldi's Four Seasons.

    Jonathan Godfrey
      
    Photo by George Hixson
    Jonathan Godfrey, concertmaster, will be the featured soloist in Vivaldi's Four Seasons.
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    Movie Review

    Ana de Armas dances macabre in John Wick spinoff Ballerina

    Alex Bentley
    Jun 5, 2025 | 3:45 pm
    Ana de Armas in Ballerina
    Photo courtesy of Lionsgate
    Ana de Armas in Ballerina.

    The John Wickfranchise has been successful due to two things: The hyper-violence inflicted by its protagonist, and its star, Keanu Reeves, who has used a bare minimum of words to create a great antihero. Trying to capitalize on its popularity, Lionsgate — the studio behind the franchise — has made Ballerina, a spin-off focusing on a character inspired by another minor character from John Wick: Chapter 3 - Parabellum.



    That convoluted set-up is the first of a variety of missteps for the film. An opening scene introduces the audience to a young Eve (Victoria Comte), who gets taken in by a criminal group known as the Ruska Roma after her father is killed. The bulk of the film takes place 12 years later when a now-adult Eve (Ana de Armas) is finishing her training as a ballerina/assassin-for-hire, led by The Director (Anjelica Huston).

    Hungry to prove her worth, Eve starts going out on various jobs. One of those jobs puts her in the orbit of the group responsible for her father’s death, and she dedicates herself toward finding the leader known as The Chancellor (Gabriel Byrne) and exacting revenge. Oh, and for funsies, the film — set between John Wick 3 and 4 — also brings in Wick himself to juice the action.

    Directed by Len Wiseman and written by Shay Hatten (who’s written the last two John Wick films), the film is at its best when the filmmakers are going all-in on the action. Like all films in the series, the actual body count soon becomes negligible, with the film more interested in how inventively Eve can slaughter everyone in her path. And there are some creative methods employed, including ice skates, hatchets, and — most memorably — a flamethrower.

    What Wiseman and Hatten are not able to do, however, is make us care about Eve herself. The main John Wick films got increasingly complicated, but they were tolerable because of how compelling a character Wick was. There’s no such connection with Eve, and for all her personal tragedy, she might as well be a faceless person. A lack of explanation as to why Ruska Roma is training women as ballerinas — you know, the title of the movie — only underscores how little the filmmakers cared about creating a good story.

    Consequently, despite plenty of gory kills, the film is actually quite boring to watch play out. The film goes through the paces of having Eve take on all-comers, but the end result is never in doubt and most of the action runs together. The inclusion of Wick into the story feels like an afterthought, whether it actually was or not. It also has the unfortunate effect of comparing a character fans know and love to one who hasn’t been given a chance to establish herself.

    Although her character as a whole is lacking, De Armas shows that she can easily handle the physical aspects of the role. The 37-year-old actor is oddly asked to play a 24-year-old (or so), but she mixes it up with the best of them. Byrne makes for a so-so new villain, while Reeves, Huston, Ian McShane, and Lance Reddick (making his final film appearance after passing away in 2023) all reprise their roles well.

    Ballerina has the look and feel of the four previous John Wick films, but it fails to be as compelling of an action film as any of them. True, it has just as much violence as fans have come to expect from the series, but its lead character is one that never reaches the level of John Wick, and it doesn’t seem like the filmmakers even tried to accomplish that goal.

    ---

    Ballerina opens in theaters on June 6.

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