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Alicia Hall Moran: Deliberate and Natural

Out of high culture and pop culture, forging an unforgettable identity

Alicia Hall Moran

Alicia Hall Moran’s stage entrance is slow, her gait worn smooth: feet-first, measured grace, both deliberate and natural. Down to the sequins, details carry the weight of the mezzo-soprano’s full attention; every snap, spin and sashay suggests a ritual in motion. But all this stagecraft works less like a shtick than as an act of conjuring-a ginning-up of the performative force necessary to embrace tradition, and push it further.

On Friday, June 21, at Manhattan’s Highline Ballroom, Hall Moran reprised her critically acclaimed motown project, a surreal reimagining of classical, soul and pop music that laid Mozart and Marvin Gaye side by side over the strange brew of husband Jason Moran on Fender Rhodes, Tarus Mateen on electric bass, Kaoru Watanabe on the ancient Japanese taiko drums and bamboo flute, Thomas Flippin on guitar and theorbo (a towering, largely outmoded lute) and the baritone Steven Herring.

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