The first full weekend in March, New Jersey Symphony dazzled us with new works including an augmented rendering of Stravinsky’s iconic “Firebird”. What an amazing weekend it was.

Having attended the Sunday concert March 9, I was treated to the Classical Conversation moderated by Erin Lunsford Norton, the Vice President of Artistic Planning. She assembled a panel that included scene designer Nicola Lopez, Nimbus Dance Founding Artistic Director and choreographer Samuel Pott and composer Qasim Naqvi, all of whom contributed to the joy of the program.

Classical Conversations double down on the appreciation of the sheer beauty of a work. We whet our appetites for the show to come by learning how the stage is used as we have never seen it before. The first act being very spare indeed. We learned how Mr. Naqvi’s wife had a dream where the title of the piece, “God Docks at Death Harbor” “… was embossed in my wife’s mind, from her dream of words”. Title came first, in a rarity for Mr. Naqvi, then a full orchestral work of which this is a more intimate arrangement. It is interesting to note that Ms. Lopez, who is incidentally Mr. Pott’s cousin, is an interactive set design for the dancers. Her visual arts work is other than set design yet she’s also working on interaction of humans with their environment. “A conversation in materiality” is the term Ms. Lopez used. This updated Firebird contrasts Icarus with a modern young woman who is also seeking flight from an all-too-familiar situation.

The program began with Jonathan Spitz, Principal Cello for NJS, and the Bach Prelude from Suite No. 2 in D Minor , BWV 1008. He is all alone, spotlit, center stage. The cello’s human range aches, strives, rests. Mr. Spitz was building drama and transporting us from Prudential Hall to a mindscape, preparing us for Nimbus Dance’s entrance.

Next, Caroline Shaw’s string quartet “Valencia” is performed by a tightly configured group, Brennan Sweet, et al, play a questing motif that slides and seeks, flirting and flowing in creative energy that tracks and transcends time, destiny and decay. A mutual descent leads to individual expression that then comes back together ascending to a pluck-y violin rumination with continuo in viola and cello to a happy end.

Qasim Naqvi’s Piano Quintet – “God Docks at Death Harbor” with Nimbus begins with a pool of light on the quintet when two dancers slowly emerge, then others join, tethered to one another by bands of cloth upon which water is projected. Dancers combine like the muses to lower and raise the material that acts as screen and dancer on its own. A solo dancer in white, sinuously controlled, moves off to reveal what must be seen. The work is a meditation on what it means to be human, to be part of a greater whole. Dancers dressed in colors of earth and sky, water and clouds move through and around light with other dancers and streamers of material as grace, joy and beauty combine with music and love. The themes of apart and together swirl like a tidal pool and peace ultimately reigns.

During the intermission, the NJPAC crew took a bare stage and populated it smoothly and so quickly into both orchestral and dance space, if I hadn’t seen it, I’d not have believed it. The orchestra took the stage and started Stravinksy’s “Fairy’s Kiss”. This work is less often played than some of the more iconic works, yet it is lush and beautiful. Homage to the Romantic composers Stravinsky loved, it has its own story to tell. The Divertimento begins pastorally then threads of intrigue begin. Xian Zhang conducts this work with vibrant energy, limning the threads of the tale in dynamic brilliance. This is perfect afternoon music with swirls of harp, flirtatious flute, cello, clarinet, French horn and violin. I was one cup of tea from perfection. The Pas de deux ties everything together in a flocked velvet ribbon with vibrant arabesques of sound and form. A romp, in the best sense of the word.

In an oh-so-grand finale, combining NJ Symphony and Nimbus Dance in glorious duo, The Firebird - World Premiere. Contrasting stories play out - Icarus as sacrifice to the Minotaur on left, while a modern sacrifice of a contemporary young woman whose abuse by her family is told in dance and bright light, cold light. The light changes to gold and Myth combines with Contemporary. She fashions wings for His escape. Their dance together is beautiful but before he can make his escape chaos ensues. How does it end? You’ll need to see for yourself

The collaborations yet to come are as electrifying. Won’t you share it with me? Get your tickets now and for some parts of the 2025-26 season now at www.njsymphony.org.