About the Work
The Story
The Music
Libretto
The New Production
Program Notes - The Music
Program Notes - The Story
About the Artists
Creative Team
Performers
Composer
About Our Partners
Commissioning Partners
Commissioning and Funding Credits
Cal Performances
Harris Theater
Hopkins Center for the Arts
The Kennedy Center
Krannert Center
Lincoln Center
Meany Center
Melbourne Festival
Sadler's Wells
University Musical Society
Multimedia
Source Material
Set and Costume Design
Rehearsals
Interviews
Production photos and videos
Ancillary Activities
Press
Performance Calendar
Contact

Layla and Majnun

About the Work
The Story
The Music
Libretto
The New Production
Program Notes - The Music
Program Notes - The Story
About the Artists
Creative Team
Performers
Composer
About Our Partners
Commissioning Partners
Commissioning and Funding Credits
Cal Performances
Harris Theater
Hopkins Center for the Arts
The Kennedy Center
Krannert Center
Lincoln Center
Meany Center
Melbourne Festival
Sadler's Wells
University Musical Society
Multimedia
Source Material
Set and Costume Design
Rehearsals
Interviews
Production photos and videos
Ancillary Activities
Press
Performance Calendar
Contact
Featured
Mar 26, 2018
Mark Morris’s Leyla and Majnun mesmerize art lovers
Mar 26, 2018

"Leyli and Majnun," a classic Azerbaijani tale of young lovers and meddling parents, has been compared to "Romeo and Juliet " in Mark Morris Dance Group’s production.

The story was  given lusciously sensuous form, with gentle, insistent music from the Silkroad Ensemble and two celebrated Azerbaijani singers, mugham masters Alim Gasimov and his daughter Farghana Gasimova.

Read More →
Mar 26, 2018
Mar 23, 2018
“Layla and Majnun”: An Azerbaijani dance opera for the ages
Mar 23, 2018

First, there is his exquisite use of the mesmerizing music. It was originally a three-hour opera by the 23-year-old Azerbaijani composer Uzeyir Hajibeyli, which the Silkroad Ensemble arranged into an hour. The result is rich and velvet-toned, with slow and quickening pulses, and plaintive, questioning vocals. One recurring theme has the waltzy, humming quality and poignancy of an Aaron Copland air.

Read More →
Mar 23, 2018
Mar 19, 2018
The Unexpectable Ecstasy of “Layla and Majnun”
Mar 19, 2018

 Mirroring Silk Road Ensemble’s instrumental mix of East and West, traditional and modern sounds, Morris’ movement invention combines the skittering bourrées of young love fluttering, Middle-Eastern folk dance forms, and balletic cabrioles, with primitive ceremonial gesture and pageantry. The overall impact is mesmerizing, with an energy and momentum that transports us to a non-linear state of mind that allows for each of us to become Layla and Majnun, aching so desperately for each other and

Read More →
Mar 19, 2018
Feb 27, 2018
South Writ Large: The Love Story That Inspired Eric Clapton, Yo-Yo Ma, and Mark Morris
Feb 27, 2018

Onstage the dancers swirl in and out of complex formations on a multilevel set, filing around the musicians, who are grouped in the center of the stage. The women wear long dresses of coral flecked with white, the men tunics of marbled cobalt blue over white trousers. The singers are seated dead center on a raised platform, their continuo musicians, on tar and kamanche, next to them. The voices of the singers, Alim Qasimov, the renowned master of mugham singing from Azerbaijan, and his daughter and protege, Fargana Qasimova, rise above the dance, pure and clear as cold water, wrenching as a knife to the heart. Their upraised hands and faces, torn with emotion, seem to echo their words, as do their bodies, swaying in the aftermath of the sung poetry.

Read More →
Feb 27, 2018
Nov 13, 2017
New York Observer: Dying for Love in 'Layla and Majnun'
Nov 13, 2017

As if to demonstrate the contrast between tremendous talent and tremendous lack of same, last week also brought us a remarkable new work by Mark Morris, a staging of a famous Azerbaijani opera called Layla and Majnun, one of the Middle East’s most famous and beloved tales—its equivalent of Romeo and Juliet. Yes, love between two young people is thwarted (though in Layla and Majnun it’s not consummated). Lives are blighted, death prevails. But that’s the end of the equivalency. This opera is not about plot specifics, it’s about the eternal verities.

Read More →
Nov 13, 2017
Nov 13, 2017
The Lesser Blog: Layla and Majnun Review
Nov 13, 2017

Mark Morris’s new—what to call it?—opera, dance, Gesamtkunstwerk, which had its New York premiere last weekend at the White Light Festival, strikes me as his best work of the decade. I hesitate to go out on a limb like this, because Morris is so notoriously eager to violate expectations that he may well come up with something better next week, just to put me in the wrong. But I have to say that, at least since about 2010, I have not seen any new piece, by any choreographer, that moved me more than Layla and Majnun.

Read More →
Nov 13, 2017
Oct 30, 2017
Financial Times: Mark Morris gets to the heart of the story of Layla and Majnun at the White Light Festival, New York
Oct 30, 2017

The choreographer’s adaptation of the ancient love story is a remarkable achievement. ★★★★★

"...one of the most moving dances Morris has made."

Read More →
Oct 30, 2017
Oct 17, 2016
the Paris Review: Layla and Majnun
Oct 17, 2016

The choreographer Mark Morris’s latest work is a rendering of Layla and Majnun, an Azerbaijani opera composed by Uzeyir Hajibeyli in 1908. This fall it launched Cal Performance’s season, premiering at Zellerbach Hall in Berkeley on September 30. Layla and Majnun may be the most exotic and obscure score that Morris (who’s renowned for his eclectic musical taste) has ever set a dance to. No doubt many in Baku would take issue with my characterizing it as exotic and obscure: Hajibeyli’s opus was the first piece of composed music created in Azerbaijan and the first opera in the Muslim world, where it’s still considered a foundational work.

Read More →
Oct 17, 2016
Oct 4, 2016
San Francisco Classical Voice: Mark Morris and Silk Road Delight with Layla and Majnun
Oct 4, 2016

Layla and Majnun, choreographer Mark Morris’s 13th work to have its world premiere at Cal Performances, is a delight. The piece, slightly over an hour long, combines — with concision, precision, heart and brio — all the qualities that are best in Morris’ aesthetic.

This classic tale...gives us a new lens through which to delight in a superb dance maker, with a company to match.

Read More →
Oct 4, 2016
Oct 3, 2016
Bachtrack: A fiery Layla and Majnun première by the Silk Road Ensemble and Mark Morris Dance Group
Oct 3, 2016

The staging required that the dancers move through and around the musicians, and this intertwining gave the piece a coherent visual identity and a flowing energy. 

Moreover, the dancers showed how deeply connected they were not only to the music but also to each other. Mugham singing is improvisational and the singers can shorten or lengthen their solos as they feel is necessary. Every performance is different. This puts increased pressure on the dancers to be aware of shifts in the music and to communicate with each other more or less simultaneously. The company’s integrity to the performance, to the singers, to the music was spot on.

Read More →
Oct 3, 2016
Back to Top


Layla and Majnun is a Mark Morris Dance Group/Cal Performances, UC Berkeley, California production in association with Harris Theater for Music and Dance, Chicago, Illinois; Hopkins Center for the Arts, Dartmouth College, Hanover, New Hampshire; The John F. Kennedy Center for the Performing Arts, Washington, D.C.; Krannert Center for the Performing Arts, College of Fine + Applied Arts, University of Illinois at Urbana-Champaign; Lincoln Center for the Performing Arts, New York, New York; Meany Center for the Performing Arts, Seattle, Washington; Melbourne Festival, Victoria, Australia; Sadler’s Wells, London, England; and University Musical Society of the University of Michigan, Ann Arbor. 

Mark Morris Dance Group | +1.718.624.8400 | mmdg.org