dance with me : debut album ~ 2008

Dance With Me
collection of music composed for Greek and international dance-theatre / choreographies
Debut Personal Album, released December 2008
CD Launch in Greece [Thessaloniki (12/2008) & Athens (02/2009)]
Production: Independent [to be reprinted]

Tracks 1, 3, 4 & 6 composed by Anna Stereopoulou
Tracks 2, 5 recited by Panos Tsikos
Art & Layout: Athanasios Alatas
Digital Master: Panayiotis Ntavelos @ «Studio Live» (Athens, Greece)
©Copyright, Anna Stereopoulou, 2007-2014
A STEREOSCOPIC perspective of Music & Art©
©all rights reserved |

Track List
1. The Lesson
2. Two Loves I Have… (spoken)
3. Dance With Me
4. Tángano
5. I Have Said, I Adore You… (spoken)
6. The Last Waltz

"I Have Said, I Adore You..." [Poems by Agatha Christie] ~ Track 5 (spoken) @ "Dance With Me" debut album [Anna Stereopoulou, 2008]

“I Have Said, I Adore You…” [Poems by Agatha Christie] ~ Track 5 (spoken)
@ “Dance With Me” debut album [Anna Stereopoulou, 2008]
/ Photo portrait included by Vaggelis Rokkas

The Lesson
Based on Eugène Ionesco’s “La Leçon” [One-Act Play/Comic Drama]
Violoncello: Marina Kislitsina
Piano: Anna Stereopoulou
Choreography: Daniel Lommel
Costumes: Valentina Chrisochou
First presented at the Athens Modern Theatre, (“These People”, May 2007)
Dancers: Maxime Lachaume, Elena Papadopoulou, Dimitra Antonaki
An AENAON Dance-Theatre Production
Recorded at ReAction Studios (Athens)
Sound Engineer: George Botis

Dance With Me
Violoncello: Sofia Efklidou
Piano: Anna Stereopoulou
Choreography: Michelle Sherman
Dancers: Iris Kurz, Eleni Papandreopoulou, Sarah Sales, Jan Thompson
First presented at the Royal Academy of Dance (“Movemental”, June 2002)
A R.A.D. Production
Recorded at TCM Studios (Greenwich, London)
Sound Engineer: Kit Venables

Clarinet: Sarah Scutt
Violin: Sergi Claret
Violoncello: Maria Martinez
Piano: Anna Stereopoulou
Conductor: Ioana Konishi
Choreography: Elizabeth Ferenc
Dancers: Emma Callister, Maria Crothers, Lorraine Razzell
First presented at the Royal Academy of Dance (“Vivid Transitions”, May 2003)
A R.A.D. Production
Recorded at TCM Studios (Greenwich, London)
Sound Engineer: Kit Venables

The Last Waltz
First performed by the Solaris String Quartet
(London, March 2000) at Vestry Hall (Ealing)
Recorded at Vestry Studios – LCMM (London)
Sound Engineer: Ian Hodges

A Brief History of Tango
A dance of cadenced rhythm, popular in the River Plate, and danced in pairs, and at slow walking time (two-in-a-measure). Outside the River Plate it is popularly believed that the tango originated from Argentine. But, the tango is of cosmopolitan growth and first emerged in the dockland quarters of the great ports of the River Plate. According to recent investigations made by the Argentine writer Eros Nicola Siri, the tango is of African origin and derives its name from the “Tángano”, a Negro dance, within it had been transplanted from Africa by the slaves who worked the Cuban and Haitian plantations. The Negros brought the Tángano to the River Plate. There it merged with the habaneras, boleros, polkas, and mazurkas of European origin, and gradually acquired a distinctive rhythm and essence of its own, eventually described as the Argentine Tango. The tango with its cadenced and rhythmic music that expresses the melancholy, then came into its own and has ousted all other dances from local flavour. Gradually it made its way to Europe and other continents, where it is now (1938) universally danced and acclaimed.
[Source: The Oxford Companion to Music, by Percy A. Scholes, Seventh Edition, Oxford University Press, London – New York – Toronto, 1947 – page 918]

The Lesson

“The Lesson” [First presented at the Athens Modern Theatre, (“These People”, May 2007) Choreography: Daniel Lommel ~ AENAON Dance-Theatre] ~ Track 1 @ “Dance With Me” debut album [Anna Stereopoulou, 2008]

Two loves I have of comfort and despair,
Which like two spirits do suggest me still:
The better angel is a man right fair,
The worser spirit a woman coloured ill.
To win me soon to hell, my female evil,
Tempteth my better angel from my side,
And would corrupt my saint to be a devil,
Wooing his purity with her foul pride.
And whether that my angel be turned fiend,
Suspect I may, yet not directly tell;
But being both from me, both to each friend,
I guess one angel in another’s hell:
Yet this shall I ne’er know, but live in doubt,
Till my bad angel fire my good one out.
Shakespeare’s Sonnets 101-154

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