miliosr

Corella Ballet and Recession

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So, I was reading in the New York Times yesterday that the unemployment rate in Spain had hit 14% (!) This got me to wondering how the Corella ballet is faring w/ fundraising, attendance at performances, etc. Any info from our correspondents on the ground in Spain?

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Does anyone know what the funding model for the company is?

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Funding was discussed briefly on one of the threads on our Corella Ballet forum, but I can't locate it at the moment. Perhaps CarolinaM, 4mrdncr, or one of our other Spanish ballet people have an answer. With the decline of Spain's finances, this may be a big problem.

(I keep thinking of Edward Villella's comment that a week in New York City cost his company $1,000,000 :P -- though I'm not sure if this was before or after the decision to eliminate the live orchestra.)

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QUICK ANSWER (from v.jetlagged me): Corella Ballet is doing okay. Despite the world's economic woes (and Spain too of course), there have been many more offers of support now that the government, corporations, and populace have seen what a large, talented, and viable company can accomplish (as Angel always believed), and that it's star dancer and AD is there to oversee it and support it.

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With Spanish unemployment expected to reach 13-16% this year -- and, by some estimates, 20% -- government funding is bound to be affected. Here's an article from a recent issue of The Economist:

http://www.economist.com/world/europe/disp...ory_id=12987582

The Corella Companywebsite --

http://www.angelcorella.com/home2.html -- suggests that the main sponsor is indeed governmental: the Junta de Castilla y Leon, the government of the region north of Madrid. There are also a couple of corporate sponsorships, including Yamaha.

Corella has also taken a leaf from the book of American-style private patronage and seems to be courting private and corporate sponsorship. There are a number of categories of support, starting with:

-- Friends of Angel Corella, 300 Euros or more;

-- Sponsor , 50,000 Euros

-- Silver Circle, 75,000 Euros

-- Golden Circle, 100,000 Euros

-- Patium Circle, 200,000 Euros

-- Patron, 300,000 Euros

At the higher levels, the appeal seems to be directed to corporations. As of this date I haven't yet found a list of names of actual donors in these categories.

Incidentally, yesterday was the last day of a 5-day run of a contemporary program at the Teatre Tivoli in Barcelona.

PROGRAMA

"BRUCH VIOLIN CONCIERTO Nº 1", de Clark Tippet

"CAUGHT", de David Parsons

"CLEAR" , de Stanton Welch

"WE GOT IT GOOD", de Stanton Welch

"IN THE UPPER ROOM", Twyla Tharp

:wink:Coming up in March 15-21, 2010, is a visit to New York City's City Center.

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With Spanish unemployment expected to reach 13-16% this year -- and, by some estimates, 20% -- government funding is bound to be affected.

The Corella Companywebsite --

http://www.angelcorella.com/home2.html -- suggests that the main sponsor is indeed governmental: the Junta de Castilla y Leon, the government of the region north of Madrid. There are also a couple of corporate sponsorships, including Yamaha.

Corella has also taken a leaf from the book of American-style private patronage and seems to be courting private and corporate sponsorship. There are a number of categories of support, starting with:

-- Friends of Angel Corella, 300 Euros or more;

-- Sponsor , 50,000 Euros

-- Silver Circle, 75,000 Euros

-- Golden Circle, 100,000 Euros

-- Patium Circle, 200,000 Euros

-- Patron, 300,000 Euros

At the higher levels, the appeal seems to be directed to corporations. As of this date I haven't yet found a list of names of actual donors in these categories.

Incidentally, yesterday was the last day of a 5-day run of a contemporary program at the Teatre Tivoli in Barcelona.

PROGRAMA

"BRUCH VIOLIN CONCIERTO Nº 1", de Clark Tippet

"CAUGHT", de David Parsons

"CLEAR" , de Stanton Welch

"WE GOT IT GOOD", de Stanton Welch

"IN THE UPPER ROOM", Twyla Tharp

:DComing up in March 15-21, 2010, is a visit to New York City's City Center.

I did notice some economizing with travel arrangements for CB compared to last year, but so far, financially the Company is doing well.

The Junta de Castilla y Leon is a major sponsor, but not the only governmental sponsor, and the total amount received for 2009 is greater than the year before. There have also been more offers from corporate sponsors. All of which is due (as I posted earlier) to the fact that everyone can now see what Corella Ballet is capable of accomplishing, and its quality level, but most important, is the fact that Angel is there to oversee the Company, perform in it, and do the necessary p.r. to support it.

Regarding individual donors, they are very lax in providing the accostomed documentation necessary for such donations in the USA etc. and despite numerous requests over a year, don't seem to understand the necessity for tax purposes here. Hopefully, with a larger, more experienced staff, this situation will improve.

RE: The Barcelona performances at the Tivoli:

In 2008 Corella Ballet performed 3 days, this year it was expanded to 5 days. Last year they did two works, "Celaje" and an adapted "Corsaire Suite", this year they did 5 works. However, "Caught" was NOT performed due to contractual issues with David Parsons, not because of any lack of technical expertise. (Angel has performed it before in Spain before his own company was formed.) Instead, Angel performed "Tchaikovsky pdd" first with Natalia Tapia, and then with Adiarys Almeida.

And wouldn't it be great if a NYC screening of my film could coincide with those CC performances?

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And wouldn't it be great if a NYC screening of my film could coincide with those CC performances?
Ideally a week or so in advance of the CC season, but oh, wouldn't it, though? :D

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Courtesy of yesterday's New York Times -- "Unemployment in Spain Hits 17.4%" (!!!)

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