Jump to content


PROGRAM 2 2011SYMPHONIC VARIATIONS,RAkU, SYMPHONY IN C


  • Please log in to reply
8 replies to this topic

#1 mirabray

mirabray

    New Member

  • Member
  • Pip
  • 5 posts

Posted 10 February 2011 - 02:57 PM

PROGRAM 2 Opening Night
Thursday, February 03, 2011, 8:00 PM
SYMPHONIC VARIATIONS
Choreography: Sir Frederick Ashton
Conductor: Martin West
Piano: Michael McGraw

Maria Kochetkova*, Gennadi Nedvigin
Frances Chung*, Dana Genshaft*, Jaime Garcia Castilla, Isaac Hernandez*

World Premiere
RAkU Choreography: Yuri Possokhov
Conductor: Martin West

Yuan Yuan Tan*, Damian Smith*, Pascal Molat*

SYMPHONY IN C
Choreography: George Balanchine
Conductor: Martin West

Vanessa Zahorian, Jaime Garcia Castilla
Sofiane Sylve, Tiit Helimets
Frances Chung, Taras Domitro*
Sarah Van Patten, Hansuke Yamamoto


PROGRAM 2 Matinee
Saturday, February 05, 2011, 2:00 PM
SYMPHONIC VARIATIONS
Choreography: Sir Frederick Ashton
Conductor: Martin West
Piano: Michael McGraw

Sarah Van Patten*, Tiit Helimets*
Courtney Elizabeth*, Kimberly Braylock*, Hansuke Yamamoto, Vitor Luiz*

World Premiere
RAkU Choreography: Yuri Possokhov
Conductor: Martin West

Yuan Yuan Tan, Damian Smith, Pascal Molat

SYMPHONY IN C
Choreography: George Balanchine
Conductor: Martin West

Vanessa Zahorian, Vito Mazzeo
Sofiane Sylve, Tiit Helimets
Nicole Ciapponi, Isaac Hernandez
Clara Blanco, Lonnie Weeks*



PROGRAM 2 Evening
Saturday, February 05, 2011, 8:00 PM
SYMPHONIC VARIATIONS
Choreography: Sir Frederick Ashton
Conductor: Martin West
Piano: Michael McGraw

Maria Kochetkova, Gennadi Nedvigin
Frances Chung, Dana Genshaft, Jaime Garcia Castilla, Isaac Hernandez

World Premiere
RAkU
Choreography: Yuri Possokhov
Conductor: Martin West

Yuan Yuan Tan, Damian Smith, Pascal Molat

SYMPHONY IN C
Choreography: George Balanchine
Conductor: Martin West

Lorena Feijoo, Vitor Luiz
Maria Kochetkova*, Joan Boada*
Courtney Elizabeth, Taras Domitro
Sarah Van Patten, Hansuke Yamamoto



PROGRAM 2 Matinee
Sunday, February 06, 2011, 2:00 PM
SYMPHONIC VARIATIONS
Choreography: Sir Frederick Ashton
Conductor: Martin West
Piano: Michael McGraw

Maria Kochetkova, Gennadi Nedvigin
Frances Chung, Dana Genshaft, Jaime Garcia Castilla, Isaac Hernandez

World Premiere
RAkU Choreography: Yuri Possokhov
Conductor: Martin West

Yuan Yuan Tan, Damian Smith, Pascal Molat

SYMPHONY IN C
Choreography: George Balanchine
Conductor: Martin West

Lorena Feijoo, Vitor Luiz
Maria Kochetkova, Joan Boada
Nicole Ciapponi, Taras Domitro
Clara Blanco, Lonnie Weeks



PROGRAM 2 Evening
Tuesday, February 08, 2011, 8:00 PM
SYMPHONIC VARIATIONSChoreography: Sir Frederick Ashton
Conductor: Martin West
Piano: Michael McGraw

Maria Kochetkova, Gennadi Nedvigin
Frances Chung, Dana Genshaft, Jaime Garcia Castilla, Isaac Hernandez

World Premiere
RAkU Choreography: Yuri Possokhov
Conductor: Martin West

Lorena Feijoo*, Daniel Deivison*, Vitor Luiz*

SYMPHONY IN C
Choreography: George Balanchine
Conductor: Martin West

Sarah Van Patten, Vito Mazzeo
Sofiane Sylve, Tiit Helimets
Courtney Elizabeth, Pascal Molat
Nicole Ciapponi, Lonnie Weeks


PROGRAM 2 Evening
Wednesday, February 09, 2011, 7:30 PM
SYMPHONIC VARIATIONS
Choreography: Sir Frederick Ashton
Conductor: Martin West
Piano: Michael McGraw

Sarah Van Patten, Tiit Helimets
Courtney Elizabeth, Kimberly Braylock, Hansuke Yamamoto, Isaac Hernandez

RAkU Choreography: Yuri Possokhov
Conductor: Martin West

Lorena Feijoo, Daniel Deivison, Vitor Luiz

SYMPHONY IN C
Choreography: George Balanchine
Conductor: Martin West

Vanessa Zahorian, Vito Mazzeo
Sofiane Sylve, Tiit Helimets
Nicole Ciapponi, Gennadi Nedvigin
Elana Altman, Anthony Spaulding


PROGRAM 2 Evening
Friday, February 11, 2011, 8:00 PM
SYMPHONIC VARIATIONS
Choreography: Sir Frederick Ashton
Conductor: Martin West
Piano: Michael McGraw

Maria Kochetkova, Gennadi Nedvigin
Frances Chung, Dana Genshaft, Jaime Garcia Castilla, Isaac Hernandez

RAkU
Choreography: Yuri Possokhov
Conductor: Martin West

Lorena Feijoo, Daniel Deivison, Vitor Luiz

SYMPHONY IN C
Choreography: George Balanchine
Conductor: Martin West

Sarah Van Patten, Vito Mazzeo
Sofiane Sylve, Tiit Helimets
Frances Chung, Pascal Molat
Nicole Ciapponi, Lonnie Weeks

#2 richard53dog

richard53dog

    Platinum Circle

  • Senior Member
  • PipPipPipPipPipPipPip
  • 1,401 posts

Posted 10 February 2011 - 06:24 PM

Hmm......looks like an interesting program. Have no idea what RAkU will be like of course, but to have Ashton and Balanchine masterpieces as bookends ain't bad!

And kudos to SFB for presenting an Ashton piece. Some of the other "children of Balanchine" companies here in the US get a deer in the headlights look if they are asked about presenting Ashton, who was after all, one of the great choreographers of the 20th century.

#3 Quiggin

Quiggin

    Gold Circle

  • Senior Member
  • PipPipPipPipPipPip
  • 829 posts

Posted 11 February 2011 - 02:47 AM

"Symphony in C" in San Francisco is very good but isn't whipped up into the meringue this ballet should be. And there are too many smiles, like too many explanation marks!!! And every new entrance really should be a game changer.

Vito Mazzeo and Vanessa Zahorian however did a deeply moving and elegant second movement last Saturday - in the league of Julie Diana and Vadim Solomakha, whom I always remember as the standard in San Francisco - along with Gonzalo Garcia in the first movement (whose influence and great example seem to have disappeared without a trace from SFB, in a dispensable California sort of way). Of course Taras Domitro did a great third movement with thrillingly coherent turns, but his great interpretive skills somehow seemed lost in that role.

*

"Symphonic Variations" and its wonderful Andrew Marvell green backdrop is always a treat to see, though less good this year. The 2004 production with Elizabeth Miner, Joan Boada, Nicholas Blanc, and Julie Diana might have been the tightest and the best.

Wendy Ellis Soames who was here to coach said the clue to SV was of the dancers being like "heavenly bodies", a comment that was touching but a little abstract. Perhaps saying something like your cell phone is ringing in you pocket and you can't answer it for five minutes or you have to pretend you don't care at all about the person who's sitting across from you on the bus after school, they don't matter in the least - or something like might be more helpful to get an American take on the Ashton idiom.

Anyway with "Symphonic Variations" there's this unspeakable undertow and a kind of brittle articulation on top - hand movements like the tick or escapement of a watch (as in the "Emeralds" second pas de deux). Like the "pickety pickety" picket-fence movement Wendy Soames talked about.

Only Sarah Van Patten - like Jean Shrimpton in a David Bailey photograph - got this and made her part seem like the most natural thing in the world. Isaac Hernandez, who is always wonderful to watch for little extra classical flourishes, couldn't seem find his place in the counts, and Maria Kochetkova and Gennadi Nedvigin danced their parts in a blithe Russian spirit.

*

"RAkU" is a mess of too many worthy intentions and influences in a small space - like a facebook page of favorite links. I had trouble with the mix of various orientalisms, and the violence (either a rape by four soldiers or a scene out of "Dune") and the strange combination of the heroine pouring the ashes of a dead warrior over her head and then being bathed in a spotlight of snowflakes that - no matter how hard you tried not to - you couldn't help associate with those from "Nutcracker."

Good art - very good art - can be made out of the simplest of materials.

#4 rg

rg

    Emeralds Circle

  • Editorial Advisor
  • PipPipPipPipPipPipPip
  • 3,435 posts

Posted 11 February 2011 - 05:58 AM

does this comment about SYMPHONIC VARIATIONS:

<<its wonderful Andrew Marvell green backdrop is always a treat to see,>>

mean that SV at SFB uses a new design? or does the credit to Marvell refer to his execution of Sophie Fedorvitch's usual, original, 'greenish' surround accented by thin black lines, consistently used for stagings of Ashton's ballet in London and elsewhere?

#5 Quiggin

Quiggin

    Gold Circle

  • Senior Member
  • PipPipPipPipPipPip
  • 829 posts

Posted 11 February 2011 - 11:00 AM

rg:

does this comment about SYMPHONIC VARIATIONS ... mean that SV at SFB uses a new design?


It's the same great original backdrop - maybe I should have said key lime green - but I liked the association with Marvell since he had so much to say about the color. In her pre-curtain talk Wendy Ellis Soames said that SV is about Primavera - that Ashton and Sophie Fedorvitch bicycled to the top of hill one spring day just after the war and Ashton said this, spreading out his arm towards the landscape, is the color I want. She also said Ashton had listened to a the recording of the Franck score when he was in the military services on shellac discs - the clicks perhaps helping with the counts or internal structure. Anyway, I thought it might have better helped the dancers had the music been conducted in the rhythmically dry French style that Virgil Thomson discusses in one of his essays on the differences between German and French conducting.


http://www.flickr.com/photos/92527244@N00/4193607442/

#6 Andre Yew

Andre Yew

    Senior Member

  • Senior Member
  • PipPipPip
  • 224 posts

Posted 11 February 2011 - 12:29 PM

I'm not sure which Saturday show you saw, but I would guess the evening show based on the casting. I saw the Saturday evening show as well, and the company looked much, much better on Sunday. Symphonic Variations was a mess on Saturday night, but when Kochetkova returned on Sunday (she'd been sick and replaced in her roles in Symphonic and 2nd movement Symphony on Saturday night by SVP and Zahorian respectively) with Gennadi Nedvigin, the trio of couples danced at a higher level and were dancing together. Saturday night had a few deer-in-the-headlights moments.

For me, Symphony in C though excitingly danced and full of spirit (especially Sunday), was lacking in uniformity of style. You could see lots of mismatched port de bras and epaulement.

I agree that RAkU needs a lot of editing. It was an overwrought mess that has potential hidden under all of the things going on.

--Andre

#7 Balleroger

Balleroger

    New Member

  • New Member
  • Pip
  • 9 posts

Posted 14 February 2011 - 02:42 PM

I liked RAkU. Yes, it is a complicated, multi-media event, a product of the Digital Age. Yes, it does have violence, but how could it not? Its subject matter is the deliberate destruction of a world heritage cultural site. And the violence does have an erotic source, an eroticism brilliantly illuminated by the Feijoo/Deivison/Luiz cast, as well as by the four Corps warriors. If ballet is to survive as a living art form, it must offer more than a Nineteenth Century view of the human condition.

#8 cubanmiamiboy

cubanmiamiboy

    Diamonds Circle

  • Senior Member
  • PipPipPipPipPipPipPipPip
  • 5,217 posts

Posted 14 February 2011 - 03:30 PM

If ballet is to survive as a living art form, it must offer more than a Nineteenth Century view of the human condition.

Not my view, but I liked this... :)

#9 Quiggin

Quiggin

    Gold Circle

  • Senior Member
  • PipPipPipPipPipPip
  • 829 posts

Posted 14 February 2011 - 07:29 PM

The dancers of RAkU are great, both casts, but I couldn't find the units - the parts of choreographic speech - in the pas de deux between the monk and the widow. Plus for me the stagecraft still overwhelms the subject. Think of what Noguchi did with such simple tools in "Orpheus" - or what Mizoguchi does in his films on similar subjects. And why does the woman always have to be the victim of "erotic violence," symbolic or not?

it must offer more than a Nineteenth Century view of the human condition.


A great nineteenth century ballet on the human condition could be an Alexei Ratmansky version of Gogol's "Dead Souls" with Mark Zuckerberg as Chichikov, enigmatically going from village to village buying up and trafficing in the traces of our small pleasures - our "Likes" or "Diggs"- or our "Play-bor," as they call it at the New School. (Or as Zadie Smith characterizes our condition - "500 million sentient people entrapped in the recent careless thoughts of a Harvard sophomore.")

Or a low tech staging of a "You Tube" like version of Petrushka or Pulcinella with various sized square discs sewn to Harlequin costumes to represent small and large units of digital compression (those mosaic blocks of empty background) - choreographed by Michael Clark or Mark Morris - along the lines of what Richard Foreman did at the Ontological Hysterical Theater in the eighties.

*

Addendum: Pascal Molat was in top form in both RAkU and Symphony in C and Sofiane Sylve did a wonderful second act S in C, full of lots of great subsidiary detail (Friday).

*

Added after seeing today's NYT review - as an example of a ballet done with the simplest of means - 1964 version of Cunningham Septet:

http://video.google.com/videoplay?docid=-8748661616907155481#


0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):