YAGP

Youth America Grand Prix "Stars of Today Meet the Stars of Tomorro

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YAGP 2011 GALA: “STARS OF TODAY MEET THE STARS OF TOMORROW”

Tuesday, March 22, 2011 at 7:30pm < New York City Center

ACT I: “STARS OF TOMORROW”

The top finalists and scholarship winners of the YAGP 2011 New York City Finals.

Students from Beijing Dance Academy, P.R. of China

“Point and Line”

Choreography: Zhang Di Sha

Music: Wen Zi

YAGP 2011 Finalists

“Grand Defile”

Choreography: Carlos dos Santos, Jr.

Music: Peter Tchaikovsky

ACT II: “STARS OF TODAY”

Tiler Peck and Tyler Angle (New York City Ballet)

“Mercurial Maneuvers”

Choreography: Christopher Wheeldon

Music: Dmitri Shostakovich

Roderick George (YAGP Alumnus, Theater Basel)

(Presented as part of “Emerging Choreographer Series”)

"The Darkness is Blinding” – WORLD PREMIERE

Choreography: Roderick George

Music: Ólafur Arnalds

Melanie Hamrick and Jose Manuel Carreño

(American Ballet Theatre)

“Transparante” – NY PREMIERE

Choreography: Ronald Savkovic

Music: Fado Portugues

Myriam Ould Braham -- NY DEBUT

and Karl Paquette (Paris Opera Ballet)

“Delibes Suite” – NY PREMIERE

Choreography: Jose Martinez

Music: Leo Delibes

Caroline Fermin, Troy Ogilvie, Francesca Romo,

Dan Walczak, Jonathan Windham, Arika Yamada (Gallim Dance Company)

(Presented as part of “Emerging Choreographer Series”)

“I Can See Myself In Your Pupil”

Choreography: Andrea Miller

Music: Balkan Beat Box

Francesca Podini (La Scala Ballet) -- NY DEBUT,

Thomas Forster (American Ballet Theatre) and Rubinald Pronk

(Dutch National Ballet)

“Ami” – WORLD PREMIERE

Choreography: Marcelo Gomes

Music: Frédéric Chopin

Dancers TBA

"Piece D'Occasion"– WORLD PREMIERE

Choreography: Benjamin Millepied

Music: Ludwig van Beethoven

Daniel Ulbricht (New York City Ballet)

“Piazzolla Tango”

Choreography: Servy Gallardo

Music: Astor Piazzola

Yuan Yuan Tan and Anthony Spaulding

(San Francisco Ballet)

“Diving into the Lilacs”

Choreography: Yuri Possokhov

Music: Boris Tchaikovsky

Viengsay Valdes (National Ballet of Cuba)

and Ivan Vasiliev (Bolshoi Ballet)

“Don Quixote” Pas de Deux

Choreography: Marius Petipa

Music: Ludwig Minkus

Program subject to change.

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....

Dancers TBA

"Piece D'Occasion"– WORLD PREMIERE

Choreography: Benjamin Millepied

Music: Ludwig van Beethoven

.......

Program subject to change.

Thanks. As per another thread on this gala, in this forum:

...last week's YAGP press release indicated that a new work by Millepied would be performed by the Mariinsky's Alina Somova and the POB 1re danseur Alessio Carbone. So are Somova and Carbone now out of the line-up? Somova, in paticular, is being taken out of North Am tours of late (Ottawa, then Toronto, now this). We hope that she is OK.

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YAGP 2011 GALA: “STARS OF TODAY MEET THE STARS OF TOMORROW”

Tuesday, March 22, 2011 at 7:30pm < New York City Center

ACT II: “STARS OF TODAY”

Yuan Yuan Tan and Anthony Spaulding

(San Francisco Ballet)

“Diving into the Lilacs”

Choreography: Yuri Possokhov

Music: Boris Tchaikovsky

This one is an attractive pdd and these two are terrific together in it. Unfortunately, it's probably unlikely that the original lighting/sets designs will be used, which is too bad; they add a lot to the atmosphere.

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Any update on who will dance the Millepied 'Piece d'Occasion'? Somova/Carbone, as originally indicated (2 weeks ago)?

Reminder that anyone with a ticket to the Gala can also attend the prize-giving ceremony tomorrow at 5:30pm.

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I believe Carbone is injured. Last week he was taken off the cast lists for Romeo & Juliet in Paris in April (he was scheduled to dance Mercutio).

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Thanks, cinnamonswirl. Oh dear, I now see that the entire Millepied-Beethoven pas de deux (originally with Somova/Carbone)has been cancelled. Here is a link to the (I think) 'final' gala schedule:

http://yagp.org/gala/2011/YAGP%202011%20Gala%20program.pdf

Despite Vasiliev/Valdes DON Q pdd, this is an altogether 'thinner' gala line-up, compared to years past. I think I'll pass on this one.

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Viengsay Valdes (National Ballet of Cuba)

and Ivan Vasiliev (Bolshoi Ballet)

“Don Quixote” Pas de Deux

Choreography: Marius Petipa

Music: Ludwig Minkus

:)

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OK, those balances are outrageous.

And then there are Vasiliev's jumps.

!

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OK, those balances are outrageous.

...and she looks as if she keeps adding more and more time to them...! He,he...she's definitely outrageous... :FIREdevil:

I wonder if she will ever get reprimended for those, or being prohibited to do them to such extent...

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:helpsmilie: In all the time I've been attending ballet regularly (it's hardly rounding to say 40 years), I still don't understand. Are balances dancing?

I'll agree that this was one of the dreariest ballet "galas" to hit New York in quite some time. The high points of the evening were, in the "Stars of Tomorrow" first half, were the adorable chickens from the Mexican ballet school. In the "Stars of Today" second half, the standouts were Tiler Peck and Tyler Angle in Wheeldon's Mercurial Maneuvers.

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:helpsmilie: In all the time I've been attending ballet regularly (it's hardly rounding to say 40 years), I still don't understand. Are balances dancing?

Agreed. Just because you can, doesn't mean you should. :yucky: I didn't find that enjoyable at all.

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It depends on the ballet and the character. Kitri in Don Q is a sassy, showy character, so it's not as bothersome...especially when performed with such ease by ballerinas like Viengsay Valdes or Paloma Herrera. Not OK if it's a kid in a competition straining and teetering to eek-out one more second in her balance.

In professional full performances of DQ, the balances and the adagio-style high lifts (a-la Kobborg keeping Cojocaru up in the air 'forever') are almost expected, IMO. It's become part of the art and woe be to the dancer who fails to do them (similar to the Rose Adagio balances in Beauty or the 32 fouettes in Lake). Similarly, in next week's Corsaire at Washington Ballet, I'm almost expecting the guy dancing Ali to finish his variation with a rivoltade.

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Agreed to a point, Natalia. But in this case, to my taste, this was excessive even for Don Q even in a gala setting, where we generally hold artistic content to a lower standard.

And speaking of the children ... this is one of the problems of this particular gala. If you saw the video of the Works & Process program with the YAGP judges, you were probably impressed with the emphasis these three judges gave to artistic presentation. But when push comes to shove, the dancers who do not perform sit in the audience and hear (and probably contribute to) the screams that greet the snazziest turns, longest balances, highest extensions, etc. They get mixed messages, and it's easy to guess which ones they take to heart. Even worse for the performing kids who get the screams for their athletic accomplishments and mere applause for their sense of style, musicality, personality, etc.

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It depends on the ballet and the character. Kitri in Don Q is a sassy, showy character, so it's not as bothersome...especially when performed with such ease by ballerinas like Viengsay Valdes or Paloma Herrera. Not OK if it's a kid in a competition straining and teetering to eek-out one more second in her balance.

In professional full performances of DQ, the balances and the adagio-style high lifts (a-la Kobborg keeping Cojocaru up in the air 'forever') are almost expected, IMO. It's become part of the art and woe be to the dancer who fails to do them (similar to the Rose Adagio balances in Beauty or the 32 fouettes in Lake). Similarly, in next week's Corsaire at Washington Ballet, I'm almost expecting the guy dancing Ali to finish his variation with a rivoltade.

I guess this is as simple as how much athleticism each of us is able to digest/enjoy in our ballet viewing. Lots of it..?, Maybe some...?, Perhaps just a little...?, probably NOTHING at all...? Well, definitely there is more than one option. As I said somewhere else, even the so called "vulgar" performances/performers are still part of the ballet offering. Some of this displays are not that offensive and can just make you smile if the performer is able to prove that there's a solid technique or artistry or both to complement the trick. Otherwise there's no reason, agree with that...and we're very aware of those examples. They have been generously debated on this board very often.

My mantra. Ballet should NEVER be boring. I definitely take "vulgarity" ANYTIME over boredom, not just in ballet, but in all stage performances.

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