Tuesday, November 29
Posted 29 November 2011 - 12:46 PM
Posted 29 November 2011 - 12:51 PM
The company had leanred about Stubbs through dancer Vadim Solomakha, who has danced for both the California Ballet and Ochi. Stubbs oversaw a week of rehearsals, working with the orchestra and the dancers, and conducted two performances (Nov. 12-13) of Minkus’ “La Bayadère.”
Posted 29 November 2011 - 12:52 PM
To complicate a rather uncomplicated approach, the program is also divided into two halves. "Act 1: The Classical Christmas," is the serious half that reflects the highbrow standard of the "Nutcracker" and Handel's "Messiah" and is in keeping with the religious solemnity of the holiday.
"Act 2: The Cool Christmas" is the other Smuin -- Christmas by way of Vegas or "So You Think You Can Dance?" This is where Elvis makes an appearance, bobby-soxers lock their legs in swing routines and a hot cougar tells "Santa Baby" what she wants for Christmas.
Posted 29 November 2011 - 12:54 PM
"It's a different mentality. When you teach dance, people come to your class every day -whether they like it or not. It's just a matter of discipline and I don't find it interesting. It becomes a kind of daily job and I don't like that. But in coaching, when they're passionate about it, they have a will to understand, to ask questions and to take it further. I find it interesting when it's like an adaptation for each individual dancer."
Posted 29 November 2011 - 03:25 PM
Posted 29 November 2011 - 03:29 PM
Posted 29 November 2011 - 03:34 PM
“I’m really loving doing the historical research,” she says. “I’m sure it’s the opportunities I have in an academic setting that allow me to think that way. It’s a much richer process and more satisfying.”
Posted 29 November 2011 - 03:46 PM
The Ailey dancers are different. “They know the language,” Mr. Harris explains. “I just have to remind them.” To that end, he devoted a third of his allotted rehearsal time to a company class and worked so slowly that some of the dancers initially found the process tedious.
Posted 29 November 2011 - 03:48 PM
This year is no exception--in fact, Cleveland families have several options to choose from to see this holiday classic.
Posted 30 November 2011 - 11:10 AM
That may be why their families and friends see it. But I went to Friday's opening wondering why, when my bosses don't require it, I still care about seeing this Nutcracker I found three answers:
1 It's live performance. You never know when a dancer might have a magical moment, even in a mediocre role. You don't have to be a professional viewer, or even a dedicated balletomane, to appreciate perfection when you see it: The audience recognized it Friday in Sara Webb, a Sugar Plum who personifies the music with sunny grace, delicacy, sharpness and speed. Tchaikovsky would have liked her - and Snow Queen Karina Gonzalez as well, whose gracious charm seemed designed to satisfy the dreams of the children in the audience as well as their parents. Connor Walsh, the night's Prince, partnered them both generously.
Posted 30 November 2011 - 11:36 AM
Posted 30 November 2011 - 11:37 AM
Now aged 32, [Melissa] Barak returns this year to work with the company dancers, who are currently preparing to perform on the weekends of Dec. 3-4 and Dec. 10-11.
Since leaving Westside Ballet of Santa Monica to launch her professional career, a few of her highlights include becoming a soloist and principal with NYC Ballet and becoming an award winning choreographer and the youngest choreographer every commissioned by NYC ballet. She later joined Los Angeles Ballet and now teaches at Westside School of Ballet.
0 user(s) are reading this topic
members, guests, anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases: