What's more, they mounted their full-length extravaganza with the requisite number of performances.
“And that meant we had to find venues all over the city.” says Christensen, who led the eminent Royal Danish Ballet and is steeped in its standards of style and rigorous technique. “We had to travel to the audiences,” he adds, noting that people will venture out to an attraction, so long as it doesn't mean long drives through congested traffic.
Saturday, March 10
Posted 10 March 2012 - 05:13 PM
Posted 10 March 2012 - 05:14 PM
The sets and costumes, including a 40-foot-tall backdrop and 21 white swan tutus, are the work of designer Gail Csoboth. It is the largest production staged by a ballet company in Maine, said Maine State Ballet Director Linda MacArthur Miele.
“’Swan Lake’ is really the pinnacle of what you want to accomplish as a company,” said Miele, who performed the ballet many times with the New York City Ballet. For the spring show, Miele incorporated much of the traditional choreography that has been passed down through generations of dancers, plus some of her original choreography.
Posted 10 March 2012 - 05:17 PM
Choreographed in 1998 by Robert Weiss, who was Pennsylvania Ballet's artistic director from 1982 to 1990, Messiah is a grand undertaking, featuring the side-stage Philadelphia Singers with four soloists, two dozen dancers, and the ballet orchestra.
Thursday's dancers, occasionally overshadowed by the intensity of the chorus, might have made their movements larger, but they performed very well. Especially notable were the men, including Ian Hussey and Francis Veyette, and Zachary Hench as Jesus.
Posted 10 March 2012 - 05:18 PM
What has been the biggest challenge of learning three distinct roles? What has been the most exciting part so far?
Luckily I only had to learn the role of Lise since I have danced Aurora and Nina before. As there is a lot of material in La Fille mal gardée I was glad for this because my brain was at the saturation point with that one.
The most challenging part of this season is actually dealing with the physical stress. Each role is so physically demanding especially La Fille mal gardée and The Sleeping Beauty and it is hard to balance when I need to push hard and when I need to pull back so that I don't exhaust myself. I am getting a lot of massages and going to bed pretty early.
Posted 10 March 2012 - 05:19 PM
Over the past few seasons, Miami City Ballet has attempted evening-length story ballets with varying levels of success. Last season, the group’s presentation of John Cranko’s Romeo and Juliet had every necessary ingredient except two principal dancers capable of carrying that particular dramatic ballet. It was inspiring to witness those same two dancers (Jennifer Carlynn Kronenberg and Carlos Miguel Guerra) display their talents as dramatic actors when the company opened its run of Giselle Friday night at the Kravis Center.
Kronenberg and Guerra have danced the roles of Giselle and Albrecht many times before, so they are on familiar ground, but the emotional turmoil inside each of these characters was portrayed with more consistency, confidence and artistic maturity than the last time the company presented the ballet.
Posted 10 March 2012 - 05:22 PM
Natalia Ashikhmina reprised the role of Cinderella, which she last danced for the company just two years ago. As in almost any role she performs, she took command of the technical aspects of the cheoreography while portraying a solid character. Her Cinderella radiated with kindness and patience through the Kentucky Center’s Whitney Hall. But she also exhibited a touch of an alluring naiveté, evident in act one with her dreamily dancing with a broom, pretending it to be her beau. Her traits deservedly earned her sympathy in the face of how her ugly stepsisters taunt her.
Posted 11 March 2012 - 10:42 AM
It was a program that had some-thing for everyone. It began with classical-style ballet en pointe in an atmospheric and abstract work and ended with a contemporary dance that was much more theatrical and dramatic. In between was a work with a little of both, the abstract and theatrical in its combination of contemporary and folk dance.
Opening the evening Thursday was between disappearing and becoming by Emily Molnar, Ballet BC's artistic director. Dramatic lighting, over-head and to the side, created a mysterious mood as the dancers existed in a twilight world between light and shadow.
Posted 11 March 2012 - 10:46 AM
''For outdoors we like to do a program that's like the best bits of ballets so we've put together pas de deux and ensemble pieces that really show off the dancers but also highlight the great depth of the repertoire. Some of this program we'll also be taking to New York when we go there in June, so this is an opportunity to show that bit of the program before we travel there.''
McAllister says that the three Canberra-trained dancers are all at very different points in their careers.
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