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All Premiere


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#1 Helene

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Posted 07 October 2012 - 09:19 PM

The "All Premiere" program is the next one up and runs:

2 November, 7:30pm

3 November, 2:00 and 7:30pm

8-10 November, 7:30pm

11 November, 1pm


The program consists of the following four works:

Sum Stravinsky
Music: Igor Stravinsky (Concerto in E-Flat, “Dumbarton Oaks 8-v-1938,” 1937-1938)
Choreography: Kiyon Gaines

Kammermusik No. 3
Music: Paul Hindemith (Kammermusik No. 3, Op. 36 No. 2, 1925)
Choreography: Mark Morris

arms that work
Music: Barret Anspach (Mille-fleurs, 2012)
Choreography: Andrew Bartee

Lost in Light
Music: Dan Coleman
Choreography: Margaret Mullin


PNB tweeted

Look how much fun Kaori & James are having! http://ow.ly/i/ZVAm Andrew Bartee's new work premieres Nov. 2.


The link is to a photo of Kaori Nakamura and James Moore, so some advance casting info.

One of the articles about the upcoming Morris premiere said it would use 24 dancers.

#2 Helene

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Posted 09 October 2012 - 11:12 AM

A clue to Andrew Bartee's piece:

https://twitter.com/...5865984/photo/1

#3 Helene

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Posted 10 October 2012 - 09:58 PM

Here's the latest video, with commentary by Peter Boal:


#4 Helene

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Posted 17 October 2012 - 09:57 AM

More casting clues: from this PNB Facebook post, Margaret Mullin is seen working with Chelsea Adomaitis and William Lin-Yee.

#5 Helene

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Posted 25 October 2012 - 01:51 PM

Casting isn't up on the website yet, but Gary Tucker has graciously sent first weekend casting. The email was in Excel format, which doesn't translate into the board software, unfortunately, but the spreadsheet is saved in ".xls" format, which should work with Mac and older versions of Excel.
Attached File  PNB All Premiere Week 1.xls   36.5KB   9 downloads

For those without Excel, here are screen shots of the spreadsheet:
PNB All Premiere Week 1 First Half.jpg
Intermission
PNB All Premiere Kammermusik No. 3.jpg
Intermission
PNB All Premiere Sum Stravinsky.jpg

#6 Helene

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Posted 25 October 2012 - 02:05 PM

In this video, the PNB dancer-choreographers talk about their works, and there is rehearsal footage:



I'm intrigued by Jonathan Porretta and Andrew Bartee's elastic strap wall and am really looking forward to this rep.

#7 Helene

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Posted 29 October 2012 - 11:23 AM

First week casting is now up on the PNB website:
http://www.pnb.org/S...emiere/#Casting

#8 sandik

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Posted 29 October 2012 - 12:40 PM

Gaines has almost three full casts -- lots to see this weekend!

#9 sandik

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Posted 02 November 2012 - 11:05 PM

At the post-show Q/A this evening Peter Boal mentioned that the school will be performing Twyla Tharp's Sweet Fields as part of the annual show, and Ezra T said that there's a possibility that the company would commission a new work from Crystal Pite in the near future.

#10 Helene

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Posted 02 November 2012 - 11:27 PM

National Ballet of Canada performed Crystal Pite's "Emergence" as part of their last Western tour. At first, between the score and the militaristic choreography for male corps, I was afraid it was heading towards action movie territory, but it shifted into what I thought was a fascinating study of big group dynamics, and I think she is very skilled at moving people around the stage and making some spectacular moving images. There was one, for example, where all the women were on point, and slowly gathered to create a beehive image with a pulse. Nothing was static, and the groups would dissipate and morph into something else. It was the best-performed ballet of the night, and the corps was a star. Hopefully she'll bring similar strengths to a piece created for PNB.

#11 SandyMcKean

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Posted 03 November 2012 - 10:46 AM

I've no time at the moment to make comments since I went to last night's opening of these 4 premieres, and I am just about to leave to see both the 2:00pm and 7:30pm performances, but I just want to get this quick comment in.

There is much to talk about with these pieces -- regarding both choreographers and dancers, but one item that might not have been obvious was what I consider to be break-out performances by [size=6]William Lin-Yee[/size]. I've been a fan of William's, but what I saw last night as he danced in 3 of the 4 pieces was just remarkable. I thought he moved beyond what I thought was his "natural" role. His artistry, musicality, grace, and presence all seemed to take a huge leap forward to my eyes. If he is in a cast you see, watch how this big man moves in spite of his size. He may just be one of those few male dancers who are both big, muscular, and graceful.

#12 sandik

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Posted 03 November 2012 - 11:31 AM

I've seen her ensemble several times here, and her movement invention is fascinating. Cedar Lake is bringing one of her works later in the month, and I'm really curious to see how she incorporates that vocabulary

#13 sandik

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Posted 03 November 2012 - 11:33 AM

[size=6]William Lin-Yee[/size]. If he is in a cast you see, watch how this big man moves in spite of his size. He may just be one of those few male dancers who are both big, muscular, and graceful.


Yes -- there were several moments where he was dancing near Joshua Grant and their amplitude was really impressive.

#14 Jayne

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Posted 03 November 2012 - 11:16 PM

I went to the matinee today, I wasn't really sure what to expect but actually I was surprised by all four pieces, for different reasons:

arms that work: The music is a composition by Barret Anspach, his sister dances for PNB, and she was in this piece. The music was intriguing, very modern for orchestra. I really, really liked the set, it looked like a roller coaster across mid-stage and the use of the rubber bands was done very well. I saw pictures on the PNB facebook page, and wasn't impressed. But on stage, they looked completely different. What looks like macrime knit covered by an Eileen Fischer wrap looks completely different when the dancers are in movement. It just goes to show you how lighting and staging really alter the theatrical experience of dance. Andrew Bartee choreographed, and he went for a contemporary dance movement style. Not all of it worked, and I thought it needed some editing, and more time in studio for practice. But I thought his ideas were very interesting. Angelica Generosa really stood out to me in this piece, though she was just a small part of it. When she dances, it seems as organic as walking across the street. I also liked Leah O'Connor in this.

Lost in Light: A traditional tutu-style partnering piece, set to absolutely gorgeous music by Dan Coleman, with the PNB orchestra's chamber ensemble sounding perfect in the pit. The choreography by Margaret Mullin was a forgettable mix of classical steps done without a unifying idea, and the costumes were something of a hodgepodge. But the lighting set the mood of a moonlit night, and to take the advice of Mr. B - I just relaxed and enjoyed the music. I do give kudos to Laura Gilbreath in this piece, I know I've critiqued her in the past. But here I liked the purity of her adagio. Benjamin Griffiths also looks more mature here.

Kammermusik No.3: The big draw of the night - Mark Morris' world premiere to music by Paul Hindemith. The lighting and costumes were purple, vaguely mandarin, unisex and suited the straight arms and use of 24 corps dancers. There was a leit motif of tripping throughout the piece. There was a bit of cheeky humor at the end but overall it seemed well rehearsed, the dancers seemed more committed than the first 2 pieces, or at least seemed more polished. I did think he used the stage space very well for the corps. I really wanted to love it, but I came away just respecting it.

Sum Stravinsky: Now this, I loved. Kiyon Gaines has done prior choreography for PNB, but I think this is his most successful piece to date. The costumes were classical tutus for the ladies, and sheer shirts with bicycle length hose for the men. Sheer fabric was folded to create interesting designs on both the bodices / tunics and tutus for the ladies. It sound strange, but it worked really well. If I can find a picture, I will link it later on. Set to Concerto in E-Flat Dumbarton Oaks 8-v-1938, the piece was a cross between David Dawson's "A Million Kisses to my Skin" and Balanchine's tutu plotless divertissements. It had wonderful humor, technical wizardry, and most importantly - great energy. The dancers were clearly thrilled to perform it, and it looked well rehearsed. The audience responded with the biggest applause of the night. More kudos to Laura Gilbreath, this time for a Spanish flavored Pas with Seth Orza. I've never seen her look so pleased to be on stage, nor so detailed. Truly, this was a breakthrough performance for her. Again, Angelica Generosa stood out in the corps. Maybe it's her glossy black hair in a sea of dishwater blondes at PNB, but I really think the combination of gorgeous dancing, a beautiful smile and stage presence make her future soloist material. Ryan Cardea was also a standout. The only drawback was dressing / lighting the dancers in such a similar blue color compared to last season's David Dawson piece brings out the obvious comparison.

So I arrived at McCaw Hall thinking that PNB commissioned their own dancers to save on $$$ to spend on (very expensive) Mark Morris, and I would have to sit through 3 "meh" works to see 1 amazing "pro" from NYC. I left wishing the entire rep had been Kiyon Gaines. Maybe I should initiate a JumpStart web campaign to fund an All Gaines rep next season at PNB.

#15 Jayne

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Posted 03 November 2012 - 11:25 PM


[size=6]William Lin-Yee[/size]. If he is in a cast you see, watch how this big man moves in spite of his size. He may just be one of those few male dancers who are both big, muscular, and graceful.


Yes -- there were several moments where he was dancing near Joshua Grant and their amplitude was really impressive.

I noted that he seemed taller, more serious, more princely than I've seen him in the past. As if he's finally gained command of his tall thin gangliness and transformed his body to serve the dance.


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