Live musical accompaniment will be provided by the City Ballet Orchestra under the leadership of John Nettles, and costumes and scenery are courtesy of Sacramento Ballet.
Friday, February 22
Posted 22 February 2013 - 11:42 AM
Posted 22 February 2013 - 11:45 AM
The Smuin Ballet original, "Starshadows," choreographed by founder Michael Smuin kicks of the company's winter program at the Mountain View Center for the Performing Art. Smuin Ballet performs locally until Sunday, Feb. 24.
In total 14 dancers take part in all or some of the five different pieces—three choreographed by Smuin himself—and one each by choreographers Adam Hougland and Trey McIntyre, who choreographed a modern dance routine to Portland-based band The Shins about heartache and individualism.
Posted 22 February 2013 - 11:49 AM
In early 2005 Craig became Managing Director of English National Ballet in London (the national touring ballet company), a role he fulfilled for seven years. During this time he also managed to be an Artistic Advisor to the hugely successful London 2012 Olympic and Paralympic Games.
London- based NSW expat Craig Hassall has been appointed CEO of Opera Australia. He will relocate to Sydney later this year to head the largest arts company in Australia with over 300 permanent artists and staff.
Posted 22 February 2013 - 12:10 PM
Next month, the Madison Ballet will stage the world premiere of “Dracula: A Rock Ballet” at the Capitol Theater in Madison’s Overture Center for the Arts. The two-hour original ballet, danced to a score by Madison composer Michael Massey, is the third of four works in the ballet’s 2012-13 season – a season marked by expansion, new ballets and a return from the financial precipice, says W. Earle Smith, Madison Ballet’s artistic director.
Posted 26 February 2013 - 11:42 AM
Robert Dekkers, Diablo dancer and choreographer, chose seven suggestions out of 132 submitted. He has had two weeks to choreograph the 10-minute work to Vivaldi's Concerto for Two Cellos in G Minor - the crowd-voted favorite - for performance Friday and next Saturday alongside the West Coast premiere of Trey McIntyre's "The Blue Boy" and two other works. The winning contributors each have won a pair of tickets to the premiere.
Posted 26 February 2013 - 12:20 PM
As apparent as his talent is, Mr. Peck is still navigating his choreographic voice; at the moment his adoration of George Balanchine, Jerome Robbins and Alexei Ratmansky is overly apparent. If Mr. Peck’s idea of quirky becomes a style, it will lose its power and perhaps even take on the kick-and-turn vapidity found in much contemporary ballet.
Posted 26 February 2013 - 04:04 PM
The heart of the ballet is the dancing for Romeo and/or Juliet. Körbes and Orza play a couple of teenagers so full of inexplicable lust and delight in one another that they flirt and tease until shy abandon gradually matures into love. They’re not proper at all. She stands, feet planted, and he dives onto his belly and slides between her legs and past her. She backs away from his attempts to kiss her, but quickly learns the strange feelings that a caress can stir up now that she’s—what?— 14. A curiously significant but awkward motif in which the two join their palms and make them undulate together seems to indicate both the flame of their passion and the precariousness of their future.
Posted 27 February 2013 - 12:58 PM
Morris takes as his point of departure Stravinsky's memory that the 1913 scenario came from Roerich, who had suggested it to Stravinsky when the composer was writing The Firebird for the Ballets Russes. Stravinsky then used it for Rite of Spring.
Possokhov’s Rite set to the orchestral version, is in its final stages of creation, while Morris hasn’t yet choreographed his, which will be set to The Bad Plus’ jazz-trio treatment of the Stravinsky score — piano (played by Mark Morris Dance Group’s former music director, Ethan Iverson), percussion, and bass.
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