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2014-2015 Season


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#31 cinnamonswirl

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Posted 09 May 2014 - 07:12 AM

Hopefully not as an excuse to commission yet another production design from Per Kirkeby ... 

 

 

Oh my goodness, please no!

 

I quite like Martin's Swan Lake (I love the choreography for the ending, when she bourrees off into the rising sun), but I won't go anymore because of the ghastly sets and costumes.



#32 abatt

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Posted 09 May 2014 - 07:22 AM

Isn't the ending of Martin's SL of Odette bourreing off stage into the rising sun directly out of Balanchine's one act version?



#33 cinnamonswirl

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Posted 10 May 2014 - 06:24 PM

I think the lighting is not the same and for me that made a big difference. I'm not very familiar with the Balanchine version though, so they could be more similar than I remember. Perhaps someone else can confirm?



#34 California

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Posted 14 May 2014 - 05:03 PM

Let me recommend a couple of non-performance programs listed in the 2014-15 subscriber booklet: 

 

Ballet Essentials with NYCB (age 21+): Last January, on Balanchine's birthday day, they held an Adult Movement Workshop, apparently their first in NYC (although they've tried this on tour at the Kennedy Center). It was delightful. About 60 people of all ages, genders, and sizes met in a huge rehearsal room in the Rose Building. It was led by Daniel Ulbricht, a very gifted teacher. After some gentle warm-ups, he led the class through brief step excerpts from Concerto Barocco, Who Cares, and Rubies. He was assisted by a corps member, Emily Kikta, and accompanied by one of their rehearsal pianists. Although it would be a stretch to say the 60 people actually "danced" those excerpts, Ulbricht broke everything down into small pieces that we could at least imitate in our own clumsy way. I also enjoyed his running commentary and some demonstration on Balanchine technique and how it differs from the traditional (e.g., the preparation for a pirouette, with the back leg stretched straight out instead of in plie). Afterwards they did an e-mail survey to see how people liked it. For 2014-15, they are listing five of these workshops, so I gather they got a positive response: October 4, January 24, February 14, February 28, May 2. All are on Saturdays at 10:30 and cost $22. You register on-line and the class filled up quickly last January. Trust me, nobody will feel out-of-place and a good time was had by all. They aren't promising that Ulbricht will teach them all, but we can hope!

 

Family Saturdays: I was in town for this May 10 (although without children with me), but I'm always curious to see how different companies (and countries) are introducing kids to ballet. It was a wonderful one-hour program in the main theater (which was nearly full). They showed 8 very short excerpts from different ballets, with dancers in full costume and a few principals. A small ensemble orchestra of about a dozen musicians was on one side of the stage. Ulbricht was a terrific master of ceremonies. He introduced notions like "unison," "canon," "mirroring," "fitting the music," etc. He also had the kids stand up at their seats for some movement exercises (jumping, clapping, waving arms overhead, etc.). These are free for Friends (at least some levels...) and $20 for others.  They have three scheduled for next year and are promising Ulbricht again: October 11, February 7, May 17. All are on Saturdays at 11 am. (And if anybody is interested in discussing ways of getting kids interested in ballet and wants to start a thread, that might be worthwhile...)



#35 abatt

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Posted 28 July 2014 - 01:33 PM

Interesting tidbit.  Wheeldon has licensed After the Rain to the Alvin Ailey Company, which will perform it beginning in Dec 2014

 

http://artsbeat.blog...ibute/?ref=arts#

 

Presumably Ailey will perform the entire ballet, not just the pdd.  The first section, to my recollection, had pointe work, so that will have to be adapted and changed.

 

NYCB is doing the After the Rain pdd in Oct 2014.   Very odd that one or the other company did not demand exclusive license to the work in New York City during these virtually identical time periods.  Is there so little overlap between the Ailey audience and the NYCB audience that neither company cared about exclusivity?



#36 sandik

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Posted 28 July 2014 - 05:26 PM

That is interesting -- I cannot remember where, now, but I think I saw a listing for another contemporary ensemble to perform the work, though it may have only been the duet. 

 

Not sure about the exclusivity part.  I know that Ailey has done Tharp in the past, but don't know if it's overlapped in time with other ensembles doing her work.



#37 cinnamonswirl

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Posted 29 July 2014 - 06:15 AM

That is interesting -- I cannot remember where, now, but I think I saw a listing for another contemporary ensemble to perform the work, though it may have only been the duet.

 

PNB and SFB both have the Pd2 in their rep.



#38 abatt

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Posted 29 July 2014 - 06:21 AM

I know a lot of companies do After the Rain.  However, it's odd that two companies have the license in the same city during the same time period.  I have to give kudos to Ailey's newish director, Robert Battle (appointed 2 or 3 years ago) for exploring interesting new rep for the Ailey company like After the Rain and Chroma.



#39 mussel

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Posted 31 July 2014 - 09:31 AM

The commissioning companies usually have a number of years exclusivity, the length depends on the individual contract.  Concerto DSCH, Russian Seasons, Namouna started to show up in other companies' reps after the exclusivity ended.  It may be another few years when Shostakovich trilogy starts to show up elsewhere outside ABT & SFB.

I think there's not much overlap audience between Alley and NYCB to make performing the same piece the same period an issue. T&V & Allegro Brillant have been performed cross plaza at the same time.

#40 sandik

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Posted 31 July 2014 - 01:18 PM

 

That is interesting -- I cannot remember where, now, but I think I saw a listing for another contemporary ensemble to perform the work, though it may have only been the duet.

 

PNB and SFB both have the Pd2 in their rep.

 

 

But who else (beside NYCB) does the whole thing?  Pennsylvania Ballet did it this spring (part of Julie Diana's farewell show) -- anyone else?



#41 Kathleen O'Connell

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Posted 31 July 2014 - 04:49 PM

 

 

That is interesting -- I cannot remember where, now, but I think I saw a listing for another contemporary ensemble to perform the work, though it may have only been the duet.

 

PNB and SFB both have the Pd2 in their rep.

 

 

But who else (beside NYCB) does the whole thing?  Pennsylvania Ballet did it this spring (part of Julie Diana's farewell show) -- anyone else?

 

 

I never really bought into "After the Rain" being a "whole thing" from the get-go; to me it's always seemed like two short, disparate works bolted together for the sake of convenience. (One of my complaints about Wheeldon's work from around that time was that it felt fragmentary -- like short extracts from some larger work-in-process.) The pas de deux lives quite happily on its own. And although I've never seen the first half presented without the pas de deux, I'm guessing it would work just fine as a stand-alone if it were given a new name and bundled together with some of the other shortish works in the rep like Herman Schmerman or whatever. 



#42 abatt

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Posted 04 August 2014 - 06:34 AM

Here's some more info on the opening night gala.  In an attempt to increase the level of excitement, Martins has hired Carolina Hererra to create new costumes for Morgen. I'm assuming we'll see Mearns in Kistler's old role.

 

http://artsbeat.blog...le&version=Blog



#43 vipa

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Posted 04 August 2014 - 07:13 AM

I hope this brings lots of money in to fund the things I want to see!

#44 sandik

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Posted 04 August 2014 - 07:41 AM

I never really bought into "After the Rain" being a "whole thing" from the get-go; to me it's always seemed like two short, disparate works bolted together for the sake of convenience. (One of my complaints about Wheeldon's work from around that time was that it felt fragmentary -- like short extracts from some larger work-in-process.) The pas de deux lives quite happily on its own. And although I've never seen the first half presented without the pas de deux, I'm guessing it would work just fine as a stand-alone if it were given a new name and bundled together with some of the other shortish works in the rep like Herman Schmerman or whatever.


I understand the situation you're describing, but I still want to see the work entire at some point, if only to know that myself. And perhaps to understand why the choreographer made the two together, even if they live quite happily apart.

Does anyone do the ensemble half without the duet?

#45 Kathleen O'Connell

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Posted 04 August 2014 - 09:11 AM

 

I never really bought into "After the Rain" being a "whole thing" from the get-go; to me it's always seemed like two short, disparate works bolted together for the sake of convenience. (One of my complaints about Wheeldon's work from around that time was that it felt fragmentary -- like short extracts from some larger work-in-process.) The pas de deux lives quite happily on its own. And although I've never seen the first half presented without the pas de deux, I'm guessing it would work just fine as a stand-alone if it were given a new name and bundled together with some of the other shortish works in the rep like Herman Schmerman or whatever.


I understand the situation you're describing, but I still want to see the work entire at some point, if only to know that myself. And perhaps to understand why the choreographer made the two together, even if they live quite happily apart.

Does anyone do the ensemble half without the duet?

 

 

Well, Pennsylvania Ballet included just the first half of "After the Rain" in its 50th Anniversary PBS broadcast (which you can watch here). I don't know if they regularly perform it that way, however. It may simply have been cut from the broadcast in the interests of time.

 

It's worth seeing both halves together at least once if you can, if for no other reason than to see Wheeldon was up to then. I'd say watching it feels something akin to watching "Balanchine's Tchaikovsky Suite No. 3," with the Pas de Deux being roughly equivalent to "Theme and Variations." 




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