What if you hit it big in the lottery?
Posted 16 February 2002 - 03:05 AM
Posted 16 February 2002 - 06:45 AM
Posted 16 February 2002 - 11:10 AM
2. Make DanceView a color glossy monthly and give the writers a big raise smile.gif
3. Buy the copyrights to all the Tchaikovsky scores and license them -- very carefully -- only to companies who will NOT do pseudoFreudian or other New Now productions of "Swan Lake," "Nuts" and "Beauty."
4. Mount a Bournonville Festival with stagings by the half-dozen or so people who could stage the ballets properly (none of them presently, or recently, employed by the Royal Danish Ballet).
5. Make a huge donation to the Balanchine Ballets Rehearsal Fund at NYCB.
6. (Hardest of all) Scour the globe for dancers who can phrase Ashton as Ashton was meant to be phrased, then revive every one of his ballets that can be revived.
(I only buy tickets in Really Big Lotteries.)
7. Just to round out the last century, hire the Kirov-Mariinsky, Rebels Wing, to do a Fokine Festival, with strict instructions, and donate the last few millions to reviving all of Petipa that is notated. Next stop, Lavrovsky.....
Who says there isn't a ballet repertory?
Posted 16 February 2002 - 04:47 PM
[ February 16, 2002: Message edited by: Nanatchka ]
Posted 17 February 2002 - 09:53 AM
I would pay whatever it cost to be backstage and watch the Kirov dance Bayadere.
One can only dream!
Posted 17 February 2002 - 10:02 AM
i would also fund outreach dance progams giving people a chance to learn ballet when they might have never conisdered to.
On the more frivoulus side i would set up a balanchine company in london so that i could see his ballet more than once every few years!!
Posted 17 February 2002 - 03:38 PM
Posted 17 February 2002 - 06:31 PM
Posted 18 February 2002 - 02:25 PM
Posted 18 February 2002 - 08:29 PM
One can dream... biggrin.gif
Posted 19 February 2002 - 04:49 PM
First, buy an opera house. Actually buy some existing building, gut it and create performance, rehearsal, school and administrative space within it. The Edward Waffle Opera House would be the basis for everything to come.
The first person hired (after the architect and general contractor) would be the music director. She would have led from both pit and on the podium, would be respected by singers and soloists throughout the world and would have had significant orchestra building experience.
The music director would be in charge of opera programming as well as the occasional symphony type series. She would be responsible for creating an orchestra that can play on stage as well as in the pit. Since even lottery winnings are limited, the band would not be as large as the typical symphony orchestra—the permanent roster of players would be large enough for Mozart, with free-lancers being hired as necessary when we programmed, for example, Strauss. Her principal assistant would be responsible for the opera chorus and have some conducting opportunities.
The general director of the ballet company would be the next person hired. He will be a choreographer with a distinct style (one that I like) who will have artistic control of all matters involving dance. He will hire the dancers in the initial company and be responsible for employing ballet masters to insure continuing quality. Not sure if we will have a school or affiliate with a few in the area.
The autumn opera season will run from the last week of September until the week before Thanksgiving. It will be run on the stagione system, with each work being presented for two or three weeks. The music director will program the season, with veto power from her boss (me). Scheduling Wozzek, Lulu, Mathis der Maler and From the House of the Dead would be an adventurous and welcome change from typical programming. Producing them one after the other for the fall season would not be a good idea.
The day after Thanksgiving, of course, The Nutcracker takes over the stage—and the ballet company would continue to occupy the house through mid-February. January and February programming would be up to the ballet director. At least on three act story ballet would be done, and Valentine’s day (or the weekend closest to it) would be a non-subscription evening of excruciatingly romantic (or Romantic) dance.
The opera would be back in business from mid-February until mid-April. On April 15 there will be a production of I Masnadieri (the Robbers) or Il Pirata. Every March 29, on the anniversary of its original production, Fidelio will be given. The ballet season would resume in mid-April and run until the end of May. Swan Lake would be given every year, either in the winter or spring ballet season.
Summer would be given over to festival type productions—French Grand Opera as originally presented in Paris, for example—the type of things that only a festival, with long rehearsal time can offer and independent fund raising, can offer.
Both the opera and ballet seasons will be scheduled so that chamber music, modern dance and vocal series can be given. There will be at least three concerts with the pit orchestra on stage in works the music director will chose (Beethoven symphonies, Mozart piano concertos, etc.) and at least two concerts featuring the opera chorus, led by the chorus master.
The opera house will have one rehearsal space for opera and one for ballet. Each will have an area the same dimensions of the stage. There will be areas for classrooms, administrative offices and other necessary but secondary functions.
There will be a smaller theater for lectures, student productions and community activities. It will be available several times per year free of charge to members of the company or employees of the house who wish to produce concerts.
Charlotte Church, the Three Tenors or the Lord of the Dance will never play there, nor will any group with the words "Irish" and "Dance" in its name. If this last restriction means we will miss some otherwise wonderful production, so be it.
Posted 19 February 2002 - 09:13 PM
[QB]This is probably illegal, but if I had oodles of money, I would hire people to make sure that anyone who messed around with Swan Lake would be very, very sorry....
Gee, do you include people who have already messed it up, or just future messing arounders? How clever of you to think of this. Maybe I will use my lottery winnings to pay people NOT to do certain ballets. I will buy the rights and mothball them. Some of the ballets I will be protecting, and some I will be eliminating....
Posted 19 February 2002 - 10:38 PM
I am curious, though, perhaps in view of a thread we have going on the Moms and Dads board about feminism, why your opera director is female and your ballet director male? wink.gif
Posted 20 February 2002 - 05:06 AM
[ February 20, 2002: Message edited by: Mashinka ]
Posted 20 February 2002 - 08:37 AM
[ February 20, 2002: Message edited by: Brendan McCarthy ]
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):