sandik

Adding thanks for the heads-up. I'd wondered where Roca was working after he left full-time journalism.

I've been mulling over Deborah Jowitt's article in the Village Voice about the practice of virtuosity in dance right here and am wondering what the community here is thinking? We've had several conversations about the shifting nature of the edge (what is thrilling today may be ho-hum tomorrow) and shifts in choreography to accomodate (or not) certain dancers and their specific abilities. How are you feeling about these topics today?

My understanding is that it does have a very private history, and has acted almost like a shibboleth for the groups who practice it. There is a huge distinction between 'the real thing' and the forms that are seen in tourist venues (like the differences between what is often called airport hula and the more authentic dance that is being revived and taught by new generations of kuma hula) Flamenco clubs often have the same feeling as the old speakeasies in the 1920s -- that you might need to know the right password to get accepted.

There are several different schools in tap, and it's gone through incredible changes in the last 100 years or so, which makes it tricky to have any kind of generalized 'rulebook,' but fundamentally it is all about rhythm. The Cliff Notes version -- tap is a percussive dance form, but unlike flamenco, which has roots in Northern Indian forms like Kathak, the tap we see in the US is primarily a combination of African and Irish forms. The polyrhythms from African dance, that were translated into percussive music (instruments and bodies) when slaves were forbidden to practice the dance they brought with them to the Americas, are fused to the heel/toe work that you find in Irish clogging and step-dancing. Because tap developed primarily in popular entertainment settings (music halls/vaudeville/musical theater and film) it's been influenced by changes in popular music. Since it's been taught in a very individual (one on one) fashion, and been used often in solo forms, there's incredible variation in style between performers. Early films show work that is very upright, rebounding off the floor, which I think comes in part from the clogging part of its heritage (think about the solo Ashton made for the Widow Simone in Fille). That expands later to include work that reaches out and down, so that you really see the dancer 'make the sound,' and there have been exponents of both views ever since. For quite awhile, Bill Robinson was the ne plus ultra of tappers, and his upright, delicate style is the one that many people associate with tap dancing (all those films with Shirley Temple), but really, think about the difference between Fred Astaire and Gene Kelly -- Astaire barely seems to contact the floor in some of his work, so that you're not really sure where the sound is coming from, while Kelly is much more grounded. Bart, I'm so impressed with your experiment. I absolutely understand Glover's response to Colbert's 'either/or' question, but I admit I have incredible trouble closing my eyes when Glover is performing. He's bringing his Bare Soundz show to Seattle again this year (big chunks of the program are danced without any music at all) and I'm really looking forward to seeing it again -- in a funny way the whole thing reminds me of Mozart and the structural games he plays.

Well, a really well organized conductor could probably do outside projects while working with PNB -- Kershaw ran a well-regarded community orchestra for several years during his tenure here -- but it would be easier if it were a project closer to Seattle than what we usually refer to as "the other Washington."

I'm not sure exactly when he appeared (my son time shifted the program) but Glover was amiable and articulate (discussing the aural nature of tap dance, Colbert asked if he'd rather have an all-deaf audience or an all-blind one -- Glover immediately said "all-blind," which is very interesting in light of the recent comments on his new show), and then he started to dance... And he was absolutely wonderful. Perhaps someone here can track down a link?

I liked what I heard from him while he was here, and I can only imagine that the company is relieved to have this decision made -- the process seems to have been very grueling. And perhaps if the company gets de Cou (and his NASA connection) the Museum of Flight will get a space shuttle?

Oh Helene, thanks so much for the great clips -- there is so much juicy stuff in there. I liked Bartee and Dec in Red Angels very much. A couple of wobbles from him, but very clear lines and good articulation of energy. And Dec is growing and growing -- in that one releve towards the beginning of the solo I thought she was just going to keep levitating! (not to mention how nice it was to see the trees upstage through the opening in the curtain!) The Wheeldon clips had my favorite moment in the work (where she is arched back in a bridge on hands and feet, and he slips underneath her, like he's found a little house) so I'm a happy girl. I think I like this presentation of Robbins' WSSS (without the set and specific costumes). The plain t-shirts for the men simplify the stage picture. (though I do miss that funky vest that Barry Kerollis usually wears) And the kids were fabulous!

The press release: Pacific Northwest Ballet Appoints Emil de Cou as new Music Director/Principal Conductor To conduct Cinderella and Giselle during PNB’s 2010-2011 Season, and assume position full-time in July 2011. Seattle, WA – Pacific Northwest Ballet Artistic Director Peter Boal has announced that Emil de Cou will be joining the company as PNB’s new Music Director/Principal Conductor. Currently the Associate Conductor of the National Symphony Orchestra (Washington, DC), Mr. de Cou will conduct the PNB Orchestra during the 2010-2011 season performances of Cinderella (February 4 – 13, 2011) and Giselle (June 3 – 12, 2011). He will join the company full-time at the start of PNB’s 2011-2012 season. Mr. de Cou, who guest-conducted performances of The Sleeping Beauty and Coppélia during PNB’s 2009-2010 season, replaces former Music Director/Conductor Stewart Kershaw, who retired in the fall of 2009. The position has been held in the interim by PNB Conductor/Pianist Allan Dameron. Mr. Dameron will continue in his role as Acting Music Director during the upcoming season, while working in close collaboration with Mr. de Cou throughout the year prior to Mr. de Cou’s official start in July, 2011. "It is with great pleasure that we engage Emil de Cou as PNB’s new Music Director,” said Mr. Boal in his announcement. “Emil brought out the best in our orchestra during the audition process and demonstrated a true understanding of the needs of musicians and dancers, composers and choreographers. His experience, gracious manner, and masterful ability to lead our remarkable orchestra make him the ideal choice. Please join me in congratulating Emil and welcoming him to PNB.” “The Pacific Northwest Ballet Orchestra is extremely happy to welcome Emil de Cou to the PNB family as our Music Director,” added Matthew Kocmieroski, chair of the PNB Orchestra committee and a member of the Music Director search committee. “His ability to guide the orchestra and to weave the intricate path of both standing out musically while accompanying and enhancing the multiple facets of the modern ballet world was made clear to us all during the search process. A ballet conductor is one of the most difficult and rare commodities to find, demanding an exceptional degree of technical mastery, maturity, and selflessness to engage, enhance, and inspire the various artists and artistic disciplines involved. The ability to effortlessly and seamlessly turn on a dime, to respond and add to individual and collective inspiration, and to make every performance a unique and exciting event is at the heart of ballet. We are convinced that he will lead us to great heights of artistic excellence in this most collaborative of art forms. As a long-term partner within PNB, the orchestra was fully engaged in the difficult process of selecting the new Music Director, our second since the PNB Orchestra was formed, and we are truly delighted with Peter’s choice.” "Working with Peter Boal and his amazingly talented dancers, musicians, and staff last season was a total and absolute joy, so I'm very excited and honored to be joining the Pacific Northwest Ballet as their Music Director,” said Mr. de Cou. “Ballet brings together music, dance, and the visual arts in a synthesis, providing a uniquely rich emotional experience for our audiences. It is a privilege to have the opportunity to work with Pacific Northwest Ballet and the wonderful PNB Orchestra in this most magic of all art forms." Emil de Cou has been associate conductor of the National Symphony Orchestra for the past eight seasons, and an active participant in a wide range of National Symphony performances and events since his debut at Wolf Trap in 2000. He has led the orchestra on residency tours in nine states, in subscription concerts at the Kennedy Center and on the lawn of the Capitol. In 2005, Mr. de Cou took up his newly-created position as NSO @ Wolf Trap Festival Conductor. (Of his Tchaikovsky evening, The Washington Post declared "de Cou's rapport with the orchestra was at its usual high level, his attention to detail as impressive as always... The sound was, in turn, lush and intensely energetic.") This Labor Day weekend, he will once again be conducting the NSO in its Labor Day Capitol Concert on the West Lawn of the U.S. Capitol Building, a performance he has been leading annually since 2002. He has appeared as guest conductor with many leading orchestras, including those of Philadelphia, Chicago, Houston, Saint Louis, Detroit, Montreal, Boston Pops, Minnesota, Denver, Portland, and San Francisco, where he also served as Principal Pops Conductor. He was acting music director for the San Francisco Ballet and conductor of American Ballet Theatre for eight seasons conducting performances at Lincoln Center as well as national and international tours. Mr. de Cou’s performance of the ballet Othello was aired on Great Performances on PBS. The soundtrack, by Academy Award winning composer Elliot Goldenthal, was recorded by Mr. de Cou for Varèse Sarabande; among his other recordings is a disc entitled Debussy Rediscovered for Arabesque, which includes previously unrecorded works by Debussy. Mr. de Cou made his Carnegie Hall debut as guest conductor for the New York Pops, and also appeared at the gala tribute to Beverly Sills at Lincoln Center with the Orchestra of St. Luke's and a stellar roster of soloists. His innovative concerts at the Wolf Trap Pavilion have included the first screenings of The Wizard of Oz with the score performed with live orchestra, the first-ever live Twitter program notes (Beethoven’s Pastoral Symphony) and live in-time podcast for a concert called “Fantastic Planet.” In 2008 he conducted the first performance of “Rodgers & Hammerstein at the Movies.” As part of his work as musical consultant for NASA, Mr. de Cou has conducted several successful collaborations with the nation's space agency, most recently on July 18, 2009 "Salute to Apollo, the Kennedy Legacy" at the Kennedy Center in honor of the 40th anniversary of the moon landing. The sold-out, multi-media performance included film excerpts, narration by Buzz Aldrin, and performances with Denyce Graves, Chaka Khan, and the US Army Chorus. In 1985 Mr. de Cou was hired by Mikhail Baryshnikov to be the conductor of American Ballet Theatre, and in 1994 joined the staff of San Francisco Ballet, completing his tenure there as acting music director in 2001. He has also conducted for New York City Ballet, National Ballet of Canada, Netherlands Dance Theatre, Hong Kong Ballet, National Ballet of Holland, Ballet Met, Oakland Ballet, and worked with such dance luminaries as Agnes DeMille, Margot Fonteyn, Mikhail Baryshnikov, Jiri Kylian, Frederic Franklin, Kenneth MacMillan, Christopher Wheeldon, Carla Fracci, Cynthia Gregory, Fernando Bujones, Natalia Makarova, Suzanne Farrell, Helgi Tomasson, Julio Bocca, and Gelsey Kirkland. Mr. de Cou was born in Los Angeles and studied with Daniel Lewis at the University of Southern California. He was the subject of a documentary on National Public Radio and was chosen from 200 candidates to study in Leonard Bernstein's master class at the Hollywood Bowl. He makes his home in San Francisco and Sarasota. Pacific Northwest Ballet, one of the largest and most highly regarded ballet companies in the United States, was founded in 1972. In July 2005, Peter Boal became artistic director, succeeding Kent Stowell and Francia Russell, artistic directors since 1977. The Company of nearly fifty dancers presents more than 100 performances each year of full-length and mixed repertory ballets at Marion Oliver McCaw Hall in Seattle and on tour. The Company has toured to Europe, Australia, Taiwan, Hong Kong, Canada, and throughout the United States, with celebrated appearances at Jacob's Pillow and in New York City and Washington DC. Pacific Northwest Ballet’s commitment to live music and high performance standards has been a priority from the beginning. The Company has been praised for its diverse, stimulating, and challenging repertoire of music – performed by the 50-strong PNB Orchestra – that ranges from the great ballet scores of Tchaikovsky, Delibes, and Stravinsky to new works by John Adams, Philip Glass, and Arvo Pärt to American classics by Leonard Bernstein, William Bolcom, George Gershwin, and Jerome Kern. The highlight of PNB’s 2010-2011 season will no doubt be the world premiere staging of the classic Giselle. This production marks the first time an American company has revived ballet’s great tragedy based on original material researched by Stepanov dance notation expert, Doug Fullington, in collaboration with leading Giselle scholar Marian Smith. Other season highlights include the return of Jiri Kylian’s Petite Mort paired with the PNB premiere of Sechs Tänze (Six Dances), both from Kylian’s “Black and White” series; company premieres of works by Jerome Robbins and Alexei Ratmansky; an all-Tharp program; a world premiere by Mopey choreographer Marco Goecke; Kent Stowell’s magical Cinderella; and the return of PNB’s renowned production of George Balanchine’s A Midsummer Night’s Dream. Special events in addition to the subscription season include the holiday classic, Kent Stowell and Maurice Sendak’s Nutcracker; as well as the Family Matinee production of Pinocchio. For further information, visit www.pnb.org. # # # PACIFIC NORTHWEST BALLET 301 Mercer Street Seattle, WA 98109 Box Office: 206.441.2424 www.pnb.org

I had the chance to watch a variations class taught by Melanie Skinner last week, as part of PNB's summer program. They'd been working on the galliard variation from Agon (the one with the mandolin) -- they were about halfway through it when they started the class, and got almost to the end during the session. There were maybe 16 or so students, I'm guessing 13-15 years old, with what seemed like several years of pointe work. Skinner did excellent work with the group, taking the material apart and presenting it in understandable chunks. It's full of tricky phrases and Skinner starts out by stringing numbers together -- a long list of 7s and 6s and other phrases -- not the usual 8s that students frequently get in repertory and technique class. The variation is full of challenges for this group -- even beyond the phrasing, they’re grappling with tricky coordination, off-center poses, unusual transitions and close-quarters work. It’s so hard to dance close to someone without knocking into them -- Skinner’s comment that “this whole dance is about your best friend” relates to the tight canon phrasing as well as the occassional shoulder-to-shoulder tableau. Everyone is learning at a different rate, making connections with different elements of the work and fighting different glitches, but things are coming into better focus for them all by the end of the session. A couple of them have an intuitive feeling for the style, and are able to get to that sang froid quality so much of the Balanchine/Stravinsky work has in abundance. The details of epaulment come last for most of the students, as you might imagine, but there are flashes of the total look popping up here and there. At this point in most of their lives, the dance is more sophisticated than they are -- it’s a bit like watching girls play dress-up, but some of them are very, very close. I love to watch class and rehearsal, and see the evolutionary process that happens before artists get to performance -- this was a great treat.

Well, this is intriguing. A little research seems in order here!

Just wanted to add that, in the newsreel footage of N Pavolva's 1973 Grand Prize performance there is a heartbreakingly lovely clip of Alexander Goudonov at the reception, looking young and hopeful. And in the voiceover -- I'd forgotten that Karen Kane and Peter Schaufuss competed as well.

Oh I don't know -- you seem to have tagged a big list! And what in the world does it mean when they say that Glass Pieces isn't for the faint hearted? It's a beautiful work with a big cast to minimalist music -- how is that going to make me pass out?

I don't know that you'll have seen him, but I'd suggest Steve Paxton, one of the developers of Contact Improvisation. That performance practice has had an astonishing affect on the development of contemporary dance styles, both performance and choreography.

I thought it was an interesting choice as well -- I've seen nothing of his live, and really only the early stuff in any kind of depth on tape, but it was fascinating stuff. I'm afraid that his personal hullabaloo took attention away from the art at the time. Any list like this is as much about the list maker as it is the artists listed -- some of the denizens here have posted their own, and I'm sure everyone else reading along could make one too. But it's great fun to think about other people's choices. And I was thrilled for the link to N Pavlova footage. I'd read about her years ago, in Croce's enthusiastic, evocative prose, but hadn't ever seen her move -- what a treat to see her in action!

That's pretty astonishing no matter who the players are!

It is a particularly hummable score as well.

Since we were requested to bring up 'other arts' I just wanted to share something I saw today, at the Foster-White Gallery in Seattle. I don't really know anything about Peterson, but zooming through the gallery this afternoon I saw a handful of his work using machines (typewriters, sewing machines) as jumping off points for some beautifully explosive images. I particularly loved Shift Release, and if I had $3,200 I would give it to myself for my birthday next month! look here

She was quick and sharp, as you might imagine from her written work -- it was great to hear her speak, and to have a live personality to match up with the printed one.

Oh, the heart is the best part!

Ouch!

Ouch!

It does seem early for the announcement, but since they aren't doing their season opener gala they don't have an event to hang it on. This is indeed a deserving batch of dancers, but I am the most pleased for Ricard Orza -- I didn't know anything about her when she got here, and it's been great fun to see her revealed. Her work in Coppelia was just charming.

Re-reading this thread after seeing Coppelia (new sets/costumes co-commissioned with San Francisco) perhaps lightning might strike twice, and we could get Vienna Waltzes too!

I've been mulling this over lately, since the addition of Giselle to the repertory surprised me as well, but I'm thinking that I missed a connection. In this case, I think it's less about the distinction between Classical and Romantic as it is between ballet and modern/contemporary/jazz. Boal has mentioned over and over again how excited he is at the breadth of potential he thinks his performers have, and how he wants audiences to recognize everything they can do (emphasis mine, mostly). Yes, the Romantic style is not that familiar to the company, but neither was English/Russian Classical style when they first came to learn Sleeping Beauty, and I was gobsmacked at how hard they worked at it, and how well they did. I have big faith in Doug Fullington's skills with this kind of reconstruction, and I'm really looking forward to seeing how it all works.