sandik
-
Posts
8,947 -
Joined
-
Last visited
Content Type
Forums
Events
Blogs
Store
Posts posted by sandik
-
-
30 minutes ago, volcanohunter said:
The cast for the performance streaming now:
Other Dances
Hyo-Jung Kang, Davide Dato
Igor ZapravdinConcerto
Marie Breuilles, Natalya Butchko, Laura Cislaghi, Sveva Gargiulo, François-Eloi Lavignac, Duccio Tariello, Daniel VizcayoLiebeslieder Walzer
Claudine Schoch, Roman Lazik; Elena Bottaro, Denys Cherevychko; Liudmila Konovalova, Zsolt Török; Maria Yakovleva, Masayu KimotoJohanna Wallroth, Stephanie Maitland, Hiroshi Amako, Ilja KazakovStephen Hopkins, Sarah TysmanWoo hoo!
-
Teachout was one of those critics who worked both sides of the street -- as a playwright, and as an observer. Ballet was one of his interests, and his "All in the Dances: A Brief Life of George Balanchine" is a lovely introduction to the works and their importance in ballet. He wrote regularly for the Wall Street Journal, and occasionally for more outlets than I could manage to list here.
-
36 minutes ago, PeggyTulle said:
Well, that stint was short lived...
The pandemic has messed with so many careers -- it's just one of the multitude of crappy elements.
-
It's been a pleasure to see her career unfold -- I was thrilled when she came back from Monte Carlo, with such amazing skills even more finely honed.
-
A couple of thoughts:
Graham's setting of the Maple Leaf Rag is indeed an in-joke for her. Early in her career, when Louis Horst composed many of the scores for her work, or introduced her to other contemporary composers of that time, he would accompany her rehearsals. Often, when she was stuck for the next thing to do, she would ask Horst to play the Maple Leaf Rag, as a kind of break from the tension.
Joplin's work frequently drew from the African American folk music of his day -- while he didn't really participate in blackface minstrelsy, the audiences of his time would have recognized the connections. Current day audiences, which are the focus of Byrd's work, do not necessarily make those distinctions.
-
Oh, this should be fascinating -- I'm so glad to hear about it!
-
4 hours ago, Drew said:
I don't have a clear cut "position" on whether a company like this does better hiring from within its own ranks and alums or going outside. Certainly this is not centuries' old company with a byzantine bureaucracy where any "outsider" is likely to be eaten alive.
...
"She also led ENB into a new chapter in 2019 by moving it into the RIBA award-winning Mulryan Centre for Dance in east London, several months before the pandemic hit. Since then, she’s been a strong advocate of the arts, after ENB had to furlough 85% of its workforce and many of the staff, including Rojo, took pay cuts."
I hadn't really thought about it till now, but SFB's relationship with the opera, and the fairly peculiar schedule they maintain in their theater -- I wonder if Rojo might be thinking about shifting that situation...
-
6 hours ago, Helene said:
I'm not sure how many long-time company followers have forgotten, even if this was before social media: that was a very different situation; this is the way the Washington Post described it in 1985:
Many thanks for the link -- what a pleasure to read Kriegsman again. This
"Smuin will be in Washington this week to lead the San Francisco Ballet in its Kennedy Center debut, as artistic director of the company. It will, however, be his final act in that post. "
reminded me of Edward Villella and his departure from Miami City Ballet. He was in Paris with the company, and then he was gone.
-
The hiring process has taken long enough that I kind of forgot to keep checking in!
This is surprising, yes, mostly because she seems to have had quite a lot of success in the UK, but I can see why SFB would hire her away based on the repertory she's commissioned/facilitated. Not to mention her connections to the international dance community, which may be really valuable as we make our way out of pandemic restrictions.
There are a number of companies that are changing leadership right now -- in the west, Oregon Ballet Theater is also on the lookout for a new artistic director. For many years, most of the companies on the west coast have been closely connected to the House of Balanchine -- it's looking like that will be shifting over the next few years. I'm looking forward to seeing how this all develops.
-
4 hours ago, On Pointe said:
Apparently PNB is just going to pretend that Ashton Edwards is a woman and cast him accordingly? I honestly would like to know why anyone would find that laudable.
No one is pretending anything. Edwards has been training to dance roles on pointe, and PNB looked at them and thought they were good enough at that particular skill set to be cast.
-
4 hours ago, tutu said:
The level of talent and drive to be able to fit into the PNB corps so well after only, what, two years en pointe (one of them solo in lockdown)? The future holds great, great things.
How was Generosa’s sugar? Refined (pun intended), I’m sure! And are there new costumes for the Green Tea Cricket?
I've been to the last couple in-theater programs they've presented this year, but for obvious reasons the works were small ensembles, so it was easy to follow individuals. Nutcracker has so many moving parts that it was almost kaleidoscopic -- between the numbers of people onstage and the 19th c details of the design I think a lot of people in the audience were overwhelmed with the experience.
Which makes the moments where we focus on one person even more important. Generosa is often physically daring and quick, but she's been bringing more rhythmic play into her performances as she matures. Her Sugar Plum feels like it's in the process of becoming -- she had some lovely "magical" moments last night, especially in the opening solo, where there's a lot of opportunity to play with timing. She had the waftiness in her bourees there. so that she appears to float a bit. The duet with Price Suddarth as Cavalier was sharper and more showy, as it often is -- the shoulder lifts towards the end were especially fine. (it's been awhile since I thought of Suddarth's partnering, and it was great to see him in that job again last night)
There is indeed a new costume for the Cricket, with markings on the chest to resemble a carapace and a helmet-like headpiece with antennae (the women's costumes stay the same, as I remember them). There are a couple small adjustments to the choreography (the cricket rubs his arms, as the actual bugs do to make their "song"), but the rest of the material is the same. Alas, last night Mark Cuddihee didn't crouch down enough at the end of the variation when he's popped back into his box, and his antennae were caught in the top of the box. I can only imagine his chagrin, especially after such an excellent performance.
As I said above, one of the things that really struck me about Edwards dancing was how well it fit in with the rest of the ensemble. With the Covid restrictions, the company hasn't been able to run an open rehearsals or other opportunities for us to see dancers as they are working things out, so I don't know much of anything about their process, but the product on stage was just where you would want a gifted apprentice to be.
-
44 minutes ago, cubanmiamiboy said:
I spent it with my patients at the hospital....!🤪
Thank you for doing the deeds.
-
I was so pleased to be at the performance this evening, especially because Ashton Edwards made their debut as an apprentice with the company, dancing Snow and Marzipan. Honestly, it was remarkable because it wasn't remarkable. They did a lovely job with both parts, and I'm looking forward to seeing what happens next.
-
However you celebrate, I hope you spent time with people you love.
-
A part of their season opener, on Great Performances, at the 17 minute mark
-
On 9/30/2021 at 8:21 PM, Amy Reusch said:
The schedule is now up! But, I'm having a hard time making out when in NY time each company will stream?https://worldballetday.com (Scroll down to see the schedule)
Let me see what I can figure out...
-
15 hours ago, tutu said:
Really excited about Jonathan Batista, whom I’ve followed for a couple years across various internet platforms. A very clean dancer with exquisite turns.
Here’s a 2019 video of him in what I’m assuming is a Nutcracker guest gig:
https://www.instagram.com/p/B6DrM9SnDAG/?utm_medium=copy_link
Very clean turns.
-
This is so great, but it made me wonder if we'll see him move into some of those character parts -- the Von Rothbart bow and the Dr Coppelius bow made me laugh out loud.
-
I'm seeing an interesting phrase in many of these announcements -- "closely held religious beliefs." Has anyone else seen this turn of phrase in local announcements? I'm wondering what that might entail, and how one would prove it as you filed into the theater.
-
Another Dracula -- I think they used to do one by James Canfield, and now they're doing Ben Stevenson's.
-
These are all so interesting -- very glad to see them get this support.
-
18 hours ago, Olga said:
Dorrance will be choreographing a show for Lincoln Center Theater in the Fall -- Flying over Sunset.
Please -- someone here see the show and come back to report!
-
4 hours ago, Kathleen O'Connell said:
As someone who mourned Seth Orza's and Sarah Ricard Orza's departure from NYCB to join NYCB, I feel your pain ...
He arrived here with his reputation preceding him, but she was an unexpected bonus -- watching her develop while she was here was such a pleasure. I know that they both have worked very hard to develop their post-performance lives, but I hope that they can manage to include some kind of coaching or teaching, in order to pass their skills on.
-
The company has just announced that Seth Orza is retiring -- here is most of the press release:
August 12, 2021 - SEATTLE, WA - Following a lifelong career in dance, Pacific Northwest Ballet principal dancer Seth Orza has announced his retirement from the company and his leap into a new venture as CEO and Founder of ORZA, a new shoe company committed to the mission of prolonging dancers' careers by helping to make their feet and bodies feel better. The company's first product, the ORZA PRO-ONE, has a launch scheduled for this winter.Seth Orza is from San Francisco, where he grew up in a dance family. All five of his siblings danced, as did his father and mother. He trained at San Francisco Ballet School and on full scholarship at the School of American Ballet. In 1999, he joined New York City Ballet as an apprentice: He was awarded the Mae L. Wien Award for Outstanding Promise that same year. He became a corps de ballet member in 2000, and in 2007 he was promoted to soloist. Mr. Orza joined Pacific Northwest Ballet as a member of the corps de ballet in 2007, was promoted to soloist in 2008 and to principal in 2010.
As a tribute to Mr. Orza and his illustrious career, PNB has created a video celebration including numerous performance clips and testimonials. (Click here<https://youtu.be/bAQ2EavKC_0>.)"I am grateful to have had a very fulfilling 23-year professional dance career," said Mr. Orza in his announcement. "I began my career dancing with the New York City Ballet, where I was surrounded by many of the most talented dancers in the world. The time spent there shaped me as an artist, instilling a work ethic that I carry with me still. Joining Pacific Northwest Ballet offered further fulfillment and growth, allowing me the opportunity to pursue family life and other goals. As I say goodbye to this career, I am humbled by the opportunities I have had. I send much affection and respect to those who have guided and supported me and wish the next generation of dancer's fulfillment of all their wildest dreams."
"Seth Orza has had a distinguished career as one of America's leading male dancers," said Kent Stowell and Francia Russell, PNB's Founding Artistic Directors, in a statement. "Greatly admired by colleagues, choreographers, directors, and audiences, he is ideally positioned to use his experience to benefit dancers. ORZA PRO-ONE shows unique promise to enhance dancers' careers and lessen the pain and injuries they have always had to cope with."Seth is a man of great intelligence and energy," continued Stowell and Russell. "The commitment he has shown to developing ORZA is typical of him and guarantees a successful product, of benefit to dancers around the world."
Being well-acquainted with the injuries that can sideline a dancer throughout their career, Mr. Orza founded ORZA to focus on dancers and their bodies, exploring new and progressive ways to deal with and manage the daily pains and injuries of a dancer. As Founder and CEO, Mr. Orza manages all aspects of the company, including managing the overall operations and resources of the company and acting as the main point of communication between investors and corporate operations.Mr. Orza began work on his shoe in 2010 and incorporated ORZA in 2013. He has continued to work to fill a unique need entirely unmet in the current marketplace-an innovative patented dance shoe that will perform for dancers in the 2000's like the innovative Nike shoe performed for runners in the 1970s. Every generation of dancers has tinkered with improvised solutions, all unsatisfactory, to try to address frustrating problems with the conventional shoe, such as overall bulkiness, folds, clumping, bunching, gaps, poor flexibility, slippage, the failure to flatter the foot, and most importantly, the lack of adequate structural support and shock absorbing cushioned padding. Until now, no dance manufacturer has tackled these problems, in fact, the dance shoe has remained basically unchanged since the 1920s.
"Our mission at ORZA is to enhance the dancer's well-being-and the dancer's career-by reducing the chance of injury and enhancing dance performance," said Mr. Orza. "ORZA aims to achieve this with technologically sophisticated breakthrough dance products like the ORZA PRO-ONE dance shoe. We look forward to supporting current and future dance generations."
For more information and to sign up for product alerts, visit the ORZA website at ORZAbrand.com.
Early business developmental funding for ORZA was provided in part by Second Stage, PNB's career transition program for its company dancers. Conceived in 1999, Second Stage supports PNB dancers in achieving their goals following a career in dance. Its resources allow dancers to take classes, access mentors and vocation counseling, and receive grants. At its inception, only a handful of dancers actively planned for their career after dance. Since that time, Second Stage has provided nearly $1.1 million in grants to over 200 dancers. For more information, visit PNB.org<https://www.pnb.org/support/special-projects/second-stage/>.
ADDITIONAL ARTIST BIO INFO
Mr. Orza has danced leading roles in George Balanchine's Agon, Apollo, Coppélia (Franz), Diamonds, Emeralds, The Four Temperaments, George Balanchine's The Nutcracker® (Cavalier, Herr Drosselmeier), A Midsummer Night's Dream (Divertissement pas de deux, Demetrius, Theseus, Cavalier), Slaughter on Tenth Avenue (Hoofer), Square Dance, Stravinsky Violin Concerto, and Symphony in C; Peter Boal's Giselle (Albrecht); Val Caniparoli's The Seasons; David Dawson's A Million Kisses to My Skin; Ulysses Dove's Dancing on the Front Porch of Heaven, Red Angels, and Serious Pleasures; Nacho Duato's Jardí Tancat; William Forsythe's In the Middle, Somewhat Elevated and One Flat Thing, reproduced; Kiyon Gaines' Sum Stravinsky; Paul Gibson's Sense of Doubt, The Piano Dance, and Rush; Ronald Hynd's The Sleeping Beauty (Prince Florimund, Gold & Silver pas de trois); Jiri Kylian's Forgotten Land and Petite Mort; Jean-Christophe Maillot's Cendrillon (Father) and Roméo et Juliette (Romeo, Tybalt); Susan Marshall's Kiss; Benjamin Millepied's Appassionata; Mark Morris' Kammermusik No. 3; Justin Peck's Year of the Rabbit; Yuri Possokhov's RAkU (Samurai); Alexei Ratmansky's Concerto DSCH, Don Quixote (Basilio, Espada), and Pictures at an Exhibition; Jerome Robbins' Afternoon of a Faun, The Concert, Dances at a Gathering, Fancy Free, Glass Pieces, In the Night, Other Dances, and West Side Story Suite (Riff); Kent Stowell's Carmina Burana, Cinderella (Prince, Harlequin), Nutcracker (Prince), and Swan Lake (Prince Siegfried); Price Suddarth's Signature; Twyla Tharp's Brief Fling, In the Upper Room, Nine Sinatra Songs, Opus 111, and Waterbaby Bagatelles; and Christopher Wheeldon's After the Rain pas de deux, Carousel (A Dance), Polyphonia, Tide Harmonic, and Variations Sérieuses (Premier Danseur). He originated leading roles in Millepied's 3 Movements, Margaret Mullin's Lost in Light, Jonathan Porretta's Lacrymosa, Susan Stroman's TAKE FIVE...More or Less, and Price Suddarth's The Intermission Project.
At New York City Ballet, Mr. Orza danced leading roles in Balanchine's Agon, Emeralds, The Four Temperaments, A Midsummer Night's Dream (Bottom, Lysander), The Nutcracker, Slaughter on Tenth Avenue, Symphony in C, and Tchaikovsky Piano Concerto No. 2; Peter Martins' Reliquary and Romeo + Juliet (Romeo); Robbins' Fancy Free, Fanfare, In Memory Of..., Interplay, and Piano Pieces; and Wheeldon's Carousel (A Dance), Evenfall, and Polyphonia. He originated featured roles in Albert Evans's Haiku, Robbins' NY Export: Opus Jazz (revival), Stroman's Double Feature, and Richard Tanner's Soirée.
Mr. Orza has performed on some of the most prestigious stages in the world. In 2009, as a guest artist with San Francisco Ballet in Balanchine's Emeralds. In 2015, Mr. Orza performed in Sofia, Bulgaria, with the National Opera and Ballet of Bulgaria. In 2019, Mr. Orza was giving the opportunity to perform in Moscow, Russia, for the Benois De Le Dance at the Bolshoi Theatre.
NEA grants to dance - January 2022
in Ballet News & Issues
Posted
I used to call it the USDA Stamp of Approval, but that's a distinction without a difference. The idea that a company could use that relatively small grant to help call attention to their legitimacy and to leverage more donations from other sources is pretty well established. I'm reading a history of the NEA dance program, and that point of view seems to have been a standard element in their work from the beginning.