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Everything posted by Brioche

  1. Jocelyn Vollmar at SF Ballet - she joined the company in the late 30's. She's still going strong. And gorgeous.
  2. Wow! Many, many thanks for all of that. B
  3. Does anyone know when La Vivandiere premiered? And where? I've scoured the web but can't locate that information! Many thanks, Bri
  4. Well I was hoping OBT's press person would've posted this by now. “NEW BEGINNINGS,” CHRISTOPHER STOWELL’S DEBUT AS ARTISTIC DIRECTOR OF OREGON BALLET THEATRE, CELEBRATES ARTISTRY AND ATTITUDE OF AMERICAN BALLET • With Choreography by George Balanchine, Kent Stowell, Paul Taylor and Helgi Tomasson, “New Beginnings” Highlights Ballet’s American Century • Kent Stowell and Francia Russell of Pacific Northwest Ballet, Helgi Tomasson of San Francisco Ballet Attend Opening Night • Four Ballet-Program Consciously Creates a Bridge between Great Northwest Ballet Companies With Christopher Stowell’s accession as artistic director of OREGON BALLET THEATRE, the 15-year-old company enters a new era illuminated by the fresh vision of a classically trained dancer and former principal of San Francisco Ballet. “New Beginnings” heralds these exciting changes with all the energy, snap and briskness expected of the season. “New Beginnings” includes ballets by George Balanchine, Kent Stowell, Paul Taylor and Helgi Tomasson, set to music by Stravinsky, Bolcom, The Andrews Sisters and Mendelssohn, respectively. “New Beginnings” plays October 11, 16,17, 18 at 7:30 PM and October 12 at 2 PM at Keller Auditorium, SW Clay at Third. Tickets: $10 - $85; box office: 503-2-BALLET (222-5538) or 888-9-BALLET (922-5538); website: www.obt.org. “New Beginnings” is sponsored by Mentor Graphics. The opening performance on Saturday, October 11 will be a truly gala evening with ballet luminaries and leaders from Portland’s civic, artistic and business communities in the audience. These include Kent Stowell and Francia Russell, co-artistic directors of Pacific Northwest Ballet (and Christopher Stowell’s parents), and Helgi Tomasson, artistic director of San Francisco Ballet (where Stowell danced for 16 years), and his wife Marlene Tomasson (a Portland native). Their presence makes explicit Christopher Stowell’s intent to place OREGON BALLET THEATRE among the great Northwest ballet companies. Among the other special guests are Patricia Barker, Joanna Berman, Rachel Berman and Colleen Neary, ballerinas noted for their performances in Stowell’s Duo Fantasy, Tomasson’s Twilight, Taylor’s Company B and Balanchine’s Rubies, respectively; Mayor Vera Katz; Christopher Mattaliano, General Director, Portland Opera; Dan Geller and Dayna Goldfine, Emmy Award-winning dance documentarians; most of the OBT’s Board and Pointe Society (major donor) members; and, of course, Christopher Stowell. Following the performance, they will join the full company of OBT dancers in an onstage, invitation-only party. Every piece in “New Beginnings” is a Company Premiere. The program includes the jazz and sass of - more - OBT, “New Beginnings,” Page Two Balanchine’s Rubies, the exuberance of Paul Taylor’s Company B, the provocation of Kent Stowell’s Duo Fantasy and the romance of Helgi Tomasson’s Twilight. OREGON BALLET THEATRE is one of perhaps two dozen companies around the world participating in the celebration of the centenary of George Balanchine’s (1904 – 1983) birth. A piece by the master choreographer is included in each of OBT’s four 03-04 programs. Rubies is among the most high-spirited and most American of the works by the Russian-born choreographer who relished many things about his adopted culture including its Western clothes, energy and physicality. Its sophisticated glitter and vamp is an auspicious beginning for a well-trained, imaginative company poised to seize the future. Set to a jazz-influenced score by Stravinsky (Balanchine’s compatriot and frequent collaborator), Rubies was created with a very specific street athleticism in mind. Its dancers dodge and dart about the stage, sometimes with boxing-like moves. A lithe male-female duo is joined by a statuesque ballerina who commands the stage with presence, attitude and technique. As originally conceived, Rubies is flanked by two other jewels, Emeralds and Diamonds. Inspired by a visit to the exclusive Fifth Avenue jeweler, Van Cleef and Arpels, Jewels (as the complete work is known), was the first three-act, plotless ballet ever created. When it debuted it 1967, the response, from audience and critics, was a thunderclap of acclamation. The Rubies centerpiece has proven to be so cohesive and so popular own its own that it has joined the repertoire of many ballet companies around the world. Despite, or perhaps because of, its title, Kent Stowell’s Duo Fantasy features three dancers as they meet and part in a stylized, enclosed space (sometimes described as a sparring ring). William Bolcom’s evocative music will be performed live by Carol A. Rich on piano and Margaret Bichteler on violin. Duo Fantasy was originally created in 1989 for broadcast on public television and then was re-staged for a live audience. In keeping with the medium cool of contemporary relationships, Duo Fantasy has an enigmatic, provocative quality. Helgi Tomasson’s Twilight (1998) captures the lyricism, tenderness and intense music of the adagio from Mendelssohn’s “Concerto for Piano and Orchestra.” The choreographer explains his inspiration, “I wanted it to be a romance for mature people – a man and a woman, rather than just two dancers. The music inspired me.” The choreography, like the music, unfolds as one extended adagio. With two people who never want to be too far apart from each other, the piece has a quietly effusive quality, expansive without being showy. Like Balanchine’s Rubies, Company B was a departure for Paul Taylor. But in the opposite way: from abstraction to narrative and character. While Company B is far from a story ballet, it’s a series of vignettes danced by distinctive personalities who tell the emotional story of a nation just emerging from The Depression and about to plunge into war. With nine songs by The Andrews Sisters, it’s impossible to miss Company B’s all-American exuberance. But like the most expressive artists, Taylor depicts youth’s beaming joy and optimism with the darkening smudge of life’s uncertainties, dangers and heartache. Jitterbuggers dance in near-mania as young men become soldiers and prepare to fight and die. Like Rubies, Company B was a smash hit on its 1991 debut. It has become one of the most popular of Paul Taylor’s works, worldwide. Company B demonstrates ballet’s compatibility with the jump and jive of popular culture. - more - OBT, “New Beginnings,” Page Three OREGON BALLET THEATRE’s Dancers are: Matthew Boyes•Christopher Brough•Erika Cole•Kester Cotton•Paul De Stropper•Louis-Philippe Dionne•McKenzie Fyfe•Katie Gibson•Larke Hasstedt•Yuka Iino•Gavin Larsen•Mia Leimkuhler•Daniela Martin•Kathi Martuza•Anne Mueller•Jonathan Porretta (guest artist, from Pacific Northwest Ballet)•Alison Roper•Artur Sultanov•Tracy Taylor•Scott Trumbo•Karl Vakili; joined by Apprentices: Candace Bouchard•Andrew Champlin•Ansa Deguchi•Magrielle Eisen•Hollis Hock•Caitlin M. Trowbridge•Leann Underwood•Alexa Vignoles Artistic Director Christopher Stowell joined OREGON BALLET THEATRE on July 1, 2003. He is the company’s second artistic director, succeeding James Canfield who founded the company in 1989. Stowell trained at the Pacific Northwest Ballet School and the School of American Ballet, joining San Francisco Ballet in 1985 at age 19. As a principal dancer, his repertoire included leading roles in Romeo and Juliet, Swan Lake, Sleeping Beauty and Othello as well as works by George Balanchine, Paul Taylor, Jerome Robbins, Jiri Kilian and Frederick Ashton. Val Caniparoli, William Forsythe, Mark Morris, and Helgi Tomasson created roles for him. Before retiring in 1991, he danced in theaters throughout the world and was a renowned guest artist. He has taught internationally and choreographed works for San Francisco Ballet, Pennsylvania Ballet, Diablo Ballet and the New York City Ballet Choreographic Institute. Dance Magazine praised his choreography for Pacific Northwest Ballet's Zais (2003) work as, "...bold and ambitious...the work of a confident choreographer with acute musical sense, a sure hand with a large group of dancers, and a keen respect for the history of the art." Founded in 1989, OREGON BALLET THEATRE is a not-for-profit, professional ballet company, with a school, based in Portland, Oregon. On July 1, 2003, Christopher Stowell became OREGON BALLET THEATRE’s artistic director and Damara Bennett joined the company as school director. OREGON BALLET THEATRE offers the highest quality ballet, in a repertoire of classic and contemporary work, to the people of Oregon, the Pacific Northwest and the United States. In addition to “New Beginnings,” its 2003 – 2004 season includes: George Balanchine’s The Nutcracker December 11–27, 2003 Keller Auditorium The first production by a West Coast company of Balanchine’s beloved ballet in its near-50 year history. “White Nights” February 28–March 6, 2004 Keller Auditorium Serenade, George Balanchine TBA, Christopher Stowell -- World Premiere Firebird, Yuri Possokhov -- World Premiere “Masters and Moderns” May 7–22, 2004 Newmark Theatre There Where She Loved, Christopher Wheeldon -- American Premiere TBD, Julia Adam -- World Premiere Duo Concertant, George Balanchine -- Company Premiere Facade, Frederick Ashton -- Company Premiere
  5. Elizabeth Loscavio - Rocky Road (actually, it's her favorite)
  6. Wow this has gone off the Boston Ballet track for sure. Paul, Loscavio prefers to credit her training at CC Ballet to Don Eryck. Actually, to be fair we all studied with Don, David Ramos, Jocelyn Vollmar and Daniel Simmons -and many others. B
  7. Tina Le Blanc........it always appears to me that she lifts upward twice in the jump. Best, B
  8. Brioche

    Alicia Alonso

    Alonso was very technically accomplished and the video of which silvy speaks proves it AND she wasn't all that young in that video......I highly recommend anyone/everyone viewing it if they can. One of my first teachers was in her company in Cuba in the late 50's - just before Castro came in to power - and he had many stories to tell of Alonso's technique AND artistry. Best, B
  9. Rachel says: then: So how then is that shocking? Do you think any non-profit organization (or for profit for that matter) can really afford to keep anyone one the payroll if they aren't actually doing their job????? The current (arts) econonmy simply can't afford that kind of action. I will miss Maynard greatly.
  10. Paul love, that was Clara Blanco in Norweigan Moods. Blanca Como left the company a while back -perhaps now a 'civilian.' I recall her being interviewed a while back and not having pleasant things to say about life in the dance world. At SFB Michelle Wilson and Jennifer Blake were two of my "corps" favorites. B
  11. Glebb- I believe Allegra Kent was the inspiration for the Gorey drawings. Anyone? B
  12. An unfair assessment due to the fact that the media loves to show the clip where she blew the short program in '73. And since the addition of the short program was invented for her (so they say) the pressure of the event got the better of her. I believe in her autobiography she states that she didn't want to go another year after the '72 Olympics................... she made an amazing comeback in the mid 80's at a few pro competitions. Best, D
  13. Update! We will continue! Many thanks to the Diablo Regional Arts Associaton, Peggy White - Executive Director and the Dean and Margaret Lesher Foundation, Kathleen Odne- Executive Director for donating the final $10,000.00 that we needed to reach our goal. And our thanks to Steve Lesher for his continued support of Diablo Ballet. Realisitically (as in all non-profits) we need consistent support from many sources - private, corporate and foundation. We are going to continue to drive this Campaign. The more money we can raise right now, the better the future will be for us. Many, many thanks to all of the "Ballet Alerter's'" and associates for your good wishes and positive energy. This has been an incredibly intense month and I feel today as if I'll need three months to recover, but, there's much work to be done! I have said it somewhat tongue in cheek previously, but Lauren and I really could write a book about the events of the last year! :-) David Hicks Marketing Manager Diablo Ballet
  14. Wow, great thread and I just discovered it today. Two examples from me: Les Noces - Stravninsky Had I not dance this ballet (Nijinksa's) I, in all honesty, would not have paid much attention to it. BUT - having the honor of dancing this masterpiece and working with Nijinkska's daughter I fell in love with the score (and Stravinsky in general.) Piano Concerto #2 - Shostakovich I loved this piece before I danced to it (a wonderful ballet by Carlos Carvajal.) In fact I play it to get through my stairmaster workout! haha......It's gorgeous, inspirational and the tempi are perfect for the workout! I have many others that motivate me........more later. David
  15. We close the day at: $123,670.00 An official statement regarding the Save Diablo Ballet Campaign will be made on Wednesday, September 18. Stay tuned, David
  16. 2 Left- Thank you for you suggestions, support and your donation. We're in the home stretch and I'll keep the board posted. Best, David
  17. Today's tally(drumroll please): $118,155.00 Only $31,845. to go. :-) Additionally, we have received many offers for "in kind" donations. People who don't have cash but have talents in many areas (i.e. computer programing, e-commerce fundraising events, donations of goods to sell at our concession table, volunteer to stuff envelopes, etc.) In it's way it's as exciting as getting cash and one area we need to re-develop is our volunteer base. David Hicks Marketing Manager Diablo Ballet
  18. Leigh, Alexandra, 2 Left- Thank you for your kind words! This has been an amazing week and as I've said before a bit overwhelming(in a good way.) I haven't been to the office yet, but will post a new total later in the day. 2 Left - I (and a number of others) have contacted the NY Times and NPR, but to no avail.....yet!! We will persist and if anyone out there has a connection at either of them please pass on our story. We are grateful that the media in the SanFran/Bay Area has picked up the story and run with it. More later, David Hicks Marketing Manager Diablo Ballet PS: Off to fight inaccurate reporting AND the rumor mill! :-)
  19. I love the Bay Area Dance rumor mill, it's just so dang inaccurate!! LOL There is no truth to what you've heard. Where do people get this stuff? Today's tally has us at close to: $117,000. David
  20. I am happy to say the media is picking our story up in a big way in our final week of fundraising to Save Diablo Ballet. Our current total: $107,135.00 We've received a large number of donations due to the article that ran in the Contra Costa Times on Monday, Sept. 9(see Links in the News board.) And contrary to the rumor that is circulating, no one has been hired as our new Artistic Director. Best, David Hicks Marketing Manager Diablo Ballet
  21. Well, I'm happy to say that at the end of the day - with phoned in pledges and an anonymous donation of $30,000 we ended at $98,210.00 Perhaps the light at the end of the tunnel is starting to shimmer through? David Hicks Marketing Manager Diablo Ballet
  22. We're at $67,210.00 David Hicks Marketing Manager Diablo Ballet
  23. 73K? Wouldn't that be nice? With all due respect it's more in the $62,000 range. We've got quite a ways to go! The support has been tremendous and we've received donations from arts lovers all over the globe. For a very special story please go to News/September 9, and read about Ron Huxley, an angel if there ever was one. Best, David Hicks Marketing Manager Diablo Ballet PS: I'm looking forward to the publication of Alexandra's book. What a terrific subject she was able to research and write about!
  24. Just a note to correct something in the SFB press release. In regard to Nicole Starbuck: The Marin Ballet still exists as the Marin Ballet (in San Rafael, Ca.) Margaret Swarthout left that organization to found the Marin Dance Theatre. Thanks, Bri
  25. I danced Nijinska's Les Noces in the 1981-82 season with the Oakland (CA) Ballet. The company was well known for reviving many of the staples of the Diaghilev repertory. Nijinska's daughter Irina came with a choreologist-her name escapes me. It was fantastic to work with Irina and to perform a truly great work. I believe at the time we may have been one of the first American companys to do so. We filmed it as well, it was to be part of a Diaghilev documentary that was never completed. Our ballet master at that time, Howard Sayette, has restaged Les Noces a number of times since on various companys. Please forgive my haste in writing this. I'm at work and writing too quickly. D
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