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Helene

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  1. Helene
    Deuce Coupe (Beach Boys/Tharp) New Work (Various Motown artists/Byrd) Sometimes it Snows in April (Nelson/Dean) By Phone: Ticketmaster 312.902.1500 In Person: Auditorium Theatre of Roosevelt University M–F 12–6pm Box Office: 50 E Congress Pkwy All Carson Pirie Scott, Tower Records, Hot Tix, select Coconuts, FYE, and Record Town On the web: Ticketmaster www.ticketmaster.com Auditorium Theatre
  2. Helene
    Past (NA/Maria Brolin-Tani) New Work (TBA/Ingrid Rosborg) New Work (TBA/Martin Forsberg) Seating and Prices: http://www.kgl-teater.dk/dkt2002uk/Kontakt_os/frame.htm Click "The Box Office," the under "The Stages," click "seating and prices" For theatre-goers living outside Denmark, it is possible to book tickets either by phoning, faxing or e-mailing your reservation form to the Box Office, charging your credit card account. You will receive the tickets as soon as possible after giving your application. Booking by telephone, Monday to Saturday 12.00-18.00: +45 33 69 69 69 Booking by fax: +45 33 69 69 02 Online Reservation Form through Box Office (secure): https://betaling.kgl-teater.dk/billetinfo_uk/frame.htm Please note that refunds are only given in case of cancellation or change of repertoire. Online sales http://www.kgl-teater.dk/dkt2002uk/ballet/frame.htm (click on month) If you get a list of performances and links to them when you click on the little billet.net "ticket" icon next to the performance and the site is in Danish, you can go directly to: http://www.billetnet.dk/ (click the little UK flag in the right-hand corner for English on the billet.net site after selecting a performance) Opera House Holmen/Takkelloftet (Small Stage)
  3. Helene
    Sylvia (Delibes/Morris) All Internet and phone orders incur a handling fee of $8 per order. The phone number to call is (415) 865-2000 and the hours are Monday – Friday, 10am – 4pm from January 2006. The Box Office in the Opera House is open on performance dates only from Noon until the first intermission. Single tickets are available only online on November 21, 2005. www.sfballet.org War Memorial Opera House
  4. Helene
    Romeo & Juliet (Prokofiev/Cranko) Tickets on sale beginning Oct 17, 2005 The National Ballet of Canada Call Centre Monday: 10-4 Tuesday: 10-4 Wednesday: 10-4 Thursday: 10-4 Friday: 10-4 Saturday: closed Sunday: closed For further information please call (416) 345-9595 or out of town 1-866-345-9595 (outside 416). The National Ballet of Canada Box Office - Hummingbird Centre - 1 Front Street East NBoC website: www.national.ballet.ca/tickets Phone and online orders are subject to an additional $6.00 service charge per ticket. Hummingbird Centre
  5. Helene
    Divertimento No. 15 (Mozart/Balanchine) New Work (Mozart/Kudelka) Concerto Six Twenty-Two (Mozart/Lubovitch) Ticket info: 9am-5pm: 503/2-BALLET 5pm-9pm: 503/227.0977 x240 http://www.obt.org/tickets.html Keller Auditorium
  6. Helene
    That makes it difficult to dance Apollo, since one of the classic photo ops is during the second solo, when Apollo is in 5th position with his arms extended over his head and his hands broken at the wrists to form platforms, as if he's holding up the heavens.
  7. Helene
    That's a great point, mussel.
  8. Helene
    The master at meeting this demand at PNB is Brittany Reid. She dances a wide range of roles, from corps to demi-corps to demi to soloist to principal. Her response to each role is based on its demands. For example, she performed in a movement in Kiyon Gaines' Schwa as part of a quintet of one man and four women. When they danced together, Reid danced as one of five. When they broke into a series of pas and solos, Reid seamlessly amplified her dancing, expanding in the empty stage. When the group reassembled, she was again in perfect proportion to the quintet, without missing a beat. Boal's answer was, if I remember correctly, in response to an question about promotions in general. In an earlier Q&A, Boal had said that when he heard the announcement after a Valentine program that he'd be joined in the Q&A by "Corps Member Jordan Pacitti" (who had just performed a principal role in Red Angels), he was a bit shocked, because he doesn't think of Pacitti as corps. Pacitti dances many corps roles in addition to leads. Boal hasn't cast based on caste.
  9. Helene

    Blonds

    Helene posted a topic in Aesthetic Issues

    I should have stayed out of Links today. There's a preview of ABT's upcoming tour to Orange County, in which critic Elizabeth Khuri makes two references to blonds: Given the calibre of the existing Man-g-ds at ABT, exactly why does ABT need to hire blonds?
  10. Helene
    I'm opening this thread to discuss the movie The Lost City, in which San Francisco Ballet Principal Lorena Feijoo has a featured acting and dancing role. The movie opens today.
  11. Helene
    I think we need the ballet experts here, but I always thought that a beautiful 5th position that is supported by turnout, i.e., not with twisted knees, was indicative of the amount of turnout a dancer had and how strong the support was. I've seen what looked like many beautiful 5th positions when the dancer is still, but, especially among men, I've noticed that when moving to a pirouette preparation in 4th, the front foot turns to 20 or 25 minutes past the hour, instead of maintaining the quarter hour (opposite on the right foot). My very favorite 5th position is in the broadcast of Apollo with Farrell and Martins that was shown in the Balanchine biography. Towards the end of the pas de deux, when both are downstage left, there's a little "plonk" in the music, where Farrell hits 5th for a second in perfect stillness, before moving on to the step step plie arabesque with the "listening" arms.
  12. Helene
    Gathering Amalgamate (Kats-Chernin/Page) Rites (Stravinsky/Page) Synopsis This exciting double bill reunites the creative energies of two of Australia’s most extraordinary performing arts companies. Stephen Page, Artistic Director of Bangarra Dance Theatre, most recently worked with The Australian Ballet on the highly successful Rites, which was acclaimed by audiences and critics alike on its debut in Australia in 1997 for the Melbourne International Festival of the Arts, as well as during its tour to New York. Rites – set to The Rite of Spring by Igor Stravinsky, one of the ballet world’s most fascinating and challenging scores – will return in 2006 as part of this programme, along with a brand new work by Page, Amalgamate. Ticket Information: Single Ticket Sales open Saturday 4 March 2006 In Person: Sydney Opera House Box Office Monday to Saturday 9am to 8.30pm Ticketmaster outlets Phone and Charge: 02 9250 7777 (all major credit cards accepted) Paying by phone, internet, fax or email: Patrons will be charged a $7.50 transaction fee irrespective of the number of tickets purchased. Fee includes GST. (Fee subject to change) Online: www.sydneyoperahouse.com.au Sydney Opera House
  13. Helene
    La Sylphide (Lovenskjold/Bournonville) Pas de Deux Perfection Famous pas de deux, with a different grouping for each performance. Ticket Information: Online: http://www.culturaldistrict.org/tickets/tickets/production.aspx?performanceNumber=1048 Phone or in Person: Advanced Sales The Box Office at Theatre Square 412-456-6666 Monday - Saturday: 9 a.m. - 9 p.m. Sunday: noon - 6 p.m. Day of Performance: Benedum Center Box Office 412-456-6666 The Benedum Center Box Office is open on performance days only, starting two hours prior to a performance and closing after intermission. Benedum Center for the Performing Arts
  14. Helene
    Improv and commissioned Works, in collaboration with the Columbus Jazz Orchestra. http://www.balletmet.org/ Click "2005-06 at a glance" link from the upper left. Ticket Information: By Phone or In Person: BalletMet Box Office Call or visit Mon-Fri 10am-6pm, at 322 Mt. Vernon Ave. 614.229.4848 Ohio Theatre Ticket Office Call Mon-Fri 9am-5pm or Sat 10am-2 pm. 614.469.0939 TicketMaster 614.431.3600 Online: http://www.balletmet.org/ Click "Online" from the "How to Order" box or "Tickets" from the upper right toolbar. also: www.ticketmaster.com Student Tickets: Students with ID can purchase $10 Student Rush tickets at the theater beginning two hours prior to showtime. Best seats pending availability. $5 High Five vouchers for students age 13-18 can be purchased at any TicketMaster location, including all central Ohio Kroger stores. More info at www.high5cols.org. Ohio Theatre
  15. Helene
    Royal Winnipeg Ballet Swan Lake (Tchaikovsky/Petipa, Ivanov) http://www.rwb.org/season/swanlake.html Ticket Information: Online (Ticketmaster): http://www.ticketmaster.ca/browse?category=12&tm_link=tm_arts_b_12 Box Office: (204) 956-2792, in Canada outside Winnipeg: 1-800-667-4792 Fax: (204) 943-1994 (Credit Card Orders Only) Mail: Royal Winnipeg Ballet, Subscriber Services Office, 380 Graham Ave., Winnipeg MB, R3C 4K2 In Person: Royal Winnipeg Ballet building at the corner of Graham and Edmonton 10am–5:30pm weekdays, 10am–3pm Sat. Summer Hours: 10am–5pm weekdays Centennial Concert Hall
  16. Helene
    Giselle (Adam/Petipa based on Coralli and Perrot, re-staged by Maina Gielgud) http://www.grandsballets.qc.ca/en/index_saison_Giselle2006.cfm Online: http://www.admission.com/html/artist.htmI?&artist=GISELLE%20*GBC&l=EN Phone: By phone at the Box office of the Place des Arts (PDA) (514) 842-2112 Salle Wilfrid-Pelletier, Place des Arts
  17. Helene
    Deuce Coupe (Beach Boys/Tharp) New Work (Various Motown artists/Byrd) Sometimes it Snows in April (Nelson/Dean) By Phone: Ticketmaster 312.902.1500 In Person: Auditorium Theatre of Roosevelt University M–F 12–6pm Box Office: 50 E Congress Pkwy All Carson Pirie Scott, Tower Records, Hot Tix, select Coconuts, FYE, and Record Town On the web: Ticketmaster www.ticketmaster.com Auditorium Theatre
  18. Helene
    Past (NA/Maria Brolin-Tani) New Work (TBA/Ingrid Rosborg) New Work (TBA/Martin Forsberg) Seating and Prices: http://www.kgl-teater.dk/dkt2002uk/Kontakt_os/frame.htm Click "The Box Office," the under "The Stages," click "seating and prices" For theatre-goers living outside Denmark, it is possible to book tickets either by phoning, faxing or e-mailing your reservation form to the Box Office, charging your credit card account. You will receive the tickets as soon as possible after giving your application. Booking by telephone, Monday to Saturday 12.00-18.00: +45 33 69 69 69 Booking by fax: +45 33 69 69 02 Online Reservation Form through Box Office (secure): https://betaling.kgl-teater.dk/billetinfo_uk/frame.htm Please note that refunds are only given in case of cancellation or change of repertoire. Online sales http://www.kgl-teater.dk/dkt2002uk/ballet/frame.htm (click on month) If you get a list of performances and links to them when you click on the little billet.net "ticket" icon next to the performance and the site is in Danish, you can go directly to: http://www.billetnet.dk/ (click the little UK flag in the right-hand corner for English on the billet.net site after selecting a performance) Opera House Holmen/Takkelloftet (Small Stage)
  19. Helene
    Continuum (Ligeti/Wheeldon) Elemental Brubeck (Brubeck/Lubovitch) Reflections (Mendelssohn/Possokhov) All Internet and phone orders incur a handling fee of $8 per order. The phone number to call is (415) 865-2000 and the hours are Monday – Friday, 10am – 4pm from January 2006. The Box Office in the Opera House is open on performance dates only from Noon until the first intermission. Single tickets are available only online on November 21, 2005. www.sfballet.org War Memorial Opera House
  20. Helene
    Divertimento No. 15 (Mozart/Balanchine) New Work (Mozart/Kudelka) Concerto Six Twenty-Two (Mozart/Lubovitch) Ticket info: 9am-5pm: 503/2-BALLET 5pm-9pm: 503/227.0977 x240 http://www.obt.org/tickets.html Keller Auditorium
  21. Helene
    "made entirely of principals and soloists" I hadn't heard this, but I find it extremely interesting. It strikes me that a company of principals and soloists would not be able to do any of the 19th century classics. I was shocked at first when I heard him say it, but I interpreted to mean two things: that this supports the kind of triple bills he's programmed for this year and the next, but that the soloists would dance corps in the classics, supplemented by the Professional Division, like in the recent performances of Sleeping Beauty. I don't think he was suggesting having a smaller company.
  22. Helene
    And that didn't even originate on a short dancer. Chris d'Amboise was a bit taller than average and Vic Castelli a little taller than that. The role was made for Castelli, who was injured before the premiere. Christopher d'Amboise was the substitute and danced the premiere. This was noted in Robert Maiorano's book, Balanchine's Mozartiana: The Making of a Masterpiece.
  23. Helene
    I liked Rasta Thomas' Apollo (long version), but I think it might be a little on the goofy side for many. The opposite approach, and one of my favorites of current performers' renditions, was Astrit Zejnati's at Ballet Arizona. I would love to see Olivier Wevers' take on the role. Sadly, the ballet won't be part of the "Stravinsky 125" program that will end the 2006-7 PNB season. I'm also sorry I missed Zelensky in the role.
  24. Helene
    I had never heard that! In the movie, "mysterious and magical" are the exact words I'd used to describe Mitchell's performance in the role.
  25. Helene
    Those "Third Village Urchin from the Left" equivalents in ballet are critical for filling the house for those performances. One thing I noticed that was brilliant when the Moscow Ballet toured, they sent a ballet master to local schools ahead of time to train local children for parts in Swan Lake. Those kids brought their families, relatives, and friends, and the house was packed. That is extending an audience to beyond the ballet child his/herself. I know that if I had to support a child in ballet, and that toe shoes at $50-$80 a pop were not the greatest of my expenses, the only performances I'd be able to afford would be the $5 previews that Peter Boal initiated this year.
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