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Helene

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Everything posted by Helene

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    Virtue and Vice Fri 10/12/12 730PM Sat 10/13/12 730PM Sun 10/14/12 200PM Fri 10/19/12 730PM Sat 10/20/12 730PM Sun 10/21/12 200PM Muriel Kauffman Theatre Carmina Burana (Pimble/Orff) Mercury (Taylor Corbett/Haydn) End of Time (Stevenson/Rachmaninoff) Ticket and program info http//ticketing.kcballet.org/single/psDetail.aspx?psn=4331 Single ticket on sale date 4 Sept 12
  2. COLUMBUS, OH – Dance stars from around the world will converge on the stage of the Ohio Theatre (39 East State Street, Columbus, OH) August 18 at 8 p.m. for BalletMet’s Global Dance Stars Gala. This one night only event will feature grand solos, pas de deux, and more performed by internationally-acclaimed artists from Houston Ballet, National Ballet of Canada, New York City Ballet, Northern Ballet of England, Tom Gold Dance, Broadway, and BalletMet’s own international cast of dance stars. The program will include masterpieces from the classical repertory as well as virtuosic selections from contemporary ballets. Tickets for the Global Dance Stars Gala start at $35 and can be purchased online through Ticketmaster (800) 982-2787, ticketmaster.com or at the CAPA Ticket Office (39 East State Street - (614) 469-0939). BalletMet’s beloved Artistic Director, Gerard Charles, will be among the event’s celebrants as he is fêted with an on-stage tribute and an exclusive post-performance party – Celebration of Stars – in honor of his 22 year association with BalletMet. Charles announced in May that he is stepping down to become Ballet Master at the renowned Joffrey Ballet of Chicago. Celebration of Stars is an opportunity to meet the international guests, mingle with BalletMet dancers and give Mr. Charles a fitting send off. Separate admission to the Celebration of Stars post-show party is $50 and includes wine and light refreshments. Tickets can be purchased only at the BalletMet Ticket Office (322 Mount Vernon Avenue, Columbus, OH) or by calling (614) 586-8665. Global Dancers – Global Dances The dance works featured on BalletMet’s Global Dance Stars Gala are show stoppers of the classical and contemporary repertory. Among them are: George Gershwin’s 3 Preludes Choreographed by former New York City Ballet principal dancer Tom Gold, Gershwin’s 3 Preludes will be performed by New York City Ballet/Tom Gold Dance soloists Abi Stafford and Jared Angle. Cleopatra Former BalletMet Artistic Director David Nixon – the current Artistic Director of Northern Ballet of Leeds, England – will gift Columbus audiences with a glimpse of his Cleopatra, a very recent collaboration with Miss Saigon and Les Miserables composer Claude-Michel Schönberg. Dancing the work will be two of the company’s established stars – Martha Leebolt and Tobias Batley. Madame Butterfly Choreographed by Stanton Welch, the former BalletMet Artistic Associate and current Artistic Director of Houston Ballet, the pas de deux from Madame Butterfly will be performed by Houston Ballet principal dancers Amy Fote and Simon Ball. Bringing Noise Broadway hoofer Marshall Davis, Jr., who appeared in Bring in Da Noise, Bring in Da Funk, and at BalletMet in the much-admired Simply Sammy, will bring his fiery footwork to the proceedings. Pulses, Chords, Passion Also appearing on the Global Dance Stars Gala is BalletMet’s own corps of extraordinary dancers performing Darrell Grand Moultrie’s sizzling Pulses, Chords, Passion, a work that received its world premiere during BalletMet’s 2011-2012 season as part of Jazz Moves Columbus, the company’s acclaimed collaboration with the Columbus Jazz Orchestra and WOSU Public Media. National Ballet of Canada principal dancers Greta Hodgkinson and Guillauame Cote will also appear on the program performing a pas de deux from the classical ballet repertory. * * * * * Single tickets for BalletMet’s Global Dance Stars Gala are on sale now and range in price from $35 to $100. Tickets may be purchased online through TicketMaster (800) 982-2787, ticketmaster.com or at the CAPA ticket office (614) 469-0939. For entrance to the Celebration of Stars post-show party in honor of departing BalletMet Artistic Director Gerard Charles, call (614) 586-8665 or visit the BalletMet Ticket Office (322 Mount Vernon Avenue, Columbus, OH) to reserve your $50 tickets.
  3. PNB just tweeted about PNBS (2009) alumna Alexis Peterson, was the lead author on a paper on cellular regulation that was published in June in the journal "Biochemistry". The tweet includes a link to an article on Peterson published on the Boston College website; that article links to a page from which the abstract can be downloaded. Peterson danced in PNB performances as Professional Division student. # Ballet teaches discipline that can apply to all parts of life-former PNB student published by leading science journal: http:// bit.ly/LIJ7pW
  4. Dutch National Ballet wished Hans van Manen, whose birthday is today, a happy 80th birthday on the company Facebook page -- the post contains and wonderful portrait of the choreographer -- and the company also posted an album of a celebratory program from last week: Mr. van Manen
  5. There are a lot of companies where dancers don't make a living at it and/or subsidize their own professional dancing, as well as companies that don't offer full-time work, more than the 12-15 we think of as being the norm. There are performing opportunities at many college/university dance departments, often more than dancers in pre-professional programs that rely on big recitals. Dancers in college have great opportunities to create small groups and work with choreographers, who create work on them, an experience that many in pre-professional programs don't. They might also take classes from schools and studios in the area and/or during the summers. I think it depends on the Artistic Director and how well the DVD is received and the audition, open or Company class, goes. It's not going to happen in companies that rely upon their own schools, like NYCB, SFB, PNB, but companies looking for "position players" might be more amenable to it. A touring company, for example, might be enriched by having some mature corps dancers, especially if a company is as socially hierarchical as Ballet West is portrayed. Not every company is looking for a 17-year-old fresh slate.
  6. The action of giving dancers who otherwise wouldn't take solo bows or sharing a bow that otherwise wouldn't be shared is standard ballet-speak for a dancer leaving a company. We'll wait for official news of their next steps.
  7. NYCB had a program with Fordham for many years -- I'm not sure that it still exists -- and dancers who took courses at Barnard for decades. PNB has a program called Second Stage, where dancers apply to receive funding to go to school or start their own businesses,and where a professor from Seattle University teaches a course around company hours each semester. I'm sure other companies have similar programs. The issue here, though, is whether someone can become a professional ballet dancer after training in college, not in or just in a pre-professional program in a company related school, like SAB or Houston Ballet School, or independent schools like CPYB or Harid.
  8. Here is PNB's album, which includes costumes for Mark Morris' "Pacific," "Ballet Imperial," and Kent Stowell's "Zirkus Weill" as well as "A Midsummer Night's Dream" and "Cinderella." The post by PNB also notes that he did the set re-design for "A Midsummer Night's Dream" as well.
  9. Great news about Ballet Next's successful attempts to raise money for new choreography. Non-ballet dance-related projects can be listed and discussed in this thread:
  10. PNB just re-tweeted Larissa Savaliev's tweet: Congratulations to YAGP alumna Michaela DePrince who is joining Dance Theater of Harlem!... http:// fb.me/Nn8l9tgu Congratulations to Ms. DePrince and DTH! The article was also listed in Links for 6 July.
  11. Stinger wrote that things have changed over the last ten years, and, since change is relatively slow due to the few number of spots in any company that open from year to year, if you want to track the merits of this argument*, I think you would have to assume that the large majority of spots are entry-level and review the trend towards hiring from universities over the last six years for entry-level spots, and would ignore the two anomalies, San Francisco Ballet, which takes the majority of its entry-level company members from its own school and whose new-hire soloist and principals trend mostly to outside the US, and New York City Ballet, where the vast majority of its dancers come through SAB (or, until recent years, are the small minority of men from Royal Danish Ballet). PNB has tended to hire dancers who've spent their last year or two being "finished" at the PNB School. *From being Facebook friends with just a few former dancers, I can see from their friends lists that their networks are wide: between the colleagues in their companies past and present, their main training school(s), the people they know from various summer programs they attended and/or taught at, the guest appearances they make, as teachers and performers, choreographers, their own choreography and side projects, not to mention actual friends of friends in the profession, I think most professional dancers know enough people to understand the trends and compositions of companies nation-wide.
  12. Updates: "Strength and Beauty" did not meet its goal, and the project was closed.
  13. ABT tweeted this message with a curtain call photo by Rosalie O'Connor: ABT salutes Ethan Stiefel on a magnificent night of dance and a magnificent career! https://twitter.com/ABTBallet/status/222363469616386048/photo/1
  14. I'm moving posts about Ethan Stiefel's retirement performance to its own thread here: http://balletalert.i...nt-performance/
  15. News from Benjamin Griffiths' latest blog post Aran Bell was one of two guests taking class with the Company. Mark Morris begins rehearsals for his new work next week, 16 July, and Griffiths is in it. Photos from the PNB Facebook album:
  16. San Francisco Ballet posted an album of 11 photos of his costumes to its Facebook page:
  17. Designer Martin Pakledinaz has died of cancer at the age of 58. http://www.hollywoodreporter.com/news/martin-pakledinaz-death-broadway-costume-designer-346390 His designs for PNB for Kent Stowell's "Cinderella" and a rare Trust-approved re-design for George Balanchine's "A Midsummer Night's Dream" are beloved in Seattle. He designed the beautiful "Nutcracker" and "Don Quixote" for San Francisco Ballet. His death is a loss to ballet, modern dance, opera, film, and theater. Rest in peace, Mr. Pakledinaz.
  18. William Whitener has resigned from Kansas City Ballet after 17 seasons with the company: http://www.kansascity.com/2012/07/06/3694219/william-whitener-to-step-down.html?storylink=twt http://kcur.org/term/william-whitener He will become a Twyla Tharp evangelist, staging her works for ballet companies. Are any BAers familiar with the Company and his tenure and could shed some light about what this might mean for KCB?
  19. [Admin note: consolidating two posts from original thread in Ballet Videos forum] Last week PNB tweeted about a new project by director Chelsea Wayant, who filmed three ballerinas from North Carolina Dance Theatre -- Melissa Anduiza, Alessandra Bell, and Traci Gilchrest -- and is trying to raise money to hire a sound editor and to market the film to festivals and for publicity. Wayant's film is called "Strength and Beauty: Giving Ballerinas a Voice," and the project deadline to raise $6000 is Monday, 9 July at 12:18 EDT. http://www.kickstart...lerinas-a-voice The project page includes a video by the director explaining the project and what she plans to do with the money. Updates: There is a little over a day left to fund "Strength and Beauty: Giving Ballerinas a Voice," which has raised a little under 1/3 of the project goal of $6000.
  20. Adam Sklute, the Artistic Director, is the boss, and he is the final say on all artistic matters, including tempi. It is exactly his job to correct the conductor's tempi: this is a ballet orchestra, not the Berlin Philharmonic, and the music is in service of the choreography. A choreographer/stager can demand a different tempo; Balanchine did that consistently and expected the dancers to adjust, but it was his call, just like it's Sklute's. It is the AD's prerogative to back the stager and/or the dancers as he see's fit. He's ultimately accountable to the board and to the audience for what is put on stage. One purpose of the rehearsal is to get the music and the dancing on the same page. A rehearsal in which the conductor is present is the exact place for making a correction to the tempi -- or to back up the stager -- just as Sklute might make a correction to a dancer's arm or placement. I don't see how it would be career suicide for doing his job.
  21. Maria Kochetkova did a short blog about the Moscow/Hamburg tour for sfgate, with mentions of other works/companies presented at the festival: http://www.sfgate.com/performance/article/Kochetkova-blogs-about-S-F-Ballet-tour-to-Bolshoi-3689000.php#photo-3165556 The festival, WWB@LLET.ru, included performances by the Bolshoi Ballet, Les Ballets de Monte Carlo, and San Francisco Ballet
  22. Thank you so much for the remembrance, leonid. Rest in peace, Mr. Kersley.
  23. Even if it wasn't a set-up, he didn't go to see her, and I just don't see him refusing to answer the door, even if his expression looked angry to me. Would those companies hold multiple auditions, or would they just hold them in their own city (at 2am in a deserted warehouse [j/k])?
  24. I've just created a new thread to discuss Susan Jaffee's new position at North Carolina School of the Arts:
  25. In the Corella retirement thread, California posted this link to today's blog post in "Dance Magazine" announcing that Susan Jaffee will become dean of North Carolina School of the Arts, succeeding Ethan Stiefel. http://www.dancemagazine.com/blogs/dance-glance/4519
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