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Helene

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Everything posted by Helene

  1. Ballet Arizona has launched a Spotlight Series. In the first Richard Campana interviews and profiles dancer Joseph "Skip" Cavanaugh: http://www.balletaz.org/index.taf?mnid=about&smid=1314272294 I was thrilled to read this: Cavanaugh immediately became a favorite, with his beautifully muscular and lush quality, and I've loved him in everything in which I've seen him with the company.
  2. One of the main drivers for the Philadelphia Orchestra bankruptcy filing was to avoid it's obligation of deferred compensation (pension) to musicians. As far as I know, the threat of bankruptcy leading up to it didn't inspire a rush of organization-saving donations to apply to the deficit. Until someone figures out a naming opportunity for one, I don't think it ever will.
  3. I didn't realize that Daniel Marshalsay was leaving Ballet Arizona until I saw this article from today's Links: http://www.straight.com/article-457691/vancouver/dancers-push-beyond-ballet He's still listed on the BA website, which isn't surprising since the article says he came to Vancouver on a month's notice, which also explains why there was nothing to be recognized after the last performance along with the other dancers who were leaving. I'll miss his dancing with the company. There's nothing I've seen of Ballet BC's rep that tempts me to see him here, but it's what interests and inspires him. On a personal note, the terrace at Scotiabank Dance Centre shown in the photo with the article is just off the 7th floor studio where I took Flamenco class last year. It's got a beautiful view.
  4. The dancers donate their salaries from opening night of one program each year to the fund.
  5. These past few weeks I've read "Sarah's Key", about which I have mixed feelings. I mostly liked it, even the bizarre ending, but I found the part with the father-in-law a bit too pat. I just finished Erik Larson's "In the Garden of Beasts: Love, Terror, and an American Family in Hitler's Berlin", the story of the newly appointed American ambassador to Germany in 1933, William Dodd, an academic from the University of Chicago, and his wife and children, both young adults. It's a fascinating account of the period in which Hitler completed his consolidation of power. Erik Larson's style is strong and engaging, with an occasional glimpse of his particular combination of directness and snark. A dense subject, the book just flew by. Some examples: From his acknowledgements and footnotes:
  6. PNB Second Stage program provides support for dancers during their careers to prepare for their second, post-ballet career. Program co-founder Maria Chapman and retired PNB dancer Jordan Pacitti were interviewed yesterday on Seattle station KING; the video can be found here: http://www.king5.com/new-day-northwest/Life-After-the-Ballet-129805313.html The opening film clip is of Chapman dancing with newly retired dancer Jeffrey Stanton in the Second Movement of "Symphony in C", and a little into the interview, she dances with Stanton in "Emeralds". Chapman is a Principal Dancer with the company, and since the inception of the program has taken classes through the PNB/Seattle University program through which Seattle U faculty teach on premises. She said she was in the arts management degree program that is part of this joint venture. Pacitti created a fragrance line while he was still dancing and has expanded it greatly since he retired. Studio audience members were lucky to take home candles.
  7. "After the Rain Pas de Deux" -- Maria Chapman and Karel Cruz Includes wonderful footage of Chapman's amazing feet.
  8. More frequently on first weekend, the casts are split Friday and Saturday nights for one cast, with Saturday matinees for another. Just when you think you can predict
  9. I'm glad that she wants to take this approach. It think it makes it richer for the audience than a smorgasbord. Themes can be a double-edged sword with audiences: on the one hand, it's easy to dismiss a season if the theme doesn't appeal, but on the other, by adding a series of activities around it, it can broaden the audience's understanding and prepare them for performance, and someone who might not have been interested in performance might come to a lecture or seminar, and then become interested in the performance.
  10. Jacques d'Amboise will speak at the 92YTribeca, 200 Hudson Street, on 22 September at noon: http://www.92y.org/Tribeca/Event/I-Was-a-Dancer.aspx
  11. In order to maintain a professional certification, I recently I have been listening to webinars which consist of non-stop advice. Your advice here is the best advice I've heard in a very long time. -- Thank you for the links, bart!
  12. Sandra Kurtz wrote an article on Michelle Witt, the new director of Meany Hall, the main concert venue at the University of Washington for Seattle Weekly: Meany Hall’s new director, Michelle Witt, has to make sense of a hybrid institution It does not sound like she was interested in speaking about programming, but there were interesting points on topic to this discussion:
  13. I will go back to the original subject, which I didn't see when I became a member. I nominate Thomas Lund of Royal Danish Ballet.
  14. First week is up, which makes it feel real after a long summer: http://www.pnb.org/Season/11-12/AllWheeldon/#Details-Casting Here is the first week in Excel spreadsheet form to download to compare casts. Rep 1 performance casting week 1.xls Many of the announced new apprentices and members of the corps de ballet make their debuts in the corps of "Carousel (A Dance)" on Opening Night, Friday, 23 September: Leah Biasucci, Sarah Pasch, Elizabeth Murphy, Matthew Renko, along with apprentice-turned-corps Jenna Nelson, with apprentice Steven Loch appearing in the male corps in "Variations Serieuses" on Saturday evening, joined by Renko. Carla Korbes/Seth Orza and Sarah Ricard Orza/Jerome Tisserand alternate as the leads in "Carousel (A Dance)". Ricard Orza, who was striking as a demi-soloist in the last run, should be wonderful in the lead. (She also has leads in "Polyphonia" and "Variations Serieuses"). Korbes, Orza, and Tisserand reprise their roles. "After the Rain Pas de Deux" is shared by three couples: Rachel Foster/James Moore, Carla Korbes/Batkhurel Bold, and Maria Chapman/Karel Cruz. Happily James Moore is back from last season's injury. The casting for Polyphonia mostly follows the casting in the video above, with Maria Chapman and Karel Cruz in place of Korbes/Bold on Saturday night.
  15. Polyphonia preview, in the main rehearsal studio in the Phelps Center: Kaori Nakamura/Benjamin Griffiths Benjamin Griffiths/Lucien Postlewaite Sarah Ricard Orza/Jerome Tisserand from bottom of screen: Ricard Orza/Tisserand, Rachel Foster/Postlewaite, Carla Korbes/Batkhurel Bold, Nakamura/Griffiths
  16. Stop-it-you're-hurting-me. I'm just hoping by the end of this journey I have an iota of the insight of Alexandra, Leigh, rg, Alastair Macaulay, Marc Haegeman, Deborah Jowitt, Rita Feliciano, Mary Cargill, Michael Popkin, Sandi Kurtz, Doug Fullington, in his presentations and program notes... (And I'm going to have to edit this many times to add people that my sieve brain has forgotten at this moment.)
  17. Helene

    Evgenia Obraztsova

    A lovely portrait by Marc Haegeman from the "For Ballet Lovers Only" Facebook page:
  18. SATELLITE BALLET presents the world premiere of a new trilogy PROGRESS: COSMONAUT: EPISTASIS A strong statement of direction for classical dance in a multimedia age October 14, 2011 Baryshnikov Arts Center Jerome Robbins Theater featuring New York City Ballet dancers Teresa Reichlen, Chase Finlay, Ashley Laracey, Marika Anderson, Daniel Applebaum, Samuel Greenberg and Lauren King Friday, October 14, 2011 at 8 pm Baryshnikov Arts Center Jerome Robbins Theater, 450 W 37th Street, New York Tickets are $25; $10 for students available at SatelliteBallet.org Satellite Ballet presents its NYC premiere, a full evening's work featuring the choreography of Troy Schumacher, dancers of the New York City Ballet, original music performed live by Nick Jaina and ensemble, and multimedia projections by Kevin Draper, the trilogy PROGRESS: COSMONAUT: EPISTASIS Satellite Ballet is a new face in contemporary dance - a collaboration of emerging New York City choreographer Troy Schumacher, established composers from the American Northwest indie scene, and new artists working with experimental video and photography. Satellite Ballet is premiering a new trilogy of two ballets and a song cycle that make a strong statement about the direction of classical dance in a multimedia age. High intensity graphics, fiery musical performance and athletic, highly musical choreography are the signatures of the Satellite Ballet. This new trilogy is a direct engagement of themes of decadence, heroism, and human connection in the America of today. Satellite Ballet artists collaborate as equals: music, dance, imagery, story and abstraction are the result of continuous interaction through the entire production cycle - a commitment to collaboration that transcends the piecework nature of traditional productions. Troy Schumacher, Choreographer and founding Ballet Director, began dancing with New York City Ballet in 2004 after training at the School of American Ballet and Atlanta Ballet. Seeing ballet as rooted in history, he proposes a fresh perspective to the future - including direct involvement in the creation of original scores for the Satellite Ballet. His choreography forms an essential relationship with music and multimedia space: he selects highly individual dancers with inherent, unique movement qualities and creates dancer specific movement to advance the language of modern classical dance. Schumacher's work has been noted for an “emphasis on expressivity and beauty.” (Marina Harss, Faster Times, April 21, 2011). Librettist and Projection Artist Kevin Draper is an architect, poet and multimedia artist and founder of the Satellite Collective, an arts incubator with studios on Lake Michigan. Draper studied architecture at the University of Michigan under Lise Ann Couture and Tulane University under Raphael Moneo; he holds an MBA in entrepreneurship from Notre Dame University. He has developed the web presence of noted brands including Hush Puppies, Merrell and Caterpillar. Draper's art engages the human presence in the urban environment. Working in a deconstructionist mode, his flash fiction texts drive the story arcs and structure of Satellite Ballet works. Composer and Music Director Nick Jaina is an accomplished musician inspired, in part, by the vast number of cities he has lived in - San Francisco, New Orleans, New York and Portland, to name a few. The wide range of his musicality has emerged from that broad range of American flavors, as well as the many instruments that he plays, including guitar, piano, drums, ukulele, harmonica, and flute. Together with his talented band, Jaina has recorded nine albums and regularly tours the entirety of the United States. His scores for PROGRESS:COSMONAUT:EPISTASIS are written for piano, viola and violin. Satellite Ballet 2011 repertory is made possible in part through the support of private donors and foundations, Michigan Council for Arts and Cultural Affairs, corporate support of Nestle Nutrition and SAP America, and the Satellite Collective, an arts incubator.
  19. San Francisco Opera is presenting "Nixon in China" in its upcoming season, summer half. The company produced a preview CD for subscribers and donors with General Director David Gockley's commentary. Gockley was General Director of Houston Opera when the work was created for that company in the mid-late '80's. In speaking of the history of the opera, Gockley cites "director Peter's Sellars' iconic production" and later states "In fact, it was Sellars' idea to created the piece, and he brought together Adams and librettist Alice Goodman and painstakingly shaped the piece to his satisfaction." In speaking of the upcoming production, he said, I've seen the Vancouver Opera production, which was quite strong. I'm rather confused about his comments about casting. According to the SF Opera site, the casting is: Excerpts on the preview disk include performances by Chen-Ye Yuan's Chou En-lai and Maria Kanyova's Pat Nixon, but it is a Naxos recording conducted by Marin Alsop from the Opera Colorado production a couple of years ago and features Robert Orth as Richard Nixon, who was spectacular in Vancouver. Edo de Waart conducted the original cast recording of the opera for Nonesuch, with James Maddelena, Marion Dry, Mari Opatz, Stephanie Friedman, Thomas Hammons, Sanford Sylvan, Trudy Ellen Craney, and John Duykers. (Maddelena was in the Met HD broadcast.)
  20. A very gentle performance: http://www.youtube.com/watch?v=aX9YJZ7ZcQA Rest in peace, Mr. Licitra.
  21. It's a little more complex than that, or Corella Ballet would have been at the Paramount last spring instead of at Meany. And it was Meany that presented the Eifman company in 2001 and 2003. But it's true that the vast majority of Meany's bookings have been modern and world dance oriented, and I think it's likely that if Miami were to come through town now STG would certainly be in the running. I'm still kicking myself for missing the last Dance Theater of Harlem shows at STG in 2004! I should have been more specific: if there was a major ballet company touring, STG would present it, like they've presented ABT and the Bolshoi Ballet. Meany can't support the scenic requirements for the story ballets with which major companies tour. Cal Performances has presented Bolshoi, Mariinsky, and RDB at Zellerbach, and San Francisco Ballet performed a major story ballet there to end the last season they were banished from War Memorial for seismic upgrades. (I think it was "Swan Lake", the only program I didn't see that season.) STG also presented Lyon Opera Ballet. I'm sure I read at the time that they required a bigger venue than Meany, although I can't remember enough about the program to know whether this was scenery driven. (I only remember "Jardi Tancat".) I think they would have looked better on the Meany stage. I wouldn't put either Eifman or Corella Ballet in the major category.
  22. Thank you so much! Here is the full cast list from IMDB: http://www.imdb.com/title/tt0597240/fullcredits#cast
  23. I remember the last time Miami City Ballet came through and performed at Evergreen State College in Olympia. It was the middle of the week, and I couldn't go to see it I think Cal Performances at Berkeley covers the territory of both UW World Dance and Seattle Theater Group. San Francisco Ballet's post-"Nutcracker" rep season begins in January and goes through end of April or beginning of May, with the opera seasons in the Spring and Fall. Half of the Cal Performances season doesn't compete with San Francisco Ballet for the dance audience. Their modern dance offerings more well-known names -- this year: Mark Morris, Alvin Ailey, Pina Bausch/Wuppertal, Bill T. Jones/Arnie Zane, Trey McIntyre Project -- while World Dance is part of a combined "World" category of music, dance, and theater. They also have more venues, with Zellerbach being the biggest. I once heard one of Jordi Savall's groups play at a neighborhood church, and you could hear sirens and drunken students intermittently through the windows. If there's a ballet company touring, Cal Performances gets it for the SF area, just like STG would present it if the company was willing to tour north of San Francisco.
  24. San Francisco Ballet's Val Caniparoli and Carey Perloff have created a production called "Tosca Cafe", originally presented in San Francisco as "The Tosca Project" in June-July 2010 by American Conservatory Theater (ACT), and in a co-production with Theatre Calgary, it opens the 2011-12 season of Vancouver Playhouse Theatre Company. In the production are Rex Harrington (former NBoC Principal), Peter Anderson, and Dean Paul Gibson, and, according to the website, "Tosca Cafe brings internationally acclaimed artists from San Francisco Ballet, including prima ballerina Sabina Allemann", who I remember from a stunning performance in "Liebeslieder Walzer" at SFB. Pascal Molat and Lorena Feijoo were featured in the San Francisco production: http://www.examiner.com/theater-in-san-francisco/the-tosca-project-world-premiere-is-act-s-valentine-to-san-francisco-featuring-molat-feijoo I can only hope... Also, according to this entry "The Workshop Tosca Project appeared at Yerba Buena Gardens with Muriel Maffre and Yuri Possokov. It sold out." Previews are the 8-12 October, with opening night the 13th. The show runs through 29 October, and there are a good number of matinees (note: the preview matinee on the 12th is a school matinee).
  25. An update: Julian Mackay won the scholarship and Thanks to everyone who voted!
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