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Everything posted by doug

  1. Here is today's press release from PNB: CARLA KÖRBES AND CASEY HERD PROMOTED TO PRINCIPAL DANCERS SEATTLE — Carla Körbes and Casey Herd have been promoted from Soloists to Principal Dancers with Pacific Northwest Ballet, it was announced at last evening’s 2006 Opening Gala by Artistic Director Peter Boal. Mr. Boal’s announcement was immediately followed by Ms. Körbes’ and Mr. Herd’s first appearance as Principal Dancers, in a performance of the White Swan pas de deux from Kent Stowell’s Swan Lake. Mr. Boal comments about Ms. Körbes: “Eleven years ago I met a 14 year-old ballet student in Porto Alegre, Brazil. She spoke only Portuguese. Through an interpreter I told her and her parents that I thought she possessed exquisite gifts as a dancer and as an artist. I asked her family to consider allowing “Carlita” to move to the U.S. to study at New York’s School of American Ballet. It has been a pleasure to watch Carla’s technique and presence blossom over a decade.” He added, “The past year has been particularly rewarding for all of us at PNB as we have watched Carla triumph in role after role. We are all proud to promote her to the rank of Principal and look forward to a long future with our newest ballerina.” Mr. Boal comments about Mr. Herd: “Over the past two years I have had the pleasure of encountering so many gifted and accomplished dancers at PNB. I have watched Casey Herd emerge as one of our strongest leading men. His range has always impressed – from the cocky swagger of his sailor in Jerome Robbin’s Fancy Free to the quiet and complete adoration he gives to his partner in Kent Stowell’s Swan Lake. His combination of classical line, soaring jumps, gallant partnering, and powerful acting have earned him this well-deserved promotion to the rank of Principal.” Carla Körbes was born in Porto Alegre, Brazil, and began her ballet training at age five with local teachers. At age eleven, she began studying at Ballet Vera Bublitz. In 1996, Peter Boal danced with her as a guest artist of the school and encouraged her to come to New York to study at the School of American Ballet. For academic year 1997–1998, her tuition was paid by Alexandra Danilova so that she could continue studying at the School of American Ballet. In 1999, she was the Mae. L. Wien Award recipient and was made an apprentice with New York City Ballet. She joined the company as a member of the corps de ballet in 2000 and was the Janice Levin Dancer Honoree for 2001–2002. She was promoted to soloist in 2005 and later that year joined Pacific Northwest Ballet as a Soloist. Since joining Pacific Northwest Ballet, Ms. Körbes has danced leading roles in George Balanchine's Concerto Barocco, Diamonds, Emeralds, La Valse, and Symphony in Three Movements; Val Caniparoli's The Bridge; Ulysses Dove's Red Angels; Nacho Duato's Jardí Tancat; William Forsythe's Artifact II; Ronald Hynd's The Sleeping Beauty (Lilac Fairy, Gold and Silver pas de trois); Jerome Robbins' In the Night; Kent Stowell's Hail to the Conquering Hero and Nutcracker (Clara, Flora, Peacock); Richard Tanner's Ancient Airs and Dances; and Twyla Tharp's Nine Sinatra Songs; and most recently, in Sonia Dawnkins’ Ripple Mechanics at PNB performances at Jacob’s Pillow in August 2006 and Seattle’s Bumbershoot Arts Festival in September 2006. At New York City Ballet, Ms. Körbes danced leading and featured roles in Balanchine's Divertimento No. 15, Episodes, A Midsummer Night's Dream (Titania, Helena), and Serenade; Peter Martins' Concerto for Two Solo Pianos, Sinfonia, The Sleeping Beauty, and Swan Lake; and Robbins' Antique Epigraphs, Fanfare, The Four Seasons, I'm Old Fashioned, and Interplay. She originated leading roles in Albert Evans' Haiku, Martins' Chichester Psalms, Susan Stroman's Double Feature, Richard Tanner's Soiree, and Christopher Wheeldon's An American in Paris and Shambards. In 2002, Ms. Körbes performed Richard Tanner's Ancient Airs and Dances for the nationally televised PBS Live from Lincoln Center broadcast, "New York City Ballet's Diamond Project: Ten Years of New Choreography." In addition to her performances with New York City Ballet and Pacific Northwest Ballet, Ms. Körbes has performed with Peter Boal and Company. Casey Herd is from Salt Lake City, Utah. He trained at the Ballet West Academy and Kirov Academy and attended summer courses at Pacific Northwest Ballet School in 1993 and 1994. He was a finalist in the 1996 Paris International Ballet Competition. In 1997, he joined American Ballet Theatre, and in 1999, he joined Pacific Northwest Ballet as a member of the corps de ballet. He was promoted to Soloist in 2002. Casey Herd is from Salt Lake City, Utah. He trained at the Ballet West Academy and Kirov attended summer courses at Pacific Northwest Ballet School in 1993 and 1994. He was a finalist International Ballet Competition. In 1997, he joined American Ballet Theatre, and in 1999, he Northwest Ballet as a member of the corps de ballet. He was promoted to Soloist in 2002. Mr. Herd has performed leading roles in George Balanchine's Agon, Brahms-Schoenberg Quartet, Concerto Barocco, Emeralds, The Four Temperaments, A Midsummer Night's Dream (Titania's Cavalier, Theseus), Symphony in C, Symphony in Three Movements, Theme and Variations, and Western Symphony; Todd Bolender's Souvenirs; Donald Byrd's Subtext Rage; Val Caniparoli's The Bridge, Lambarena, and Torque; Nacho Duato's Jardí Tancat; William Forsythe's Artifact II and In the middle, somewhat elevated; Paul Gibson's The Piano Dance; Ronald Hynd's The Merry Widow (Count Danilo) and The Sleeping Beauty; Susan Marshall's Kiss; Kirk Peterson's Amazed in Burning Dreams; Marius Petipa's Le Corsaire Pas de Trois, Don Quixote, and Paquita; Christopher Stowell's Zaïs; Kent Stowell's Carmen, Carmina Burana, Delicate Balance, Dumbarton Oaks, Pas de Deux Campagnolo, Quaternary, Silver Lining, Swan Lake, and The Tragedy of Romeo and Juliet (Romeo); Richard Tanner's Ancient Airs and Dances; Lynne Taylor- Corbett's Mercury and The Quilt; Twyla Tharp's Nine Sinatra Songs; and Glen Tetley's Voluntaries and The Rite of Spring. He originated a featured role in Nicolo Fonte's Almost Tango.
  2. Hi sandik - actually PNB used the term with regard to, I believe, THEME AND VARIATIONS, because we refer to the 4 solo couples as "demis." So the term isn't referring to a rank of dancer, simply a role in this particular ballet.
  3. I bought mine from Dance Books and it plays fine on my DVD player here in Seattle.
  4. Hi Hans, sorry to be slow reading this. Yes, upstage *left* corner, sorry about that. I was writing about the Kirov's variation in the reconstructed Sleeping Beauty, not the K. Sergeyev production. I had occasion to set both of the notated variations recently. The more difficult of the two is essentially what the Royal Ballet performs (although without as many pauses in the choreography as the Royal's version now has). The version the Kirov dances in their reconstruction matches neither of the notated versions of the variation.
  5. That's the one. The same edition of BALLET REVIEW includes a review of Nureyev's RAYMONDA.
  6. PNB's gala is traditionally the Saturday evening before the first repertory performance of the season (the following Thursday evening). Unfortunately, the symphony changed the date of their gala to coincide with the ballet's.
  7. Also - Patricia Barker and Stanko Milov were coached by Suzanne Farrell during a January rehearsal session for DIAMONDS when Farrell was in Seattle for her summer course auditions held at PNB School, and last week Stephanie Saland was in to coach Louise Nadeau, Carla Korbes and Mara Vinson in the EMERALDS lead. Elyse Borne has been the stager for JEWELS.
  8. I have read about the muses' smiles and flirtatious affect in the Kirov APOLLO, and perhaps they were coached to do that. But, I am quite certain it did not originate with the Balanchine Trust repetiteur for the Kirov APOLLO, Francia Russell.
  9. It's hard to tell from the notation, plus the fact that the notation was made closer to 1900 than 1890. The coda is notated for Aurora and Desire. There is also a dance for the two fairies. I have always assumed - perhaps wrongly - that this was danced to the now-discarded Entree music, rather than the coda. I *think* the notation bears a "6/8" time signature (the Entree is in 6/8), but I don't have it in front of me and would have to check. In addition, the adagio (with pantomime sentences) and both variations are notated. I love the Legat variation for Desire - very difficult. I would like to see it danced sometime.
  10. Tharp's WATERBABY BAGATELLES includes 27 dancers.
  11. I believe the Jardin anime photo is of Legnani and Preobrajenska, who danced Medora and Gulnare, respectively, in Petipa's 1899 revival of Le Corsaire.
  12. Helene, we've had a heck of a time trying to get copies to sell at the PNB shop. Still working on it ... possibly by June for June 11 Encore program.
  13. Just wanting to echo Alexandra by thanking vrs *very much* for stating unequivocally that Balanchine did not train in the Vaganova era.
  14. Thanks, Helene. My assumption, then, is that the production is based on Soviet-era RAYMONDAs - probably K. Sergeev's from 1948.
  15. Helene, to whom was the RAYMONDA choreography credited? Petipa or Balanchine or Andersen-after-Balanchine? In the orginal, the two friends are named Henriette and Clemence. RAYMONDA is one of my favorite ballets, so I am always glad to hear about performances.
  16. Just a note that Chapman was promoted by Stowell and Russell, albeit at the end of their tenure. She had danced many prominent roles by that point, in both the Balanchine and Stowell repertoire.
  17. I've been involved with PNB for about 12 years and during that time most full-lengths have had a least 4 cast of principals and often 5 or 6. The new Aurora this time around is Mara Vinson. Louise Nadeau has danced the role in the past but opted not to this time. She is coaching Kaori Nakamura and Olivier Wevers. I expect next year's Swan Lake will have at least five casts.
  18. Helene, you're right that Foster and Moore made debuts in The Bridge. They weren't initially cast to perform. Once they were, they were added to the PNB website casting but without the debut asterisks. My fault, actually ...
  19. I think the title is meant as an honorary one, in recognition of Stowell and Russell's longevity and development of the company, rather than an attempt to state that they founded PNB, per se, although it must be admitted that the title suggests they founded the company. Pacific Northwest Ballet was indeed founded in 1972 and was at that time called Pacific Northwest Dance. Leon Kalimos was executive director of Pacific Northwest Dance when Janet Reed was hired in 1974 as ballet mistress and director of the school. Reed was never given the title of artistic director. When she left in 1976, Melissa Hayden was hired as ballet mistress. She was later given the title of artistic director, in January 1977, but by March had decided to resign. Stowell and Russell followed shortly thereafter in 1977.
  20. Hi everyone, Sorry to be silent. I do have copies of the notations in question, and I would love to be able to give definitive answers to these questions based on their content. However, I don't have time to delve into it just now. I can answer that the notation system's markings for pointe vs. demi pointe are clearly different. Also, the notations of Beauty - like the notations of many ballets in the collection - were made over a period of years, not at one single point in time (some of the Beauty notations, for example, date from Sergeev's years with the Vic-Wells Ballet - of course these are less reliable with regard to earlier performances in Russia). There are arguments both ways about Marie Petipa. Did she or did she not dance on pointe - in Beauty or ever? We have photos of her in pointe shoes, we have notations (more than one) of dances containing pointe work that have her name on them, we have written history that states she was only a character dancer. I'll state again that I don't subscribe to - and will not discuss - any sort of conspiracy theory with regard to the contents of the Stepanov notations from the Maryinsky. Thorough research of the collection does not support it. I'm not implying that the current discussion wants to move in that direction, but simply stating my position. cheers,
  21. Stacy spoke at length about moving from performing ballet to performing Tharp - everything from the physical differences to the different modes of working, dancer perception, etc.
  22. PNB's 2006-2007 season is announced on its website. I know the company is working to make it's Celebrate Seattle Festival clear for subscription renewals. The Festival runs three weeks. Weeks 1 & 2 includes 8 performances of the same program - a mixed bill that functions as Rep 5 of the regular season. Festival Week 3 includes 3 alternating programs.
  23. I like that idea, too. NYCB came to Seattle in 1986 and presented a number of performances in rotating rep as part of PNB's season.
  24. My immediate response is to state that the written and stylistic evidence within the contents of the Sergeev Collection virtually confirms that many of the notations in the collection are in the hand of Nikolai Sergeev. Some examples are signed and dated by him. But Sergeev was not the only notator to contribute. Some of the notations pre-date Sergeev's involvement with Stepanov notation, Sergeev worked with assistants who were also notators, and other items are in the hands of students and represent written classwork from the era when Stepanov notation was taught to the students of the Imperial Ballet School. Sergeev also appears to have had a "neat" hand and - for lack of a better term - a "messy" or "less careful" hand. The "neat" notations offer greater detail than the "messy." Whether the difference between the two was due to time constraints, greater or lesser familiarity with a particular work, or a decline of interest in the notation system over time, I cannot answer. I will certainly grant that Sergeev does not give the impression of being the most musical of notators. Many a waltz in the collection is notated in 2/4 time. But while these problems may cause confusion in reconstructing a dance from notation, they usually are not insurmountable. I would finally like to state that I do not wish to defend the reputation of Nikolai Sergeev because I feel that is beside the larger point: Whether he be characterized as a criminal, musical illiterate or balletic incompetent, the fact appears to remain that Sergeev contributed a great deal to the cache of ballets notated in the Stepanov method, whether we like that truth or not. And whether malice was intended in any of his other actions, his efforts and the efforts of others notating the repertory of the Imperial Ballet appear - upon study and comparison with contemporary and modern sources - to have been sincere.
  25. In the main body of the Jardin anime notation, the two variations notated are no longer danced by the Kirov. A couple additional variations are notated separately and these include the Medora "Pygmalion" variation that is still danced (albeit in embellished form) by the Kirov.
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