Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×
Support Ballet Alert! Year Round through the Amazon Affiliates Program by Clicking Here to Order from Amazon.com

iwatchthecorps

Member
 View Profile  See their activity

  • Posts

    83

  • Joined

  • Last visited

 Content Type 

Posts posted by iwatchthecorps

    Contra Costa Ballet presents Swan Lake

    in Other American Ballet Companies

    Posted

    Spring Rep '09

    Swan Lake

    Contra Costa Ballet presents Swan Lake, the most famous of all ballets. Choreographed by Katarina Wester, this timeless story of good versus evil is filled with romance, drama, and intrigue. This sumptuous production set to one of Tchaikovsky's most enduring scores will engage audiences of all ages. Swan Lake is, first and foremost, a "story ballet," but audiences will enjoy it as living art for the senses. The music, the scenery, the costumes, the grace and precision of the dancers combine for a memorable performance.

    The Company is honored to share the stage with professional guest artists Ashley Ivory of Company C Contemporary Ballet in the dual role of Odette/Odile, and David Fonnegra of Diablo Ballet as Prince Seigfried.

    Friday, May 29 at 8:00

    Saturday, May 30 at 2:00

    Lesher Center for the Arts

    Walnut Creek, CA

    http://www.contracostaballet.org/about/springrep.html

    Economy and the Arts

    in Everything Else Ballet

    Posted

    Michael Springer,Director of the Miami-Dade County Department of Cultural Affairs, testified to Congress yesterday: Springer Testimony

    "I want to offer a short story about just one of our many outstanding arts organizations – Miami City Ballet.

    Each season, this 23-year old company employs hundreds of people – not just the more than fifty full-time

    dancers who have established Miami City Ballet as one of the nation’s great dance companies, but also

    company administrators, accountants, carpenters, stagehands, seamstresses, teachers and physical therapists.

    Two months ago, Miami City Ballet made its triumphal appearance at City Center in New York City. The

    New York Times raved about the performances saying, “this is as good an advertisement for its home city as

    any ballet company in America.” Less than two weeks later, back in Miami, the Ballet announced that due to

    the worsening economy, it was laying off 8 dancers and reducing its budget next season by more than 25%.

    There are more layoffs likely to come.

    I could have told this story from a “human interest” perspective of dancers who have trained a lifetime and

    have mortgages and car payments to make. Or I could have talked about the legendary Edward Villella, the

    company’s artistic director, who has put his heart and soul into building this company. This would have been

    a shameless attempt to pull on your heartstrings; but that is not the point of my testimony today. Instead, this

    story points out that our cultural sector is a major player in promoting Miami’s new image for business and

    tourism. It also demonstrates that the non-profit arts industry, as an employer, is an integral part of our local

    economy. And it underscores the fact that arts organizations are subject to the very same forces affecting

    America’s and the world’s economic viability. The results – job loss and downsizing - are jeopardizing our ability to employ people and sustain this cultural segment of the economy. "

    San Francisco Ballet 2009

    in San Francisco Ballet

    Posted

    I attended the Feb 7, 2pm show. It was nice to be back in the opera house. I had not had the opportunity to see SF Ballet for several years. Since I have become interested in Balanchine, I was there to see 4Ts. Prism opened the show and I must say that I really liked the choreography. This ballet was first performed by City Ballet in 2000. I read that Tomasson's choreography reflected his experience with Balanchine....I believe that to be the case. In the past, I have not fully enjoyed the performance of Yuan Yuan Tan. She seemed to be perfectly cast in the second movement in a slow tempo that allowed her to show her technique and extension. One impression that I had of the corps was that the tall girls were really tall (too tall for the boys?). Finally, I felt a sense that the ballet was not quite together (more on that under 4Ts). Taras Domitro was quite impressive to me as he flew across the stage. I suspect that he will fast become an audience favorite.

    Diving into Lilacs was second on the program and I really don't have a strong opinion one way or the other on this ballet.

    Then came the ballet that I came for, 4Ts. I was particularly excited about this because I had recently seen Miami City Ballet do this in Fort Lauderdale and it is very fresh in my mind. I was also interested in seeing how a company that is not completely immersed in Balanchine style executes.

    When I saw MCB, I saw synchronicity, attack, sharpness, and energy. I remember that my eyes were riveted to the stage throughout the entire performance.

    Things were a bit different at SFB. The corps parts seem flat and lacking energy. There were subtle things like differences in how the dancers arms and hands finished a movement or a pose. I never realized how critical these details were to my enjoyment of the ballet (even though I am a ballet novice). In Melancholic, when the 4 girls enter from the right side with big kicks and advance toward the center of the stage, the SF dancers were spread out more than the MCB dancers and this lessened the impact of these giant kicks, another example of a detail.

    Another point that I would like to make is that I did not feel that the dance was intimately connected with the music as SFB. When I watch MCB dance I am often struck about how the dance articulates the music. I think that Balanchine said, "see the music and hear the dance." I think that this reveals Balanchine's strength and makes the ballet more interesting and fun to watch. The music and the dance at SFB seemed to only tentatively connected which is too bad because SFB can still afford an orchestra and MCB has had to return to recorded music for economic reasons.

    All in all it was a fun afternoon and I am glad that I attended.

    Miami City Ballet in Los Angeles

    in Miami City Ballet

    Posted

    Bart,

    In the pre performance talk, Edward was asked about how he picks dancers for Liturgy. He made reference to the possibility that the choreographer has first choice (although, I did not think that Wheeldon was involved in setting this piece). Then he indicated that the woman must be lithe and the man must be a great partner. This is the first time that I saw Liturgy. Perhaps the qualities that you mention added rather than detracted from Wu's performance. In earlier discussions, Wheeldon chose not to give Edward any talking points for Liturgy. Edward said that Wheeldon wanted Liturgy to have a mystical quality. That it did.

    Regarding Nightspot, Edward was clear that the Nightspot had achieved its intended goal of creating a buzz in the Miami area. He said (with a smile?) that he did not expect it to be favored by NY critics. Elizabeth Kaye watched the rehearsal. She liked it and felt that any ballet goer could understand the story (although I am still seeking an explanation in my own mind).

    Miami City Ballet in Los Angeles

    in Miami City Ballet

    Posted

    Tonight, the Dorothy Chandler Pavilion seemed to be quite full (3,500 seats). Edward Vilella gave a pre-performance talk that was well received by a rather large group of patrons. Symphony in three movements was as exciting as it was last season in Florida. Tarentella (Delgado and Penteado) was over the top. The crowd loved it. Wu and Quenedit were mesmerizing in Liturgy. In his pre performance talk with author Elizabeth Kaye, Vilella discussed Nightspot and indicated its intent and success to help bring in younger ballet patrons. This was my first time to see this ballet and I enjoyed it (while the other 3 in my party begged to differ with me). The on stage band coupled with the orchestra was very cool. The music was for the most part very interesting. I felt that the costumes were a characterization of the Miami club scene not a representation of it. One of my colleagues said that parts of Nightspot reminded her of a Vaudeville-like performance. I felt that way too. The crowd seemed to appreciate Nightspot but I am not convinced that they liked it in the same way as Miami audiences did.

    All in all, I think that MCB did very good things for itself tonight.

    Will write more after tomorrow's performance.

    The technical differences between classical ballet and Balanchine

    in Everything Else Ballet

    Posted

    I have recently heard a number of discussions about classical ballet technique vs the style danced in Balanchine companies. I can see the Balanchine style and appreciate that. Likewise I understand that classical is different. So...I sometimes hear comments like this "But differences do not always work. Symphony in C is one of Balanchine's most purely classical works, and to a British eye the American dancers are classical in neither detail or style. Nor do they make sufficient musical distinctions in the choreography, so that Sara Mearns, in what should be a rapt dreamy adagio, barely stands out from the romping allegro dancers around her. " which appeared in the Guardian today. http://arts.guardian.co.uk/theatre/dance/r...2265339,00.html

    Is it really true that Balanchine dancers "can't" dance classical? I would like to hear from you as to what elements of classical technique are not reproduced by Balanchine or American companies. Also, please tell me what to look for.

    Ballet Florida calls intermission on board meeting to decide future

    in Inactive Companies

    Posted

    Ballet Florida weighs whether to shut down

    "WEST PALM BEACH — Plagued by financial troubles and an inability to keep an executive director for very long, Ballet Florida finds its future on shaky ground.

    Board members held an emergency meeting Monday. The topic: whether to continue on or shut down and stop the hemorrhaging.

    Board members held off on making a decision and agreed to meet again today to further discuss their options."

    http://www.palmbeachpost.com/news/content/...=7&cxcat=76

    Miami City Ballet All-Balanchine (Program III)

    in Miami City Ballet

    Posted

    I attended Friday, Sat, and Sunday at the Arscht Center in Miami. Friday's house was nearly full. Sat was packed (as Christian said). Sunday was nearly full. The audience on Friday and Sat were younger as Christian indicated. Saturday's audience was similar to the audiences that I have seen in West Palm and Ft. Lauderdale.

    I must say that watching this program was an extraordinary experience. I am starting to stop looking for a story in the ballet and just "watch the music and listen to the dancing." I've already commented on the three selections in the program. This weekend reinforced all of my previous observations.

    Miami City Ballet All-Balanchine (Program III)

    in Miami City Ballet

    Posted

    What a difference a day makes.... Perhaps it is the fact that I now have seen Seranade for the third time, but I must say, today's performance made a real impression on me. Maybe its that I knew what to look for, but the performance simply felt different from the performance yesterday. Today, I would say that this ballet, while still not my favorite, was a close second.

    Pas de Dix: I was impressed with Rolando Sarabia. It is the first time that I have seen him dance. He has a look that is fundamentally different than the other men in MCB. His physique reminds me much more of a San Francisco Ballet Dancer. I liked his dancing but felt that the choreography was not as interesting as it could be.

    Bourree Fantasque: Wow..I liked it again this afternoon...I am astonished that this ballet has fallen out of the rep. Maybe if/when Edward takes this to New York that will change.

    I am really looking forward to next week in Miami.

    Miami City Ballet All-Balanchine (Program III)

    in Miami City Ballet

    Posted

    Bart,

    I attended Ft Lauderdale today and will do so again tomorrow. I also plan to see the performances in Miami next week. My brief impressions:

    Seranade: This is only the second time that I have seen this ballet. I was very impressed by dancing of both principals and corps. I expected this to be my favorite of the evening. It came in third.

    Pas de dix: I simply cannot take my eyes of Mary Carmen Catoya when she dances. She exhibits remarkable balance both in stationary positions and in turns. Tonight, she projected a strong personality and was a delight to watch. Callie Manning also caught my attention with fast, precise steps. I had hoped to see Haiyan Wu in the movement as I believe that this would have fit her style well. (Deanna Seay substituted in this performance)

    Bourree Fantasque: Edward Villella, in his opening remarks mentioned that this ballet is rarely performed any more and that he could not understand that. I think that the audience agreed with him as the company turned in a very entertaining performance. So, there must be some reason that this ballet has fallen by the wayside, but for my simple tastes, it was fun and a great "closer." Perhaps there are technical reasons that more expert observers than I find objectionable.

×
×
  • Create New...