Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Carla Korbes Live Stream!


Helene

Recommended Posts

On Sunday, June 7 at 6:30pm Pacific Time/9:30pm Eastern Time PNB is live streaming the season-ending "Encores" program, which will be Carla Korbes' last appearance as a company member. It is a one-time-only program created to honor Korbes and the other dancers who are leaving at the end of this season, Brittany Reid, Kiyon Gaines, Jahna Frantziskonis, Raphael Bouchard, Charles McCall, and Eric Hipolito Jr.

Korbes' artist profile video is on this page:

http://www.pnb.org/Season/14-15/Encore/#Casting

Current casting is as follows:

Dirty Goods Seattle Premiere (Andrew Bartee)

Chelsea Adomaitis

Leta Biasucci

Lindsi Dec

Elle Macy

Raphael Bouchard

Ezra Thomson


The Calling PNB Premiere (Jessica Lang)

Carla Korbes


The Vertiginous Thrill of Exactitude (Wlliam Forsythe)

Chelsea Adomaitis

Jahna Frantziskonis

Rachel Foster

Raphael Bouchard

Price Suddarth

Rassemblement pas de deux (George Balanchine)

Elizabeth Murphy

Kiyon Gaines


Emeralds pas de trois (George Balanchine)

Margaret Mullin

Amanda Clark

Eric Hipolito Jr.


Emeralds pas de deux (George Balanchine)

Laura Tisserand

Charles McCall

Rubies pas de deux (George Balanchine)

Jahna Frantziskonis

Benjamin Griffiths


Diamonds pas de deux (George Balanchine)

Carla Körbes

Karel Cruz


Serenade (George Balanchine)

Carla Körbes

Karel Cruz

Lesley Rausch

Carrie Imler

Batkhurel Bold


Here is the link to the live stream page:
http://pnb.org/live/

Link to post

Thank you, Helene. So it's not a PBS broadcast but a livestream on the internet? This is the some evening as the Tony Awards . And

I never heard of Rassemblement. Does anyone know about this ballet? When was it choreographed? Any info is welcome.

Link to post

This is indeed a livestream, not a PBS production.

The Duato is the Rassemblement they'll be performing. It's been the repertory for several years, and was on a program earlier this season. (they also do Jardi Tancat, along with many other companies in the US...)

This Encore program is usually a bits and pieces show drawn from the season, and chosen in part to highlight people who are leaving the company. Dirty Goods, The Calling and Serenade are exceptions to that -- Dirty Goods was a specific commission for Wolftrap, and was performed there last summer -- we haven't seen it here yet. The Calling is on the program for next season, but since Jessica Lang was just here staging it, and Boal had Korbes in mind when he chose it, she's getting a one-off chance to perform it. And Serenade is a favorite of several people in the company -- it's almost too appropriate for a retirement performance.

Link to post

From the PNB website:

Rassemblement

Music: Toto Bissainthe (various, from the recording Chante, 1977)
Choreography: Nacho Duato
Staging: Hilde Koch
Scenic Design: Walter Nobbe
Costume Design: Nacho Duato
Lighting Design: Nicolas Fischtel
Duration: 27 minutes
Premiere: February 27, 1990; Cullberg Ballet (Örebro, Sweden)
PNB Premiere: April 7, 1998

Nacho Duato choreographed Rassemblement (which means “gathering”) in 1990 for the Cullberg Ballet in Sweden. The work is inspired by and set to the songs of Haitian artist Toto Bissainthe, who offered this commentary on the music and the dance:

"These songs are mostly slaves’ songs from the Voodoo cult. They express the daily life of the slaves, their longing for Africa, not as a geographical reality, but as a mythical land of freedom. They express their resistance and their refusal: resistance against the colonial, refusal of his politics, his religion, his culture and his language.

“During the history of Haiti, the face of the master has often changed. Capitalism, developing in Haiti, has transformed the sense of Voodoo. The ethnographer came first, and then the tourist for whom folklore was produced with revived exotic excitement. Voodoo, which for the poor and exploited peasants had been a celebration of the African roots of their daily more unbearable way of life, became a ‘religion,’ one of the tools of power.

“The birth of Voodoo in a land of exile, the first common language among slaves of different ethnic backgrounds, was a vital creative moment, a cultural unification which was to transform the world: an opening for the confined. That is the moment we sing about. Using the traditional music of Haiti, we meet with other musical forms to open a way towards a contemporary music that knows no frontiers.

“…Rassemblement is a creation which gradually, through the liberating powers of music and dance, proves to be an impressive, thrilling, and audience-affecting human rights appeal.”

Notes compiled by Jeanie Thomas; edited by Doug Fullington, 2009.

http://www.pnb.org/Season/14-15/DirectorsChoice/#Details

Link to post

From the press release:

SEATTLE, WA – The curtain comes down on Pacific Northwest Ballet’s 42nd season with its annual Season Encore Performance, a crowd-pleasing reprise of some of PNB’s greatest hits. An evening of thrilling selections and inspired performances, the program will feature PNB’s entire Company, along with the mighty PNB Orchestra (now celebrating its 25th Anniversary) under the baton of Music Director/Principal Conductor Emil de Cou. The evening also celebrates the extraordinary careers of PNB’s departing dancers with George Balanchine’s Serenade and selections from his Jewels, the local premiere of a work by former PNB Company member Andrew Bartee, a sneak preview of Jessica Lang’s The Calling (to be presented as part of PNB’s 2015-2016 season) and others. The Season Encore Performance will be presented one night only, Sunday, June 7 at 6:30 pm at McCaw Hall, 321 Mercer Street at Seattle Center.


To watch the live broadcast of this event, visit PNB.org/Live on Sunday, June 7 at 6:30 pm (Pacific). Tickets to attend in person ($35 - $200) are available through the PNB Box Office: 206.441.2424, online at PNB.org, or in person at 301 Mercer Street at Seattle Center.


“The Encore Performance has become not only a favorite of mine but also of our audiences,” said PNB Artistic Director Peter Boal, when announcing the line-up for the one-night-only event. “The evening brims with excitement and emotion as we bid farewell to favorite artists and revisit cherished repertoire. With two PNB premieres, several retirements, the return of George Balanchine’s Serenade, and Carla Körbes’ final onstage moments, there won’t be a dry eye in the house.”

In addition to the previously announced departures of principal dancer Carla Körbes and corps de ballet dancer Brittany Reid, the Season Encore performance will be the audience’s chance to offer a fond farewell to soloist Kiyon Gaines, who will be leaving the Company and joining the PNB School as a faculty member. “Kiyon has been such a vital part of PNB for the last 14 years,” said Mr. Boal. “When I first met Kiyon, he was an eager teenager bouncing around the studio and nodding in agreement to every word I said. His infectious energy filled the room. What a pleasure it has been to watch him develop over the years, not only as a dancer, but as a choreographer and a person. Though Kiyon takes the stage for the last time as a member of this Company, we’re so grateful that he will join the Pacific Northwest Ballet School as a faculty member and continue to be a part of the institution.”

Other company members leaving PNB at the end of the season are corps de ballet dancers Raphael Bouchard, Jahna Frantziskonis, Eric Hipolito Jr., and Charles McCall.

Link to post

Rassemblement pas de deux (George Balanchine)

Elizabeth Murphy

Kiyon Gaines

Thanks for the clarification - this is why I was confused. I will most definitely be watching both this and the Tony's - should prove an interesting viewing experience! smilie_mondieu.gif

Link to post

At a Q&A tonight, Peter Boal said,

  • Gaines: retiring and joining PNB faculty and running the "Next Step" choreography program.
  • Reid: retiring and moving east to get married.
  • Frantziskonis: joining San Francisco Ballet
  • Hipolito Jr: joining Ballet Arizona
  • Bouchard: returning to his native Montreal to dance (no company named)
  • McCall: Boal was unsure
Link to post

Ugh. The ads. I was hoping this was going to stream on a different platform. It's just not worth it for me to pay for no ads.

I'm not getting any ads on mine and I haven't paid. I do have AdBlocker--perhaps you could try adding that to your browser?

Link to post

Got through Diamonds without an ad! I waited years to see Korbes in Diamonds at NYCB but was not able to travel to Seattle to see it there. Wonderful.

Link to post

I'm going to try.

It's not only that she hears her music telling her how to move, how to inhabit it, but she finds such life in it, a neophyte spectator might think there's a story here they're not quite getting - except she doesn't load that much onto it. Does that make any sense? Hints of a situation. Wow. Yes. Performances like this do pleasantly rob me of sense, sometimes, too...

Multiple technical difficulties here, too, by the way, but fortunately the peak of the program, what we're talking about, came through, and made the evening's tensions worthwhile.

Link to post

I found the evening so frustrating. Not planned of course, but Kelli O'Hara's big moment came EXACTLY at the Diamonds pdd. I was trying to watch both events (even though I dvred the Tonys, I wanted to be there) and constantly lowering or raising volume. Not a good plan I admit.

Ironically diamonds was the only section that was filmed well. If it could be done then, why was the rest of the stream such a technical mess? Most of the time the dancers looked like they were under a strobe light and serenade was so out of sync with the music that it was almost unbearable to watch.

Not a success. The 20th century called. They want their technology back.

Link to post

Blurry picture with little pinpricks of light constantly appearing and disappearing like twinkling stars; pop-ups, an ad, and warnings of more ads; video out of sync with the audio. And still, Korbes was breathtaking!

Link to post

I wonder whether in the 20th century this transmission would have been affordable to an organization like PNB. Not that they publicized it much. I looked at the PNB website front page, forgetting whether it was PNB or PBS, and nothing there (that I saw). I had to resort to an obscure ballet discussion board, Ballet-Something-or-Other!, to get a link.

And, how often are these transmissions done? I'd like to know in advance of the next one(s) so as to practice on my end of it. Maybe I could have done something about the wrong aspect ratio, for example: My picture was narrower than it should have been, so everybody looked weirdly spindly, but I was loath to experiment during my only chance, for possibly losing the whole thing.

(But the audio mix? Was the orchestra pickup lost after the first part? I got close-up applause - at the wrong times, often - but the orchestra sounded distant - also a problem when I sat in McCaw Hall last October, though.

Obviously that's controlled in Seattle, and if the audience is going to do that, that's another reason the orchestra needs to be stronger in the mix. Maybe even turn off the mike in the audience - unless that's the only one working, of course - while the music is playing? And make the transmission better than being there, in that respect!)

But oh, Carla Korbes! What people like you do for people like me!

If this is among PNB's first efforts, power to them, and may they keep trying.

Link to post

As far as I know, PNB has only done two feeds: the Forsythe Q&A/coaching session this past March and last night's Season Encore. PNB announced and publicized it on Facebook -- and maybe Instagram? -- and had a #CarlaLive twitter hashtag.

Link to post

This is still a new technology, even for the more experienced groups (like the Royal and the Bolshoi) that have been doing the live feed to cinemas for several years. I'm sorry for people who had too many ads and too many glitches, but I'm glad that the company is starting to work with this resource.

I'm very behind with the New Yorker, and so am only now reading a 2014 article about copyright, and one of the smartypants points that Louis Menand makes is that for many years all kinds of organizations have been creating and archiving materials, but the distribution technologies were so limited that issues of copyright (what they're allowed to distribute) that we weren't really too irritated at the restrictions. Now that we can see things so much more easily, we assume that the material should be right there, right now. It's going to take a while longer to get it all straightened out, I'm afraid.

Link to post

Because we were in the theater for both events, we didn't see them, but they were closer to the technology -- maybe even the same technology and platform -- as Works & Process. It is not the high-tech live in HD technology and format used in cinemas. It's closer to the single camera "archive" each performance, although digitally, not on tape.

Link to post

It is not the high-tech live in HD technology and format used in cinemas. It's closer to the single camera "archive" each performance, although digitally, not on tape.

And those can be even more of a crap shoot -- you get one chance, with minimal resources.

Link to post

I wonder whether in the 20th century this transmission would have been affordable to an organization like PNB.

But oh, Carla Korbes! What people like you do for people like me!

If this is among PNB's first efforts, power to them, and may they keep trying.

My attempt at dark humor. I'm amazed that in 2015 there would be a broadcast that rivaled my family's home movies from the 1950s in quality. If I were Peter Boal or another major PNB player I would be furious about this.

Carla korbes rocks my world. I considered going to Seattle to see this (full disclosure my son lives there and he was back east for a wedding to which we also went).

Link to post

My attempt at dark humor. I'm amazed that in 2015 there would be a broadcast that rivaled my family's home movies from the 1950s in quality. If I were Peter Boal or another major PNB player I would be furious about this.

Carla korbes rocks my world. I considered going to Seattle to see this (full disclosure my son lives there and he was back east for a wedding to which we also went).

Wow. Awkward sentence, that. If my son had been in Seattle yesterday, I would have been as well.

Link to post

Archived

This topic is now archived and is closed to further replies.

  • Recently Browsing   0 members

    No registered users viewing this page.

×
×
  • Create New...