Jump to content
The Traveling Ballerina

Coronavirus (COVID-19) Affects the Ballet World

Recommended Posts

If they continue social distancing, each piece of outerwear will have it's own seat, but those seats aren't used to rain gear.  (In Seattle, most people's rain gear that isn't checked rolls up into a ball and gets shoved under the seat.)

I can't tell if they sold seats to this, and/or if most of the audience was (mostly) people who worked for the theater and others in the Ensemble, so that they could iron out the logistics.  It was so 

I was blown away by some of the singing.  Having watched so many of their offerings, there were a lot of familiar names. I would pay $$$ for tickets to see that core four plus the Ensemble Despina in a production of Cosi, and happily.

Share this post


Link to post
Share on other sites

Judging by posts by one of the participants, it was a paying audience (€36), but only 100 tickets were made available. I noticed Dominique Meyer took a box seat.

I agree about the quality of the singing! During these past 3 months of streams, I've been consistently happiest with the singing out of Vienna. I'm glad the concert was called "Un'aura amorosa" because of how Josh Lovell, a first-year ensemble member from Canada, sang it. Oh my!

Share this post


Link to post
Share on other sites

My jaw is still on the floor after hearing Lovell :flowers:.

Edited to add:  What is in the water in British Columbia?  First Ben Heppner, now Lovell...

Share this post


Link to post
Share on other sites

NY Philharmonic has canceled all performances through Jan 5, 2021.

Share this post


Link to post
Share on other sites

Washington Performing Arts has created a series of PPV online performances (tapes of concerts they've presented in the recent past). For 2021. It appears that they aren't convinced that a 2020-21 season will take place.

Share this post


Link to post
Share on other sites
2 hours ago, YouOverThere said:

Washington Performing Arts has created a series of PPV online performances (tapes of concerts they've presented in the recent past). For 2021. It appears that they aren't convinced that a 2020-21 season will take place.

Oops, I misread the announcement. These apparently will be new performances (the Ballet Folklorico de Mexico de Amalia Hernandez is the only dance company).

Share this post


Link to post
Share on other sites
Posted (edited)

Germany must be doing something right if three theaters expect to open in August!

Here's their calendar: https://www.staatsballett-berlin.de/en/spielplan/18-6-2020/kalender

from Twitter:

After weeks of planning, we can finally announce an updated version of our 20/21 season! In Aug and Sep, we'll be back on stages of the Deutsche Oper Berlin, the Komische Oper Berlin and the Staatsoper Unter den Linden! We're looking forward to seeing you! http://staatsballett-berlin.de

 
 
 
Image
Edited by California

Share this post


Link to post
Share on other sites

NYCB has cancelled the Fall 2020 and Nutcracker seasons, according to the Times:

Quote

Because of concerns about the continuing threat of the coronavirus pandemic, New York City Ballet is canceling both its fall season and its popular holiday run of “The Nutcracker,” the company said on Thursday. The cancellation of “The Nutcracker” eliminates a major source of funding for the company as well as an annual event that for many has become emblematic of Christmastime in New York.

City Ballet has pushed its return, tentatively, to January 2021. The company said it was following the advice of government officials and medical professionals in determining that it would not be safe for large groups of people to gather in a theater or for artists to interact in close quarters through the end of the year. (Lincoln Center also announced on Thursday that it was canceling all fall events. The David H. Koch Theater, where the company performs, is on the Lincoln Center campus but is city-owned and operated independently by City Ballet.)

Unsurprising, but of course disappointing.

 

Share this post


Link to post
Share on other sites
On 6/18/2020 at 9:48 AM, California said:

Germany must be doing something right if three theaters expect to open in August!

Germany had a test developed and laboratories trained to process the results by the middle of February.

Share this post


Link to post
Share on other sites
Posted (edited)

I thought this was amusing - Conversations on Dance podcast with Rebecca King Ferraro and Michael Sean Breeden joined in a "Balanchine masterwork tournament":

"This week on the pod, Rebecca and Michael fill out a Balanchine masterwork tournament bracket to crown the ultimate Balanchine ballet. In March, two students at Indiana University sent us an email: they were missing March Madness and decided to create a bracket for Balanchine Masterworks as a fun activity for the dance department. They were kind enough to share their bracket with us. So today, we each fill out our bracket, share our results, and defend our choices. Our bracket discussion starts at time marker 16:00." (Otherwise they are talking about the quarantine and its effects on their world.)

https://conversationsondancepod.com/2020/05/01/balanchine-masterworks-tournament-bracket/

It does tend to prove that art can't really be subjected to a competition.

Edited by pherank

Share this post


Link to post
Share on other sites

My final four was Episodes vs. Chaconne in one semi and Symphony in C and Liebeslieder Walzer in the heart-breaking other semi.  (I call foul on the brackets in the first place.)  Sadly, although Liebeslieder is my favorite Balanchine ballet, and Symphony in C my second favorite, I just couldn't drop the Bizet, having listened to it since I was a kid, way before I knew Balanchine had made a ballet to it.  So Symphony in C beat out Episodes -- Breeden's least favorite leotard ballet, lol -- for the win.

Share this post


Link to post
Share on other sites

The Rome Opera will present a season of outdoor productions at the Circus Maximus beginning on July 16. It will include a new, physically distanced ballet by Giuliano Peparini to Vivaldi's Four Seasons.

 

Share this post


Link to post
Share on other sites

I don't know exactly where to post this, because it requires a donation of $20 to partipate, but:
 

 

Share this post


Link to post
Share on other sites

While this is from Vancouver Recital Society which presents classical musicians in multiple venues across the Vancouver area, this also impacts many small dance companies, who rely on touring, including the university circuits and regional performing art centers:

How are the managers managing?


Dear Friends,
 
I’d like to devote my thoughts this week to a group of individuals who are less visible to the concert-going public but who play a VITAL role in the delivery of great performances in venues large and small throughout the world. Much has been written about the fate of musicians whose livelihoods depend on delivering their art, and the organizations and venues which present them in communities around the globe, but there’s another group within the arts which has been severely hit by COVID-19: the managers and management companies who represent and advocate on behalf of artists.
 
When you sit in your seat, ready to enjoy a recital, opera, symphony performance, chamber or choral concert, you’re not necessarily thinking about all the steps that have taken place to deliver what you’re about to experience. And you don’t need to. You’ve given us your hard earned cash to experience something uplifting and gratifying. And we all do our very best to meet or (hopefully!) exceed your expectations. Sometimes we’re successful, sometimes less so.
 
Just as we at the VRS can never thank our supporters enough for having sustained us for 40 years, we also know that the artists’ managers and their companies have helped us to navigate and survive this wonderful world of concert presenting.
 
Over the years we've built remarkable and lasting relationships with many artists’ managers in various countries. They too take risks, especially when they sign new artists and invest time and money to help build their careers through a variety of networks. They believe in them, nurture them, and plan their courses of career-building very carefully. They advocate, find the bookings, plan the tours, and for this they get a commission. Well, as you can imagine, it’s tough going right now... no concerts, no commission. 
 
The managers, too, are juggling the already-dropped dates with the current and future dates which are in jeopardy. None of us knows what, if anything, is going to happen in the months ahead.
 
My heart goes out to my dear colleagues and friends who are managers, who had put in hours of work to get us to where we are now, only to find all those plans cancelled.
 
I’ve been extremely lucky to work with such a remarkable group of people and can only hope that we’ll all come through this together so that we can continue to bring the makers of magic to our stages.
 
Take care,

Leila Getz, C.M., O.B.C., DFA
Founder & Artistic Director

Share this post


Link to post
Share on other sites

Class for a Cause with Jason Ambrose
Join new SF Ballet School faculty member Jason Ambrose for the second Class for a Cause, benefiting the International Association of Blacks in Dance (IABD) Emergency Fund. Jason will teach two back-to-back classes on Sat, June 27 at 9 am (intermediate ages 11+) and 10:30 am PDT (advanced ages 15+). Suggested donation is $15/class and 100% of proceeds go to IABD. Register at Class for a Cause.

Share this post


Link to post
Share on other sites

This is purely personal, but after listening to tons of recorded live broadcasts from around the world over the last months, that the audiences have been coughing more than the Violettas and Mimis n their dying acts does not fill me with confidence about returning to the theater.  (That and wanting to virtually muffle the "bravo" guy in Vienna.)

Share this post


Link to post
Share on other sites

I think I know what you mean, Helene.

However, I wonder if this issue — one's annoyance at an audience coughing — might be connected as much to what we are aware of, as it is to the frequency of volume of coughing. I speak for myself, of course.

I have always preferred live music, theatre or whatever, over recordings; and it might be significant that a very high proportion of the recordings that I have bought are of live concerts. (I don't have a large library by any means.) When listening to them at home or wherever — away from the live performance in any event, I tend to be more aware of coughing than I am when I'm in the hall. In the hall, I often listen with my eyes closed — though not usually in the theatre for ballet or opera! But even so, I wonder if that awareness of coughing when outside the hall has something to do with my own levels of concentration on the sound, or with being less aware of the physical presence of the performers which, even when I'm listening with enormous concentration, is always part of the experience.

I don't know. These are just wondering thoughts.

Share this post


Link to post
Share on other sites

In general, when I'm there live, unless it's very close to me or really persistent, I don't even hear it.

Although I was once at an Andras Schiff recital where someone in the front row was coughing a lot when he walked in and was focusing before the start.  (I don't remember him starting to play, but he might have.) Schiff stood up, said something to the audience member that sound like -- when you're done, perhaps we can start -- and he exited the stage through the door to backstage.  As far as I could see, the front row guy didn't leave in shame, but Schiff waited a few minutes, and then came back and started the concert.

Share this post


Link to post
Share on other sites
16 minutes ago, Helene said:

In general, when I'm there live, unless it's very close to me or really persistent, I don't even hear it.

Yes, same here.

That's a good story about Andras Schiff. Thanks.

Share this post


Link to post
Share on other sites
1 hour ago, Helene said:

This is purely personal, but after listening to tons of recorded live broadcasts from around the world over the last months, that the audiences have been coughing more than the Violettas and Mimis n their dying acts does not fill me with confidence about returning to the theater.

Frankly, I'm astonished that opera companies thought it was appropriate to stream Traviata and Bohème during a pandemic, just as I was baffled by the proliferation of Dying Swans online, and the fact that balletic and operatic versions of Death in Venice were streamed by various theaters.

Interesting that today's Vienna State Opera gala featured an orchestra for the first time. The players weren't wearing masks and the string players were sharing music stands like in the old days. 

Share this post


Link to post
Share on other sites

There was some mask theater by Adam Fischer and a few of the players string seem to have them, and maybe one kept his on.  Fischer was also singing along, or at least mouthing along enthusiastically during the Nozze Act II Finale.  Armiliato did the handshake thing with two players on his entrance, too.

It's really getting bad when you start to recognize some of the recital gowns :) .

My favorite recent live event so far has been Stoyanova's recital the other day, but that's among some really wonderful singing.  

 

 

Share this post


Link to post
Share on other sites

There was an intermission as well, another element I thought had been discarded.

Share this post


Link to post
Share on other sites

Same here.  I'm not sure where the audience was allowed to move during it.

ETA: And Marco Armiliato kept kissing the women's hands, yikes.

Share this post


Link to post
Share on other sites

×
×
  • Create New...