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2021: Free Streaming during COVID-19 Crisis

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naomikage

naomikage

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National Ballet of Japan’s documentary “The Nutcracker and the Mouse King-Behind the scenes” a 78 min long video is available for free, with English subtitles. 
Foreword from Miyako Yoshida, interviews, rehearsals and backstage footage, documentary of how the company managed to have 9 performances of Nutcracker under the Covid-19 pandemic. 


https://vimeo.com/503423287

 

 

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volcanohunter

volcanohunter

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The National Ballet of Canada in excerpts from John Neumeier's A Streetcar Named Desire (with Sonia Rodriguez, Evan McKie, Skylar Campbell and Francesco Gabriele Frola), The Seagull (with Rodriguez and Guillaume Côté) and Nijinsky (with Côté, Heather Ogden and Keiichi Hirano)

 

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naomikage

naomikage

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National Ballet of Ukraine (Kyiv Ballet) The Snow Queen full performance is available. 

Gerda：Tetiana Lozova

Kai：Mykyta Sukhorukov

The Snow Queen：Olga Skrypchenko

Mistress of the magical garden：Liudmyla Melnyk

Magic kingdom Crow：Olga Kifyak

Raven：Dmytro Chebotar

Princess：Oksana Sira

Prince：Andrii Gavryshkiv

Bandit：Kateryna Didenko Vitalii Netrunenko

Conductor：Oleksii Baklan

National Opera Theatre of Ukraine Orchestra

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Jack Reed

Jack Reed

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Ballet Chicago's Virtual Spring Season, February 27 - March 28, 2021

 

Ballet Chicago, a fine local school run by Daniel Duell, who danced in Balanchine's NYCB, and his wife, Patricia Blair, who danced in the Eglevsky Ballet on Long Island when Edward Villella was "Artistic Advisor," has put together seven programs, compiled from their archive videos, going as far back as 1998, I believe.  One program, observing Black History month, is already underway:  The programs are available on Zoom and YouTube, starting on a weekend and running through the following week.  Some look a little short, about 30-45 minutes.
 
Here's a special link to that first program, where Duell's own Ellington Suite begins at 24:54, and which is supposed to be on YouTube until 7 PM Friday March 5:
 
 
Here's a link to their February Newsletter, with details about halfway down the page, including buttons to click to take you to the video or to contribute, which is optional.  Note that you can watch the videos for nothing, although, ballet school that they are, they do ask for donations, like, $20 per show.  Good ballet school that they are, they're to my taste in ballet, even in their "house-made" dances, because I like to see what I hear, and they're seriously pre-professional about their training; I wouldn't bother with them myself otherwise:
 
 
And some of the repertory is of the best, in my opinion:  Note that the second program consists of two Balanchine ballets, Concerto Barocco, to Bach's "Concerto for Two Violins" and Divertimento No.15, to (most of) Mozart's Divertimento in Bb for Horn and Strings, K. 287;  the sixth one concludes with (most of) his Gershwin ballet, Who Cares?, and the seventh with his half-hour distillation, based mostly on the original Acts II and IV, of Swan Lake.  (These performances by the Ballet Chicago Studio Company meet the standards of the Balanchine Trust and are presented with their permission.  They took place in the Harris Theater for Music and Dance in downtown Chicago.)
 
The more "in house" programs four, five and six have some narrative dances by Artistic Director Dan Duell, Hansel and Gretel, and B.C.'s Resident Choreographer Ted Seymour; in program five Seymour uses much of Beethoven's music for "The Creatures of Prometheus," rarely choreographed, with another ballet to Ravel's homage to an older composer, "Le Tombeau de Couperin".
 
The quality of the video is bound to vary from piece to piece, reflecting Ballet Chicago's tight budget and our times, but I hope you find enough to enjoy.
Edited by Jack Reed
mainly to delete my mistaken assertion that the Coppelia Act III was Balanchine's; it's Duell's
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Buddy

Buddy

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On 3/4/2021 at 1:27 PM, Jack Reed said:

Ballet Chicago's Virtual Spring Season, February 27 - March 28, 2021

 

Ballet Chicago, a fine local school run by Daniel Duell, who danced in Balanchine's NYCB, and his wife, Patricia Blair, who danced in the Eglevsky Ballet on Long Island when Edward Villella was "Artistic Advisor," has put together seven programs, compiled from their archive videos, going as far back as 1998, I believe.  One program, observing Black History month, is already underway:  The programs are available on Zoom and YouTube, starting on a weekend and running through the following week.  Some look a little short, about 30-45 minutes.
 
Here's a special link to that first program, where Duell's own Ellington Suite begins at 24:54, and which is supposed to be on YouTube until 7 PM Friday March 5:
 
 
Here's a link to their February Newsletter, with details about halfway down the page, including buttons to click to take you to the video or to contribute, which is optional.  Note that you can watch the videos for nothing, although, ballet school that they are, they do ask for donations, like, $20 per show.  Good ballet school that they are, they're to my taste in ballet, even in their "house-made" dances, because I like to see what I hear, and they're seriously pre-professional about their training; I wouldn't bother with them myself otherwise:
 
 
And some of the repertory is of the best, in my opinion:  Note that the second program consists of two Balanchine ballets, Concerto Barocco, to Bach's "Concerto for Two Violins" and Divertimento No.15, to (most of) Mozart's Divertimento in Bb for Horn and Strings, K. 287;  the sixth one concludes with (most of) his Gershwin ballet, Who Cares?, and the seventh with his half-hour distillation, based mostly on the original Acts II and IV, of Swan Lake.  (These performances by the Ballet Chicago Studio Company meet the standards of the Balanchine Trust and are presented with their permission.  They took place in the Harris Theater for Music and Dance in downtown Chicago.)
 
The more "in house" programs four, five and six have some narrative dances by Artistic Director Dan Duell, Hansel and Gretel, and B.C.'s Resident Choreographer Ted Seymour; in program five Seymour uses much of Beethoven's music for "The Creatures of Prometheus," rarely choreographed, with another ballet to Ravel's homage to an older composer, "Le Tombeau de Couperin".
 
The quality of the video is bound to vary from piece to piece, reflecting Ballet Chicago's tight budget and our times, but I hope you find enough to enjoy.

Thanks, Jack, for posting this. I'm enjoying these young dancers-students very much. I've watched George Balanchine's Concerto Barocco several times, primarily to see Simone Messmer, (and am now watching Divertimento No.15)  but am liking all the young dancers very much as well. They give new life and enjoyment to these George Balanchine classics.

Here's Concerto Barocco and Divertimento No.15 that can be viewed through next Friday. Thanks to Canbelto for finding this.

 

Another post discussing this can be seen here starting halfway down the page. Also donation information is given there.

https://balletalert.invisionzone.com/topic/39519-simone-messmer/page/4/

Edited by Buddy
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Buddy

Buddy

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De plus --  Jack, Simone Messmer and Ballet Chicago just made their Paris debut. I posted the above at the Dansomanie ballet forum, Paris, France.  🙂

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Jack Reed

Jack Reed

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22 hours ago, Buddy said:

... I'm enjoying these young dancers-students very much. I've watched George Balanchine's Concerto Barocco several times, primarily to see Simone Messmer, (and am now watching Divertimento No.15)  but am liking all the young dancers very much as well. They give new life and enjoyment to these George Balanchine classics.

That's the kind of life and enjoyment we got every night (and twice on weekend afternoons) from Balanchine's New York City Ballet, only more so, as the dancers were a little older, a little longer in their development under his supervision, and so, a little stronger than these Ballet Chicago dancers.  A member of what NYCB's marketing department called the "Old Audience" in the mid '80's, I saw hundreds of performances of his company between January 1973 and May 1986, because I had to:  I had figured out around 1970, when NYCB stopped coming to Chicago for a week in Summer, that something was missing from my life, and that I might find it in New York. 

It's partly because these Ballet-Chicago dancer-students are students, but I think it's also because of their teaching from dancers who danced for Balanchine (or for Villella, or Farrell), that, even though they are secure in their steps and moves, they continue to explore how these movements fit what they hear.  At any rate, that's the way it looks. That's fresh life, that gives enjoyment, otherwise it's dry.

And rare, on stage anymore.  And it may be - we speculate on this sometimes - why a forthright dancer, Messmer, keeps moving on, wanting to dance Balanchine, wanting to find an environment like he provided to grow and be nurtured in.  And to nurture others in that way:  She is often listed among the teachers in B.C.'s Summer programs.

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nanushka

nanushka

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36 minutes ago, Helene said:

Ballet West's Diamonds is up through Friday, March 12 at 4pm MST according to the email I just received from the Company.  It's the final offering of the Winter Streaming series.

Thanks, @Helene. The email says it's up already, though? It doesn't appear to be on their YouTube page, where the others have been available.

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California

California

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1 hour ago, nanushka said:

Thanks, @Helene. The email says it's up already, though? It doesn't appear to be on their YouTube page, where the others have been available.

Diamond also is not on their Facebook page: https://www.facebook.com/BalletWest1

Nor on their YouTube subscription page: https://www.youtube.com/user/BalletWestUtah/videos

The company's web site says Diamonds is March 5 for a week: https://balletwest.org/news/winter-streaming-the-best-of-ballet-west

If it appears and somebody finds it, please post the link. Thanks!

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Buddy

Buddy

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4 hours ago, Jack Reed said:

That's the kind of life and enjoyment we got every night (and twice on weekend afternoons) from Balanchine's New York City Ballet, only more so, as the dancers were a little older, a little longer in their development under his supervision, and so, a little stronger than these Ballet Chicago dancers.  A member of what NYCB's marketing department called the "Old Audience" in the mid '80's, I saw hundreds of performances of his company between January 1973 and May 1986, because I had to:  I had figured out around 1970, when NYCB stopped coming to Chicago for a week in Summer, that something was missing from my life, and that I might find it in New York. 

 

Sounds like time very well used and enjoyed.

Thanks, Jack.

Also glad to read that Simone Messmer is among the teachers during the summer at Ballet Chicago.

Edited by Buddy
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