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2021: Free Streaming during COVID-19 Crisis


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On 5/11/2021 at 6:36 PM, volcanohunter said:

In case you missed the online premiere, William Forsythe's The Barre Project (Blake Works II), with Tiler Peck, Lex Ishimoto, Roman Mejia and Brooklyn Mack, is available on the Sadler's Wells site until May 16. Apologies in advance if anyone encounters a geo-block.

https://www.sadlerswells.com/whats-on/2021/william-forsythe-and-cli-studios-the-barre-project/

Very worthwhile. I've never been a fan of WF's music choices - not really my idea of great dance music. One can count to it, I suppose, and so that's all that matters.

Blake Works II looks to be all about the ability to articulate the movements at breakneck speed without devolving into blurred and rounded forms.
We get still more of Tiler Peck's extraordinary precision, and aesthetic flexibility. And her incredible weightlessness. Each of the dancers do a pretty good job with this choreography, but only Peck manages to flit about like a hummingbird throughout.

I like the hand dance interludes. I'm not sure why there hasn't been more of that type of thing in the ballet world.

It was also good to hear about Forsythe's choreographic method/approach, and see him dancing some of his own steps. Although Tiler Peck does a better job of it.  😉 
And the rehearsal footage was fun: she who keeps the counts is master.

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Just announced by the Joyce Theatre: a free stream of a new work by Ratmansky for Whiteside and Boylston, available May 17 for one month:

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Photo by ioulex

The Joyce is delighted to bring together three of American Ballet Theatre’s biggest talents for the world premiere of Neo, an elegant and spirited duet. James Whiteside and Isabella Boylston take on their first post-quarantine collaboration with a world premiere work by American Ballet Theatre’s Artist-in-Residence Alexei Ratmansky.

Featuring live music by Sumie Kaneko and filmed live at The Joyce Theater, Neo begins its free 30-day streaming engagement on Monday, May 17 at 5pm ET. The piece will be accompanied by the latest installment of “Dancing Dialogues,” a Joyce panel discussion series, featuring Boylston, Kaneko, Ratmansky, and Whiteside. Moderated by Tony Award-winning director/choreographer and Joyce Theater Trustee Rob Ashford, they will delve into the creation of Neo.

Both programs can be enjoyed at joyce.org beginning on May 17 at 5pm ET.

Neo and “Dancing Dialogues” will be free to stream on-demand from May 17 at 5pm ET through Wednesday, June 16 at 11:59pm ET.

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Posted (edited)

The National Ballet of Canada in Balanchine's Apollo, with Brendan Saye, Svetlana Lunkina, Jeannine Haller and Calley Skalnik, and Tarantella, with Koto Ishihara and Skylar Campbell

 

Edited by volcanohunter
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Choo San Goh's Fives will be shown May 31. Some of us are old enough to remember when Mary Day brought him to the US to choreograph for the Washington Ballet in 1976. This was one of his best pieces and I'm thrilled it is being shown. 

https://goh-mageefoundation.org/bio.html

"We are thrilled to be closing the festival with an archival screening of pioneer Asian American choreographer Choo San Goh’s iconic “Fives,” presented by the Washington Ballet on May 31."

https://www.yellowface.org/10000-dreams

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From PNB's press release:

 

See the stars of tomorrow, online today!

Pacific Northwest Ballet and PNB School present NEXT STEP

June 4 – 18, 2021

PNB’s annual choreographic showcase of premieres, created by PNB Company dancers for Professional Division students, goes online in 2021.

SEATTLE, WA— NEXT STEP, Pacific Northwest Ballet’s annual choreographers’ showcase, goes online this year, with a cornucopia of choreography created by company members. As with everything else during this unmentionable year, NEXT STEP is being presented online, via PNB’s YouTube and Facebook channels. [See hyperlinks below.] The program launches Friday, June 4 at 7:00 pm PST and will be viewable for two weeks, through June 18, 2021. The line-up features five premieres from Christopher D’Ariano, Joshua Grant, Miles Pertl, Lucien Postlewaite, and Leah Terada. All works are set on the Professional Division students of PNB School – the dance stars of tomorrow, online today! The program is managed by PNB faculty member and choreographer Eva Stone.

 Intended as a vehicle for emerging dance talent both onstage and off, NEXT STEP provides dancers, studio space, and rehearsal time for company members who wish to hone their skills of choreography. It was conceived as a strategy to develop emerging choreographic talent, and as a channel for PNB School’s Professional Division students, talented young dance artists one step away from their professional careers, to participate in the creation of a new work.

“Five talented artists were selected for this year’s program with the clear understanding that the traditional live stage performance opportunity would shift to an online format,” said Program Coordinator Eva Stone. “NEXT STEP artists were asked to create a dance for film. With that in mind, these artists began a journey to explore their knowledge of dance in a vastly new and challenging form. After several sessions that included discussions about creative process, filming, editing, and artistic arc, the choreographers set off to define and build their artistic visions. 

“Creating art, specifically dance, during these current times can be some of the most difficult and frustrating experiences in a dance artist’s life. This project was extremely challenging due to the constraints of social distancing and COVID-19 protocols, but these incredible choreographers persevered and all five have created some of the best dance films I have seen all year. These films beautifully demonstrate the thriving spirit of dance, the indestructibility of hope and love, and offer windows to our shared humanity. This year’s NEXT STEP is an event not to be missed!”

The NEXT STEP line-up of new works includes:

Follower

Choreography and Videography: Christopher D’Ariano

Music: Thomas Nickell & Fiona Stocks-Lyons

Support for Christopher D’Ariano’s Follower was provided by Dr. Joe G. Norman and Young Patrons Circle.

 

Bright Young Things

Choreography and Videography: Joshua Grant

Music: William Lin-Yee

Support for Joshua Grant’s Bright Young Things was provided by Dr. Frank & Lynn Lindsay.

 

Grow to Give, Give to Grow

A Film by Miles Pertl

Movement and Creation by the cast

Music: Tomi Oladunjoye

Spoken Word Improvisation: Brian Pertl and Leila Ramagopal Pertl

Videography: Sydney M. Pertl, Miles Pertl, and Leah Terada

Support for Miles Pertl’s Grow to Give, Give to Grow was provided by T.R. Ko.

 

this is Us, now

Choreography and Film Direction: Lucien Postlewaite

Music: Olafur Arnalds; Jóhan Jóhannsson; Laura Karpman and Raphael Saadiq; Max Richter, Daniel Hope, and Jachen Carls

Videography and Editing: Noel Pederson

Support for Lucien Postlewaite’s this is Us, now was provided by Kathy Alvord Gerlich.

 

On Being

Choreography and Direction: Leah Terada

Seattle Videography: Leah Terada, Miles Pertl

Chicago Videography: Jaryd Jensen, Andre Alabastro

Editors: Leah Terada, Jaryd Jensen

Music: Cosmo Sheldrake, Oleg Stepanov

Lighting Design: Reed Nakayama

Costume Design: PNB Costume Shop in collaboration with Marilyn Burbank and Leah Terada

Support for Leah Terada’s On Being was provided by Levke Haas and Young Patrons Circle. Special thanks to Irene Terada, Eva Stone, Sydney M. Pertl, and John Baloy. Sections of On Being were developed while in residence at On the Boards in April 2021. It is through their generosity and commitment to the arts that this project was made possible.

 

ACCESS INFORMATION

 

All NEXT STEP works will be available for viewing from 7:00 pm (PST) on Friday, June 4 through June 18 on PNB’s YouTube page (YouTube.com/PacificNorthwestBallet) and Facebook (Facebook.com/PNBallet). For questions or further information, please contact the PNB Box Office, 206.441.2424 or online 24/7 at PNB.org.

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The Vienna State Ballet stream is worth watching.  It's always interesting to see what companies outside NYC do with Robbins.  I think from cross-referencing to the Wiener Staatsoper website photos page, the alpha order in the credits is coincidental.  Based on that, I really liked Fiona McGee,  the woman in green, for her energy and phrasing, and Nina Polakova, in the central pas de deux.  Polakova's performance was pure legato and control, and she seemed to be conveying a mature conversation.    That was a pas I rewatched multiple times after I watched it through the first time.

The corps got the steps, but not the pulse and precipitousness.  This was most obvious in the "basketball" plies in the first part.  I have to feel that the person dribbling the ball and stopping for a second could pounce in any direction.  I was also so taken by Polakova that, at the end, I had to remind myself that I wasn't distracted at all by the line of women at the back of the stage, one of the few things I've ever seen that made me want to jump in and dance along.  I watched for a few seconds, but, no, I didn't see the push-pull there, either.  Some of the men kind of got it in the last movement, but after the last Met production, I think the jugglers physicalized the music from Akhnaten best.

I'm not a fan of Duo Concertante, aside from the music: I find it contrived in multiple ways.  Nonetheless, I really liked Konovalova.  The problem with the male part is that it was made for Peter Martins, who didn't have a lot of movement in his upper body, and when a dancer like Kimoto dances it full-bodied, it looks too busy to me. It's not his dancing, but something built into the role, to my eyes.

I heartily dislike Groucho Marx and misogyny, so most of The Concert is lost on me, but, as infuriating as it is to have to see the ballet to get to this part, my favorite Robbins is the "umbrella" Prelude (in E minor).  For some reason, the person who decided what camera to air towards the end of it thought that getting fancy was best. :wallbash:.

I'm least familiar with Suite of Dances and need to watch it a few more times.  Dato danced it a bit placidly.  I know it was made for Baryshnikov, which makes me think the dynamic intention was different, but I don't remember having seen it before, and I think I would have remembered if I'd seen Baryshnikov dance it.  (I was still in NYC when he premiered it.)

 

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Posted (edited)
4 hours ago, Helene said:

The Vienna State Ballet stream is worth watching.  It's always interesting to see what companies outside NYC do with Robbins. 

I heartily dislike Groucho Marx and misogyny, so most of The Concert is lost on me, but, as infuriating as it is to have to see the ballet to get to this part, my favorite Robbins is the "umbrella" Prelude (in E minor).  For some reason, the person who decided what camera to air towards the end of it thought that getting fancy was best.

 

 

I have to agree with you, Helene, about the misogyny. As clever as I find some of it, and I really do, other parts, regrettably, leave me cold to the point of dismissing it all.
 

Edited by Buddy
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On 5/27/2021 at 9:49 AM, California said:

Choo San Goh's Fives will be shown May 31. Some of us are old enough to remember when Mary Day brought him to the US to choreograph for the Washington Ballet in 1976. This was one of his best pieces and I'm thrilled it is being shown. 

https://goh-mageefoundation.org/bio.html

"We are thrilled to be closing the festival with an archival screening of pioneer Asian American choreographer Choo San Goh’s iconic “Fives,” presented by the Washington Ballet on May 31."

https://www.yellowface.org/10000-dreams

Do take a look at Choo San Goh's Fives, showing today only: https://vimeo.com/533274994/8e647d9ec1

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Turnpike

Dal Saggio Spettacolo della Scuola di Danza del Teatro dell’Opera di Roma registrato il 7 luglio 2019 al Teatro Costanzi

Musica Johann Sebastian Bach

COREOGRAFIA Mauro Bigonzetti

 

Edited by sofiabn
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Save the date:

Friday, June 18—Thursday, June 24, 2021

SF Ballet School 2021 Virtual Festival on SF BALLET @ HOME

Access is free; a $29 donation is suggested. Access to the Virtual Festival is valid for a consecutive 72-hour period during the run of this program and begins from first play. All access will expire on June 24 at 9 pm.

Hosted by SF Ballet School Trainees Zoe Lucich and Teague Applegate, the evening's highly-anticipated program, curated by SF Ballet School Director Patrick Armand, will showcase the dedication and talent of the School's students. The festival program will feature class observations as well as three newly captured performances by the San Francisco Ballet School Trainees: two world premieres by SF Ballet School Faculty members—Dana Genshaft's Future Paper and Viktor Plotnikov's Graces—and the SF Ballet School premiere of Sir Frederick Ashton's Pas de Quatre from Swan Lake. Carrie Kaufman chairs the event.

REGISTER

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11 hours ago, California said:

NYCB Vienna Waltzes free on YouTube through June 17

I've been thrilled that NYCB has been posting archival recordings, but in this case the tinny sound and single camera really blunted the ballet's impact. :(

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Posted (edited)
3 hours ago, volcanohunter said:

I've been thrilled that NYCB has been posting archival recordings, but in this case the tinny sound and single camera really blunted the ballet's impact. :(

Hmmm. Different strokes / Different folks. I actually breathed a sigh of relief regarding camera work! For Vienna Waltzes in particular, I appreciated being able to see most of the stage most of the time, with the occasional zoom when it mattered, and a bit of tracking for the entrances. (I think one or two of the latter might have been flubbed, but I'll have to check ...) There was plenty of air around the dancers, even on this ballet's very busy stage. 

As for the sound? Well, nothing sounds its best on my computer's speakers, but I might have noticed it more if I watched it on my TV.

ETA: "Flubbed" refers to the camera tracking, not the dancers' entrances.

Edited by Kathleen O'Connell
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I certainly wasn't hoping for skycam, but one camera for medium shots and another for a wide shot would have been nice. In particular the transition from Kowroski's solo exit to the entrance of the whirling couples was, um, clumsy. Had I been watching on a computer, the figures on the screen probably would have appeared larger and clearer than they ended up looking on my TV.

But the music was really disappointing, not just because of the thin recorded sound, but also because there was quite a lot of flat playing, particularly in the Lehar.

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3 hours ago, volcanohunter said:

In particular the transition from Kowroski's solo exit to the entrance of the whirling couples was, um, clumsy.

That was my one big disappointment with the camera work. The moment when the lights come on and the crowd enters from the side is always so exciting in the theater, and it was lost because the camera was watching Kowroski exit.

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5 minutes ago, California said:

That was my one big disappointment with the camera work. The moment when the lights come on and the crowd enters from the side is always so exciting in the theater, and it was lost because the camera was watching Kowroski exit.

Me too...me three. I thought, "Hurry! Move the camera to the left to catch the corps sweeping in!" Despite this, I am delighted with the current stream of Vienna Waltzes from NYCB. Between this and the beloved 1983 PBS telecast-film, ballet fans now have two records of this exquisite Balanchine work, which is performed only by NYCB. The 1983 telecast often focused on principals, missing some interesting corps work, so no complaints here.

Hint of a potential filming/streaming of another rare Balanchine work in this genre:  the Vienna Staatsoper Ballet today announced that its upcoming 2021/22 season will include Liebeslieder Walzer. The Vienna troupe has, even before COVID, made its  productions available online, for a fee.

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2 hours ago, California said:

That was my one big disappointment with the camera work. The moment when the lights come on and the crowd enters from the side is always so exciting in the theater, and it was lost because the camera was watching Kowroski exit.

I had to laugh (ruefully) asI read this. As you probably have seen, there is footage of Farrell’ in the role and her exit at that moment was SO extraordinary, I was eager to see if the camera captured even a whiff of it. Alas no—the camera cuts away to show instead the swirl of couples as the crowd enters, so you can’t get any sense of what Farrell did with that moment....and I will never not be unhappy about that! 

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:offtopic: At the beginning of the season the Vienna State Opera announced it would no longer be running a paid streaming service. Granted, the theater was plunged into a repeat lockdown pretty quickly, and its migration to the (paid) Fidelio platform was delayed. But the mostly Robbins program streamed last weekend was free of charge.

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Posted (edited)
5 hours ago, volcanohunter said:

But the music was really disappointing, not just because of the thin recorded sound, but also because there was quite a lot of flat playing, particularly in the Lehar.

Well, yes, there's that. The opening of the Léhar section (the main theme in particular) is ... undistinguished. 

Edited by Kathleen O'Connell
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