Running from October 13-25, 2015 at The Joyce Theater, the José Limón International Dance Festival will assemble dance companies and colleges from 7 countries around the world to join Limón Dance Company in sharing 16 of Limón’s masterworks with a wider audience. Visit the Joyce Theater webpage here to purchase tickets.
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A very rare gem my daughter’s Ballet Teacher staged a long time ago in Russia, which many of my friends might enjoy! This is significantly important, to history, believe it or not, and dance.
Here is also a very bad translation of the Russian language text underneath the video-sometime after he left the Kirov and Novosibirsk Opera ballet….and before his degree in choreography. Wow.
“”Staging [or starring] Ilya Gaft, Honored Artist of Karelian Autonomous Soviet Socialist Republic.[Not sure, he is a very modest man] “”In 1952 he graduated from the performers faculty of the Leningrad Choreographic School, where training in the specialty “ballet dancer” adopted children, who in the year of receipt is executed, usually 10 years. [He was not adopted, but this means, I think, he was ‘accepted’ into the school where he stayed 10 years, so he might as well have been adopted] He was a ballet dancer [also] in the Karelian musical theater in Petrozavodskm [also, the Kirov and Novosibirsk, where he was Principal]. In 1967, he headed a group choreography at the Leningrad State Theatre “Music Hall” (without choreographer diploma); Gaft in 1970 graduated from the Department of choreography at the Leningrad Conservatory;”” ENJOY!
Ballet Ariel’s world premiere of “Vincent Van Gogh”
Ballet Ariel’s world premiere of ‘Vincent Van Gogh’ opens on Saturday, May 2nd at 7:30 pm and Sunday, May 3rd at 2:00 pm at the Lakewood Cultural Center. This dramatic ballet explores the turmoil and tragedy that marked the career of the genius artist Vincent Van Gogh. His unfulfilled love life and passionate follies are danced in a series of emotional duets. The tender and supportive relationship with his brother Theo is thoughtfully portrayed in the ballet. The tension in the ballet builds, while living together with Paul Gaugain in the south of France, he has his first episode of madness and self-mutilation. Choreographed by Ballet Ariel’s Director Ilena Norton, the ballet is danced to beautiful, original music by Israeli composer Irena Scalerica. Also on the program are excerpts from the gorgeous wedding scene in Act 3 of the classical ballet ‘Raymonda’, and the exciting, contemporary latin dance ‘Incantacion’ by former Colorado Ballet principal Gregory Gonzales. Ticket prices for the performance start at $20 and can be purchased at www.Lakewood.org/Tickets, 303-987-7845 or at the Lakewood Cultural Center Box Office, 470 S. Allison Parkway.
Irena Scalerica is a graduate of the Saint-Petersburg Conservatory and has won awards in the John Lennon international composer competition in 2001 and 2003. She has composed music for Vladimir Alenikov’s film the Princess War in 2013, which won 12 international film awards, and for Nariman Turebaev’s film Adventure in 2014. She has written music for three ballets, Van Gogh, Silver Goose, and Kambar Batyr. Her ballets combine classical and contemporary styles to create a complex and emotional expression of the story. This is the first time her ballet Van Gogh has been choreographed and presented by a ballet
Ballet San Jose Silicon Valley succeeds with ‘do-or-die’ fundraising effort
By Karen D’Souza
POSTED: 03/16/2015 06:00:07 AM PDT# COMMENTS| UPDATED: A DAY AGO
Ballet San Jose Silicon Valley successfully overshot its do-or-die fundraising goal over the weekend by almost $100,000. Many see it as a much-needed shot in the arm for the valley’s fragile art scene.
“The community does not want to lose another arts organization,” said Lisa Mallette, head of City Lights Theater Company. “People are willing to step up and ensure that this one remains strong and vital.”
The South Bay’s major resident dance company snagged $640,000, more than the $550,000 it needed to stay alive. With the emergency push behind it, ballet leaders said they intend to reboot its operation, including rebranding it: Silicon Valley Ballet.
Corps de Ballet members, from left, Alison Stroming, Grace Anne Powers and James Kopecky, practice during a company class taught by San Jose Ballet Artistic Director José Manuel Carreño, at Ballet San Jose in San Jose, Calif. on Tuesday, Jan. 14, 2014. (LiPo Ching/Bay Area News Group) ( LiPo Ching )
“This campaign proves that people care about the ballet as much as we do and it gives us the ramp we need to get out ahead of the situation,” said ballet CEO Alan Hineline. “Finally there is some good news for the arts in the South Bay. We believe the ballet can be a rallying point for the city and the downtown.”
Withhttp://extras.mnginteractive.com/live/media/site568/2015/0310/20150310__SJM-BALLET-0311~1_300.JPG many in the arts community still reeling over the loss of San Jose Rep, the fact that the ballet stayed afloat is the source of great relief. It was also seen as a vote of confidence that the valley, often knocked as an industry town interested only in high tech, also values the arts.
TEETERING ON THE EDGE
It’s also a refreshing outcome because it comes after a series of devastating losses in recent years.
The region has lost not only the Rep, which went under last year, but also Shakespeare Santa Cruz, which died in 2013 (before being reincarnated in a smaller form) and American Musical Theatre of San Jose, which perished in 2008.
Hineline, for one, has been pushing hard to buck the trend of local arts groups teetering on the edge.
“We know that the collapse of the Rep hurt everyone. A loss like that sends shock waves,” Hineline said. “We wanted to change that narrative, to change the ending of that story — and we did. Finally there is some good news for the arts in the South Bay.”
So, what made the ballet better positioned for survival than the Rep, which was also a beloved local institution?
One of the smartest moves the ballet made may have been making a public appeal over its fate, instead of slipping away quietly.
“The Rep went under without a word, which upset a lot of people,” said Andrew Bales, head of Symphony Silicon Valley. “The ballet made some noise and gave people a chance to have their say.”
Of course, this could be just a temporary reprieve. Ballet leaders must stay on their toes because there is another deadline looming. Company officials say they will need to raise $3.5 million by October to restructure the company’s business model and re-brand itself as Silicon Valley Ballet. The troupe, now led by ballet hotshot Jose Manuel Carreno, wants to raise its profile and reach out to a wider geographic audience.
The troubled company, which partnered with New York’s American Ballet Theatre in 2012, has weathered many fiscal crises over the years. Old debts have piled up, including a $500,000 tax bill, and the company’s biggest patron, John Fry, CEO of Fry’s Electronics, dialed back his patronage. The ballet has countered by cutting back, scrapping some performances and dropping live music accompaniment here and there. The budget for the organization, which includes 32 professional dancers and bustling school of 350 students, now stands at $5.6 million, down from a high of $8 million.
One of the most frustrating aspects of the harsh South Bay arts economy is the comparative wealth of groups in San Francisco and Berkeley. Yet local arts honchos suggest these struggles may simply be growing pains.
“The San Francisco art scene was built over 150 years, seeded in the Gold Rush,” said Randall King, head of San Jose Stage Company. “South Bay cultural resources have a relatively short history. We have built a competitive environment in a very limited timeline. We are younger, but no less valid or viable.”
Posted by Kristin Schwab on Friday, Mar 06, 2015 (reposted from Dance Magazine)
Ballet San Jose announced this week that it must raise $550,000 by March 14 to keep its doors open.
The company has a troubled past when it comes to leadership and funding. For instance, it sought out loans to help cover what critics more or less dubbed as over-ambitious seasons during the final decade of artistic director Dennis Nahat’s leadership. In 2013, former American Ballet Theatre dancer José Manuel Carreño was appointed AD. As we reported in our January 2014 feature, during his first season, the company’s prospects were looking up. Though Carreño had little to no experience running a company, his fame helped donations rise during the 2012–13 season and Ballet San Jose nearly broke even, compared to a $1 million operating loss in the previous year.
In a press release, BSJ said that if it is open come September 2015, the company will rebrand itself as Silicon Valley Ballet—a move to more closely identify itself with the neighboring tech community.
Photo Flash: First Look- Atlanta Ballet’s World Premiere Ballat Adaptation of Tennessee Williams’ CAMINO REAL
This spring, Atlanta Ballet will present the world premiere of a ballet based on “Camino Real” by Tennessee Williams, the renowned playwright who authored such American classics as “A Streetcar Named Desire” and “Cat on a Hot Tin Roof”. Choreographed by Atlanta Ballet choreographer in residence Helen Pickett, Williams’ “lost classic” of love, redemption and courage will debut March 20-22 at the Cobb Energy Performing Arts Centre. Check out pictures and renderings from the show below!
Inspired by Williams’ 1953 Broadway play of the same name, the story is told from the perspective of Kilroy, a character based on patriotic iconography from the WWII era. The young American soldier and onetime prizewinning boxer finds himself trapped in the surreal, dead-end town of Camino Real forced to grapple with mortality, the burning desire to connect and the will to live.
Through his journey to bring renewed hope to the town of lost souls, Kilroy meets a cast of unlikely characters from various periods of history and pop culture, such as Casanova, Esmeralda (The Hunchback of Notre Dame), Marguerite (The Lady of the Camellias), and Lord Byron, who together struggle to escape their fates.
“This is your classic good versus evil story,” said Pickett, whose adventure with the play began five years ago when her father handed down his copy from his college theater days, suggesting it would make a good ballet.
“I read it once and put it away, not understanding how I might tackle the content,” said Pickett. “A year later, I picked up the play again, and found my way into the story: focus on the characters first. Now, it is such a part of my reality, I can’t imagine how I will let go of these characters.”
Pickett announced the project shortly after accepting her residency with Atlanta Ballet in 2012 and has been working on the production ever since. Every aspect of the ballet, from the music to the costumes to the set design, has been a collaborative effort between Pickett and the team of artists she assembled.
To design the whimsical costumes, Pickett chose award-winning designer Sandra Woodall, who she has known since her days as a student with San Francisco Ballet. Woodall then introduced Pickett to lighting designer David Finn, whose commissions include Cirque du Soleil and numerous other major U.S. ballet companies. Finn then recommended set designer Emma Kingsbury, who he subsequently worked in tandem with on the scenic design. The rich, textured score, which Pickett has described as a character all its own, is the creation of composer Peter Salem.
“All of these people truly enjoy the art of collaboration,” said Pickett. “They are magnificent artists that bring all their ideas to the table. We are like mix masters; we just throw all of our concepts into the bowl and stir and filter. I am in love with each of them and their visions.”
The final layer of the creative process was the choreography- a collaboration as well with Atlanta Ballet’s full 23-member company. Pickett began working with the Company in September, devoting full days to rehearsal to ensure that the 75-minute ballet would be complete by its March premiere. By opening night, more than 300 rehearsal hours will have gone into bringing the production to stage.
To add to the theatricality, Pickett has also challenged several of the dancers to learn lines. Williams’ text – actual excerpts from the play – will be spoken by the principal characters throughout the ballet.
“It’s a new situation for them,” said Pickett in a 2014 interview with Creative Loafing. “But they are opening and unfolding in incredible ways. I wouldn’t have asked them to do this the first time we worked together. You have to build trust between you and the performer so that a person feels like they can open up, so cracks can happen in those walls, maybe even a breakthrough can happen.”
Atlanta Ballet’s world premiere of “Camino Real” will open at the Cobb Energy Performing Arts Centre on Friday, March 20 with a red carpet opening night. Three performances will follow, including the finale on Sunday, March 22.
Tickets start as low as $20 and are on sale now. To purchase tickets, visit http://www.atlantaballet.com or call 404-892-3303. For groups of ten or more, call Atlanta Ballet Group Sales at 404-873-5811, ext. 207.