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beat that! Millepied’s plans for the Paris Opéra

February 13, 2015 AFB Leave a comment

REPOSTED FROM DANCING TIMES

Millepied’s plans for the Paris Opéra : Wednesday, 04 February 2015

Benjamin Millepied has announced plans for the 2015–16 season of the Paris Opéra Ballet, the first he has programmed as director. It’s an ambitious season, with many new works, including one by new associate choreographer William Forsythe and a new production of The Nutcracker, to be choreographed by Arthur Pita, Sidi Larbi Cherkaoui, Liam Scarlett, Edouard Lock and Millepied.

Millepied announced his season alongside Stéphane Lissner, who has been general director of the Opéra since July 2014: the two leaders promise a new level of cooperation between the ballet and opera companies. The new Nutcracker will be performed as a double bill with Tchaikovsky’s opera Iolanta – as these works were performed together at their premiere in 1892. The five choreographers will create separate scenes for the new production.

Millepied has also commissioned new works from Justin Peck, Wayne McGregor, Jérôme Bel and himself. Peck’s work will be danced to Poulenc’s Concerto for Two Pianos and Orchestra, with designs by artist John Baldassari. McGregor’s piece will be set to Pierre Boulez’s Anthème II as part of an evening celebrating the composer.

Millepied, who danced at New York City Ballet (NYCB) from 1995 to 2011, brings an American slant with some of his programming. The season will include Balanchine’s Theme and Variations, Duo Concertant and Brahms-Schönberg Quartet, Jerome Robbins’ Opus 19/The Dreamer, Goldberg Variations and Other Dances. Justin Peck, the resident choreographer at NYCB, is represented by In Creases as well as his new commission; Christopher Wheeldon’s Polyphonia, created for NYCB, also joins the repertoire. The season will also include company premieres by Anne Teresa De Keersmaeker, Alexei Ratmansky and Maguy Marin.

There are just three evening-length revivals: Giselle and Rudolf Nureyev’s productions of Romeo and Juliet and La Bayadère. There will also be works staged in the foyer of the Opéra Garnier. Choreographer Boris Charmatz will stage a new event to open the season, with 20 dancers performing solos from the 20th-century repertoire in the public spaces of the Opéra Garnier.

Millepied and Lissner also announced a new digital platform, “3e Scene”, or “Third Stage”. Hosted on the Paris Opéra website, this will present new work by composers, choreographers, directors, visual artists, filmmakers and writers. There will also be a new Paris Opéra Academy, which will offer residencies to young choreographers from inside and outside the company. The choreographers will be mentored by William Forsythe. Millepied told the New York Times that the academy aimed to teach dance-making as a craft. “We won’t necessarily discover more geniuses, but there will be more competence,” he said. “Composers learn the principles of harmony, counterpoint, technique, and choreography is no different.”

Millepied has also announced touring plans, and works scheduled for later seasons. The company will visit one French city each season, touring to Brest in the 2015–16 season. Major tours to the US are being planned. Guest companies at the Paris Opéra will include Anne Teresa De Keersmaeker’s Rosas, Batsheva Dance Company and English National Ballet, who dance Le Corsaire at the Opéra Garnier in June 2016.

Looking ahead, Millepied has commissioned an evening-length work from Alexei Ratmansky for the 2016–17 season. He also expects to schedule some work by the iconic modern dance choreographer Merce Cunningham. At the press conference, critic Laura Capelle reports, Millepied explained that he had almost left NYCB to dance for the Cunningham company.

Performances for the Paris Opéra Ballet’s 2015-16 season are now on sale.

Picture: Benjamin Millepied at the Opéra Garnier. Photograph: Julien Benhamou

via Millepied’s plans for the Paris Opéra.

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Sidi Larbi Cherkaoui to direct Royal Ballet Flanders

February 13, 2015 AFB Leave a comment

REPOSTED FROM DANCING TIMES Sidi Larbi Cherkaoui to direct Royal Ballet Flanders: Wednesday, 04 February 2015

Choreographer Sidi Larbi Cherkaoui is to be the new artistic director of Royal Ballet Flanders, it was announced on February 4. Cherkaoui will take up his post on September 1, 2015, with Tamas Moricz as his associate artistic director.

Cherakaoui joins the company after a series of upheavals. In 2012, director Kathryn Bennetts left Royal Ballet Flanders after clashing with Flemish culture minister Joke Scahuviliege; her successor, Assis Carreiro, left abruptly in 2014.

As a contemporary choreographer taking over a classical ballet company, Cherkaoui has said that “The course I will be seeking to pursue with the company is one of reconciliation”. Tamas Moricz said: “We want to take Royal Ballet Flanders to a new and inspiring place in the world of dance. We both share the aim of allowing dancers to maintain their firm classical background by continuing classical training and repertoire, while also bringing the company into a contemporary space. Classical ballet and contemporary dance can exist alongside each other, and that is the situation at present. Our aim is to draw both these worlds into a creative hub within this company.”

Cherkaoui praised the company’s achievements: “As a contemporary choreographer who was born in Antwerp, I have been following the development of Royal Ballet Flanders for 20 years now. The talent, technical virtuosity, sensitivity and musicality of its dancers have always inspired me, so it was an honour for me to share a piece from my own repertoire with the company last season. Faun [as part of Diaghilev Unbound, 2013–2014 season] was a first step towards an exchange of repertoire with the ballet company.

“For the past ten years, as well as developing my contemporary choreography work I have also worked with foreign ballet companies every year… Through all these experiences I have gained the confidence and energy that I will need in the role of artistic director at Royal Ballet Flanders…

“For a number of years there has been a constantly growing exchange between the different dance disciplines, as classical ballet and contemporary dance increasingly complement each other. Although there is always a key idea running through the content of my work, what I am able to achieve with ballet dancers in terms of form and technique is very different from my work with contemporary dancers. I am therefore looking forward to seeing these differences evolve further in future.

“At Eastman I open up specific themes that allow contemporary dancers to translate them into earthbound gestures with strong contrasts and an animalistic flexibility, but in ballet I can develop feather-light pointe movements to draw outlines in space in a more calligraphic way. In time, I also want to be able to reverse those ‘differences’; I find it exciting to let the two worlds flow into one another without losing any of their fascinating differences or nuances.

“I am not making this move to Royal Ballet Flanders alone. I am bringing with me Tamas Moricz as my right hand man: a highly talented dancer and dance teacher who has himself danced for many years in performances created by William Forsythe. Together with him I will be working out the future direction for the ballet. That direction will respect its history while also cherishing the ambition to open up new paths. Eastman will still be my contemporary company. Organic exchanges with Royal Ballet Flanders will of course develop, but I am definitely not going to force that.”

Picture: Sidi Larbi Cherkaou. Photograph: Koen Broos

via Sidi Larbi Cherkaoui to direct Royal Ballet Flanders.

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$5 Million to Benefit New York Dance – NYTimes.com

January 12, 2015 AFB Leave a comment

Dance

$5 Million to Benefit New York Dance

JAN. 11, 2015

Arts, Briefly

Compiled by LORI HOLCOMB-HOLLAND

The Harkness Foundation for Dance announced on Sunday that it would distribute $5 million in grants over the next decade to five organizations that support dance. The recipients are the Brooklyn Academy of Music, the Joyce Theater, City Center, the 92nd Street Y and the NYU Langone Medical Center’s Hospital for Joint Diseases, which houses the Harkness Center for Dance Injuries. Each organization will receive $1 million, making this the foundation’s largest grant to date. Plans for the funding include support for dance presentation at the academy; a new performance series at the Joyce; renovations at City Center; a new residency program at the 92Y; a new boardroom at the Hospital for Joint Diseases; and the development of online courses about dance injuries and treatment.

via $5 Million to Benefit New York Dance – NYTimes.com.

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NEW! Marcelo Gomes Scholarship at Harid Conservatory ($25,000)

January 10, 2015 AFB Leave a comment

The Harid Conservatory

11 hrs ·

BIG news! Please share…

HARID Conservatory Announces $25,000
Marcelo Gomes Scholarship Program

The HARID Conservatory recently announced an exciting new initiative to support the training of male dancers. The Marcelo Gomes Scholarship Program will provide a number of qualified finalists the opportunity to attend HARID’s four-week Summer School on full scholarship. During the Summer School, they will compete for a grand prize: the Marcelo Gomes Scholarship. The Scholarship will support the winner’s continued studies at the school during the 2015–16 academic year.

Each of the Program finalists will receive an award valued at $3,200 to cover his tuition, room, and board at HARID’s Summer School. The Marcelo Gomes Scholarship, valued at $6,000, will offset the winner’s fees for room and board during the academic year. (All students study tuition free at HARID during the academic year.)

HARID director, Gordon Wright, stated, “We are pleased to name this new scholarship initiative in honor of Marcelo Gomes, one of HARID’s most-distinguished alumni. Marcelo has enjoyed an esteemed career as a principal artist with American Ballet Theatre in New York City. He is revered worldwide for his technical expertise, artistic sensibility, and his exceptional abilities as a partner. Being named the winner of a scholarship bearing Marcelo’s name will be a tremendous honor and a feather in the cap of any young male dancer.”

Male dance students 13–16 years of age are invited to apply to the Marcelo Gomes Scholarship Program by attending a HARID Summer School audition in January or February (www.harid.edu/auditions), or by submitting an electronic application on or before February 15, 2015. Electronic application requirements include a video presentation of class work and a personal statement. Visit www.harid.edu/marcelo-gomes-scholarship for details. The finalists will be selected by a jury comprised of HARID’s director and ballet faculty. The winner of the Marcelo Gomes Scholarship will be announced at the conclusion of Summer School.

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Marcelo Gomes left his native Brazil at age fourteen to enroll at The HARID Conservatory. While a student at the school, he competed at the Prix de Lausanne international ballet competition. There, he was awarded the Hope Prize in recognition of his significant potential. After graduating from HARID, Marcelo spent an additional year studying at the Paris Opera Ballet School and was then asked to join American Ballet Theatre. He was soon promoted to soloist and, just two years later, he was made a principal dancer of the Company.

Most balletomanes know that Marcel Gomes was (in part) a product of the famed Harid Conservatory in FL, and the prodigal son has returned to endow the school with the well-spent fund in hopes of assisting male dancers to their dreams of becoming ballet dancers. This is an amazing endowment (from a dancer). Called putting your money where your mouth is….call it a LEAP of faith. They are very happy and would appreciate a SHARE-

HARID Conservatory Announces $25,000
Marcelo Gomes Scholarship Program

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Gomes was named one of “25 to Watch” by Dance Magazine in 2001. In 2008, he was awarded the prestigious Benois de la Danse following a performance of Lar Lubovitch’s Othello in Moscow. Marcelo has performed at numerous international dance festivals and as a guest artist with many companies, including the Kirov Ballet, the Bolshoi Ballet, Dutch National Ballet, Mikhailovsky Ballet, The Royal Ballet, National Ballet of Canada, Teatro Colón in Buenos Aires, Teatro Municipal do Rio de Janeiro, and the New York City Ballet.

Marcelo has recently begun a successful career as a choreographer while maintaining his schedule as one of classical ballet’s most sought-after male dancers.

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Ballerina over the moon with selection | Illawarra Mercury

January 6, 2015 AFB Leave a comment

Dapto’s Charlee Corrie is headed for New York City

By LOUISE TURK

Jan. 6, 2015, 4:43 p.m.

Charlee Corrie is a finalist in the prestigious Youth America Grand Prix. Picture: CHRISTOPHER CHAN

The world is a stage for Dapto ballet dancer Charlee Corrie who has been selected as a finalist in the prestigious Youth America Grand Prix ballet competition.

The nine-year-old is among a shortlist of international finalists who will compete in the annual event, which is held in April over six days at multiple venues around New York City.

The Youth America Grand Prix is the world’s largest student ballet scholarship competition and is regarded by many as a stepping stone to a professional dance career for young people aged nine to 19.

Charlee will dance in workshops and in staged performances with other finalists, under the watchful eyes of judges and scouts from the world’s best ballet schools.

To be selected for the New York finals, Charlee submitted a DVD of her performance of the doll variation from the classical ballet Coppelia and a contemporary piece titled The Ballet Dancer.

Charlee is trained by her mother Vanessa Corrie, principal of the Vanessa Lee Dance Academy at Dapto, and dance teacher Chantelle Watts.

Ms Corrie choreographed the contemporary piece; and Ms Corrie and Ms Watts instructed Charlee as she learnt the classical variation.

The DVD audition took place in November and the Corries were notified of Charlee’s success by email on December 21.

‘‘I was shocked and over the moon with the news,’’ said Ms Corrie, who will accompany her daughter to New York.

Charlee’s father Brad Corrie and her younger sister Ruby, 6, will also make the journey to cheer on the budding ballerina.

‘‘We are all going over to support Charlee in this fantastic opportunity,’’ Ms Corrie said.

‘‘It will broaden her experience to participate in classes with kids from around the world and the performance experience will be amazing.

‘‘She will be dancing with the cream of the crop.’’

Charlee will compete in the 9-11 years age division of the competition which culminates in a gala night performance at the Lincoln Center’s David H. Koch Theatre.

Ms Corrie said she noticed her daughter’s strong dance potential around the age of seven.

‘‘She has the physical facilities – good flexibility and turnout – and she is also clever at picking up choreography and retaining it,’’ Ms Corrie said.

‘‘She is also very responsive in class and picks up the corrections easily.’’

Charlee successfully auditioned for a position in the Australian Ballet School’s Interstate Training Program in 2014. She will start attending workshops and personal visits with the esteemed Melbourne-based school this year.

Meanwhile, before Charlee starts polishing her New York routines, she is rehearsing this week with other Vanessa Lee Dance Academy students in the lead-up to the Showcase National Dance Championships, to be held at Jupiter’s Casino on the Gold Coast from January 12 to 19.

The dance school is competing in 20 troupe dances at the event which attracts competitors from Australia, New Zealand, Canada and the United States.

Charlee will perform in 16 routines during the week.

via Ballerina over the moon with selection | Illawarra Mercury.

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Nowness: Haut Vol

January 4, 2015 AFB Leave a comment

Haut Vol, Benjamin Millipied/Louis du Caunes

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Ballet Festival Week: Bayerische Staatsoper

January 3, 2015 AFB Leave a comment

April 18 to 26, 2015

via Ballet Festival Week: Bayerische Staatsoper.

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Theatres Closing Down Means Fewer Venues Featuring Dance and Other Productions

January 2, 2015 AFB Leave a comment

Reposted from the New York Times-Arts Beat

ArtsBeat – New York Times Blog

Theater

Dark Times Ahead for Two Major Paris Theaters

By Roslyn Sulcas

January 1, 2015 2:07 pm January 1, 2015 2:07 pm

PARIS — The Théâtre de la Ville and the Théâtre du Châtelet, two of the most important theaters in Paris, will close for extensive renovations at the end of the 2016 season, darkening the houses for one and a half to two years.

The theaters, which face each other on the Place du Châtelet, next to the Seine in the heart of the city, were designed by Gabriel Davioud and constructed between 1860 and 1862. Both have been important to theater and dance history. Sarah Bernhardt directed the Théâtre de la Ville (at the time, named the Théâtre Sarah Bernhardt) and appeared there in her most important roles between 1899 and her death in 1923, and the Ballets Russes presented its first European seasons at the Théâtre du Châtelet.

The theaters have different artistic mandates. Châtelet, where “An American in Paris” is currently playing to sold-out houses, tends to program musicals and concerts; the Théâtre de la Ville is an important destination for international theater, contemporary dance and world music. Both receive large subsidies from the city of Paris: 17 million euros (about $20.5 million) a year at the Théâtre du Châtelet, which has an annual audience of around 320,000; and 10 million euros at the Théâtre de la Ville, which has about 260,000 spectators each year.

The announcement of the long closures, made this week by Bruno Julliard, the mayoral deputy responsible for culture, did not specify what arrangements would be made for the employees of both theaters (130 at the Châtelet, 110 at the Théâtre de la Ville, according to a report in Le Figaro). Although Mr. Julliard did not offer details, he said that the closures “did not mean that programming would come to a complete stop.”

He did not give figures for the renovations, which fall within a 100-million-euro budget for refurbishment allocated to the two theaters and a number of museums.

The Théâtre de la Ville, directed by Emmanuel Demarcy-Mota, has a second, much smaller house in the 18th Arrondissement, but its larger productions are unlikely to be shown there. The Théâtre du Châtelet, directed by Jean-Luc Choplin, is likely to have a harder time finding alternative venues, particularly as another Paris theater, the Opéra Comique, will also be closed for renovation for at least 18 months from mid-2015.

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Children’s Hospital Hosts Annual Holiday Ballet

December 23, 2014 AFB Leave a comment

Children’s Hospital Hosts Annual Holiday Ballet

Students, pediatric patients enjoy ‘Nutcracker’ ballet in Washington Heights

By Catherine Yang, Epoch Times | December 22, 2014 | Last Updated: December 22, 2014 10:27 pm

NEW YORK—”Dance of the Sugar Plum Fairy” echoed through the lobby of the NewYork-Presbyterian Morgan Stanley Children’s Hospital and 4-year-old Madeline sat up and clapped, engrossed in the ballet before her.

“When she was here two years ago, she was upstairs in her room, quarantined,” said Madeline’s mother Jenna Kellerman. Kellerman had come downstairs for a cup of coffee, and caught a glimpse of the New York Theatre Ballet’s (NYTB) annual performance at the hospital, but had to rush back upstairs.

“She likes it when they’re on their toes and spin around,” Kellerman said of her daughter, and Madeline mimicked pirouettes with her fingers. Christmas means baking cookies, watching holiday movies, and “The Nutcracker” on television, but she has never seen it live. “Every time they had the performance she was sick upstairs.”

Madeline was born at the hospital and had open-heart surgery at 1-week-old, a second surgery when she was 6 months old, and a third when she was 2 1/2, for the same heart condition.

This year, Kellerman came to the hospital to visit a friend with a child in the intensive care unit, and Madeline came along for the performance.

Mice in polka dots and dancers with oversized chopsticks performed the holiday favorite, choreographed by Keith Michael in the art nouveau style, circa 1907. Costumes were designed by Sylvia Nolan, the resident costume designer of the Metropolitan Opera.

“I wanted her to see the show she actually missed,” Kellerman said.

Dancers of the New York Theatre Ballet performed “The Nutcracker” at the New York-Presbyterian Morgan Stanley Children’s Hospital on Monday, Dec. 22, 2014. For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients. (Benjamin Chasteen/Epoch Times)

Mental Healing

For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients and, more recently, grade students of the nearby PS 4. They have performed “Carnival of the Animals,” “Sleeping Beauty,” and “The Nutcracker” in previous years.

“The families and patients definitely look forward to it every year … it’s always nice to be able to bring the arts to our patients,” said Juan Mejia, vice president of operations at NewYork-Presbyterian Morgan Stanley Children’s Hospital. Many of the pediatric patients are at the hospital for extended stay, which means long hours and long days, Mejia said. “It’s nice for them to have a break from being on the floors.”

“There’s a lot to say about the mental healing of patients,” Mejia said. “The ability for them to have a break from the day allows them to really heal mentally.”

Giving Back

These sorts of intimate performances are the cores of NYTB’s mission, according to founder Diana Byer. NYTB performs in smaller venues, across the world, and “the theatrical experience is quite personal.”

“We can see gesture,” Byer said. Rather than seeing the overall picture from a great distance, “you’re seeing detail. It’s a personal, very intimate experience. It’s how an individual experiences it.”

This version of “The Nutcracker” was refreshed four years ago, from the version NYTB had performed for 26 years. After months of choreography, the ballet was adapted for today’s changing culture.

“It’s designed to appeal to today’s child. It’s in the narrative, the pacing, the costuming, the color,” Byer said.

In addition to small classic masterpieces and one-hour ballets for young children, Byer tries to unearth lost ballets—pieces by great choreographers that have not been performed for many years. “It’s part of our culture and should be seen,” Byer said.

To her, “Art is about generosity of spirit,” Byer said. And performing at the children’s hospital teaches the dancers that. “I think it’s good for the dancers to give back … that’s what art is. It’s something for the public.”

Margery (C), a patient at the New York-Presbyterian Morgan Stanley Children’s Hospital, poses with dancers of the New York Theatre Ballet after the troupe performed “The Nutcracker” for the children at the hospital on Monday, Dec. 22, 2014. For the last eight years, NYTB has performed a one-hour holiday ballet for the pediatric patients. (Benjamin Chasteen/Epoch Times)

Article printed from The Epoch Times: http://www.theepochtimes.com

URL to article: http://www.theepochtimes.com/n3/1158119-childrens-hospital-hosts-annual-holiday-ballet/

via Children’s Hospital Hosts Annual Holiday Ballet.

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$9k xmas? How about….Margot Fonteyn’s ballet costumes taking a bow at auction

December 22, 2014 AFB Leave a comment

Margot Fonteyn’s ballet costumes taking a bow at auction – Bornrich.

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Q&A with Patrick Armand 2014|Indiana City Ballet

December 22, 2014 AFB Leave a comment

Q&A with Patrick Armand 2014 from Indianapolisperforming arts

City Ballet on Vimeo.

via Q&A with Patrick Armand 2014 on Vimeo.

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South Coast Ballet Conservatory, The Nutcracker: December 20-21st, 2014

Image December 16, 2014 AFB Leave a comment

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‘Nutcracker’ Moves to Milder Climes

December 14, 2014 AFB Leave a comment

‘Nutcracker’ Moves to Milder Climes

By BRIAN SCHAEFER DEC. 12, 2014

In the last scene of the first act of American Ballet Theater’s “The Nutcracker,” choreographed by Alexei Ratmansky, a gentle snow suddenly turns into a blizzard, a thrilling dark detour in this acclaimed production. But after last year’s harsh winter, Ballet Theater has had enough. Or perhaps after five years, it has been unable to find a real toehold in this city’s crowded Nutcracker marketplace. Either way, the company is off to Southern California: Beginning next year, Ballet Theater’s “The Nutcracker” will become an annual tradition at the Segerstrom Center for the Arts in Costa Mesa. Which means this is your last chance to see Mr. Ratmansky’s astute interpretation of the holiday classic in New York. All the ingredients are there: the opening party, the Christmas tree on steroids, a world tour of cultural stereotypes. But the great adventure at the heart of this version is the journey from adolescence to adulthood, dramatized with touching innocence and wonder. (Through Dec. 21, Brooklyn Academy of Music, 30 Lafayette Avenue, at Ashland Place, Fort Greene; 718-636-4100, bam.org.)

via ‘Nutcracker’ Moves to Milder Climes – NYTimes.com.