Tag Archives: New York City Ballet

Legends Reunite at BAM-One ticket left!


Message me for this one ticket/rare opportunity $82 includes EVERYTHING!

Opening night tickets available for “Hagoromo” at BAM. Don’t miss these legendary dancers take the stage together for the first time in years. The incredible Wendy Whelan, and the iconic Jock Soto are known for their unique chemistry while dancing together. Very few dancers captivate and hypnotize as they do. As a special gift from Jock Soto and letsdutch.com you will receive an autographed copy of his best selling memoir “Every Step You Take” with purchase. All proceeds will be donated to Cancer Research. These tickets are almost sold out, DO NOT MISS!!! Seats available: Orchestra S3 and Orchestra T3 More about “Hagoromo”: Hagoromo International Contemporary Ensemble (ICE) Music by Nathan Davis Libretto by Brendan Pelsue Choreography by David Neumann Puppetry by Chris M. Green Conceived and directed by David Michalek Presented in association with American Opera Projects An angel’s garment, possessed of mysterious powers, falls to a remote island on Earth, where it is found by a poor fisherman. To get it back, the angel offers up her greatest celestial gift: a dance of incomparable beauty. Dance icons and former New York City Ballet principals Wendy Whelan and Jock Soto, contralto Katalin Károlyi and tenor Peter Tantsits, and puppets by Chris Green come together in this inspired reimagining of a Japanese Noh theater classic. With choreography by David Neumann, costumes by Belgian fashion icon Dries Van Noten, and an original score by Nathan Davis—performed live by the International Contemporary Ensemble and Brooklyn Youth Chorus—Hagoromo merges genres to send a stranded spirit back to heaven. Costumes by Dries Van Noten Lighting design by Clifton Taylor Stage design by Sara Brown Puppetry design by Chris M. Green and David Michalek Dramaturgy by Norman Frisch

Source: Legends Reunite at BAM

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Excerpt From “Dancing Through It” by Jenifer Ringer, published on 24 February 2015 by Penguin, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright by Jenifer Ringer, 2015. (via The Guardian)


How dancers learn their steps: music, muscle memory and mystery

When ballerina Jenifer Ringer took on a new role at the New York City Ballet, she had to train her ear for the composition and her body for the moves – then let her imagination take flight

I’m often asked how we remember all of the steps to the vast repertoire we dance at New York City Ballet. Corps members might dance 20 ballets in a short six-week season. Principals might dance 10 or more, and often we will rehearse three or four ballets during the day and then perform a completely different ballet that night.

I find the music to each ballet to be the key to remembering all of the steps. With choreography as musical as what we’re blessed with in my company, someone just has to sing the music to me, and my body will do the steps. Each ballet must have its own little piece of my brain that is reserved just for that ballet, ready to be called up whenever the music is played.

When we’re learning a ballet for the first time, whether it’s new choreography or one of the famous ones already in the company’s repertory, we do it systematically, going forward in chunks and then going back to the beginning to dance the piece through up to the point we have learned. Once we can successfully get from the beginning up to where we stopped learning, we then go forward to learn another chunk before returning to dance it from the beginning again. Layer by layer we train our ear to hear the music and how it matches up to the steps. With enough repetition, the music is inevitably linked by some mysterious connection to our muscle memory so that eventually, we don’t have to think about the steps. Our bodies know what to do, leaving our brains free to give flight to our imaginations in performance.

It is certainly easier to learn a ballet if I’m already familiar with the music or have seen the ballet before so that I have a frame of reference for what I’ll be dancing. If I have not seen the ballet before, I’ll watch a tape if possible so that my brain can have a map in place for where my part in the ballet will go. However, I try not to watch tapes too often if I can help it because it is too easy to find myself mimicking the ballerina dancing the part on the tape; I’ve always wanted to do parts in my own way, even while I take inspiration and guidance from the wonderful ballerinas who have gone before me. Balanchine and Robbins often made different versions for different dancers, and they wanted their ballerinas to be unique. Though both choreographers have now passed away, their ballet masters try to follow in their spirit as they teach each successive generation of dancers these masterpieces. Though the steps might be mostly the same, artistry is left up to the individual.

And each dancer’s artistry is radically different from another’s, so that ballets change and evolve according to which dancer is dancing which part. Most of the ballets in the repertory of the New York City Ballet have no story line; there is often drama, but that drama comes from the music and the steps. I’ve realised that a lack of story line actually gives the dancers more opportunity to place their own personal interpretation into a role.

For example, in the last movement of George Balanchine’s Vienna Waltzes, a solitary woman dances in a ballroom with a man playing a partner who materialises as if from her imagination. There is a moment when the music comes to a standstill and then starts over, slowly and haltingly. I’ve never danced the role and have only watched it, but I’ve always thought that at that moment, the woman’s imagination becomes so powerful that she conjures up a real man from her fantasy world. I’ve seen some ballerinas interpret it this way, and have seen others remain remote, looking at their partners as if they were not quite there.

One day while watching a rehearsal of Vienna, I asked my friend and fellow principal dancer Tyler Angle, “Do you think he becomes a real man there?”

Tyler looked at me with interest and said, “You know, I’ve seen it done both ways. It depends on the ballerina – I’ve always wanted him to become real. But Jenny, you and I are always searching for a story even when there is none.” And he is right about that. I’m one of those dancers who searches for some hint of a story, even in the plotless ballets.

Jenifer Ringer and James Fayette dance in the Emeralds section of Jewels by the New York City Ballet.

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Jenifer Ringer and James Fayette dance in the Emeralds section of Jewels by the New York City Ballet. Photograph: Alamy

Musicians from the New York City Ballet orchestra have told me that they love to play for our company because of the great music the choreographers have chosen for the ballets we perform. But what may be thrilling for a musician to play can be difficult for a dancer to decipher, and some ballets have more difficult music than others. These I have a harder time learning and assimilating into my body. If I have to rely on counting the music to keep my place in the choreography, I find I have to use a different part of my brain that isn’t a natural part of my dancing. These ballets take more focus, and I’m often more nervous for them; sometimes the second I let the performance side of myself take over, I stop counting the music. With these ballets, I have to do a lot more physical repetition and mental dissection of the music before I feel that I really know the ballet.

Also, the music we hear from the orchestra is often completely different from what we have been hearing in the studio. We have wonderful rehearsal pianists who play for us during the day, but often the piano accents notes differently than a full orchestra does. The arrangement written for the piano might highlight different sounds and melodies from what we would hear from the orchestra pit during a performance. Also the piano can set a more obvious tempo, whereas sometimes the orchestration is written as more of a wash of sound. There have been plenty of stage rehearsals, particularly of brand-new choreography, that have fallen apart completely because none of the dancers could tell where they were in the music. This is of course incredibly frustrating for the choreographer, and the dancers usually go into a panic as what seemed so certain and comfortable just the day before suddenly becomes an unknown.

This happened to us the first time we had an orchestra rehearsal for a ballet that Peter Martins made called Naïve and Sentimental Music to music by John Adams. It used almost every principal dancer on the roster, 26 of us either onstage at the same time or just exiting and entering. We were all experienced and used to dancing under every kind of stress, but when we were onstage for our first orchestra rehearsal and suddenly couldn’t find a beat or a melody in the music, we just stood around and stared at each other, befuddled. Peter had anticipated the problem and rehearsed us often to a CD of the orchestra version of the music, but somehow the orchestra sounded wildly different from the CD’s version of the piece. It was hard for us to find any kind of rhythm or melody to anchor our steps. In group sections where we were supposed to be dancing together, it looked like we were all doing different choreography because we were so out of sync. Peter was obviously very upset, because the premiere was only days away.

Jenifer Ringer in Romeo and Juliet.

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Jenifer Ringer in Romeo and Juliet. Photograph: Ted Thai/The Life Images Collection/Getty

We eventually figured out that in every section, there was somebody who could hear where we were supposed to be. Those who were musically lost just found a way to watch that dancer and stay together with his or her movements. We counted for one another and gave one an- other significant looks. During a section where the women danced in a revolving circle and we couldn’t make eye contact with one another, Janie Taylor called out the counts for us. Before a finale step that Jennie Somogyi and I led off, we would look at each other across the stage, nod, and take a large preparatory step so that we started at the same time. At other times, when in doubt, we just watched whoever was in front, and even if we thought she was wrong, we did what she did.

Somehow we pulled it off, but we were all stressed about it. For this ballet, it was not necessarily the dancing that was hard but the musical and mental focus required to do it correctly. I’m not sure I’ve ever seen that many principal dancers counting music loudly at the same time, both in the wings and onstage, looking questioningly at their opposites and partners to see if they were correct. But in the end, hopefully we looked professional from out front! We tried not to move our lips too much as we counted…

Looks a lovely book!

NYC Ballet’s Amar Ramasar on Alexei Ratmansky’s PICTURES AT AN EXHIBITION


 

 

NYC Ballet’s Amar Ramasar on Alexei Ratmansky’s PICTURES AT AN EXHIBITION – YouTube.

Save the Date!!!Dance Against Cancer 2015 Trailer-Erin Fogarty and Daniel Ulbricht, producers


<p><a href=”https://vimeo.com/118718377″>Dance Against Cancer 2015 Trailer</a> from <a href=”https://vimeo.com/user9362802″>Jetpacks Go!</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

via Dance Against Cancer 2015 Trailer on Vimeo.

beat that! Millepied’s plans for the Paris Opéra


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.

Patricia McBride-Still Living the Dancer’s Dream (Protege of George Balanchine)


Patricia McBride lived a dancer’s dream: Her mentor was George Balanchine

2   Patricia McBride and George Balanchine

Patricia McBride rehearsing with choreographer George Balanchine.

This was normal for McBride, then the New York City Ballet’s principal dancer (now the associate artistic director at the Charlotte Ballet), but working with Balanchine would have been a dream come true for aspiring ballerinas around the world.

He is known as an artistic genius in the ballet world. A gifted choreographer responsible for changing the face of dance and famous for the New York City Ballet’s ” Coppélia” and “The Nutcracker.” And this man personally invited McBride to join his company when she was just 16 years old.

Balanchine and McBride would work alone in a studio, not speaking much. Balanchine would cue the music and dance in front of McBride. A pianist himself, musicality was of the utmost importance to Balanchine. He wanted the dances to flow naturally, so he let the music do the speaking. McBride followed along behind him, learning the steps. Forty-five minutes later, McBride would have a new solo in her repertoire.

“He worked so quickly and he didn’t have to experiment with you. He knew exactly what you could do,” McBride said in a phone interview. “Once something was made to you, you had to remember it forever. You were the guardian of the choreography.”

Balanchine trained McBride for a 30-year career with the New York City Ballet. She danced over 100 ballets in that time, including 30 choreographed just for her. When she performed her final ballet in 1989, McBride was showered with 13,000 roses and a standing ovation.

But McBride did not leave dance behind. She went on to teach at Indiana University and then took over the Charlotte Ballet in North Carolina with her husband and dance partner, Jean-Pierre Bonnefoux in 1998. She’s now 72 and still teaches eight ballet classes at a time, on top of running rehearsals for performances like The Nutcracker.

This lifelong dedication to dance has been noticed by the outside world, too.

Earlier this month, McBride walked down a red carpet in Washington, D.C., to be honored for her commitment to the performing arts. She mingled with Tom Hanks and Sting, had dinner with John Kerry and met the Obamas. She was given a rainbow-colored Kennedy Center Honors ribbon and listened to actress Christine Baranski praise her accomplishments.

It was a celebratory weekend all about honoring the ballerina (among other honorees), but McBride was quick to thank others in our interview. Especially Balanchine, her mentor.

Theirs was an intimate setting to work in, but Balanchine was more than a teacher to McBride. She looked up to him as a role model and desperately wanted to please him. McBride‘s own father left her family when she was just 3 years old, so Balanchine stepped in to fill that role.

“I grew up without a father so he was everything to me — the man I most admired and just the most wonderful role model anyone could have,” McBride said.

And their relationship was not lost on the outside world.

“A true muse for George Balanchine, he created many ballets especially for her,” said Larry Attaway, executive director of ballet at Butler University. “She was one of the most remarkable ballerinas of the 20th century.”

McBride still remembers leaping for joy when Balanchine invited her to join the New York City Ballet Company all those years ago — and did not hesitate to give up a normal teenage life for one of endless rehearsals, travel and intense dedication.

Balanchine took McBride under his wing and trained her to dance his ballets, many of which are still performed around the world today. She traveled to Tokyo, Italy, Germany, London, Paris, South America and Russia to dance, including five performances for U.S. presidents. Leading roles in her repertoire include the Sugarplum Fairy in “The Nutcracker” and Colombine in ”Harlequinade.”

“I cherish the ballets made for myself by Mr. Balanchine,” McBride said in a phone interview. “He never lost his temper. He was quiet, humble, the genius of the 20th century. He changed the face of what dance is today.”

Balanchine was her teacher, her mentor and inspiration during her long-lived dancing career. He pushed her and drove her to perform at the highest possible level, but he was also kind and patient — a notable trait in the perfectionism-driven world of ballet.

“In the beginning, he taught you how to hold your fingers, use your head, hold your shoulders, how you glissade, bourre — the exact way he wanted you to do the steps,” McBride said. “It was relearning the whole Balanchine technique.”

He was not a man of many words, but when he did offer praise, it stayed with McBride for years to come.

“After performances he would say, ‘Good, good.’ He never really gave a harsh word. I don’t ever remember him saying, ‘That was awful,’ ever. He didn’t praise that much, but when he did, it was wonderful. He would say, ‘I loved how you used your eyes, you were mysterious.’ It would make you feel like a million dollars.”

Balanchine passed away in 1983, but McBride carries on his legacy by teaching her students his ballets with patience and kindness. She gives her students at the Charlotte Ballet Academy praise and talks highly of her “beautiful dancers.” She believes in nurturing her students and making them feel secure in themselves.

“Mr. Balanchine wanted me to be myself. He didn’t want me to look like anyone else,” McBride said. “I love teaching our company dancers the Balanchine ballets. I try to give them what was passed down to me and what I learned from him. They dance it so beautifully. It also keeps me close to Mr. Balanchine. He’s with me every single day.”

Pointe magazine – Ballet at its Best.


The Workout: Rebecca Krohn

Balanchine powerhouse

By Jenny Dalzell (reprinted by Mysylph)

Published in the February/March 2014 issue.

Krohn with Justin Peck in Balanchine’s “Four Temperaments.” Photo by Paul Kolnik.

Glancing at the long and sinewy Rebecca Krohn, one might not guess that the New York City Ballet principal eats about every two hours. But to keep up with the rigorous rehearsal schedule that comes with her job, Krohn has figured out a mix of strengthening, refueling and daily maintenance that keeps her on top.

On the menu: Before or after class, Krohn has a smoothie made with Greek yogurt, fruit, coconut water, spinach and sometimes half an avocado. “I also eat simple peanut butter and jelly sandwiches throughout the day. They’re not filling, but they’re satisfying. And I always keep a chocolate and peanut butter Luna protein bar in my bag in case hunger strikes.”

Cross-training: Private Pilates classes three times a week in the off-season, and on Mondays in-season. “I have a little bit of scoliosis and I always feel more even after the sessions.”

Rolling out: “I have a ball for each part of my body: small rubber balls from vending machines at grocery stores that I use in between my metatarsals; a slightly larger ball for my plantar fascia; and the next size up I use on my calves and back. The biggest, called KONG Balls, are for the front of my hips. I found them at the pet store—they’re for dogs.”

Recharge: A 15- to 20-minute cat nap between rehearsals and performances. “I lay down and put my legs up against a wall to decompress my back. Plus, your feet get so swollen from standing all day, sometimes you can barely get your pointe shoes back on.”

Stamina secrets: A lean-protein–filled meal, like a chicken breast, two hours before curtain. “It’s enough to keep me going through the evening without getting hungry. I make sure I have water on hand, and adrenaline helps. Once you’re in the zone, you just do it.”

via Pointe magazine – Ballet at its Best..