Northrop 2019-20 Season | Fall Dance Series
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Valerie Roche ARAD Director Momix and the Omaha Ballet
Celebrating 50 years of Dance The lights go down.The orchestra begins to play. Dancers appear and there’s magic on the stage. The Omaha Academy of Ballet, a dream by its founders for a school and a civic ballet company for Omaha, was realized by the gift of two remarkable people: Valerie Roche ARAD director of the school and the late Lee Lubbers S.J., of Creighton University. Lubbers served as Board President and production manager, while Roche choreographed, rehearsed and directed the students during their performances. The dream to have a ballet company for the city of Omaha had begun. Lubbers also hired Roche later that year to teach dance at the university. This decision helped establish the creation of a Fine and Performing Arts Department at Creighton. The Academy has thrived for 50 years, thanks to hundreds of volunteers, donors, instructors, parents and above all the students. Over the decades, the Academy has trained many dancers who have gone on to become members of professional dance companies such as: the American Ballet Theatre, Los Angeles Ballet, Houston Ballet, National Ballet, Dance Theatre of Harlem, San Francisco Ballet, Minnesota Dance Theatre, Denver Ballet, Momix and the Omaha Ballet. Our dancers have also reached beyond the United States to join: The Royal Winnipeg in Canada and the Frankfurt Ballet in Germany. OMAHA WORLD HERALD WORLD OMAHA 01 studying the work of August Birth of a Dream. Bournonville. At Creighton she adopted the syllabi of the Imperial Society for Teachers The Omaha Regional Ballet In 1971 with a grant and until her retirement in 2002. -
New Breed 2018 July 2018
NEW BREED 2018 MEET THE NEW BREED OF AUSTRALIAN CHOREOGRAPHERS Forimmediate release August7 2018 29 NOV – 8 DEC CARRIAGEWORKS SYDNEY Sydney DanCe Company and Carriageworks, in conjunCtion with The Balnaves Foundation, announCe four Australian choreographers commissioned to Create works for the aCClaimed New Breed initiative that supports Australia’s next generation of dance-maKers. ‘An eclectic and consistently satisfying night of dance’ Time Out Sydney Co-presented by two of Australia’s most dynamic arts organisations – Carriageworks and Sydney Dance Company – with the generous support of The Balnaves Foundation, New Breed 2018 will provide Australian choreographers Prue Lang (Melbourne), Katina Olsen (Sydney/Sunshine Coast), Holly Doyle (Sydney) and Janessa Dufty (Yamba) with an invaluable opportunity to work with Australia’s finest contemporary dancers on a newly commissioned dance piece. These four new works will comprise the New Breed 2018 season from 29 November to 8 December 2018. The New Breed initiative made its debut in November 2014, supporting five emerging Australian choreographers through the commissioning and presentation of new dance work. Four sold out seasons in 2014, 2015, 2016 and 2017 ensued. Adelaide-based New Breed 2014 choreographer Gabrielle Nankivell was the recipient of the 2015 Tanja Liedtke Fellowship for her New Breed premiere, Wildebeest. Wildebeest was part of Sydney Dance Company’s stunning double bill Untamed in 2016, and nominated for a Helpmann Award for Best Choreography in a Ballet, Dance or Physical Theatre Production in 2017. It went on to bepart of Sydney Dance Company’s European Spring Tour in April 2018, which included sold-out performances at the Chaillot - Théâtre National de la Danse in Paris. -
Miranda Weese Joins Boston Ballet As New Children's Ballet Master And
MEDIA CONTACTS: Jill Goddard, 617.456.6236, [email protected] Sarah Gledhill, 617.456.6264, [email protected] MIRANDA WEESE JOINS BOSTON BALLET AS NEW CHILDREN’S BALLET MASTER AND BOSTON BALLET SCHOOL FACULTY MEMBER FORMER PRINCIPAL DANCER WITH NEW YORK CITY BALLET AND PACIFIC NORTHWEST BALLET BRINGS WEALTH OF EXPERIENCE September 21, 2017 (BOSTON, MA) – Boston Ballet welcomes Miranda Weese, former principal dancer with New York City Ballet and Pacific Northwest Ballet, as the new Children’s Ballet Master. “I was always a big fan of Miranda Weese as a dancer and truly enjoyed her work onstage,” said Artistic Director Mikko Nissinen. “She is dedicated to teaching future generations of dancers and I am pleased to welcome her to the Boston Ballet family.” Weese will work with Boston Ballet School’s students for Company productions including this season’s Mikko Nissinen’s The Nutcracker (auditions for Boston Ballet School students begin Sep 23), Romeo & Juliet, The Sleeping Beauty, and La Sylphide. As a faculty member with Boston Ballet School, she will teach intermediate levels in the Classical Ballet Program and the female levels of the Pre-Professional Program. “Boston Ballet School students will learn and grow so much under Miranda’s tutelage,” said Margaret Tracey, Director of Boston Ballet School. “I am thrilled that she is joining our dedicated and hard-working team.” From San Bernardino, California, Weese trained at Laguna Dance Theatre and School of American Ballet. She danced with New York City Ballet from 1991 through 2007, as an apprentice, corps, soloist, and principal dancer. Her repertoire includes leading roles in George Balanchine’s Apollo, Concerto Barocco, Divertimento No. -
Company Dancer Nichola Montt Photography by Stephen Stinson
Company Dancer Nichola Montt Photography by Stephen Stinson IndividualIndividual HealthplansIndividualIndividualIndividual Healthplans Healthplans HealthplansHealthplans rownrownrownrownrownMedicareMedicare SupplementMedicareMedicareMedicare Supplement Supplement SupplementSupplement BB& BB&&Life& InsuranceLife LifeInsuranceLifeLife • Insurance InsuranceLong Insurance Term • • Long •Care Long LongLong Term Term Term Care CareCare Care rown& rownrownFor a Quote Contact:For a Quote Contact: B BBBrown ForFor aa Quote Contact: Contact: rown Laura LynnFor Meador aLL auraQuoteaura Lynn Lynn Contact: Meador Meador INSURANCEB INSURANCEINSURANCE® ®® Laura Lynn Meador INSURANCE ® (864) 208-0648Laura(864) Lynn(864) 208-0648 208-0648 Meador INSURANCE ® (864) 208-0648 [email protected]@[email protected](864) 208-0648 Brown & Brown,BrownBrown Inc. & & Brown, Brown, Inc. Inc. [email protected] Individual & ShopIndividual Certified,Individual & & Shop Shop Certified, Certified, 103 N. PineBrown St.103 Suite103 & N. Brown,N. A Pine Pine St. St. Inc.Suite Suite A A [email protected] America’s Health America’sInsuranceAmerica’s HealthPlans Health Insurance Insurance Plans Plans BrownP.O. Box 103 &5139 Brown, N. P.O.P.O. Pine Box Box Inc.St. 5139 5139 Suite A Individual & Shop Certified, Spartanburg, S.C.Spartanburg, 29304 S.C.(AHIP) 29304 Certified, (AHIP)Long(AHIP) Term Certified, Certified, Care Certified Long Long Term Term Care Care Certified Certified 103 N. P.O.Pine BoxSt.Spartanburg, Suite5139 A S.C. 29304 IndividualAmerica’s & Health Shop InsuranceCertified, Plans P.O. BoxSpartanburg, 5139 S.C. 29304 America’s(AHIP) Certified, Health Long Insurance Term Care Plans Certified Spartanburg, S.C. 29304 (AHIP) Certified, Long Term Care Certified In this moment . It doesn’t matter if you saved money in 15 minutes. It doesn’t matter if your neighbor has the same insurance you do. -
SWAN LAKE Dear Educators in the Winter Show of Oregon Ballet Theatre’S Student Performance Series (SPS) Students Will Be Treated to an Excerpt from Swan Lake
STUDENT PERFORMANCE SERIES STUDY GUIDE / Feburary 21, 2013 / Keller Auditorium / Noon - 1:00 pm, doors open at 11:30am SWAN LAKE Dear Educators In the winter show of Oregon Ballet Theatre’s Student Performance Series (SPS) students will be treated to an excerpt from Swan Lake. It is a quintessential ballet based on a heart-wrenching fable of true love heroically won and tragically Photo by Joni Kabana by Photo squandered. With virtuoso solos and an achingly beautiful score, it is emblematic of the opulent grandeur of the greatest of all 19th-Century story ballets. This study guide is designed to help teachers prepare students for their trip to the theatre where they will see Swan Lake Act III. In this Study Guide we will: • Provide the entire synopsis for Christopher Stowell’sSwan Lake, consider some of the stories that inspired the ballet, Principal Dancer Yuka Iino and Guest Artist Ruben Martin in Christopher and touch on its history Stowell’s Swan Lake. Photo by Blaine Truitt Covert. • Look closely at Act III • Learn some facts about the music for Swan Lake • Consider the way great dances are passed on to future generations and compare that to how students come to know other great works of art or literature • Describe some ballet vocabulary, steps and choreographic elements seen in Swan Lake • Include internet links to articles and video that will enhance learning At the theatre: • While seating takes place, the audience will enjoy a “behind the scenes” look at the scenic transformation of the stage • Oregon Ballet Theatre will perform Act III from Christopher Stowell’s Swan Lake where Odile’s evil double tricks the Prince into breaking his vow of love for the Swan Queen. -
Bush Artist Fellows
Bush Artist Fellows AY_i 1/14/03 10:05 AM Page i Bush Artist Fellows AY 1-55 1/14/03 10:07 AM Page 1 AY 1-55 1/14/03 10:07 AM Page 2 Bush Artist Fellows CHOREOGRAPHY MULTIMEDIA PERFORMANCE ART STORYTELLING M. Cochise Anderson Ananya Chatterjea Ceil Anne Clement Aparna Ramaswamy James Sewell Kristin Van Loon and Arwen Wilder VISUAL ARTS: THREE DIMENSIONAL Davora Lindner Charles Matson Lume VISUAL ARTS: TWO DIMENSIONAL Arthur Amiotte Bounxou Chanthraphone David Lefkowitz Jeff Millikan Melba Price Paul Shambroom Carolyn Swiszcz 2 AY 1-55 1/14/03 10:07 AM Page 3 Bush Artist Fellowships stablished in 1976, the purpose of the Bush Artist Fellowships is to provide artists with significant E financial support that enables them to further their work and their contributions to their communi- ties. An artist may use the fellowship in many ways: to engage in solitary work or reflection, for collabo- rative or community projects, or for travel or research. No two fellowships are exactly alike. Eligible artists reside in Minnesota, North and South Dakota, and western Wisconsin. Artists may apply in any of these categories: VISUAL ARTS: TWO DIMENSIONAL VISUAL ARTS: THREE DIMENSIONAL LITERATURE Poetry, Fiction, Creative Nonfiction CHOREOGRAPHY • MULTIMEDIA PERFORMANCE ART/STORYTELLING SCRIPTWORKS Playwriting and Screenwriting MUSIC COMPOSITION FILM • VIDEO Applications for all disciplines will be considered in alternating years. 3 AY 1-55 1/14/03 10:07 AM Page 4 Panels PRELIMINARY PANEL Annette DiMeo Carlozzi Catherine Wagner CHOREOGRAPHY Curator of -
Workshops & Research
WORKSHOPS & RESEARCH 20 JULY - 16 AUGUST 2014 Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Seven phases which can be attended independently from each other (each week- workshop: 1 class per day, each intensive-workshop: 2 classes per day) «impressions'14»: 20 July ! Week1: 21 - 25 July Intensive1: 26 + 27 July Week2: 28 July - 01 August! Intensive2: 02 + 03 August! Week3: 04 - 08 August! Intensive3: 09 + 10 August! Week4: 11 - 15 August ! «expressions'14»: 16 August Index 3 Artists listed by departments 4 - 133 All workshop descriptions listed by artists 134 - 149 All Field Project descriptions listed by artists 149 - 150 Pro Series description 2 CONTEMPORARY DANCE Jose Agudo | Conny Aitzetmueller | Kristina Alleyne | Sadé Alleyne | Laura Arís | Iñaki Azpillaga | Susanne Bentley | Marco Berrettini | Bruno Caverna | Marta Coronado | Zoi Dimitriou | Frey Faust | Ori Flomin | Saju Hari | Sascha Hauser aka CIONN | Kathleen Hermesdorf | Damien Jalet | Peter Jasko | German Jauregui | Kira Kirsch | Kerstin Kussmaul | Juliana Neves | Sabine Parzer | Rasmus Ölme | Francesco Scavetta | Rakesh Sukesh | Samantha Van Wissen | Hagit Yakira | David Zambrano IMPROVISATION Marco Berrettini | Adriana Borriello | Alice Chauchat | Ivo Dimchev | Zoi Dimitriou | Defne Erdur | Judith Grodowitz | Miguel Gutierrez | Francesca Harper | Andrew Harwood de Lotbinière | Keith Hennessy | Damien Jalet | Martin Kilvády | Barbara Kraus | Aiko Kazuko Kurosaki | Jennifer Lacey | Benoît Lachambre | Nita Little | Eroca -
Cimf20201520program20lr.Pdf
CONCERT CALENDAR See page 1 Beethoven I 1 pm Friday May 1 Fitters’ Workshop 6 2 Beethoven II 3.30 pm Friday May 1 Fitters’ Workshop 6 3 Bach’s Universe 8 pm Friday May 1 Fitters’ Workshop 16 4 Beethoven III 10 am Saturday May 2 Fitters’ Workshop 7 5 Beethoven IV 2 pm Saturday May 2 Fitters’ Workshop 7 6 Beethoven V 5.30 pm Saturday May 2 Fitters’ Workshop 8 7 Bach on Sunday 11 am Sunday May 3 Fitters’ Workshop 18 8 Beethoven VI 2 pm Sunday May 3 Fitters’ Workshop 9 9 Beethoven VII 5 pm Sunday May 3 Fitters’ Workshop 9 Sounds on Site I: 10 Midday Monday May 4 Turkish Embassy 20 Lamentations for a Soldier 11 Silver-Garburg Piano Duo 6 pm Monday May 4 Fitters’ Workshop 24 Sounds on Site II: 12 Midday Tuesday May 5 Mt Stromlo 26 Space Exploration 13 Russian Masters 6 pm Tuesday May 5 Fitters’ Workshop 28 Sounds on Site III: 14 Midday Wednesday May 6 Shine Dome 30 String Theory 15 Order of the Virtues 6 pm Wednesday May 6 Fitters’ Workshop 32 Sounds on Site IV: Australian National 16 Midday Thursday May 7 34 Forest Music Botanic Gardens 17 Brahms at Twilight 6 pm Thursday May 7 Fitters’ Workshop 36 Sounds on Site V: NLA – Reconciliation 18 Midday Friday May 8 38 From the Letter to the Law Place – High Court Barbara Blackman’s Festival National Gallery: 19 3.30 pm Friday May 8 40 Blessing: Being and Time Fairfax Theatre 20 Movers and Shakers 3 pm Saturday May 9 Fitters’ Workshop 44 21 Double Quartet 8 pm Saturday May 9 Fitters’ Workshop 46 Sebastian the Fox and Canberra Girls’ Grammar 22 11 am Sunday May 10 48 Other Animals Senior School Hall National Gallery: 23 A World of Glass 1 pm Sunday May 10 50 Gandel Hall 24 Festival Closure 7 pm Sunday May 10 Fitters’ Workshop 52 1 Chief Minister’s message Festival President’s Message Welcome to the 21st There is nothing quite like the Canberra International Music sense of anticipation, before Festival: 10 days, 24 concerts the first note is played, for the and some of the finest music delights and surprises that will Canberrans will hear this unfold over the 10 days of the Festival. -
Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters. -
Black Grace March 19 / 2:30 Pm Memorial Auditorium
PROGRAM: BLACK GRACE MARCH 19 / 2:30 PM MEMORIAL AUDITORIUM ARTISTS PROGRAM Black Grace All choreography by Neil Ieremia. A separate program will be provided at Minoi (1999) the performance. Minoi fuses a traditional Samoan dance style known as Fa’ataupati (slap dance) and western contemporary dance as a means of exploring cultural identity issues, live singing, and vocalizations. Pati Pati (2009) This work is a mixture of excerpts from older repertoire that utilizes body percussion influenced by traditional Samoan Sasa (seated dance) and Fa’ataupati (slap dance). Crying Men – Excerpt (new work) In this sneak preview of his latest work, Ieremia explores masculinity from a Pacific perspective. Mother Mother (premiered 2013) Mother Mother was originally choreographed for a music video, on request from the popular New Zealand band Fat Freddy’s Drop. INTERMISSION As Night Falls (2016) A poetic ode to our troubled world, As Night Falls is a beautiful new work set to the timeless and passionate sounds of Antonio Vivaldi. PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not permitted. Thank you. 28 STANFORD LIVE MAGAZINE MARCH 2017 his work has been presented in Australia, Canada, Germany, Holland, Luxembourg, Mexico, New Caledonia, South Korea, Scotland, Switzerland, Japan, and the United States. Numerous firsts for a New Zealand choreographer include sell-out performances at Jacob’s Pillow Dance Festival (U.S. debut 2004 and 2005), a four-week season on New York City’s 42nd Street, and performances at the renowned Cervantino Festival in Mexico, the John F. -
DOWNLOAD ANNUAL REPORT 2020 Annual Report
FOR THE YEAR ENDED 31 DECEMBER 2020 G.69 MŌ TE TAU I TE OTI I TE 31 O HAKIHEA 2020 Annual Report 2020 Pūrongo ā-Tau 2020 NEW ZEALAND SYMPHONY ORCHESTRA TE TIRA PŪORO O AOTEAROA NEW ZEALAND SYMPHONY ORCHESTRA Contents Ngā Ihirangi The NZSO: Our Vision, Mission and Values 2 Te Tira Pūoro o Aotearoa: Matawhānui/Whakatakanga/Matawhānui/Whai Painga 2020 Overview 4 2020 He Tirohanga Whānui Organisational Structure 18 Te Hanga o te Whakahaere Governance Statement 20 He Tauākī Kāwanatanga Statement of Responsibility 22 He Tauākī o ngā Haepapa Statement of Service Performance 24 He Tauākī o ngā mahi Financial Statements 30 He Tauākī Pūtea Independent Auditor’s Report 48 Pūrongo a te Kaiarotake Motuhake Organisational Health and Capability 52 Te Ora me te Āheinga o te Whakahaere A Thank You to our Supporters and Partners 56 He Mihi ki a Koe nā Ngā Kaitautoko me ngā Hoa Kaipakihi The Board is pleased to present the Annual Report for the New Zealand Symphony Orchestra for the year ended 31 December 2020 E harikoa ana te Poari ki te whakatakoto i te Pūrongo ā-Tau o Te Tira Puoro o Aotearoa mō te tau i oti i te 31 o Hakihea, 2020 Laurence Kubiak MAICD, GAICD Geoff Dangerfield QSO Schools concert, Wellington Chair/Heamana Deputy Chair/Heamana Tuarua Cover Cheryl Hollinger, 22 April 2021 Chair/Heamana Audit Committee/Komiti Arotake Associate Principal Trumpet Emeritus 22 April 2021 1 1 Our Vision Our Values The NZSO’s Vision, Tā Mātou Matakite Ō Mātou Uara Mission and Values To be Aotearoa New Zealand’s Fresh: We play old music like most loved entertainment brand. -
CANADA's ROYAL WINNIPEG BALLET Thu, Oct 20, 7:30 Pm Carlson Family Stage
2016 // 17 SEASON Northrop Presents CANADA'S ROYAL WINNIPEG BALLET Thu, Oct 20, 7:30 pm Carlson Family Stage DRACULA Dear Northrop Dance Lovers, Northrop at the University of Minnesota Presents It’s great to welcome Canada’s Royal Winnipeg Ballet back to Northrop! We presented their WONDERLAND at the Orpheum in 2011, but they last appeared on this stage in 2009 with their sensational Moulin Rouge. Northrop was a CANADA'S ROYAL very different venue then, and the dancers are delighting in the transformation of this historic space. The work that Royal Winnipeg brings us tonight boasts WINNIPEG BALLET quite a history as well. When it first came out in 1897, Bram th Stoker’s novel was popular enough, but it was the early 20 Under the distinguished Patronage of His Excellency century film versions that really caused its popularity to The Right Honourable David Johnston, C.C., C.M.M., C.O.M., C.D. skyrocket. The play DRACULA appeared in London in 1924 Governor General of Canada and had a successful three-year tour, and then the American version opened in New York City in 1927 and grossed over $2 Founders, GWENETH LLOYD & BETTY FARRALLY million in its first year (that’s in 1927 dollars, and 1927 ticket Artistic Director Emeritus, ARNOLD SPOHR, C.C., O.M. prices). Founding Director, School Professional Division, DAVID MORONI, C.M. Founding Director, School Recreational Division, JEAN MACKENZIE Christine Tschida. Photo by Tim Rummelhoff. So, what is it about this vampire tale that still evokes dread and horror, but most of all, fascination? That’s a subject Artistic Director currently being explored by our first University Honors Program-coordinated interdisciplinary, outside- ANDRÉ LEWIS the-classroom Honors Experience: Dracula in Multimedia.