Contribution to Dance (1964-2019)
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Pdfaboutnews To-The-Pointe-Spring12.Pdf
To the Pointe the To ISSUE 54 SPRING 2012 Message from the Executive Director As I reflect on my first quarter at Canada’s So too, the building is alive after hours, the support from our government National Ballet School, I’m drawn to the through our Adult and Associates partners, and will continue to connect spring scenes around the School. This is programs. It is a source of inspiration to them with NBS. a season of renewal, a time to anticipate see the Celia Franca Centre is alive with the summer ahead. In particular, the dancers at night. Two attributes characterize NBS from my spring brings something that is dear to perspective—passion and excellence. I me—the return of baseball! What does One item on my agenda is the completion want to acknowledge Mavis Staines for baseball have to do with ballet? Good of a new NBS Strategic Plan. There has her support during my transition, and for question—more on that later. been superb planning work done in modelling those attributes. I’d also like to past years, including a trend analysis of recognize our talented staff for the same Since joining NBS, I have found it to be the dance industry and an articulation reasons, and to thank our committed as stimulating and rewarding as I had of three strategic initiatives to address friends who attended the For the Love hoped. Coming from the museum world, these. We are facilitating a process for of Ballet Gala. I am a strong supporter of culture and the soliciting and refining staff contributions, role that knowledge plays in advancing with a goal of completing the plan in And so, how do my first few months at our society. -
Bruhn, Erik (1928-1986) Erik Bruhn (Second from Left) Visiting Backstage at by John Mcfarland the New York City Ballet
Bruhn, Erik (1928-1986) Erik Bruhn (second from left) visiting backstage at by John McFarland the New York City Ballet. The group included (left Encyclopedia Copyright © 2015, glbtq, Inc. to right) Diana Adams, Entry Copyright © 2002, glbtq, Inc. Bruhn, Violette Verdy, Sonia Arova, and Reprinted from http://www.glbtq.com Rudolph Nureyev. Erik Bruhn was the premier male dancer of the 1950s and epitomized the ethereally handsome prince and cavalier on the international ballet stage of the decade. Combining flawless technique with an understanding of modern conflicted psychology, he set the standard by which the next generation of dancers, including Rudolf Nureyev, Mikhail Baryshnikov, Peter Schaufuss, and Peter Martins, measured their success. Born on October 3, 1928 in Copenhagen, Bruhn was the fourth child of Ellen Evers Bruhn, the owner of a successful hair salon. After the departure of his father when Erik was five years old, he was the sole male in a household with six women, five of them his seniors. An introspective child who was his mother's favorite, Erik was enrolled in dance classes at the age of six in part to counter signs of social withdrawal. He took to dance like a duck to water; three years later he auditioned for the Royal Danish Ballet School where he studied from 1937 to 1947. With his classic Nordic good looks, agility, and musicality, Bruhn seemed made for the August Bournonville technique taught at the school. He worked obsessively to master the technique's purity of line, lightness of jump, and clean footwork. Although Bruhn performed the works of the Royal Danish Ballet to perfection without any apparent effort, he yearned to reach beyond mere technique. -
Gp 3.Qxt 7/11/16 9:01 AM Page 1
07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 1 July 13 –31, 2 016 Lincoln Center Festival lead support is provided by American Express July 28–31 David H. Koch Theater The National Ballet of Canada Karen Kain, Artistic Director The Winter’s Tale The National Ballet of Canada Orchestra Music Director and Principal Conductor David Briskin Approximate running time: 2 hours and 35 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. The Lincoln Center Festival 2016 presentation of The Winter’s Tale is made possible in part by generous support from The LuEsther T. Mertz Charitable Trust and Jennie and Richard DeScherer. Additional support is provided by The Joelson Foundation. Endowment support for the Lincoln Center Festival 2016 presentation of The Winter’s Tale is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2016 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts. The National Ballet of Canada’s lead philanthropic support for The Winter’s Tale is provided by The Catherine and Maxwell Meighen Foundation, Richard M. Ivey, C.C., an anonymous friend of the National Ballet, and The Producers’ Circle. The National Ballet of Canada gratefully acknowledges the generous support of The Honourable Margaret Norrie McCain, C.C. A co-production of The National Ballet of Canada and The Royal Ballet 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 2 LINCOLN CENTER FESTIVAL 2016 THE WINTER’S -
Copyright Marilyn J. La Vine © 2007 New York –
Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. London March 2,1970 THE ROPES OF TIME # The Traveler The Royal Ballet; Royal Opera House With: Monica Mason, Diana Vere C: van Dantzig M: Boerman London July 24,1970 'Tribute to Sir Frederick Ashton' Farewell Gala. The Royal LES RENDEZ-VOUS Ballet,- Royal Opera House Variation and Adagio of Lovers With: Merle Park Double debut evening. C: Ashton M: Auber London July 24,1970 APPARITIONS Ballroom Scene The Royal Ballet; Royal Opera House The Poet Danced at this Ashton Farewell Gala only. With: Margot Fonteyn C: Ashton M: Liszt London October 19, 1970 DANCES AT A GATHERING Lead Man in Brown The Royal Ballet; Royal Opera House With: Anthony Dowell, Antoinette Sibley C: Robbins M: Chopin Marseille October 30, 1970 SLEEPING BEAUTY Prince Desire Ballet de L'Opera de Morseille; Opera Municipal de Marseille With: Margot Fonteyn C: Hightower after Petipa M: Tchaikovsky Berlin Berlin Ballet of the Germon Opera; Deutsche Opera House November 21, 1970 Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role SWAN LAKE Prince Siegfried With: Marcia Haydee C: MacMillan M: Tchaikovsky Brussels March 11, 1971 SONGS OF A WAYFARER (Leider Eines Fahrenden Gesellen) # Ballet of the 20#, Century; Forest National Arena The Wanderer With: Paolo Bortoluzzi C: Bejart M: Mahler Double debut evening. -
Full Page Photo
Editorial Susan Cohen Editor I Redactrice In this issue Dance in Canada celebrates the twenty-fifth Ce numero de Danse au Canada celebre le vingt anniversary of the National Ballet of Canada. On cinquieme anniversaire du Bal let National du Canada. Le November 12, 1951, Cel ia Franca and her dancers stepped 12 novembre 1951, Celia Franca et ses danseurs on the boards as a company for the first time; exactly 25 montaient sur les planches pour la premiere fois a titre de years later the company salutes the occasion with a gala compagnie. Exactement 25 ans plus tard, la compagnie opening and a special season at Toronto's O'Keefe commemore cet evenement par une premiere de grand Centre. This celebration is a reminder, not just of how far gala et une saison toute speciale au Centre O'Keefe de one company has come, but also of how far the field has Toronto. Cette celebration n'est pas un simple rappel du progressed in that quarter of a century. The National is chemin parcouru par la compagnie, mais aussi des one example of the excellence, diversity and maturity of progres realises dans le domaine de la danse au cours de dance in Canada. ce quart de siecle. Le Ballet National est l'un des exemples de l'excellence, de la variete et de la maturite de la danse In a magazine as small as ours, the decisions about what au Canada. to cover and what to leave out are heartbreaking. We would like to mention all the individuals who contributed L'espace restreint de notre revue rend toujours penible to the company, but we have chosen to focus on the la decision quant au contenu de chaque numero. -
In This Issue Spring Showcase
IN THIS ISSUE Spring Showcase: Tickets / Students' Perspective 50th Anniversary: Your Aeroplan Miles / Notecards Staff Campaign | Associates Auditions | Doors Open | Golf Classic Student Council: Red Carpet Dance | Ballet Bites: Rebecca's Recipes SPRING SHOWCASE 2009 TICKETS NOW ON SALE Our renowned, annual performance tradition takes place this year from May 19-23. This is your chance to see students in the School's full-time Professional Ballet Program performing the much-beloved Swan Lake, along with the world premieres of new works by Canadian choreographers and NBS alumni, Sabrina Matthews and Matjash Mrozewski. Photographer: Cylla von Tiedemann Running for five nights at the Betty Oliphant Theatre, with Opening Night an invitation-only event, tickets are on-sale now and are available by calling 416-964-5148. For NBS parents, blocks of tickets are reserved to guarantee you'll see your child perform. For more information, please visit our Spring Showcase webpage. STUDENTS' PERSPECTIVE This year, students in Spring Showcase have written about their experience learning the different choreographies. Read Natalie Ogonek's 30-Minute Beauty Makeover, Jackson Carroll's Sequentia, and Liana Macera's Swan Lake. Back to Top NBS' 50th ANNIVERSARY APPROACHES SUPPORT NBS' 50th ANNIVERSARY WITH YOUR AEROPLAN MILES With the kind support of Aeroplan, your generous transfer of Aeroplan Miles to NBS will support Assemblée Internationale 2009. Your Aeroplan Miles will help to bring approximately 120 ballet students and dance professionals from Canada and around the world to create and perform original choreography for delegates, the public, and participants – all for the benefit of our community. For details on how to donate points or to learn more, please visit our Aeroplan webpage. -
Narrator Bio 2012
Veronica Tennant, C.C. Narrator Bio During her illustrious career as Prima Ballerina with The National Ballet of Canada, Veronica Tennant won a devoted following on the international stage as a dancer of extraordinary versatility and dramatic power. She danced for 25 years across North and South America, Europe and Japan, with the greatest male dancers of our time, including Rudolf Nureyev, and Mikhail Baryshnikov. Tennant gave her farewell performances in Romeo and Juliet and in a subsequent gala – A Passion For Dance – Celebrating the Tennant Magic in 1989. Particularly celebrated as a gifted musical dancer and as an actor, Veronica Tennant has appeared extensively as narrator/creator on the concert stage. She has performed with all the major orchestras across Canada, including; The Toronto Symphony and The National Arts Centre Orchestra, and debuted her own musical narrative of The Nutcracker with The Vancouver Symphony. Her highly successful The Little Match Girl, combines narration, an original music score by Christopher Donison, and choreography for her and a young child dancer. Premiering at Harbourfront, Toronto December 1995, it was invited again in 1996 as well as with The Edmonton Symphony. Warmly received, The Little Match Girl has been presented in 1997, with The Victoria Symphony and The Vancouver Symphony, and in 1998 with The Calgary Philharmonic. Veronica Tennant has been a frequent guest with The Festival of the Sound in a number of collaborations. She performed Patrick Cardy’s The Snow Queen, with The St. Lawrence Quartet; and Godfrey Ridout’s Exile – drawn from the journals of Susanna Moodie. She devised and performed with pianist Marc Andre Hamelin, a drama/dance piece, Maud, drawn from the journals of Lucy Maud Montgomery. -
INTERNATIONAL JOURNAL of ARTS MANAGEMENT
VOLUME 9, NUMBER 2 • WINTER 2007 HEC M o n t r é a l ~ AIMAC Karen Kain and the INTERNATIONAL National Ballet of Canada Jacqueline Cardinal, Laurent Lapierre JOURNAL of ARTS MANAGEMENT The Futurist Stance of Historical Societies: An Analysis of Position Statements Dirk H.R. Spennemann Volunteer Management in Arts Organizations: A Case Study and Managerial Implications Helen Bussell, Deborah Forbes Letting Go of the Reins: Paradoxes and Puzzles in Leading an Artistic Enterprise Ralph Bathurst, Lloyd Williams, Anne Rodda A Scale for Measuring Aesthetic Style in the Field of Luxury and Art Products Joëlle Lagier, Bruno Godey Why Occasional Theatregoers in France Do Not Become Subscribers Christine Petr C OMPANY PROFILE Karen Kain and the National Ballet of Canada Jacqueline Cardinal, Laurent Lapierre Moscow International Ballet competition, I hate the superficiality of small Kain was invited to perform on the world’s talk. I have dedicated my career most celebrated stages. Beautiful inside as well to getting to the heart of com- as out, endowed with an extraordinary dra- munication in body language, matic intensity and trained for seven years in stripping off whatever is super- the demanding Ceccheti technique, she had fluous. Embellishment isn’t my always dreamed of dancing the part of Giselle Jacqueline Cardinal is a in the ballet of the same name. Kain’s mother Research Associate with style; I try to distil the essence, took her to see Giselle on her eighth birthday, the Pierre Péladeau Chair of and remain uncomfortable with and her future was decided that day. Leadership at HEC Montréal. -
Cecchetti Council of America Examiners Meeting Fall 2016…….…
Cecchetti International Classical Ballet Annual Newsletter No. 22, 2016 Inside this issue Contacts…………………………...…..….2 Where Are they Now?……………….......2 Cecchetti Ballet Australia Inc.………….5 Memories of Clive Mckeller………..…...5 Cecchetti Society of Canada From Studio to Stage……...…….…...….6 Amy Hoffman………..…………………..8 Cecchetti Council of America Examiners Meeting Fall 2016…….…......9 Enhanced Men’s Training Program……9 Cecchetti USA………...………………...11 Cecchetti Society Classical Ballet, UK.............................................................12 Cecchetti Society I.S.T.D. Events……...13 Danzare Cecchetti CICB Competition & Summer Courses Florence, Italy 2017…………...………..14 Competition Scholarships………..….…15 Cecchetti Students of Ateneo Danza Italy………………………..…………….16 Riccardo Mambelli ~ Cecchetti Advanced 2 Cecchetti Society of South Africa Events………………………...……...….16 Diploma Holders…………………….....17 CONTACTS Where Are They Now? Previous CICB Competitors CICB Officers Chairman: Betty Seibert, [email protected] South Africa Vice Chairman: Gail Myburgh, [email protected] Alexandra Potgieter (2008) Secretary: Susan Booker, [email protected] South African Dancer trained in The Cecchetti Method by Lynne Fouché has Treasurer: Joyce Shietze, [email protected] returned after 5 years in commerce to successfully undertake her Associate CICB Delegates and Society contact Examination, duly being awarded the Dorothea McNair Trophy for the most Australia: Carole Hall, Anne Butler, [email protected] outstanding qualifying examination in the Canada: -
Ballet Notes Swan Lake
Ballet Notes Swan Lake March 8 – 16, 2014 Xiao Nan Yu and McGee Maddox. Photo by Bruce Zinger. Orchestra Violin 1 Oboes Stephen Sitarski, Mark Rogers, Principal Guest Concertmaster Karen Rotenberg Lynn Kuo, Assistant Lesley Young, English Horn Concertmaster Clarinets Anne Armstrong+ Max Christie, Principal James Aylesworth Gary Kidd, Bass Clarinet Jennie Baccante Colleen Cook+ Bethany Bergman+ Emily Marlow* Celia Franca, C.C., Founder Sheldon Grabke* Nancy Kershaw* Bassoons George Crum, Music Director Emeritus Sonia Klimasko-Leheniuk Stephen Mosher, Principal Karen Kain, C.C. Barry Hughson Csaba Koczó Jerry Robinson Artistic Director Executive Director Yakov Lerner Elizabeth Gowen, Jayne Maddison Contra-Bassoon David Briskin Rex Harrington, O.C. Wendy Rogers Horns Music Director and Artist-in-Residence Paul Zevenhuizen Principal Conductor Gary Pattison, Principal Violin 2 Vincent Barbee* Magdalena Popa Lindsay Fischer Dominique Laplante, Derek Conrod Principal Artistic Coach Artistic Director, + Principal Second Violin Diane Doig YOU dance / Ballet Master Aaron Schwebel, Christine Passmore+ Peter Ottmann Mandy-Jayne Assistant Principal Scott Wevers Senior Ballet Master Richardson Xiao Grabke Trumpets Senior Ballet Mistress Hiroko Kagawa+ Richard Sandals, Principal Rene London+ Aleksandar Antonijevic, Guillaume Côté, Mark Dharmaratnam + Ron Mah Matthew Golding , Greta Hodgkinson, Evan McKie*, Philip Sequin+ Aya Miyagawa Svetlana Lunkina*, Heather Ogden, Sonia Rodriguez, Robert Weymouth Piotr Stanczyk, Jillian Vanstone, Xiao Nan Yu Filip -
English National Ballet Romeo & Juliet Southbank Centre, Royal
UNDER EMBARGO UNTIL 2PM, THURSDAY 23 JUNE 2017 English National Ballet Romeo & Juliet Southbank Centre, Royal Festival Hall Tuesday 1 - Saturday 5 August 2017 Performances at 7.30pm (mat at 2pm) Tickets: £12 - £55 Box Office: www.ballet.org.uk or www.southbankcentre.co.uk Returning to London in its 40th anniversary year, English National Ballet perform Rudolf Nureyev’s Romeo & Juliet at Southbank Centre’s Royal Festival Hall from 1 - 5 August 2017. The world’s greatest love story, Romeo & Juliet features Nureyev’s inventive and passionate choreography set to Prokofiev’s exhilarating score, performed live by English National Ballet Philharmonic. For Romeo & Juliet, English National Ballet welcomes Jurgita Dronina, who joins the Company as Lead Principal following her guest performances with the Company in Giselle at the Grand Opera House, Belfast this week and earlier this year at the London Coliseum. She performs in Romeo & Juliet alongside new Lead Principal Aaron Robison, who joined the Company in June. Dronina, who remains Principal with The National Ballet of Canada, will perform with English National Ballet for the 17/18 season, further details to be announced shortly. Of joining English National Ballet, Dronina said: “I am very excited to have this unique opportunity to be part of two incredible companies this season: English National Ballet in London and The National Ballet of Canada in Toronto. I consider myself very lucky to be able to work for two inspiring women, Tamara Rojo and Karen Kain, who have extraordinary visions for the future of their companies. I feel honoured to be a part of this.” Under directorship of Tamara Rojo, English National Ballet has attracted the best artists from around the world, offering impeccable coaching, as well as the opportunity to bring world class ballet to a wide range of audiences worldwide. -
Penelope Doob Fonds (F0729)
York University Archives & Special Collections (CTASC) Finding Aid - Penelope Doob fonds (F0729) Generated by Access to Memory (AtoM) 2.4.1 Printed: May 02, 2019 Language of description: English York University Archives & Special Collections (CTASC) 305 Scott Library, 4700 Keele Street, York University Toronto Ontario Canada M3J 1P3 Telephone: 416-736-5442 Fax: 416-650-8039 Email: [email protected] http://www.library.yorku.ca/ccm/ArchivesSpecialCollections/index.htm https://atom.library.yorku.ca//index.php/penelope-doob-fonds Penelope Doob fonds Table of contents Summary information .................................................................................................................................... 24 Administrative history / Biographical sketch ................................................................................................ 24 Scope and content ......................................................................................................................................... 25 Notes .............................................................................................................................................................. 25 Access points ................................................................................................................................................. 26 Collection holdings ........................................................................................................................................ 26 S00917, Education and professorial files