2021 Adjudicator Panel
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
AM Tanny Bio FINAL
Press Contact: Natasha Padilla, WNET 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , #AmericanMasters American Masters Tanaquil Le Clercq: Afternoon of a Faun Premieres nationally Friday, June 20, 10-11:30 p.m. on PBS (check local listings) Tanaquil Le Clercq Bio Born in Paris in 1929, Tanaquil was the daughter of a French intellectual and a society matron from St. Louis. When Tanny was 3, they moved to New York where Jacques Le Clercq taught romance languages. Tanny began ballet training in New York at age 5, studying with Mikhail Mordkin. She eventually transitioned to the School of American Ballet, which George Balanchine had founded in 1934. Balanchine discovered Tanny as a student there. He cast her as Choleric in The Four Temperaments at the tender age of 15, along with the great prima ballerinas in his company, then called Ballet Society. Before long she was dancing solo roles as a member of Ballet Society, never having danced in the corps de ballet. Some of Balanchine’s most memorable ballets were choreographed on Tanny; notably Symphony in C, La Valse, Concerto Barocco and Western Symphony . She was the original Dew Drop in The Nutcracker. Jerome Robbins was also fascinated with Tanny; famously attributing his enchantment with her unique style of dancing with his decision to join the New York City Ballet and work under Balanchine as both a dancer and choreographer. It was there he created his radical version of Afternoon of a Faun on Tanny. -
New York City Ballet MOVES Tuesday and Wednesday, October 24–25, 2017 7:30 Pm
New York City Ballet MOVES Tuesday and Wednesday, October 24–25, 2017 7:30 pm Photo:Photo: Benoit © Paul Lemay Kolnik 45TH ANNIVERSARY SEASON 2017/2018 Great Artists. Great Audiences. Hancher Performances. ARTISTIC DIRECTOR PETER MARTINS ARTISTIC ADMINISTRATOR JEAN-PIERRE FROHLICH THE DANCERS PRINCIPALS ADRIAN DANCHIG-WARING CHASE FINLAY ABI STAFFORD SOLOIST UNITY PHELAN CORPS DE BALLET MARIKA ANDERSON JACQUELINE BOLOGNA HARRISON COLL CHRISTOPHER GRANT SPARTAK HOXHA RACHEL HUTSELL BAILY JONES ALEC KNIGHT OLIVIA MacKINNON MIRIAM MILLER ANDREW SCORDATO PETER WALKER THE MUSICIANS ARTURO DELMONI, VIOLIN ELAINE CHELTON, PIANO ALAN MOVERMAN, PIANO BALLET MASTERS JEAN-PIERRE FROHLICH CRAIG HALL LISA JACKSON REBECCA KROHN CHRISTINE REDPATH KATHLEEN TRACEY TOURING STAFF FOR NEW YORK CITY BALLET MOVES COMPANY MANAGER STAGE MANAGER GREGORY RUSSELL NICOLE MITCHELL LIGHTING DESIGNER WARDROBE MISTRESS PENNY JACOBUS MARLENE OLSON HAMM WARDROBE MASTER MASTER CARPENTER JOHN RADWICK NORMAN KIRTLAND III 3 Play now. Play for life. We are proud to be your locally-owned, 1-stop shop Photo © Paul Kolnik for all of your instrument, EVENT SPONSORS accessory, and service needs! RICHARD AND MARY JO STANLEY ELLIE AND PETER DENSEN ALLYN L. MARK IOWA HOUSE HOTEL SEASON SPONSOR WEST MUSIC westmusic.com Cedar Falls • Cedar Rapids • Coralville Decorah • Des Moines • Dubuque • Quad Cities PROUD to be Hancher’s 2017-2018 Photo: Miriam Alarcón Avila Season Sponsor! Play now. Play for life. We are proud to be your locally-owned, 1-stop shop for all of your instrument, accessory, and service needs! westmusic.com Cedar Falls • Cedar Rapids • Coralville Decorah • Des Moines • Dubuque • Quad Cities PROUD to be Hancher’s 2017-2018 Season Sponsor! THE PROGRAM IN THE NIGHT Music by FRÉDÉRIC CHOPIN Choreography by JEROME ROBBINS Costumes by ANTHONY DOWELL Lighting by JENNIFER TIPTON OLIVIA MacKINNON UNITY PHELAN ABI STAFFORD AND AND AND ALEC KNIGHT CHASE FINLAY ADRIAN DANCHIG-WARING Piano: ELAINE CHELTON This production was made possible by a generous gift from Mrs. -
Atheneum Nantucket Dance Festival
NANTUCKET ATHENEUM DANCE FESTIVAL 2011 Featuring stars of New York City Ballet & Paris Opera Ballet Benjamin Millepied Artistic Director Dorothée Gilbert Teresa Reichlen Amar Ramasar Sterling Hyltin Tyler Angle Daniel Ulbricht Maria Kowroski Alessio Carbone Ana Sofia Scheller Sean Suozzi Chase Finlay Georgina Pazcoguin Ashley Laracey Justin Peck Troy Schumacher Musicians Cenovia Cummins Katy Luo Gillian Gallagher Naho Tsutsui Parrini Maria Bella Jeffers Brooke Quiggins Saulnier Cover: Photo of Benjamin Millepied by Paul Kolnik 1 Welcometo the Nantucket Atheneum Dance Festival! For 177 years the Nantucket Atheneum has enriched our island community through top quality library services and programs. This year the library served more than 200,000 adults, teens and children year round with free access to over 1.4 million books, CDs, and DVDs, reference and information services and a wide range of cultural and educational programs. In keeping with its long-standing tradition of educational and cultural programming, the Nantucket Atheneum is very excited to present a multifaceted dance experience on Nantucket for the fourth straight summer. This year’s performances feature the world’s best dancers from New York City Ballet and Paris Opera Ballet under the brilliant artistic direction of Benjamin Millepied. In addition to live music for two of the pieces in the program, this year’s program includes an exciting world premier by Justin Peck of the New York City Ballet. The festival this week has offered a sparkling array of free community events including two dance-related book author/illustrator talks, Frederick Wiseman’s film La Danse, Children’s Workshop, Lecture Demonstration and two youth master dance classes. -
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia by Arthur E. Lafex Submitted To
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia By Copyright 2013 Arthur E. Lafex Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. ________________________________ Chairperson Alicia Levin ________________________________ Paul R. Laird ________________________________ David Alan Street Date Defended: April 15, 2013 The Thesis Committee for Author (Arthur E. Lafex) certifies that this is the approved version of the following thesis: Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia ________________________________ Chairperson Alicia Levin Date approved: April 15, 2013 ii Abstract Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes’s music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes’s ballets can be considered. -
For Immediate Release
FOR IMMEDIATE RELEASE Press Contacts: Erica Diamond Senior Account Executive The Patton Group (305) 534-0081, ext. 21 [email protected] Roberto Santiago Public Relations Manager Miami City Ballet (305) 929-7000, ext. 1602 [email protected] BIRTHDAY BASH FOR BALLET LEGEND EDWARD VILLELLA! Miami City Ballet dancers, staff, supporters and friends celebrate the 75th birthday of legendary Founding Artistic Director Edward Villella with cocktails, dinner, dancing and a pre-screening of the company’s upcoming National PBS special. SATURDAY EVENING, OCTOBER 1, 2011 MIAMI BEACH (Sept. 12, 2011) – Miami City Ballet dancers, staff, friends and supporters will gather on Saturday evening, October 1 to celebrate and honor America's most celebrated male ballet dancer, Company Founding Artistic Director Edward Villella, at a special 75th birthday bash at Miami City Ballet studios in Miami Beach. The evening’s festivities will feature cocktails, dinner, dancing and a pre- screening of the WNET/ PBS National television special, “Great Performances: Miami City Ballet Dances Balanchine & Tharp.” The festivities begin promptly at 6:00pm on October 1 with a cocktail reception sponsored by Bacardi U.S.A. (more…) Villella Birthday/2 Guests will then take to the 225-seat intimate studio theater for a special pre-screening of WNET/PBS program “Great Performances: Miami City Ballet Dances Balanchine & Tharp.” The program includes a trio of signature works by George Balanchine and Twyla Tharp that will showcase the company’s critically acclaimed performances of Balanchine’s Square Dance and Western Symphony and Tharp’s “The Golden Section.” Following the screening, guests will enjoy dinner, dancing and tributes from some of Edward Villella’s closest friends and dance peers. -
04546 Sacb 2017-18 S
SACRAMENTO BALLET MAKING HISTORY 2017-18 2017–2018 PRESIDENT’S LETTER SEASON OVERVIEW Beer & Ballet Dear Supporters, October 13–15, 20–22, & 27–29, 2017 For 63 years the Sacramento Ballet has been an Sacramento Ballet’s talented artists integral part of Sacramento’s history. This season create off-the-charts entertainment will build upon our many successes. Artistic Directors, with untamed imagination. Ron Cunningham and Carinne Binda, have crafted a The Nutcracker remarkable season and, as a fellow aesthete, I wait in December 9–10, 15–17, & 22–23, 2017 eager anticipation. The most beloved of all Sacramento Join us this season to celebrate Ron and Carinne’s traditions, Ron Cunningham’s delightful 30 years of dedicated passion to the Sacramento The Nutcracker is the “Crown Jewel” of Ballet, the arts community, and the furtherance of holiday entertainment. this treasured art form. Giselle February 16–18, 2018 Although it will be their final season as our company’s artistic directors, they will be honored as the The universal message of trust, Sacramento Ballet’s first Artistic Directors Emeritus commitment, forgiveness, and the upon the conclusion of this season. Their impact, their cleansing transcendence of selfless legacy has changed the face of this community and we love are values as timely today as in will always be grateful. the 19th century. Before we reach this next chapter, witness the Carmina Burana / Serenade March 23–25, 2018 masterworks of George Balanchine, say hello to old friends, Clara and the Sugar Plum Fairy, revisit Ron Cunningham’s epic, larger-than-life some of Ron Cunningham’s classics, and warm up in spectacle set to the soaring live music of the spring with our Red Hot productions. -
Download Playbill
2021 SALT LAKE CITY SPRING PERFORMANCE FROM CLASSICAL TO CONTEMPORARY, MASTERWORKS THROUGH THE AGES MAY 6–8 ROSE WAGNER PERFORMING ARTS CENTER BALLET WEST ACADEMY STUDENTJONAS MALINKA-THOMPSON | PHOTO BY BEAU PEARSON 2021 SALT LAKE CITY SPRING PERFORMANCE FROM CLASSICAL TO CONTEMPORARY, MASTERWORKS THROUGH THE AGES One of the most unique components of Ballet West Academy is that it provides an opportunity for young dancers to learn and perform roles from classical repertoire as well as new and original works in an atmosphere that replicates a full company experience. Our Spring Performance is a diverse representation of this. PLEASE BE RESPECTFUL, TURN OFF ALL ELECTRONICS. NO PHOTOGRAPHY. UPPER SCHOOL: WESTERN SYMPHONY®, WITH SWAN LAKE SUITE AND OTHER SELECTED PIECES The evening performances (May 6, 7, and 8, 7 pm) are presented by dancers from Levels 5-8, the Professional Training Division, and the Trainee Division of Ballet West Academy. We begin with a historical walk in Denmark, where we see August Bournonville’s A Folk Tale, re-staged after the original by our own Jeff Rogers, former Ballet West principal artist, who has spent countless hours studying the style and works of Bournonville. We are then treated to Swan Lake Suite of Dances, with the invigorating and well- known choreography of Marius Petipa and the powerful music of Tchaikovsky, illuminating for the audience the romantic story of Prince Siegfried and his beloved Swan Princess Odette. Next on the evening’s tour is an original work by award-winning choreographer Francisco Gella. Mr. Gella is world-renowned for his ability to merge styles and inspire today’s emerging dancers. -
Pittsburgh Ballet Theatre Signs Four More New Dancers for 2018-2019 Season Total of Six Dancers Recruited from PBT School Pre-Professional Division
FOR IMMEDIATE RELEASE Contact: Meghan Swartz Associate Director of Communications 412-454-9117 [email protected] Pittsburgh Ballet Theatre Signs Four More New Dancers for 2018-2019 Season Total of six dancers recruited from PBT School Pre-professional Division Pittsburgh, PA (May 21, 2018) - Pittsburgh Ballet Theatre (PBT) Artistic Director Terrence S. Orr has signed four more dancers to the company roster for the 2018-2019 Season, which opens Oct. 26-28, with “Mozart in Motion” with the PBT Orchestra. Orr recruited the following four dancers from PBT School’s Pre-professional Division: Jonathan Breight, of Pittsburgh; Colin McCaslin of Vineland, New Jersey; Yu-Chieh Chao of Pingtung, Taiwan; and Caitlyn Mendicino of Pittsburgh. All four dancers will join the company as apprentices. Earlier this season, Orr announced the hire of PBT School graduate students Christian García Campos, of Puebla, Mexico, and Tommie Kesten, of Pittsburgh, who also will join the company as apprentices for the 2018-2019 Season. In total, Orr has hired six dancers from PBT School’s Pre-professional Division this year. “The Pre-professional Division is where dancers begin making the transition from student to professional. At this stage, dancers are honing their performance skills, cultivating their individuality as artists and testing their technique in company repertoire,” Orr said. “It has been a pleasure to work closely with these dancers. They’ve stood out on stage in both student and professional performances, and they’ve proven their passion, not only for their art but for this company.” PBT School’s Pre-professional Division prepares students for professional ballet careers. -
The Prodigal Son by Selma Jeanne Cohen
THE PRODIGAL SON BY SELMA JEANNE COHEN As a source for dance works, the theme of the prodigal son as well, so Gardel's scenario neatly provides for a few tears has not been especially prolific. For the tastes of the early at the end of its panorama of exotic settings. years of ballet, choreographers probably found its lack of epic dimension a serious drawback. It deals, after all, with To lure the working-class audience to the Opera, Gardel simple people, with family relationships; no battles are won invented not only new scenes, but a number of new charac or lost, no great hero emerges. More serious still, the story ters. When the son Azael (Auguste Vestris) leaves his home offers little occasion for the display of splendid and costly in Goshen for the city of Memphis, he finds; "Le luxe decor and costumes; only the episodes of "rioutous living" egyptien y regne de toutes parts, les merveilles de l'art, de - which merit no more description than that in the Bible - l' architecture brillent dans tous les monumens . ..." A suggest the possibility of scenic wonders. religious ceremony occasions a grand temple scene with a variety of dances by virgins, priests, and slaves. Azael is Fortunately fo.r the 20th century, "riotous living" can attracted by the lovely Lia, who shyly admits her fondness include sexuality, and most modern versions have a seduc forhim. She goes t.o tell her father about him. But when tress who engages the innocent youth in a sen.suous pas de she retums, Azael is dancing with several other girls, and deux which, rather than the biblical farnine, brings about Lia throws herself into the river. -
Dorathi Bock Pierre Dance Collection, 1929-1996
http://oac.cdlib.org/findaid/ark:/13030/c8pc33q9 No online items Finding Aid for the Dorathi Bock Pierre dance collection, 1929-1996 Processed by Megan Hahn Fraser and Jesse Erickson, March 2012, with assistance from Lindsay Chaney, May 2013; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ ©2013 The Regents of the University of California. All rights reserved. Finding Aid for the Dorathi Bock 1937 1 Pierre dance collection, 1929-1996 Descriptive Summary Title: Dorathi Bock Pierre dance collection Date (inclusive): 1929-1996 Collection number: 1937 Creator: Pierre, Dorathi Bock. Extent: 27 linear ft.(67 boxes) Abstract: Collection of photographs, performance programs, publicity information, and clippings related to dance, gathered by Dorathi Bock Pierre, a dance writer and publicist. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. -
Mcb-Bfyp-Guide.Pdf
TEACHERS GUIDE AND PRE-PERFORMANCE INFORMATION FOR BALLET for YOUNG PEOPLE A Miami City Ballet, Share the Dance Community Outreach and Educational Program Contact: Terry Schechter, Director [email protected] 305.929.7000.ext.1401 MCB BFYP 2015- 2016 | TO: Classroom Teachers, Dance Teachers, Music Teachers and Fieldtrip Coordinators FROM: Terry Schechter, Director Community Outreach, Miami City Ballet SUBJECT: Ballet for Young People, Educational and Outreach Performances 2015-2016 SEASON PERFORMANCES: Bailey Hall /Broward College: 11/ 19/ 2015 South Miami Dade Cultural Arts Center: 11/20 and 21/2015 Caleb Auditorium: 1/11/16 Adrienne Arsht Center for the Performing Arts: 2/13/16 Kravis Center for the Performing Arts: 2/26/16 _____________________________________________________________________________________ We look forward to seeing you at our upcoming Ballet for Young People performances. In order to ensure everyone’s comfort and enjoyment during the performance, we ask that you please follow these simple guidelines. ARRIVE 30 MINUTES BEFORE PERFORMANCE TIME- Ample time is needed for bus unloading and getting the students to their seats. OBSERVE PARKING DIRECTIONS- Each venue has different instructions please check the individual websites. ARRIVAL & DISMISSAL PROCESS- Please follow the arrival and dismissal procedures as directed by the venue This will be used to ensure an orderly departure. A VERY SPECIAL THANK YOU - To you the teachers, chaperones, fieldtrip coordinators and bus drivers. We know that filed trip days can be a challenge and we appreciate your efforts in providing your students with such a wonderful experience. Thank you for your participation. If you have any questions please email the Community Outreach and Special Projects department, [email protected] with the Subject line: MCB BFYP MCB BFYP 2015- 2016 | Please discuss theater etiquette with your students! THEATER ETIQUETTE • Arriving early for a performance is always a polite thing to do. -
The Chaconne and Passacaglia Throughout Violin Literature
A BSTR A C T Title of Dissertation: REBORN IN THE 20 TH CENTURY: THE CHACONNE AND PASSACAGLIA THROUGHOUT VIOLIN LITERATURE Pyung-Kang Sharon Oh, Doctoral of Musical Arts, 2021 Dissertation directed by: Professor James Stern, Strings Department In the late 16 th century, the chacona was the most energetic and wild type of baile, a popular Spanish dance. It was a lively, suggestive, and festive peasant dance, which, by the early 17 th century, had developed into a distinct variation form involving a repeated bass line or chord progression. This performance dissertation explores the symbolic significance of both the chaconne and the passacaglia in performance as well as in written form. The performance was a recital program which comprised the Bach Partita No. 2 for Solo Violin and the Shostakovich Violin Concerto No. 1, each featuring the chaconne and passacaglia respectively in their emotionally climactic movements. I performed the recital with pianist Hsiang-Ling Hsiao, on November 1, 2016, in the Gildenhorn Recital Hall. In this document, I explore how the chaconne in violin repertoire has changed over time by analyzing the repeating units, stylistic changes, and historical backgrounds. The paper is organized into two parts. Part I surveys the Baroque period chaconnes. The earlier, celebratory chaconnes include works by Monteverdi, Bertali, and Corelli. The elegant and courtly chaconnes include works by Schmelzer and Lully; the chaconnes representing fate include works by Biber, Purcell, and Bach. In the Classical and Romantic periods, the chaconne was discontinued, but it becam e revitalized again in the 20 th century. Part II discusses 20 th -century chaconnes and the im petus for its rebirth after a long hiatus.