Amir Levy Resume

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Amir Levy SAG-AFTRA Height: 6’ Eyes: Brown Hair: Brown US Citizen AmirLevy.com FILM LISTEN- Feature Supporting Dir: Omri Bezalel MINYAN- Feature Supporting Dir: Eric Steel BIG HOUSE- Feature Supporting Lead Dir: Jean Emmanuel Godart THE LOOK IN HER EYES - Short Lead Dir: Brandon Tilghman GUINNESS/SCOTCH - Short Lead Dir: Philip Yang WHO I AM - Short Lead Dir: Sergio Vaccaro EXPOSURE - Short Lead Dir: Will Noah PAXIL - Short Lead Dir: Nick Massey MARJORIE - Short Lead Dir: Louis DeCaprio TV FBI Co-Star/Ep.15, S3 CBS / Alex Chapple POSE Co-Star/Ep.1, S2 FX / Gwyneth Horder-Payton ITS BRUNO! Co-Star/Ep.5, S1 NETFLIX / Solvan “Slick” Naim LOUIE Co-Star/Ep.10, S2 FX / Louie C.K. GREAT PERFORMANCES AT THE MET Recurring Roles PBS / Gary Halvorson EXPENSIVE DREAMS Lead Web S. / Shantel Duah THEATRE THE METROPOLITAN OPERA Dance Captain/Principle Dancer General Manager: Peter Gelb Repertoire includes work with: Richard Eyre, Carolyn Choa, Anthony Minghella, Francesca Zambello, Michael Mayer, Julie Taymor Michael Grandage, Des McAnuﬀ, Francois Girard THE ATLANTA OPERA Choreographer - Carmen ‘18, Salome ‘20 Artistic Dir: Tomer Zvulun DANGEROUS ITEMS Stage Director T.A.R.T.E. NYC BELLINI & THE SULTAN-NY Int’l Fringe Festival Vizier, Doge Dir: Ed Stevens EVITA (20th Anniversary Tour) Sloucho, Mario Dir: Harold Prince, Larry Fuller VICTOR/VICTORIA (1st National Tour) Featured Dancer/Singer Dir: Mark S. Hoebee RADIO CITY CHRISTMAS SPECTACULAR Featured Dancer/Singer Dir: Linda Haberman ELIOT NESS IN CLEVELAND (Harold Prince) Featured Actor/Dancer Dir: Nick Corley FOSSE (Pre-Production Workshop) Featured Dancer/Singer Dir: Chet Walker APPLAUSE (Pre-Production Workshop) Featured Dancer/Singer Dir: Ann Reinking BALLET HISPANICO OF NEW YORK Soloist Dir: Tina Ramirez Repertoire includes works by: Graciela Daniele, George Faison Alberto Alonso, Vicente Nebrada BAT-DOR DANCE COMPANY OF ISRAEL Principle Dir: Jeannette Ordman Repertoire includes works by: Alvin Ailey, Judith Jamison, Lar Lubovitch Paul Taylor, Hans Van Manen, Ed Wubbe COMMERCIALS Conﬂicts available upon request. SPECIAL SKILLS Fluent in Hebrew. Arabic & Russian Accents. Military Service ( IDF ). Extensive Partnering - Ballet, Adagio, Ballroom and Latin Dances. Choreographer, Movement Coach, Competition Judge, Stage Management, Yoga, Pilates, Print Model, Narration and Voice-Over Experience.

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Taiwanese Eyes on the Modern: Cold War Dance Diplomacy And
Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tsung-Hsin Lee, M.A. Graduate Program in Dance Studies The Ohio State University 2020 Dissertation Committee Hannah Kosstrin, Advisor Harmony Bench Danielle Fosler-Lussier Morgan Liu Copyrighted by Tsung-Hsin Lee 2020 2 Abstract This dissertation “Taiwanese Eyes on the Modern: Cold War Dance Diplomacy and American Modern Dances in Taiwan, 1950–1980” examines the transnational history of American modern dance between the United States and Taiwan during the Cold War era. From the 1950s to the 1980s, the Carmen De Lavallade-Alvin Ailey, José Limón, Paul Taylor, Martha Graham, and Alwin Nikolais dance companies toured to Taiwan under the auspices of the U.S. State Department. At the same time, Chinese American choreographers Al Chungliang Huang and Yen Lu Wong also visited Taiwan, teaching and presenting American modern dance. These visits served as diplomatic gestures between the members of the so-called Free World led by the U.S. Taiwanese audiences perceived American dance modernity through mixed interpretations under the Cold War rhetoric of freedom that the U.S. sold and disseminated through dance diplomacy. I explore the heterogeneous shaping forces from multiple engaging individuals and institutions that assemble this diplomatic history of dance, resulting in outcomes influencing dance histories of the U.S. and Taiwan for different ends. I argue that Taiwanese audiences interpreted American dance modernity as a means of embodiment to advocate for freedom and social change.
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Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon.
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2018–2019 Annual Report
18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J.
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Dance, American Dance
DA CONSTAANTLYN EVOLVINGCE TRADITION AD CONSTAANTLY NEVOLVINGCE TRADITION BY OCTAVIO ROCA here is no time like the Michael Smuin’s jazzy abandon, in present to look at the future of Broadway’s newfound love of dance, American dance. So much in every daring bit of performance art keeps coming, so much is left that tries to redefine what dance is behind, and the uncertainty and what it is not. American dancers Tand immense promise of all that lies today represent the finest, most ahead tell us that the young century exciting, and most diverse aspects of is witnessing a watershed in our country’s cultural riches. American dance history. Candid The phenomenal aspect of dance is shots of American artists on the that it takes two to give meaning to move reveal a wide-open landscape the phenomenon. The meaning of a of dance, from classical to modern dance arises not in a vacuum but in to postmodern and beyond. public, in real life, in the magical Each of our dance traditions moment when an audience witnesses carries a distinctive flavor, and each a performance. What makes demands attention: the living American dance unique is not just its legacies of George Balanchine and A poster advertises the appearance of New distinctive, multicultural mix of Antony Tudor, the ever-surprising York City Ballet as part of Festival Verdi influences, but also the distinctively 2001 in Parma, Italy. genius of Merce Cunningham, the American mix of its audiences. That all-American exuberance of Paul Taylor, the social mix is even more of a melting pot as the new commitment of Bill T.
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A Season of Thrilling Intrigue and Grand Spectacle –
A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents.
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The American Opera Series May 16 – November 28, 2015
The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary.
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Alvin Ailey American Dance Theater
Tuesday through Friday, April 10 –13, 2018, 8pm Saturday, April 14, 2018, 2pm and 8pm Sunday, April 15, 2018, 3pm Zellerbach Hall Alvin Ailey American Dance Theater Alvin Ailey, Founder Judith Jamison, Artistic Director Emerita Robert Battle , Artistic Director Masazumi Chaya, Associate Artistic Director CompAny memBeRs Hope Boykin Jacquelin Harris Akua Noni Parker Jeroboam Bozeman Collin Heyward Danica Paulos Clifton Brown Michael Jackson, Jr. Belén Pereyra-Alem Sean Aaron Carmon Megan Jakel Jamar Roberts Sarah Daley-Perdomo Yannick Lebrun Samuel Lee Roberts Ghrai DeVore Renaldo Maurice Kanji Segawa Solomon Dumas Ashley Mayeux Glenn Allen Sims Samantha Figgins Michael Francis McBride Linda Celeste Sims Vernard J. Gilmore Rachael McLaren Constance Stamatiou Jacqueline Green Chalvar Monteiro Jermaine Terry Daniel Harder Fana Tesfagiorgis Matthew Rushing, Rehearsal Director and Guest Artist Bennett Rink, Executive Director Major funding is provided by the National Endowment for the Arts; the New York State Council on the Arts; the New York City Department of Cultural Affairs; American Express; Bank of America; BET Networks; Bloomberg Philanthropies; BNY Mellon; Delta Air Lines; Diageo, North America; Doris Duke Charitable Foundation; FedEx; Ford Foundation; Howard Gilman Foundation; The William R. Kenan, Jr. Charitable Trust; The Prudential Foundation; The SHS Foundation; The Shubert Foundation; Southern Company; Target; The Wallace Foundation; and Wells Fargo. Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. pRoGRAm A k
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BRAD DALTON Stage Director [email protected] Cell 310-621-9575
BRAD DALTON Stage Director [email protected] cell 310-621-9575 www.braddalton.com OPERA A STREETCAR NAMED DESIRE Lyric Opera of Chicago*, Los Angeles Opera*, Carnegie Hall*, (design: Brad Dalton) the Barbican in London*, Opera San Jose (*with Renee Fleming) A STREETCAR NAMED DESIRE Washington National Opera, San Diego Opera, (design: Michael Yeargan) Austin Lyric Opera A STREETCAR NAMED DESIRE Hawaii Opera Theatre, Grand Rapids Opera, Townsend Opera, (design: Steven Kemp) Fresno Opera CINDERELLA (American premiere) Packard Humanities Institute, California Theatre ALBERT HERRING Shepherd School of Music, Rice University LA BOHEME Opera Santa Barbara RIGOLETTO Opera San Jose, Opera Santa Barbara THE FLYING DUTCHMAN Opera San Jose TOSCA Opera San Jose THE MAGIC FLUTE Opera San Jose MADAMA BUTTERFLY Opera San Jose IL TROVATORE Opera San Jose FAUST Opera San Jose IDOMENEO Opera San Jose ANNA KARENINA Opera San Jose COSI FAN TUTTE Opera San Jose ROMEO AND JULIET Hawaii Opera Theatre CAVALLERIA/PAGLIACCI New Orleans Opera DON GIOVANNI New Orleans Opera CARMEN New Orleans Opera ALCESTE Opera Boston LA CLEMENZA DI TITO Opera Boston REVIVALS DEAD MAN WALKING State Opera of South Australia (Joe Mantello production) - Winner 2004 Helpmann Award “Best direction of an Opera” THE BARBER OF SEVILLE Metropolitan Opera (John Cox production) IL TROVATORE San Francisco Opera (Nicholas Muni production) RIGOLETTO San Francisco Opera (Mark Lamos production) THE MARRIAGE OF FIGARO San Francisco Opera (John Copley production) THE BARBER OF SEVILLE San Francisco
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Alvin Ailey American Dance Theater's Opening Night
FOR IMMEDIATE RELEASE Public Relations Contacts: Christopher Zunner: [email protected] / 212-405-9028 Tracy Severe: [email protected] / 212-405-9032 ALVIN AILEY AMERICAN DANCE THEATER’S OPENING NIGHT GALA BENEFIT PERFORMANCE AND PARTY HONORS PHILANTHROPIST ELAINE WYNN & THE ELAINE P. WYNN & FAMILY FOUNDATION WEDNESDAY, DECEMBER 4 AT 7PM Actress and Singer Renée Elise Goldsberry to be Honorary Chair One-Night-Only Program Will Include Two Merce Cunningham Centennial Solos and Special Performance to Memorialize Opera Great Jessye Norman Celebration Launches Ailey’s Holiday Season at New York City Center, December 4 – January 5 NEW YORK – UPDATED December 2, 2019 —Alvin Ailey American Dance Theater will launch a five-week holiday season on December 4 with a star-studded gala benefit performance at New York City Center and party at the New York Hilton Midtown Grand Ballroom. The special evening celebrates philanthropist Elaine Wynn and the Elaine P. Wynn & Family Foundation. Wynn’s generous contributions have supported the creation of new works as well as the Elaine Wynn & Family Education Wing, which in 2017 added three floors – featuring four dance studios and two classrooms – to The Joan Weill Center for Dance, New York’s largest building dedicated to dance. Actress and singer Renée Elise Goldsberry will serve as the evening’s Honorary Chair. Goldsberry, a Tony and Grammy Award winner, is best known for originating the role of Angelica Schuyler in the Broadway musical Hamilton, and can currently be seen starring in the new critically acclaimed film, Waves. The one-night only performance at 7pm will feature two Merce Cunningham Centennial Solos that were part of this year’s 100th anniversary celebration of his birth – marking the first time this landmark choreographer’s work will be seen on the Ailey stage – as well as a special excerpt of Artistic Director Robert Battle’s Channels to honor and memorialize opera great Jessye Norman, set to her recorded performance of a Johannes Brahms lied – a 19th-century German art song.
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View Printable Playbill
FOR YOUR INFORMATION Do you want more information about upcoming events at the Indiana University Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through go.iu.edu/24K1. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. 2018-19 Opera and Ballet Theater Season Learn more about this year’s season, and reserve your seats by visiting music.indiana.edu/operaballet. Musical Arts Center The Musical Arts Center (MAC) Box Office is open M - F, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times.
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SFO Carmen Program Notes
Carmen insert articles.qxp_Carmen 2016 5/16/16 11:20 AM Page 1 B Y J U D I T H M A L A F R O N T E Unraveling the Enigma of Carmen From Calixto Bieito’s 2012 production of Carmen at the English National Opera. Inset, above: The ﬁrst Carmen, French mezzo-soprano Célestine Galli-Marié (1840–1905). After composer Georges Bizet’s death in 1875, she championed the opera and took her interpretation all over Europe. 40 SAN FRANCISCO OPERA Carmen insert articles.qxp_Carmen 2016 5/16/16 11:20 AM Page 2 armen is a born entertainer. It may be her nature, for she is a creature of instinct. It may be a survival tool, to dis- arm a threat or entice a victim. Each of her arias is a dance, an outlet, and a showcase for her vitality and white-hot energy. She introduces herself in the Cslinky, sultry Habanera, an exhibitionist’s proclamation that love obeys no law. It is a standard opéra-comique song, two verses with backup chorus, but the vocal line entices in its slow chromatic descent, while the truth bites naughtily, “If I love you, watch out!” Her hands tied, she sways and taps out a breezy Séguidilla with promises of sex (even giving the address “chez Lillas Pastia”) that gets her out of a prison stay. Her nightclub song accelerates from languid undulations to a frenzy of pounding and stomping. The lyrics describe the very act of perform- S E ing, with burning, feverish intoxication, dissolving into G A M a wild orgy of “tra-la-la”s.
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Resource Guide for Educators
RESOURCE GUIDE FOR EDUCATORS AILEYDANCE. PHOTO BY JOE EPSTEIN 1 A LETTER FROM OUR EXECUTIVE DIRECTOR “Dance came from the people and must always be delivered back to the people.” - Alvin Ailey Dear Educator, For over sixty years, Alvin Ailey American Dance Theater has carried out the credo of its founder through performances, school and community programs, professional training of young dancers, classes for the public, and more. To Mr. Ailey, dance was more than a series of steps; it was a means of expressing emotion, of telling one’s story, of honoring the past and rejoicing in what is to come. In fulfillment of his legacy, we strive to offer abundant opportunities for young people to experience the possibilities of dance, no matter who they are or where they come from. We hope the exercises and activities suggested in this resource guide will provide you and your students with a creative and interactive inlet to the world of dance and the work of the Alvin Ailey American Dance Theater, or help you prepare them to attend a dance performance. By bringing your students to an Ailey performance, participating in an Ailey Arts In Education residency, or simply sharing with them the joy and practice of dance, you are engaging the next generation in the Ailey legacy; one expressly dedicated to expanding the minds, talents, and dreams of young people. Thank you for your contribution, and enjoy! Sincerely, Bennett Rink Executive Director, Alvin Ailey Dance Foundation 2 RESOURCE GUIDE FOR EDUCATORS AILEYDANCE. PHOTO BY JOE EPSTEIN The content and suggested activities in this guide can be integrated into an established school curriculum.
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