DOCSLIB.ORG

Showcase 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Showcase 2018 C E L E B R AT I N G O U R 30th A N N I V E R S A RY ACADEMY OF BALLET AND JAZZ S C H O O L O F CA N A D I A N BA L L E T T H E AT R E Moscow International Ballet Competition Silver 2009 GRAND PRIX USA New York Grand Prix 2011, 2015 Gold 2009, 2017, 2018 Silver 2016, 2017, 2018 Bronze 2015, 2016, 2017 Hope 2017 Grand Prix 2011, 2013 Silver 2011 Bronze 2013, 2014 CAPE TOWN INTERNATIONAL BALLET COMPETITION Silver 2010 Helsinki International Ballet Competition Gold 2011 IBC USA International Ballet Cometition Jackson Mississippi Silver 2010 Showcase 2018 P R I X RICHMOND HILL CENTRE OF PERFORMING ARTS D E Tuesday June 5th and Wednesday June 6th 2018 L A U S A N N E 2018 Finalist at 6:30 PM 2 F O L L O W I N G T R I U M P H S I N N E W Y O R K , M O S C O W, B U C H A R E S T, PA N A M A , PA R I S , C A N N E S , T O R O N T O A N D S T. P E T E R S B U R G S TA R S O F T H E 2 1 S T C E N T U R Y G A L A H A S B E C O M E T H E M O S T P R E S T I G I O U S B A L L E T G A L A I N T H E W O R L D . Artistic Director - Nadia Veselova Tencer Producer - Solomon Tencer AMERICAN BALLET THEATRE BALLET DE MONTE CARLO BAYERISHE STAATSOPER BOLSHOI BALLET (MOSCOW) COMPAÑÍA NACIONAL DE DANZA CHINESE NATIONAL BALLET DUTCH NATIONAL BALLET KIROV BALLET, MARIINSKY THEATRE (ST. PETERSBURG) LA SCALA BALLET NATIONAL BALLET OF CANADA NEW YORK CITY BALLET PARIS OPERA BALLET ROYAL BALLET SAN FRANCISCO BALLET STAATSBALLET BERLIN VICTOR ULLATE BALLET, MADRID VIENNA STATE OPERA BALLET and more 3 N E W YO R K , M O S C OW, PA R I S , CA N N E S , TO RO N TO, B U C H A R E S T, PA N A M A , S T. P E T E RS B U R G NADIA VESELOVA TENCER and SOLOMON TENCER Nadia Veselova Tencer, Artistic Director and founder of the Canadian Ballet Theatre and the Academy of Ballet and Jazz, was the beloved student of the renowned Alla Ossipenko, a legendary ballerina and teacher and part of that great Russian tradition originating from Agrippina Vaganova and further influenced by Enrico Cecchetti - whom have had a major impact on classical ballet today. Nadia, a graduate from the famed Vaganova Choreographic Institute (the School of the Kirov Maryinsky Ballet) is part of this direct lineage and heritage that she is now passing on to her students. These methods have produced such luminaries as Balanchine, Pavlova, Nureyev, Barishnikov and Makarova. Further, the school's program upholds the highest standard in dance education today,offering complete technical mastery. In addition, highly skilled teachers in character, modern, jazz and hip hop work together with our pre-professional ballet program. •• Director International Ballet Competition, Star of the 21st Century • Artistic Director International Ballet Galas, Stars of the 21st Century • Exceptional Teachers Award Grand Prix U.S.A., 2009, 2015, 2017, 2018 • Awards: Brilliance of the 21st Century Medal, New York, 2007, 2008, 2010 • Awards: Golden Soffit Award, St. Petersburg, Russia 1995 • Judge and choreographer at the Youth Grand Prix, New York, U.S.A. • Judge, Prix Benois de la Danse, Bolshoi Theatre, Moscow 2003 • Graduate of the Kirov Ballet, St. Petersburg, performed with famous Russian companies & with worlds best ballet stars 4 ACADEMY OF BALLET AND JAZZ S C H O O L O F CA N A D I A N B A L L E T T H E AT R E . C E L E B R AT I N G O U R 30th A N N I V E R S A RY MESSAGE FROM THE ARISTIC DIRECTOR AND PRODUCER We are pleased to extend our warmest greetings to everyone attending Academy of Ballet and Jazz- School of Canadian Ballet Theatre’s annual showcase. Over the past 30 years we have had the honour of working with such a creative and talented faculty. It brings us joy to see some of our graduates be part of this fantastic team. We would like to take the time and thank each and every one of our teachers and students for their dedication and hard work. Students of the Academy have been part of many complete ballets showcased each year including: The Nutcracker, Sleeping Beauty, Swan Lake, La Bayadere, Don Quixote, Coppélia and Giselle. Some of our previous showcases featured guest artists from some of the finest ballet companies in the world such as the Bolshoi Ballet, Kirov Ballet/ Mariinsky Theatre, American Ballet Theatre, Royal Ballet, and Cuban National Ballet. We are very proud of our graduates! Some have joined major ballet companies around the world includ- ing: Les Grands Ballets Canadiens de Montréal, Bolshoi Ballet, Budapest Opera Ballet, English National Ballet, Birmingham Royal Ballet, Le Ballet Du Capitole, Toulouse, Les Ballet de Monte Carlo, West Australian Ballet, Eifman Ballet in St. Petersburg, Russia, Opera Atelier, and many more. We are happy to keep in contact with our graduates, and follow their professional careers. They know that they are always welcome to the Academy when visiting home, and it’s always wonderful to see them. Keep up the fantastic hard work, and reach for the stars! Our school offers professional level of training that gives many of our students the opportunity to com- pete and win top awards at the most prestigious international ballet competitions. The Prix de Lausanne is an international dance competition held annually in Lausanne, Switzerland. The competition is for young dancers seeking to pursue a professional career in classical ballet, and many former prize winners of the competition are now leading stars with major ballet companies around the world. This year our student Irene Yang was selected to compete at Prix de Lausanne. Around 75 candidates from 30 or so countries compete each year, in the hope of being chosen for the final, reserved for the best 20 among them. We are extremely proud as Irene was selected as one of the top 5 finalists in her age category! The only Canadian female finalist! Additionally, our students competed against hundreds of participants in the regionals of the world's largest international student dance competition, Youth American Grand Prix (YAGP), with grand success! We would like to congratulate all our students who have been internationally recognized. We are all extremely proud of everyone and their hard work! Nadia Veselova-Tencer Solomon Tencer 5 CONGRATULATIONS TO ALL THE COMPETITORS FROM OUR SCHOOL! Here are the exciting results… 2018 Prix de Lausanne IRENE YANG, 15 - student of Academy of Ballet and Jazz- School of Canadian Ballet Theatre. The only Canadian female finalist of Prix de Lausanne 2018! 6 2018 Youth America Grand Prix (YAGP) Semi-Finals AUSTIN, TEXAS Senior Age Division 1st Place, Classical: IRENE YANG 2nd Place, Contemporary: IRENE YANG Toronto, Canada Junior Age Division 1st Place, Contemporary: TIFFANY EFIMOV 2nd Place, Classical: TIFFANY EFIMOV TOP 12 Contemporary: CARMEN MCKAY Senior Age Division 2nd Place, Classical: ANASTASIA MILLER 2nd Place, Contemporary: ANASTASIA MILLER TOP 12 Contemporary: CHARIS LEUNG, RACQUEL SHERLOCK Outstanding Teacher Award: NADIA VESELOVA-TENCER Nadia and Tiffany 7 TIFFANY EFIMOV Junior Age Division: 1st Place, Contemporary & 2nd Place, Classical (The youngest dancer in her age category!) 8 CARMEN MCKAY -TOP 12 Contemporary Junior Age Division CHARIS LEUNG TOP 12 Contemporary Senior Age Division RACQUEL SHERLOCK TOP 12 Contemporary Senior Age Division 9 ANASTASIA MILLER Senior Age Division: 2nd Place, Classical & 2nd Place, Contemporary Sergio D. Spadavecchia 10 ANASTASIA MILLER 11 12 2017 Youth America Grand Prix (YAGP) TIFFANY EFIMOV Hope Award & Capezio Prize Top 12 Contemporary Dance Category-Pre-Competitive Age Division The ‘Hope Award’ is presented to a dancer who, per the YAGP jury panel, has exceeded all other dancers in their division in both the Classical Ballet and Contemporary/ Open Dance categories. It’s the Grand Prix Award for the Pre-Competitive Age Division. IRENE YANG Junior Age Division 1st Place, Contemporary Dance Category Junior Age Division 2nd Place, Classical Dance Category MICHAELLA HO Senior Age Division 3rd Place, Contemporary Dance Category Senior Age Division Top 12 Classical Dance Category Nadia Veselova Tencer was awarded Outstanding Teacher for the 5th time! The Outstanding Teacher is awarded to an instructor whose students show excellence in training and consistent quality in execution. 13 Congratulations to 2016 winners! ANASTASIA MILLER winner of Youth Grand Prix MICHAELLA HO 3rd place, Junior Age Division, Contemporary Dance. photos by Jeff Ho BRAVO to 2015 winners! LILIA GREYEYES 2nd Place Pre-competitive division Boston, MA and 3rd Place Pre-competitive division at Salt Lake City, UT IRENE YANG 3rd Place, Junior age division at Houston, TX MICHAELLA HO Top 12 Contemporary Dance Category - Junior age division Indianapolis, IN SHIVA PARMAR Top 12 Classical Dance Category - Senior age division at Indianapolis, IN Lilia Greyeyes Michaella Ho Irene Yang 14 Youth America Grand Prix (YAGP) winners Alys Shee and Evgeni Dokoukine 15 A MESSAGE FROM EVAN MCKIE If it had not been for Nadia's eye for talent and Solomon's helping hand, I definitely would not have been given such great opportunities after my time at the Academy.
Load more

Recommended publications
  • Ballet and Folkdance Modern
    BALLET AND FOLKDANCE י MODERN DAN ~ CE Giora Manor interviews Jiri Kylian. Jiri Kylian, artistic director of the Nederlands Dans Theatre, master, you should know more about these things. First of was asked in the course of his company's third visit to all, of course, one has to study classical dancing and folk Israel, in the spring of 1980, to lecture on the relationship dancing but real folk dance, no character dance. Character between modem dance, ballet and folk dance. It seemed dance is something that's been taken from ethnic dances, that this topic, fundamental to the understanding of perverted in a way and made into a brilliant kind of insert modem stage dance, was especially well suited to Kylian's for classical ballets. No, we didn't study that, we studied choreographic style, as he often uses elements which derive real folk dances. We wouldn't study, for instance, the from folk traditions. Instead of a lecture he chose to show czardas in general but would leam a specific Szekely some video-films of his work and asked me to discuss the Czardas, which is a Czardas from a certain part ofHungary. topic with him in public. We wouldn't study just the polka but a very specific Polka that comes from a ce.rtain part of Czechoslovakia, Poland or The Bat-Dor Dance Company, who were the hosts of the Russia. This is what 1 really think is important and 1 would Nederlands Dans Theatre during their tour, made their hall advise schools to follow this example because character available, and about three hundred dancers, folk dance dances are only a perversion of real folk dancing.
    [Show full text]
  • Les Ballets De Monte-Carlo Thema : La Relecture Des Œuvres À La Vidéothèque Zoom Sur
    PROCHAINEMENT... BENJAMIN MILLEPIED OVRE PHILIPPE DECOUFLÉ SOUS la PRÉsidence DE S.A.R. EIFMAN BALLET DE SAINT-PÉTERSBOURG la Princesse DE HAN LES 7 DOIGTS DE LA MAIN BATSHEVA DANCE COMPANY allets DEO MOURAD MERZOUKI LES B ARLT DAVE ST-PIERRE O THIERRY MALANDAIN MONTEO-CPHE MAILL SIDI LARBI CHERKAOUI hrist JEAN-C BALLET DU CAPITOLE DE TOULOUSE… Toute la programmation sur maisondeladanse.com Lac ABONNEZ-VOUS À PARTIR DE 3 SPECTACLES 21 > 25 MAI 2014 maisondeladanse.com LA MAISON 04 72 78 18 00 DE TOUTES numeridanse.tv LES DANSES RessourcesANSE.TV vidéo SUR NUMERID Channel : Les Ballets de Monte-Carlo Thema : La relecture des œuvres À LA VIDÉOTHÈQUE Zoom sur ... Jean-Christophe Maillot Toute l'actualité de la Maison de la Danse est sur maisondeladanse.com et sur les réseaux sociaux ! Crédits photographiques : Couverture © Laurent Philippe ; Licences : 1-1054424, 2-1054425, 3-1054423 Suivez-nous sur PARTENAIRES PUBLICS GRAND MÉCÈNE Mécènes d’un PROGRAMME DURÉE : 2H AVEC LE SOUTIEN DE LA MINUTE DU SPECTATEUR MEMBRES DU CLUB DES ENTREPRISES MÉCÈNES Agence immobilière Mercure Rhône-Alpes, Atelier d’Architecture Hervé Vincent, COFELY GDF SUEZ, Crédit Agricole Centre-Est European Dancehouse maisondeladanse.com numeridanse.tv E D N Network RENSEIGNEMENTS ET ADMINISTRATION - TÉL. +33 (0)4 72 78 18 18 8 AVENUE JEAN MERMOZ - 69008 LYON - FRANCE JEAN-CHRISTOPHE MAILLOT, CHORÉGRAPHE-DIRECTEUR DES Ballets DE MONTE-CARLO Rosella Hightower aimait dire de son élève Jean-Christophe Maillot que sa vie n’était qu’une union des opposés. De fait, chez l’actuel chorégraphe directeur des Ballets de Monte-Carlo, la danse côtoie le théâtre, entre en piste sous un chapiteau, évolue au milieu des arts plastiques, se nourrit des partitions les plus diverses et explore différentes formes de littérature..
    [Show full text]
  • February 12 – 16, 2016
    February 12 – 16, 2016 danceFilms.org | Filmlinc.org ta b l e o F CONTENTS DA N C E O N CAMERA F E S T I VA L Inaugurated in 1971, and co-presented with Dance Films Association and the Film Society of Lincoln Center since 1996 (now celebrating the 20th anniversary of this esteemed partnership), the annual festival is the most anticipated and widely attended dance film event in New York City. Each year artists, filmmakers and hundreds of film lovers come together to experience the latest in groundbreaking, thought-provoking, and mesmerizing cinema. This year’s festival celebrates everything from ballet and contemporary dance to the high-flying world of trapeze. ta b l e o F CONTENTS about dance Films association 4 Welcome 6 about dance on camera Festival 8 dance in Focus aWards 11 g a l l e ry e x h i b i t 13 Free events 14 special events 16 opening and closing programs 18 main slate 20 Full schedule 26 s h o r t s p r o g r a m s 32 cover: Ted Shawn and His Men Dancers in Kinetic Molpai, ca. 1935 courtesy of Jacob’s Pillow Dance festival archives this Page: The Dance Goodbye ron steinman back cover: Feelings are Facts: The Life of Yvonne Rainer courtesy estate of warner JePson ABOUT DANCE dance Films association dance Films association and dance on camera board oF directors Festival staFF Greg Vander Veer Nancy Allison Donna Rubin Interim Executive Director President Virginia Brooks Liz Wolff Co-Curator Dance on Camera Festival Paul Galando Brian Cummings Joanna Ney Co-Curator Dance on Camera Festival Vice President and Chair of Ron
    [Show full text]
  • Stage Dance A
    NOVATEUR PUBLICATIONS INTERNATIONAL JOURNAL OF INNOVATIONS IN ENGINEERING RESEARCH AND TECHNOLOGY [IJIERT] ISSN: 2394-3696 Website: ijiert.org VOLUME 7, ISSUE 8, Aug.-2020 THE E0ERGE1CE A1D F2R0AT,21 2F THE S8B-ECT 2F F2/.- STAGE DA1CE A. I. YESHIMBETOVA, Teacher at the National Academy of Choreography of Uzbekistan E-mail address: [email protected] ABSTRACT: This article is a historical excursus into the formation and role of folk-stage dance from its origins to the present. It outlines the contribution of the enthusiastic reformers of character dance - A.F. Bekefi, F.I. Kshesinki, A.V. Shiryaeva, A.I. Bocharova and A.V. Lapukhov. Outstanding dancers, and later teachers, they stood at the origins of the creation of a system for teaching character dance, brought up more than one generation of dancers who continued the formation of folk stage dance as one of the main subjects of a cycle of special disciplines in the vocational training system in ballet schools. KEYWORDS: History of Russian ballet, F. Bekefi / character dance F.I. Kshesinskaya, "mazurist" A.V. Shiryaev, Mariinsky Theatre A.V. Lopukhov, Leningrad Choreographic College Fundamentals of character dance, A.V. Shiryaev, A.V. Lopukhov, A.I. Bocharov Folk stage dance, Folk dance ensemble. INTRODUCTION From its very origins folk stage dance has become of the main subjects in the cycle of special disciplines and an important part of the system of professional ballet dance training. Having gone through a certain path of formation and historical development, folk stage dance has become an academic discipline, an important and integral part of classical ballet education.
    [Show full text]
  • Miami City Ballet Announces 2016-2017 Season
    Media Contact: Samantha Franco Zakarin Martinez Public Relations [email protected] 305.372.2502 MIAMI CITY BALLET ANNOUNCES 2016-2017 SEASON Highlights Include the Classic Full-Length Ballet GISELLE, a World Premiere by ALEXEI RATMANSKY, and Five ComPany Premieres from George Balanchine, Jerome Robbins, Twyla TharP, Peter Martins and Sir Kenneth MacMillan Season OPens October 21 In Miami, November 5 In Fort Lauderdale And November 11 In West Palm Beach MIAMI BEACH, FL – (February 29, 2016) – Miami City Ballet’s 2016-2017 season opens October 21 with the classic full-evening ballet Giselle, and adds six major works to the company’s repertoire, including the highly anticipated world Premiere of The Fairy’s Kiss by Alexei Ratmansky. Says Artistic Director Lourdes Lopez, “Miami City Ballet is committed to bringing our audiences the very best of dance’s past, present and future. From a new narrative ballet by today’s most in-demand classical choreographer, Alexei Ratmansky, to five major company premieres, to several well-loved revivals, our new season offers a wide range of the best that dance has to offer, performed by our brilliant and highly individual MCB dancers.” The 2016-2017 Season begins October 21 with performances at the Adrienne Arsht Center in Miami, before moving on to the Kravis Center in West Palm Beach and the Broward Center in Fort Lauderdale; all repertory programs danced to live music provided by the distinguished OPus One Orchestra. Current Miami City Ballet Subscribers are now renewing their preferred seats for the 2016-17 Season at www.miamicityballet.org/subscribe or 877.929.7010.
    [Show full text]
  • Basic Principles of Classical Ballet: Russian Ballet Technique Free Download
    BASIC PRINCIPLES OF CLASSICAL BALLET: RUSSIAN BALLET TECHNIQUE FREE DOWNLOAD Agrippina Vaganova,A. Chujoy | 175 pages | 01 Jun 1969 | Dover Publications Inc. | 9780486220369 | English | New York, United States Classical Ballet Technique Vaganova was a student at the Imperial Ballet School in Saint Petersburggraduating in Basic Principles of Classical Ballet: Russian Ballet Technique dance professionally with the school's parent company, the Imperial Russian Ballet. Vaganova —not only a great dancer but also the teacher of Galina Ulanova and many others and an unsurpassed theoretician. Balanchine Method dancers must be extremely fit and flexible. Archived from the original on The stem of aplomb is the spine. Refresh and try again. A must Basic Principles of Classical Ballet: Russian Ballet Technique for any classically trained dancer. Enlarge cover. Can I view this online? See Article History. Jocelyn Mcgregor rated it liked it May 28, No trivia or quizzes yet. Black London. The most identifiable aspect of the RAD method is the attention to detail when learning the basic steps, and the progression in difficulty is often very slow. En face is the natural direction for the 1st and 2nd positions and generally they remain so. Trivia About Basic Principles This the book that really put the Vaganova method of ballet training on the map-a brave adventure, and a truly important book. Helps a lot during my russian classes. Through the 30 years she spent teaching ballet and pedagogy, Vaganova developed a precise dance technique and system of instruction. Rather than emphasizing perfect technique, ballet dancers of the French School focus instead on fluidity and elegance.
    [Show full text]
  • World Premiere of Angels' Atlas by Crystal Pite
    World Premiere of Angels’ Atlas by Crystal Pite Presented with Chroma & Marguerite and Armand Principal Dancer Greta Hodgkinson’s Farewell Performances Casting Announced February 26, 2020… Karen Kain, Artistic Director of The National Ballet of Canada, today announced the casting for Angels’ Atlas by Crystal Pite which makes its world premiere on a programme with Chroma by Wayne McGregor and Marguerite and Armand by Frederick Ashton. The programme is onstage February 29 – March 7, 2020 at the Four Seasons Centre for the Performing Arts. #AngelsAtlasNBC #ChromaNBC #MargueriteandArmandNBC The opening night cast of Angels’ Atlas features Principal Dancers Heather Ogden and Harrison James, First Soloist Jordana Daumec, Hannah Fischer and Donald Thom, Second Soloists Spencer Hack and Siphesihle November and Corps de Ballet member Hannah Galway. Principal Dancer Greta Hodgkinson retires from the stage after a career that has spanned over a period of 30 years. She will dance the role of Marguerite opposite Principal Dancer Guillaume Côté in Marguerite and Armand on opening night. The company will honour Ms. Hodgkinson at her final performance on Saturday, March 7 at 7:30 pm. Principal Dancers Sonia Rodriguez, Francesco Gabriele Frola and Harrison James will dance the title roles in subsequent performances. Chroma will feature an ensemble cast including Principal Dancers Skylar Campbell, Svetlana Lunkina, Heather Ogden and Brendan Saye, First Soloists Tina Pereira and Tanya Howard, Second Soloists Christopher Gerty, Siphesihle November and Brent
    [Show full text]
  • 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.
    [Show full text]
  • Raising the Barre: the Geographic, Financial, and Economic Trends of Nonprofit Dance Companies
    Raising the Barre: The Geographic, Financial, and Economic Trends of Nonprofit Dance Companies A Study by Thomas M. Smith Research Division Report #44 RESEARCH DIVISION REPORT #44 1 COVER PHOTO Hubbard Street Dance Chicago’s production of Jim Vincent’s counter/part. (Photo by Todd Rosenberg) Raising the Barre: The Geographic, Financial, and Economic Trends of Nonprofit Dance Companies A Study by Thomas M. Smith Foreword by Douglas C. Sonntag Edited by Bonnie Nichols Contributions by Janelle Ott and Don Ball Research Division Report #44 This report was produced by the National Endowment for the Arts Research Division Tom Bradshaw, Director Acknowledgements The NEA Research Division would like to thank Kelly Barsdate (National Assembly of State Arts Agencies), Thomas Pollak (National Center on Charitable Statistics), and John Munger (Dance/USA) for their contributions and counsel; and Stephanie Colman (former division assistant with the NEA Dance Department) for her database assistance. August 2003 Library of Congress Cataloging-in-Publication Data Smith, Thomas M., 1969- Raising the barre: the geographic, financial, and economic trends of nonprofit dance companies: a study by Thomas M. Smith; foreword by Douglas C. Sonntag; edited by Bonnie Nichols; contributions by Janelle Ott and Don Ball. p. cm. -- (Research Division report; #44) 1. Dance companies--Economic aspects--United States. 2. Nonprofit organizations--Economic aspects--United States. 3. National Endowment for the Arts. I. Nichols, Bonnie. II. Ott, Janelle. III. Ball, Don, 1964-
    [Show full text]
  • 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
    [Show full text]
  • Dress Code Dancewear Selections Must Present a Clean And
    Dress Code Dancewear selections must present a clean and professional appearance allowing the instructor to clearly see the dancer’s body. This includes refraining from wearing dance attire with large graphics and logos. Bare legs, bare midriffs, loose or sloppy warm-up pants, cut-off tights, and plastic sweat pants are not permitted in classes. Personal grooming is also important. Hair must be securely fastened off face and neck in order not to interfere with the execution of turns and jumps. Students must also refrain from wearing heavy or sharp hair ornaments and jewelry. There are several days during the year when the Instructors may allow less rigid dress, e.g., Halloween, Valentine’s Day, St. Patrick’s Day, etc. The Instructor will announce these days in advance. Ballet Studio Classes – Technique and Pointe Daily Class Dress code • Women: Any solid single-color leotards and pink tights. Leg warmers may be worn in cases of injury and with instructor approval. Leg warmers must be knit, tight fitting, and a light pastel color in order to be less visually distracting– pink is recommended. For Pointe classes, the same dress code applies. Skirts or rehearsal tutus may be worn only at the request of the instructor when working on variations. • Men: Any solid single-color form fitting t-shirt, leotard or the like, tucked in (no large graphics), black or gray tights, white socks and white shoes, or socks and shoes of the same color. Leg warmers may be worn in cases of injury with instructor permission and must be knit, tight fitting and black or gray.
    [Show full text]
  • Miami City Ballet 37
    Miami City Ballet 37 MIAMI CITY BALLET Charleston Gaillard Center May 26, 2:00pm and 8:00pm; Martha and John M. Rivers May 27, 2:00pm Performance Hall Artistic Director Lourdes Lopez Conductor Gary Sheldon Piano Ciro Fodere and Francisco Rennó Spoleto Festival USA Orchestra 2 hours | Performed with two intermissions Walpurgisnacht Ballet (1980) Choreography George Balanchine © The George Balanchine Trust Music Charles Gounod Staging Ben Huys Costume Design Karinska Lighting Design John Hall Dancers Katia Carranza, Renato Penteado, Nathalia Arja Emily Bromberg, Ashley Knox Maya Collins, Samantha Hope Galler, Jordan-Elizabeth Long, Nicole Stalker Alaina Andersen, Julia Cinquemani, Mayumi Enokibara, Ellen Grocki, Petra Love, Suzette Logue, Grace Mullins, Lexie Overholt, Leanna Rinaldi, Helen Ruiz, Alyssa Schroeder, Christie Sciturro, Raechel Sparreo, Christina Spigner, Ella Titus, Ao Wang Pause Carousel Pas de Deux (1994) Choreography Sir Kenneth MacMillan Music Richard Rodgers, Arranged and Orchestrated by Martin Yates Staging Stacy Caddell Costume Design Bob Crowley Lighting Design John Hall Dancers Jennifer Lauren, Chase Swatosh Intermission Program continues on next page 38 Miami City Ballet Concerto DSCH (2008) Choreography Alexei Ratmansky Music Dmitri Shostakovich Staging Tatiana and Alexei Ratmansky Costume Design Holly Hynes Lighting Design Mark Stanley Dancers Simone Messmer, Nathalia Arja, Renan Cerdeiro, Chase Swatosh, Kleber Rebello Emily Bromberg and Didier Bramaz Lauren Fadeley and Shimon Ito Ashley Knox and Ariel Rose Samantha
    [Show full text]