DOCSLIB.ORG

Gp 3.Qxt 7/11/16 9:01 AM Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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 TALE Choreography Christopher Wheeldon Music Joby Talbot Staging Jacquelin Barrett and Anna Délicia Trévien Scenario Christopher Wheeldon and Joby Talbot Set and Costume Design Bob Crowley Lighting Design Natasha Katz Projection Design Daniel Brodie Silk Effects Design Basil Twist Repetiteurs Mandy-Jayne Richardson and Lindsay Fischer Cast Leontes, King of Sicilia Florizel, Prince of Bohemia Piotr Stanczyk (July 28, 30 evening), Naoya Ebe (July 28, 30 evening), Evan McKie (July 29), Guillaume Côté + Francesco Gabriele Frola (July 29, 31), (July 30 matinee), McGee Maddox (July 31) Skylar Campbell (July 30 matinee) Hermione, Queen of Sicilia Steward, Head of King Polixenes’ Household Hannah Fischer (July 28, 30 evening), Giorgio Galli or Donald Thom Jurgita Dronina (July 29), Sonia Rodriguez + (July 30 matinee), Heather Father Shepherd Ogden (July 31) Donald Thom or Jonathan Renna Perdita, Princess of Sicilia Brother Clown, Shepherd’s Son Jillian Vanstone (July 28, 30 evening), Dylan Tedaldi or Robert Stephen or Elena Lobsanova (July 29, 31), Rui Huang Jack Bertinshaw (July 30 matinee) Young Shepherdess Mamillius, Prince of Sicilia Jordana Daumec or Tina Pereira or Simon Adamson-de Luca * or Meghan Pugh Antony Tcherny * Ladies, Lords, Maidens, Shepherds, Paulina, Head of Queen Hermione’s Shepherdesses Artists of the Ballet Household Xiao Nan Yu (July 28, 30 evening), Banda Svetlana Lunkina (July 29, 30 matinee), Bansuri Leslie J. Allt Tanya Howard (July 31) Dulcimer Richard Moore Antigonus, Head of King Leontes’ Household Accordion Branko Džinovic Jonathan Renna (July 28, 30 evening), Percussion Kristofer Maddigan, Peter Ottmann (July 29, 30 matinee, 31) Mark Mazur + Polixenes, King of Bohemia Debut Harrison James (July 28, 30 evening), *Junior Associates of Canada’s National Ballet Brendan Saye (July 29, 31), Félix Paquet School appear by kind permission of Artistic (July 30 matinee) Director Mavis Staines, C.M. Cast subject to change 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 3 LINCOLN CENTER FESTIVAL 2016 THE WINTER’S TALE Synopsis The shores of Bohemia Antigonus struggles ashore to abandon the Prologue baby princess, and is pursued and killed by Two kings separated as children are reunited a bear. His ship is smashed to pieces on the in adulthood. One king, Leontes of Sicilia, rocks. A shepherd and his son Clown discover marries Hermione, giving her a beautiful the baby girl and the treasure. emerald. They have a son, Mamillius, and Act II: A hillside in Bohemia. Sixteen are blissfully happy. The other king, Polixenes years later. of Bohemia, visits the court of Leontes. He Perdita, abandoned daughter of King is delighted to be reunited with his old Leontes and Queen Hermione, has been friend and stays for nine months. By the raised by the shepherd who found her. She time of his departure, Hermione is about to dances beneath the great tree with her give birth to her second child. love, Prince Florizel, son of Polixenes, whom the other villagers know as a shepherd boy. Act I: The Court of Sicilia Villagers arrive for the annual springtime On the day of Polixenes’ departure, the festival. King Polixenes, who has heard that Bohemian court says goodbye to Sicilian his son is cavorting with a shepherdess, friends. At Hermione’s request, Polixenes sends his steward to spy on him. When the agrees to stay another week. In a flash of steward confirms his suspicions, an enraged jealousy, Leontes becomes convinced that Polixenes demands to see for himself. At his wife has been unfaithful and is carrying the festival, Perdita is to be crowned May Polixenes’ child. Jealousy turns to rage and Queen. In honor of the occasion, Father he attacks Polixenes, who flees to Bohemia. Shepherd presents her with the emerald Leontes publicly accuses Hermione of necklace he found with her on the beach. adultery and treason, then has her arrested. Polixenes and his steward arrive in disguise This so distresses Mamillius that he falls to see what Florizel is up to. On witnessing seriously ill. In prison, Hermione gives birth Florizel’s engagement to a shepherdess, to a daughter. The head of her household Polixenes reveals himself; furious with Paulina brings the newborn to Leontes, Florizel, he condemns Perdita and her family hoping to convince him that the baby is his. to death. They flee by boat to Sicilia, pursued Instead, he violently rejects the child and by Polixenes. orders Paulina’s husband Antigonus to abandon the baby in a remote place. Act III: A clifftop in Sicilia Antigonus sets sail into a storm with the King Leontes mourns by the clifftop graves baby and treasure, including the emerald of his wife and son, watched over by Paulina. once given to Hermione by Leontes. Perdita and Florizel’s ship approaches Sicilia. Hermione, brought to trial, pleads her innocence. Leontes, now quite mad, The palace in Sicilia refuses to believe her. Dazed and feverish, Perdita and Florizel appeal to Leontes to allow Mamillius enters the courtroom and, upon their union and to intercede with Polixenes witnessing the unfolding tragedy, collapses on their behalf. Leontes is taken with the and dies from distress. Seeing the death of likeness of Florizel to Polixenes and agrees her child, Hermione too collapses dead and to help the couple, who remind him of his lost is taken away. Only now does Leontes children. Polixenes arrives and Leontes tries realize the disastrous consequences of his to reason with him, but he violently handles terrible mistake. Perdita, revealing the emerald. The long-lost 07-28 Winter's Tale_Gp 3.qxt 7/11/16 9:01 AM Page 4 LINCOLN CENTER FESTIVAL 2016 THE WINTER’S TALE princess is miraculously alive, the two kings looked at various sources, and no—no one are reunited, and the palace celebrates wants to do the bear, I think…. Florizel and Perdita’s wedding. During the festivities, Leontes is led by Paulina to a new MM: So how are you tackling Shakespeare’s statue of Hermione. Deeply remorseful, he most famous stage direction—”Exit pur - kneels at its base. Suddenly, it comes to sued by a bear”—referring to the hapless, life—Hermione is alive and has been kept in about-to-be-eaten Antigonus? hiding by Paulina for 16 years. She embraces Leontes, and the family is reunited. CW: I can’t give that away! MM: But why do you really think no one has previously attempted to turn this play The Winter’s Tale: into dance? A Tale of Two Kingdoms Mark Monahan talked to Christopher CW: It’s often called a “problem play,” and, Wheeldon about the creation of his second although I could be shooting myself in the foot full-length narrative ballet. by saying this, it’s actually easier to watch the story unfold than to explain it. Of course, I’ve Mark Monahan: It could be argued that worked a lot on the synopsis of the actual taking the framework of a Shakespeare play show, and have thinned out the secondary but ditching the words—as choreographers characters and some side plots. Also, this was inevitably must—is like buying a 1945 one of Shakespeare’s last plays, and according Mouton-Rothschild, tipping the contents to Nick Hytner [former director of the National down the sink, and keeping the bottle. Theatre], the writing is fairly jumbled. Nick What, then, is the irresistible lure of believes that Shakespeare had got a little bit Shakespeare for creators of dance? lazy by the time he wrote The Winter’s Tale ; it’s not as well-constructed as many of his Christopher Wheeldon: (laughs) He wrote other plays, which makes it quite complex good stories! Of course, the beauty of the to read. But Nick told me not to get caught language is what draws people to stage up in the minutiae of trying to understand them and read them, but he also wrote every word. terrific plot lines—that’s why I chose The Winter’s Tale . There are some really strong MM: That sounds like good advice. characters, and the situations are operatic in scale.
Load more

Recommended publications
  • 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.
    [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]
  • Canada's National Ballet School
    Canada’s National Ballet: 50 Years of Evolution by Paula Citron It was clear with the founding of the National Ballet of Canada in 1951 that a future national ballet school was a necessity. Betty Oliphant and Celia Franca are the two remarkable women who co-founded Canada’s National Ballet School in 1959. As Oliphant wrote in her autobiography Miss O: My Life in Dance: “Celia Franca and I knew that a good company needs a good school to feed it.” James Neufeld says in his book Power to Rise: The Story of the National Ballet of Canada: “(Franca) was a teacher of professionals and saw with a teacher’s eye that the raw material before her had to be shaped and trained. Teaching would be the key to the company’s success.” The NBS is commemorating its 50th anniversary this year, and there is much to celebrate. The school is considered among the top professional ballet academies in the world. Just as the Herculean efforts of Oliphant and Franca helped found the school, so have the innovative policies of Oliphant and her chosen successor, Mavis Staines (class of 1972), help raise the school to its lofty perch in the world of dance education. On the recommendation of Dame Ninette de Valois of the Sadler’s Wells Ballet, Franca came from England to Toronto in 1951 to found the National Ballet of Canada. Betty Oliphant, who had arrived from England in 1947 as a war bride, ran a successful ballet school in the city. Oliphant was asked by Franca to become the company’s ballet mistress.
    [Show full text]
  • Ms. Kain's Full Message
    AGM Message Karen Kain, Artistic Director When we reflect on the 2019/20 season, what inevitably comes to mind are the significant, ongoing challenges brought on by the pandemic. But nothing can diminish what The National Ballet of Canada achieved, both onstage and off, leading up to that unforgettable moment in March when our theatres closed. The performances of our 2019/20 season were some of the finest and most memorable of my career as Artistic Director. Knowing that so many of you – our donors and audiences – felt equally moved and inspired is the ultimate reward. The season opened with Giselle, where many of our principal ballerinas gave exceptional performances in the title role. There were two mixed programmes in the Fall Season that showcased the diversity of our artists. The company performed Choreographic Associate Robert Binet’s world premiere of Orpheus Alive, with a new score commissioned from Missy Mazzoli. This work shared an evening with Balanchine’s Chaconne. The second mixed programme featured Harald Lander’s homage to classical ballet training, Etudes, Jiří Kylián’s exceptional Petite Mort and Alexei Ratmansky’s Piano Concerto #1. 2019 concluded with our annual performances of James Kudelka’s The Nutcracker. In January, with very little time to prepare, the company travelled to the Kennedy Centre in Washington, D.C. where we performed a mixed programme of William Forsythe’s The Vertiginous Thrill of Exactitude and Approximate Sonata 2016 with Piano Concerto #1 and Petite Mort. The company also performed The Sleeping Beauty to rave reviews from critics and standing ovations from audiences.
    [Show full text]
  • Ballet Notes Giselle
    Ballet Notes Giselle May 27 – 31, 2009 Chan Hon Goh as Giselle. Photo by David Cooper. 2008/09 Orchestra Violins Clarinets • Fujiko Imajishi, • Max Christie, Principal Souvenir Book Concertmaster Emily Marlow, Lynn Kuo, Acting Principal Acting Concertmaster Gary Kidd, Bass Clarinet On Sale Now in the Lobby Dominique Laplante, Bassoons Principal Second Violin Stephen Mosher, Principal Celia Franca, C.C., Founder James Aylesworth, Jerry Robinson Featuring beautiful new images Acting Assistant Elizabeth Gowen, George Crum, Music Director Emeritus Concertmaster by Canadian photographer Contra Bassoon Karen Kain, C.C. Kevin Garland Jennie Baccante Sian Richards Artistic Director Executive Director Sheldon Grabke Horns Xiao Grabke Gary Pattison, Principal David Briskin Rex Harrington, O.C. Nancy Kershaw Vincent Barbee Music Director and Artist-in-Residence Sonia Klimasko-Leheniuk Derek Conrod Principal Conductor • Csaba Koczó • Scott Wevers Yakov Lerner Trumpets Magdalena Popa Lindsay Fischer Jayne Maddison Principal Artistic Coach Artistic Director, Richard Sandals, Principal Ron Mah YOU dance / Ballet Master Mark Dharmaratnam Aya Miyagawa Raymond Tizzard Aleksandar Antonijevic, Guillaume Côté, Wendy Rogers Chan Hon Goh, Greta Hodgkinson, Filip Tomov Trombones Nehemiah Kish, Zdenek Konvalina, Joanna Zabrowarna David Archer, Principal Heather Ogden, Sonia Rodriguez, Paul Zevenhuizen Robert Ferguson David Pell, Piotr Stanczyk, Xiao Nan Yu Violas Bass Trombone Angela Rudden, Principal Victoria Bertram, Kevin D. Bowles, Theresa Rudolph Koczó, Tuba
    [Show full text]
  • National Ballet of Canada Under the Direction of CELIA FRANCA
    The Universit~ Mnsiual Souiety \ 01 ~ The UniversitJ of Michigan Presents National Ballet of Canada under the direction of CELIA FRANCA FRIDAY EVENING, OCTOBER 17,1969, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN KAREN BOWES NADIA POTTS VERONICA TENNANT MARIJAN BAYER JEREMY BLANTON GLE!\TN GILMOUR EARL KRAUL HAZAROS SURMEJAN ELAINE CRAWFORD LINDA FLETCHER VANESSA HARWOOD MARY J AGO MAUREEN ROTHWELL MURRAY KILGOUR ANDREW OXENHAM CLINTON ROTHWELL Victoria Bertram Gerre Cimino Colleen Cool Christy Cumberland Ann Ditchburn Lorna Geddes Rosemary Jeanes Karen Kain Stephanie Leigh Barbara Malinowski Linda Maybarduk Bardi Norman Patricia Oney Kevyn O'Rourke Barbara Sherval Charmain Turner Amanda Vaughan Christopher Bannerman Lawrence Beevers David Gordon Jacques Gorrissen Charles Kirby Christopher Knobbs Alastair Munro Tomas Schramek Brian Scott Timothy Spain Leonard Stepanick Associate Artistic Director R esident Choreographer BETTY OLIPHANT GRANT STRATE THE NATIONAL BALLET ORCHESTRA Musical Director and Conductor, GEORGE CRUM Assistant Conductor, CAMPBELL JOHNSON Concert Mistress, ISABEL VrLA Ballet Master, DAVID SCOTT Ballet Mistress, JOANNE NISBET First Program Second Annual Dance Series Complete Programs 3662 PROGRAM SOLITAIRE "A kind of game for one" Music: MALCOLM ARNOLD Choreography: KENNETH MAcMILLAN Decor and Costumes: LAWRENCE SCHAFER Conductor: CAMPBELL JOHNSON VANESSA HARWOOD Linda Fletcher Jeremy Blanton Murray Kilgo ur Andrew Oxenham Victoria Bertram Karen Kain Bardi Norman Patricia Oney Kevin O'Rourke Amanda Vaughan Lawrence
    [Show full text]
  • 1976-77-Annual-Report.Pdf
    TheCanada Council Members Michelle Tisseyre Elizabeth Yeigh Gertrude Laing John James MacDonaId Audrey Thomas Mavor Moore (Chairman) (resigned March 21, (until September 1976) (Member of the Michel Bélanger 1977) Gilles Tremblay Council) (Vice-Chairman) Eric McLean Anna Wyman Robert Rivard Nini Baird Mavor Moore (until September 1976) (Member of the David Owen Carrigan Roland Parenteau Rudy Wiebe Council) (from May 26,1977) Paul B. Park John Wood Dorothy Corrigan John C. Parkin Advisory Academic Pane1 Guita Falardeau Christopher Pratt Milan V. Dimic Claude Lévesque John W. Grace Robert Rivard (Chairman) Robert Law McDougall Marjorie Johnston Thomas Symons Richard Salisbury Romain Paquette Douglas T. Kenny Norman Ward (Vice-Chairman) James Russell Eva Kushner Ronald J. Burke Laurent Santerre Investment Committee Jean Burnet Edward F. Sheffield Frank E. Case Allan Hockin William H. R. Charles Mary J. Wright (Chairman) Gertrude Laing J. C. Courtney Douglas T. Kenny Michel Bélanger Raymond Primeau Louise Dechêne (Member of the Gérard Dion Council) Advisory Arts Pane1 Harry C. Eastman Eva Kushner Robert Creech John Hirsch John E. Flint (Member of the (Chairman) (until September 1976) Jack Graham Council) Albert Millaire Gary Karr Renée Legris (Vice-Chairman) Jean-Pierre Lefebvre Executive Committee for the Bruno Bobak Jacqueline Lemieux- Canadian Commission for Unesco (until September 1976) Lope2 John Boyle Phyllis Mailing L. H. Cragg Napoléon LeBlanc Jacques Brault Ray Michal (Chairman) Paul B. Park Roch Carrier John Neville Vianney Décarie Lucien Perras Joe Fafard Michael Ondaatje (Vice-Chairman) John Roberts Bruce Ferguson P. K. Page Jacques Asselin Céline Saint-Pierre Suzanne Garceau Richard Rutherford Paul Bélanger Charles Lussier (until August 1976) Michael Snow Bert E.
    [Show full text]
  • Love and Ballet at Pacific Northwest Ballet Encore Arts Seattle
    June 2018 June 2018 Volume 31, No. 7 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Carol Yip Sales Coordinator Leah Baltus Editor-in-Chief Andy Fife Publisher Dan Paulus Art Director Gemma Wilson, Jonathan Zwickel Senior Editors Amanda Manitach Visual Arts Editor Paul Heppner President Mike Hathaway Vice President Kajsa Puckett Vice President, Marketing & Business Development Genay Genereux Accounting & Office Manager Shaun Swick Senior Designer & Digital Lead Barry Johnson Digital Engagement Specialist Ciara Caya Customer Service Representative & Administrative Assistant Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited. 2 PACIFIC NORTHWEST BALLET PACIFIC NORTHWEST BALLET Kent Stowell and Peter Boal June 1–10, 2018 Francia Russell Artistic Director Marion Oliver McCaw Hall Founding Artistic Directors PRINCIPALS Karel Cruz Lindsi Dec Rachel Foster Benjamin Griffiths William Lin-Yee James Moore
    [Show full text]
  • Contribution to Dance (1964-2019)
    VERONICA TENNANT, C.C. Contribution to DANCE in CANADA 1964-2018 During her illustrious career as Principal Dancer with The National Ballet of Canada, Veronica Tennant won a devoted following on the national and international stage as a dancer of versatility and dramatic power. At 18, the youngest Principal Dancer in the company Tennant was chosen by Celia Franca and John Cranko, for her debut as Juliet. She went on to earn accolades in every major classical role as well as having several contemporary ballets choreographed on her. She was chosen by, and worked with the legendary choreographers: Sir Frederick Ashton, Roland Petit, Erik Bruhn, John Neumeier and Jiri Kylian – and she in turn nurtured a younger generation of Canadian choreographers including James Kukelka, Anne Ditchburn, Constantin Patsalas and David Allan. For 25 years she danced across North and South America, Europe and Japan, dancing with the greatest male dancers of our time including; Erik Bruhn, Rudolf Nureyev, Anthony Dowell, Mikhail Baryshnikov, Edward Villella, Fleming Flindt, Peter Schaufuss, Niels Kehlet, Fernando Bujones, Ivan Nagy, Jean Pierre Bonnefous and Richard Cragun. She was blessed with her Canadian partners, from Earl Kraul (her first Romeo), to Lawrence Adams, Glenn Gilmour, Frank Augustyn, Sergiu Stefanschi, Kevin Pugh, Rex Harrington and Raymond Smith (her tenth Romeo). Two of the CBC television performances with Tennant in the title role; Cinderella and The Sleeping Beauty, won Emmy Awards. Her first, in Norman Campbell’s 1965 production of Romeo and Juliet won Le Prix Barthelmy in Monte Carlo. Veronica Tennant gave her farewell performances in 1989 – dancing her signature role in, Romeo and Juliet and in the Gala – A Passion For Dance – Celebrating the Tennant Magic.
    [Show full text]
  • Alvin Ailey American Dance Theater Launches 23-City North American Tour with Nearly 90 Performances: February 4 – May 11
    ALVIN AILEY AMERICAN DANCE THEATER LAUNCHES 23-CITY NORTH AMERICAN TOUR WITH NEARLY 90 PERFORMANCES: FEBRUARY 4 – MAY 11 Tour Repertory Features 2013-14 Season Premieres and New Productions from a Wide Range of Choreographic Voices as Artistic Director Robert Battle Continues to Expand Diverse Repertory and Gives Ailey’s Extraordinary Dancers New Ways to Inspire Season World Premieres LIFT by In-Demand Choreographer Aszure Barton and Four Corners by Celebrated Dance Maker Ronald K. Brown Company Premiere of Chroma Marks First Time a Work by the Multi Award-Winning British Choreographer Wayne McGregor Appears in Repertory and Modern Dance Innovator Bill T. Jones’ Joyful Tour-De-Force D-Man in the Waters (Part I) Celebrates the Resilience of the Human Spirit 25th Season Since the Passing of Legendary Founder Features Ailey/Ellington Program with New Productions of Alvin Ailey’s The River and Pas de Duke Set to Duke Ellington’s Music Announcement of 2014 15-Performance Engagement at Lincoln Center’s David H. Koch Theater June 11 – 22 NEW YORK – February 4, 2014 — Alvin Ailey American Dance Theater, beloved as one of the world’s most popular dance companies, will travel coast to coast on a 23-city North American tour with almost 90 performances from February 4th through May 11th, following a record-breaking season launch at New York City Center where Ailey is the Principal Dance Company and its performances are a year-end tradition. In addition, today Artistic Director Robert Battle announced that the Company would return to Lincoln Center’s David H. Koch Theater from June 11th to 22nd for a 15-performance engagement.
    [Show full text]
  • 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.
    [Show full text]
  • One Aim/One Vision: the Bolshoi Ballet in Still Photography
    ave maria university presents One Aim/One Vision: The Bolshoi Ballet in Still Photography CANIZARO LiBRARY March 27-May 9, 2010 Marc Haegeman is a dance writer and photographer based in Belgium. He is a European correspondent for DanceView and Danceviewtimes (Washington DC) and writes the Russian Profile in Dance International (Vancouver). His reviews, features and interviews have also been published in The Dancing Times (London), Dance Now (London), Ballet2000 (Milan), Brolga (Australia), Ballet Magazine (Moscow), and Nezavisimaya Gazeta (Moscow). As Photographer he contributes to dance magazines worldwide, to souvenir program books of Moscow's Bolshoi Ballet and several web sites, including the personal web pages of Russian dancers, Svetlana Zakharova, Natalia Osipova, Daria Pavlenko, Nina Ananiashvili and Dmitry Gudanov, among others. His photos also illustrate the book by Isis Wirth, Despues de Giselle. Estética y Ballet en el Siglo XXI (Valencia, 2007). For more information about the photographer and his work please view: http://www.for-ballet-lovers-only.com. This exhibition has been made possible thanks to the cooperation of the Bolshoi Theatre. marc haegeman All photos © 2010 Marc Haegeman at Bolshoi Theatre. All Rights Reserved. LA SYLPHIDE: Staging produced by Johan Kobborg, principal dancer with London's Royal Ballet. Choreography by August Bournonville. Production and new choreography by Johan Kobborg. Sets and costumes by Peter Farmer. Lighting by Damir Ismagilov. 1 | Ekaterina Krysanova (the Sylphide) and Yan Godowsky (James). 2 | Ekaterina Krysanova (the Sylphide) and Yan Godowsky (James). 3 | Ekaterina Krysanova (the Sylphide). 4 | Vyacheslav Lopatin (James). 5 | Irina Zibrova (Madge, the witch) and artists of the Bolshoi Ballet.
    [Show full text]