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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 Hope Galler and Bradley Dunlap Ellen Grocki and Alex Manning Alyssa Schroeder and Amir Yogev Nicole Stalker and Damian Zamorano Piano Francisco Rennó Intermission Heatscape (2015) Choreography Justin Peck Music Bohuslav Martinů Art Design Shepard Fairey / ObeyGiant.com Costume Design Reid Bartelme and Harriet Jung Lighting Design Brandon Stirling Baker Dancers Tricia Albertson, Emily Bromberg, Samantha Hope Galler, Ashley Knox, Jennifer Lauren, Suzette Logue, Lexie Overholt, Christina Spigner, Nicole Stalker, Renan Cerdeiro, Bradley Dunlap, Shimon Ito, Alexander Peters, Kleber Rebello, Chase Swatosh, Eric Trope, Damian Zamorano 1st Movement Emily Bromberg, Renan Cerdeiro, and Company 2nd Movement Tricia Albertson, Kleber Rebello, and Company 3rd Movement Shimon Ito, Jennifer Lauren, Alexander Peters, and Company Piano Ciro Fodere The 2018 dance series is sponsored by BlueCross BlueShield of South Carolina. Sponsored by Eastern Distribution. These performances are made possible in part through funds from the Spoleto Festival USA Endowment, generously supported by BlueCross BlueShield of South Carolina, Wells Fargo, and Bank of America. Miami City Ballet 39 Heatscape Program Notes Music: Concerto no. 1 for Piano and Orchestra by Bohuslav Walpurgisnacht Ballet Martinů* Music from Faust (1859, ballet music added in 1869), by Charles Justin Peck, who continues to broaden his artistic scope Gounod and choreographic repertoire, has always viewed dance as a nexus for all artistic mediums. It is with this spirit of creative Twenty-four girls stampeding across the stage—most of them in collaboration that he sought out renowned visual artist Shepard purple, their hair flowing—and a single man. Gounod’s passionate Fairey to present a vibrant visual design for Heatscape—Peck’s Faust music. A bravura ballerina role demanding both complete second commission for Miami City Ballet. control and utter abandon (hand-tailored in 1980 for the great Suzanne Farrell). There’s no Faust, no Mephistopheles—just Peck initially began examining Charleston-born artist Shepard sheer impetuosity and startling virtuosity. This is Balanchine at Fairey’s (ObeyGiant) street art while exploring Miami’s his most outrageously popular—marrying classicism to kitsch. Wynwood Arts District. Fairey, who had never designed for ballet, worked with Peck to develop a visual setting that is as bold The original Palm Beach production of Walpurgisnacht Ballet as the movement and music. The design emanates from Fairey’s was made possible by the generous support of Rita Stein*. mandala paintings, which Peck used as a basis for certain architectural movements throughout the ballet. “[Fairey] works The performance of Walpurgisnacht Ballet, a Balanchine® Ballet, to create these mandala images which start from the center and is presented by arrangement with The George Balanchine Trust build outward in a meticulously detailed fashion,” Peck told and has been produced in accordance with the Balanchine Style® Vogue. “That means of construct inspired me to develop certain and Balanchine Technique® Service standards established and choreographic techniques within this ballet.” provided by the Trust. Peck chose to choreograph this ballet to Bohuslav Martinů’s Piano Concerto no. 1, a relatively unknown piece of music. Carousel Pas de Deux “I consider this work to be a hidden gem that is not only rich with texture, innovation, and relevance to the current day, but Music by Richard Rodgers, arranged and orchestrated by is also tremendously danceable. It has buoyancy, playfulness, Martin Yates and emotion—and a sturdy blueprint to guide me in the choreographic process. This piece of music has been on my When London’s Royal National Theatre’s revival of Rodgers radar for a few years now, and I felt that Miami City Ballet would and Hammerstein’s Carousel moved to Lincoln Center in 1994, be the perfect vessel for realizing a ballet in relation to it.” it ran for almost a year, winning five Tony Awards, including one for Sir Kenneth MacMillan’s choreography. His deeply touching *Bohuslav Martinů’s Concerto for Piano and Orchestra no. 1, duet for the central couple is a quintessential expression of H 149, is used by arrangement with European American Music ecstatic—and dangerous—young love. Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co. KG, publisher and copyright owner. The original Palm Beach premiere of Carousel Pas de Deux was generously supported by Gillian Fuller. The original production of Heatscape was made possible by a New Works grant from the John S. and James L. Knight Foundation and the generous support of The Rockefeller Foundation, National Endowment for the Arts: ArtWorks, Concerto DSCH Armando and Margarita Codina, and Bob Benson. Music: Piano Concerto no. 2, op. 102, by Dmitri Shostakovich* Additional support provided by: Helen P. Welch, Madeline and Stephen Anbinder, Nina and William Albert, Rosalee Having premiered two recent major ballets—Symphonic Dances and Richard Davison, Adelaida Muñiz-Iscoe and Gary Iscoe, and The Fairy’s Kiss—by Alexei Ratmansky, the world’s leading Michael Schultz, Miriam Flamm, and Carole Gigliotti. classical choreographer, Miami City Ballet now presents one of his most acclaimed earlier works. Concerto DSCH (the initials reflect the German spelling of Dmitri Shostakovich, its composer) is a seething rush of energy, lyricism, and brilliant classical invention overlain with a contemporary sparkle and bounce. At its premiere in 2008, Alastair Macaulay wrote in The New York Times: “Its dances pour forth in a continuous stream of galvanizing excitement and affectionate intimacy...the most captivating classical ballet I have seen in years.” *By arrangement with G. Schirmer, INC. publisher and copyright owner. 40 Miami City Ballet Artistic Team Musicians LOURDES LOPEZ (moderator and CIRO FODERE (piano) is a modern and artistic director of Miami City Ballet) versatile pianist. He performs regularly was recently named one of “The Most with orchestras around the world. He Influential People in Dance Today” by is the pianist of the Miami Symphony Dance Magazine. She became artistic Orchestra (MISO), and piano professor director of Miami City Ballet in 2012, at the New World School of the Arts. As bringing with her a nearly 40-year career an enthusiast of the 21st-century a-vant- in dance, television, teaching, and arts garde approach to MISO’s performances, management; under Lopez’s direction, and as the first prize winner of the XIV Miami City Ballet has become one of the country’s premier Bartok-Kabalevsky-Prokofiev International Competition, ballet companies. Born in Havana, Cuba, in 1958 and raised Fodere’s latest performances have been described as “masterful, in Miami, Lopez began taking ballet lessons at age 5; at 14, she electric, by turns fiery and lyrical” byThe Post and Courier, moved to New York permanently and joined the corps de ballet and as “technical sheen articulation, alert dynamic shading, of New York City Ballet at 16. Under the direction of George and an imaginative approach” by The Miami Herald, which Balanchine and Jerome Robbins, her star rose quickly at New also raves “edge-of-the-seat thrilling.” Fodere completed his York City Ballet; in 1984, she was promoted to soloist and four-year fellowship at the New World Symphony (NWS), an then principal, and performed countless featured roles. Upon organization that featured him regularly in chamber music and retirement, Lopez joined WNBC-TV in New York as a cultural orchestral performances in Miami. Along with accompanying arts reporter, writing and producing feature segments on the musicians including Joshua Bell and Renée Fleming, he has arts, artists, and arts education. She was also a full-time senior participated with members of the NWS in Santa Cecilia, Rome, faculty member at New York’s Ballet Academy East, and served Perugia, and Carnegie Hall. on the dance faculty of Barnard College. In 2002, Lopez became the
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