DOCSLIB.ORG

Hit a High Note in Savings. D the DIME SAVINGS BANK of NEW YORK MEMBER FDIC

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hit a High Note in Savings. D the DIME SAVINGS BANK of NEW YORK MEMBER FDIC DIME SAVINGS BANK- FLOWERS of . Music sues (Sill Brooklyn Academy 66 1 1/41-74...01;74:111,;1;; en7J7 0 iiA4 I ' - - tit*t oNIM IMAM 0 (Po/resets/1)ns - pm_ Ira& {461 ii , ' , 1 1 1 1 .t , i V ,- _ r fr Fr r 1'' - 111111 sags NIP 24 if is km, tawe .a --_ Lz.C.N-LLL: - - 16/tL SrAerc (20)1 Y = - -7" 0 0 0 ptricuiti S7DPS UlIVI64.5 )1 / 1 1 / ,___, I kri:172 J GOMM!. i a A (en) y , d 1:. t .1 ) 53 gtet .; / ) 'Err=r=r . y, cu ' '(ha lige ROWER OPP" J Ave Lose 374 35f / I I / mormwmpirra.---rect= avow -Num 'HAT, 0 I (lAP. 006=) I. cos (42°) I You hear this music when you watch the Dime TV commercials. @ Ron Lockhart, Inc. used by his permission Hit a high note in savings. D THE DIME SAVINGS BANK OF NEW YORK MEMBER FDIC ' - 1171(-[ 0 ABRAHAMc The Brooklyn Academy of Music ci) presents the L" fC Pennsylvania - , k - 074,1 011 1k Ballet 1 , 1 with guest artists Mikhail Baryshnikov and Gelsey Kirkland Sandra Applebaum Dana Arey Karen Brown Alba Calzada Joan Cooper Joanne Danto Marcia Darhower Gregory Drotar Kimberly Dye Tamara Hadley Mark Hochman David Jordan David Kloss Dane LaFontsee Barry Leon Sherry Lowenthal Michelle Lucci James Mercer Edward Myers Anya Patton Leslie Peck Reva Pincusoff Lawrence Rhodes Constance Ross Barbara Sandonato Janek Schergen Jerry Schwender Gretchen Warren Robin Welch Missy Yancey Linda Zettle Barbara Weisberger Benjamin Harkarvy Executive Artistic Director Artistic Director Robert Rodham Maurice Kap low Regisseur Music Director Fiona Fuerstner Nicholas Cernovitch Ballet Mistress Lighting Designer with the THE Pennsylvania Orchestra BIG CAPE The Brooklyn Academy of Music gratefully acknowledges the assistance of % WHIRL the Doll Foundation for making possible the appear- . ance of Mikhail Baryshnikov and Gelsey Kirkland. The Pennsylvania Ballet is supported by the Pennsylvania Ballet A swirl of wool to slip Association and major grants from the National Endowment for the Arts, the Pennsylvania Council into and 6o. Just another on the Arts, the Ford Founda- tion, the William Penn Foundation, Community Funds and the great look from A&S A. W. Mellon Educational and Charitable Trust. exciting fashion collections. AT THE A&S NEAREST YOU Pennsylvania Ballet is a resident company of the Brooklyn Academy of Music Program Saturday, November 16, 1974 (8:00pm)/Opera House The place to come... for low-cost, high-quality CONCERTO BAROCCO Choreography by George Balanchine family protection! Lighting by Nicholas Cernovitch Music by Johann Sebastian Bach "D minor Concerto for Two Violins and Orchestra" The Concerto Barocco was first presented at the Hunter College theatre on May 29, 1941, by the American Ballet, predecessor of the New Williamsburgh York City Ballet. This Balanchine opus highlighted the first pro- gram performed by the Pennsylvania Ballet on a Paoli estate in the Savings summer of 1963, and was included on the first Philadelphia season Bank in Irvine Auditorium. Incorporated 1851 Geoffrey Michaels Violin Marian Head Violin Brooklyn Offices: 1 Hanson Place at Flatbush Ave., Joanne Danto Gregory Drotar Gretchen Warren Brooklyn, N.Y. 11243 Broadway at Driggs Ave., Brooklyn, N.Y. 11211 Dana Arey Karen Brown Kimberly Dye Anya Patton 86th St. and 23rd Ave., Brooklyn, N.Y. 11214 Constance Ross Angela Schmidt Missy Yancey Linda Zettle New Lots and Pennsylvania Ayes., Brooklyn N.Y. 11207 INTERMISSION Nassau Offices: Hempstead Turnpike at Center Lane, Levittown, N.Y. 11756 SOLO FOR VOICE I (New York Premiere) 682 Dogwood Ave., Franklin Square, N.Y. 11010 Choreography by Hans Van Manen Queens Offices: Lighting by Nicholas Cernovitch 63rd Drive at Saunders St., Rego Park, N.Y. 11374 Music by John Cage 136-65 Roosevelt Avenue, Flushing, N.Y. 11354 "Solo for Voice I" Opening early 1975: 107-15 Continental Ave., Forest Hills N.Y. 11375 Michelle Lucci Lawrence Rhodes Manhattan Offices: Victoria Villamil, Soprano 74 Wall St. at Pearl St. New York, N.Y. 10005 345 East 86th St., New York, N.Y. 10028 INTERLUDE PAS DE DEUX Inquire about (Grand Pas de Deux from "Don Quixote") r. Choreography after Marius Pettipa Savings Bank Music by Leon Minkus Lighting by David K. H. Elliott Life Insurance Mikhail Baryshnikov and Gelsey Kirkland A. Pas de Deux at any office B. Variation C. Variation without D. Coda obligation! INTERMISSION m0111,110 Program 35th Anniversary Season Saturday, November 16, 1974 - continued Dec. 23,1974 Feb.2,1975 mon....=10, - _ BALLET THEATRE FOUNDATION, INC. in association with City Center of Music and Drama, Inc., Martin J. Oppenheimer, Director presents TIME PASSED SUMMER AIEHICAN . Choreography by Benjamin Harkarvy Costume Design by Neil Bierbower Lighting Design by Nicholas Cernovitch Music by Peter I. Tchaikovsky BALLET Sound Design by Charles Cohen This ballet Is danced to songs of Tchaikovsky, It is in a sense, a tribute to him and to Marius Petipa, the choreographer of the Imperial Russian Ballet, evoking as well the society for which TIES LI they created. LUCIA CHASE and OLIVER SMITH, Directors Director ANTONY TUDOR, Moneta@ To Forget So Soon i Why = Op. 6 No. 5 MIKHAIL BARYSHNIKOV KARENA BROCK Mid the Din of the Ball = Op. 38 No, 3 FERNANDO BUJONES ELEANOR D'ANTUONO MICHAEL DENARD CYNTHIA GREGORY Through the Window - Op. 60 No, 10 JONAS KAGE GELSEY KIRKLAND Cradle Song = Op. 16 No, 1 TED KIVITT NATALIA MAKAROVA Twas April - Op. 38 No. 2 BONNIE MATHIS IVAN NAGY Remorse - Op. 57 No. 2 TERRY ORR MARCOS PAREDES ' Do Not Ask - Op. 57 No. 3 JOHN PRINZ MARTINE VAN HAMEL Now the Lights Have Gone Out - Op. 65 No. 5 SALLIE WILSON GAYLE YOUNG Night - Op. 73 No. 2 - Op. 6 6 SOLOISTS FULL CORPS DE BALLET SYMPHONY ORCHESTRA None But the Lonely Heart No. COMPANY OF 150 - v A lP. ve.4, NEW THIS SEASON American Premiere of Glen Tetley's Gemini Carole Walters Mezzo Soprano A physically dynamic abstract ballet set to William Metcalf Baritone Hans Werner Henze's Third Symphony. I Karl Fogmeg Pianist REVIVALS - ;-, "This ballet is dedicated to the memory of Jennie Tourel, who Concerto (MacMillan-Shostakovich) gave me and so many others so much and whose recitals first in- Piano Concerto. A vivid, elegant ballet set to the composer's sparkling Second troduced me to the Songs of Tchaikovsky." Le Jeune Homme et la Mort (Petit-Bach) Jean Cocteau's modern gothic fable has a brilliant choreographic adaptation A Choreography Fellowship from the National Endowment for the Arts was by Roland Petit and is set to J. S. Bach's "Passacaglia in C Minor." received by Mr. Harkarvy for the creation of the work. Pas de Quatre (Dolin-Pugni) A delightful recreation of the witty dance first given in London by the four great 19th century ballerinas- Alba Calzada Joanne Danto Michelle Lucci Marie Taglioni, Lucile Grahn, Carlotta Grisi and Fanny Cerrito. Barbara Sandonato Gretchen Warren Gregory Drotar Edward Myers Lawrence Rhodes FULL-LENGTH PRODUCTIONS Karen Brown Constance Ross Dane LaFontsee Coppelia (Martinez-Delibes) Dana Arey Anya Patton Angela Schmidt Linda Zettle La Fille Mal Gardee (Dauberval-Hertel) -;ri;.. Sandra Applebaum Joan Cooper Kimberly Dye Missy Yancey Giselle (Blair-Adam) David, Jordan Barry Leon Janek Schergen James Mercer La Sylphide (Bournonville-Loewenskijold) AND REPERTOIRE FAVORITES .Y" For ticket information call: The Pennsylvania Ballet will return to the Brooklyn Academy of (212) 757-7035 or (212) 246-8989 Music for its second resident season March 13 through 16. Two separate programs will be presented. Tickets for all four March performances will be available through the BAM Box Office as City Center 55th Street Theatre well as Ticketron, Bloomingdale's, A&S, and Broadway's Edison Theatre. Call 636-4100 for further information. 01111.0.11111 NEXT IN THE LEPERCQ SPACE The next event in BAM's Dance Series will be the Rudy Perez Dance Theater November 21-24 in the Lepercq Space. very fr,amous restaurant With a company of nine dancers, Mr. Perez's Dance Theater will perform six works, including a New York ut- [A; Premiere, "Pedestrian Mall." Most of the pieces use sound collages which Mr. Perez has assembled himself. Mr. Perez In 1879 Brooklyn was a separate city and we began a New York dining tradition. The distinction of the food. the a experimental that is sure to appeal to has flair for the unhurried service and the elegant atmosphere attracted patrons audiences. from far and wide. Now we are a Landmark. a nostalgic example of a golden era in New York's history. Today. as Rudy Perez, a veteran of the dance revolution of the in the past. our patrons arrive with anticipation and sixties, is considered one of the most imaginative and leave warm and happy. Its our claim to fame. ti innovative choreographers in the country. A native New Brooklyn's Landmark Seafood and Steak House (Est 1879) Yorker, he has studied with the New Dance Group, Martha Graham, Merce Cunningham, and Erick Hawkins GAGE&TOLLNER 372 Fulton Street (nr. Boro Hall) 875-5181 Lunch and Dinner except Sunday. among others. He has also taught and performed with Amex & Diners. the company in university residencies throughout the U.S. At present, Mr. Perez is artist-in-residence at Marymount College, for he counts teaching every bit as important as performing. Staff for the Pennsylvania Ballet Tickets are still available at the box office (636-4100) at $5. Richard E. LeBlond, Jr. President and General Manager NEXT AT BAM... Timothy Duncan Associate General Manager Odetta November 17 Carolyn Raffa Director of Development Rudy Perez Dance Theater November 21 - 24 Craig Palmer Jane Clegg Public Relations Director Production Stage Manager Flicks: The Thing and The Blob (double feature) November 22 Production Staff Flicks: Nothing Sacred David K.
Load more

Recommended publications
  • Tracing Ballet's Pedagogical Lineage in the Work of Maggie Black
    Dance Chronicle ISSN: 0147-2526 (Print) 1532-4257 (Online) Journal homepage: https://www.tandfonline.com/loi/ldnc20 Teaching through Time: Tracing Ballet's Pedagogical Lineage in the Work of Maggie Black Jessica Zeller To cite this article: Jessica Zeller (2009) Teaching through Time: Tracing Ballet's Pedagogical Lineage in the Work of Maggie Black, Dance Chronicle, 32:1, 57-88, DOI: 10.1080/01472520802690283 To link to this article: https://doi.org/10.1080/01472520802690283 Published online: 19 Feb 2009. Submit your article to this journal Article views: 1259 Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ldnc20 Dance Chronicle, 32:57–88, 2009 Copyright C 2009 Taylor & Francis Group, LLC ISSN: 0147-2526 print / 1532-4257 online DOI: 10.1080/01472520802690283 TEACHING THROUGH TIME: TRACING BALLET’S PEDAGOGICAL LINEAGE IN THE WORK OF MAGGIE BLACK JESSICA ZELLER Maggie Black, internationally renowned for her anatomically based approach to ballet instruction, helped to shape ballet training and coaching in the late twentieth century. In keeping with the widely recognized concept of ballet as an art form that is traditionally passed down by oral means, the focus of this research is on aspects of Black’s pedagogy that are derived from her teachers, Audrey de Vos and Antony Tudor. This essay explores the pedagogical work of de Vos and Tudor, examines how their respective influences affected Black’s methodology, and indicates characteristics of her work that she developed independently. In the world of ballet, lineage matters.
    [Show full text]
  • Alvin Ailey's Embodiment of African American Culture
    DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J.
    [Show full text]
  • Agnes De Mille Theatre Allet (1905 ~ 1993) Diana Byer, Artistic Directorbexquisite Little Ballets
    N EW Y ORK Agnes de Mille theatre allet (1905 ~ 1993) diana byer, artistic directorbexquisite little ballets Agnes de Mille (September 18, 1905 – October 7, 1993) was an American dancer and choreographer. Her accomplishments to the the- ater have left an impression on the growth and resilience of theatrical dance as one sees it today. She developed her own style. She added lyricismN andEW comedy,Y ORK which is perceived as a divergence from the culturalthe dancea formstre of the era. Thosea aspectsll becameet her signature trademarksdiana byer, artistic seen indirector manyb of her best exquisiteknown littleand balletsbeloved works. de Mille was born in the Harlem section of New York City and Marked as her moved to Hollywood with her family. She aspired to become an most extensive phases Photo by Beryl actress, which seemed appropriate being that her uncle was the of dance training, her Towbin illustrious Hollywood filmmaker and director, Cecil B. de Mille. work with Marie Rambert at As it turned out, her desire to perform for the camera wasn’t Ballet Club proved to be highly significant. It was there that fully realized. She was told that she wasn’t “pretty enough.” she met emerging choreographers Frederick Ashton and Antony So, she studied and performed the piano and also staged drama Tudor who she’d later work with at American Ballet Theatre. productions. She then began studying dance, including ballet. Classical ballet was the most widely known form of dance at Throughout the 1930’s de Mille spent much of her time train- that time, but she lacked the physical attributes needed to have ing, but was never able to support herself as a dancer or cho- a career in classical ballet.
    [Show full text]
  • Canty, Graham To
    INSIDE THIS ISSUE .. • Philip Hart Memoriam ... page 5 • Affirmative Action Challenge .. , .. page 2 • Hoyas Walk Navy's Plank. page 8. 57th Year, No. 14 GEORGETOWN UNIVERSITY, WASHINGTON, D.C. Friday, January 14, 1977 Ex -G UProf Carroll Ouigley Bailey Named Speaker Dies of Heart Attack at 66 . by Tracey Hughes Princeton and as a goyernment, Carter Will Be Invited Retired Georgetown University history and politics tutor at Harvard Spokesmen for Carter say that the Bailey was not on the poll of History Professor Dr. Carroll Quigley before coming to Georgetown. by Bart Saitta president-elect is not yet considering senior choices for graduation speaker died January 3rd at University He is survived by his wife Lillian Entertainer Pearl Bailey and pas· invitations speak at universities taken by the Senior Week committee Hospital after suffering a heart and two sons, Dennis and Thomas. sibly, Jimmy Carter will address ihis to and that he will not determine his which was led by Art Buchwald and attack. Dr. Quigley, who was 66, A fund to endow a professorship year's graduating class at the May May schedule "for a couple of Woody Allen. Buchwald and Allen retired last June after 35 years of in Quigley's name was founded this 22nd commencement. months." The chances of Carter declined to speak as did Barbara teaching at Georgetown. fall and the family requests that The University is sending a formal spealting at Georgetown are not Jordan, the students' third choice. expressions of sympathy be made in invitation to Carter according to Quigley, who came to George­ Commenting on the fact that the form of contributions to the Charles Men assistant to the Univer­ considered likely by those close to town in 1941, was awarded the the selection of the graduation Bailey was not one of the poll University's Vicennial Medal in 1961 fund, now entitled the Carroll Quig.
    [Show full text]
  • Restaging the Ballets of Antony Tudor A
    PRESERVING A LEGACY, PRESERVING BALLET HISTORY: RESTAGING THE BALLETS OF ANTONY TUDOR A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF DANCE COLLEGE OF ARTS AND SCIENCES BY CHRISTINE KNOBLAUCH-O’NEAL A.B., M.A.L.S. DENTON, TEXAS MAY 2013 [Type a quotei from the document or the summary of an interesting point. You can position the text box anywhere in the Copyright © Christine Knoblauch-O’Neal, 2013 all rights reserved iii DEDICATION To Grant and Kathleen Knoblauch, they were the best parents. iv ACKNOWLEDGEMENTS I would like to gratefully acknowledge the many individuals who have contributed to this dissertation. I would like to thank my committee chair Dr. Linda Caldwell for her continued interest in this research. I want to thank Sally Bliss executor of the Tudor will and Trustee of the Antony Tudor Ballet Trust for allowing me full access to the Trust and to the Répétiteurs of the Trust who participated in my research. The research could not have been completed without her continued interest and support of this project. I am grateful to both Dr. Janet Brown and Betty Skinner for their continued encouragement and guidance during my beginning efforts to create a document worthy of the topic. In particular, I want to thank my sister Karen Brewington for her continued support and encouragement throughout my doctoral studies. All scholars should be fortunate enough to have sisters like Karen. And, finally, I want to thank Mike Lang for being there for me during every moment of my doctoral studies, listening to me, challenging me, and encouraging me to feel confident in my work.
    [Show full text]
  • Download File
    NEW YORK STORY: JEROME ROBBINS AND HIS WORLD Donald and Mary Oenslager Gallery The New York Public Library for the Performing Arts Exhibition Curated by Lynn Garafola March 25 – June 28, 2008 The labels, wall exits, and reflections that follow are an effort to revisit an exhibition that did not, alas, have a published catalogue or a robust website. Exhibitions are like performances. When they close, they are dismantled, and the objects, their magic gone, sent back to their boxes. In revisiting this material, I wanted to evoke the experience of walking through the Donald and Mary Oenslager Gallery of the New York Public Library for the Performing Arts, with the reader enjoying by suggestion and as an act of imagination the numerous objects on display tracing the remarkable career of Jerome Robbins as an artist of the ballet, Broadway, and concert stage in mid-twentieth-century New York. This is the second of three exhibitions I have curated about ballet in New York City from the 1930s to the late twentieth century. As such it complements Dance for a City: Fifty Years of the New York City Ballet (New-York Historical Society, 1999) and Arthur Mitchell: Harlem’s Ballet Trailblazer (Wallach Art Gallery, 2018). To revisit these exhibitions digitally, see “Dance for a City” Revisited (https://academiccommons.columbia.edu/catalog/ac:qrfj6q5763) and the Mitchell exhibition website (https://exhibitions.library.columbia.edu/exhibits/show/mitchell). In preparing this material for publication on the Columbia University Commons, I have modified some of the labels, adding explanatory text when it seemed necessary as well as excerpts from letters and telegrams that exhibition visitors could read for themselves.
    [Show full text]
  • Curriculum Vitae Kathleen Byrne
    Curriculum Vitae Kathleen Byrne Texas A&M University Department of Health and Kinesiology 4243 TAMU College Station, TX 77843-4243 E-mail: [email protected] Phone: (979)862-4404 Fax: (979) 847-8987 Education Master of Fine Arts in Dance Choreography and Performance, Florida State University; Tallahassee, FL, 2008 Bachelor of Fine Arts in Ballet, University of Utah; Salt Lake City, UT, 2000 Employment History Instructional Assistant Professor- August 2008-Present, Texas A&M University, College Station, TX Instructor- January 2006-April 2008, Florida State University, Tallahassee, FL Dancer- February 2007, November 2007- The Suzanne Farrell Ballet, The Kennedy Center, Washington D.C. Dancer- August 2000- May 2005, April 2007 New York Theatre Ballet, New York, NY Teaching Texas A&M University August 2008- Present Spring 2011 Movement Lab: Ballet I, Beginning Ballet I, Pilates Mat, Dance History Online Writing Intensive, Ballroom Dance Fall 2010 Ballet I, VP Ballet II, Beginning Ballet I, Pilates Mat, Dance Composition, Jazz Dance II, Ballroom Dance Summer 2010 Health and Fitness Yoga Spring 2010 Beginning Ballet I, Ballet II, VP Ballet II, VP Ballet III, Ballroom Dance, Pilates Mat, Jazz Dance III Fall 2009 Dance Pedagogy, Beginning Ballet I, Ballet II, VP Ballet II, Ballroom Dance, Pilates and Props, Pilates Mat Summer 2009 Health and Fitness Yoga Spring 2009 Dance History, VP Ballet III, Ballet II, Ballet I, Ballroom Dance, Pilates and Props, Pilates Mat Fall 2008 Beginning Ballet I, Ballet II, VP Ballet II, Pilates Mat, Jazz Dance
    [Show full text]