HARID Holiday Performances a Treat Florida Dance Teachers' Week

Total Page:16

File Type:pdf, Size:1020Kb

HARID Holiday Performances a Treat Florida Dance Teachers' Week spring 2011 HARID Holiday Performances a Treat The Harid Conservatory served up a special holiday treat on December 11 and 12. Classical Divertissements opened the program and featured variations (solo dances) taken from a number of ballets: The Fairy Doll, Don Quixote, and Grand Pas Classique. Faculty member Svetlana Osiyeva created a simple yet arresting concert ballet by choreographing an opening adagio and a finale around the established variations. Classical Divertissements featured seven © of HARID’s advanced female dancers. Loch Nancy Local artist and choreographer, Tara Catao, created the second © Srb piece on the program. Steps, Color, and Lines offered a “tropical Alex dabble into interlocking planes of color and the geometric shapes created by lines”. The work was loosely inspired by the Photo work of the Dutch painter Mondrian. Brightly colored panels Cavan Conley and Alexandre Barros in Hopak suspended above the stage provided a three-dimensional framework for the dancers’ movement. Character dance teacher Bertha Valentin presented another exciting and challenging dance for the students. Hopak, a Ukrainian folk dance, gave the dancers ample opportunity to show off their abilities. Quick footwork, spinning turns, daring jumps, and beautiful costumes made this piece an audience favorite. © Following intermission, the curtain was raised for HARID’s holiday tradition, Divertissements from The Nutcracker, Loch Act II. Many new faces appeared in Spanish Chocolates, Arabian Coffee, Chinese Tea, Dance of the Mirlitons, Nancy Waltz of the Flowers, and the magnificent Grand Pas de Deux. HARID extends its gratitude to everyone who attended the Holiday Dance Performances! © Srb Alex © Srb In ThIs Issue Alex 1 HARID Holiday Photo HARID students in Classical Divertissements Performances 2 Student-Outreach a Success 2 Year-End Features Florida Dance Teachers’ Week the real Black Swan 3 HARID Students In February, HARID welcomed many of South Florida’s talented and dedicated dance teachers to its Need Your Help campus during the school’s bi-annual Florida Dance Teachers’ Week. Thirty-six dance teachers from Palm Beach, Broward, and Dade Counties attended a series of luncheons hosted by HARID director 3 Ballet Body Fitness Gordon Wright. During lunch, he spoke about the school’s history, current activities, and the students’ 3 HARID Dancers accomplishments. The teachers then spent the afternoon observing ballet, point, and partnering classes Compete in NYC before enjoying coffee, pastries, and discussion with Mr. Wright and faculty members Victoria Schneider, 4 Alumni Update Svetlana Osiyeva, and Olivier Pardina. Student Outreach Program “Sells Out” Despite Added Performance Attendance at HARID’s Student Outreach Performances, held this past December 8 and 9, increased fifty percent over the previous year. To meet the demand for seating, a fourth performance was added. In total, more than 3,200 fourth- and fifth-grade students enjoyed the forty-five minute presentations ofThe Nutcracker, Act II. © Initiated in 2009, the Student Outreach Performances offer Srb elementary-school-age children an engaging cultural experience at Alex the Countess de Hoernle Theater in Boca Raton. HARID underwrites Photo the entire cost of the program, including bus transportation to and Alef De Sousa in Arabian Coffee from The Nutcracker, Act II from the theater for public-school students and their teachers. “For most of my students, this was their first experience with theater and ballet. We are a Title 1 school, which means that (the majority) of our students are on free or reduced lunch. We try to expose our children to as many new ideas, experiences, and creative methods of expression, etc. as possible so they may become aware of all the opportunities life has to offer. Unfortunately, many field trips are not possible for us because we cannot afford them. Our fourth graders were able to see this ballet performance because HARID funded our tickets and transportation. I would love to continue taking my students to the ballet to expose them to this wonderful art form. I never know which of my students will be affected for life by such an experience. Thank you!” – Received from a fourth-grade teacher Year-End Dance Performances to Feature the real Black Swan! HARID’s faculty and dancers are preparing an exciting new program of classical and contemporary ballets for the Year-End Performances on May 27, 28, and 29. The Pas de Trois from Paquita will open the program. Faculty member Victoria Schneider is staging this technical showpiece for a male and two female dancers. The original choreography is by Marius Petipa with music by Ludwig Minkus. Another new work by principal guest choreographer Mark Godden will be premiered in May. Godden’s contemporary ballets are always intriguing for audience members and challenging for the dancers. In recent months, there has been much media focus on the psychological thriller Black Swan, starring Academy-Award-winner Natalie Portman. HARID feels that the real Black Swan now deserves a little attention. Therefore, as part of its Year-End Performances, the school will present Swan Lake, Act III which includes the now-infamous Black Swan pas de deux! The Year-End Performances will be held at the Countess de Hoernle Theater at Spanish River Community High School (5100 Jog Road at Yamato Road) on Friday, May 27 at 7:30 p.m.; Saturday, May 28 at 3:00 p.m.; and Sunday, May 29 at 3:00 p.m. Tickets are just $28 and $22. Please visit our ticket office at 2285 Potomac Road in Boca Raton (Monday—Friday, 9:00 a.m.—1:00 p.m.) or call 561-998-8038 to reserve your seats. Page 2 | Spring 2011 | The Harid Conservatory | 561.997.2677 | www.harid.edu Our Students Need Your Help HARID remains North America’s only tuition-free professional-training school for dancers. Nevertheless, the families of many students cannot afford the fees for housing and food. The funds used to provide financial assistance for such families are raised each year through HARID’s Annual-Fund Campaign. This year, we once again seek to raise $75,000 from individuals, private foundations, and corporations. While we are well on our way, we need your help to successfully achieve our fund-raising goal by June 30. Please support HARID’s talented young students by contributing generously to our Annual-Fund Campaign. Each and every dollar will be used to offset the fees for student housing and food. The dancers and their families—along with the faculty and staff—will be grateful for your help. Ensure the success of our Annual Fund Campaign by making a generous, tax-deductible contribution today. New for Adults: Ballet Body Fitness, Available Exclusively at HARID The first-ever program for adults is now up and running at HARID and the feedback from participants has been extremely positive! Ballet Body Fitness offers ballet- and Pilates-derived workouts designed to lengthen and strengthen muscles, improve posture, increase flexibility, and develop coordination, concentration, and balance. Ballet Body Fitness promises to enhance one’s vitality, invigorate the mind, and elevate the spirit. No previous dance training is required. Instructor Vicky Cole is a former ballet dancer, an experienced ballet teacher, and a certified Pilates instructor. She has developed the classes to provide a safe yet challenging workout, and to give participants a better understanding and appreciation of the art of ballet. Many exercises are accompanied by music… often from ballets that will be featured in upcoming HARID performances! Ballet Body Fitness instructor, Vicky Cole Ballet Body Fitness classes are held in HARID’s beautiful dance studios on Tuesday, Wednesday, and Friday mornings from 9:30 a.m.—10:30 a.m. Private classes are also available upon request. For more information or to register for a class, please contact Zoe at 561-997-2677. Become culturally inspired and physically fit… at the same time! HARID Dancers Compete in New York City Three HARID students recently participated in the national final of the Youth America Grand Prix in New York City. Jia Sun (a senior from China), Cavan Conley (a junior from Rhode Island), and Alexandre Barros (a senior from Brazil) performed contemporary solos choreographed for them by HARID’s principal guest choreographer Mark Godden, and classical variations taught by faculty members Svetlana Osiyeva and Olivier Pardina. The students danced very well and received much positive feedback from the international panel of judges. Dancers from twenty-six countries participated in the week-long YAGP classes and on-stage performances. Generally, the caliber of dancing was very high. At the awards ceremony following the competition, both Jia and Alexandre were offered traineeships with the Joffrey Ballet in Chicago. Classmate Asami Ihira (left) and faculty member Olivier Pardina with YAGP participants Alexandre Barros, Jia Sun, and Cavan Conley www.harid.edu | 561.997.2677 | The Harid Conservatory | Spring 2011 | Page 3 Alumni Update - - - - - - - - - - - - HARID’s Class of 2010: • Dustine Geradine is an apprentice with Texas Ballet Theatre. • Daina Gingras is a freshman in the dance program at the University North Carolina School of the Arts. • Rachel Goldberg and Deanna Wiese are freshman in the University of Cincinnati’s dance program. • Caroline Herlong is a freshman in the dance program at Point Park University in Pittsburgh. Visiting alumni (left to right) Kathleen Lawrence Orlowski, Kathleen Breen • Dara Holmes is a trainee at the Joffrey Ballet in Chicago. Combes, Marcelo Gomes, and Matthew Adamczyk • Ana Roberta Teixeira is dancing with Columbia Classical Ballet in South Carolina. • Mahallia Ward has been promoted from trainee to Distinguished Alumni company member at the Joffrey Ballet for next season. Pay a Visit! Other updates: The faculty and staff were thrilled by an early March visit by • Kaya Aman (2009) will join Ballet West II in Salt Lake City four of HARID’s distinguished alumni.
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]
  • The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’S Split Sides
    Spring 2012 Ball et Review The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’s Split Sides . © 2012 Dance Research Foundation, Inc. All rights reserved. 4 Moscow – Clement Crisp 5 Chicago – Joseph Houseal 6 Oslo – Peter Sparling 9 Washington, D. C. – George Jackson 10 Boston – Jeffrey Gantz 12 Toronto – Gary Smith 13 Ann Arbor – Peter Sparling 16 Toronto – Gary Smith 17 New York – George Jackson Ian Spencer Bell 31 18 The Caramel Variations Darrell Wilkins 31 Malakhov’s La Péri Francis Mason 38 Armgard von Bardeleben on Graham Don Daniels 41 The Iron Shoe Joel Lobenthal 64 46 A Conversation with Nicolai Hansen Ballet Review 40.1 Leigh Witchel Spring 2012 51 A Parisian Spring Editor and Designer: Marvin Hoshino Francis Mason Managing Editor: 55 Erick Hawkins on Graham Roberta Hellman Joseph Houseal Senior Editor: 59 The Ecstatic Flight of Lin Hwa-min Don Daniels Associate Editor: Emily Hite Joel Lobenthal 64 Yvonne Mounsey: Encounters with Mr B 46 Associate Editor: Nicole Dekle Collins Larry Kaplan 71 Psyché and Phèdre Copy Editor: Barbara Palfy Sandra Genter Photographers: 74 Next Wave Tom Brazil Costas 82 London Reporter – Clement Crisp 89 More Balanchine Variations – Jay Rogoff Associates: Peter Anastos 90 Pina – Jeffrey Gantz Robert Gres kovic 92 Body of a Dancer – Jay Rogoff George Jackson 93 Music on Disc – George Dorris Elizabeth Kendall 71 100 Check It Out Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover Photograph by Stephanie Berger, BAM : Silas Riener Sarah C.
    [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]
  • 1 Chun Wai Chan Was Promoted to Principal Dancer on December 23
    FOR IMMEDIATE RELEASE Ashleigh Aiken 713.535.3224 [email protected] Images: http://bit.ly/2DhnOuR HOUSTON BALLET ANNOUNCES AN EXCITING PROMOTION DURING THE COMPANY’S HOMETOWN TOUR Chun Wai Chan was promoted to Principal dancer on December 23, 2017 HOUSTON, TEXAS [January 15, 2018] — Houston Ballet has announced that Artistic Director Stanton Welch AM has promoted Chun Wai Chan to Principal dancer. Formally a First Soloist, Chan was promoted on the evening of December 23, 2017 after starring in Stanton Welch’s The Nutcracker as the Nutcracker Prince. This well-deserved promotion concluded Houston Ballet’s performances at the Smart Financial Centre during the company’s Hometown Tour. “Dreams do come true,” said Chan. “I have wanted to be a Principal dancer for a long time, but never expected it to happen this soon. Everyone’s thoughts and words are the warmest gift for this Christmas.” Chan was born in Guang-Dong, China and received his professional dance training under Guang-Zhou Art School from 2004 to 2010. His honorary awards include 1st place in the 2006 CSTD International Ballet Competition in Australia, Finalist in the 2007 Beijing International Competition, 2nd place in the 2009 National Ballet Competition “Tao Li Cup” in China, Finalist in the 2010 Prix de Lausanne and received a full scholarship to study with Houston Ballet’s second company (HBII). While attending HBII in 2011, he was awarded the “Houston Ballet Academy Award.” Chan has performed all over the world and in many major cities throughout the United States. He has appeared in the Ninjinsky-Gala XLI in Hamburg, Germany, the 2015 Fall to Dance Festival in New York City Center, and was as a guest artist with Victoria Ballet in 2015 for the role of the Prince in The Nutcracker.
    [Show full text]
  • Getting to “The Pointe”
    Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADERSHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely B.A., Western Kentucky University, 2003 M.A., Western Kentucky University, 2006 Submitted to the Graduate Faculty under the supervision of Gail F. Latta, Ph.D. in partial fulfillment of the requirements for the degree of Doctor of Education in Leadership Studies Xavier University Cincinnati, OH May 2017 Running head: GETTING TO “THE POINTE” Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADESHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely Dissertation Advisor: Gail F. Latta, Ph.D. Abstract The focus of this ethnographic study is to examine the industry-wide culture of the American ballet. Two additional research questions guided the investigation: what attributes, and their light and dark dimensions, are valued among individuals selected for leadership roles within the culture, and how does the ballet industry nurture these attributes? An understanding of the culture was garnered through observations and interviews conducted in three classically-based professional ballet companies in the United States: one located in the Rocky Mountain region, one in the Midwestern region, and one in the Pacific Northwest region. Data analysis brought forth cultural and leadership themes revealing an industry consumed by “the ideal” to the point that members are willing to make sacrifices, both at the individual and organizational levels, for the pursuit of beauty. The ballet culture was found to expect its leaders to manifest the light dimensions of attributes valued by the culture, because these individuals are elevated to the extent that they “become the culture,” but they also allow these individuals to simultaneously exemplify the dark dimensions of these attributes.
    [Show full text]
  • Spring Performances Celebrate Class of 2018
    Fall 2018 Spring Performances Celebrate Class of 2018 The Morris and Elfriede Stonzek Spring Performances, presented last May, served as a fitting celebration of the 2018 graduating class and a wonderful way to kick off Memorial Day weekend. In keeping with tradition, the performances opened with a presentation of the fifteen seniors who would receive their diplomas the following week—HARID’s largest-ever graduating class. Alex Srb photo © Srb photo Alex The program opened with The Fairy Doll Pas de Trois, staged by Svetlana Osiyeva and Meelis Pakri. Catherine Alex Srb © Alex Doherty sparkled as the fairy doll, in an exquisite pink tutu, while David Rathbun and Jaysan Stinnett (cast as the two A scene from the Black Swan Pas de Deux, Swan Lake, Act III pierrots competing for her attention) accomplished the challenging technical elements of the ballet while endearingly portraying their comedic characters. The next work on the program was the premiere of It Goes Without Saying, choreographed for HARID by resident choreographer Mark Godden. Set to music by Nico Muhly and rehearsed by Alexey Kulpin, this work stretched the artistic scope of the dancers by requiring them to speak on stage and move in unison to music that is not always melodically driven. The ballet featured a haunting pas de Alex Srb photo © Srb photo Alex deux, performed maturely by Anna Gonzalez and Alexis Alex Srb © Alex Valdes, and a spirited, playful duet for dancers Tiffany Chatfield and Chloe Crenshaw. The Fairy Doll Pas de Trois The second half of the program featured Excerpts from Swan Lake, Acts I and III.
    [Show full text]
  • Summer Ballet Workshop
    Racheal Nye is a Principal of Kansas City Ballet School, where she oversees the Pre-Professional Division’s Daytime Program and is a Children’s Coach for company productions. She is a graduate of the Kirov Academy in Washington D.C., where she attended on full scholarship and studied with Nikolai Morozov, Alla Sizova, and Elena Vinogradova. She then joined Ballet Internationale in Indianap- Summer olis and continued training with Irina Kolpakova and Vladien Semenov. In 2000, Racheal joined Nevada Ballet Theatre and was promoted Ballet to principal in 2006. Racheal has danced leading roles in Giselle, Swan Lake, Don Quixote, and Cinderella, Balanchine’s Serenade Workshop and Who Cares? and has performed internationally including Lux- embourg, Korea, and Portugal. Her students have been awarded scholarships to international ballet schools as well as received recognition in both Regionals and Finals of the Youth America Grand Prix competition. She is Pilates and PBT certified. Ryan Nye Originally from central Maine, Ryan received his training from renowned Kirov Ballet Dancer, Andrei Bossov as well as The Royal Winnipeg Ballet School Pro- fessional Division. Upon graduating from Royal Winnipeg Ballet, Ryan attended the Banff Summer Arts Festival where he performed the principal role in Fernand Nault’s Carmina Burana. Ryan went on to dance for Festival Ballet of Providence, Eugene Ballet, and Ballet Idaho where he was promoted to Principal Dancer in 2011. In 2012, Ryan joined Kansas City Ballet where he danced many principal roles, including Jerome Robbins’ Fancy Free, Septime Webre’s ALICE (in wonderland), Michael Pink’s Dracula as well as Devon Carney’s Swan Lake, Giselle, and The Nutcracker.
    [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]
  • How Cuba Produces Some of the Best Ballet Dancers in the World by Noël Duan December 14, 2015 9:01 PM
    http://news.yahoo.com/how-cuba-produces-some-of-the-best-ballet-dancers-020100947.html How Cuba Produces Some of the Best Ballet Dancers in the World By Noël Duan December 14, 2015 9:01 PM Recent graduates of the Ballet Nacional de Cuba School performing at the National Theater of Cuba in Havana in February 2015. (Photo: Getty Images) This story is part of a weeklong Yahoo series marking one year since the opening of relations between the United States and Cuba. Cuba is well known for many forms of dance, from the mambo and the tango to salsa, the cha- cha and the rumba. But only ballet enthusiasts know that the dance form is one of the country’s biggest cultural exports. In Cuba, ballet is just as popular as baseball, a sport where players from the Cuban national team regularly defect to the major leagues in the United States. Unlike in the United States, where ballet is generally considered highbrow art and Misty Copeland is the only ballerina with a household name, the Cuban government funds ballet training and subsidizes tickets to ballet performances. “Taxi drivers know who the principal dancers are,” Lester Tomé, a dance professor at Smith College and former dance critic in Cuba and Chile, tells Yahoo Beauty. Like Cuban baseball players, Cuban ballet dancers have made international marks around the world, from Xiomara Reyes, the recently retired principal dancer at New York City’s American Ballet Theatre to London’s English National Ballet ballet master Loipa Araújo, regarded as one of the “four jewels of Cuban ballet.” In September 2005, Erika Kinetz wrote in the New York Times that “training, especially Cuban training, has been a key driver of the Latinization of ballet,” an important note, considering that European ballet companies dominated the dance world for decades.
    [Show full text]
  • Winter Performances Delivered an Exciting and Varied Program
    Spring 2014 Winter Performances Delivered an Exciting and Varied Program Those who attended HARID’s Winter Performances last December 14 and 15 were treated to a varied program that included classical ballet, character dance, and modern dance. Classical Divertissements showcased Alex Srb © Alex the students’ classical ballet technique in a series of variations from The Fairy Doll, Don Quixote, and Paquita. Faculty member Svetlana Osiyeva choreographed the opening adagio and finale, which seamlessly tied the various solo dances together with beautiful ensemble work. Srb Alex © Classical Divertissements HARID’s premiere of Krakowiak, a Polish character dance from the opera ‘A Life For the Tsar’, was immaculately staged by Bertha Valentin. Seven couples paraded and danced elegantly in striking, burgundy costumes on loan from Canada’s Royal Winnipeg Ballet. Modern-dance teacher Danielle Armstrong created another engaging new work for the performances. Alex Srb © Alex Silver Lining, set to Bach’s ‘Goldberg Variations’ featured several of HARID’s advanced students, along with an ensemble of younger dancers. Their movements created a mood of simple pleasure and happiness, which was enhanced by Paul Safran’s stage lighting. HARID’s holiday tradition, Divertissements from The Nutracker, Act II, once again served as the program finale. Impressive new choreography by faculty member Donald Tolj added much excitement to Arabian Coffee, Chinese Tea, and the Russian Trepak. Waltz of the Flowers was— as always—beautifully staged by Victoria Schneider, and Svetlana Osiyeva’s staging Alex Srb © Alex of the Grand Pas de Deux demonstrated the elegance and purity that is unique to IN THIS ISSUE classical ballet.
    [Show full text]
  • 2018 Alumni Performance 45Th Anniversary Show Program
    A Message from Josefa Villanueva-Reyes, Artistic Director and Founder: I welcome you with great joy and happiness to celebrate the Santa Clara Ballet’s 45th Anniversary of the Nutcracker Ballet. The Santa Clara Ballet continues the legacy left to us by our late Director and choreographer, Benjamin Reyes, by sharing this favorite family Christmas Ballet with our community, our student and professional dancers and our loyal supporters. The Company’s roots started right here in Santa Clara, and has continued despite the usual problems of obtaining funding and support. We can continue because of all of you who are present in our performances, and through your generous donations and volunteer work. The Company continues its work in spreading the awareness and the love of dance to warm families and contribute to the quality of life of the community. For this Sunday’s performance of our 45th Annual Nutcracker, the stage will be graced by our Alumni who serve as a testament to the success of the company’s influence to the community and the world beyond. Thank you for your presence today and please continue to join us on our journey. Josefa Reyes JOSEFA VILLANUEVA-REYES started her training in the Philippines with Roberta and Ricardo Cassell (a student of Vincenzo Celli). She was formerly a member of the San Francisco Ballet Company and the San Francisco Opera Ballet. Previous to that, she performed as a principal dancer with the San Francisco Ballet Celeste for four years. Her performing experience included multiple lead roles from the classical repertory. Villanueva-Reyes taught at the San Francisco Conservatory of Ballet and Theatre Arts as well as San Jose City College.
    [Show full text]
  • September 4, 2014 Kansas City Ballet New Artistic Staff and Company
    Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead.
    [Show full text]