JEWELS Ballet in three parts by George Balanchine INTERNATIONAL Poorhouse Newsletter No 7 October - December 2005 JAMES ELLROY A writer in search of himself 2jewelsjewels bettyfreeman3 JEWELS JEWELS Choreographer George Balanchine (1967) BALLET iN THREE PARTS BY GEORGE BALANCHiNE Set and Costume design Christian Lacroix Lighting Jennifer Tipton Dancers Les Etoiles, Directed by Pierre Cavassilas Les Premiers Danseurs & Le Corps de Ballets de Produced by Telmondis l’Opera National de Paris stars will be out in force to dance in Emeralds, Running Time: 84’ - HD Rubies and Diamonds. The costumes which play an Cast EMERALDS EMERALDS important part in this abstract ballet as well as the Ist Pas de deux Laëtitia Pujol Music by Gabriel Fauré sets have been created by world famous fashion Jean-Guillaume Bart Excerpts from suites Pelléas et Mélisande – 1898 designer Christian Lacroix. Balanchine himself 2nd Pas de deux Clairemarie Osta Shylock – 1889 described his choreography as follows: Kader Belarbi “The idea of a new ballet using costumes Pas de trois Nolwell Daniel 32’ decorated with precious gems goes back a few Mélanie Hurel Emmanuel Thibault RUBiES years, to when my friend, the violinist Nathan Music by Igor Stravinsky Milstein, introduced me to the jeweller Claude Cast RUBIES Capriccio pour piano et orchestra – 1929 Arpels. I had already seen the magnificent stones Soloists Aurélie Dupont 20’ in his collection in New York. And of course, I’ve Benjamin Pech always loved jewels: after all I’m from the East, from Stéphanie Romberg DiAMONDS Georgia in the Caucasus. I love gems, I love the Cast DIAMONDS Music by Piotr Ilyitch Tchaikovsky colour of precious stones, I love their beauty. Symphony n°3 in re majeur, op.29 – 1875 I constructed it in three parts. The first part, Soloists Agnès Letestu José Martinez (the four last movements) Emeralds, performed to music by Fauré, using 32’ excerpts from Pelléas et Mélisande and Shylock, Total Running time: 84’ is perhaps an evocation to France, the France of George Balanchine’s classic masterpiece first elegance, of fashion, of perfumes. Some people performed by the NYCB in 1967 will finally be seen seem to have seen, in the second part Rubies, a on television and launched on DVD. Many attempts representation of America. I did not especially have to record this famous neoclassic three-parter that in mind, though. I simply followed Stravinsky’s failed. Only recently did the Balanchine foundation music. Diamonds, the last part of the ballet, is danced approve the staging at the Paris opera where the to Tchaikovsky’s Third Symphony, which is made up of five movements. I decided not to use the first movement which is not really danceable, and I just concentrated on the remaining four movements.” There will also be an introductory documentary with contributions from dancers, associates of Balanchine and Christian Lacroix including rare footage of Balanchine. This documentary will be made by Reiner Moritz with a running time of approximately 50 minutes. poorhouseinternationalNewsletter No 7 bettyfreeman3 ‘I really do like contemporary music and I don’t understand why everybody doesn’t’. Betty Freeman Betty Freeman photo © Betty Freeman photo © Betty Freeman by David Hockney top: Brendel, above: Cage, both photographed by Betty Freeman BETTY FREEMAN - A LiFE FOR THE UNKNOWN Directed by Paul Fenkart 16:9 Digi Beta Running Time: 60’ A Bernhard Fleischer Moving Images production for WDR Betty Freeman has a talent of putting together the right people. After having collected contemporary art she by chance became involved in contemporary music when friends asked her to contribute a hundred dollars to the defence of La Monte Young found in possession of cannabis in 1961. Ever since Betty Freeman has helped composers such as Harry Parch, John Cage, Steve Reich, Harrison Birtwistle, Pierre Boulez, Esa-Pekka Salonen and lately Helmut Lachenmann to name but a few. “Steve Reich was so amazed at the video performance of his “Different Trains” that Help for her did not only mean financial says of her: “she is a great photographer”. This is contributions but also encouragement and what born out by the many portraits she took of great he is going to use the same is most important for composers a chance to get musicians of our time. Betty Freeman says herself: their works performed. “I really do like contemporary music and I don’t group (Stadler Quartet) For many years she ran, what her husband understand why everybody doesn’t”. To prove her Franco called, a Saletto Musicale at her LA house point Paul Fenkart’s documentary is rounded of by for his upcoming 70th year where new pieces of today’s music were first performances of music such as John Cage’s, expertly heard as Peter Sellars and Ernst Fleischman fondly played by Markus Hinterhäuser, Steve Reich’s celebration tour.” Betty Freeman in recall. Gerard Mortier pays tribute to Betty who Different Trains played by members of the Austrian was instrumental in bringing about the Next Ensemble for Contemporary Music, rehearsals with a letter to commissioning editor L. Mattner, WDR Generation Series at Salzburg and Robert Wilson Boulez and Lachenmann and many others. poorhouseOctober - December 2005 international str4 oëoperaintrosoperaintroduction5 bert M. N. Ro N. M. AURELE STROE photo © iN SEARCH OF THE LES PALADiNS or One critic saw the performance and reacted “GESAMTKUNSTWERK” with “Baroque that Rocks”. This is also the title of BAROQUE THAT ROCKS an introductory documentary into the world of Directed by Bernard Cavanna Rameau and his comédie-ballet Les Paladins, a flop Les Paladins continues to be a world wide at his world premiere in 1760 and now one of the & Laurence Pietrzak success on television as well as on stage. After the great successes of the Châtelet’s 2003/2004 season. Running Time: 54’ highly acclaimed guest appearance at London’s One short guest appearance at London’s Barbican Produced by Les Films d’ici Barbican and a run at Shanghai’s Grand Theatre was enough to earn it a nomination for the Olivier William Christie is touring Europe this Winter Awards. Born in 1932 in Bucharest composer Aurèle with a concert version before the stage production William Christie and Sylvie Bouissou examine why Stroë was early on fascinated by the world of returns to the Châtelet in October 2006 and the the piece initially flopped and the cast talk about sound. He surprised his piano teacher by telling him Bunkamura in Tokyo in November 2006. Music their roles. Sylvie Bouissou also lets us into the he preferred to play his own music. His father then lovers in Athens have a chance to see it at the secret of Rameau’s working method by presenting found a teacher from whom the boy could learn Megaron in July 2006. The multi-layered production and commenting the autograph of the score, one of everything about counterpoint. of José Montalvo, integrating projections, Hip Hop, only seven known Rameau manuscripts, kept at the Stroë studied at the Bucharest Conservatory street dancing and acrobats into this anarchic Bibliothèque Nationale de France. José Montalvo, from 1951-1956 and received some instruction work of Rameau is also faring well on television. stage director, video artist and together with from Kagel, Ligeti and Stockhausen at Darmstadt After a successful broadcast together with our Dominique Hervieu choreographer of Les Paladins summer courses between 1966-1969. Soon he documentary The Real Rameau in Finland it will explains their approach to this neglected master was at loggerheads with the official aesthetics and be seen in the same combination in Sweden and piece and focuses on the importance of dance in decried as formalist, decadent and cosmopolitan. Norway. Further broadcasts are agreed in Canada, this comédie-ballet where it is fully integrated into Bernard Cavanna reveals the life story of this most the German speaking area and Australia while the action with dancers doubling the singers as alter interesting composer through conversations with negotiations are on for a Tokyo broadcast after the egos. the artist and visits to native Bucharest, the summer stage show has been seen there. And this is what place in Busteni and a wealth of music. We hear the press has to say: Directed by Reiner E. Moritz extracts from early piano pieces, two piano sonatas, Running time: 58’ - 16:9 Digi Beta the concerto for violin, various orchestra pieces and one of his operas entitled Les Choéphores. Archive Produced by RM Creative footage from Ceausescu’s Romania and interviews “I doubt anything for the Châtelet and Opus Arte with former students and his present companion, the music historian Angelika Kohli round of this engaging profile of a little known contemporary composer who has a lot to say. more witty, more spectacular, more ravishingly sexy will be seen on the opera stage this year.” Barry Millington, Evening Standard “This is as intense and physical a realisation of the moral value of pure delight as you will ever see or hear.” Robert Thicknesse, The Times poorhouseinternationalNewsletter No 7 operaintroduction5 The Barber of Seville We have been encouraged by DVD reviewers the Empress to make the remark “una porcheria tedesca”, which has hung over the piece ever and broadcasters alike to make more since. This documentary shows that La Clemenza is introductory documentaries to go with major neither a true opera seria nor a collage of mediocre performances distributed by PHI. music hastily put together. It will hopefully do away with all this prejudice and make viewers truly enjoy Mozart’s last masterpiece. THE BARBER OF SEViLLE or THE USELESS PRECAUTiON Directed by Reiner E. Moritz. Running time: 59’ - HD Produced by RM Creative for Decca and Opus Arte Juan Diego Florez (Almaviva) Maria Bayo (Rosina), Pietro Spagnoli (Figaro), Ruggero Raimondi (Don Basilio) and Bruno Praticò (Don Bartolo) take the viewers through their arias; discuss technical difficulties and the art of writing one’s own ornamentations.