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Found 11 results

  1. The Sarasota Ballet Announces Its 2021 – 2022 Season The Company’s upcoming Season sees a return to live, in-person performances of extraordinary works from many of the most renowned choreographers of the 20th century Sarasota, FL (April 20th, 2021) – The Sarasota Ballet’s Director, Iain Webb, announces today the Company’s 2021 – 2022 Season and the return to full in-person theater programming. The Season also marks Webb’s 15th year heading the Company, and will feature seven programs that showcase not only the range of the Company’s choreographic repertoire, but also its artistry and athleticism. Highlights include two World Premieres – the first, by Resident Choreographer Ricardo Graziano, opening the Season in October; the second, by renowned British choreographer Sir David Bintley, with a full-length adaptation of William Shakespeare’s The Comedy of Errors, scheduled in March. The Season also sees the pairing of the Company Premiere of Mark Morris’ The Letter V in April, The Sarasota Ballet’s first foray into Morris’ distinctive choreography, with the March presentation of the Mark Morris Dance Group. Other highlights include the return of Sir Peter Wright’s heart wrenching Giselle and Summertide to celebrate the choreographer’s 95th birthday, and audience favorites such as Martha Graham’s Appalachian Spring, Sir Kenneth MacMillan’s Elite Syncopations, Twyla Tharp’s Nine Sinatra Songs, and Sir Frederick Ashton’s Valses nobles et sentimentales. “After a year full of unprecedented challenges, I can’t tell you how excited we all are to return to theater and share the breathtaking beauty of ballet with a live audience,” says Webb. “We’re being cautious and adventurous with this upcoming Season. Cautious in that the first two programs are featuring just two ballets each and designed so that our audiences’ first experiences in the theater are comfortably paced. Adventurous because this Season is filled with amazing works and the most ambitious commissioned world premiere that The Sarasota Ballet has ever undertaken.” Webb adds, “With this also being my 15th year, I wanted to celebrate it with some audience favorites like Balanchine’s Serenade; ballets that mean a great deal to me like Sir Fred’s Valses nobles et sentimentales; exciting premieres like Mark Morris’ The Letter V; and work with some old friends like Sir David Bintley and Johan Kobborg!” Program 1 – New World opens The Sarasota Ballet Season with a revisit to Martha Graham’s Appalachian Spring, a vibrant tribute to pioneer life and a hallmark display of Americana. Set to a score commissioned by Graham from Aaron Copland, this bucolic tale of a 19th century Pennsylvania farmhouse weaves four characters’ narratives together to face uncharted obstacles. Appalachian Spring is joined by an exciting World Premiere by Resident Choreographer Ricardo Graziano. This will mark his first new choreographed work since the January 2019 premiere of Amorosa and, paired with Graham’s iconic work, opens this important Season with a sense of optimism, hope, and excitement for the future. Program 2 – Day & Night, at the Sarasota Opera House, features an energetic duo of ballets – Sir Peter Wright’s Summertide and Twyla Tharp’s Nine Sinatra Songs. An abstract expression of Felix Mendelssohn’s Piano Concerto No. 2, Wright’s Summertide distills the magnificence of a radiant day into a one-act ballet. Choreographed in 1976 for the Sadler’s Wells Royal Ballet with the principal role created on Margaret Barbieri, Summertide found an all too fitting home in Sarasota with a 2015 revival. Combining sunshine with swing, Tharp’s Nine Sinatra Songs follows with a series of legendary crooner Frank Sinatra’s tunes brought to life through dance. Each dance sequence expresses through movement the intrinsic human experiences of love and heartbreak so integral to Ol’ Blue Eyes’ oeuvre. In celebration of the choreographer’s 95th birthday anniversary, Program 3 brings Sir Peter Wright’s potent and enrapturing production of the classic Giselle to the Van Wezel Performing Arts Hall, after the ballet’s sold-out 2019 performances. Performed across the globe by many of the great ballet companies. Wright’s production is considered by many to be one of the most faithful and artistically rich, perfectly bringing to life this tale of young love, unrequited romance, and loss. Program 4 – Love & Betrayal sees the return to The Sarasota Ballet’s renowned triple bills, with the choreography of Royal Ballet alumni Dame Ninette de Valois, Sir Frederick Ashton, and Johan Kobborg coming together for the first Program of the new year. Ashton’s Valses nobles et sentimentales holds a special place in the history of The Sarasota Ballet. Having worked with Ashton on the 1987 revival, Webb returned the ballet to the stage after almost 25 years for The Sarasota Ballet’s 2012 American Premiere, reviving the almost-lost ballet and allowing audiences to experience Ashton’s vibrant musicality. In contrast to Valses’ romanticism is de Valois’ The Rake’s Progress, a dramatic cautionary tale of betrayal and excess, showcasing the downfall of a wealthy merchant’s heir through de Valois’ extraordinary choreography and theatricality. Kobborg’s production of August Bournonville’s Napoli rounds out Love & Betrayal. This marks the world-famous dancer, choreographer, and director’s return to Sarasota since 2014. For Program 5, The Sarasota Ballet is excited to present the acclaimed Mark Morris Dance Group for the first time. Founded in 1980 by dancer and choreographer Mark Morris, the group quickly garnered national and international attention as a result of Morris’ expressiveness and unique musicality. “Morris’ works unspool with airtight musical logic. His choreography follows the music in a rolling, running rhythm of phrasing and sudden punctuation, movements that fall somewhere between common activity and high stylization.” - The Washington Post Program 6 brings the World Premiere of A Comedy of Errors, a full-length balletic adaptation of William Shakespeare’s iconic comedy The Comedy of Errors, to the stage. Sir David Bintley, one of today’s most sought-after choreographers, puts his personal touch on this beloved story, with a score commissioned from renowned composer Matthew Hindson and sets and costumes by celebrated designer Dick Bird. Knighted by Queen Elizabeth II in 2020 for his services to dance, Bintley has spent the last 40 years choreographing for some of the world’s most prominent ballet companies. Simultaneously, he has created a reputation for choreographing works that seamlessly use dance as part of a rich narrative and has established himself as one of Britain’s finest choreographers. “Matthew, Dick, and I have dreamt of bringing our dance version of Shakespeare’s most outrageous comedy to the stage for almost a decade now,” explains Bintley. “I hope that it will provide a wonderful vehicle for the vibrant and energetic dancers and musicians of The Sarasota Ballet, and that Floridians will love its humor and joy – something which we desperately need after the past year.” The Season concludes with Program 7 – Serendipitous Movement, a triple bill that epitomizes the depth and range of The Sarasota Ballet, and features George Balanchine’s Serenade, the Company Premiere of Mark Morris’ The Letter V, and Sir Kenneth MacMillan’s Elite Syncopations. Balanchine’s gorgeous Serenade opens, coursing through the four movements of Tchaikovsky’s Serenade for Strings in a mesmerizingly graceful display. The Company Premiere of Morris’ dynamic The Letter V follows, marking the first time the Company will have worked with this astounding choreographer. Originally premiered in 2015 by the Houston Ballet, The Letter V sets Morris’ dynamic approach to dance and distinctive musicality to Joseph Haydn’s Symphony No. 88 in G, a pairing that Alistair Macaulay stated, in his New York Times review, “exemplifies the same qualities as Mr. Morris: high spirits, terrific humor, a strong inclination to the pastoral and a keen instinct for structural experimentation.” The long-awaited return of MacMillan’s Elite Syncopations closes the Program with a ragtime-fueled, comedy-infused dance-off. Created for The Royal Ballet in 1974 with MacMillan at his most whimsical, the curtain opens as Elite Syncopations’ cast dances wildly on a virtually bare stage surrounded by a live band. Executive Director Joseph Volpe adds, “Alongside celebrating the artistic achievements that The Sarasota Ballet has attained during Iain’s 15 years, this Season is also a tribute to the extraordinary support that our patrons and audience members have given us during this past Season. Throughout the pandemic we were able to look after the health and wellbeing of our dancers, staff, and students, which was made possible because of the commitment and generosity of our community. Safely returning to the theater and continuing to produce world-class artistry is our way of showing our heartfelt thanks to our Sarasota Ballet family.” Further details here: https://www.sarasotaballet.org/sarasota-ballet-announces-its-2021-–-2022-season
  2. BIRMINGHAM ROYAL BALLET’S CINDERELLA SIR DAVID BINTLEY’S ENCHANTING FAIRYTALE BALLET TO BE STREAMED TO MARK THE END OF BIRMINGHAM ROYAL BALLET’S HOME FROM HOME SERIES Birmingham’s Royal Ballet’s celebrated production of Cinderella will be broadcast in full on Birmingham Royal Ballet’s website and Facebook page to mark the end of its online Home from Home series. Its digital premiere will take place at 7pm on Tuesday 25 August and be available to watch for seven days thereafter via brb.org.uk/watch-cinderella Sir David Bintley’s enchanting fairytale ballet, set to Sergei Prokofiev’s sumptuous score, captures every imagination with its magical mix of dance, spectacular costumes and scenery by designer John Macfarlane, and a cast of characters from the fairy godmother and step sisters to a mythical world of mice, lizards and even a dancing frog. This family-friendly production was filmed during the premiere run of the ballet at Birmingham Hippodrome in 2010 and featured as the BBC Christmas ballet that year. It stars Elisha Willis as Cinderella, Iain Mackay as the Prince and Marion Tait as the Stepmother; the Royal Ballet Sinfonia is conducted by Music Director Koen Kessels. The broadcast of Cinderella will be free to watch; but in lieu of a ticket, from those who feel they can, we would be delighted to receive donations via the brb.org.uk/watch-cinderella page; all donations help us deliver the amazing work we do both on and off the stage, and we are very grateful for any support given. Birmingham Royal Ballet’s Cinderella will tour the UK in 2021, with dates and venue information available at brb.org.uk/cinderella Following an uncertain year for everyone, not least for the performing arts, Birmingham Royal Ballet, under the Directorship of Carlos Acosta, looks forward to returning to training in Birmingham from the beginning of August 2020. News of an exciting programme of live autumn performances, including work outdoors, in the community, in socially-distanced arena spaces and using augmented reality and technical innovation, will be announced very soon. ENDS NOTES TO EDITORS: Birmingham Royal Ballet Based at Birmingham Hippodrome, Birmingham Royal Ballet is the United Kingdom’s leading touring ballet company performing a range of traditional, classical and heritage ballets as well as ground-breaking new works with the aim of encouraging choreographers of the future. The company’s Director from January 2020 is the internationally renowned Carlos Acosta. Birmingham Royal Ballet performs at Birmingham Hippodrome for approximately ten weeks of the year and the remainder of the year tours throughout the United Kingdom and overseas. On average, the company performs 175 shows a year nationally and internationally. The Royal Ballet Sinfonia is Birmingham Royal Ballet’s permanent orchestra, it is also Britain's busiest ballet orchestra. The Sinfonia also plays frequently for The Royal Ballet and other leading ballet companies, including performances with: The Royal Ballet, Paris Opéra Ballet, New York City Ballet, Australian Ballet, Les Grands Ballets Canadiens, the Kirov, Norwegian Ballet, Atlanta Ballet, San Francisco Ballet and La Scala Ballet.
  3. The casting for the Birmingham Giselle performances is now on the website: https://www.brb.org.uk/whats-on/event/giselle Casting order: Giselle, Albrecht, Hilarion Wednesday 25th September - Momoko Hirata, Cesar Morales, Kit Holder Thursday matinee 26th - Celine Gittens, Brandon Lawrence, Alexander Yap Thursday evening 26th - Miki Mizutani, Mathias Dingman, Lachlan Monaghan Friday 27th - Delia Matthews, Tyrone Singleton, Yasuo Atsuji Saturday matinee 28th - Momoko Hirata, Cesar Morales, Kit Holder Saturday evening 28th - Celine Gittens, Brandon Lawrence, Alexander Yap
  4. Tonight’s opening performance in Birmingham, led by Samara Downs and Lachlan Monaghan was completely, utterly, absolutely and totally magnificent!!
  5. BRB opened their Autumn season with David Bintley's Aladdin at The Lowry yesterday. This production is a great family entertainment and last night we were treated to a dazzling performance from the whole company. Mathias Dingman was a real young man about town until he fell in love at first sight with the Princess. Momoko Hirata was just divine as the Princess. Iain Mackay frightened the life out of me as the Maghreb and Tzu-chao Chou was a pocket rocket as the Djin! Nao Sakuma and Tyrone Singleton set the stage alight as the Rubies. What a great start to the season.
  6. Something to look forward to later this year: David Bintley's new full-length adaptation of "The Tempest", which premieres at the Birmingham Hippodrome on 1st October. I can't wait! ETA: Damnation, I should have posted this in Dance News...
  7. Also spotted in Graham Watts' interview with David Bintley (http://londondance.com/articles/interviews/david-bintley-interview-part-2/), (Young people being naturally more attracted to contemporary dance,) "Ballet audiences are generally an older group and we have to accept that. Our main challenge is to attract that older audience." Nice to know that *someone* recognises that
  8. I've been catching up with the links today, and was quite surprised to read in Graham Watts' interview with David Bintley (http://londondance.com/articles/interviews/david-bintley-interview-part-1/) "... although we haven’t actually been at full capacity for awhile, partly because I can’t find people good enough." Food for thought?
  9. A nice (long) video from Houston, with some dancing: http://youtu.be/z1aOFJhRZDY <iframe width="560" height="315" src="//www.youtube.com/embed/z1aOFJhRZDY?rel=0" frameborder="0" allowfullscreen></iframe>
  10. Birmingham Royal Ballet open their Spring season with Prince of the Pagodas at the Lowry on 30th January 2014. Could people please post their thoughts on performances of the work on this thread. The Company has released a post about the creation of masks for the Salamander Prince. Here is the link.
  11. Janet's already flagged this in the Links section, but I thought it might be useful here, too: http://www.thestage.co.uk/news/newsstory.php/36057/royal-ballet-director-highlights-issue-of As part of Dance UK's nutrition and eating disorders conference, Dame Monica Mason (and later David Bintley) discussed eating disorders and what they look for in hiring dancers. If anyone who's more familiar with this part of the forum than I am knows of a thread it can usefully be merged into, please let me know.
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