Ballet: Brigade; Dancers: Aoi Fujiwara and Eric White; Photo: Amitava Sarkar

Aoi Fujiwara, an 18 year-old originally from Osaka, Japan who has trained at Houston Ballet’s Academy for two years, was awarded a full scholarship. Mallory Mehaffey, an 18 year-old from Sugar Land, Texas who has studied at the Academy for two years, was selected by the Jacob’s Pillow panel to participate.

Ballet: The Sleeping Beauty; Dancers: Mallory Mehaffey; Photo: Amitava Sarkar

Jacob’s Pillow Dance is lauded worldwide as a “hub and mecca of dancing” (TIME Magazine), and “the dance center of the nation” (The New York Times). “The Pillow” is a treasured 220-acre National Historic Landmark, a recipient of the prestigious National Medal of Arts, and home to America’s longest-running international dance festival. Each year thousands of people from across the U.S. and around the globe visit the Berkshires of Western Massachusetts to experience the Festival with more than 50 dance companies

At the Pillow, both Ms. Mehaffey and Ms. Aoi will have the invaluable opportunity to train with stellar teachers such as New York City Ballet Principal Dancer Wendy Whelan and Anna Marie Holmes, director of the program. They will also perform in a world premiere created by the acclaimed dance maker Helen Pickett in the opening gala of the 2013 Festival on June 15.  And on June 22, they will take the stage again as part of the Pillow’s free outdoor performance series.

Ballet: Peter Pan; Dancers: Sara Webb as Wendy and Joseph Walsh as Peter Pan; Photo: Amitava Sarkar

Elgar was arguably the leading English composer of his generation, and a significant figure among late Romantic European musicians. The Concise Oxford Dictionary of Music describes Elgar’s contribution to music by saying, “Elgar’s greatness as a composer lies in his ability to combine nobility and spirituality of utterance with a popular style.  Side by side with his large scale works are dozens of lighter pieces distinguished by melodic charm and fine craftsmanship.”

In this blog entry, Mr. DePonte talks about his search to find compositions by Elgar that were beautiful and evocative, but not necessarily widely known by American audiences, for the Peter Pan score.

____________________

In Peter Pan, you will hear all or part of 22 pieces by Elgar including Wand of Youth, Suites 1&2 for the opening scenes of Act I; and In the South Overture for Peter’s victory over Captain Hook in Act III. There is very little music in the ballet that was not composed and orchestrated by Elgar.

Ballet: Peter Pan; Dancers: Derek Dunn as Michael and James Gotesky as Hook; Photo: Amitava Sarkar

It should be said that a conscientious musical arranger does not alter even a single phrase of a master composer’s music capriciously when creating a score like Peter Pan. The arranger’s responsibility, therefore, goes beyond honoring the choreographer’s vision for a ballet. He must also fairly represent the melodic, harmonic, and formal integrity of the music he is arranging to the greatest extent possible, thereby honoring the music itself, its composer, and the music’s role in the ballet.

In creating the compilation score for Peter Pan, I specifically avoided using the most familiar Elgar melodies. Accordingly, you will not hear excerpts from either the Enigma Variations, or Pomp And Circumstance March #1. The reason for this is twofold.

First, an audience might already associate this music with specific visual imagery, and I didn’t want those associations to transfer over to Peter Pan. Second, I wanted an opportunity to introduce to American audiences the “other” Elgar–  the one whose violin solo from the Crown of India Suite (heard during Peter and Wendy’s 2nd Act pas de deux) is breathtakingly, achingly, beautiful.

————————-

Ballet: Peter Pan; Dancers: Sara Webb and Joseph Walsh; Photo: Amitava Sarkar

From June 13-23, 2013, Houston Ballet presents Trey McIntyre’s Peter Pan. Based upon the popular story by Sir James M. Barrie, Peter Pan is a magical ballet set to the music of Sir Edward Elgar in an arrangement by Niel DePonte and features spectacular flying sequences, swashbuckling swordfights, giant puppets, colorful masks, as well as costumes inspired by punk fashion. With elaborate, magical sets by Thomas Boyd and imaginative costumes by Broadway designer Jeanne Button, the production reinterprets the classic story with verve and wit. Houston Ballet will give seven performances of Peter Pan at Wortham Theater Center in downtown Houston.

Tickets may be purchased by calling 713 227 2787 or by visiting http://www.houstonballet.org.

Principal dancer Connor Walsh has performed many ballets by George Balanchine.  In this blog entry, Connor shares his experiences of finding the correct musicality of Balanchine’s works and the impact of the coaching of two highly regarded répétiteurs of Balanchine’s work, Victoria Simon and Merrill Ashley, who coached and staged Ballet Imperial for Houston Ballet.

1. Which ballets choreographed by George Balanchine have you danced the lead in?  In what ways did they push/develop you as a dancer and an artist? 

Connor:   I’ve been fortunate enough to dance the lead in Apollo, Tchaikovsky Pas de deux, Ballo Della Regina, Theme and Variations, Western Symphony, Symphony in C, Rubies and Diamonds. Each ballet presented its own set of challenges for me that has helped me improve and approach my work in a different way.

Ballet: Apollo; Dancers: Connor Walsh and Artists of Houston Ballet; Photo: Amitava Sarkar

2. What are the particular challenges of dancing the Balanchine style for a dancer who didn’t grow up training in the Balanchine style?

 Connor: As I mentioned before every ballet is filled with its own challenges. But when it comes to Balanchine’s style, I would say it is in his musicality. The musicality his steps require is both his ballet’s biggest challenge, but also the key to mastering them.

When first approaching his work I tried to give equal effort to every step that I did, but I was finding that even with all of my effort, something was missing. I didn’t feel as if I was dancing poorly but I wasn’t quite getting the correct style.

Since Balanchine’s work is so classically based, it is hard not to approach them with the same technical emphasis as other classical ballets. But once I began to open my mind about why Balanchine dancers dance with a slightly affected style, I started to realize that it wasn’t without reason. More often than not, it is to get the most out of a step within the musicality that is required.

So now when approaching Balanchine’s work, I try to find the correct musicality before anything else in hopes of understanding what part of the step is the most important — and will clearly allow the audience to see the music coming through the steps.

 Ballet: Apollo; Dancers: Connor Walsh and Artists of Houston Ballet; Photo: Amitava Sarkar

3. How is Balanchine’s legacy transmitted through stagers such as Victoria Simon and Merrill Ashley who taught and coached Houston Ballet dancers in Ballet Imperial? What special nuggets of wisdom have they shared while working with Houston Ballet’s dancers that have resonated with him/stayed with him?

Connor: It’s very special to work with people who performed for Balanchine himself and have danced and seen his works performed at their best. It  is important for dancers to bring their own imagination to their dancing. But it is equally important to hear exactly what Balanchine had in mind for certain sections. Or there may be some underlying symbolism that may not be obvious, but is incredibly valuable.

 Courtesy of Houston Ballet

4. You did extensive research on the great Balanchine ballerina Merrill Ashley and her work with Balanchine to interview Ms. Ashley for Dance Talks sponsored by Houston Ballet on April 15 at the Center for Dance. Did you come across anything in your research that was particularly impactful?

I had a blast doing research and eventually interviewing Merrill. She made my life extremely easy for two reasons. One, she had a very rich career. Two, she was a real pleasure to talk to.

What I found most impactful was that Balanchine’s style and approval did not seem to come easy to her, so throughout her career she had to work extremely hard. Through her hard work and dedication she gained a true understanding of what she was doing. Some dancers have such natural gifts that they often never have to learn what makes them great. But Merrill’s greatness came from hard work and gaining knowledge that she can now pass on to other dancers.

———————————————————–

From May 30 – June 9, 2013 Houston Ballet offers up a mixed repertory program titled Journey with the Masters featuring the company premiere of Ballet Imperial, George Balanchine’s tribute to Marius Petipa and Peter Tchaikovsky, alongside revivals of Jirí Kylián’s exuberant and joyous Sinfonietta (not seen in Houston since 1997) and Jerome Robbins’s The Concert, a laugh-out-loud ballet depicting a group of concertgoers at a performance with keen insight to human behavior.

Tickets may be purchased by calling 713-227-2787 or by visiting www.houstonballet.org.

Ballet: Ballet Imperial; Dancers: Artists of Houston Ballet; Photo: Amitava Sarkar

Former NYC Ballet Dancer: Bart Cook; Ballet: The Concert; Photo Steven Caras

The Tuesday, May 21 Dance Talk is free and open to the public at Houston Ballet Center for Dance, 601 Preston Street, 77002. For more information or questions, please contact marketing manager Elizabeth Cleveland: ECleveland@houstonballet.org, or 713 535 3236.

———————————————————-

Dancer: Amy Fote; Ballet: The Concert; Photo Amitava Sarkar

From May 30 – June 9, 2013 Houston Ballet offers up a mixed repertory program titled Journey with the Masters featuring the company premiere of Ballet Imperial, George Balanchine’s tribute to Marius Petipa and Peter Tchaikovsky, alongside revivals of Jirí Kylián’s exuberant and joyous Sinfonietta (not seen in Houston since 1997) and Jerome Robbins’s The Concert, a laugh-out-loud ballet depicting a group of concertgoers at a performance with keen insight to human behavior.

Tickets may be purchased by calling 713-227-2787 or by visiting www.houstonballet.org.

Dancers: Jessica Collado and Ian Casady; Photo: Leonel Nerio

In this blog entry, Stanton talks about plans for the event, and the new work that he has created especially for the performance, Nocturne Op. 15 No. 1.

______________________________________

I’ve really enjoyed serving as artistic chair of Pink at the Brown. What I love most about Pink at the Brown is that it brings together all the arts in one performance.  On one stage in one night, you get Houston Symphony, Houston Grand Opera, Stages, DaCamera, Houston Ballet and Society for the Performing Arts.

Jane Weiner, the founder and artistic director of Pink Ribbons, is very talented.  She’s instrumental in putting together a very interesting evening of programming. At our initial brainstorming session for Pink at the Brown, after much discussion, we settled on the concept of using umbrellas as a motif throughout the performance. Everyone performing in Pink at the Brown is photographed with umbrellas. The umbrellas speak to a very basic question: How do you protect yourself? How do you find a safe space in a sometimes dangerous world?

Oliver Halkowich, a soloist with Houston Ballet, is very clever at exploring motifs, and I knew that I wanted him to choreograph a work for Houston Ballet II, our second company, to perform at Pink at the Brown.

I initially started out thinking that I might want to create a work to Coldplay’s Fix You. After much reflection, I settled upon Chopin’s Nocturne Op. 15 No. 1. It is soft, sentimental and touching.

I wanted to take two of my favorite dancers Ian Casady and Jessica Collado – and make this piece for them. Ian Casady was in my first work for Houston Ballet, Indigo, in 1998, and I’ve worked with him for 15 years. So my artistic relationship with him is one of the longest that I have had in America. And Jessica is in every ballet that I make.

They are two of the most musical dancers I’ve ever worked with in my life. Throughout this process, I’ve been so impressed with their musicality and ability to find very subtle nuances in the score.

Houston Ballet Pianist Katherine Burkwall-Ciscon is one of our company’s jewels, and I was so glad that she could join us in this collaboration to play the Chopin for Pink at the Brown.

 I think that it’s going to be a very special night.

-Stanton Welch, Artistic Director

______________________________________

Pink at the Brown will be performed on Thursday, May 16 at 8:00 pm at Wortham Theater Center. It will feature performances by The Alley Theatre, Da Camera of Houston, Houston Ballet, Society for the Performing Arts Houston, Houston Grand Opera, Meta-Four Houston, Wrtiers in the Schools, and Stages Repertory Theatre. Tickets start at $25.  http://www.pinkribbons.org/pinkatthebrown/

]]> http://houstonballet.wordpress.com/2013/05/14/pink-at-the-brown-saving-lives-and-making-art/feed/ 0 houstonballet Pink at the Brown - Jessica Collado and Ian Casady_Photo Leonel Nerio Oliver Halkowich_Photo by Jaime Lagdameo_2012 Jessica Collado_Photo Amitava_2012 Ian Casady_P_Amitava Sarkar http://houstonballet.wordpress.com/2013/05/14/dancing-the-rite-of-spring/ http://houstonballet.wordpress.com/2013/05/14/dancing-the-rite-of-spring/#comments Tue, 14 May 2013 18:21:56 +0000 houstonballet http://houstonballet.wordpress.com/?p=2259 ]]> On Friday, May 17 from 6:30 – 8:00 pm at 601 Preston Street, join Houston Ballet Artistic Director Stanton Welch, and Shen Wei Dance Arts Company Manager Stephen Xue for a free group discussion on the 100th year anniversary of The Rite of Spring as they share insights into the Houston Ballet’s and Shen Wei Dance Arts’ productions of Vaslav Nijinsky’s seminal work.

Ballet: The Rite of Spring; Choreographer: Stanton Welch; Dancers: Artists of Houston Ballet; Photo: Amitava Sarkar

In March 2013, Mr. Welch choreographed a highly lauded new production of The Rite of Spring featuring Houston Ballet’s entire company. On Saturday, May 18 at 8:00 pm at Wortham Theater Center, Society for the Performing Arts will present New York-based Shen Wei Dance Arts, making its Houston debut performing two of its most celebrated works: The Rite of Spring (2003), coinciding with the 100th anniversary of Stravinsky’s famed musical composition; and Folding (2000), a highly stylized piece performed to the melodies of Tavener and Tibetan Buddhist chants.

Shen Wei Dance Arts; Photo by Christy Pessagno

Shen Wei was the mastermind choreographer behind the stunning 2008 Olympic Opening Ceremonies in Beijing – featuring 16,000 performers right in the heart of The Bird’s Nest. The company itself is devoted to the creation of innovative dance forms for the 21st century. A seamless fusion of Chinese opera, painting, dance and music with Western performance arts, Shen Wei’s works are “visual feasts” (The New York Sun) that transfix audiences.

For more information on the May 18 performance by Shen Wei Dance Arts and to purchase tickets:

http://www.spahouston.org/show?ShowId=59

Dancers: Artists of Houston Ballet; Photo: Amitava Sarkar

The program concludes with Stanton Welch’s signature work Madame Butterfly, the story of a beautiful Japanese geisha who gives up her faith and her family to marry an American naval officer. Set to Puccini’s powerful score with lavish costumes and sets by Peter Farmer, Madame Butterfly is at once compelling and heartbreaking. It is a stunning achievement in neoclassical ballet that has been an international success, with performances on three continents.

Free tickets to these performances are available (4 per person over age 16 while they last) at the Miller Outdoor Theatre box office the day of the performance between the hours of 10:30 a.m. – 1 p.m. If tickets remain at 1 p.m., the box office will re-open one hour before show time to distribute the remaining tickets. As always, open seating on the hill. This is a ticketed event for the covered seating area.

Houston Ballet at Miller Outdoor Theatre; Photo: Nerio Photography

]]> http://houstonballet.wordpress.com/2013/05/07/houston-ballet-helps-miller-theater-celebrate-its-90th-anniversary-in-grand-style/feed/ 0 houstonballet Madame Butterfly_Artists of Houston Ballet_Amitava Sarkar NERIO PHOTOGRAPHY Miller Outdoor Ballet9004 http://houstonballet.wordpress.com/2013/05/01/houston-ballet-ii-steps-center-stage-in-toronto/ http://houstonballet.wordpress.com/2013/05/01/houston-ballet-ii-steps-center-stage-in-toronto/#comments Wed, 01 May 2013 19:08:50 +0000 houstonballet http://houstonballet.wordpress.com/?p=2238 ]]> From April 28 – May 4, the dancers of Houston Ballet II will tour to Toronto to appear in the prestigious international ballet festival Assemblée Internationale 2013 (AI13) in the Betty Oliphant Theatre at 404 Jarvis Street. Houston Ballet II dancers will appear along side other young dancers from some of the world’s most elite training institutions, including Paris Opera Ballet, the Royal Ballet of London, the Royal Danish Ballet, the National Ballet of Cuba, and The Australian Ballet.

Ballet: Fingerprints; Dancers: Artists of Houston Ballet II; Photo: Amitava Sarkar

Hosted by Canada’s National Ballet School (NBS), the AI13 will bring together students and artistic staff from eighteen international professional ballet schools for an intensive seven days of classes, performances, forums and professional development. Former Houston Ballet dancer Garrett Smith is choreographing a new work that will premiere at the festival. Houston Ballet II will also perform the first movement of Stanton Welch’s work Fingerprints, inspired by the music of the famous Kronos Quartet’s Pieces of Africa.

Tickets to four public performances can be purchased by calling the box office at 416-964-5148 or by email at boxoffice@nbs-enb.ca. For more information, visit Assemblée Internationale’s website. 

We are so proud that Houston Ballet II has been invited to Toronto to participate in the prestigious Assemblee Internationale 2013, the international ballet festival April 28 – May 4. Learn more about this innovative program that brings together the best young dancers from all over the world for an incredible week of classes, professional development and performances.

Dancers: Satoko Konishi and Dillon Malinski; Ballet: Impromptu; Photo: Amitava Sarkar

However, right here in Houston, Texas, on April 27, two of these esteemed students of Houston Ballet II company, Satoko Konishi and Dillon Malinski will showcase their talent on the Miller Outdoor Theatre stage at the 9th annual East Meets West  concert. This will undoubtedly be an evening of grace and culture as Konishi and Malinski perform an excerpt from Stanton Welch’s A Dance in the Garden of Mirth. Choreographed in 2000 for Atlanta Ballet and set to music of the thirteenth and fourteenth centuries, Mr. Welch designed this ballet to capture the vibrancy and joy present in the music and gatherings associated with the time period. He describes this medieval music as the “techno music of the day – it was the house music that people danced to. There was almost a barbaric want to live in the thirteenth and fourteenth centuries”. The music, recordings by the Dufay Collective, is certainly a raw, rhythmic experience. The audience will surely connect with the passion brought about by the sound, conveyed by the movement. I can only imagine the resonance it will bring to an outdoor venue like Miller. And with bright young talents like Konishi and Malinski, the performance is bound to captivate.

Dancers: Satoko Konishi and artists of Houston Ballet II; Ballet: A Dance in the Garden of Mirth; Photo: Amitava Sarkar

East meets west and talent meets culture will definitely be the name of the game for the entire evening. Included in the program will be Dance of Asian America, Mitsi Dancing School, Revolve Dance Company, and Ad Deum Dance Company.

For more information on “East Meets West XI” at Miller Outdoor Theatre, April 27, visit http://milleroutdoortheatre.com/events/378/.

Dancers: Nao Kusuzaki and Christopher Coomer; Ballet: Falling; Photo: Amitava Sarkar

The Memory Stone takes place after the March 2011 earthquake and tsunami in Japan. A mysterious woman appears with a memory stone in Houston’s Japanese garden. The woman’s powers cause two Japanese-American women to relive crucial moments from their respective pasts. The Memory Stone explores the invisible bond between the women, and how they support those who have been affected by the devastation of the earthquake and tsunami in Japan.

This presentation of The Memory Stone is part of HGOco’s East + West series, which celebrates Houston as a crossroads for Eastern and Western cultures. All performances are free and open to the public. Asia Society Texas Center performances require reservations which can be done online.