Saturday, November 19, 2005
Hilary Wallis' diary
Hilary Wallis spent her formative years in Atlanta, Georgia and had her first exhibition in a gallery by the age of seventeen after relocating to Sarasota, Florida. She won a scholarship to the Ringling School of Arts and Design, and yet quietly refused because the internal struggle of deciding between different career paths was beginning to take hold. Her mind wanted a life dealing with international affairs, but her heart would always belong to her painting.
Hilary followed what her mind set out to accomplish and went to school for a Bachelor of Science degree in Telecommunications from the University of Florida. However, she kept her paintbrush in hand while also working as an illustrator for a local magazine and created artwork for various causes. The television travel industry brought her to London, England, and soon she was immersing herself in the arts of cultural Europe. And she still travels extensively to obtain some inspiration... Do you mind to share the details ?
>> Click here if you’re ready to hit the road with Hilary <<
Wednesday, May 11, 2005
The Australian Ballet
THE AUSTRALIAN BALLET BOUND FOR THE UK WITH GRAEME MURPHY’S SWAN LAKE
A bride, her prince and his mistress…
We will be in the grip of all things Australian this summer - not just the infamous Ashes Cricket series, but also the return of The Australian Ballet to the UK with the international premiere of its acclaimed new production of Swan Lake.
This ground-breaking version of the iconic classical ballet by celebrated Australian choreographer Graeme Murphy has consistently overwhelmed Australian critics and audiences alike with its tragic and passionate tale of unrequited love and betrayal in a royal love triangle :
“Just minutes after the curtain went up on the Australian Ballet’s new Swan Lake on Tuesday, we knew we were witnessing the birth of a classic…three hours later the house went wild, wilder than any ballet audience in town for years, in a nearly 10-minute standing ovation.”
(The Australian)
“The national ballet company has probably never had an opening night to match Tuesday’s premiere of Graeme Murphy’s Swan Lake since 1988…it’s that long, certainly, since I saw a Melbourne ballet audience erupt. Stand. Cheer. Give the kind of ovation one wishes one had timed.”
(The Weekend Australian Financial Review)
After more than twelve years, The Australian Ballet returns to the UK in July 2005 with the international debut of Graeme Murphy’s critically acclaimed, multiple award-winning new production of Swan Lake. For the UK tour, which is managed by Askonas Holt, the company is presenting 13 performances in Cardiff and London.
Murphy’s Swan Lake was the first ballet commissioned by David McAllister after becoming The Australian Ballet’s artistic director in 2001. Created to mark the company’s 40th anniversary in 2002 this powerful interpretation of the iconic ballet sensationally sold out seasons across Australia, won nine major awards in one year, and moved audiences to tears. Murphy’s choreography dramatically communicates the passion and emotion of betrayal and unrequited love: Odette is betrothed to Prince Siegfried, yet deeply apprehensive of his relationship with the Baroness von Rothbart. However, it is not until after the wedding that the true nature of Siegfried and the Baroness’ relationship is revealed to Odette, causing her such distress that, by royal command, she is committed to a sanatorium. There she finds comfort and escape amongst serene white swans in a frozen dream world. Australian critics have picked up on more than a hint of another world famous royal menage à trois that finds several parallels in this story of adultery, personality disorders and betrayal of innocence.
Press Releases
A Bride, her Prince and his Mistress
Company background and biographies
Related Links
www.australianballet.com.au
UK audiences are in for a treat:
Tickets and booking information:
Wales Millennium Centre, Cardiff July 13-16 T. 08700 402000 www.wmc.org.uk
London Coliseum July 20-24 T.
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A bride, her prince and his mistress…
We will be in the grip of all things Australian this summer - not just the infamous Ashes Cricket series, but also the return of The Australian Ballet to the UK with the international premiere of its acclaimed new production of Swan Lake.
This ground-breaking version of the iconic classical ballet by celebrated Australian choreographer Graeme Murphy has consistently overwhelmed Australian critics and audiences alike with its tragic and passionate tale of unrequited love and betrayal in a royal love triangle :
“Just minutes after the curtain went up on the Australian Ballet’s new Swan Lake on Tuesday, we knew we were witnessing the birth of a classic…three hours later the house went wild, wilder than any ballet audience in town for years, in a nearly 10-minute standing ovation.”
(The Australian)
“The national ballet company has probably never had an opening night to match Tuesday’s premiere of Graeme Murphy’s Swan Lake since 1988…it’s that long, certainly, since I saw a Melbourne ballet audience erupt. Stand. Cheer. Give the kind of ovation one wishes one had timed.”
(The Weekend Australian Financial Review)
After more than twelve years, The Australian Ballet returns to the UK in July 2005 with the international debut of Graeme Murphy’s critically acclaimed, multiple award-winning new production of Swan Lake. For the UK tour, which is managed by Askonas Holt, the company is presenting 13 performances in Cardiff and London.
Murphy’s Swan Lake was the first ballet commissioned by David McAllister after becoming The Australian Ballet’s artistic director in 2001. Created to mark the company’s 40th anniversary in 2002 this powerful interpretation of the iconic ballet sensationally sold out seasons across Australia, won nine major awards in one year, and moved audiences to tears. Murphy’s choreography dramatically communicates the passion and emotion of betrayal and unrequited love: Odette is betrothed to Prince Siegfried, yet deeply apprehensive of his relationship with the Baroness von Rothbart. However, it is not until after the wedding that the true nature of Siegfried and the Baroness’ relationship is revealed to Odette, causing her such distress that, by royal command, she is committed to a sanatorium. There she finds comfort and escape amongst serene white swans in a frozen dream world. Australian critics have picked up on more than a hint of another world famous royal menage à trois that finds several parallels in this story of adultery, personality disorders and betrayal of innocence.
Press Releases
A Bride, her Prince and his Mistress
Company background and biographies
Related Links
www.australianballet.com.au
UK audiences are in for a treat:
Tickets and booking information:
Wales Millennium Centre, Cardiff July 13-16 T. 08700 402000 www.wmc.org.uk
London Coliseum July 20-24 T.
Sunday, May 08, 2005
J’en rêve (June 23—October 9, 2005)
Last fall the Fondation Cartier extended an invitation to the well-known artists with whom it has worked closely over the years, asking them to recommend one or more young talents of their choice for the J’en rêve exhibition. This request was met with an enthusiastic response that transcended artistic boundaries : photographers recommended sculptors, painters recommended video artists, performance artists recommended architects. Likewise, the Fondation Cartier’s Nomadic Nights program will feature younger performers that have been recommended by their more established counterparts in the areas of dance, music, fashion, and film.The established artists who invested themselves in the project are from different generations and backgrounds. Some, such as Jean-Michel Alberola or Christian Boltanski, are devoted art professors. Others spend much of their time discovering and nurturing young talent. Twice each year, Takashi Murakami organizes the Geisai festival, inviting hundreds of young artists to sell their work in a spontaneous and informal Japanese art fair. In Buenos Aires where he resides, Guillermo Kuitca organizes exhibitions and workshops with young artists. For the other important artists who have contributed to the project, such as Chéri Samba, Nan Goldin, Boris Michailov, Hiroshi Sugimoto or Ernesto Neto, this exhibition has provided them with the unique opportunity to present the work of their younger counterparts in a major institution. In addition to these names, other professionals in the performing arts have also made valuable contributions by sharing contacts and recommending talented young artists for the exhibition: Robyn Orlin, Alan Vega, Gaspard Yurkievich, Romeo Castellucci, Fred Frith, Rodolphe Berger or Emmanuelle Huynh. The work selected shows the vitality, energy and promise of youth, shedding light on the lifestyles and desires of a new generation. How does an artist living in Buenos Aires, Cape Town, Tokyo, or Moscow perceive the world ? Informal and spontaneous in spirit, the exhibition J’en rêve provides a way of connecting those who have contributed to the history of the Fondation Cartier and those who will be a part of its future. For additional information about this exhibition, please contact Linda Chenit at +33 (0)1 42 18 56 77
linda.chenit@fondation.cartier.com
Thursday, December 23, 2004
Léopold Rabus
"SCÈNE SAINTE"Paintings and installation
November 17, 2004 until January 8, 2005
opening reception Wednesday, November 17, 2004, 7 to 11 p.m
Frankfurt am Main, Oktober 2004 - He spends his nights with Russian street musicians, wants to travel alone through Siberia in his camper van and hugely loves acting. Léopold Rabus is very headstrong. This is visible in the art of the 26 year old. In its exhibition “Scène Sainte“, Gallery Adler of Frankfurt am Main, Germany presents not only large format paintings of the young Swiss, but also an installation
On his canvasses strange beings cavort in almost surrealistic fashion. Again and again the painter appears in shape of a young woman with long black hair. In most cases this is real hair. Even his technique is very specific to him: Léopold Rabus for example uses fleshy wax, bright nail varnish or playful glitter particles and thus gives his paintings a three-dimensional appearance. “Breathing space“ in his pictures is created by generous spaces of unpainted canvas, with his beings creating a microcosm of their own.
What on first glance appears amusing almost always goes deeper than that. In his most recent series ”Scène Sainte“, you will find humans intriguingly missing something. They weep, but their tears often are frozen. There are deer, some with wings, “Angels from another, fantastic, magical world“, according to Rabus. They drink the tears. The human beings finally receive what they missed, ascend to heaven and become saints themselves. The artist was, amongst others, inspired by the painting “Ofelia“, by 19th century John Everett Millais.
His last but one series Rabus called ”Ex Voto“. There he alludes to religious altar paintings and initiates discussions about religious feelings, promises of salvation and bigotry. Madonnas, Mormons, “whores and saints” are all part of „Ex Voto“. Rabus surprises, disgusts as well as fascinates the viewer and states, not without a certain amount of self-confidence: „I canonize some people or excommunicate them. In order to express feelings or experiences more easily, I let myself be inspired by folkloristic masks or popular presentations of saints and village life. Man has always, when you go back in time, gone down on his knees in order to praise or condemn God, a tree or a bottle...“
With Léopold Rabus Gallery Adler once more enhances its programme with an interesting, very young artist. As the sole representative of the Swiss artist in Germany, it is expanding its international circle of artists after having exhibited shooting star Alex McQuilkin and Klaus Wanker from Austria.
opening reception
wednesday, November 17, 2004, 7 to 11 p.m
exhibition
November 17, 2004 until January 8, 2005
opening hours
Tue, Wed 3 to 6 p.m., Thu, Fri 12 to 7 p.m. Sat 11 a.m. to 3 p.m. and upon appointment
Tuesday, October 19, 2004
3rd international krikri polypoetry festival
* What?Our third unique polypoetry festival.
This year with poets and musicians from Sweden,Germany, Soundland, Russia, Iraq, Lebanon, Switzerland, the Netherlands and Belgium.
* When?
Saturday 27 November 2004 (19:00 - 23:30, interval at 21:00)
& Prelude (experimental polypoetic films and documentaries) on Monday 22 November 2004 (20:00-22:00)
* Where?
Theater Tinnenpot, Tinnenpotstraat 21, Ghent, Belgium
The prelude will be held in the Artcinema Off Off, Begijnhof ter Hoye, Lange Violettestraat 237, Ghent
Festival Krikri 2004: Programme
19:00-21:00
Louis De Meester - Sybren Polet I, Tomma Wessel, Sten Hanson, Heike Fiedler, Trevor Wishart, Maja Jantar & Esther Venrooy
21:30-23:30
Louis De Meester - Sybren Polet II, Amal Al-Jubouri & Jahida Wehbé, Dirk Veulemans, Valeri Scherstjanoi & Wolfram Spyra, Laura Maes
* With support from:
The City of Ghent, the Vlaams Fonds voor de Letteren and the Province of East Flanders
* Organised by:
Krikri vzw
Concept: Jelle Dierickx, Maja Jantar & Helen White
* Info
Press release and other info on www.krikri.be, or e-mail us at info@krikri.be
* Reservations:
Theater Tinnenpot box office
+32 (0)9 225 18 60
or e-mail: info@krikri.be
* Tickets
10/8 EUR, unemployed people free (CD included in admission fee)
From Sweden
Press Release
From Sweden.com
November Concerts From Sweden
Martin Fröst * Mats Lidström * Simon Crawford-Phillips Jonny Axelsson * Bobo Stenson * Fredrik Ljungkvist
Jazz, contemporary and classical music fill the From Sweden calendar in November, establishing the different areas of Swedish music the project is intent on bringing to the British public over the next eight months in the largest ever celebration of Swedish music outside of Sweden.
Continuing the programme of From Sweden concerts at the Wigmore Hall, another stimulating mix of Swedish and British musicians and music graces the concert platform on Sunday 28 November at 5pm. From Sweden’s artistic director Mats Lidström(cello), clarinettist Martin Fröst and pianist Simon Crawford-Phillips will perform a range of styles and combinations.
This eclectic programme leaps back and forth the across the centuries with works as diverse as English composer John Ireland’s sonata for cello and piano and Sivelöf’s Twist ’n’ Shout . Outstanding young clarinettist Martin Fröst performs Hillborg’s impish Tampere Raw, written for clarinet and piano and is joined by a trio of outstanding young string players from the Royal Academy of Music for Quartet in C minor, by Bernhard Henrik Crusell,whose most most enduring works are those for clarinet (three concertos and three quartets, all written for, and performed by, himself between 1811 and 1823).
As part of the London Jazz Festival, From Sweden presents two major musicians:
saxophonist Fredrik Ljungkvist is among the pathfinders of new Swedish jazz. His attitude is: "Keep the senses open for old jazz, new jazz, classical music and folk music from around the world." This year he is the winner of the prestigious “Jazz in Sweden” prize awarded by Sweden’s main concert promoter Rikskonserter and the London Jazz Festival is the grand finale of a 2-week tour throughout Sweden to promote his latest CD Fredrik Ljungkvist and Yun Kan 12345. He performs on the RFH Pizza Express Freestage on 13 November between 1 and 5pm (part of Radio 3 Jazz Line-up Live).
Legendary pianist Bobo Stenson appears at the Pizza Express Jazz Club, 16 & 17 November at 9pm. Stenson has effectively defined the meaning of modern piano in Sweden since the late ‘60s. Early in his playing career he accompanied a long line of visiting American players including Sonny Rollins, Stan Getz, Gary Burton, Don Cherry and George Russell, before striding out on his own and recording for ECM with the likes of Jan Garbarek.
As part of a special focus on composer Kevin Volans, Swedish percussionist Jonny Axelsson takes to the stage on 22 November at the Huddersfield Contemporary Music Festival with Akrodha – a work commissioned from the composer for Axelsson by the Swedish Concert Institute (first performed in March 1999 at the Stockholm New Music Festival). Axelsson is a prominent figure on the contemporary music scene, acclaimed for the depth and dimension of his interpretations. Experimentation with playing techniques and musical structures have led to a range of collaborations including ones with modern dance and visual arts. Of his many recordings, his solo CD "Percussione Con Forza" was chosen by the International Record Review as "The Best Contemporary Music CD of the Year 2000".
From Sweden is an ambitious music project being staged in London over two concert seasons 2004-2005 to celebrate Swedish and English music, composers and artists, conceived by Mats Lidström and Roger Gifford and managed by Van Walsum Management. The project receives support from the Swedish Institute, SEB Merchant Banking, Rikskonserter and the Swedish Embassy in London amongst others.
PROGRAMME AND BOOKING INFORMATION
London Jazz Festival www.serious.org.uk
Fredrik Ljungkvist &Yun Kan 5 - RFH Pizza Express Freestage 13 Nov 1-5pm
www.rfh.org.uk. Tel 020 8449 0048
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From Sweden.com
November Concerts From Sweden
Martin Fröst * Mats Lidström * Simon Crawford-Phillips Jonny Axelsson * Bobo Stenson * Fredrik Ljungkvist
Jazz, contemporary and classical music fill the From Sweden calendar in November, establishing the different areas of Swedish music the project is intent on bringing to the British public over the next eight months in the largest ever celebration of Swedish music outside of Sweden.
Continuing the programme of From Sweden concerts at the Wigmore Hall, another stimulating mix of Swedish and British musicians and music graces the concert platform on Sunday 28 November at 5pm. From Sweden’s artistic director Mats Lidström(cello), clarinettist Martin Fröst and pianist Simon Crawford-Phillips will perform a range of styles and combinations.
This eclectic programme leaps back and forth the across the centuries with works as diverse as English composer John Ireland’s sonata for cello and piano and Sivelöf’s Twist ’n’ Shout . Outstanding young clarinettist Martin Fröst performs Hillborg’s impish Tampere Raw, written for clarinet and piano and is joined by a trio of outstanding young string players from the Royal Academy of Music for Quartet in C minor, by Bernhard Henrik Crusell,whose most most enduring works are those for clarinet (three concertos and three quartets, all written for, and performed by, himself between 1811 and 1823).
As part of the London Jazz Festival, From Sweden presents two major musicians:
saxophonist Fredrik Ljungkvist is among the pathfinders of new Swedish jazz. His attitude is: "Keep the senses open for old jazz, new jazz, classical music and folk music from around the world." This year he is the winner of the prestigious “Jazz in Sweden” prize awarded by Sweden’s main concert promoter Rikskonserter and the London Jazz Festival is the grand finale of a 2-week tour throughout Sweden to promote his latest CD Fredrik Ljungkvist and Yun Kan 12345. He performs on the RFH Pizza Express Freestage on 13 November between 1 and 5pm (part of Radio 3 Jazz Line-up Live).
Legendary pianist Bobo Stenson appears at the Pizza Express Jazz Club, 16 & 17 November at 9pm. Stenson has effectively defined the meaning of modern piano in Sweden since the late ‘60s. Early in his playing career he accompanied a long line of visiting American players including Sonny Rollins, Stan Getz, Gary Burton, Don Cherry and George Russell, before striding out on his own and recording for ECM with the likes of Jan Garbarek.
As part of a special focus on composer Kevin Volans, Swedish percussionist Jonny Axelsson takes to the stage on 22 November at the Huddersfield Contemporary Music Festival with Akrodha – a work commissioned from the composer for Axelsson by the Swedish Concert Institute (first performed in March 1999 at the Stockholm New Music Festival). Axelsson is a prominent figure on the contemporary music scene, acclaimed for the depth and dimension of his interpretations. Experimentation with playing techniques and musical structures have led to a range of collaborations including ones with modern dance and visual arts. Of his many recordings, his solo CD "Percussione Con Forza" was chosen by the International Record Review as "The Best Contemporary Music CD of the Year 2000".
From Sweden is an ambitious music project being staged in London over two concert seasons 2004-2005 to celebrate Swedish and English music, composers and artists, conceived by Mats Lidström and Roger Gifford and managed by Van Walsum Management. The project receives support from the Swedish Institute, SEB Merchant Banking, Rikskonserter and the Swedish Embassy in London amongst others.
PROGRAMME AND BOOKING INFORMATION
London Jazz Festival www.serious.org.uk
Fredrik Ljungkvist &Yun Kan 5 - RFH Pizza Express Freestage 13 Nov 1-5pm
www.rfh.org.uk. Tel 020 8449 0048
<
Wednesday, July 14, 2004
LONDON PREMIERE OF WHEELDON'S 'RUSH'
UK PR: Debra Boraston T. 020 7483 1950 E.debra@henrymoorestudio.co.uk
Release date: 14 June 2004
NEWS UPDATE: SADLER'S WELLS SEASON 20-25 SEPTEMBER 2004
ENGLISH CHAMBER ORCHESTRA CONTRACTED
San Francisco Ballet's artistic director, Helgi Tomasson has announced the final work on the bill for the company's third visit to London this September: Rush is one of several works created for San Francisco Ballet by celebrated young British choreographer Christopher Wheeldon and was world-premiered in 2003 in Edinburgh.
Rush joins Continuum on the forthcoming Sadler's Wells programme, making two Wheeldon debuts for London. Both were performed by San Francisco Ballet at the 2003 Edinburgh International Festival as part of the enterprising all-Wheeldon programme and are indicative of Tomasson's commitment to commissioning dynamic new works for his dancers from some of the world's most talented young choreographers.
Even in abstract, Wheeldon brings intense emotion into his choreography, every nuance and touch of bodies in a pas de deux revealing a deeper meaning to the work. As the title suggests, speed and vigour are the essence of the ballet with sweeps and swirls reflecting Martinu's lush score (Sinfonietta de Jolla). Rush is performed on September 22 and 25 (evening) as part of Programme 3 which also includes Balanchine's Allegro Brillante, Tomasson's 7 for Eight and the pas de trois from Makarova's production of Paquita.
The London programme of 11 ballets offers as much of a treat for music lovers as ballet fans - Bach, Verdi and Tchaikovsky to Hindemith, Scriabin and Ligeti. San Francisco Ballet's Music Director and Principal Conductor Andrew Mogrelia has engaged English Chamber Orchestra for the season. The orchestra has only once before played for a ballet company and that was San Francisco Ballet's triumphant UK debut at Sadler's Wells in October 1999.
Program 1: Monday 20 & Thursday 23 September 7.30pmSquare Square Dance (1957)
- Composers: Antonio Vivaldi, Arcangelo Corelli
- Choreography: George Balanchine
Continuum (2002)
- Composer: György Ligeti
- Choreography: Christopher Wheeldon
Le Carnaval des Animaux (2003)
- Composer: Camille Saint-Saëns
- Choreography: Alexei Ratmansky
Program 2: Tuesday 21 & Friday 24 September 7.30pm
Ballo della Regina (1978)
- Composer: Giuseppe Verdi
- Choreography: George Balanchine
Concerto Grosso (2003)
- Composer: Francesco Geminiani
- Choreography: Helgi Tomasson
Study in Motion (2004)
- Composer: Alexander Scriabin
- Choreography: Yuri Possokhov
The Four Temperaments (1946)
- Composer: Paul Hindemith
- Choreography: George Balanchine
Program 3: Wednesday 22 & Saturday 25 eve 7.30pm
Allegro Brillante (1956)
- Composer: Piotr Illyich Tchaikovsky
- Choreography: George Balanchine
Paquita pas de trois
- Composer: Ludwig Minkus, orchestrated by John Lanchbery with additional music by Riccardo Drigo and Nicolai Tcherepnin
- Choreography: Natalia Makarova after Marius Petipa
7 for Eight (2004)
- Composer: Johann Sebastian Bach
- Choreography: Helgi Tomasson
Rush (2003) (Wednesday & Saturday evening)
- Composer: Bohuslav Martinu
- Choreography: Christopher Wheeldon
and Le Carnaval des Animaux (Saturday matinee)
------------------------------------
Debra Boraston
DBPR Associates
Henry Moore Studio
11a Parkhill Road
London NW3 2YH UK
Tel. 020 7483 1950
Fax. 020 7586 3790
Email. debra@henrymoorestudio.co.uk
www.henrymoorestudio.co.uk/dbpr
Friday, May 14, 2004
BALLET KALEIDOSCOPE JEWELS OF THE SAN FRANCISCO BALLET REPERTOIRE ON DISPLAY IN LONDON
Sadler¹s Wells London 20-25 September 2004
San Francisco Ballet will be sweeping into London in September 2004 for its third visit to the capital with no less than 11 ballets in one week at Sadler¹s Wells. Artistic director Helgi Tomasson, entering his 20th year with the company, is set to showcase his world-renowned dancers in a programme of works that embraces their rich ballet heritage as well as the creative powers of some of the world¹s top young choreographers.
Tomasson has won the praise of UK critics and audiences in the past for his brilliant programming always determined and skilled in displaying the diverse talents and personalities of his company in a broad repertoire, often created specially for them. The three mixed bill programmes chosen for the London season include four UK premieres, all of them San Francisco Ballet commissions: Tomasson¹s Concerto Grosso and 7 For Eight, Yuri Possokhov¹s Study in Motion, and Alexei Ratmansky¹s Le Carnaval des Animaux; plus the London premiere of Christopher Wheeldon¹s Continuum, performed to huge acclaim at the 2003 Edinburgh Festival.
In Balanchine¹s centenary year Tomasson, who danced for ŒMr B¹ for 15 years as a principal dancer with New York City Ballet, also offers a brilliant distillation of his mentor¹s career including some of the lesser performed works: Square Dance (1957), Four Temperaments (1946), Allegro Brillante (1956) and Ballo della Regina (1970). And, to give the full picture of America¹s oldest ballet company¹s performance heritage there is a glimpse back to the 19th century with the pas de trois from Paquita.
Matching the kaleidoscope of the Company¹s repertoire is the diversity of its dancer profile: approximately a third of dancers are from countries other than the US, including Cuba, China, Denmark, France, Japan, Russia, and Spain.
Program 1: Monday 20 & Thursday 23 September 7.30pm
Square Dance (1957)
Composers: Antonio Vivaldi, Arcangelo Corelli
Choreography: George Balanchine
One of Balanchine¹s greatest essays in speed, clarity and fancy footwork, Square Dance is a joyous ballet all about stamina for every dancer on stage and will undoubtedly be a sparkling opener to the season. Generally regarded as one of Balanchine¹s ŒAmericana¹ ballets, this 1976 version is a more pristine, elegant work than the original 1957 version with its more obvious allusions to the American vernacular dance. One of the major revisions Balanchine made was the creation of a powerful new adagio solo to a Corelli sarabande for New York City Ballet dancer Bart Cook, who has coached San Francisco Ballet for its performances of Square Dance.
Continuum (2002)
Composer: György Ligeti Choreography: Christopher Wheeldon
This is one of three neo-classical Œleotard¹ ballets young British choreographer Wheeldon has set to the music of Ligeti, exploring the parameters of movement within the structure of couples. Continuum was created for San Francisco Ballet in 2002 and is arrestingly modern and menacingly emotive. The choreography skilfully manipulates the dancers in dynamic contrasts of character and feeling within the extremes of space and light, while the music for piano and harpsichord slides back and forth across the keyboard. "An utterly captivating piece." (The Scotsman)
Le Carnaval des Animaux (2003)
Composer: Camille Saint-Saëns Choreography: Alexei Ratmansky
Now the new artistic director of the Bolshoi Ballet, Alexei Ratmansky choreographed this Œdivinely sweet parody¹ for San Francisco Ballet in 2003. His gift for comedy shines through in his vision of a gathering of friends pretending to be animals: an exquisitely loopy swan, a deluded elephant, plus lion, hens and sexy kangaroos.
Program 2: Tuesday 21 & Friday 24 September 7.30 pm
Ballo della Regina (1976)
Composer: Giuseppe Verdi Choreography: George Balanchine
Loosely based on the third act of Verdi¹s opera Don Carlos, Balanchine¹s central ballerina symbolises both the perfect pearl and the Queen of Spain. ŒMr B¹ broke new ground in pointework with this ballet which requires the dancer to perform with lightning speed coupled with absolute clarity and filigree detail. Merrill Ashley, for whom the central role was created, has staged this ballet for SFB. The equally demanding male cavalier role and the charming variations for the accompanying four soloists bring the technical virtuosity of this later Balanchine masterpiece right into the present century.
Concerto Grosso (2003)
Composer: Francesco Geminiani Choreography: Helgi Tomasson
Justifiably proud of the strong male ensemble within SFB, Tomasson choreographed this work specifically to show off their majestic classicism in bravura dancing. Hailed by the San Francisco Chronicle as "ravishing¹", it is an elegantly jubilant 12-minute piece for five dancers to exhibit both ensemble and individual strength and artistry - all performed with the energy and enthusiasm that comes so easily for a choreographer they love.
Study in Motion (2004)
Composer: Alexander Scriabin Choreography: Yuri Possokhov
Since his London choreographic debut three years ago with the highly regarded Magrittomania, Possokhov has created Damned and now Study in Motion for his fellow dancers at SFB. Driven by the music and a deep appreciation for the composer, Possokhov has created an intimate piece for four couples, with shifting emotional tones both haunting and provocative.
Four Temperaments (1946)
Composer: Paul Hindemith Choreography: George Balanchine
This perfectly structured work was another milestone in Balanchine¹s career: a classically configured ballet whose dance language was totally revolutionary. Balanchine struck at the roots of tradition with this image of how modern ballet could look, with tilted pelvis, off-centre bodies and pointe shoes that jab, tap and slide. By 1951 the ballet had also been stripped of its mediaeval costuming down to the pristine black and white attire that was to become a Balanchine trademark.
Program 3: Wednesday, Saturday matinee, Saturday evening
Allegro Brillante (1956)
Composer: Piotr Illyich Tchaikovsky Choreography: George Balanchine
This joyous ballet for ten dancers totally embraces the lush romanticism of Balanchine¹s beloved Tchaikovsky with a combination of allegro virtuosity and deceptively large-scale lyricism. Whirlwind turns and razor-sharp articulation build to a thrilling climax that gives the effect of fireworks, chandeliers and tiaras despite the simple costuming and plain backdrop.
Paquita pas de trois
Composer: Ludwig Minkus, orchestrated by John Lanchbery
With Additional Music by: Riccardo Drigo and Nicolai Tcherepnin
Choreography: Natalia Makarova after Marius Petipa
In its early years San Francisco Ballet was America¹s greatest exponent of the classics and maintains this tradition in its current repertoire, alongside new creativity. Paquita was staged for SFB in 2003 by the inimitable Natalia Makarova who brings to life the spirit as well as the form of Russian classical dance in this ever-popular tale of gypsies and princesses.
7 for Eight (2004)
Composer: Johann Sebastian Bach Choreography: Helgi Tomasson
"Ša work that established the choreographer at a new level of development where his two artistic faces the classical and expressive merge. For a man of few words, his ballet overflowed with spare and resonant poetry." (San Francisco Chronicle). Tomasson learnt from Balanchine that loving the music was half the battle when choreographing a new piece and he is particularly inspired by these Baroque works for piano and harpsichords, exploring through movement the emotional and physical terrain of the score. Clothed in elegant black and dancing on a minimalist stage, the eight dancers cycle through a complex series of theme and variations fitted neatly into seven musical movements.
Another Work TBA
Le Carnival des Animaux (Saturday matinee)
Further press information and photographs:
Debra Boraston DBPR Associates
Henry Moore Studio 11a Parkhill Road London NW3 2YH UK
T: +44 (0)20 7483 1950 E: debra@henrymoorestudio.co.uk
www.henrymoorestudio.co.uk/dbpr www.sfballet.org
------------------------------------
Debra Boraston
DBPR Associates
Henry Moore Studio
11a Parkhill Road
London NW3 2YH UK
Tel. 020 7483 1950
Fax. 020 7586 3790
Email. debra@henrymoorestudio.co.uk
www.henrymoorestudio.co.uk/dbpr
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San Francisco Ballet will be sweeping into London in September 2004 for its third visit to the capital with no less than 11 ballets in one week at Sadler¹s Wells. Artistic director Helgi Tomasson, entering his 20th year with the company, is set to showcase his world-renowned dancers in a programme of works that embraces their rich ballet heritage as well as the creative powers of some of the world¹s top young choreographers.
Tomasson has won the praise of UK critics and audiences in the past for his brilliant programming always determined and skilled in displaying the diverse talents and personalities of his company in a broad repertoire, often created specially for them. The three mixed bill programmes chosen for the London season include four UK premieres, all of them San Francisco Ballet commissions: Tomasson¹s Concerto Grosso and 7 For Eight, Yuri Possokhov¹s Study in Motion, and Alexei Ratmansky¹s Le Carnaval des Animaux; plus the London premiere of Christopher Wheeldon¹s Continuum, performed to huge acclaim at the 2003 Edinburgh Festival.
In Balanchine¹s centenary year Tomasson, who danced for ŒMr B¹ for 15 years as a principal dancer with New York City Ballet, also offers a brilliant distillation of his mentor¹s career including some of the lesser performed works: Square Dance (1957), Four Temperaments (1946), Allegro Brillante (1956) and Ballo della Regina (1970). And, to give the full picture of America¹s oldest ballet company¹s performance heritage there is a glimpse back to the 19th century with the pas de trois from Paquita.
Matching the kaleidoscope of the Company¹s repertoire is the diversity of its dancer profile: approximately a third of dancers are from countries other than the US, including Cuba, China, Denmark, France, Japan, Russia, and Spain.
Program 1: Monday 20 & Thursday 23 September 7.30pm
Square Dance (1957)
Composers: Antonio Vivaldi, Arcangelo Corelli
Choreography: George Balanchine
One of Balanchine¹s greatest essays in speed, clarity and fancy footwork, Square Dance is a joyous ballet all about stamina for every dancer on stage and will undoubtedly be a sparkling opener to the season. Generally regarded as one of Balanchine¹s ŒAmericana¹ ballets, this 1976 version is a more pristine, elegant work than the original 1957 version with its more obvious allusions to the American vernacular dance. One of the major revisions Balanchine made was the creation of a powerful new adagio solo to a Corelli sarabande for New York City Ballet dancer Bart Cook, who has coached San Francisco Ballet for its performances of Square Dance.
Continuum (2002)
Composer: György Ligeti Choreography: Christopher Wheeldon
This is one of three neo-classical Œleotard¹ ballets young British choreographer Wheeldon has set to the music of Ligeti, exploring the parameters of movement within the structure of couples. Continuum was created for San Francisco Ballet in 2002 and is arrestingly modern and menacingly emotive. The choreography skilfully manipulates the dancers in dynamic contrasts of character and feeling within the extremes of space and light, while the music for piano and harpsichord slides back and forth across the keyboard. "An utterly captivating piece." (The Scotsman)
Le Carnaval des Animaux (2003)
Composer: Camille Saint-Saëns Choreography: Alexei Ratmansky
Now the new artistic director of the Bolshoi Ballet, Alexei Ratmansky choreographed this Œdivinely sweet parody¹ for San Francisco Ballet in 2003. His gift for comedy shines through in his vision of a gathering of friends pretending to be animals: an exquisitely loopy swan, a deluded elephant, plus lion, hens and sexy kangaroos.
Program 2: Tuesday 21 & Friday 24 September 7.30 pm
Ballo della Regina (1976)
Composer: Giuseppe Verdi Choreography: George Balanchine
Loosely based on the third act of Verdi¹s opera Don Carlos, Balanchine¹s central ballerina symbolises both the perfect pearl and the Queen of Spain. ŒMr B¹ broke new ground in pointework with this ballet which requires the dancer to perform with lightning speed coupled with absolute clarity and filigree detail. Merrill Ashley, for whom the central role was created, has staged this ballet for SFB. The equally demanding male cavalier role and the charming variations for the accompanying four soloists bring the technical virtuosity of this later Balanchine masterpiece right into the present century.
Concerto Grosso (2003)
Composer: Francesco Geminiani Choreography: Helgi Tomasson
Justifiably proud of the strong male ensemble within SFB, Tomasson choreographed this work specifically to show off their majestic classicism in bravura dancing. Hailed by the San Francisco Chronicle as "ravishing¹", it is an elegantly jubilant 12-minute piece for five dancers to exhibit both ensemble and individual strength and artistry - all performed with the energy and enthusiasm that comes so easily for a choreographer they love.
Study in Motion (2004)
Composer: Alexander Scriabin Choreography: Yuri Possokhov
Since his London choreographic debut three years ago with the highly regarded Magrittomania, Possokhov has created Damned and now Study in Motion for his fellow dancers at SFB. Driven by the music and a deep appreciation for the composer, Possokhov has created an intimate piece for four couples, with shifting emotional tones both haunting and provocative.
Four Temperaments (1946)
Composer: Paul Hindemith Choreography: George Balanchine
This perfectly structured work was another milestone in Balanchine¹s career: a classically configured ballet whose dance language was totally revolutionary. Balanchine struck at the roots of tradition with this image of how modern ballet could look, with tilted pelvis, off-centre bodies and pointe shoes that jab, tap and slide. By 1951 the ballet had also been stripped of its mediaeval costuming down to the pristine black and white attire that was to become a Balanchine trademark.
Program 3: Wednesday, Saturday matinee, Saturday evening
Allegro Brillante (1956)
Composer: Piotr Illyich Tchaikovsky Choreography: George Balanchine
This joyous ballet for ten dancers totally embraces the lush romanticism of Balanchine¹s beloved Tchaikovsky with a combination of allegro virtuosity and deceptively large-scale lyricism. Whirlwind turns and razor-sharp articulation build to a thrilling climax that gives the effect of fireworks, chandeliers and tiaras despite the simple costuming and plain backdrop.
Paquita pas de trois
Composer: Ludwig Minkus, orchestrated by John Lanchbery
With Additional Music by: Riccardo Drigo and Nicolai Tcherepnin
Choreography: Natalia Makarova after Marius Petipa
In its early years San Francisco Ballet was America¹s greatest exponent of the classics and maintains this tradition in its current repertoire, alongside new creativity. Paquita was staged for SFB in 2003 by the inimitable Natalia Makarova who brings to life the spirit as well as the form of Russian classical dance in this ever-popular tale of gypsies and princesses.
7 for Eight (2004)
Composer: Johann Sebastian Bach Choreography: Helgi Tomasson
"Ša work that established the choreographer at a new level of development where his two artistic faces the classical and expressive merge. For a man of few words, his ballet overflowed with spare and resonant poetry." (San Francisco Chronicle). Tomasson learnt from Balanchine that loving the music was half the battle when choreographing a new piece and he is particularly inspired by these Baroque works for piano and harpsichords, exploring through movement the emotional and physical terrain of the score. Clothed in elegant black and dancing on a minimalist stage, the eight dancers cycle through a complex series of theme and variations fitted neatly into seven musical movements.
Another Work TBA
Le Carnival des Animaux (Saturday matinee)
Further press information and photographs:
Debra Boraston DBPR Associates
Henry Moore Studio 11a Parkhill Road London NW3 2YH UK
T: +44 (0)20 7483 1950 E: debra@henrymoorestudio.co.uk
www.henrymoorestudio.co.uk/dbpr www.sfballet.org
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Debra Boraston
DBPR Associates
Henry Moore Studio
11a Parkhill Road
London NW3 2YH UK
Tel. 020 7483 1950
Fax. 020 7586 3790
Email. debra@henrymoorestudio.co.uk
www.henrymoorestudio.co.uk/dbpr
