Culture Cat: Carmina Burana

If I said to you, "Hey, let's go spend our Friday night watching a ballet based on the poetry of monks!" You'd probably look at me like I was crazy.
Too bad. You would've missed a great show.
BalletMet's penultimate performance of the 2009-2010 season, Carmina Burana is, indeed, a ballet based on the poetry of monks, set to the music of Carl Orff. But these aren't your typical monks; these guys wrote about love, passion, drunkeness, and all that other stuff monks aren't supposed to know anything about it. BalletMet's stupendous company exuded eroticism and passion as they performed the bravura, almost hour long work.
BalletMet hasn't performed Dwight Rhoden's intense, epic piece in six years, and it's easy to see why. The company is onstage practically every moment, and not in the neat postures of classical ballet's corps. These dancers jumped, spun, leaped, and climbed on and over the set, the stage, and prop benches (sometimes even doing pirouettes on the benches.). Lead by the duo of Olivia Clark and Jimmy Orrante (whose pas de deux to In truitina--in the balance-- was magnificient), the featured pairs and a corps of women lead the audience on a never-to-be-forgotten romp through love, passion, debauchery, death, gluttony and excess--in short, the gallery of life.
All of the dancers did superb work, but meriting special mention are Emily Gotschall, Adrienne Benz, Jackson Sarver, Andres Estevez, Bethany Lee, Austin Finley, Andrew Notarile and Annie Mallonnee. Gotschall, Benz, Sarver, and Estevez seem to have instant spotlights on them whenever they are onstage, and they delivered fantastic performances tonight.  And Clarke and Orrante were pitch perfect as the leaders of this romp, with Clark being especially seductive and entrancing. 

Carmina, however, was the second great piece of the evening. The night opened with a world premier by company dancer Jimmy Orrante (The Great Gatsby), entitled "Coming Into View". Eight dancers--Olivia Clark, Emily Gotschall, Annie Mallonee, Christine Mangia, Kerri Riccardi, Jon Drake, Andres Estevez and Gabriel Smith--performed this contemporary work about relationships, interconnectedness and individuality, set to the music of Rene Aubry and Gabriel Smith (yes, he also performed in this work. Multi-talented, for sure.). The contemporary costumes--khakis and polos for the men, and flowing dance dresses for the women (who also wore flat technique shoes) perfectly matched the tone of the piece. The section for all women, and the lovely pas  and male solo, are worth special mention.

This night of passion, athleticism and artistry is a perfect bill. Don't miss it.
Carmina Burana, with "Coming Into View", will be performed through March 13 at the Riffe Center in downtown Columbus. Tickets can be purchased at www.balletmet.org
 

Culture Cat: BalletMet's "A Midsummer Night's Dream"

Tonight I saw BalletMet's Valentine-themed program at the Riffe's Center's Capitol Theater. The double bill featured former Artistic Director David Nixon's one act adaptation of Shakespeare's "A Midsummer Night's Dream", as well as a premiere by choreographer Ma Cong, entitled "Temporal." As usual, the program was technically brilliant and artistically superb, which is what I have come to expect from BalletMet. 

"Temporal" featured 10 dancers--five pairs of men and women. Choreographer Cong, named one of Dance Magazine's "25 to Watch", notes that the piece was inspired by Mediterranean life and culture, and is a "study of love and spirituality and speaks sensually about he human condition." Set to vocals and electric jazz, the piece showcases the both the athletic and sensitive sides of dance.

Adrienne Benz (also one of Dance's "25 to watch") and David Tlaiye were the number's featured couple--their elegant pas de deux formed the center of the piece, which was made up of five segments. Since Benz's beautiful performance as Juliet two seasons ago, I have greatly enjoyed watching her dance. She brings a rare combination of strength, athleticism and sensitivity to her dancing, which was showcased to great effect here. Benz seems to have a spotlight on her whenever she's onstage. Tlaiye partnered her perfectly, showing her off to her best advantage. As a partner and a soloist, he shines. (In fact, all of BalletMet's male dancers are uncommonly good. We're spoiled.) The two of them seemed very comfortable dancing together, which made their duets a pleasure to watch. 

Other notable dancers in "Temporal" were Jackson Sarver and Adam Hundt, who partnered Annie Mallonee and Courtney Muscroft, respectively.

Bottom and Titania in "A Midsummer Night's Dream" 

The second act was Nixon's "A Midsummer Night's Dream", a streamlined version of Shakespeare's play that focuses on Oberon and Titania and the two pairs of crossed human lovers, Demetrius and Helena and Lysander and Hermia. Hermia's father is forcing her to marry Demetrius, but she's in love with Lysander. Helena is in love with Demetrius, who only has eyes for Hermia. When Oberon sends his sprite servant Puck into the woods with the nectar of love, hilarity ensues.  Puck also puts the spell on Titania, Oberon's wife and Queen of the Fairies, so she falls in love with the first person she sees upon awakening--in this case, the actor Bottom, who has been transformed into a donkey. 

Emily Gotschall was a radiant Titania; petulant and teasing in the beginning, when she refuses to share her changeling child with her husband, she falls head over heels in love with Bottom midway through the piece. After Oberon poitns out her mistake, she apologizes, presents the changeling to her husband, and all is well again. I had not seen Gotschall in a major role before, and she danced Titania wonderfully, with grace and spirit.  Her husband was danced by Bryan Jenkins, whose commanding presence and scheming ways are a delight to watch. He doesn't have much to do after the beginning--he mostly watches the antics of the lovers from a suspended swing--but his final pas with Gotschall were technically sound and artistically sensitive. Both of them are fine actors, as well as excellent dancers. 

Dustin James, as Puck, provided a lot of laughs with his athletic and comedic dancing. You could tell he loved getting to play this part. With elf-like ears and glitter in his hair, he was truly spritely as he pranced about the stage wreaking havoc. 

Most of the havoc is felt by poor Helena, danced by Emily Ramirez. A brilliant actress and comedienne, she plays the love lorn Helena to perfection. At first, all she wants is Demetrius to pay attention to her (David Tlaiye, in his second major role of the night), but he continually (and hysterically) rebuffs her. She goes from having no suitors, to having two, when Puck accidentally puts the nectar on Lysander's (Adam Hundt's) and Demetrius' eyes--now she has two suitors, who literally toss and pull her back and forth as if she's a rope in a tug of war. 

Her more refined counterpart, Hermia (Annie Mallonee), wants nothing but Lysander's love, and early on, she seems to have it. In fact, she has to rebuff his too amorous advances during their pas de deux. But after a brief sleep, she awakens to find that both men are in love with her best friend, making her furious. An amusing, hair-puling fight between the two women ensues as the men look for weapons with which to duel. 

In the midst of all this, Titania and her fairies (Peaseblossom [Jessica Brown], Mustarseed [Carrie West], Cobweb  [Emma Misner] and Moth [Olivia Clark]) are doting on Bottom (Andrew Notarile). When Titania announces her new love to her fairies, their expressions range from pure shock (Brown's hysterical Peaseblossom) to shrugs of acceptance (West's Mustarseed). Soon they are bedecking him with flowers, and placing him in Titania's bower. 

Oberon finally straightens out the mismatched lovers, and all is well. With Titania and Oberon reunited, the Royal Couple heads to Titania's bower, as Puck brings down the curtain.

The dancing is not just technically involved (as is usual with Nixon's ballets), but requires superb acting ability from every dancer. This challenge is well met with this cast. The facial expressions and choreography convey the comedy splendidly. 

"Midsummer" also featured the company's trainees as Titania's Fairies. Monica Giragosian, Kerri Riccardi and Emily Loscocco were in tonight's cast (they were joined by Company member Courtney Muscroft), and all performed admirably. You couldn't tell the seasoned members from the trainees in this case. The Academy was also represented, with student Connie Yuan playing Titania's Changeling Child. Bottom's theatrical comrades were well danced by Austin Finley and Emilio Lugo (also a trainee). It's great to see so much comedic talent in the company. Technically sound dancers are great to have, and provide the strong foundation. But artistry, timing, interpretation and comedy are skills that cannot be taught. These intangibles BalletMet has in abundance. Passion, laughter and love make this a Valentine's Day program to remember. 

"A Midsummer Night's Dream" runs through Sunday at the Capitol Theater in the Riffe Center. The next two programs for BalletMet are "Carmina Burana", opening March 5, and "American Legends", which opens in late April. Go to www.balletmet.org for ticket information. 

All photos: Will Shively 

And a random neat note: This program didn't require all the Company dancers to be involved. But I still saw dancer Andres Estevez and his wife, dancer Zoica Tovar, in attendance. Unfortunately I forgot to ask them to sign my program!

Culture Cat: CSO's "Oz with Orchestra"

Tonight the CSO, as part of their Pops series, combined two of my favorite things: Music and movies. And not just any music and movies--the score to my favorite movie of all time--The Wizard of Oz. 

Here's how it worked--the movie was shown on a large screen suspended from the stage. The dialogue track was kept in, but the music track was removed, so the orchestra could provide it live. And instead of just playing the original score, music that was written for the movie, but eventually excised, was also included. (I caught this in three places: When the Wicked Witch of the West first appears; when the Witch appears after "If I Only Had A Heart", and after Dorothy melts the Witch)

The pops series, in general, has a more populist appeal, and this concert brought out lots of families. I saw a girl dressed in head-to-toe Dorothy costume during the interval, and I also saw kids as young as 14 months old! I think events like this are perfect ways to introduce kids to orchestra--they're seeing something with which they're familiar, and even the music is familiar, but it's played by real people, right in front of them!

The orchestra was conducted by Maestro Constantine Kitsopolos, who has directed orchestral, classical, Broadway and national theater. He was a perfect fit for this event and did a great job at the helm. His experience in theater was greatly useful here since there were times the orchestra wasn't playing, and the cues were more musical theater like (as in, enter when someone says this line), as opposed to the scriptedness of a symphony. 

Even though I have been watching this movie for 27 1/2 years (really, I have been watching it since I was about a year old, Remind me to write about that sometime.), I picked up a lot of musical nuance by watching. The low strings--cello and double bass--have a lot to do, with some beautiful melody lines. The harp and timpani have an absolute ball. I bet the timpanist was thrilled to have so much to do. There was also a piano. The brass also had big parts. These are things you don't really notice when you're just listening, but if you're watching it's pretty apparent. Another difference was the use of violins instead of fiddles in certain areas (like when Dorothy leaves Munchkinland), which gave the sound a different texture. 

This was a one -night only event, but if you ever get the chance to see and hear this sort of thing, go! Take your kids. There was an intermission (right after they reach the Emerald City gates, but before they go in), so there was bathroom/snack break (the Ohio Theater sells refreshments at intermission). 

I had a great time, and I think the audience and the orchestra did, too. Some of the instrumentalists smiled or laughed at certain parts, even while they were playing. And the pathos of hearing "Over the Rainbow" with a real orchestra is pretty incredible. It doesn't matter how many times you've heard the song (and you've probably heard it many, many times): with real instruments backing up Judy Garland, the effect is goose-bump inducing; an excellent way to spend a Saturday night. 

The next two CSO concerts are classical ones; the Pops series resumes in late February with an appearance by the Chieftains at Veterans Memorial. 

Culture Cat: BalletMet's "Nightmoves"

Last night was the opening performance of BalletMet's "Nightmoves", a series of six contemporary pieces featuring six different choreographers. BalletMet always sprinkles their season with events like this, that showcase modern dance and a variety of choreographic styles. "Nightmoves" is this year's selection. While one of the pieces had been performed previously by the company (Twyla Tharpe's "Sinatra Suite"), all of the others were either company or world premieres.

The show kicked off with Gerald Charles' "Maestro", set to Benjamin Britten's The Young Person's Guide to Orchestra. The whimsical piece explored the relationship the four different orchestral sections have with the Maestro (danced last night by Jimmy Orrante). Four dancers represented the "section leaders" for the woodwinds (Emily Ramirez), strings (Carrie West), Brass (Jackson Sarver), and percussion (Dustin James). Three addition dancers, in slightly different costumes than that of the section leader, fleshed out each instrumental family.

BalletMet dancers David Tlaiye and Jessica Brown in "Maestro"

This costumes for this piece, designed by Frank Quadflieg, exactly matched the piece's whimsical tone and used unique elements such as hats, orange tights for the men in the brass section, and black pointe shoes for the women of the string section.

Tharp's "Sinatra Suite", danced by Adrienne Benz and Jon Drake, was next. I love this piece and was glad to see it again, although the male solo at the end was cut from this production. Benz, especially, did a lovely job in this piece. You can tell she greatly enjoys dancing it.

The Act I finale was a real highlight--Laurie Eisenhower's "Night Music", set to Mozart's Eine Kleine Nachtmusik. All six dancers were asleep! I think I saw eyes open once (and I was in the front row), which made their contortions, movements and facial expressions even more amazing. Using a couch as a prop, the dancers slid over it, around it, and jammed onto it, all "asleep" as the piece progressed. It's laugh-out-loud funny, and it alone is worth the ticket price.

After a twenty-minute intermission, the second half kicked off with a world premier--"Relevant", by Maria Glimcher. In a video clip before the dance, Glimcher explained that the piece is about time--how we are affected by it, and how we experience it. The piece is set for four female dancers and features two long strips of fabric that initially divide the stage into four quadrants, like a clock.

I liked this piece, especially the second part, which was a bit softer. The dancers did a wonderful job with the choreography, and the use of the fabric was innovative and appropriate. I did find Glimcher's choreography to be a bit out of sync with the music, especially in the second half, when the accompaniment was a gentle piano melody. The harsh movements of the dancers seemed dissonant to me.

"In g major", a pas de deux by choreography Michael Uthoff, was next. Danced by Zoica Tovar and Andres Estevez (whom we saw last as Odile and Prince Siegfried, respectively, in Swan Lake), this was an achingly beautiful expression of love. Uthoff had choreographed this as a wedding gift for two Ballet Arizona dancers who were getting married, and it perfectly captures that sentiment. Tovar and Estevez express all the expressions of new love--wonder, joy, tenderness--in this piece. It ends with a small kiss.

Finally on the program was company dancer Adam Hundt's "dwell," which used video as well as music. Set for six dancers (three pairs of men and women) performed the evening's most modern piece. The dancing was demanding--the women often had to do lighting-fast changes from technique shoes to pointe shoes--and extremely innovative, as were the costumes (shredded black leotards, tights, and tank tops). I think the first half of the program (before the video) was better than the first, and I wasn't quite sure about the use of props (rope, and long tulle skirts for the women). But the dancers' athleticism and vigor made this an exciting piece to watch.

"Nightmoves" is an exciting peek into the future of dance, and a fine bridge between two Classical staples--Swan Lake and The Nutcracker (which opens December 11). Do yourself a favor and see it.

"Nightmoves" will run through November 20 at the BalletMet Performance Space. Tickets can be purchased here. 

Culture Cat--BalletMet/Cincinnati Ballet's "Swan Lake"

BalletMet Dancer Carrie West as Odette--photo courtesy of BalletMet

BalletMet opened its 2009-2010 season tonight with a bang--a massive production of Swan Lake, performed in conjunction with Cincinnati Ballet. In front of a large, very appreciative audience at the Ohio Theater, both ballet companies performed to their absolute best and presented a new version of "the most classic of Classical Ballets", while still remaining true to the ballet's core.

With well over 40 professional dancers, and 30 dancers from the BalletMet academy, this production is much larger than BalletMet's last presentation of Swan Lake (David Nixon's version, in 2004). While the sheer number could be overwhelming in less capable hands, the choreographic trio of Gerard Charles (BalletMet artistic director), Victoria Morgan (Artistic Director/CEO of Cincinnati Ballet) and Devon Carney (Associate Artistic Director, Cincinnati Ballet) take this wonderful cornucopia of dancers and mold them into a cohesive and thrilling whole.  In short: Swan Lake is a stunning example of the transportive power of dance.

In the remaking, there are a few nods to other classical ballets--Siegfried (danced tonight by new BalletMet company member Andres Esteves) wears a blue costume in Act I, which is reminiscent of Rudolph Nureyev's Swan Lake costume, and the mesmerizing first entrance of the swan maidens seems to borrow from La Bayadere's "Kingdom of the Shades." I'm not sure if these were purposeful allusions, but if they were, I loved them.

Our doomed lovers this evening were danced by Carrie West, a BalletMet veteran, and Mr. Esteves (as always with BalletMet shows, casts rotate). Mr. Esteves joined BalletMet from the National Cuban Ballet this year, and one would imagine that coming from Cuba to Columbus, OH, would require a bit of a cultural adjustment. But, as Mr. Esteves said during a post-show question and answer period, the language of classical ballet is the same everywhere. In his first outing with BalletMet, Mr. Esteves gave a bravura performance as the conflicted Prince Siegfried, who must marry, but is not in love with any of the pretty courtiers and princesses who flood his court. Esteves is a brilliant dancer and actor, which is hard to accomplish, and conveys Siegfried's reluctance, curiosity, despair, and joy once he finds his love.

During a hunting trip with his best friend, Benno (danced by Cincinnati Ballet principal dancer Cervilio Miguel Amador), and other men of the court, Siegfried discovers the "Swan Lake" and aims his crossbow at an approaching swan.

This isn't just any Swan--this is Odette, Queen of the Swans, who have been enchanted by the evil sorcerer Von Rothbart (danced with impressive athleticism by BalletMet's Jimmy Orrante). They are doomed to be Swans during the day, but maidens at night. Only enduring love can break the spell.

I have seen Ms. West in a variety of productions, from world premiers (Dracula, where she danced the prim Victorian turned undead vampire Lucy Westerna) to the foundations of classical ballet (Princess Aurora in Sleeping Beauty). She has always been one of my favorite dancers, but tonight she was a revelation. Every movement was technically sound and brilliantly acted. Her transformation, from swan to maiden, and back again, was true artistry, as were her brilliant pas des deux with Esteves. Rock-solid technique gives her a foundation to present truly emotional and glorious performances. I have never seen a dancer like her, who seems born to dance the classical repertoire. Not only is she a gorgeous dancer, but she is gracious and kind in person. During the post-show Q&A she answered a question from a little girl regarding how many pointe shoes she went through per show (Answer: two), and signed autographs afterwards. She must have been exhausted, but didn't show it.

The corps of Swan Maidens, who attend Odette, arrive. While Benno and the other men aim their crossbows, Odette rushes in to protect her maidens; Siegfried tells them to go elsewhere. Act I ends with Siegfried pledging his love to Odette, who turns back into a swan as dawn arrives.

Act II opens with a royal ball, where Siegfried, by order of his mother (Susan Brooker), must choose a bride. Six women are presented to him--in a glorious touch of comedy, they joust for position, each striving to be the one who catches Siegfried's eye. But he only has eyes for Odette-until a new guest, and his daughter, arrive.

Von Rothbart, seeing the Prince's love for Odette, and knowing that this love would break his power over all the swans, has come to the party, bringing his daughter, Odile (BalletMet's Zoica Tovar), who is enchanted to look like Odette. Thus fooled, Siegfried dances joyfully with her, and pledges his love. Odette rushes in, heartbroken, and Siegfied realizes his mistake--but too late.

In most productions, Odette and Odile are danced by the same person, in order for the 'illusion' to be complete. In Nixon's 2004 version, they were danced by separate women--Nixon said that he didn't want Siegfried's mistake to be a simple one--he wanted to make it much more than just a mix-up. In this production, Charles decided to again have them danced by separate women, and they are, indeed, quite separate. Odette is graceful, shy, protective of her swan maidens, and enduringly feminine. All her movements are elegant. Odile is sexy, athletic, and daring. Ms. Tovar's eyes are some of the most dramatic I have ever seen in a dancer--as Esteves spun her during their pas, her eyes flashed with glee at the audience. She knew what she was doing.

After Siegfried's betrayal, Odette rushes to the lake, where her maidens comfort her. Siegfried has followed her, and, kneeling before her, begs forgiveness. The heartbroken Odette forgives him, and they dance an achingly sad pas with the swan maidens around them. They both know what will happen to Odette, now that Siegfried has pledged his love elsewhere.

Von Rothbart appears to take Odette. She valiantly tries to protect Siegfried, but the two men fight, and, at the end, Odette throws herself off a cliff in despair. Unable to live without his love, Siegfried follows suit, thus demonstrating the enduring love that breaks Von Rothbart's power over the swans. As the swan maidens advance on the evil sorcerer, he flees, and the swans become young maidens again. Snow falls from the sky, and we see an apotheosis of Siegfried and Odette, together eternally in the sky.

(It is a wonderful story, isn't it?)

Odette and Siegfried were really perfect tonight. They partnered together beautifully-there were some one-handed lifts that Esteves accomplished that truly seemed other worldly. I don't think I have ever seen Ms. West partnered so well, except with her husband, former BalletMet dancer Dmitri Suslov. Esteves also answered several questions during the Q&A and stopped to talk with some patrons (including one who spoke Spanish). As tired as he must have been, he remained personable and friendly--a very gracious performer.

In any Grand Ballet, there are what's called divertissments--essentially, dances for the company dancers that don't really add anything to the story, but do show off impressive technical/artistic skills. (Almost the entire second act of Nutcracker, and much of the end of Sleeping Beauty is all this sort of dancing.) But it doesn't need to advance the plot to be fun! BalletMet's students shone in the first act, where the "waltz girls", "courtiers" and "pages" danced with aplomb (the pages were adorable). The Neopolitian, Spanish, and Hungarian dances at the royal party were excellent examples of luscious costumes (especially the flamenco dresses) and diverse dance styles. (The female Hungarian dancers wore character shoes, instead of pointe shoes, for their piece.) The Princesses were hysterically amusing as they vied for Siegfried's attention, and were appropriately put out when the glamorous Odile arrived.

Odile's dancing is athletic, bold, and even a bit sexy. Ms. Tovar is also a new addition to BalletMet. Most of her dancing was excellent, but in her first pas with Siegfried, her supporting leg shook on every balance and releve. It was sort of distracting, but it corrected itself as the act went on. Her fouettes and pirouettes were wonderful. Orrante was, as usual, brilliant in the role of the evil sorcerer who will do everything to advance his own agenda at the expense of Odette and the Swan Maidens' happiness.

Finally, one must give major applause to the Swan Maidens. All of them were simply wonderful--technically sound, artistically perfect. The Cygnets--four swan maidens who danced several divertissements--were stunning. Their first appearance in Act I, where they joined their hands in a criss-cross pattern and executed elaborate footwork as they progressed down the stage, was marvelous. The "Big Swans" danced lovely duets together. In the party scenes, I loved watching Samantha Lewis and Dustin James (both of BalletMet) in the Neopolitan dance.

Lighting was designed by Trad A Burns, Cincinnati Ballet's lighting designer, and was marvelous, especially at the end, when Siegfried and Odette are bathed in a golden spotlight. The costumes, done by both company's costume shops, were just divine. So many colors, fabrics, and lengths! Hats, tambourines, feathered fans....what the costume department came up with was incredible. The lush fall colors of the opening scene gave way to cooler tones for the princesses, and Siegfried and Odile's matching costumes in Act II was an inspired stroke of design.

I know that this is much longer than my usual review, but there is just so much to compliment and rave about in Swan Lake. All you really need to know, though, is this--go see it. You will not be disappointed.

(Oh, and another note--GREAT crowd, lots of kids. Even saw my pastor. I loved the little ballerinas who asked for Carrie West's autograph post show.)

BalletMet and Cincinnati Ballet present "Swan Lake", at the Ohio Theater, Oct. 17 at 8:00 p.m. and Sunday, Oct. 18, at 2:00 pm. Ticket prices begin at $29 and can be purchased at the CAPA box office (next door to the theater) before showtime. 

Culture Cat: Columbus Symphony Orchestra

Last night I attended the Columbus Symphony Orchestra's presentation of Beethoven's Ninth Symphony (Choral). I love Beethoven, and even though I am (along with the rest of humanity) very familiar with the fourth and final movement, the "Choral" of the title, which contains the "Ode to Joy", I didn't know much--if anything--about the rest of the hour-long symphony. So I thought I'd go and hear the entire thing.

A little background: Beethoven's 9th is ground-breaking, for a couple reasons. First, the introduction of voices into the symphony. Before Beethoven's 9th, this had never been done. Sure, there were oratorios (ie, Handle's Messiah), but voices had not been incorporated into the symphony form, which was purely instrumental music. Beethoven's addition of chorus and four soloists--soprano, mezzo, tenor, bass--in the last movement was incredibly innovative. As a singer, I love anything with a chorus and soloists, so that was the particular attraction the 9th held for me (as well as Beethoven being my favorite instrumental composer. Vocal composers--different story).

The concert, held at the Ohio Theater, was preceded by a talk about the work by Christopher Purdy, a classical music specialist from the local NPR/public radio station. I am a sucker for pre-or-post work talks--Symphony, BalletMet, whatever. I love them. After the talk, the instrumentalists came on stage to begin the warm-up process. This is one of my favorite things about the symphony--how everyone (except the concertmaster) comes out at random and just starts playing. A marvelous cacophany is produced.

By the time the concert began, the hall seemed pretty full. I was in the first row (not the best for orchestral hearing, but I like to see the faces of the players, plus I wanted to study the vocalists' technique, who were seated up front), and behind me the floor seemed packed. THis is good. The CSO had some money problems of late (they finished last season in the black-yay!), so it's great to see the hall crowded. In my row there was also a family with two little girls, who behaved beautifully. The soprano singer, at the curtain call, even blew them kisses. They were adorable (and I think related to one of the violinists, but can't be sure.).

After the playing of the National Anthem (which was especially awesome, since the chorus was onstage singing too), the Ninth began. Since it runs about an hour, it was the only item on the program.

Describing instrumental music is harder for me then say, theater or dance. How I define a good performance is based on how it moves me. Of course I can hear/see any massive problems, but in a professional symphony any mistakes are usually far beyond my ability to identify them (when I go to a concert with Tiffany, who has her MA in Clarinet performance, this is much improved, because she can hear everything, including the tiniest mistakes.). But let me say that this was a glorious performance. Everyone seemed to be on top of the music, and the feeling from the players was evident. They really seemed to enjoy performing this piece.

The vocalists, who entered the stage prior to beginning the third movement, were also very good. I enjoyed watching the soprano the best--she had excellent stage presence and expression--and the tenor, who had a marvelous voice. The bass seemed a bit easily overtaken by the orchestra. The mezzo was technically excellent, but I felt her face was somewhat lacking. Not that she wasn't pretty, but she seemed too concentrated on the music to convey the expressions of joy that she was singing about to the audience. Since the text was in German, expression is important, because chances are the majority of the audience has no idea what you're saying. All the singers were technically excellent, but I would've liked a bit more emotion from the mezzo.

The chorus was, as usual, superb. They always do a good job. When they make their entrance in the main "Ode to Joy" theme, backed by the full orchestra playing all out, it was a glorious sound. Truly wonderful.

I can think of no better way to summarize the performance than this--the CSO, chorus, and soloists received the longest standing ovation I have ever seen. People leapt up as soon as the last note was sounded, and we kept clapping for at least four curtain calls. We just did not stop clapping. I wouldn't be surprised if the applause lasted for four or five minutes.

Sometimes when a piece ends, the audience is so lulled into it, or so intensely involved, that when it ends, there's a sort of disconnect. You're still thinking of the music, and the moment hangs in the air. But after this piece, the reaction was electric. People loved it, and not just because it's Beethoven's 9th. We had seen a truly remarkable performance.

The CSO is performing the 9th again today at 3:00. If you can, head on down to the Ohio Theater and hear it.

Swan Lake is a-comin'!

Hey all Columbus folks--get yourself some tickets to Swan Lake, ASAP.
It promises to be an excellent show! So come on out! It's only here for ONE weekend, Oct. 16-18, and then it goes to Cincy.
You don't want to miss it. Really.

BalletMet dancer Carrie West (also in picture above)

Photo credits: BalletMet

Culture Cat: BalletMet's new season

Tonight:

Return to dance class, at BalletMet.

And tickets for their first two shows, Swan Lake and Nightmoves, are on sale now.

I just got mine. If you're a MetPass member (ages 22-35), you can get tickets to both these shows for under $40!

You know you want to...

BalletMet's 2009-2010 season!

The season was just announced today, and I can't wait until it begins! But I have to wait until October! Which is doubly hard, because the season opener is

And I love Swan Lake (OK, who doesn't love Swan Lake?) I haven't seen it in abut five years and I am looking forward to seeing it again, especially since the Cincinnati Ballet is joining BalletMet. The last time this happened was with Balanchine's Jewels, and it was a stunning collaboration. Two fabulous ballet companies for the price of one! 

The rest of the season is: 

Nov. 6-21, BalletMet Performance Space (their wonderful black-box theater across from their studios). 

This performance will also include a revival of Tharp's Sinatra Suite. 

The Nutcracker, Dec. 11-23, at the Ohio Theater.

If you haven't seen this yet, you really should. It's magical. 

Feb. 5-14, Capitol Theater, Riffe Center

I am really looking forward to this one. I've never seen it, but we all know the "Wedding March" that Mendelssohn wrote for this ballet! 

March 5-14, Capitol Theater

This looks very intriguing. I have never seen this ballet, either, but it looks evocative and passionate. Can't wait. This one-act ballet will be followed by a new work by Great Gatsby choreographer Jimmy Orrante. 

The season closes with: 

April 23-May 1, Capitol Theater

BalletMet's website describe this performance like so: 

WORLD PREMIERE! Listen to the lyrical legacy of three musicians. Watch the dynamic depiction of their distinctive songs danced upon the stage. Feel the creative forces that compelled these musical giants to move us in truly original ways. Their signature sounds have had fans of all ages dancing for decades. Now you can see the raw power of Johnny Cash, the soulful style of Stevie Wonder and the swinging sounds of Sammy Davis Jr. as you have never seen them before.

So, if this season looks as wonderful and intriguing to YOU as it does to me, head over to BalletMet's website and order a season subscription! I promise you, it will be worth it. 

Culture Cat--BalletMet's "The Great Gatsby"

I've been a member-subscriber to BalletMet for four years, since I got my first job at the Statehouse. In that time frame, I have seen some truly remarkable works: Swan Lake, The Nutcracker, Sleeping Beauty, Romeo and Juliet, Balanchine's "Stars and Stripes" and, my favorite, Dracula. 

Well, I should say, my former favorite. Because BalletMet's new work, choreographed by company dancer Jimmy Orrante, is my new favorite. 

The Great Gatsby, based on the novel of the same name by F. Scott Fitzgerald, tells the story of love, betrayal and desire among the wealthy of Long Island in the 1920s. In the era of jazz and prohibition, Nick Carraway watches his cousin, Daisy Buchanan, rediscover her former lover and risk the demise of her marriage to Tom, a former polo player. It's a seminal novel in American literature, and when I saw this ballet on the schedule for this season, my interest was immediately piqued. First, it's a world premiere, a brand new ballet (how often do you get to see one of those?If you're a BalletMet fan, you get to see them often. You're lucky). Second, I was interested in the theatricality of it--how would this novel fare as a ballet? 

I am thrilled to report that the translation is flawless. In this superb ballet, all the elements of dance--brilliant choreography, innovative staging, sumptuous costumes, skilled lighting and superb dancing--come together for an evening you will not soon forget.

This cast (casts alternate) featured many of the company's first-year members, a decision I found intriguing but ultimately pitch-perfect. Gabriel Smith danced superbly as Gatsby, especially in his Act II pas des deux with Daisy (danced gloriously by Christine Mangia, who is from my hometown). Their love, so tender and passionate, is thwarted by Tom Buchanan's(Jeffrey Diehl) indictment of Gatsby in the murder of Tom's lover, Mrytle (Olivia Clark).

Both Diehl and Smith dance wonderfully, and their character work is flawless. Both create multi-dimensional characters who are vastly different but also, surprisingly, similar, as seen in Act I, Scene II, which shows both men (with their butlers) getting ready for the day. The choreography for both is almost identical. Adam Hundt (one of my favorite company dancers) performs beautifully as our narrator and West/East Egg outsider, Nick Carraway. Orrante often has him standing just outside a scrim, watching the dancers, and, in one brilliant scene, has him standing over Gatsby's corpse, looking down at his friend. He slowly walks to his side, picks up the handkerchief that Gatsby had given Daisy so long ago, folds it, and places it on Gatsby's chest. It's beautifully done.  Nick's love interest is Jordan Baker (danced with great exuberance by Adrienne Benz), a professional golfer and Daisy's friend. As the ballet progresses, the two of them watch as Tom, Daisy, and Gatsby's affairs reach a boiling point in Act II, Scene IV. In a New York hotel room, Daisy tells Tom that she has never been in love with him, and flees. Gatsby is calm and collected, whereas Tom's dancing is erratic, his barrel turns demonstrating the rage he feels against the upstart Gatsby. 

Another pair of key players in the drama are the Wilsons, Myrtle (Olivia Clark) and George (danced by Bryan Jenkins). George is clearly smitten with his pretty wife, but she is less than satisfied with the kind of life he can provide as a mechanic. Tom sweeps her off her feet with her own apartment and other gifts (including an adorable dog). Myrtle can't hide the giddy love she feels for Tom, even after he slaps her at a party. Clark played that particular scene beautifully, her hand cupping her nose and her fury evident as she flees the room. As George, Jenkins creates an arc ranging from puppy love for his wife to incoherent sorrow and rage at her death. When he arrives outside Gatsby's mansion with a revolver, we have no doubt he will use it. 

It's not only the dancing that keeps you entranced; it's also the production itself. The scenery, borrowed from the Pittsburgh Ballet Theater, is pitch-perfect, and the lighting, designed by Dennis Dugan, is amazing. In Act II, Scene II, Dugan uses individual spotlights to highlight the dancers, who dance in and out of them as their increasingly complex relationships are explained. Rebecca Baygents Turks' costumes, executed by the BalletMet costume shop, are evocative of the era without being too constricting to the dancers (how the men danced, full out, in white tie and tails is beyond me. In the theater, the men are hot after one show in those. I can't imagine dancing in them). In particular, Daisy's costumes are lovely. 

The corps, as usual for BalletMet, was technically and artistically wonderful. Their biggest roles were in the party scenes, where Orrante had them do a combination of jazz, charleston, and swing, all while keeping huge smiles on their faces. That cannot be easy, and they all did a wonderful job. 

The run ends on Sunday. If you haven't seen it, get to the theater! It is an experience you won't soon forget. 

Culture Cat: Dracula

First, full disclosure: I love Dracula. 

It might be my favorite ballet ever. 

Last night (opening night) I saw it at the Capitol Theater in the Riffe Center for the third time (I saw it in 2006 and 2007). While each outing has been superb, last night's was truly sublime, a perfect marriage of cast, choreography, story and emotion. 

The three leads--Dracula (Jimmy Orrante, the original Dracula), Mina (Jaime Dee) and Lucy (Carrie West) I have seen perform their roles before. But last night they were beyond perfect. They truly embodied their roles to the point of brilliance. Dracula and Mina's aching beautiful pas de deux in the second act is the high point of the evening. The ballet, as a whole, is very athletic, but here Mina actually supports Dracula and leads him in several places, demonstrating the evolution of gender roles that Stoker plants in his novel. Last night I didn't want the number to end. 

Carrie West as Lucy transforms from coquettish society girl to uninhibited vampire brilliantly, especially in the engagement party scene, where she arrives with her hair loose and wild and in a bright scarlet dress. 

One of the other notable things about this ballet is the number of male leads. There's Dracula, of course, but also: Jonathan Harker (danced by Bryan Jenkins), Mina's fiance and later husband; Dr. Jack Seward (Adam Hundt), the sanatorium doctor and failed suitor of Lucy; Renfield (Jeff Wolfe), Seward's patient and Dracula victim/crony, and Dr. Van Helsing (Hisham Omardien), the "scientist of the new century" who leads the men in the fight against Dracula. 

All of them, particular Jenkins, who is new to BalletMet, were wonderful in their athletic dancing and emotional range.

My favorite male dancer, however, was Jackson Sarver, who danced Lord Arthur Holmswood, Lucy's finace. Sarver, who has been with the company for five years, did the best job of the night. When he first enters he  is a confident lover, who proposes to Lucy and is accepted with joy. The next time we see him, he is startled by his love's transformation at the hands of Dracula. At the end of Act I, he falls into despair as Lucy dies before him. He was brilliant to watch, both in his dancing and his acting abilities. In Act II, his love for Lucy is so strong that he rejoices to see her undead form in the crypt; yet he finds the strength to finally kill her.  I was entranced by his performance from beginning to end. 

West and Dee are my two favorite female dancers at BalletMet, and both of them do wonderful jobs with this material. I imagine that since they have danced these roles so often that they are comfortable with the choreography and can give themselves over to the emotion of the story. Last night was the best I had ever seen them. 

If you get a chance you simply must see this production. It runs through October 18 (next Saturday) and then BalletMet will be retiring it from their active repertoire (but not forever, I hope!). It is a wonderful experience for both veteran dance fans, and serves as a wonderful introduction to our fabulous company for novices. 

Culture Cat: The Lion King (roar!)

above: "Circle of Life"

When I saw The Lion King at the Ohio Theater on Tuesday night, it was my second time seeing the show (I had seen it during its first trip to town in '04). Last time, the show was a recreation of what is done on Broadway (hence Pride Rock rising out of the stage, as seen in the picture above). This time, Disney Theatricals was trying out a "scaled-down" version of the show, which will make the show more portable and thus able to be seen in more places. In general I didn't really like the changes that were made (what I remembered of them), because I think it hampered director and designer Julie Taymor's original vision. Instead of rising up out of the stage, Pride Rock is sort of wheeled out on a circular track. Also, Mufasa's mask (and I could be wrong here) didn't look like it was as mobile as it was back in '04. If you've never seen the show, you won't notice. But if you have, then you probably will, especially during "Circle of Life."

But to particulars. Just about all of us have seen The Lion King, so I don't need to go into plot particulars. We still have Nala and Simba and Sarabi and Mufasa and Scar, and Zazu. There are a few new songs, some written by composer Lebo M, which are South African chants ("Grassland Chant", "Lioness Hunt"), and there are some trunk songs for the characters (Simba's "Endless Night", Nala's "Shadowlands", Zazu's "Morning Report" and "Chow Down" for the hyenas). There is also the Act II Opener, "The Madness of King Scar" (which for some reason has been shortened), my favorite piece in the show. The new songs integrate seamlessly into the existing pieces, and Tim Rice, Julie Taymor and Elton John wrote the music and lyrics for the new, non-chant numbers.

The cast was very strong, especially the chorus. I have to give them major props because much of their singing is off-stage. Having attempted to do this for J&H, I know how hard this is. It is pitch-black in the wings and the monitors are not very helpful. So kudos to them. Zazu was probably my favorite character, and Young Nala and Young Simba were done very handsomely by the child actors. The wildebeest stampede is an excellent, excellent scene, and probably, after "Circle of Life", the highlight of the show.

If you haven't seen this show it is worth it for the sheer spectacle--the costumes, the scenery, the lighting. The music is impressive, especially the numbers that incorporate chant, such as "He Lives In You" and "Rafiki Mourns." The two solos for Nala and Simba are also very nice and needed additions for character development.

So while the scenery may be simplified, there is nothing quite like watching the elephants and rhinoceri amble down the aisles of the theater and up onto the stage for the opening number. It's thrilling to watch.

Culture Cat: Romeo and Juliet

Last night I attended BalletMet's final performance of the season, David Nixon's Romeo and Juliet, set to the music of Prokofiev. The entire 30th Anniversary season has been spectacular to watch, but this finale was a glorious way to end the celebratory season. While the story is familiar, Nixon's fresh choreography, along with the elaborate sets and gorgeous costumes, create a fresh take on the ancient story and,in some case, even improves upon it.

The ballet is divided into three acts, leading to some initial confusion as to where the intermissions would fall (it comes after Act I--Acts II and III are performed together, with slight breaks in the action for costume and scenery changes). While this is less than Shakespeare's five-act play, I found Nixon's version to be an improvement by focusing more on the essential story and eliminating some of the extraneous scenes found in the play.

The casts, as usual, rotate, but I feel that Friday night's cast was absolutely pitch-perfect in their dancing and interpretation of their parts. Adrienne Benz and Christian Broomhall played our title lovers, and I was enchanted by their dancing the entire evening. They were arresting. I had seen Mr. Broomhall dance in the title role in Aladdin earlier this season, and I greatly enjoyed seeing him tackle a major role again. His Romeo was a bravura mix of passion, melancholy (as he pursues Rosalind in Act I), love and even rage, during his Act II duel with Tybalt.

I had not, however, seen Ms. Benz in a leading role. Her Juliet was the appropriate mix of youthful energy (she is, after all, barely 14) and young love that evolved into deep passion and despair by the end of the evening. In Act III, Juliet is almost constantly dancing. Ms. Benz never for a moment showed the effort that must have taken and was mesmerizing in her Act III solo where she vascilates between taking the poison the Friar (Jimmy Orrante) has given her, or marrying against her will.

The lovers' two grand pas des deux, the "Balcony Scene" in Act I and in Act III, before Romeo's banishment, are intensely dramatic and technically demanding. I cannot say enough good things about their dancing.

The rest of the cast easily equalled the virtuosity of our leading pair. Especially notable were Justin Gibbs as Tybalt (especially in his Act II duels with Mercutio and Romeo) and Christine Mangia as Lady Capulet. Her dancing demonstrated her character's regal bearing, but she was even more powerful in her demonstrations of grief following the deaths of Tybalt and Juliet. Lord Capulet, danced by Company Ballet Master Hisham Omardien, did his best dancing when interacting with Juliet. Their tender relationship in Act I lead perfectly to the breakdown of it in Acts II and III, when Juliet refuses to marry Count Paris (elegantly danced by Jackson Sarver). Nixon's choreography demonstrates Juliet's emotional detachment from her father in a series of steps where he tries to embrace her, only to have her step out of his arms before he can hold her. It is simple, but powerful.

Other standouts among the cast included Jeff Wolfe as Mercutio and Catherine Yoshimura as the hysterically funny Nurse. She and Wolfe had several scenes together and their comic timing was impeccable. Juliet's relationship to the Nurse is critical to any performance of Romeo and Juliet, whether in ballet or the theater, and here it was tender and teasing, with the Nurse serving as Juliet's protector and confidante.

The ballet was truly perfect, and an excellent way to end BalletMet's 30th Anniversary season. Now I have to wait for July to see any new ballet, which seems very far away right now.

The Best Birthday

Yesterday was my 26th birthday, and it was the best birthday ever!

First of all, it was a beautiful day. If you know anything about Central Ohio in April, you know that early April, especially, is not known for beautiful days. In fact, most of my birthdays have been pretty gross (I was born during a blizzard, apparently). And if the weather's OK, then it's usually Good Friday or something, so I'm in church.Not that I don't love church, but when your birthday's on Good Friday, it sort of puts a downer on the whole day, you know?

So, it was a lovely day. I had lunch with one of my old friends, which was highly enjoyable, as we got to eat sitting on the High St. steps of the Statehouse, eating put food in the sun and enjoying the great day. sadly, I had session at 1:30 so we had to cut it short.

Then, the best part--Avenue Q with Cindy. It is, bar none, the funniest thing I have seen in my life. I laughed so hard, and I totally want to be Kate Monster (a 25 year old kindergarten teaching assistant who has a crush on Princeton, a 22 year old recent college graduate with "A B.A. in English."). I had so much fun at the show, and, during "The Money Song", Princeton came up to my seat and I got to check him out up close and personal. Cute guy, for someone with orange skin! (Yes, they are puppets.) After the show, I got to purchase one of my favorite things--an autographed show card!! I have a collection of them framed on my wall, which I have been collecting since I was in high school. Now Avenue Q can join the illustrious company of Phantom, Beauty and the Beast, the Lion King and Miss Saigon (I am still in the hunt for a Wicked one). Our seats, in the Palace Theater's mezz, were wonderful (thanks to ticket guru Dad!). This has become my second favorite show and "I can't wait to" see it again!

Of course, I have to thank my donor's family, because without their generosity, I never would have had such a great day. And I was so grateful for it...

Culture Cat: Lovestruck

Last night I saw BalletMet's Valentine-themed show, "Lovestruck", which was a bunch of different pieces in three acts.
The first act consisted of a few pieces from their "30x30" performances in August, which involved 30 different choreographers creating a 30 different dances over 30 days (1 per choreographer) to kick off BalletMet's 30th Anniversary Season. "Maquillage" (French for Make-up), a woman's ensemble piece, was the "30x30" selection for the first act. This was followed by Adam Hunt's (a BalletMet dancer and budding choreographer's) piece "Bang, Bang (My Baby Shot Me Down)", a pas de deux set to a Nancy Sinatra song, which I thought was quite well-done. "Everyday people", a solo danced by Jeff Wolfe, was next. It's nice to see male solos every once in awhile, and this was was well-executed.

The highlight of the evening for me was the "Sinatra Suite", a pas de deux by Twyla Thwarp that was originally choreographed for Mikhail Baryshnikov and Elaine Kudo. Tonight Jaime Dee and Jimmy Orrante (two of my favorite dancers) danced to this set of five Sinatra numbers, which included "Strangers In The Night", "All The Way", "That's Life", and "My Way." It concludes with another male solo, set to "One for my baby" (I think). Dee and Orrante were pitch-perfect. Both are wonderfully expressive dancers, and this piece gave them the opportunity to showcase those talents, especially in "That's Life". I could watch them all day.

The second act was a world premiere--"A Different Drummer." Well, different certainly applies here. The entire company was involved in this piece, which I think ran about 15-20 minutes, and was based on the poem of the same name by Thoreau. Vastly different in tone and style than the previous pieces, it grew on me as the dance progressed. Carrie West and Jackson Sarver, in particular, were my favorites.

The third act consisted of three pieces: "Two of Us" and "Sweet", pieces from "30x30", which I had seen being created back in August. "Sweet", danced by Annie Mallonee and Justin Gibbs, is one of my favorite pieces in BalletMet's repertoire and I'm always excited to see it performed, especially by these dancers.

The program wrapped with "Bolero", set to music by Ravel, which had Indian undertones. Emily Ramirez, as the solo dancer, did a fantastic job. She was wonderfully captivating. The sensual nature of this number was a perfect fit for the program.

Culture Cat: Nutcracker

Just got back from BalletMet's production of The Nutcracker. Since I haven't seen it since junior high, I was looking forward to revisiting an old favorite. I especially love the score (but we can thank Fantasia for that!).

The cast rotates at each performance, so I can't really give a definitive appraisal, but the cast we saw was excellent. I've been attending BalletMet productions regularly (I've been a subscriber the past two years and have seen three of their four productions this year), and they are technically and artistically a very talented company. The cast also includes many of the kids from their Academy, who were unanimously charming (even if there were a few flub-ups here and there--they're kids, and they handled them very well.). My favorite groups of kids was a tie between the pages and Mother Ginger's children. All of the principles performed beautifully. The dancing was accompanied by the Columbus Symphony Orchestra who did a glorious job with Tchaichovsky's familiar score. (I love live music. Love it.)

The company splits the role of Clara into child Clara (Act I and Finale) and "grown-up" Clara (end of Act I and Act II), which is not always done. Tonight we saw Sarah Wilson and Jaime Dee play the roles, respectively. Miss Wilson did an excellent job, demonstrating great artistry and technique, and Ms. Dee was, as usual, superb. (She's one of my favorites.)

Other company standouts:
--Adam Hundt as Herr Drosselmeyer
--Jimmy Orrante as the Suger Plum Fairy's Cavalier and Herr Stahlbaum
--Emily Gotschall as Grandma Stahlbaum (hysterical)
--Bethany Manley as the Spanish Doll--she really danced like a doll. You totally believed it. Incredible.
--David Tlaiye as the Nutcracker Prince
--The Snowflakes/Flowers--awesome!
--Emily Ramirez as the Sugar Plum Fairy. Her solo and pas de deux were just wonderful.
--Jaime Kotrba and James Pierce in the pas de deux of the Arabian Dance. This can be very boring and static if not done correctly. The innovative choreography and talent of the dancers made this a highlight of the night.
--The men who made up the Dragon--very cool.
The Nutcracker runs until Dec. 23 at the Ohio Theater. You can get tickets at the link I posted above.