Tag Archives: Annali Rose

San Francisco’s Summer Specialities

12 Jul

What San Francisco’s dance scene provides in the summer is its increasing variety of interesting works, many of which are organized by artists and choreographers engaged in other organizations during most of the year.

Thus far there has been SF Dance Works’ premiere season and July 8-10, the Cowell Theatre at Fort Mason has housed Amy Seiwart’s 6th Sketch, where she has invited  choreographers to join her in stretching their vocabularies, utilizing some exciting dancers, and choroegraphers coming from Sewiart’s various  associations .

July 8 provided a foggy evening to trail down the western side of the Fort Mason pier that houses the Cowell Theatre where the original corridor has been cordoned off and the vast space is being remodeled. Eventually, the entrance is to be moved to the eastern side of the pier and none too soon when one contemplates the varied weather one encounters in reaching the space which has housed so many dance events since Fort Mason became a cultural definition. Friday nights also is the evening Fort Mason has inaugurated Off The Grid, where a cluster of 30 mobile trucks serve specialties to anyone hungry, nearby or purposely attending to sample the variety, 5-10 p.m. complete with music and three bars.

Returning to dancing, Amy Seiwart came out from behind the red curtain to explain that the brief season are intended to help two or three invited choreographers besides herself stretch themselves beyond their acquired choreographic “tool box,” trying something outside their comfort zone. The invited were Nicole Haskins, Anthony Hoagland and Val Caniparoli. Hoagland’s Cigarettes was a repeat from the 2011 season. But Haskin’s With Alacrity and Caniparoli’s 4 in the Morning were premieres, as was Seiwart’s Instructions. Most of the ten dancers have worked in various companies where Seiwart has choreographed.

Haskin’s With Alacrity utilized a quartet, three women and a man in various encounters, Andre Silva with Beth Ann Maslinoff, Kelsey McFalls and Annali Rose. Susan Roemer’s monochrome costumes were alleviated by a band of multi hued patterned fabric at the waist of the women’s skirts and Silva’s tights. The floor patterns as well as the movements were atypical but not arresting and while there was some partnering, nothing suggested male-female attraction or particular rivalry.

Following a pause was “Three Cigarettes in an Ashtray” is a plaintiff folksy song, sung by what seems to have been five different interpreters to illuminate a table, four chairs, plus a vintage refrigerator brought out by James Gilmer, Scott Marlowe and Peter Frank, housing Sarah C. Griffin, the quartet costumed by Jamiellyn Duggan. The men, garbed in iconic scruffy clothing, open up the refrigerator door to reveal Griffin jack-knifed in its interior, trailing gown befitting ‘Thirties style glamour, and three pairs of high-heeled shoes which she removes, steps into and removes at various moments before clutching all three and reverting to her original cold storage.. The contrast between the beer-culture behavior of the men and the intense glamour, unfufilled, was as fascinating as Griffin is as a dancer, clearly a major talent.

Seiwart’s Instructions was clearly the major component of the program and her plunge into narrative, in this instance a lengthy poem by Neil Garman, augmented by Benjamin Britten’s Suite for Cello, played on stage by Michelle Kwon, stopping and starting as dancer-actor Scott Marlowe spoke the lines and seven dancers provided the territory or obstacles which the wayfarer encountered. Seiwart’s capacity for groupings grounded her foray into narrative, utilizing gestures and postures suggesting the terrain through which the traveller moved. Susan Roemer’s black costumes enhanced the quasi-magical implications of Garman’s words. It’s a work that should be seen again.

Caniparoli’s Four in the Morning took its inspiration from William Walter’s music for Facade, though completely different from Frederick Ashton’s selections from the poem of Edith Sitwell. Costumer Susan Roemer clothed the men in their skivvies, shoes with socks to mid-calf and the women in lightly cream-colored slip-like satin gowns, while each verse was marked by a clock-like entry on back stage left-side curtain, slightly blurred because of the scarlet folds. Caniparoli has created a tongue-in-check entertaining pieces for Smuin Ballet, but nothing to my knowledge set to speech. Sitwell’s verse runs a path trippingly on the tongue in the best Gilbert and Sullivan manner; the content, however, is as pared down and suggestive as the deshabile of the costuming, the women with knowing and occasionally with some come hither, shoulder gestures, cocked chins and flicks of the hand. The men lunge, pirouette, lifting the women, disappear with one suggestively, tossing out garments to suggest the inevitable horizontal postures.  But no, one garment is a kilt.

Both Caniparoli and Sewiart’s works utilized all eight dancers: Sarah C. Griffin, Rachel Furst, Annali Rose, Beth Ann Maslinoff, James Gilmer, Peter Franc, Andre Silva and Scott Marlowe.

Thanks to Amy Seiwart and her generous Sketch, next summer is something to anticipate.

Advertisements

Ballet San Jose’s Gala, November 16

20 Nov

Scott Horton, Ballet San Jose’s new press representative, arranged to have the entire area’s dance reviewing contingent in attendance at Ballet San Jose’s Gala, November 16 at San Jose’s Center for Performing Arts. Allan Ulrich was seconded by Rachel Howard and Mary Ellen Hunt. Coming with Rita Felciano, covering for the San Jose Mercury, I saw Claudia Baer, Toba Singer, Aimee T’sao plus Odette’s Ordeal Teri McCollum and Janice Berman of S.F. Classical Voice. A number of San Francisco Ballet dancers were present besides Helgi and Marlene Tomasson.

The lengthy program possessed several numbers danced not only by San Francisco Ballet interpreters, but I have been lucky enough to see the original interpreters in one pas de deux. Like it or not, there were measurable standards. I include program readability. Thankfully, the dancers’ names were printed in black; golden script against white made the booklet pages almost unreadable. Apparently an easy read for Ballet San Jose’s program designer wasn’t sexy enough. Whatever the reason, big events tend to seduce planners to emphasize glamor over clarity.

George Daugherty took the small orchestra through the lively paces of a Tchaikovsky Swan Lake entree to showcase the Ballet San Jose students, 100 strong, in a show-everyone arrangement by Delia Rawson. Notable were four young men and perhaps eight young young boys, black tights and white tee-shirts appearing with aplomb, along with tiny tots and adolescent girls pirouetting capably en pointe. The final grouping reminded me of the final movement in Balanchine’s Symphony in C where principals and corps invade the stage space.

From the up energy of the school ensemble, Christopher Wheeldon’s After The Rain pas de deux opened the program, with a distinct drop in energy. The deliberate Arvo Part music provided a glimpse of New York City Ballet dancers Ask La Cour [son of former Ballet San Jose’ School principal Lise La Cour] and Rebecca Krohn from New York City Ballet. The height contrast between La Cour and Krohn was visually awkward. Krohn’s style is soft, almost blurring the edges of Wheeldon’s quirky postures. A signature pas de deux for Yuan Yuan Tan and Damian Smith, the New Yorkers suffered by comparison.

The pace quickened when Balanchine’s Tchaikovsky’s pas de deux featured Ana Sophia Scheller and Gonzalo Garcia, former San Francisco Ballet principal. I saw Violette Verdy and Jacques d’Amboise dance this as guests with for San Francisco Ballet at the Palace of Fine Arts. Verdy, the role’s creator, gave a slight emphasis when finishing s phrase. Scheller relied on the smooth sequences Balanchine created, slight piquancy was missing. Garcia started slowly, gaining in quality; heavier in the thighs than in San Francisco, he danced the ballet with Tina Le Blanc at her retirement; here he seemed sluggish.

A dozen Ballet San Jose dancers appeared in a section of Jorma Elo’s Glow Stop to the Philip Glass music, abounding in jerks and twitches interrupting classical line, phrasing and execution. The twelve made a cohesive ensemble; I wish for them better assignments. The dancers were: Amy Marie Briones, Cindy Husang, Alexsandra Meijer, Annali Rose, Ommi Pipit-Suksun, Jing Zhang, Damir Emric, James Kopecky, Jeremy Kovitch, Joshua Seibel, Maykel Solas, Kendall Teague. Ramon Moreno was absent as was Maria Jacobs-Yu; formally retired from the company, she expects her second offspring.

Gillian Murphy and Thomas Forster in the Black Swan pas de deux was notable; tall, slender Forster’s was a visibly smitten portrayal of Prince Siegfried. Murphy danced like a power house, brashly knowing, teasing, if traveling on the final fouettes. The pair sent the audience out energized for the intermission.

After the intermission Ballet San Jose Board Chair Millicent Powers proudly presented Jose Manuel Carreno to the audience as the company’s second artistic director. In his charming Cuban-Spanish accent Carreno acknowledged visiting artistic directors Kevin McKenzie and Helgi Tomasson plus his amazement as being on the other side of the performing curtain.

Sir Kenneth MacMillan’s balcony pas de deux from Romeo and Juliet provided a glimpse of Julie Kent and Marcelo Gomes. Framed by the set from Dennis Nahat’s production for the Prokofiev score, they left no doubt about the electricity of the two Renaissance Verona adolescents.

Shifting stylea to the Le Corsaire pas de deux Rudolf Nureyev brought westward, Cincinnati Ballet dancers Adiarys Almeida and Joseph Gatti; competitors at the 2006 USA International Ballet Competition in Jackson, Gatti earned a bronze medal. Small, dynamic, well placed, Gatti danced a very aggressive slave; Almedia was smiling, pert, almost totally en place with her fouettes.

New York City Ballet principal Joaquin de Luz danced David Fernandez’ solo to Johann Sebastian Bach’s Presto movement from the Violin Concerto in G. Minor. The challenge, interspersed with port de bras allowing the dancer to breathe, de Luz’ musicality, engaged the audience with his modest charm.

Another set of New York City principals appeared with George Balanchine’s Tarantella to Louis Moreau Gottschalk’s infectious 19th century interpretation of an Italian staple. Megan Fairchild and Daniel Ulbreicht were perky; Ulbreicht’s fun, teasing and elevation electrified the audience.

Boston Ballet principals Lorna Feijoo and Nelson Madrigal danced the second act pas de deux from Giselle in strong stage light, robbing the mystery, making their appearance abrupt. Stuck between two high energy pas de deux their artistry suffered.

Marcelo Gomes demonstrated his dramatic facility in the penultimate pas de deux,, the two dances Twyla Tharp set to Sinatra Songs. With a scintillating, responsive Misty Copeland, the audience reaction was predictably huge.

San Francisco’s Maria Kochetkova and Taras Domitro completed the gala with the war horse Grand pas de Deux from Marius Petipa’s Don Quixote. Postures, balances, pauses, carefully choreographed glances were etched, delivered with sang froid assurance designed to leave the audience gasping. Domitro, noted for his ballon, surpassed himself. Kochetkova matched previous double and triple fouette turns with carefully spotted ones to the four corners. It was a fitting finale to the evening.

Now comes not only Carreno’s challenge artistically, but Stephanie Ziesel’s responsibilities to provide for Ballet San Jose fiscally; there have been nasty rumors to the contrary.

At Last Ballet San Jose’s Roster 2013-2014

26 Sep

With just five days to go before September’s end, like the U.S. Congress, Ballet San Jose has released its company roster for 2013-2014, placing Karen Gabay in the new category of Artistic Associate and minus Maria Jacobs-Yu, who elected not to sign a contract this year. Jacobs-Yu’s delicate precision will be missed.

Not a dignified way to announce a company’s roster of dancers; but Ballet San Jose’s record makes one want to mention artists contributing to much of its varied repertoire history under its former artistic aegis. What invariably strikes me as noteworthy is that both past and present artistic directors are Ballet Theatre alumni from different periods of ABT’s evolution.

So, onward to glimpse the thinking of artistic director Jose Manuel Carreno and his Associate Artistic Director Raymond Rodriquez. Evidence points to the remarkable training ground of Carreno’s native Cuba for the corps de ballet is gaining three former members of the Ballet Nacioinal de Cuba in addition to principal dancers Ramon Moreno and Maykel Solas.

Nutnaree Pipit-Suksun has been promoted to Principal Dancer status; along with Alexsandra Meijer, they are only two women in the principal dancer roster. The three men are Jeremy Kovitch, Ramon Moreno and Maykel Solas.

The soloists now include Amy Marie Briones, Rudy Candia, Damir Emric, Junna Ige, Beth Ann Namey, Mirai Noda, Akira Takahashi and Jing Zhang. Emric’s status reflects promotion from the corps de ballet.

The new comers to the corps de ballet include Kathryn Meeusen and Thomas Baker from apprentice roles. The Cuban influx includes Jorge Lopez Barani, Walter Garcia and Ihosvany Rodriguez. Also new to the corps de ballet are Grace-Anne Powers, a former member of La La La Human Steps of Montreal and Alison Stroming, a former dancer with Alberta Ballet, both women natives of the U.S.

These new comers join Shannon Bynum, Cindy Huang, Lucius Kirst, James Kopecky, Alex Kramer, Brieanna Olson, Francisco Preciado, Annali Rose, Joshua Seibel, Cynthia Sheppard, Sarah Stein, Kendall Teague and Lahna Vanderbush.

The three apprentices are Emma Francis, Nicole Larson and Mariya Oishi.
Francis previously danced with Oregon Ballet Theatre.

George Daugherty will continue as Music Director. Those who have been fans of Nutnaree Pipit-Suksun look forward to her performances as a principal.

Amy Seiwert’s Imagery Summer Series at ODC Performance Gallery

30 Jul

Last year it was three women choreographers; this year, Sketch 3, Amy’s sub-title was Expectations, selecting Val Caniparoli and Max Brew for two of the three dances seen at ODC, July 25-28. The trio provided an exhilarating evening with eight splendid dancers who enjoyed generous emphasis from all three choreographers.  The audience, filled with long-time dance professionals, added to the excitement.

The respective titles were Brew’s Awkward Beauty, Canaparoli’s Triptych and Seiwet’s own The Devil Ties My Tongue with dancers Brandon Freeman, Rachel Furst, James Gilmer, Sarah Griffin, Weston Krukow, Annali Rose, Katherine Wells, and Ben Needham Wood.

I took away one or two images from each work crystallizing for me choreographic intent, lucid, minted.

Val Caniparoli’s Triptych was inspired by Lalage Snow’s images of British veteran soldiers of Afghanistan, “We Are The Not Dead” before, during and after with music by John Tavener and Alexander Balanescu.  Christine Darch clothed the eight dancers in khaki fatigues close enough to military field garb to reinforce the imagery.  Caniparoli approximated march formations as the recruits submitted to discipline and then very carefully depicted combat situations, ending in the ensemble moving forward, faces expressionless, to face the audience.

Classical ballet movements linked with the awkwardness of combat necessity worked powerfully on the imagination.  I remember James Gilmer’s reaching with a grand ronde de jamb with his arms outstretched as his working leg reached second, as if to say “Why?” and one moment where Brandon Freeman caught an anguished Katherine Wells as she lept forward; for a moment the two were  majestic, a momentary sculptural triumph.  Triptych is one of Canaparoli’s strongest works since his perennially popular Lambarena.

Max Brew’s Awkward Beauty, music by Dan Wool, was memorable for me because of its tenuousness; in particular there was a downstage right pas de deux between two men, the tentative connection and motions towards and away – “Do I really want to get involved with this guy?”, a clear statement regarding male friendship and/or sexual involvement.

Seiwert’s contribution, “The Devil Ties My Tongue” with Olafur Arnalds’s score, utilized the pas de deux in several places, the lifts exciting, circling around the supporting body, once or twice a woman.  I remember Sarah Griffin aloft at an angle, arms and legs like a strong calligraphic exclamation, Chinese calligraphic style.  At the end Brandon Freeman supported a wavering, quivering Katherine Wells struggling with some inner message, but unable to support its import standing.

The dancing was superb, the choreographing intriguing and hope abundant that 2014 will provide Sketch Four.

Ballet San Jose’s Promotions and New Company Members

31 Aug

Lee Kopp, the Public Relations and Marketing Manager for Ballet San Jose, has announced promotions and new company members.  It seemed apparent from the spring casting that several corps members were ready for soloist status and the announcement confirmed those educated guesses.

The new soloists are Amy Marie Briones, Junna Ige, Akira Takahashi and Jing Zhang.  Advancing to principal status is Jeremy Kovitch.

New to the company as members of the corps de ballet are Cindy Huang, Lucius Kirst, Alex Kramer, Annali Rose, Kendall Teague and Mallory Welsh.  Kirst and Kramer are coming to Ballet San Jose from American Ballet Theatre’s Studio Company as mentioned during the spring season, but not identified.  Welsh recently danced with Smuin Ballet. Joshua Seibel, apprenticing during the 2011-2012 season, has  been promoted to corps status.

The  happy surprise in the release concerned Nutnaree Pipit-Suksun, who is joining the company as a soloist after some five years with San Francisco Ballet.  For Bay Area balletomanes who reveled in her unique fluidity, it is excellent news.