Tag Archives: James Kopecky

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.

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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.

Karen Gabay’s Gala with Ballet San Jose

1 May

Karen Gabay’s Gala, her final performance as a principal with Ballet San Jose, was rather hastily arranged and followed the company’s final performance of the season April 21.  However short the arrangements were, the tribute selections which started at 7 p.m. were warmly received by the audience in the half filled San Jose Center for the Performing Arts.

Excepting Amour Gitan, the music was recorded.  The selections were apt, however, and included video selections from Gabay’s thirty-some year sojourn with a company originally founded by Dennis Nahat and the late Ian Hovarth.  The first of three videos showed footage from her early Cleveland years, Gabay a glowing young woman with her initial principal role as Maria in the Nahat-Hovarth production of Tchaikovsky’s Nutcracker; her attentive partner was an equally youthful Raymond Rodriguez. As Maria, Gabay’s hair was noticeable in supported turns; I couldn’t help but wonder what such flung tresses in pirouettes does to a partner.  This section also featured a bespectacled youngish man with an abundant head of hair and an enthusiastic, discerning delivery.  It took me several seconds to register this spokesman as Dennis Nahat.

Fast forward, The Nutcracker  grand pas de deux  provided Gabay in white classical tutu with seven cavaliers dressed in black.  As  arranged by Gabay, each partner supported her for a phrase or two of that swelling hymn to the pas de deux.  The swains were: Maximo Califano, Rudy Candia, Jeremy Kovitch, Ramon Moreno, Anton Pankevitch, Raymond Rodriguez, Maykel Solas.  Bright eyes gleaming, her smile radiant, Gabay looked sensational.

The next video permitted time for Gabay to change for Amour Gitan with Maykel Solas, the pas de deux she created and danced in Ballet San Jose’s spring series.  The video included moments from the Nahat production of Romeo and Juliet which was created on Gabay with Rodriguez as Romeo. While Lev Polyakin was the violinist once more with George Lopez as pianist for the Maurice Ravel Tzigane created for the two instruments; later the orchestrated version was debuted in 1924 under the direction of Pierre Monteux. In 1975  Balanchine created a work for Suzanne Farrell to the symphonic version.

In her one-sided slit ruffled red sheath, Gabay was sufficiently alluring to get her way with the bare-chested Solas after some preliminary squabbles and one or two spectacular Solas jetes. In this partnership Gabay’s upper back stiffness was noted, neck and shoulders creating a forward emphasis in the upper torso, a foreshortening developing over time as a mannerism.  With her petite appeal, generous spirit and steady technique it was little noticed.

Following intermission and another video the program finished with another Gabay creation, 2-2 Tango, featuring many of the company dancers.  One could enjoy the haunting phrases, with that wonderful swoop and punctuation in the tango.  Gabay has the ability to create light-hearted, sometimes cheeky, unexpectedly punctuated dances as demonstrated in Point of Departure summer tours  as well as two pas de deux danced by Junna Ige and Shimon Ito in 2010’s USA International Ballet Competition.  Enjoyable, they register as clever, well constructed, a new take on some formulaic situations if one is scarcely torn asunder emotionally.  It’s  a genuine talent.

Gabay utilized Maximo Califano handsomely.  In suit and fedora at a slight sinister angle, it was a neat touch having him launch the piece evoking the drama inherent in his native Argentine music. He moved around three couples, the women dressed in red with a touch of flounces.  Three couples followed, then a pas de trois where Mirai Noda and Maria Jacobs-Yu skirmished over Akira Takahashi before joining forces to defeat his ambivalence towards their charms. Mordido paired Gabay and Rodriguez in a skillful, if deadly-tender death dance, Gabay’s only appearance here.  Down the line Califano, Beth Ann Namey and James Kopecky reversed the two and one face off.  Eight couples danced the finale with Califano to complete the dance with a final dashing gesture.

Following the warm audience enthusiasm,  there was a large bouquet of red roses for Gabay.  Raymond Rodriguez delivered a tribute after the individual tributes when each dancer in the company, whether on or off stage, brought a single rose to Gabay.  Jacobs-Yu curtseyed, stage hands came on, conductor George Daugherty, the evening’s musicians, costumers, electricians, publicist Lee Kopp.  It was a genuine parade of associates.

A jarring visual note occurred when Alexsandra Meijer in a short strapless white dress retired into the group after giving a rose to Gabay; she  then rendered a curtsey and rose to Maximo Califano before weeping on his shoulder.  Rumored not to have his contract renewed,  Califano and Meijer both joined the company in 2001.

It is thought and hoped that Karen Gabay will remain with Ballet San Jose as ballet mistress.  She would, like Rodriguez, contribute an enormous institutional memory and professional wealth.  Seeing glimpses of her mad scene in Giselle and verve in Toreador in the videos, character roles would benefit from her dramatic skill and theatrical savvy.  Where ever she settles, the organization will be damned lucky.