Tag Archives: Sir Anthony Dowell

Ballet San Jose’s Gala November 3

11 Nov

For the first time, Ballet San Jose opened its season with a Gala, featuring a company premiere, war horse pas de deux, some excerpts and a full short ballet culled from American Ballet Theatre’s repertoire.  It also resurrected the use of a full orchestra, led by George Daugherty,  missing in the spring season, its first without its founding artistic director Dennis Nahat.  The program was the joint selection of  Artistic Advisor Wes Chapman and Ballet Master Raymond Rodriguez.

A Gala is designed to whip up interest for the later season, displaying the company roster to  advantage after a fund-minded dinner and before a congratulatory post-performance event. Entering the Frank Lloyd Wright auditorium, characterized everywhere without a center aisle, the front orchestra rows, some eight or so, were vacant, clearly meant for the audience paying $1000 for the privilege, $800 of which was to support a Ballet San Jose community-related activity.

Seated center orchestra, mid-way up, I found myself behind a massive head of white hair; after switching for the final work, a tall head inclined to move to the music, hazards of the no aisle seating arrangement.  The program itself featured an obviously staged photo by Quinn Wharton, dominated by a brunette in a short strapless dress, one knee up on a black backed chair.Its purpose seemed to convey patroness in front of the dancers, two men and a dancer in tutu in broad fourth position, one man on the left stripped to the waist, apparently warming up using scenery for his  barre and the street clothed male to the right, leaping while holding on to a stick.

However, The Nutcracker’s Waltz of the Flowers opened the program featuring eight couples, the women’s knee-length costumes in shades of peach and with paniers, the men sporting green tights with grey vests, flowers and their stems.  This was the first view of Karen Gabay’s take on the holiday staple which will be premiered fully in December.  While the Waltz lacked the focus of a central couple, Gabay’s use of symmetry, varying groups of four to eight and several grand circles, both as couples and men versus women, proved easy on the eyes and agreeable to the mood.  Rita Felciano remarked, “After all, the waltz has always been a couple dance.”

Sir Frederick Ashton’s creation to Jules Massenet’s “Meditation from Thais,” followed with its quasi-oriental garment design by Sir Anthony Dowell,  original male partner to Dame Antoinette Sibley’s Thais.  Subsequent performers have had a hard time matching their supple classicism or conveying that the courtesan Thais is a projection of the Monk’s imagination.  It’s a hard business being very physical, a priest, in his imagination lusting for  the courtesan while pretending she should lead a celibate life in the desert.

This tricky pas de deux, staged by Bruce Sansom, former Royal Ballet principal, was interpreted by Rudy Candia and Alexsandra Meijer with Rachel Lee as violinist.  Meijer’s elegant legs,  displayed to advantage,  were given support by Candia, but ease was missing, Meijer  more austere than evanescent.

From late nineteenth century romanticism Edward Stierle’s athletic, heavily emotional solo from the Wolfgang Amadeus Mozart Requiem was an explosive contrast.  Created by Stierle as he was dying from AIDS, Lacrymosa challenged Joshua Seibel to start and end with shoulder stands, legs stretched towards the ceiling.  In between, turns, tumbles and other gymnastic skills were required.  I had seen Brooklyn Mack dance it to recorded music at the Jackson Competition in 2010 in tribute to Stierle, but here both sides of the stage apron were filled with The Golden Gate Boys Choir Master Singers dressed in white middies with red ties and skirts who supported soprano Kristin Clayton.  It’s great to employ the community but the contrast jarred.

To see Nutnaree Pipit-Suksun make her Ballet San Jose debut dancing to Bach in Stanton Welch’s ballet Clear was sheer pleasure. With  Jeremy Kovitch, the two echoed the adagio in this work highly influenced by 9/11.  Pipit-Suksun’s musical line, thorough has an unforced finish.  Her emotional presence within the strict demands of this Western classical form flows beyond its boundaries.  In this elegiac pas de deux Pipit-Suksun delivered quiet consolation; later she was pert ensemble  accent  in  Stars and Stripes.  I’m glad  she is still dancing  to Bay Area audiences.

Junna Ige and Maykel Solas danced in white for the Act III pas de deux from Don Quixote. Had they been backed by a set, the costumes would have been fine; as stand alone bravura it needs more flash in the attire.  They are a nicely matched, charming  pair.  In well-schooled Japanese style,  Ige eschews  accent to her finishes. Demure,  a little emphasis is in order, along with consistency in the working foot in fouettes; they tended to become flaccid after the initial thrust.  Solas was, as always, consistent.

Dalia Rawson arranged a complicated mixture of the Ballet San Jose students to Tchaikovsky’s polonaise finale,  a visual announcement of enrollment and instruction,  the new school direction and training based on the American Ballet Theatre curriculum. There was definitely a lot to be seen from tots to teenagers, beginners to apprentice-worthy adolescents.  She used lines, circles, entrances and exits to accomplish the presentation. The audience just loved it, cheering as it did through most of the evening.

Balanchine’s Fifth Campaign from Stars and Stripes brought the full company on stage, if giving Ramon Moreno, Maria Jacobs-Yu and Karen Gabay cameo appearances.  Usually an evening’s ending work, it still was infectious.

The late Clark Tippet’s Bruch Violin Concerto No. 1 provided the evening’s finale, allowing four couples solo variations with eight couples as support  Tippet attempted to differentiate the various themes, a little puckish and flirtation by Mirai Noda and Ramon Moreno, sparkle by Junna Ige and Maykel Solas.  Strong assertion by Amy Marie Briones and Maximo Califano demonstrated that Briones’ attack and flair is definite stimulus to Califano.  Alexsandra Meijer and Jeremy Kovitch were paired for the adagio. Meijer’s admirable line got blocked somewhere in  shoulder and head, individual interpretation at  odds with Rachel Lee’s violin passage.

For a first Gala, Ballet San Jose displayed competence;  it remains committed to pleasing an audience.  One awaits Karen Gabay’s Nutcracker and  2013 to assess  its new trajectory.


Ballet San Jose’s 2012-2013 Season

5 Sep

Ballet San Jose will start its 2012-2013 season with a new Nutcracker, choreographed by veteran company principal Karen Gabay, running December 8-22, 2012.  Sets will be designed by Paul Kelly and costumes by Theoni Aldredge.  Gabay has run a summer company, Pointe of Departure, for several seasons, and seen locally at the Mountain View Center for the Arts.

February 15-17, 2013 the company will premiere the Ludwig Minkus  musical romp, Don Quixote , staged by Wes Chapman, Ballet San Jose’s Artistic Advisor, based on the Marius Petipa-Alexander Gorsky choreography.

March 22-24, 2013 Sir Frederick Ashton’s Les Rendezvous, set to Francois Esprit Auber’s ,music, will receive its company premiere as well as the Jules Massenet’s Meditation from Thais,  created on Sir Anthony Dowell and Dame Antoinette Sibley when they were young principals with The Royal Ballet. Stanton Welch’s Clear to J.S. Bach music, will receive an
encore performance and there will be a revival of Kurt Jooss’ iconic anti-war ballet The Green Table, created in 1932, and instrumental in Jooss’ departure from Germany for England for the remainder of the ’30’s and through the World War II years.

The season will complete itself April 19-21, 2013 with some surprising inclusions of modernity.  These are Jorma Elo’s Glow-Stop set to the music of Wolfgang Amadeus Mozart and Philip Glass and Merce Cunningham’s Duets, a six couple series of pas de deux performed to the music of John Cage. An additional pas de deux will be announced. Jessica Lang will be represented in a world premiere for the company, represented in the 2012 season with Splendid Isolation III.

Ballet San Jose also has announced a new music director and conductor.  George Daughterty comes with a 30-year record of conducting for the likes of Mikhail Baryshnikov, Rudolf Nureyev, Gelsey Kirkland, Suzanne Farrell and Natalia Makarova in addition to American Ballet Theatre, Munich’s State and La Scala Opera Ballets and The Royal Ballet.  He has been musical director for The Louisville Ballet, Chicago City Ballet and Ballet Chicago.  Guest conducting credits include San Francisco Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, the Cleveland Orchestra, and abroad with the Royal Philharmonic Concert Orchestra, the Danish National and the Sydney Symphonies.  Nominated for five Emmy Awards, he was awarded a Primetime Emmy for the ABC Network production of Peter and the Wolf.

Company promotions and new members have previously been noted.