Getting schooled in Kirov and Bolshoi ballet.

As the performance date for The Tchaikovsky Ballet's production of Sleeping Beauty draws near everyone in the communications department is hard at work designing and implementing creative and attractive promotions to encourage audiences of all ages to come out and see the show.

After being asked to write the press release for the upcoming performance I decided to do some research. What struck me about The Tchaikovsky Ballet or more formally, The Perm Tchaikovsky Opera and Ballet Theatre, during my search was their association with the Mariinsky theatre and the Kirov school.

This was interesting to me because I hadn't understood the impact or the significance of the Kirov school on Russian ballet. What also caught my attention was the mention of another school, the Bolshoi, which appeared every now-and-then, opposite the Kirov, in several articles I read. At this point I understood that Kirov and Bolshoi were terms used to describe two distinct companies, dance styles, and schools but what I hadn't understood was the difference between them and their significance to Russian Ballet so I decided to dig deeper and this is what I found....

The Kirov school was actually Russia's first school for ballet and was founded in 1738, in St. Petersburg. The school was founded with the intent of becoming the first in the nation to teach ballet in a country whose dance was already rich in folk traditions. In the first year the school had 24 students, 12 boys and 12 girls. The students were the children of palace servants whose talent for dance was said to be above that of the professional dancers in the Czars court.

Students of the Kirov school were trained in French and Italian styles as they were instructed by choreographers from across Europe. The Mariinsky Ballet/Kirov Ballet later grew out of the school and was founded in 1740, making it the second oldest ballet company in the world behind Paris Opera. During the Russian Revolution both the school and the company closed as they were seen as signs of Russian imperialism. The company and school later reopened under different names and were renamed again in 1934 after Bolshevik revolutionary Sergey Kirov was assassinated.

The Bolshoi Ballet, in contrast, was founded in 1776 and grew out of a dancing school, held in the Moscow Orphanage. The school was actually founded in 1773. The company however did not begin to attract the attention of the ballet world, to the extent that it holds today, until 1918, when Moscow became the capital of Russia. It's cultural prestige and the money it earned is also said to have helped it become well known in the West. The word “Bolshoi” is actually Russian for “grand” or “large” and is also an underlying characteristic of the company’s dance style, which said to be grand or triumphant.

The style is also said to be dramatic or theatrical as the Bolshoi often incorporate dramatic movements into their dancing. Feeling that the acting and staging of the ballet were just as important as the dancing the Bolshoi became known for their innovative stage designs and music as well as they're evolving approach to the choreography and the presentation of dance.

On the other hand the style associated with the Kirov school was described as refined and controlled. The dancers were known for their precision and unwavering dedication to preservation of the classical ballet style. While there’s a theatrical element to the ballet it’s not carried out in a way similar to that of the Bolshoi. Instead the Kirov work under the Stanislavski method of acting bringing their emotions into their dance. Their style is also said to be more restrained and conservative than that of the Bolshoi.

Although historically there has been a recognizable difference in styles between the schools those differences are less evident today as the Kirov has become more dynamic. Now that I have uncovered and shared my understandings of the significance and differences between the Kirov and Bolshoi ballets with you. It is my hope that audiences will have a better understanding of the prestige tied to The Tchaikovsky Ballet. It is also my hope that audiences will be able to appreciate and identify some of the schools and styles that ultimately made Russian Ballet.

The Tchaikovsky Ballet, is one of Russia's most distinguished artistic companies. The Ballet theatre which was founded in 1920 presented its first season in 1926. The company has maintained strong ties and has been greatly influenced by the Mariinsky/Kirov Opera and Ballet borrowing from its standards and traditions. The company is different in that it draws all its dancers from its school, The Perm State Ballet, one of the most prestigious training institutions for ballet in Russia as well as the third largest classical company in the country. The Tchaikovsky Ballet will present it's critically acclaimed production of Sleeping Beauty at the Detroit Opera House, March 26-28. The company will be performing to Tchaikovsky's whimsical score and Marius Petipa's original choreography.

• Orange Coast Magazine. "Spotlight:Ballet". Aug 1989. pg 48. Allard, Maurice; Thomas, Diane. Google Books.
• Dance Magazine. "What's the Difference between Russian and American Dancers". Perron, Wendy. July 6th, 2009.
• LA Times. "The Russians Are Back, The Russians Are Back". Segal, Lewis. July 30th, 2000
• Wikipedia. Kirov Ballet. 2/17/10
• Wikipedia. Bolshoi Ballet. 2/17/10
• Bolshoi Ballet. Encyclopedia.com. 6th Edition. 2008. http://www.encyclopedia.com/topic/Bolshoi_Ballet.aspx
• Bravo: The official Magazine of the Detroit Opera House. "History of Tchaikovsky Ballet Theatre". Spring 2010. pg 14.

An Interview with Ballet Hispanico Dancer Nicholas Villeneuve

Yesterday afternoon, I had the pleasure of interviewing veteran Ballet Hispanico Dancer Nicholas Villeneuve.

Mr. Villeneuve was born in Montreal and raised in Jamaica. He has studied at the Alvin Ailey school and Juillard. He has worked with master choreographers such as Agnes de Mille and has performed with celebrities like Patti Labelle. Mr. Villeneuve has made several appearances on Broadway, including Toronto's production of The Lion King. Currently in his fifth season with Ballet Hispanico not only is Mr. Villeneuve an established dancer he's also a choreographer and teacher.

I was fortunate enough to get a-last-minute telephone interview with the dancer from his hotel. Here are some are the responses I received...

• How did you become involved in dance?
• I was born in Montreal and raised in Jamaica. I was apprenticing with a local dance company in Jamaica and I went on a trip to New York, with the company, and got lost trying to find the train and found the Juilliard School. I filled out an application and eventually auditioned and got in on a scholarship.

• Where you dancing before then?
• No, I was a musical theatre major. I was asked to join the company because they recognized my potential as a dancer. They were more of a folkloric dance company.

• What do you most enjoy about dance?
• Across-the-board, what I like about dance is the fact that it’s not like a regular job. It allows me to be creative and expressive, allows me to share my talent to the rest of the world. It allows me to travel and learn about new cultures.

• What styles/genres of dance are you trained in?
• Ballet, Modern and Jazz

• What’s your favorite style and why?
• Modern because it draws in all the elements of ballet and jazz, its more expressive and allows you to have more of an abstract expression.

• Can you describe what it was like attending the Alvin Ailey School & Julliard?
• I was very intimidated because it was one of the very first dance schools I attended. I knew at the time I was lacking in technique but the Ailey school prepared me for Juilliard and when I arrived to Juilliard I was still intimidated but was a better dancer.

• You were dance captain/swing for Toronto’s production of the Lion King, What did that involve? How did you get that position?
• I was required to teach all the male parts on the show, I worked as a stand in when someone was sick, injured or went on vacation. I was also required to send weekly reports to Disney telling them how the show was going. I also ran rehearsals. I auditioned for the position.

• How long have you been teaching dance?
• I started teaching dance once I left college, I’ve been teaching since 2001.

• How long have you been choreographing dances? How many works would you say you’ve produced? Could you please describe the process involved in choreographing? What types of things inspire you?
• I started choreographing in 2000; I’ve been doing it for about 10 years. I’ve produced 12 ballets. The process varies... it depends ... sometimes I’ll go into the studio and make a movement phrase then the rest of the work will come, or I’ll be inspired by a song and try to come up with several movements, or it could be story driven where I’m inspired by a common story and I’ll want to tell that story through movement, then I put the phrases together in the studio with dancers. It takes about 2-3 weeks to come up with a 20-25 minute performance

• How did you get started with Ballet Hispanico?
• After I finished up with Lion King the former Artistic Director, Tina Ramirez, invited me to join in 2005

• Could you please describe a typical day working with Ballet Hispanico?
• We start the day off at 10am we hold ballet technique class until 11:15, we have a break, and then at 11:30 we hold rehearsal until 6 with 5 min breaks after every hour. We rehearse all repertory that’s going to be on the tour or that we’re going to be doing in the fall.

• What advice do you have for aspiring dancers?
• Take class everyday, work hard, never give up, it’s about perseverance and dedication.

• If you were not a dancer, choreographer and teacher what other profession would you like to try? Why?
• I would want to be a pilot, I’m interested in aviation I think its quite amazing. I would like to add that I’m working on getting my private pilots license.

• If you could address Detroit audiences what would you say?
• I would like to say that our Artistic Director, Eduardo Vilaro, has put together an eclectic group of dancers and that they should come out and see us and be inspired.

You can learn more about Nicholas Villeneuve and the other dancers of Ballet Hispanico by following this link Dancers' Biographies.

Allow Detroit Opera House to Heat up your Valentine's weekend with Ballet Hispanico

Looking for something exciting to do this Valentine's Day? Looking to add a little sizzle to your weekend? This month Ballet Hispanico, the nations foremost latin dance company, will make its second appearance at the Detroit Opera House, Saturday, February 13th and Sunday, February 14th. Come watch as they fuse ballet, modern, and latin dance on stage and perform choreography by some of the world's most progressive choreographers.

Audiences will also have the opportunity to participate in a host of weekend long events and offerings that include; Latin Salsa classes, taught by various members of the Ballet Hispanico company, on Friday, February 12th which are free to Ballet Hispanico ticket holders.

For more information call (313) 237-3251.

A special Valentine's Weekend Package called "la noche del amour" or "night of love" which includes two premium box seats, two beverages and a bouquet of chocolate roses for $190 during Saturday night's performance. Audiences also have the option of enjoying a three course meal at Shiraz, with our "Wine, Dine and Let us Take The Lead" Package. The package includes a premium seat and transportation to the restaurant from the Opera house and back for $89 per person during Saturday night's performance.

For reservations and information call (313) 237-7464.

Looking for something a little less expensive or coming alone? Audiences who qualify for our Access.Opera/Access.Dance program also have the opportunity to enjoy main floor seating at $20/ ticket during Saturday's performance. As well as a complimentary drink and a chance to mingle with the Ballet Hispanico cast during a exclusive post-performance reception.

For more information or to purchase tickets contact Felicia Burgess (313) 961-3500, option 6, extension 3200 or via email fburgess@motopera.org

Ballet Hispanico events officially wrap up Tuesday, February 23rd with our Tuesday Night Dance Film Series. Come enjoy food, drink, film and discussion during our showing of the dance film "Latin Nights" at 7pm.

For more information call (313) 237-342 via email dance@motopera.org

Alvin Ailey American Dance Theater This Weekend!

Hello Again!
Wow- I feel like it's been forever! But this weekend we have the AMAZING Alvin Ailey American Dance Theater coming to the Detroit Opera House. I am super excited to go see them. The company is not only amazing because of the dancing they do, but also what they represent.

Alvin Ailey Jr. was born in 1931 and studied with great dancers in history like Lester Horton, Martha Graham and Charles Weidman. He started the company in 1958 and included a multicultural/multiracial cast of dancers. His style includes inspiration from jazz, modern and African dance elements. Revelations is considered his masterpiece and will be performed every night that they perform at the Detroit Opera House. Other pieces being performed include Festa Barocca, Treading, Blues Suite, Suite Otis, Go in Grace, and Anniversary Highlights.


Here is a clip from Blues Suite:

Alvin Ailey said, "Dance is for everybody. I believe that the dance came from the people and that it should always be delivered back to the people."

See you at the show! (I'll be at the shows in bold!!! Come see me!)

Thursday, Feb. 12 at 7:30 p.m.

Friday, Feb. 13 at 7:30 p.m.

Saturday, Feb. 14 at 2:30 p.m.

Saturday, Feb. 14 at 7:30 p.m.

Sunday, Feb. 15 at 2:30 p.m.

http://www.motopera.org/

Alvin Ailey in the House! (The Detroit Opera House that is)

So, Alvin Ailey is coming to the Detroit Opera House from February 12 to the 15. The company is in its 50th anniversary year and has been pushing boundaries of modern dance in America by showcasing the power and importance of black cultural expression.
One of the most popular and performed dances by Alvin Ailey American Dance Theatre is Revelations. Let me tell you: It is an experience! Here is an excerpt:


Isn't that beautiful?! I'm very excited about the show- as you should be too!

This past weekend, I went to the International Association for Blacks in Dance Conference (a.k.a. IABD) and I got to meet George Faison, who danced with Alvin Ailey in the 60's. He later went on to choreograph The Wiz, and concerts for Earth Wind and Fire along with Gladys Knight and the Pips. Here's a picture of Faison and I at IABD.

And another one of us laughing and joking around. We're best buds!

I'll be at the Thursday night showing if you want to come find me!

Dates and Times:
Thursday, Feb 12 at 7:30
Friday, Feb 13 at 7:30
Saturday, Feb 14 at 2:30 and 7:30 (Now that would be a cute V-Day Date!)
Sunday, Feb 15 at 2:30

Visit motopera.org for ticket information.

Talk to you guys soon!

Welcome!

Hello World!

It's Colleen the Intern here at the amazing Detroit Opera House. We are launching our blog which will be updated a few times a week giving you insider information about the DOH. Some things you can look forward to are behind the scenes photos and videos, interviews with the performers at the DOH, interactive quizzes and trivia about opera and dance, along with many other exciting news and updates of the DOH.

If you haven't seen our main website (www.michiganopera.org), let me tell you that we have a fabulous season going on! We will have the incredible Alvin Ailey American Dance Theater, the Grand Rapids Ballet Company's Aladdin, American Ballet Theatre's Romeo and Juliet, the children's opera Brundibar, The Elixir of Love, and Carmen.

In case any of you readers are wondering what that big white building in Grand Circus Park is by Comerica Park...well, it's us- The Detroit Opera House. The building originally opened in 1922 as the Capitol Theater with 4,250 seats it was claimed to the the fifth largest in the world. Back in the day, there were vaudeville shows and moving pictures here at the DOH. In 1960 the theater was renovated and had several names including the Paramount Theater and the Grand Circus Theater. In November 1985 there was a small fire and the theater was abandoned for three years. But then the Michigan Opera Theatre fell in love with what we now call home and restored this beautiful building to what it is now. For more information on the Detroit Opera House history, click here.

Come back for more insider information!