Ballet in the Winter Olympics?

With the Winter Olympics behind us and Tchaikovsky Ballet's production of Sleeping Beauty coming up I thought it would be interesting to blog about the relationship between ballet and figure skating. The topic came to me after watching the mens figure skating competition during the Olympics and turning to a friend to ask him if he thought figure skaters needed training in dance. When thinking about, it seems obvious that figure skaters would need some sort of dance background in order to use choreography successfully in their routines. It seems even more obvious that it would be ballet.

It turns out that figure skating wasn't always the graceful sport we see today , in fact it started out as the strict practice of carving out specific figures onto the ice. That all changed in 1836 when American Ballet Dancer and Championship Ice Skater Jackson Haines set his skating to music and incorporated dance into his routine. The style which is now known as free skating was actually looked down upon in the United States before becoming popular. It became better received after he took his idea overseas to Vienna, Austria, where a more theatrical approach to ice skating, which allowed for dance, was being introduced. It was actually the Russians who became the first to successfully integrate ballet techniques into ice skating in 1964. Some believe that the influence of this style dated back to the 1890s when Russian aristocrats held lavish ice festivals where skaters were choreographed by masters of the Kirov and Bolshoi schools. Several ballet positions can be seen in the choreography of figure skaters. Beginning figure skaters are even encouraged to make ballet a part of their training programs as it is believed that ballet helps the skater with the appropriate posture and helps them become more aware of their bodies. Ballet is also assists skaters with their speed, coordination, balance, flexibility and artistry.

Boucard, Marine, Pistsos, Swallow. Connecting Steps: The Figure Skating/Ballet Relationship. http://www.metroedgefsc.org/pdf/misc/BalletandSkating2.pdf

Skate Canada. Eastern Ontario. History of Skating: History of Figure Skating. http://www.skate-eos.on.ca/about-eossub_HistorySkating.html

Randall, Jon. And it's not Just Because of Tonya Hardins "Little Irish Love Pat". http://sonic.net/~goblin/9ice.html

Absolute Astronomy. Jackson Haines. http://www.absoluteastronomy.com/topics/Jackson_Haines

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.

Cupcake Station & DOH Challenge Audiences to Channel their Inner Pastry Chef or... dare I say... Mad Scientist in this "sweet" contest

In line with the new Mel Brooks musical, Young Frankenstein, showing here at the Detroit Opera House, February 23rd to March 14th, Cupcake station has invited audiences to participate in their latest cupcake creation.

Calling it "a Monster Cupcake", audiences are encouraged to go online and list off what characteristics they believe should go into making the new cupcake on behalf of the musical. One winner will have their cupcake creation "come alive" and receive four tickets to the show. He/she will also get a chance to meet with the cast of Young Frankenstein. But that's not all! four runners up will be selected who will also receive four tickets EACH to the show.

The deadline for the competition is Wednesday, February 10th so don't miss out on your Chance to momentarily live your dream as a Pastry Chef or... you know...a Mad Scientist!

For more information click on the link below.

Create a Monster Cupcake Contest

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

David DiChiera's "Cyrano" music at the Scarab Club!

Maybe you missed the world premiere of Cyrano -- MOT General Director David DiChiera's first opera in 2007. But all is not lost! Chamber Music at the Scarab Club will be presenting a concert featuring the American premiere of David DiChiera's "Souvenir d'Arras," a trio based on his opera Cyrano. The concert will be held at Marygrove College on Sunday, January 24th at 3:00pm.

The program will include two other pieces on the theme of Cyrano with a narration by Karen Landers, expressly written for the concert, linking the music to the timeless Rostand story. Performers include Lillian Scheirich violin, Mary Siciliano piano, and MOT Orchestra principal cellist Nadine Deleury. The concert will also include the premiere of a piece by MOT bassist Clark Suttle and a Quintet by S. Prokofiev.

For ticket information, please call (248) 474-8930 or email ndeleury@sympatico.ca.
For more details about the concert please visit: www.scarabclub.org/chambermusic.

The Delightful Lisa Vroman

By Wendy German

I had the pleasure of meeting and chatting with Lisa Vroman who takes the role of Charlotte Malcolm in Sondheim’s A Little Night Music playing November 14-22, 2009 here at the Detroit Opera House. She was gracious enough to share a little of her life with me. What an enchanting lady, with a fantastic approach about her singing, theatre career and towards life. She has made worldwide appearances due to the ease with which she navigates the rage from musical theatre to opera. She played Christine Daae in the Phantom of the Opera on both coasts and touring for years. Her list of vocal performances and theatrical appearances is extensive.

Q: What led you into the world of musical theatre?

A: I had a crossover path, my mother was a choral music educator and my dad was an undertaker. We grew up listening to Ella Fitzgerald music all the at home when I was little. My parents would go so often to see her in concert in New York City that I believed this was my “Auntie Ella”, but that is not so.

Q: What motivates you to continue your theatre life?

A: We are the relief for people having a bad day. In this economy, it is the first response to go and put on a CD and listen to your favorite music. We as theatre people provide that escape from the everyday.

Q: What are the best and worst parts of the travel aspect of touring?

A: The worst parts, missing family, my husband and my dog. Best part, I get to travel the world, I was recently in Hong Kong and am booked to work in Beijing for the opening of a new opera house in 2010.

Q: Have you ever performed A Little Night Music before?

A: Yes, I have done ALNM three times, so I know the piece well from all aspects.

Q: How far in advance to you begin to prepare for a role?

A: As soon as I know I am going to do it, however long that is.

Q: What was it like meeting Stephen Sondheim?

A: He was at a rehearsal and tapped me on the shoulder, when I turned around and saw him, I couldn’t speak. Stephen is beautiful music; the complexity of his composing is on another level.

Q: Have you ever visited/performed in Detroit before? Is there anything that stands out for you?

A: Yes, Three times in concert with the Detroit Symphony and also while touring. There is a Pewabic tile store I can’t wait to visit!