First of all, to be clear, the company members live in Tulsa. They own or rent homes, have significant others and children. They buy groceries, attend farmer's markets, eat out and make local friends, just like the rest of the citizens of Tulsa. But they do have the pleasure of a 6-week "off-season." So what do they do with their time off? I asked the dancers what their plans are before rehearsals start back up in early August. Here are some of the responses I received:
I go back to Italy every summer to visit my family and to see my friends! I enjoy the amazing weather, the great food and the best wine in the world!
Alberto Montesso
My husband Yann and I are taking our one-year-old daughter Sanya to the south of France to meet her grandparents! Then I go to Estes Park, Colorado to perform as a guest artist.
Alexandra Bergman
I’ll spend some time at home with my mum, dad and my little dogs, then I’m going to Rome to visit a very good friend and take ballet classes there. Then I'll go to London to visit my older sister and my twin because they are living and working there right now in order to learn English. I’m excited to spend part of my vacation there with them!!
Federica Bagnera
I am in Japan for the next six weeks, starting in Osaka and working my way to Tokyo. I will be visiting friends from Tulsa Ballet and spending two weeks Farming in Shiga. I am already having an amazing adventure!
Ian Buchanan
I'm traveling this summer with Leah (Gallas). We are going to China to see Ke Da, Yi and Ma. I'm very exciting to see them and their country, their culture, and of course their food!! And then Leah is coming to Japan with me. I cannot wait to show her my world!
Hanae Seki
I'm staying in Tulsa, teaching the Adult Classes every Monday and Wednesday. I'm also beginning a project with former Tulsa Ballet member Megan McKown Miller, which will be at the PAC in August. Teaching and choreographing is something I hope to do in the near future.
Joshua Stayton
(He's also the official dog sitter for the traveling dancers!)
Kate (Oderkirk) and I will be relaxing on the beaches of Southern California and visiting her family in San Diego.
Nathan McGinnis
Monday, June 28, 2010
Friday, June 18, 2010
Response to Critics
As many of you know, Tulsa Ballet is set to perform tonight at Ballet Across America in Washington DC. 8 other companies are also performing in this festival, meant to showcase the best ballet companies from across the country. I had the pleasure of observing the first evening of dance, with performances by Suzanne Farrell's company, Houston Ballet and North Carolina Ballet. Now, I won't go into any review of these companies, because I'm not a dancer nor a critic.
In talking with other audience members and also reading the reviews by real critics, I was reminded of an editorial I recently came across. The editorial was a response to critiques, not about these ballets in particular, but about dance critiques in general, and I think it is apropos here.
"Why are we so unwilling to view taste in art the same way we view taste in food? Let's say, for example, you don't like brie. You're not wrong about that -- how can you be? -- it's your taste. But, at the same time, I'm not wrong to like it. Plus, if you want to, you can develop a taste for brie just by trying the stuff a few times. Once you've developed taste for brie, that doesn't mean you have to like all brie, or that you can no longer appreciate Cheezits, or that you've become a snob: it just means you've educated your palate.
Taste in art is the same. It's not innate or monolithic, but dynamic: it can be broadened and refined over a lifetime. Isn't that the pleasure of a lifelong encounter with art -- discovering what else you can understand, can resonate with, can love?" Michele Steinwald
Food for thought.
In talking with other audience members and also reading the reviews by real critics, I was reminded of an editorial I recently came across. The editorial was a response to critiques, not about these ballets in particular, but about dance critiques in general, and I think it is apropos here.
"Why are we so unwilling to view taste in art the same way we view taste in food? Let's say, for example, you don't like brie. You're not wrong about that -- how can you be? -- it's your taste. But, at the same time, I'm not wrong to like it. Plus, if you want to, you can develop a taste for brie just by trying the stuff a few times. Once you've developed taste for brie, that doesn't mean you have to like all brie, or that you can no longer appreciate Cheezits, or that you've become a snob: it just means you've educated your palate.
Taste in art is the same. It's not innate or monolithic, but dynamic: it can be broadened and refined over a lifetime. Isn't that the pleasure of a lifelong encounter with art -- discovering what else you can understand, can resonate with, can love?" Michele Steinwald
Food for thought.
Friday, May 21, 2010
The music and lyrics of CARMINA BURANA, playing this weekend (May 21-23, 2010) at the Tulsa PAC.
Carmina Burana will feature the Tulsa Ballet dancers joined by members of Tulsa Opera, Tulsa Oratorio Chorus and Tulsa Symphony Orchestra for a very powerful multi-disciplinary arts experience... In other words, it's a really cool production that combines live choral music, live instrumental music with the dramatic power of dance. All on one stage!
James D. Watts from the The Tulsa World writes: Although composer Carl Orff approved a two-piano-and-percussion version of his “Carmina Burana,” the work was conceived for a large orchestra, one with an unusually large and diverse percussion section. (The score lists 14 percussion instruments — from timpani and three types of cymbals to ratchets and sleigh bells.) Orff’s music often relied on driving, complex rhythms that managed to sound at once primitive and sophisticated, and that achieve an irresistible, elemental power.
“Carmina Burana” is Latin for “Songs from Beuren,” and refers to a collection of 15th century lyrics that ultimately came to reside in a Benedictine monastery in the German town of Beuren.
Orff used 24 of these lyrics in his “Carmina Burana,” which are divided into four sections: “Spring,” “On the Green,” “In the Tavern” and “The Court of Love.”
The thunderous opening “O Fortuna,” which serves as prologue and epilogue, is about the role of fate in human affairs.
Read more from this Tulsa World article at http://www.tulsaworld.com/scene/article.aspx?subjectID=272&articleID=20100520_272_ES10_ByJame62397
In case you don't speak latin or if you've just ever wondered what "O Fortuna" is really about, here is an interesting video clip that shows the original latin text along with the English translation.
You can also read the entire translation here: http://www.classical.net/music/comp.lst/works/orff-cb/carmlyr.php. You might even want to print off a copy to take with you to the theater this weekend so you can follow along (something that I plan to do).
Read even more about the music and lyrics of Carmina Burana: http://www.classical.net/music/comp.lst/works/orff-cb/carmina.php
For tickets to CARMINA BURANA this weekend which is paired with the Oklahoma Premiere of the VERTIGINOUS THRILL OF EXACTITUDE by William Forsythe: http://www.tulsaballet.org/events.asp?id=11&pid=55&task=display
James D. Watts from the The Tulsa World writes: Although composer Carl Orff approved a two-piano-and-percussion version of his “Carmina Burana,” the work was conceived for a large orchestra, one with an unusually large and diverse percussion section. (The score lists 14 percussion instruments — from timpani and three types of cymbals to ratchets and sleigh bells.) Orff’s music often relied on driving, complex rhythms that managed to sound at once primitive and sophisticated, and that achieve an irresistible, elemental power.
“Carmina Burana” is Latin for “Songs from Beuren,” and refers to a collection of 15th century lyrics that ultimately came to reside in a Benedictine monastery in the German town of Beuren.
Orff used 24 of these lyrics in his “Carmina Burana,” which are divided into four sections: “Spring,” “On the Green,” “In the Tavern” and “The Court of Love.”
The thunderous opening “O Fortuna,” which serves as prologue and epilogue, is about the role of fate in human affairs.
Read more from this Tulsa World article at http://www.tulsaworld.com/scene/article.aspx?subjectID=272&articleID=20100520_272_ES10_ByJame62397
In case you don't speak latin or if you've just ever wondered what "O Fortuna" is really about, here is an interesting video clip that shows the original latin text along with the English translation.
You can also read the entire translation here: http://www.classical.net/music/comp.lst/works/orff-cb/carmlyr.php. You might even want to print off a copy to take with you to the theater this weekend so you can follow along (something that I plan to do).
Read even more about the music and lyrics of Carmina Burana: http://www.classical.net/music/comp.lst/works/orff-cb/carmina.php
For tickets to CARMINA BURANA this weekend which is paired with the Oklahoma Premiere of the VERTIGINOUS THRILL OF EXACTITUDE by William Forsythe: http://www.tulsaballet.org/events.asp?id=11&pid=55&task=display
Monday, May 10, 2010
Friday, May 7, 2010
Hello Google!
Who wasn't entertained to see the Google homepage feature a bit of ballet today?
See you at the Prom...!
Monday, April 26, 2010
Wednesday, March 31, 2010
The Sleeping Beauty awakens again, this weekend in OKC
If you love ballet, if you enjoy theater, if you appreciate classical music, beautiful sets, lavish costumes or any of the above, you must see The Sleeping Beauty. Tulsa audiences were able to enjoy this fantastic version of the classic in February, and the Company will reprise the ballet in Oklahoma City this weekend, performing Friday, April 2 at 7 pm and Saturday, April 3 at 2 pm. The shows in Tulsa sold out, and sales for this weekend are very high, so reserve your tickets now! I really can't tell you how incredible this production is, so I'll share a few photos from the February dress rehearsals, taken by Ma Cong.
Karina Gonzalez and Wang Yi
Alfonso Martin and Soo Youn Cho
Legs for Miles
Puss and Boots and Blue Birds
The Wicked Carabosse
The set and costumes are truly opulent, and the dancing is spectacular, as always. I can't wait to see it again (for the 5th time this year)!
Friday, March 19, 2010
Wednesday, March 17, 2010
Tuesday, March 9, 2010
Friday, March 5, 2010
New Video Highlights for The Contemporaries
New at www.tulsaballet.org -- video highlights and an interview with choreographer, Stanton Welch, for the upcoming performance of The Contemporaries, March 19-21.
Monday, February 15, 2010
A quick look of Pop Culture Production Rehearsal
Dear friends,
It was so nice to have all of you came to join us for our Sleeping Beauty production, hope everyone had a lovely, wonderful Valentine's day.
We are starting to rehearse our next production which going to present at PAC in the middle of the March, please find more info at www.tulsaballet.org. It's going to be another wonderful production for those of you who loves contemporary ballets!
Also, I am posting a link that will show you a little bit of my rehearsal for our Pop Culture production in our K-Studio Theater in April, 3 world premieres/creations will be presented here at Tulsa, Oklahoma. Hope you all will also join us for all these wonderful programs/productions!
A new creation by Ma Cong, Studio rehearsal:
Thanks!
Ma Cong
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