Tag Archives: George Balanchine

Review Roundup: MasterPieces

As we closed the curtain on last weekend’s MasterPieces performance, the Ballet San Jose Company was glowing at their achievement, and the feeling was clearly contagious. Reflecting on their success, here are a few thoughts about the performance from our reviewers.

Carla Escoda of the Huffington Post commented on Ballet San Jose’s performance of Twyla Tharp’s In the Upper Room, stating,

The company threw themselves into that electrifying work with great style and daring – a triumph from start to finish.

Maykel Solas, Alexsandra Meijer, and Amy Marie Briones in Twyla Tharp's In the Upper Room. Photo courtesy of Ballet San Jose.

Maykel Solas, Alexsandra Meijer, and Amy Marie Briones in Twyla Tharp’s In the Upper Room. Photo courtesy of Ballet San Jose.

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Guest Stager: Stacy Caddell

After an acclaimed Nutcracker, our dancers are back in the studios rehearsing for our first program of 2015, MasterPieces. This week we are joined by Stacy Caddell, who is working with our dancers to stage George Balanchine’s Theme and Variations along with Sandra Jennings, also back in the studios since December. The ballet along with the company premiere of Jerome Robbins’ Fancy Free and the return of Twyla Tharp’s In the Upper Room make up the MasterPieces program, which will be performed on February 20-22 at the San Jose Center for the Performing Arts. These three works truly live up to the title of MasterPieces, and we are thrilled to be presenting this exquisite and diverse program. Keep reading to learn more about Stacy Caddell. For tickets to see MasterPieces, visit the Ballet San Jose website. Tickets start at only $25!

Stacy CaddellStacy Caddell

Stacy Caddell was born in Norfolk, Virginia where she began her dance training at the age of five. She attended the School of American Ballet and joined New York City Ballet at the invitation of George Balanchine in 1980. In 1991, Caddell joined Twyla Tharp’s company. She later toured with Tharp and Mikhail Baryshnikov in the full evening production of Cutting Up. After retiring from the stage, Caddell assisted Tharp at American Ballet Theatre on Known by Heart and at New York City Ballet on Beethoven’s Seventh. From 2002-2005, she served as Dance Supervisor for Tharp’s Tony Award winning Broadway show Movin’ Out. Caddell’s choreographic credits include the HBO series The Sopranos, the opera Aida for the Todi Festival in Virginia, and a ballet, our special waltz, for Ballet Academy East where she is a permanent guest faculty member. Caddell is currently a repetiteur and travels internationally to stage the works of Twyla Tharp and George Balanchine for Twyla Tharp and the George Balanchine Trust respectively.

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Guest Stager: Sandra Jennings

We’re in the middle of Nutcracker season, but we’re already thinking ahead to the New Year! This week, we were joined in the studios by Guest Stager Sandra Jennings, also ballet-mistress and coach at Mariinsky Theatre. Sandra is working with the Company to stage George Balanchine’s Theme and Variations for Ballet San Jose’s MasterPieces program. MasterPieces will be performed at the San Jose Center for the Performing Arts February 20-22, 2015.

Sandra Jennings

Sandra Jennings, courtesy of Mariinsky Theatre

 

Sandra Jennings

Sandra Jennings was born in Boston and began her dance training at an early age with June Paxman of the Washington Ballet and later with E. Virginia Williams at Boston Ballet. Later Sandra trained with teachers such as Harriet Hoctor, Shanna Bereska and Margaret Gill. Continue reading

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Review Roundup: Ballet San Jose’s Neoclassical to Now

Ballet San Jose Company members Alexsandra Meijer and Joshua Seibel in Jorma Elo’s Glow-Stop. Photo by Alejandro Gomez.

Ballet San Jose Company members Alexsandra Meijer and Joshua Seibel in Jorma Elo’s Glow-Stop. Photo by Alejandro Gomez.

This past weekend, Ballet San Jose presented Neoclassical to Now, the first program of our 2014 Repertory Season, and the reviews are in! We are already starting to prepare for our quickly approaching second program, but we thought we would take a moment to reflect on the successes that just took place on the stage. Take a look at what our reviewers said about Serenade, Glow-Stop, and Minus 16, as well as our new Artistic Director José Manuel Carreño.

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Ohad Naharin, choreographer of Minus 16

Neoclassical to Now opens in one week on Friday, February 14. This program offers a wide range of styles, from Neoclassical Serenade choreographed by George Balanchine, to Jorma Elo’s contemporary Glow-Stop. Also featured in this program is the company premiere of Israeli choreographer Ohad Naharin’s Minus 16. Each work differs dramatically from the others, and Ballet San Jose’s dancers have to quickly adapt and move from one style to the next.

Transitioning into Minus 16, the dancers remove their pointe shoes and take on a very different style of dancing called Gaga. Pioneered by Ohad Naharin, Gaga is a “movement language” emphasizing sensation and pleasure in movement. This particular style of dance is very popular in Israel, especially in Tel Aviv, and it is the main style of dance taught at Batsheva Dance Company where Naharin is artistic director. Through Gaga, our dancers are learning and discovering new ways of moving, and according to Danielle Agami, assistant to the choreographer and one of the stagers for Ballet San Jose’s performance, “some of them are beginning to understand Gaga. They have to break down the habits that have been ingrained through years of classical ballet training.”

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Notes from Talia: Ballet San Jose Moves Forward

Ethan Stiefel and Ashley Tuttle featured in American Ballet Theatre’s 1998 performance of Bruch Violin Concerto No. 1 (1998 WNET PBS Telecast — Great Performances: DANCE IN AMERICA)

Note: Starting today, Talia the Marketing Intern will begin contributing posts to the Ballet San Jose blog.

BALLET SAN JOSE is moving forward with leaps and bounds! Yesterday was a different kind of day at Ballet San Jose as I got to take a sneak peek at the dancers as they worked on the upcoming Bruch Violin Concerto No. 1 (Program 2, April 13-15). It was quite the experience. I couldn’t believe my luck when Lee stopped by my cubicle and told me I’d be allowed to watch some rehearsal upstairs. And the Ballet San Jose dancers didn’t disappoint.

It’s true that you can never really know how good something will really be until you see the finished product. But I could already tell that these pieces from the 2012 season are going to be spectacular. It was great to be able to get a look behind the scenes of the productions, to see the dancers working hard to learn new steps for some really exciting shows.

Clark Tippet’s choreography for Bruch is so elegant, and watching Wes and David Richardson work with the dancers was a treat! David even cracked a couple of jokes that had the dancers laughing and smiling at each other. The camaraderie was obvious, and it made those ten minutes of rehearsal a real joy to watch.

The dancers look so much more regal in person, too! Their poise is astounding, and they hold themselves very elegantly–even when they are walking to get a drink of water. Next door, rehearsals for Balanchine’s Allegro Brillante (also Program 2, April 13-15) were in full swing. That’s one of the pieces I can’t wait to see on stage.

Keep up the great work, guys! We won’t see the finished Bruch until the middle of April, but I look forward to the beginning of the season in March. Can’t wait!

Peace out!
Talia

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