Issuu on Google+

Message from the Director Dear friends, Welcome to Pacific Northwest Ballet’s 2010-2011 season. Full of variety, innovation, and favorite memories, there’s definitely something for everyone. Each season, I’m excited to introduce new works that pique curiosity and round out our already impressive collection of ballets. There are five this season. First, we revisit the mastery of Jiri Kylian and Mozart, with the addition of the comedic tour de force, Six Dances. Paired with last season’s treasure, Petite Mort, our appreciation of Mr. Kylian’s genius takes on a new dimension. Also in our first program is the addition of Jerome Robbins’ masterpiece, Glass Pieces. Cool and thrilling, this work places a powerful spotlight on the ensemble. With the welcome return of Nacho Duato’s Jardí Tancat, our September program is a perfect start to a great season. Audiences either liked Mopey or didn’t, but everyone certainly formed an opinion. In March, we present a world premiere by Marco Goecke that’s quite a coup for PNB and bound to have you back at the water cooler. Mr. Goecke holds the position of resident choreographer at Stuttgart Ballet and he has created original works for many European companies. We present another exciting new work in March, our first by a young choreographer whom the world is watching very closely. The former artistic director of the Bolshoi Ballet, Alexei Ratmansky has created works for most major ballet companies around the globe. Concerto DSCH, set to a Dmitri Shostakovich score, was created for New York City Ballet in 2008, making PNB just the second company to perform this engaging work. Remember the name Alexei Ratmansky; there’s more to come. The returning repertory is no less exciting than the new. Watch for Twyla Tharp’s Opus 111 and Afternoon Ball, original works created for PNB in 2008, alongside her playful Waterbaby Bagatelles, in November’s ALL THARP program. Also returning to the repertory this season are winning works by Mark Morris and Paul Gibson. In the category of favorite memories, Kent Stowell’s sumptuous Cinderella will enjoy a long-awaited revival in February. Prokofiev’s score plays host to the wit and wonder of this original work by PNB’s founding artistic director. In April, George Balanchine’s wondrous A Midsummer Night’s Dream will enchant the child in all of us. Combine these with the Stowell & Sendak Nutcracker and Bruce Wells’ Pinocchio to round out a perfect fairy tales package for families. In June, we have another exciting new work for you: PNB will present the timeless classic, Giselle, for the first time. I’m going to stage it myself, with original choreography by Jean Coralli, Jules Perrot, and Marius Petipa. Memorable performances promise to make this exciting repertory addition the event of the season. A word of thanks to our subscribers: With a few less dollars in your wallets, you have continued to subscribe to PNB. In fact, for the past two seasons your numbers have grown. When choosing what’s important in your lives, you choose us. For this I want to thank you and let you know how much all of us at PNB appreciate your continued support. See you at the ballet!

PNB Artistic Director Peter Boal.

All photos © Angela Sterling unless otherwise noted.


Rep 1

September 24–October 3, 2010

November 5–14, 2010

Director’s Choice *Six Dances Music: Wolfgang Amadeus Mozart Choreography: Jiri Kylian Staging: Roslyn Anderson

“Peter Boal has made it part of his PNB mission to foster new work, to introduce Seattle audiences

Petite Mort Music: Wolfgang Amadeus Mozart Choreography: Jiri Kylian Staging: Roslyn Anderson

All Tharp

to choreographers who may be unfamiliar here.

…his gambles have paid off.” —artdish.com

*Glass Pieces Music: Philip Glass Choreography: Jerome Robbins Staging: Jean-Pierre Frohlich

Rep 2

Jardí Tancat

Opus 111

Waterbaby Bagatelles

Music: Johannes Brahms Choreography: Twyla Tharp

Music: Seven 20th-century bagatelles (Anton Webern, Kevin Volans, John Lurie, David Lang, Astor Piazzolla, Mickey Hart, John Adams) Choreography: Twyla Tharp Staging: Shelley Washington

Afternoon Ball

Music: Maria del Mar Bonet Choreography: Nacho Duato Staging: Nathalie Buisson

Music: Vladimir Martynov Choreography: Twyla Tharp Kaori Nakamura & Lucien Postlewaite in Petite Mort.

Kaori Nakamura & Charlie Neshyba-Hodges in Afternoon Ball.

“her architectural command of stage space becomes handsomely evident.

…the ways in which Ms. Tharp dramatizes space are constantly striking”

— Alastair Macaulay, The New York Times

(l-r) Kaori Nakamura & Carrie Imler in Petite Mort.

(back-front) Carrie Imler, Mara Vinson & Olivier Wevers in Jardí Tancat.

Company dancers in Waterbaby Bagatelles.

Lesley Rausch & Josh Spell in Petite Mort.

Ariana Lallone & Charlie Neshyba-Hodges in Afternoon Ball.

Rachel Foster & Kiyon Gaines in Opus 111.

Company dancers in Waterbaby Bagatelles.

To open the season, Artistic Director Peter Boal premieres two notable works on his annual mixed bill of selections. Audiences held spellbound by its debut last season will applaud Petite Mort’s return, partnered by a second addition from Jiri Kylian’s renowned “Black and White” series. Wickedly funny, Six Dances’ Mozartian mayhem is a tour de force of musicality and expression behind its powdered wigs and disembodied gowns. The second new-to-PNB work on the program, Glass Pieces, demonstrates Jerome Robbins’ matchless intuition for group dynamics via pedestrian patterns formed by dozens of lycra-clad dancers. Set to three compositions by Phillip Glass, Robbins’ ensembles create poetry from repetition, making each alteration in vocabulary and character ingeniously effective. Rounding out this abundantly textured program is audiencefavorite Jardí Tancat, Nacho Duato’s powerful signature work danced to

The three works on this all-Twyla Tharp mixed bill each speak with a distinctive voice. Staged together, they offer a striking demonstration of the legendary choreographer’s creative fluency. Opus 111 and Afternoon Ball, commissioned for PNB just months before Tharp received Kennedy Center Honors, shed their light from opposite ends of a thematic spectrum: the first is a joyous, folk-influenced ensemble work and the second, an unflinching take on urban alienation and redemption. In Waterbaby Bagatelles, last seen in 2006, blue-capped women and bare-chested men flirt and flow under the aqueous glow of rows of florescent light tubes, swept up by the musical currents of seven short compositions “…idiosyncratic and terrific even by the best Tharp standards…it refreshes simply by washing right over you” (The New York Times).

traditional Catalonian songs.

2

3


Rep 3

March 18–27, 2011

February 4–13, 2011

“…a mesmerizing theatrical spectacle.” — The Seattle Times

Music: Sergei Prokofiev Choreography: Kent Stowell Staging: Kent Stowell and Francia Russell Scenic Design: Tony Straiges Costume Design: Martin Pakledinaz Lighting Design: Randall G. Chiarelli

“I’m a musician,”

Contemporary 4

Morris said,

“and my medium

is dancing.” — The Washington Post

Louise Nadeau as Cinderella.

The Piano Dance

Music: Lou Harrison Choreography: Mark Morris Staging: Tina Fehlandt

Music: John Cage, Frederick Chopin, Alberto Ginastera, Bela Bartok, Gyorgy Legeti Choreography: Paul Gibson

Music: TBA Choreography: Marco Goecke

*Concerto DSCH Music: Dmitri Shostakovich Choreography: Alexei Ratmansky *PNB Premiere **World Premiere

Chalnessa Eames & Josh Spell in The Piano Dance.

Lucien Postlewaite & Benjamin Griffiths in Pacific.

Louise Nadeau in The Piano Dance.

(l-r) Louise Nadeau & Olivier Wevers with Carrie Imler. Carrie Imler & PNB School students.

True to Mark Morris’ work, Pacific’s serene alliance of mood and movement appears innately formed from the psyche of Lou Harrison’s 1990 score. The dancers’ fullskirted strides and uplifted arms, set against expansive blue and orange vistas, convey effortless accord, a deep sense of well-being, and “ever-surprising combinations, ever delightful to behold” (danceviewtimes.com). The Piano Dance, created by former PNB principal dancer and now Ballet Master Paul Gibson, returns. Set to ten piano pieces, the chic, ruby velvet group and solo dances are capped by a “spectacular pas de deux that manages to evoke both abandon and restraint” (The New York Times). Young German choreographer Marco Goecke, known to PNB audiences for cult-classic Mopey, stages a World Premiere that is certain to be stamped with his own enigmatic, quirky style. Concerto DSCH, PNB’s first work by critically acclaimed Alexei Ratmansky, represents a major introduction. A graduate of the Bolshoi’s Moscow Ballet School, Ratmansky danced and choreographed internationally before the Bolshoi commissioned a ballet and then invited him to become artistic director. Emblematic of his work, Concerto DSCH is engaging, musical, and full of surprise—“One of Ratmansky’s great gifts is stitching together classical steps in ways that…the unexpected twists or choice of movements never look plotted” (The Village Voice). “Everything Ratmansky creates has a secret inside it” (The New Yorker).

Anne Derieux as Fairy Godmother and Patricia Barker as Cinderella with Company dancers & PNB School students.

4

Pacific

**WORLD PREMIERE

Cinderella Following a nine-year hiatus, Kent Stowell’s captivating Cinderella makes a long-anticipated return for its McCaw Hall debut. Drawn from the original French fairy tale by Charles Perrault, Stowell focused on the spirit of the story to develop the ballet’s romantic and tender themes, a narrative of “love lost, and love found.” Roles for the entire Company, as well as some of Stowell’s most endearing creations for PNB School students, combine with more than one hundred elaborately detailed costumes and vast painted backdrops to transport Cinderella from her softly illuminated memories, through misty magical landscapes to, at last, a royal palace adorned with Rococo frescos and crystal chandeliers. Here, in the midst of a swirling, scarlet-clad ballroom, Cinderella and her prince flash like precious diamonds in one of PNB’s most breathtaking moments.

Rep 4

Carla Körbes & Batkhurel Bold in Pacific.

5


Rep 5

June 3–12 , 2011

April 8–17, 2011

Rep 6

Giselle

“In a forest near Snoqualmie…

there is ballet and magic!”

— DANCE Magazine

A Midsummer Night’s Dream

Music: Felix Mendelssohn Choreography: George Balanchine © The George Balanchine Trust Staging: Francia Russell Scenic and Costume Design: Martin Pakledinaz Lighting Design: Randall G. Chiarelli

Libretto: Jules-Henri Vernoy de Saint-Georges and Théophile Gautier Music: Adolphe Adam Choreography: Jean Coralli, Jules Perrot, and Marius Petipa Staging: Peter Boal Choreography Reconstruction: Doug Fullington Historical Adviser: Marian Smith Scenic and Costume Design: Peter Farmer Lighting Design: Randall G. Chiarelli World Premiere staging

A garden of delight for the eyes and ears, George Balanchine’s A Midsummer Night’s Dream recounts William Shakespeare’s great comedy about the misadventures, quarrels, and reconciliations of two pairs of mortal lovers and the King and Queen of the fairies. Illusion, deception, and jealousy each play parts in the romantic confusion between Titania and Oberon, rulers of the Fairy Kingdom, and the bemused mortals that have wandered into their realm, set deep in Tony award-winning designer Martin Pakledinaz’s lush, enchanted forest. All is eventually—and humorously—resolved by Act II, which opens with Mendelssohn’s familiar Wedding March. Devoted to ideal love, the marriage festivities are crowned by the magnificent Divertissement pas de deux, which

(l-r) Kaori Nakamura, Benjamin Griffiths & PNB School students. (main image) Carrie Imler with Company dancers.

endures as one of Balanchine’s most beautiful creations. Unveiling Peter Boal’s new staging, PNB’s Giselle marks a major World Premiere as well as the first time an American ballet company has revived a classic based on original material researched by Stepanov notation expert Doug Fullington in collaboration with leading Giselle scholar Marian Smith. Since its premiere in 1841, Giselle has become one of the most popular ballets of all time and is considered ballet’s great tragedy. A masterpiece of the Romantic era, Giselle tells the story of a young peasant girl seduced and betrayed by a nobleman. Dying of a broken heart, Giselle joins the ranks of the supernatural Wilis, women scorned before their wedding day and doomed to take their revenge for eternity.

6

Giselle photos courtesy of Houston Ballet.

7


Add-on

November 26–December 27, 2010

“There’s no surer cure for holiday humbugs than Pacific Northwest Ballet’s Nutcracker. Scene after magical scene is designed to win over even the most hardened heart. Little tots in soldier suits bravely swing their swords in time with the music. Dolphins playfully jump in a hand-painted ocean. Glittering snowflakes drift past a glowing moon, falling onto the upraised arms of earnest young dancers, faces bright with hope. Just try to resist it.” —­Lynn Jacobson, The Seattle Times

PNB School student.

(l-r) Andrew Bartee & PNB School students. (main image) Company dancers.

Scenic and Costume Design: Maurice Sendak Choreography: Kent Stowell

8

Music: Peter Ilyich Tchaikovsky Lighting Design: Randall G. Chiarelli


2010-11 Season Brochure, Inside Pages