Diversions 09.26.13

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Music Review: Sarasota Orchestra Song Fest Concerts PAGES 4 and 5

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ARTS&ENTERTAINMENT | BRITISH INVASION

THURSDAY, SEPTEMBER 26, 2013

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Women’s Council of Realtors Fashion Show and Luncheon. PAGE 8

by Mallory Gnaegy | A&E Editor

Courtesy photo

Photo by Frank Atura

Left: Margaret Barbieri dances Sir Frederick Ashton’s “La Fille mal Gardeé” for The Sadler’s Wells Royal Ballet. Right: Sarasota Ballet’s Kate Honea and Ricardo Graziano in “La Fille mal Gardée” in 2013.

FOLLOWING IN HIS

FOOTSTEPS Sarsota Ballet announces its Sir Frederick Ashton Festival. For Iain Webb and Margaret Barbieri, it’s a way to feel connected to the choreographer and the legacy he created.

ARTS&ENTERTAINMENT COVER STORY CONTINUED ON PAGE 2

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THURSDAY, SEPTEMBER 26, 2013

// ARTS&ENTERTAINMENT: BRITISH INVASION

by Mallory Gnaegy | A&E Editor (continued from page 1)

FOLLOWING IN HIS FOOTSTEPS Sarsota Ballet announces its Sir Frederick Ashton Festival.

For Iain Webb and Margaret Barbieri, it’s a way to feel connected to the choreographer and the legacy he created.

I

Courtesy photos

Photo by Frank Atura

Top left: Frederick Ashton and Margaret Barbieri behind the scenes of “The Two Pigeons.” Top right: Barbieri stages “Valses Nobles et Sentimentales” with Ricardo Rhodes and Victoria Hulland in 2012. Bottom: The Sarasota Ballet in Sir Frederick Ashton’s “Two Pigeons” in 2011.

ain Webb sits in a quiet daze. For his wife, his pensive eyes and face are a telltale sign the artistic director of the Sarasota Ballet is dreaming something up.

“Iain, what’s on your mind?” she asks him.

He waves her off.

“No, no, no, it’s nothing,” he says.

Then, a few weeks later, that nothing has suddenly materialized into something — a big something.

“Well, what about doing a Sir Frederick Ashton Festival?”

Webb’s wife, Margaret Barbieri, who also doubles as assistant director of Sarasota Ballet, doesn’t recall the exact moment the idea was born, but the scene she has just described is typically what happens when Webb’s gears start turning. And, April 30, that idea will transpire into a four-day festival featuring 11 works of the founding choreographer of the British Royal Ballet.

Barbieri sits in her office in the FSU Center for the Performing Arts. In a few days, she’ll leave for London where she’ll join Webb Sept. 22, to speak on a panel at an Ashton symposium at The Royal Ballet School. Speaking alongside them are notable dance critics, historians, former dancers and choreographers who have worked with Ashton or stage his ballets.

She explains that the timing of the panel is terrible: The dancers already staged two Balanchine ballets; they are working on “John Ringling’s Circus Nutcracker”; and Paul Sutherland is here staging Agnes de Mille’s “Rodeo.” But, they made it work be-

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THURSDAY, SEPTEMBER 26, 2013

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// ARTS&ENTERTAINMENT performances. However, relying on memory alone would be fatal, she says. There’s a lot of research that goes into it.

When she staged “La fille mal gardee” last season, what she calls a “mammoth operation,” she studied six DVDs of original performances. Of course, there are slight differences in the way companies performed them.

“Fred liked that, in a way, because when he would work with you, he would change things to suit you,” Barbieri says.

For instance, she remembers when she was learning the choreography for “The Dream.” At one portion of the choreography, she tried to match ballerina Antoinette Sibley’s arm movement, but Ashton said, “Come on, Maggie! Do so much more!”

When she stages his works, she feels connected to Ashton — and his legacy. Not only did he create the foundation of the British style of ballet, but every ballet conjures memories. She remembers him wielding a cigarette; as a quiet and timid choreographer, yet knowing exactly what he wanted; and for his great sense of humor. She and Webb are sure to share these moments with the dancers.

“These are ballets we absolutely adore, and to pass these on to younger generations is a great privilege,” she says. “It’s wonderful to see them come alive.”

Barbieri is quiet about what we can expect for the following seasons, although she does say that Webb was making negotiations with the Brit big-wigs when he was in London.

“I get worried that we can’t (top ourselves),” Barbieri says.

But, she’s seen that look on Webb’s face before.

“He never stops dreaming, which is great, because that’s what you have to do,” she says, “and his dreams materialize.”

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Visit YourObserver.com for the lineup of ballets and event information about Sarasota Ballet’s Sir Frederick Ashton Festival.

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cause it will be good for the company, and she also hopes it will promote the festival.

Although Sarasota Ballet performs pieces by modern and classical choreographers and its season includes a variety of great work, Sarasota Ballet is creating an international stir with its Ashton repertoire — it has put the company on the map.

Barbieri spent her first career as a dancer in Sadler’s Wells Royal Ballet, while Webb danced with the Royal and Sadler’s Wells Royal Ballet, both under Ashton’s tutelage.

In fact, the couple was so close with the choreographer that Ashton was the first to know Barbieri was pregnant — even before their parents.

It’s a favorite story the couple often shares.

Barbieri had been told she couldn’t have children, but suddenly found out she was pregnant. For fear it was an ectopic pregnancy, she and Webb kept quiet. She went to the doctor and learned it was a normal pregnancy. Webb was rehearsing with Ashton, so Barbieri rushed to the studio, peered in the window and gave Webb an excited thumbs-up. Webb was giddy, and Ashton knew something was going on. He took the couple to lunch to find out the good news.

Following lunch, back in the studio, Ashton kept cracking jokes with Webb, calling him “Pop.” He leaned in toward Webb, cigarette in-hand, and said: “Wearing pink tights and going to be a father? I think not, Pop.” Barbieri first worked with Ashton in 1965 upon her graduation from the Royal Ballet School, right at the start of her career, and continued to work with him until his death in 1988. She can’t count how many of Ashton’s more than 100 ballets he choreographed that she danced in her career.

“Twenty-five years’ worth,” she laughs.

Now, the couple’s second careers have been spent staging Ashton ballets. Barbieri has personally staged eight, mostly pieces she had danced in previously. In “La fille mal gardée,” she danced all but the chicken part. And she danced every role in “The Two Pigeons.”

So, when staging a ballet, she relies on both body and music memory from these

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THURSDAY, SEPTEMBER 26, 2013

// ARTS&ENTERTAINMENT: REVIEWS

MUSIC

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// Sarasota Orchestra: Song Fest Concerts

Kitchen

Jason Collins

Courtesy

be programmatic but is, for the most part, simply an unusual work that we probably won’t hear again in this lifetime. The players brought out warm lines showing more of their talents than those of the composer.

Mahler’s “Songs of a Wayfarer” are no strangers to lovers of great orchestral music.

The composer later used a couple of them (instrumentally and without words) in his First Symphony, but hearing them with their folktexts allows us to hear the color and sorrow in which Mahler soaked them. Written originally for piano and mezzo, men often sing them, and tenor Jason Collins delivered the set of four songs with a spinning tone.

Unfortunately, there were no translations so, unless one spoke German, the beauty and melancholy of the poetry were lost.

Also, Mahler, himself, reset them for voice and orchestra. Then, more than 30 years later, Arnold Schoenberg arranged them for voice and a strange combination of flute (and piccolo), clarinet (and bass clarinet),

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I wish all concerts followed the programming three C’s: creativity, color and contrast.

The programs Dirk Meyer and the Sarasota Orchestra presented last Thursday and Friday in Holley Hall followed them to the letter.

These were chamber programs incorporating not only an elegant mix of instrumental forces ranging from string quartet and brass quintet to small chamber orchestras, but also making use of the vocal chamber music that is so abundant, multifaceted and beautiful, teeming with meaning, profundity and overwhelming insights.

For reasons I’ve never understood, many people — musicians included — don’t consider vocal music an important facet of the chamber repertoire. And, I’m sure some members of the audience felt these programs were too “modern.” Yet, all the music was written between the late 1880s and first half of the 1900s so, come on. There is musical life after Brahms.

Called “Song Fest,” these concerts were divided between two evenings and were rich in creativity, color and contrast. Thursday’s program opened with Enrique Crespo’s unusual settings of “Three Spirituals.” Set for brass quintet, they were played with exuberance and flair by the Sarasota Brass Quintet and the final, “Swing Low, Sweet Chariot.” Rather than being the lulling song we’re used to, it was turned by Crespo into a rollicking, up-tempo piece straight out of a shoot-’em-up cowboy flick. Surprisingly, it was extremely effective that way.

The Sarasota String Quartet offered a picturesque performance of Turina’s “La oracion del torero” (“Prayer of a Bullfighter”).

Not often heard, this is a pleasant, inoffensive piece that makes a few attempts to

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THURSDAY, SEPTEMBER 26, 2013

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Blythe Gaissert-Levitt string quartet, contrabass, piano, harmonium and percussion — an odd assortment, at best, and — for my ears — too thin and insubstantial to support the weighty poetry and rich melodic lines of the singer. I like Mahler’s versions better.

Collins, who is hired often in European houses as a helden (dramatic) tenor, was showcased to much better advantage the following evening when he sang the glorious Serenade for Tenor, Horn and Strings

by Britten. Here, with the perfection of Joe Assi’s horn playing and a beautifully cohesive string ensemble led by Dirk Meyer, Collins mastered Britten’s incredibly difficult, breathtaking phrases and seemingly impossibly high tessitura (one section has him singing a high A followed by a B-flat ad infinitum), with amazing colorations and dexterity. Assi was no less impressive; from his singular solo in the prologue to his off-stage repeat of it in the epilogue, as if from a heav-

S L E E P E R

enly space, spinning out sounds worthy of the world-class hornist he is.

The other singer on these programs was Blythe Gaissert-Levitt, a charming mezzo with a rich well-controlled voice and personality to match. Her performance of five of Copland’s beloved “Old American Songs” showed beautifully nuanced singing, excellent diction and a nice sense of humor, but two things conspired against her. Meyer allowed the orchestra, especially the brass, to overpower her, sometimes obliterating her entirely, and she was too controlled and too perfect in these alternately funny and moving pieces.

Her work in the sublime “Trois poeme de Stephane Mallarme” on Friday night was just right. Once again, we had no translations — not even an inkling of the meanings of these gorgeous poems — so she might as well have been singing vowels. But, in this instance, the colors of the small instrumental ensemble with the voice as another instrument allowed us to float on Ravel’s impressionistic painting of sound and simply enjoy the Frenchness of it all.

Finally, Friday night’s performance came to a colorful, contrasting conclusion with a brilliantly vibrant performance of Falla’s “El amor brujo.” This is not a work for the fainthearted. It’s gutsy and guttural, taking us from the Spanish landscape into the swirling, flamboyance of the famous “Ritual Fire Dance,” and Meyer held his forces together with just the right amount of gusto without ever overpowering Gaissert-Levitt in her vocal appearances. Oboist Adam de Sorgo was magnificent in his lines.

If there was one thing missing it was the kind of abandon, from singer and conductor, Falla calls for in this passionate, flamencostyle music. If anything, they were well matched to each other in their prudence and precision. But, sometime, I’d love to hear them both let go, letting the notes drop where they may. Excitement and abandon sometimes are better than perfection.

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THURSDAY, SEPTEMBER 26, 2013

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THINGS HOME SWEET HOME The ideal family home has a variety of living areas, bedrooms for everybody and that indefinable feeling of comfort and security. In Sarasota, with so many retirees and empty nesters, a house that a family can really spread out in and make their own can be hard to find. Here are three of them, all in more or less the same price range. Each has plenty of room for kids, pets, toys, grandma and even a trampoline out back. And, although each has its own take on the Sarasota lifestyle, all three would make a great place to raise a family.

1. FOR THE OLD-FASHIONED FAMILY … 1744 SOUTH DRIVE This classic center hall Colonial has had only three owners in its 70-plus years, and all the charming details of a large suburban pre-war home are still intact and beautifully maintained. You’ll find a butler’s pantry, original wood floors, an apron-style kitchen sink and a side-screened porch. There are four bedrooms in the main house, plus a fifth — with bath — in the detached cottage.

The home is set on a half acre in prestigious Cherokee Park, convenient to downtown and just a short walk to Southside School and nearby shopping.

Priced at $1,749,000. For more information, call Gigi Silverberg of Premier Sotheby’s at 941-993-3695.

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Recently built for a blended family with five children, this Key West-style home is located in a gated community just north of downtown. It has four bedrooms, four-and-a-half baths and an open-concept interior with Brazilian cherry wood floors, tray ceilings and custom cabinetry and built-ins. There is also a pool/spa with an adjacent out-

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Priced at $1,595,000. For more information, call Lynn Robbins of Coldwell Banker at 941-376-5077.

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Out east your money goes a lot further, as this four-bedroom, 5,500-square-foot home demonstrates. Set on more than nine acres of land, it was built in 2002 and features elaborate custom touches in a Mediterranean Revival style. There’s a vast grand hallway, elaborate millwork and ceilings and a fireplace in the 26-foot-long master bedroom. Family areas include a pub/billiard room that opens to a resort-style pool. It’s located in the Sarasota Ranch Club, a 640-acre gated community east of Lakewood Ranch, with pastures, meandering creeks and bridle paths.

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