Ballet Blog

Colorado Ballet Blog

 Click here to read this blog on Blogger

Recent Posts

Archive

Tags

Light /The Holocaust & Humanity Project

Saturday, March 16, 2013

By Gil Boggs

While sometimes art serves as a distraction for the viewer and helps them to forget their troubles, other times art challenges its audience to think about issues in the wider world.

For this reason, I chose to bring Light /The Holocaust & Humanity Project to Colorado Ballet. Choreographed by Stephen Mills, Artistic Director at Ballet Austin, Light is set in 5 movements and is based on the life of one Holocaust survivor. After 9/11, Mills was inspired to create a ballet with an impact. He interviewed more than a dozen survivors during his 18 months of research before beginning work on Light.

Mills came to Denver in late January to teach his powerful work to the dancers of Colorado Ballet.

Right now the dancers are working to learn and perfect all the dancing in Light. This is a very emotional ballet, for the audience and the performers. The dancers must attempt to put themselves in the shoes of those who were subjugated during the Holocaust. The level of suffering those people endured is hard to understand, let alone to portray through dance.

Many of Colorado Ballet’s performances, like The Nutcracker, bring a temporary halt to the stress of everyday life and transport viewers into another realm for a short time. Other works, like Light, have the power to make the audience share empathy with those different from themselves and to think about what’s going on in the world today.

This ballet promises to have a stirring impact on all those who experience it. People survived and lived on to thrive even after everything they endured. This is the message I hope viewers take away from Light.

www.coloradoballet.org/light

Ballet MasterWorks

Wednesday, February 20, 2013

By Gil Boggs

Stravinsky, Balanchine, and Caniparoli with more dancers on stage and musicians in the pit than you can imagine. Unlike anything we have done before, be prepared to be exhausted when you leave. In other words don’t miss it, you want believe what you see!

The Rite of Spring, composed by Igor Stravinsky, has an almost primitive sound that when paired with the sharp movements and sometimes odd angles of the dancers' motions evokes a powerful response. It's not surprising that when this piece debuted in Paris in 1913 it caused audience outrage. At this point in time, no one had ever heard orchestral music and seen choreography with such raw, wild, unrefined sound and movement.

Even though this year is The Rite of Spring's 100th anniversary, this piece doesn't sound like anything else composed before most people had radios. The primal beat and dissonant chords in the music help the viewer really immerse themselves in the ballet's story of paganism and human sacrifice.

The level athleticism and technical difficulty in the dancing is incredible, the music and choreography are an excellent pair and the minimal costuming will certainly evoke primal feelings.

The dancers and musicians are going to blow you away! Performances Feb. 22-March 3.

Visit www.coloradoballet.org for tickets.

Ballet’s Grand Jetés: From Swan Lake to Petrushka

Thursday, September 27, 2012

By Gil Boggs

The University of Denver will offer a ballet history course this October and it will feature Colorado Ballet Artistic Director Gil Boggs as a guest lecturer on October 11.  This class also includes a ticket to Colorado Ballet's The Sleeping Beauty and Colorado Symphony Orchestra's Petrushka.  Enrollment is open until October 4.

Ballet’s Grand Jetés: From Swan Lake to Petrushka

Originally, ballet wasn’t much more than gaudy entertainment for wealthy Italian dukes. But over the centuries, the music of great composers such as Tchaikovsky and Stravinsky elevated it to an honored—and well-traveled—art form. Enhanced by videos and an in-class visit from Colorado Ballet Artistic Director Gil Boggs, this course led by popular Enrichment instructor Marc Shulgold retraces ballet’s evolution and journey (grand jetés!) across Europe. After its exportation to France in the 1500s, ballet flourished under Louis XIV. His love of dance encouraged court choreographers to add the perfume of French refinement. Though post-revolution Paris became Europe’s dance capital, by the late 1800s ballet had packed its bags again—this time for Russia, where French-born dance-maker Marius Petipa teamed with Tchaikovsky to create masterworks that still captivate the world. (See for yourself when you attend Colorado Ballet’s production of The Sleeping Beauty.) Then, in the early 1900s, a troupe of brilliant Russian dancers and choreographers—including young Igor Stravinsky—left their homeland and brought ballet back to Paris, scandalizing the city with new works that mixed classic beauty with modern eroticism. Conclude this journey of danse with a semi-staged performance of Stravinsky’s Petrushka by the Colorado Symphony Orchestra. Performance tickets included. 10% discount to Ballet and Symphony subscribers.

Format:
Five sessions
Thur., 7–9 pm, Oct. 4, 11, 18, 2012
The Sleeping Beauty, Sat., 7:30 pm, Oct. 13,
Petrushka, Sat., 7:30 pm, Oct. 27,
Denver Performing Arts Complex

CRN 1108 / $205

Instructor:
Marc Shulgold, music journalist, concert lecturer, teacher. After working at the Los Angeles Times for 12 years, Marc became the first—and the last—music and dance writer at The Rocky Mountain News, covering the cultural scene throughout the region for nearly 22 years.

Questions?
Call 303-871-2291 or 1-800-347-2042, or email uc-registration@du.edu.
http://universitycollege.du.edu/enrichment/

PPE 0186 - Music/Dance: Ballet's Jetés

Q&A with Colorado Ballet's Maria Mosina

Friday, September 21, 2012
What’s going on in the mind of a princess? We wanted to know, so we did a short interview with Maria Mosina, Principal Dancer at Colorado Ballet. She will dance as Princess Aurora in the upcoming performance The Sleeping Beauty, which opens October 5, 2012 at the Ellie Caulkins Opera House.

1. What is it like dancing as the character Aurora?

Mosina: The character is coming on stage on her 16th year birthday, and then she is growing through the ballet. She is very interesting…in the first act she is such a girl and in the “visions” scene, she is more romantic and more calmed down, and the third is her wedding, and she is more like a queen.

2. What is the most challenging aspect about dancing as Aurora?

Mosina: It is a long ballet and there is three whole variations and two pas de deux, so it is hard for a ballerina to dance that much in the same evening.

3. Is there any difference in this season’s performance of The Sleeping Beauty than the last time you danced as Aurora?

Mosina: Yes, there are different versions of The Sleeping Beauty, there’s a Russian version and a Royal version. This year, it is similar the Royal version. There are different steps but pretty much same amount of variations and pas de deux.

4. What do you like most about this character?
Mosina: First of all, it’s a pure classical ballet and you have to be in good shape. And, the character she is so young, pure and fresh.

5. What’s your favorite dance in The Sleeping Beauty?

Mosina: I think my favorite dance is the rose adagio with the four suitors. The music is so beautiful and the steps are so beautiful.

6. What first got you into dancing/ ballet?

Mosina: Since I was a baby, I always liked to dance and was always moving…it is part of my body, soul.

7. You’ve been dancing with Colorado Ballet for a while now, what has made you stay?

Mosina: It’s my home, Colorado Ballet. I like the repertoire, I like the company dancers and I like our ballet mistresses. It’s the best place to be, work and to grow as a ballet artist.

8. Any advice for aspiring dancers?

Mosina: You have to work hard every day and you have to think about it every day, even at night. You just have to love it. 
Maria Mosina by Allen Birnbach
Colorado Ballet will present The Sleeping Beauty October 5-21, 2012 at the Ellie Caulkins Opera House.  For more information, visit www.coloradoballet.org.

SEASON 52!

Tuesday, August 14, 2012

By Gil Boggs

First I want to congratulate Adam Still on his promotion to Soloist. And for the other changes to our dancer roster please welcome Klara Houdet, Lesley Allred and Benjamin Winegar... we all can't wait to get this thing started! And if you're wondering what "this thing" is read on...


WE OPEN:

The Sleeping Beauty, October 5-21, 2012 at the Ellie Caulkins Opera House. This beloved fairy tale features choreography by Marius Petipa and music by Tchaikovsky, performed by the Colorado Ballet Orchestra.

WE DO IT EVERY YEAR:

The Nutcracker, November 24 through December 24, 2012 at the Ellie Caulkins Opera House. The Nutcracker features unforgettable characters and dazzling costumes and scenery by José Varona. This seasonal tradition will feature classic choreography paired with Tchaikovsky’s extraordinary arrangement performed live by the Colorado Ballet Orchestra.

WE HAVEN'T DONE IT THIS WAY SINCE I'VE BEEN HERE:

Ballet MasterWorks February 22-March 3, 2013 at the Ellie Caulkins Opera House. It is hard to describe how excited I am about Ballet MasterWorks. The program will feature the 100th anniversary of Igor Stravinsky’s score The Rite of Spring performed to Glen Tetley’s ballet Le Sacre du Printemps. The program will also include George Balanchine’s historic Theme and Variations danced the final movement of Tchaikovsky’s Suite No. 3 for Orchestra in G major, Op. 55, and a world premiere work by choreographer Val Caniparoli choreographed to the music of Poul Ruders. I am very proud that this will be the first repertory program in my tenure performed with the accompaniment of the Colorado Ballet Orchestra. Ballet MasterWorks will be a performance of dance and orchestra that is often wished for.

WE DO IT BECAUSE WE SHOULD:

Light /The Holocaust & Humanity Project March 29-31, 2013 at the Newman Center at the University of Denver. Making its Denver debut, this ballet explores the issues surrounding the Holocaust. The work explores human suffering in the face of genocide, as well as people’s capacity to survive and flourish as individuals and as a community. When it premiered in 2005, Light /The Holocaust & Humanity Project brought national attention to Ballet Austin and choreographer Stephen Mills. Set to the music of five important living composers, Mills' original choreography turns the spotlight on discrimination and triumph of the human spirit. Mills has not only given the dance world a creation of refection and hope but also a work that transcends to everyday life as we know it. There is a very powerful feeling in the theater during the performance of Light and attendees will walk away with a true sense that there is kindness in mankind.

It doesn't get any better than this and I'll finish by saying do yourself a favor and get your tickets now for Ballet MasterWorks, this on is going to blow you tutu off!

Join

our email list


Receive Pointes of Interest, the Colorado Ballet's e-newsletter.Just enter your email address below:

Our Sponsors

  • Colorado Ballet Auxiliary
  • SCFD
  • Alliance Commercial Partners
  • Westin Denver Downtown
  • Denver Ballet Guild
  • KeyBank
Top