Tag Archives: National Ballet of Canada

Rimsky-Korsakov’s magic “Scheherazade”

Warning: do not attempt to drive or operate heavy machinery while listening to Rimsky-Korsakov’s Scheherazade for the first time. Said composition is known to have caused feelings of extreme uplift, a dreamlike state, mild disorientation and a disassociation with the mundane. Use with caution, not to exceed ten listens per day, unless ordered by your doctor.

Where to start? Shut your eyes as you listen to Scheherazade and the mind fills with vivid images: a turbulent ocean, eighteenth-century clipper ships with billowing sails, sailors and dashing sea captains saving the day. Musical colors and textures alert you, seduce you: the booming, ominous tones from the brass section (a tyrannizing Sultan) and the sweetest, most delicate violin presence possible (the lovely Scheherazade). These two voices help tell the story throughout the composition — which, although your ears want to tell you otherwise, is not a symphony, but a symphonic suite.

Allow me to share a teaser, before we delve into details about Rimsky-Korsakov and the story behind Scheherazade. Now, you might look at the title of the embed below and say, “Wait. That’s National Ballet of Canada performing John Neumeier’s Nijinsky. We’re here to learn all about Scheherazade and its composer, right?” Trust me here. It all connects in the end (in a way my ballet readers will love).

Rimsky-Korsakov’s Scheherazade is a bit like the 2010 film, Inception. It’s a story inside a story, or more precisely, the medieval Arabic collection of stories (1001 Nights, also called Arabian Nights in English). It’s about a storyteller who tells the Sultan a story a night for 1001 nights and thus saves not just her life, but the lives of all the young women in the kingdom. See, the medieval Sultan, a rather difficult, vengeful dictator type, had decided, following his first wife’s infidelity and subsequent beheading, to marry a new virgin each day after beheading the previous day’s wife, to guarantee no further such infidelity (and bruised ego). Scheherazade, a young, intelligent, resourceful type, actually volunteered for the job. She was clever, and understood the power behind good storytelling. On her wedding night, she started her story and got the Sultan all wide-eyed and absorbed. As dawn broke in the eastern sky, she made sure to pause her story at a cliffhanging point. The Sultan begged her to continue, but she only smiled coyly and said, “Tonight.” The Sultan, so intrigued, decided not to behead her, so as to hear the story’s end. Of course once Scheherazade finished her story that night, she started a new one right up, which once again reached a cliffhanger plot point at dawn. And so on, for 1001 nights.

Now on to the composer, who had an unerring ability to take music and create a powerful sense of story with it, through it. Nikolai Rimsky-Korsakov was born in 1844 to parents who’d surely thought they were done with parenting. His father, Andrey, was sixty and his mother, Sophia, was forty-two. Their only other child, a son named Voin, was 22, already established in a career as an officer in the Imperial Russian Navy. Andrey and Sophia probably looked at the gurgling little Nikolai and thought, “Yikes. What now?” Fortunately, Voin was charmed by the little fellow and agreed to be his godfather, a position he took quite seriously, becoming more of a third parent than a sibling. Since Voin’s career kept him away, often at sea, letter writing became common and frequent among the Rimsky-Korsakov family, all of which were diligently saved. Wonderful for us now, because facts and minutia are there in letters, archived, for us to glean countless details about young Nikolai’s young life. It’s not often we of the 21st century are privy to this intimate and thorough a glimpse of a composer’s early life. Music, we learn, was to only be a hobby for the young Nikolai. Everyone wanted him to follow in Voin’s (as well as his uncle’s and great-grandfather’s) footsteps, have a career in the navy. Nikolai, starry-eyed with admiration for his older brother, was happy to comply. Which meant leaving his doting parents behind in 1856 at age twelve for the Naval College in St. Petersburg. There, he coped with discomfort, homesickness, worked diligently, and followed Voin’s every directive.

Once Nikolai’s progress was deemed satisfying, with good grades and responsible behavior, he was given permission to indulge in piano lessons, which he’d started back home. Nikolai had an ear for music, a natural talent. Unfortunately his first tutor was a cellist, rather uninspired in both teaching and playing piano. When, in the spring of 1859, the tutor admitted to Voin that Nikolai had grown better than he on the piano, Voin found his brother a new tutor: Fyodor Kanille (also spelled Théodore Canillé), a talented pianist and teacher, who instantly recognized his new student’s gift. He and Nikolai thoroughly enjoyed each other’s company, the lessons, the boy growing ever more enraptured by music, the piano, even fledgling attempts at composition. But when his grades began to suffer, Voin stepped in and said, “Whoa, whoa, too much interest in music. Stick to your naval studies. That’s your career, and we expect you to make top grades in your studies. Music is not your future.” He canceled the music lessons, and Nikolai, bereft, being the obedient boy he was, complied. Fortunately, the grades went back up and months later, Voin cautiously agreed to lessons again.

One notable thing during Nikolai’s time with Uninspired Cellist tutor guy was that in the fall of 1857, one of Voin’s friends took Nikolai to see professional opera for the first time. A mere day later, the friend took him to a second, even more elaborate production. A fierce love for opera, this place where classical music meets story, took hold in Nikolai, a love for music and story that would power his future, his music-making, for the rest of his life.

Time to hear the music in question. You have a choice here. The first embed is one of Russia’s top conductors, Valery Gergiev, leading the Vienna Philharmonic (think: smooth, nuanced, old-world sound, performed by a whole lot of white men). The pace speeds along at a fast clip in a performance lasting 42 minutes. The first and third movements are amazing. Do NOT miss.

The next one is its musical opposite. It’s the Gimnazija Kranj Symphony Orchestra, apparently a youth orchestra, in Ljubljana. Slovenia. A really, really good performance. Ah, youth. Such beautiful faces and expressions (Gergiev is a tiny bit creepy to watch, I have to be honest, as much as I admire the man — and all those white male faces in the orchestra start to blur together). This version below, conducted by Nejd Bečan is quite slow (too slow?) and stretches to 51 minutes. The solo violinist here, Matjaž Bogataj, is divine.

There is so much more to share about Rimsky-Korsakov: his early career, both as a composer and a naval officer; meeting a quartet of fellow composers with whom he’d share a lifelong bond; his life with his soon-to-be wife, Nadezhda. My brain is whirring and I want to jam everything onto this document which, trust me, will not serve in your best interests. Instead I’ll go the other route, with the tried-and-true “10 interesting facts.” So, without further ado…

10 Interesting Facts About Rimsky-Korsakov

  1. He had no formal conservatory training, but in spite of that, at age 27, he was hired as a professor of musical composition, harmony and orchestration at the Saint Petersburg Conservatory in 1871. Never one to look for a free ride, he educated himself thoroughly, for years, until he became a master of Western methods, incorporating them into his work.
  2. He was a member of “The Five” or “The Mighty Five”, a group of Russian composers (Balakirev, Mussorgsky, Borodin, Rimsky-Korsakov, César Cui), who, in a nutshell, rejected the compositions of Haydn, Mozart, Beethoven, etc, in favor of “Russian” classical music (largely composed by them), thus influencing the classical music that came out of Russia, imbued with nationalist identity and rich with folkloric elements.
  3. Nikolai’s brother Voin was, for quite some time, the better-known Rimsky-Korsakov, a respected navigator and explorer. There is a small archipelago in the Sea of Japan named after him. He died at age 49.
  4. His wife, Nadezhda, was very accomplished on the piano and played a far more important role in Nikolai’s life than history will likely ever give her credit for. Think Clara and Robert Schumann, minus the insanity.
  5. He maintained a career as naval officer and managed to compose and spend social, music-centric evenings with The Five. In 1873, the Imperial Navy wisely created the civilian post of Inspector of Naval Bands for him. This kept him on the Navy payroll but allowed him to resign his commission and stay put. He continued to serve in this position until late 1883.
  6. He was prolific in his composing and produced 11 symphonic works (which included Scheherazade, “Capriccio Espagnol” and 3 symphonies), 15 operas, 3 concertos, 79 Romances. He was prolific in the fathering department, too. Seven kids.
  7. He composed the “Flight of the Bumblebee,” originally for his opera, The Tale of Tsar Saltan. Its piano version is famous. Don’t ask for a link. It’s too busy and gives me a headache.
  8. He put countless hours into refining his fellow “Mighty Five” composers’ music posthumously, such as Borodin’s Prince Igor opera and Mussorgsky’s opera, Khovanschina, even to the extent that it deeply cut into his own creative time.
  9. His 1887 “Capriccio Espagnol” and, a year later, the dazzling Scheherazade, came after a lengthy absence of composing, a self-described period of low creativity (see #8). Which goes to show that sometimes writer’s block can be a blessing in disguise, because when you return, boy, do you return.
  10. By having a naval career, visiting exotic ports of call, not to mention harboring a lifelong love of the sea, he was able to skillfully recreate all of it musically, resulting in harmonies, textures and sounds infrequently heard in Western classical music up to that point. All of which is resplendently depicted in Scheherazade.

And now that earlier teaser to ballet dancers, about how National Ballet of Canada and Vaslav Nijinsky tie in to Rimsky-Korsakov’s Scheherazade. Michel (or Mikhail) Fokine choreographed his own Scheherazade for the Ballets Russes, using Rimsky-Korsakov’s music, which premiered in Paris on June 10, 1910, at the Théâtre National de l’Opera. It’s the prologue of 1001 Nights, so it depicts the unfaithful first wife. Vaslav Nijinsky, as the Golden Slave, surely stole the show in a role that would dazzle all of Europe and cement Nijinsky’s place as one of the world’s most exciting male dancers. If you love watching ballet set to expressive music, you simply must, MUST check out this link. Or maybe you shouldn’t. Because once you glimpse the perfection of this Mariinsky Ballet performance by Svetlana Zakharova and Farukh Ruzimatov (forward to the part where the concubines bribe the eunuch-in-charge to unlock the door that frees the slaves, which starts around 11 mn), you will forever long to feel that same sweet ache that watching this will instill in your deepest bones. So… I’m sorry. And… you’re welcome.  (PS: the creator of the video hilariously spelled the title “Scherezade”. This is a typo.)

National Ballet of Canada & Neumeier’s “Nijinsky” come to San Francisco

The National Ballet of Canada in Neumeier’s Nijinsky.
(© Bruce Zinger) guest company

“The National Ballet of Canada’s production of John Neumeier’s Nijinsky is a triumph on all fronts.”
— Canada’s The Globe and Mail

While the San Francisco Ballet keeps busy in preparation for its epic *Unbound New Works Festival, with its twelve exciting new commissions, the stage at the War Memorial Opera House gets turned over to The National Ballet of Canada and their presentation of John Neumeier’s  Nijinsky. Watching this preview of Neumeier’s masterpiece, all I can say is, “Oh, wow. Give me more. And more!” Take a look for yourself.

Choreographer John Neumeier is the longtime artistic director of the Hamburg Ballet, on whom he set this ballet in 2000. Not only is Neumeier one of contemporary ballet’s most important voices, he is a world authority on the life and work of Vaslav Nijinsky, having maintained a lifelong interest in the artist. The National Ballet of Canada’s website shares this about the charismatic Nijinsky who stunned and entranced audiences for a brief ten years before retiring from the stage at age twenty-nine. “Renowned for his unforgettable stage presence, his astonishing technique and his groundbreaking approach to choreographic expression, Nijinsky shattered for all time not just the prevailing notions and expectations of the male dancer, but the limitations that convention had imposed on the range of dramatic possibilities in dance itself.”

Neumeier’s ballet draws from several aspects of Nijinsky’s life, presented in a meditative, non-linear fashion, that ultimately reflects the madness that will come to consume him. The ballet’s opening scene is set just after WW I in a hotel in St. Moritz, Switzerland, where the real-life Nijinsky offered the audience his final performance as a dancer. Through this, we, the other audience, become privy to the man’s memories, his genius, his choreography, important relationships and life events, premonitions, and the madness that seemed to have taken over the world, as well.

Guillaume Côté in Neumeier’s Nijinsky.
(© Erik Tomasson) guest company

The music accompanying the production, for my classical music enthusiast readers out there,  features Chopin’s Prélude in C minor, the first movement of Schumann’s Faschingsschwank aus Wien, Rimsky-Korsakov’s sumptuous  Schéhérazade (Movements I, III and IV), the “Adagio” movement from Shostakovich’s Sonata for Viola and Piano, as well as his Symphony No. 11.

Here’s what critics are saying about the production:

  • “A triumph of dramatic intensity… the National Ballet rises to the challenge of presenting John Neumeier’s Nijinsky, a spectacular, sprawling, surreal and often mind-bending homage to ballet’s most legendary male dancer.” — Toronto Star
  • Nijinsky soars to intense heights… a richly detailed production” — National Post
  • “Under the enlightened and demanding direction of Karen Kain, former great international ballet star, the company has earned its place at the highest level, enriching its repertory considerably by collaborating with the greatest choreographers of our time” — Danses Avec La Plume

Here is National Ballet of Canada dancer Félix Paquet explaining about what’s required from him as he portrays Nijinsky as the Faun and the Golden Slave, both iconic Nijinsky roles that are featured in Neumeier’s ballet. it’s fascinating and informative to watch.

Interested in going? Here are some details for you:

Where?  War Memorial Opera House, 301 Van Ness, San Francisco
When?   April 3 to 8, 2018, 7 performances total
How?    
Purchase tickets online HERE or call (415) 865-2000
Run Time  2 hours, 25 minutes, with one intermission

Principal casting for the San Francisco dates of the production has been announced!  

Vaslav Nijinsky
Guillaume Côté (April 3, 6 at 7:30 pm/April 8 at 2:00 pm)
Skylar Campbell (April 4 at 7:30 pm/April 7 at 2:00 pm)
Francesco Gabriele Frola (April 5 at 7:30 pm/April 7 at 7:30 pm)

Romola Nijinsky
Heather Ogden (April 3 at 7:30 pm/April 8 at 2:00 pm)
Sonia Rodriguez (April 4 at 7:30 pm/April 7 at 2:00 pm)
Svetlana Lunkina (April 5, 7 at 7:30 pm)
Xiao Nan Yu (April 6 at 7:30 pm)

Serge Diaghilev
Ben Rudisin (April 3, 6 at 7:30 pm/April 8 at 2:00 pm)
Piotr Stanczyk (April 4, 5, 7 at 7:30 pm/April 7 at 2:00 pm)

Casting is subject to change

* San Francisco Ballet’s Unbound: a Festival of New Works  is a ground-breaking celebration of innovation within ballet, featuring twelve new commissions and world premieres, taking place in four programs, April 20 to May 6, 2018. Want to know more? Here’s a preview from the San Francisco Chronicle. For further information or to order tickets, go HERE.

Just as my last blog, “Debussy’s ‘Afternoon of a Faun,'” offered a teaser of this blog and this program at the San Francisco War Memorial Opera House, I can’t resist ending this with a teaser of San Francisco Ballet’s forthcoming Unbound extravaganza. It’s going to be an amazing two weeks, chock full of amazing, innovative ballet. The following is a photo shoot that features the company’s dancers in poses from featured Unbound works that photographer Erik Tomasson turns into stunning art. Check it out!

Debussy’s “Afternoon of a Faun”

 

When I listen to Debussy’s “Prelude to the Afternoon of a Faun,” often referred to as simply “Afternoon of a Faun,” I’m reminded of the vertiginous feeling of gazing at a 3-D computer-generated picture, one that, once you’ve allowed your eyes and brain to shift slightly, draws you inside a world you previously hadn’t been able to see. Here, now, you’ve entered a phantasmagorical place, with spiraling, descending pathways and billowing shapes that your eyes can slide down or climb up, respectively. A world where the tried-and-true rules don’t apply. I don’t know about you, but I love the feeling, the sensations. It never fails to take me on an inner journey, far from my mundane thoughts, the dreary to-do treadmill of daily life.

It’s no surprise Debussy’s “Afternoon of a Faun”—or “Prélude à L’Aprés-midi d’un Faune” in its original French—is one of my favorite short pieces of classical music. It’s held me in its grips from the moment I first heard its opening solo flute notes, the responding call by a horn, a harp. Debussy was not a “follow the set rules” kind of guy. He was pretty much the opposite. In his compositions, the “rules according to my tastes” deliver volumes of sensation. A warm afternoon. A time long ago, back in the days of mythical creatures. Nymphs and fauns and lush foliage and shimmering waves of summer heat. Unexpected emotions rise, within the music and the listener both. Languor, sensuality, euphoria, curiosity, an awareness of the exotic. You are flung back to your own childhood, your adolescence, all awash in new experiences, colors, sensations. You are every place you’ve always wanted to be, your heart contracting and expanding, seemingly at the same time. For ten fleeting minutes, you let the music cradle you, transport you. Afterward, it leaves you disoriented and a little dizzy. You stumble away, back to the everyday world, your everyday life, and yet forever altered from the experience.

I like to imagine how the audience must have reacted in that opening performance in Paris, 1894. This was still the Romantic era, after all, with its conventions on tonality, scales, sequences. Audiences were used to hearing Beethoven and Brahms and maybe a little Wagner if they were feeling the urge for something turbulent. Chopin, a generation earlier, had dazzled with his pianistic originality, just as Saint Saens had managed to impart a touch of the exotic into his own compositions. But Debussy? He was young, still rather green, known to chafe against the constraints the masters before him, through the years, had mandated in musical composition. He loved literature and art, and for Prélude à L’Aprés-midi d’un Faune, he’d taken, as inspiration, a poem by one of France’s greatest poets at the time, Stéphane Mallarmé, and his 1876 creation, “L’Aprés-midi d’un Faune.” The poem was a work of art, having taken the poet a decade of deep searching, pondering, revising, to come up with a finished, published product that was, in his mind, music already. (Mallarmé was part of the “symbolist” movement of poetry, that, in a nutshell, strove to evoke, to illuminate, elaborate on the human condition,) So, here’s this 1894 concert hall audience, all expectant, knowing the poem: sensuous, story-like musings of a faun—mythical half man, half goat—and his erotic pursuit of two nymphs on a warm, drowsy afternoon. The lights in the concert hall darken, the musicians ready themselves, the conductor raises his baton, and you hear… this.

Stirred you, didn’t it?

If you’re like me, you might wonder what sort of mystical alchemy was involved, that Debussy’s music can do so much more than, say, Brahms, whose music is decidedly masterful and at the top of its craft. I think It has to do with the fact that, like the symbolist poets, there was a drive to consider the vast sprawling world of inner feelings, the human condition, the resolutely ineffable. It’s interesting to note that the French poets of this time, which Debussy so admired, considered music to be the pinnacle of art — not necessarily the music you hear in a concert hall, so much as the “music” that arises from the finest of art works. Mallarmé’s reaction to Debussy’s turning his poem into “real” music is debated–some say he was pleased, and complimented Debussy on the effort. Others say he mildly resented that his poem, so full of “music” already, was now eclipsed by Debussy’s music. The guy had a point. Who hears the title “Afternoon of a Faun” and thinks, “Ah, yes, that poem! Mallarmé’s opus!”

Care for 10 interesting factoids about Debussy? Here you go!

  • He was born Achille (pronounced as a “shhh”)-Claude de Bussy in 1862.
  • In spite of an aristocratic-sounding name, he came from a poor family and was schooled at home (while his siblings were shipped out), obtaining private piano lessons more by unexpected circumstances and good fortune more than planning and good funding.
  • He was accepted to the Paris Conservatory of Music at the age of 10, where, over the next eleven years, they would endlessly chide him for “courting the unusual” and encourage him to deliver something “more befitting of his great talent,” which was to say, the same old thing they’d been hearing for generations.
  • He was the 1884 recipient of the highly prestigious Prix de Rome, which gave him a four-year residence at Rome’s Villa Medici, which he hated, and was miserable, and [barely] lasted two years before returning to his beloved Paris, where he lived for most of his life.
  • While he resisted much of the traditional schooling that came his way, both in music and academia, as an adult, he read voraciously and enjoyed socializing with the literati. He was a frequenter of Stéphane Mallarmé’s famous Mardis (Tuesdays) salon, the place for poets, artists and literary minds to gather in 1890’s Paris.
  • His musical inspiration came frequently from poetry. I’ve shared, in past blogs HERE and HERE the way this shows up in the works, “Clair de Lune” and “Beau Soir.”
  • Debussy had originally planned for this work to be three part: a prelude, an interlude, and a paraphrase finale. Sidetracked by work on his opera after he’d completed the Prelude, he dropped the idea of two more parts.
  • Wagnerian opera, and Javanese gamelan music, fascinated and engaged the young composer, each playing a part in his artistic development, leaving an imprint that would resurface in his music.
  • Even though Debussy’s work was considered by many to be the peak representation of musical impressionism, he himself disliked that term, and saw himself as a “modernist.”
  • He died during the final year of World War I, unable to have a public gravesite funeral service because of the constant aerial bombing of the French capital by the Germans.

Above all, Debussy was a composer who defined a moment—that in which the classical music world would begin to question all rules of harmony and composition. “Works of art make rules; rules do not make works of art,” he once famously said. While he’s still considered by most to be a Late Romantic composer more than of the Modern school, you can see him and his style’s clear demarcation. Tchaikovsky and Brahms, Dvorák, Grieg, Liszt, all came before. Bartók, Prokofiev, Ravel, Sibelius, Shostakovich and Stravinsky all came after. Pierre Boulez famously pronounced Debussy’s “Prelude to an Afternoon of a Faun” to be “the beginning of modern music.”

I find it so fitting that Debussy’s ground-breaking “Prelude to the Afternoon of a Faun” should be utilized, eighteen years later, by another legendary, ground-breaking artist. In 1912, ballet phenomenon Vaslav Nijinsky, then with Serge Diaghilev’s Ballets Russes, created his ballet, “Afternoon of a Faun.” He was the lead dancer; no one else could have done it justice. No one else could have so shocked the public, foretelling a new, modern realm of dance to come. The vitality, originality and willful disdain of long-held rules that Nijinsky brought to his art makes him seem like Debussy’s twin. And for Nijinsky, much like Debussy, the newness and overt sensuality of the opening performance in Paris shocked and disturbed some of spectators. This was not the art they’d come to know and had grown familiar with. This was new and vivid, with all sorts of new flavors and textures to consider. It didn’t just stir the soul, it stirred… other parts.

But we’ll leave this blog to Debussy. Not only does Nijinsky deserve his own blog, the National Ballet of Canada will be coming to San Francisco in April to perform “Nijinsky,” John Neumeier’s evening-length ballet about the man, his art, his madness. The Classical Girl is SO looking forward to this production. I’ll be posting a blog preview of the production in the week to come. (Editor’s note: it’s done and you can read it HERE.) In the meantime, however, I can’t resist giving you a flavor of what happens when Debussy and Nijinsky–and we mustn’t forget Stéphane Mallarmé’s poetry–put their considerable talents together for an unforgettable “Afternoon of a Faun.” The dancer is Rudolf Nureyev, another legend that some day I’ll devote a blog to. This recording is old, which, in my mind, only adds to its sensuous, evocative allure. I can feel Nijinsky’s presence all the more clearly.

All right, I have to add one more. It’s taken from the 1980 Herbert Ross film, Nijinsky. So it’s Hollywood’s version of Nijinsky premiering “Afternoon of a Faun” in Paris’ Theatre du Chatelet. It’s really good, and allows you to see certain nuances up close. But, be warned. The end of the ballet is… racy. But so was Nijinsky. Pushing those borders. And so was Debussy. All for art. Give it a look, if you dare. (Warning, this music will stay in your head ALL DAY once you’ve left this page. My apologies.)

Okay, one last thing, and this time I mean it..

Mallarmé’s 1876 masterpiece poem is damned long. But it’s lush and sensuous, and, really, you sort of do need to read the poem in order to understand what both Debussy and Nijinsky were striving to put into music, and movement, respectively. This is one of several translations that exist from the original French. If you read and find it lacking, please do share a translation you feel is better.

L’Aprés-midi d’un Faune

These nymphs, I would perpetuate them.
So bright
Their crimson flesh that hovers there, light
In the air drowsy with dense slumbers.
Did I love a dream?
My doubt, mass of ancient night, ends extreme
In many a subtle branch, that remaining the true
Woods themselves, proves, alas, that I too
Offered myself, alone, as triumph, the false ideal of roses.

Let’s see….
or if those women you note
Reflect your fabulous senses’ desire!
Faun, illusion escapes from the blue eye,
Cold, like a fount of tears, of the most chaste:
But the other, she, all sighs, contrasts you say
Like a breeze of day warm on your fleece?
No! Through the swoon, heavy and motionless
Stifling with heat the cool morning’s struggles
No water, but that which my flute pours, murmurs
To the grove sprinkled with melodies: and the sole breeze
Out of the twin pipes, quick to breathe
Before it scatters the sound in an arid rain,
Is unstirred by any wrinkle of the horizon,
The visible breath, artificial and serene,
Of inspiration returning to heights unseen

O Sicilian shores of a marshy calm
My vanity plunders vying with the sun,
Silent beneath scintillating flowers, RELATE
‘That I was cutting hollow reeds here tamed
By talent: when, on the green gold of distant
Verdure offering its vine to the fountains,
An animal whiteness undulates to rest:
And as a slow prelude in which the pipes exist
This flight of swans, no, of Naiads cower
Or plunge…’
Inert, all things burn in the tawny hour
Not seeing by what art there fled away together
Too much of hymen desired by one who seeks there
The natural A: then I’ll wake to the primal fever
Erect, alone, beneath the ancient flood, light’s power,
Lily! And the one among you all for artlessness.

Other than this sweet nothing shown by their lip, the kiss
That softly gives assurance of treachery,
My breast, virgin of proof, reveals the mystery
Of the bite from some illustrious tooth planted;
Let that go! Such the arcane chose for confidant,
The great twin reed we play under the azure ceiling,
That turning towards itself the cheek’s quivering,
Dreams, in a long solo, so we might amuse
The beauties round about by false notes that confuse
Between itself and our credulous singing;
And create as far as love can, modulating,
The vanishing, from the common dream of pure flank
Or back followed by my shuttered glances,
Of a sonorous, empty and monotonous line.

Try then, instrument of flights, O malign
Syrinx by the lake where you await me, to flower again!
I, proud of my murmur, intend to speak at length
Of goddesses: and with idolatrous paintings
Remove again from shadow their waists’ bindings:
So that when I’ve sucked the grapes’ brightness
To banish a regret done away with by my pretence,
Laughing, I raise the emptied stem to the summer’s sky
And breathing into those luminous skins, then I,
Desiring drunkenness, gaze through them till evening.

O nymphs, let’s rise again with many memories.
‘My eye, piercing the reeds, speared each immortal
Neck that drowns its burning in the water
With a cry of rage towards the forest sky;
And the splendid bath of hair slipped by
In brightness and shuddering, O jewels!
I rush there: when, at my feet, entwine (bruised
By the languor tasted in their being-two’s evil)
Girls sleeping in each other’s arms’ sole peril:
I seize them without untangling them and run
To this bank of roses wasting in the sun
All perfume, hated by the frivolous shade
Where our frolic should be like a vanished day.

I adore you, wrath of virgins, O shy
Delight of the nude sacred burden that glides
Away to flee my fiery lip, drinking
The secret terrors of the flesh like quivering
Lightning: from the feet of the heartless one
To the heart of the timid, in a moment abandoned
By innocence wet with wild tears or less sad vapours.
‘Happy at conquering these treacherous fears
My crime’s to have parted the dishevelled tangle
Of kisses that the gods kept so well mingled:
For I’d scarcely begun to hide an ardent laugh
In one girl’s happy depths (holding back
With only a finger, so that her feathery candor
Might be tinted by the passion of her burning sister,
The little one, naïve and not even blushing)
Than from my arms, undone by vague dying,
This prey, forever ungrateful, frees itself and is gone,
Not pitying the sob with which I was still drunk.’

No matter! Others will lead me towards happiness
By the horns on my brow knotted with many a tress:
You know, my passion, how ripe and purple already
Every pomegranate bursts, murmuring with the bees:
And our blood, enamoured of what will seize it,
Flows for all the eternal swarm of desire yet.
At the hour when this wood with gold and ashes heaves
A feast’s excited among the extinguished leaves:
Etna! It’s on your slopes, visited by Venus
Setting in your lava her heels so artless,
When a sad slumber thunders where the flame burns low.

I hold the queen!

O certain punishment…
No, but the soul
Void of words, and this heavy body,
Succumb to noon’s proud silence slowly:
With no more ado, forgetting blasphemy, I
Must sleep, lying on the thirsty sand, and as I
Love, open my mouth to wine’s true constellation!

Farewell to you, both: I go to see the shadow you have become.

Hello, World Ballet Day 2016!

Want the link to the Oct 5, 2017 coverage? Click HERE!

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Prepare yourself to watch an entire day of nonstop, live-streamed professional ballet, from every corner of the globe, on Tuesday, October 4th! If you are a veteran to this event, you know the drill: it will start late Monday evening for those of us in North America, as The Australian Ballet kicks off the day around noon, local time. Then we will travel around the world and watch four hours with the Bolshoi Ballet, followed by The Royal Ballet in London, and on to North America with the National Ballet of Canada, and the San Francisco Ballet wrapping up the event.

What’s more, each of those five companies has invited other companies, geographically close, to be featured as guests (pre-recorded footage) during their coverage. Here’s who you’ll get the chance to see in this capacity: Hong Kong Ballet, Queensland Ballet, West Australian Ballet, English National Ballet, Birmingham Royal Ballet, Scottish Ballet, Northern Ballet,  Les Ballets de Monte-Carlo and Nederlands Dans Theater (and/or Dutch National Ballet), Boston Ballet, Miami City Ballet,  Houston Ballet and Pacific Northwest Ballet. (Breaking news on Oct 3rd: more companies added! See the bottom of this post for specifics on whom, and when. There are now a whopping 23 companies featured!)

What times will each of the five companies be streaming, you ask?

My own time zone gets to go first. If you live in California, on the West Coast, or elsewhere that employs Pacific Time, here you go!

  • The Australian Ballet (Melbourne) – 7pm-11p on Oct 3rd, 18 hours ahead of San Francisco
  • The Bolshoi (Moscow) – 11p – 3a, Oct 4th, 10 hours ahead
  • The Royal Ballet (London) – 3a – 7a, 8 hours ahead
  • National Ballet of Canada (Toronto) – 7a – 11a, 3 hours ahead
  • San Francisco Ballet – 11a – 3p, local time

Now here’s a chart for everyone, showing *Greenwich Mean Time, Eastern Time and local time (*Note that London is currently GMT+1 because of Daylight Savings Time)

  • The Australian Ballet: 2am GMT on 10/410pm Eastern Time on 10/3, 1pm local time
  • The Bolshoi: 6am GMT, 2am Eastern, 9am local time
  • The Royal Ballet: 10am GMT, 6am Eastern, 11am local time
  • National Ballet of Canada: 2pm GMT, 10am Eastern, 10am local time
  • San Francisco Ballet: 6pm GMT, 2pm Eastern, 11am local time

What you can expect to see: each company will commence their coverage with morning class (my favorite thing to watch!), then move on to rehearsals for upcoming performances, backstage preparations, interspersed with interviews of artistic directors, choreographers, dancers, etc.

Something new this year:  the event will be streamed via Facebook. This is history-making in that Facebook has never attempted anything this big and this long before. Yikes! But fear not–if you’re not a Facebook person, you can still watch it at the above link, or check any of the five main companies’ websites.

World Ballet Day LIVE 2015 saw 349,000 views on the day itself and went on to reach over two million viewers via YouTube archives. In the ballet world, that’s a lot! Bringing Facebook into the game, it will likely reach an even wider audience. And for those of you unavailable during this time, no worries, it will be archived on YouTube for at least 30 days. (Lots of the coverage will remain on YouTube through the year, in fact.)

Here’s a World Ballet Day teaser. Enjoy.

This will be the third year of the multi-company collaboration. Credit for the original idea goes to London’s Royal Ballet who, in 2012, live-streamed a nine-hour day of behind-the-scenes footage, which drew tons of viewers and made a lightbulb go off in the heads of a lot of artistic directors and administrators. Here’s a link to my posts from the first two World Ballet Days, 2015 and 2014 respectively. Check ’em out to see what you can expect for this year’s event.

I will be posting more details the day before the big event, so pop by again for more information.

Get ready, gang. It’s going to be one knockout great day of ballet. And while you’re at it, get ready for the arrival of Book 2 of the Ballet Theatre Chronicles, OUTSIDE THE LIMELIGHT, available for preorder on–hey!– World Ballet Day! Check it out HERE.

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In honor of World Ballet Day the forthcoming arrival of OUTSIDE THE LIMELIGHT, Book 1, OFF BALANCE, is FREE all through October via Apple, Barnes & Noble, and Amazon

And lastly, here’s that “breaking news” addition on Oct 3rd, of more companies around the world that you can expect to see, during which of the five segments:

The Australian Ballet segment

  • Hong Kong Ballet
  • Queensland Ballet
  • Western Australia Ballet

The Bolshoi Ballet segment

  • Ballets de monte Carlo
  • Nederlands Dans Theater

The Royal Ballet segment

  • Birmingham Royal Ballet
  • Dutch National Ballet
  • English National Ballet
  • Estonian National Ballet
  • Finnish National Ballet
  • La Scala Ballet Company
  • Northern Ballet
  • Norwegian National Opera & Ballet
  • Polish National Ballet
  • Scottish Ballet
  • Stuttgart Ballet
  • The Royal Danish Ballet
  • The Royal Swedish Ballet
  • Wiener Staatsballett

National Ballet of Canada segment

  • Boston Ballet
  • Miami Ballet

San Francisco Ballet segment

  • Ballet Nacional Sodre
  • Pacific Northwest Ballet

 

World Ballet Day 2015 is on!

Want the link to the Oct 5, 2017 coverage? Click HERE!


Welcome to The Classical Girl’s World Ballet Day 2015 page! Glad you could make it. I will update this page prior to, and throughout World Ballet Day, so you can have the most relevant links and information as the day unrolls. And want to hold onto the ballet world for more than one day? To help celebrate World Ballet Day, my ballet novel, OFF BALANCE, is only $2.99. Check it out at http://amzn.com/B00WB224IQ!

Who you can expect to see at what time

  • The Australian Ballet: 10pm Eastern Time on 9/30, 7pm Pacific, 12 noon local time
  • Bolshoi Ballet: 3am Eastern, midnight Pacific Time, 11am local time
  • The Royal Ballet: 6am Eastern, 3am Pacific, 11am local time
  • The National Ballet of Canada: 11am Eastern, 8am Pacific Time, 11am local time
  • San Francisco Ballet: 4pm Eastern, 1pm Pacific, and, whaddya know – 1pm local time!

How to watch? You can watch World Ballet Day live streaming at the official website, or from each ballet company’s YouTube channel. Below you’ll find links to the company’s website or their YouTube channel.  And to alleviate your concern about watching the wrong channel at the wrong time, all five companies will be broadcasting the entire 23 hour event. You just might be hearing Russian instead of English, or vice versa.

A change from last year: the day will include pre-recorded footage from a wide range of regional dance organizations geographically close to the five participating companies, including  Bangarra Dance Theatre, Ballet of China, Royal New Zealand Ballet, Scottish Ballet, Birmingham Royal Ballet, English National Ballet, National Nederlands Dans Theater, Northern Ballet, Hamburg Ballet, Boston Ballet, American Ballet Theatre, Houston Ballet, Les Ballets Jazz de Montréal,  and the Pacific Northwest Ballet.

Stop 1, The Australian Ballet https://www.youtube.com/user/TheAustralianBallet

Rehearsal
Artistic Director David McAllister’s brand new production of The Sleeping Beauty.

Behind the Scenes

  • The Australian Ballet School
  • Audience Engagement Programs
  • Ballet Philanthropy
  • The Magical Wardrobe Department

Pre-recorded footage from other companies to include: Bangarra Dance Theatre, Ballet of China, Royal New Zealand Ballet

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Stop 2, Bolshoi Ballet  http://www.bolshoi.ru/en/persons/ballet/

Recent Productions

  • Radu Poklitaru’s Hamlet
  • Yuri Possokhov’s Hero of Our Time

Rehearsals

Preview of Upcoming Season
World premieres, revivals, special projects, festivals, international tours, guest company presentations on the Bolshoi Theatre stages, and a gala dedicated to the memory Maya Plisetskaya.

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Stop 3, The Royal Ballet   http://www.roh.org.uk/about/the-royal-ballet

Rehearsals

  • Raven Girl – Choreography Wayne McGregor
  • The Two Pigeons – Choreography Frederick Ashton
  • Czardas – Choreography/Dancer Steven McRae; Violinist Vasko Vassilev
  • Charlotte Edmonds – The Royal Ballet Young Choreographer Programme with students of The Royal Ballet School
  • Viscera – Choreography Liam Scarlett
  • Carmen – Choreography Carlos Acosta
  • The Nutcracker – The Royal Ballet School

Behind the Scenes
Behind the scenes at the matinee performance of Kenneth MacMillan’s Romeo and Juliet taking place during World Ballet Day.

Pre-recorded footage from other companies to include: Scottish Ballet, Birmingham Royal Ballet, English National Ballet, Northern Ballet,

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Stop 4, The National Ballet of Canada https://national.ballet.ca//World-Ballet-Day

“Join The National Ballet of Canada at the Place des Arts in Montréal as they take audiences behind the scenes during their fall tour.”

Rehearsals: 

  • Christopher Wheeldon’s The Winter’s Tale 
  • Dress rehearsal of Marco Goecke’s Spectre de la Rose
  • Dress rehearsal of Wayne McGregor’s Chroma

Pre-recorded footage from other companies to include: Boston Ballet, American Ballet Theatre, Les Ballets Jazz de Montréal,

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Stop 5, San Francisco Ballet   https://www.sfballet.org

Rehearsals

  • Helgi Tomasson’s Giselle
  • Tomasson’s The Fifth Season
  • Liam Scarlett’s Hummingbird
  • Christopher Wheeldon’s Rush©
  • George Balanchine’s Theme and Variations
  • Liam Scarlett’s Fearful Symmetries (new work)

There will be a special interview with William Forsythe about SF Ballet’s North American premiere ofPas/Parts, a work never performed by a company other than Paris Opera Ballet.

Pre-recorded footage from other companies to include:  Houston Ballet (5:00pm PDT) and Pacific Northwest Ballet (5:30pm PDT).

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Here are those links. (If you click on the company’s name, it will lead you to their information page at World Ballet Day’s official website. Good stuff there, too!)

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Posted on September 8th  

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It’s been the burning question for many a dance fan: Is there going to be a second, equally big World Ballet Day, like last year? Back in June, The Royal Ballet made their announcement, stating yes, plans were on for a repeat of last year’s unprecedented sensation. But further details proved elusive. I’ve been Googling, Internet surfing, visiting dance forums, dance journals and blogs, company websites, trying to find out who would be collaborating with the Royal Ballet, because it’s got to be a collaboration. Twenty-four hours of nonstop streamed ballet can’t be accomplished by one company, no matter how impressive they are. Finally, today, the word is official.

San Francisco, CA (PRWEB) September 08, 2015

Following last year’s unprecedented collaboration for the first World Ballet Day LIVE, five of the world’s leading ballet companies will once again stream 23 hours of live, behind-the-scenes footage on Thursday, October 1. The Australian Ballet, Bolshoi Ballet, The Royal Ballet, The National Ballet of Canada, and San Francisco Ballet have partnered to provide viewers around the world with an inside look at professional ballet companies in the studio, on tour, and in performance. For more information, visit worldballetday.com.

Yay, it’s a go!!

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In lieu of writing blog after blog about World Ballet Day, which my non-ballet readers might find tiresome, I will be updating this page regularly. So do stop by again. Next week, you’ll get the viewing schedule of the event, and details of what you might catch at each stop along the way. For a sense of it all, take a peek at last year’s World Ballet Day blog of mine, which offers times, schedules, etc. My hunch is that all the times will prove to be the same, but obviously what is being rehearsed will change. Check out that post HERE. You’ll also find some still-active links for footage of World Ballet Day 2014.

If you’re new to The Classical Girl and my writing, here’s an added incentive to swing by here the week of World Ballet Day: a special promotion for my ballet novel, Off Balance. Because I aim to celebrate World Ballet Day and share ballet with the world in proper festive style. Woo hoo – I feel a party coming on! Check it out at Amazon HERE.

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So be sure and mark the day, folks. Thursday, October 1st. And just a head’s up: for the Australian Ballet, which starts the ballet-viewing extravaganza, their October 1st starts when much of us are still in the throes of September 30th. Plan to tune in Wednesday evening at 10pm Eastern Time, 7pm Pacific Time, when it will be 12 noon local time on October 1st. And then prep yourself for a long, memorable day of dance.

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