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 Post subject: Pacific Northwest Ballet: The Sleeping Beauty (April 2006)
PostPosted: Wed Apr 05, 2006 4:16 pm 
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Location: Seattle, WA, USA
Pacific Northwest Ballet presents Ronald Hyne's setting of "The Sleeping Beauty" for the first time Marion Oliver McCaw Hall, April 13-23, 2006. Here is a link to the PNB Website:

The Sleeping Beauty

Casting is also now available:

Sleeping Beauty Casting


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PostPosted: Fri Apr 07, 2006 9:40 am 
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Location: Seattle, WA, USA
R. M. Campbell interviews Flemming Halby as he prepares for his final performances with PNB in "Sleeping Beauty."

Halby Interview

Also in the Seattle Post-Intelligencer, R. M. Campbell reviews PNB Principal Dancer Stanko Milov's new CD of original compositions for piano.

Stanko Milov CD


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PostPosted: Tue Apr 11, 2006 9:37 am 
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In the Seattle Times, Moira Macdonald highlights Louise Nadeau's role as coach for one principal couple (Kaori Nakamura and Olivier Wevers) as they prepare for "Sleeping Beauty."

Seattle Times


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 Post subject: Non-Review "Review"
PostPosted: Thu Apr 13, 2006 11:11 am 
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Location: Seattle, WA. USA
Drop what you're doing, get on a plane, train, or automobile and get your feet to Seattle to see this fabulous production. If dress rehearsal is any indication, everyone is in for a real ballet treat.

Mara Vinson, with Le Yin as Prince Désiré, was given Act 1 & II as she's making her début next week as Aurora. Kaori Nakamura and Olivier Wevers were given Act III.

Vinson was joyfully radiant with assured balances for the Rose Adagio. Her vision scene during the Hunting Act was plastique -- supple, strong, expressive. Now she has to wait a whole week. I know her future "true" Auroras will be worth the wait.

Nakamura upped the ballet barre and got the PNB staff themselves gasping and cheering during the Grand Pas de Deux. Solo -- two sissonnes and rélevé into attitiude (arms in 3rd) that she held and held and held. Not once but also on the repeat. These two have a long professional partnership and it gloriously showed. Adage of Grand Pas -- clean, clean, clean. Fish dives exciting and out of nowhere. Held and the recovery into attitude devant right there. Everything was perfection in ballet heaven.

That's the unofficial word. Now get out there and see it! 8)

_________________
Dean Speer
ballet@u.washington.edu


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PostPosted: Mon Apr 17, 2006 9:36 am 
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Seattle press reviews of "Sleeping Beauty."

Moira Macdonald reviews the opening night performance on Thursday, April 13 with Kaori Nakamura and Olivier Wevers in the leading roles:

Seattle Times

R. M. Campbell reviews the second night, Friday, April 14 with Noelani Pantastico and Jeffrey Stanton:

Seattle Post-Intelligencer


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PostPosted: Tue Apr 18, 2006 1:25 pm 
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Carole Beers reviews the Thursday opening cast in the King County Journal:

King County Journal


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PostPosted: Thu Apr 20, 2006 11:30 am 
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Location: Seattle, WA. USA
Awake and Alive
Pacific Northwest Ballet’s “Sleeping Beauty”
Friday 14 April and Saturday Evening 15 April 2006
McCaw Hall Seattle, Washington

by Dean Speer

This reporter would be hard pressed to find anything to suggest that might make Pacific Northwest Ballet’s glorious “Sleeping Beauty” production any more spectacular than it is already.

This is PNB’s third outing with this balletic gem – courtesy of choreographer and stager Roland Hynd and his wife Annette Page whose lineage can be traced back to the 1890 Petipa original – and it’s becoming “seasoned” with the Company. Many have danced certain roles before while others are moving up and through the ranks, being given opportunities to try their dancing wings in solo roles and smaller ensembles like the Gold and Silver Pas de Trois or the more famous Blue Bird Pas de Deux. This includes not only those of official Soloist or Principal rank but also those from the Corps.

The great Margot Fonteyn wrote in her Autobiography that “Ballets rated fear in direct ratio to the degree of absolute physical control and stamina they exacted. Thus: “Swan Lake” and “Sleeping Beauty” – terror...” She also reported elsewhere that when it came time to first learn Aurora in the late 1930s, no one had seen the ballet since 1921 and she had heard about the long balances en attitude of Act 1's Rose Adagio, and so arranged to work with one of her favorite teachers, Vera Volkova who gave her some specific exercises to prepare for this.

No terror came across from any of the casts I saw. Having seen the duo of Noelani Pantastico and Jeffrey Stanton from 2003, I knew in advance that Pantastico would give us youthful joy as Aurora and Stanton would be clean and clear as Florimund and ardent and attentive in his partnering. What’s new on the table for 2006 was an increased sense of assurance from Pantastico who nailed her Rose Adagio balances, not even bothering with the fourth Duke’s hand but opening up to first arabesque after a long and languid balance from taking the hand of Duke number three. Very exciting and thrilling indeed.

Leading Saturday night’s cast were Patricia Barker and Stanko Milov, both of whom gave us an impressive reading. New to Barker’s interpretation – at least it seemed to me – was the radiance of the open smile on her face and she greeted each guest and friend at her courtship ball of Act 1. One of Barker’s specialities is speed and when we got to Aurora’s manège of quick, turning dévelopées and later with coupé jetés, she really showed us the steely stuff she’s made of. Barker was all elegance and beautiful line during the Rose Adagio but did not attempt to give us long, long balances, although she did give us one longer balance at the end where she lets go after the last promenade en attitude, as she stretches into arabesque.

Milov was in fine fettle as the prince. Admirably, he pushed himself to a more bravura level for his solo turns, particularly in the Grand Pas de Deux of Act III, but sadly hit a slippery spot – it was clear his foot slid – as he was firing up sequential double tours en l’air and while he didn’t topple – fortunately – I think this unnerved him, taking him awhile to recover.

Maria Chapman was amazingly haughty and nearly evil as the manipulative Countess in Act II. Quite good to see her acting range, as this is out of character for someone whom I’ve come to associate as being nice, personable and friendly off-stage. Her Countess was quite believable – a first among court equals but recognizing power and knowing her place – or appearing to be acquiescent as she needed to be in the presence of His Highness.

And growth occurs during a run too. This was true for Mara Vinson and Le Yin as the Blue Bird and his Princess. They were good Friday night and by the time they got to it 24 hours later were giving even more punch and power to each step.

I would be remiss if I didn’t say how much all of us will miss the on- and off-stage presence of Flemming Halby, who retires from the PNB faculty in June. His characterizations have been nuggets of dance-acting wisdom in such parts as Drosselmeyer or the Maitre’ D in “Merry Widow” or, as in this case, the prince’s slightly dotty and daft tutor, Gallison. Halby knows how to make the most of each moment and always in keeping with the character of each part.

Speaking of giving opportunities, corps member Stacy Lowenberg gave a solid performance as Lilac Fairy at the Friday show, well navigating her way through the tricky piqué/relevé fouetté sequence in the solo, and Lilac veteran Ariana Lallone was both commanding and magically powerful as she dispelled the effects of Carabosse’s hex.

One of Hynd’s own constructions is the Ashtonian-like Gold and Silver Pas de Trois. It’s a lovely gem that could easily stand out by itself. Friday’s grouping was Carrie Imler, Christophe Maraval, and Lucien Postlewaite with Saturday’s comprising Postlewaite with Carla Körbes and Anton Pankevitch. Hynd assigns each plenty to do in interesting combinations. Lots of jumps and turns for the men, including a variation on cabriole that has the back leg brushing up to the front, legs beating like a cabriole but landing on the leg that did the initial brush rather than on the one that came up to meet it. Newcomer Pankevitch has the technique for this and only needs to match the timing of his partners, which will happen as he acclimates. In musician’s terms, PNB dancers are always moving forward and don’t “sit” on the beat and Pankevitch was sometimes ever so slightly behind musically. This musical approach also has the distinct advantage of allowing the dancers an additional option to their phrasing.

Körbes is enjoying a good season. She looks great in every part she’s been assigned. As both the Fairy of Beauty and in the Pas de Trois, it was fun seeing what she’d do with the enchaînements. She uses her legs like no one else in the Company – this is a good thing – and seems comfortable with every dance part I’ve seen her in thus far. We look forward to many more.

Since I’ve brought up the wicked fairy, we must mention the two Carabosses that we enjoyed. Former PNB soloist Timothy Lynch was all glances and nasty fun. Yet Principal Dancer Olivier Wevers, one night the Prince, and a couple of nights later, an over-the-top, maniacal, “revenge R us” witch gave us a characterization that was totally fun.

During the closing tutti Mazurka, Hynd gives the celebrating courtiers the traditional mazurka step(s) and I was most pleased to see that he’s also inserted in a variation of cabriole, whose exact character dance name eludes me right now. These are where the arms swing across as you make what mechanically and effectively is a cabriole to the side, but one big difference is that you are supposed to stay at the same level – glide – and not arch up as in an actual one and travel. (Instructors always admonished us to “keep our heads level with the floor.”) It’s a fun step and one that I’ve reported to my sometimes ballet students when giving them the occasional character dance step that it’s really done in actual ballets, so it was nice seeing this declaration certified.

Also superb was his interpolation of the the Prologue’s dance by the Attendants of the Lilac Fairy, which was a lesson in tight ensemble performance – they all held the last passé relevé exactly for the same length of time – by Jessika Anspach, Kari Brunson, Andrea Cooper, Lindsi Dec, Rachel Foster, Leanne Larsen, Brittany Petersen, and Elyse Postlewaite. We delighted in the Petipa-isms of the steps: jumping emboîte devant en attitude; piqué retiré de côté; sharp pass pieds; arms at waists in groupings; incorporated into many patterns and formations. Great fun.

The score is one of Tchaikovsky’s best. I’d rank “Swan Lake” at the top, followed by this one and as charming as it is, “Nutcracker” coming in third. I was delighted with conductor Stewart Kershaw’s studio rehearsal comment of how the overture, which starts out very dramatically, is Carabosse planning out her revenge for not being invited to Aurora’s christening. “Hah, Hah. Ha-ha-ha-ha...” Cackling music as it were. And four acts of some of the loveliest music on this planet.

The costumes themselves are virtually worth the price of admission. Colorful, rich fabrics which look custom-made. It’s also interesting to note that the designer built in the differences between the period look of when Aurora and crew go to sleep and the period of 100 years later.

PNB’s “Sleeping Beauty” is awake and alive – vibrant with colorful dancing, soaring music, and one swell night at the ballet.

_________________
Dean Speer
ballet@u.washington.edu


Last edited by Dean Speer on Mon Apr 24, 2006 9:27 am, edited 1 time in total.

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PostPosted: Thu Apr 20, 2006 1:50 pm 
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Roger Downey reviews the opening night cast in the Seattle Weekly:

Seattle Weekly


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PostPosted: Mon Apr 24, 2006 10:13 pm 
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Location: SF Bay Area
There are many things to admire about this series of performances. The production, sets, costumes and lighting made each night a magical experience but the one constant that impressed me the most was collectively the music, the performance by the orchestra and the tight conducting by Stuart Kershaw. They made the dancers look good!

I was lucky enough to catch two different casts, flying up to Seattle twice, which is odd for someone not too keen on the classics. Both trips however were well worth it. My only regret was not having caught the three remaining casts.

Noelani Pantastico and Patricia Barker, possibly in her last ever performance in the role, were two different Auroras. Pantastico was virtually faultless and projected such confidence that there was no doubt she would nail her performance, including the balancing acts in the rose adagio. In fact, her coolness may have backfired slightly -- I felt myself not rooting for her as I typically do for others in this performance. The applause at the end of the rose adagio for example was not as thunderous as they were for Barker on her last night. The difference possibly is that Barker has drawn from her experience to inject a charming vulnerability into the character of Princess Aurora. Here is a 40-plus-year old dancer who is the perfect teenager on stage -- we root for her as soon as she appears on stage and despite her technical brilliance, she puts us on edge with her artistry.

In Prince Florimund, we again have the luxury of two different performances. Jeffrey Stanton is more of an American idea of the boy prince whereas Stanko Milov exuded a regal command over his courtiers. I personally favor the latter interpretation, as the implication of an affair becomes much more apparent in Act II when the prince is touched by the Countess, played straight by Maria Chapman opposite Stanton and amusingly saucily by Stacy Lowenberg opposite Milov.

The third most important character in any "Sleeping Beauty" is of course the Lilac Fairy and again here we find two contrasting performances. Lowenberg, a corps member who seems to be doing a lot of soloist parts, was charming as Pantastico's guardian fairy -- her's was a Lilac Fairy of dreams, never mind the subtle improvisations. Ariana Lallone's Lilac had an imposing quality, with her strength and technical ability -- this was one guardian fairy you could count on.

There can be no "Sleeping Beauty" without the Wicked Fairy and Olivier Wevers may be my favorite Carabosse ever. I can't remember when I last experienced such a sense of theatricality and dramatic timing. Such was the performance that Wevers was rewarded by boos during the applause.

The whole company impressed but I will single out one more performer: Victoria McFall, who was the perfect Queen in beauty and elegance.


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