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 Post subject: Pacific Northwest Ballet: Apollo/Carmina Burana (April 2012)
PostPosted: Mon Apr 09, 2012 11:48 am 
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Posts: 12443
Location: Seattle, WA, USA
Pacific Northwest Ballet presents Balanchine's "Apollo" and Kent Stowell's "Carmina Burana," April 13-22, 2012 at McCaw Hall in Seattle. On KPLU-FM radio, Florangela Davila talks to artistic director Peter Boal and principal dancer Seth Orza about preparing the role of Apollo.

KPLU-FM

Here is a link to this program's web page on the PNB website.

Apollo/Carmina Burana

Here is a link to casting.

Casting


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 Post subject: Re: Pacific Northwest Ballet: Apollo/Carmina Burana (April 2012)
PostPosted: Sat Apr 14, 2012 3:25 pm 
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Location: Seattle, WA, USA
Scott G. reviews the Friday, April 13, 2012 performance for the Sun Break.

Sun Break


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 Post subject: Re: Pacific Northwest Ballet: Apollo/Carmina Burana (April 2012)
PostPosted: Mon Apr 16, 2012 11:24 am 
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Location: Seattle, WA, USA
P. Sessum reviews the program in the Seattle P-I blog.

Seattle P-I


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 Post subject: Re: Pacific Northwest Ballet: Apollo/Carmina Burana (April 2012)
PostPosted: Mon Apr 16, 2012 7:26 pm 
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Location: Seattle, WA, USA
Jackson Holtz reviews the Friday, April 13, 2012 performance for the Everett Herald.

Everett Herald

Moira Macdonald reviews the same performance for the Seattle Times.

Seattle Times


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 Post subject: Re: Pacific Northwest Ballet: Apollo/Carmina Burana (April 2012)
PostPosted: Tue Apr 17, 2012 2:44 pm 
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Posts: 661
Location: Seattle, WA. USA
Third Version Perfect
Pacific Northwest Ballet’s “Apollo” and “Carmina Burana”
Saturday, 14 April 2012, Evening Performance

by Dean Speer

We’ll probably never know these days what the first, original version of “Apollo” looked like, but we do know that the latter-day version mounted for Pacific Northwest Ballet by its Artistic Director, Peter Boal, is near perfection. With its spare iconic choreography by George Balanchine dating from a revision he did in the late ‘70s/early 1980s is one that has become a touchstone of greatness and measure for ballet companies. While I personally prefer the version that includes the birth scene and the climbing of the gods up to Mount Olympus at its conclusion, I found myself not missing them too much.

Batkhurel Bold was impressive as the Greek god finding his feet and hegemony amongst the muses, some of whom inspire him and instruct. Bold is a big mover and his battement cut across space as did his gestures. Each blessed with beautiful legs and line, Sarah Ricard Orza, Maria Chapman and Lesley Rausch were focused and clear with their interpretations of Terpischore, Calliope, and Polyhymnia. Orza’s développé over Apollo’s head while he’s posed on the floor was thrilling, as was her promenade arabesque “escape” from it.

Chapman and Rausch are well matched and not only played off of each other but melded well with Orza as the three retook command of Apollo, and then later as they made the iconic sunburst concluding shape, with their legs at varying heights of arabesque.

The most succinct word that comes to mind to describe Kent Stowell’s popular “Carmina Burana” is blockbuster, which it certainly is from the get-go.

It also reminded me that Stowell’s bigger ballets had casts with something for everyone in the company, regardless of rank – everyone gets plenty of dancing to do. What a joy this is! Memorable were the men in the opening ‘Fortuna Imperatrix Mundi,’ Kaori Nakamura and James Moore, Lindsi Dec as a girl having too much fun ‘In Taberna,’ and as the couple representing pure love, Chapman and Karel Cruz. Benjamin Griffiths really got into the role of the goose who laments being cooked – with a motif of flexed feet, arms and palms open to the sky, head thrown back – all while turning in second position rélevé.

Members of the Seattle Choral Company sounded great and together with the mighty PNB Orchestra, under the baton of Emil de Cou. Tenor Marcus Shelton was very, very good as the gander lamenting being cooked – this part lies very high – his pitch spot-on and in ringing tones with a clear sound. Company pianist Christina Siemens is a very talented musician who very ably took on the on-stage solo soprano part. Michael Anthony McGee possesses a rich and big baritone but sounded as if he was experiencing some occasional vocal fatigue, and was “pushing” sometimes. Still early in his career, he needs to relax and not try so hard to impress us.

PNB presented one of its best and exciting programs. We are so fortunate to have this first-class, major ballet company right here in our own backyard.

_________________
Dean Speer
ballet@u.washington.edu


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 Post subject: Re: Pacific Northwest Ballet: Apollo/Carmina Burana (April 2012)
PostPosted: Tue Apr 17, 2012 7:15 pm 
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Location: Seattle, WA, USA
Sandra Kurtz reviews two casts of "Apollo" and "Carmina Burana" for the Seattle Weekly.

Seattle Weekly


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 Post subject: Re: Pacific Northwest Ballet: Apollo/Carmina Burana (April 2012)
PostPosted: Thu Apr 19, 2012 11:39 am 
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Location: Seattle, WA, USA
Alice Kaderlan reviews the program for Crosscut.

Crosscut


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 Post subject: Re: Pacific Northwest Ballet: Apollo/Carmina Burana (April 2012)
PostPosted: Sat Apr 21, 2012 1:01 am 
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Location: Seattle, WA, USA
Mariko Nagashima reviews the program for Seattle Dances.

Seattle Dances


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 Post subject: Re: Pacific Northwest Ballet: Apollo/Carmina Burana (April 2012)
PostPosted: Fri Apr 27, 2012 1:58 pm 
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Joined: Wed Apr 12, 2000 11:01 pm
Posts: 661
Location: Seattle, WA. USA
Not Born Again
Pacific Northwest Ballet’s “Apollo” and “Carmina Burana”
Friday, 20 April 2012

by Dean Speer

Enjoyment repeated itself as I watched Pacific Northwest Ballet’s last mixed repertory program of the season, which was greatly enhanced for me by the pleasure of attending with about 20 ballet teacher colleagues from around the U.S. who were here to attend PNB's triennial Teachers’ Seminar. One of whom was thrilled to be seeing both the historic and iconic “Apollo” for the first time as well as Kent Stowell’s blockbuster hit, “Carmina Burana.” It was fun basking her borrowed delight.

Karel Cruz was everything that I expected him to be as Apollo...and more. His approach combined the story of a newly-born god literally finding his feet and, again, quite literally, his place in the sun, but also showed how wild this and other gods could be, recalling just how capricious and sometimes unkind the gods could be.

Laura Gilbreath [Terpsichore], Chelsea Adomaitis [Calliope], and Lindsi Dec [Polyhymnia] brought their considerable gifts and talents to their roles and Gilbreath’s écarté extension at the start of the pas de deux with Cruz was truly breathtaking. Adomaitis was chosen from the corps and she certainly more than rose to the occasion with this opportunity.

Seeing repeat performances, particularly of a full company work like “Carmina Burana” allows fuller access to the great detail that Stowell often infuses into his ballets. I enjoyed the layering and use of canon and how he treats repetition – such as having couples come out and perform the same steps and sequences again but in different costumes and/or in different sections of the ballet.

I was in ballet hog-heaven throughout the evening and during the course of the Seminar. A joy to be touched by the art of ballet and the singular and collective mission we share in bringing, nurturing and presenting this gift of dance to the world.

_________________
Dean Speer
ballet@u.washington.edu


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