conductor

The Orchestra at the Opera by Edgas Degas. Wikimedia Commons Public Domain Image.

So, you find yourself dancing to live music instead of a recording? Congratulations! That’s special!

But this magical collaboration is not without its challenges.

Here are a few thoughts from conductor Ming Luke, Principal Guest Conductor of San Francisco Ballet that may be helpful…

Same Art Form, Different Languages

Luke relates that, in the world of music, there’s a saying that “conducting a ballet is like conducting a concerto” — except the conductor can’t see or hear the soloist.

But though an orchestra and dancers share in the art of music, Luke cautions that terms such as “counts” and “tempo” can have different connotations to dancers and musicians.

So, keeping communication clear and making sure that everyone is on the same page is essential.

The Why

Perhaps the most common issue Luke runs into is not knowing the details behind statements from dancers and artistic staff such as “this tempo is too fast” or “this tempo is too slow.”

He explains that the reason could range from an artistic choice — such as a director or choreographer wanting dancers to sustain a pose a little longer, to a practical one — such dancers not having enough time to get to where they need to be on stage.

Whatever the reason, it always helps the conductor to know more specifics about “the why.”

Luke also mentions to keep in mind that visual factors, such as theatrical special effects (Nutcracker snow scene!), costumes, etc. especially during the first theater rehearsals, can sometimes alter perceptions of music’s speed.

Conductor, Ming Luke. Photo by Dave Weiland.

Living Art

Luke says to remember that, just as dancers don’t give the exact same performance every time they are onstage, musicians too are performers and their performances won’t be exactly the same every time.

“Musicians are not robots, they are humans and their performances will vary slightly by show,” he says. “Music has flexibility, life, and breath.”

Today we’re thrilled to take a look behind the scenes, as conductor Scott Speck walks us through what it’s like to work with the score at the Joffrey Ballet. Learn more about how often the orchestra rehearses with the dancers, what Mr. Speck’s routine is like as a conductor the night of a performance, and more…

by Scott Speck

When you conduct for Joffrey, is there a routine when it comes to your approach to the score?

It’s a joy to make music for the Joffrey Ballet. This is a company that truly appreciates and even cherishes the value of live music. I attribute this largely to Artistic Director Ashley Wheater, who had extensive musical training as a child and (it turns out) seems to have perfect pitch, as he always sings the music to me in the right key! A true rarity in the ballet world.

Since I am a symphonic conductor by training, I always approach the score first as pure music. Over several months leading up to the production, I learn the form and structure of the music. I prepare to conduct as if for an onstage symphonic performance. Then I spend weeks in the studio, learning what the dancers need. It’s very helpful to have the score internalized or even memorized, since I often have my eyes fixed on the stage. The best way to achieve that is repetition! (I’ve conducted The Nutcracker some 300 times already, and it’s fair to say that conducting that score is like breathing!)

Fabrice Calmels and Robert Everson — The world’s tallest professional ballet dancer, Fabrice Calmels, with (possibly) the world’s tallest timpanist, Robert Everson of the Chicago Philharmonic. Photo courtesy of Scott Speck.

How often do you rehearse with the musicians, and where?

The Chicago Philharmonic, which always plays for the Joffrey, is a superb ensemble. The orchestra and I work together frequently throughout the year, both onstage and in the orchestra pit. As a result, the musicians and I have learned to communicate with each other very efficiently — we can almost read each other’s minds at times. So the time that we actually spend together rehearsing is quite short. For a new ballet, the musicians first learn their music on their own, and then we get together four times — twice in a rehearsal hall, and then twice in the orchestra pit, with the dancers onstage.

Nutcracker backstage — Trombonist B.J. Hardesty and Trumpeter Chris Hasselbring of the Chicago Philharmonic, pianist Paul James Lewis, and a flock of angels. Photo courtesy of Scott Speck.

How often do you rehearse with the dancers? [Read more…]

3 Tips for Dancers Working with Musicians: Thoughts from Conductor Ming Luke

Ballet Music: Backstage With Conductor Scott Speck

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