Jiří Kylián

Kylián Keyword: Connection

November 3, 2016 by 4dancers

Pacific Northwest Ballet Dancers — ***Emma Love Suddarth and her husband, Price Suddarth from Pacific Northwest Ballet***

by Emma Love Suddarth

Connection. Between fingertips. Between one note and one arm. Between minds. Between spines. Between you and five other dancers spread across the stage. Between steps. Between dancer and audience. Between details. Between partners. Between souls.

The works of Jiří Kylián are set apart—and rightfully so. The atmosphere of complete intimacy they innately craft, both onstage amongst dancers and across the proscenium with the audience, is unique, and invaluable. At Pacific Northwest Ballet I’ve been lucky enough to perform two already—Sechs Tanze and Petite Mort—and, for the upcoming program Brief Fling, am working to add a third—Forgotten Land. These works hold special places in my heart, not only due to special opportunities, or incomparable partners, but largely due to the joy, trust, intimacy, and fearlessness they inherently create.

My first experience with the work of Kylián came and went in a blur. As a fairly new dancer in the company, simply learning one of the four women of Sechs Tanze was an unbelievable thrill. As a PNB “newbie,” I had no expectation of performing; nevertheless, I was drenched in sweat at the end of every rehearsal because, after all, who wouldn’t want to try being dragged across half the stage in a split, simultaneously going up and down like a carousel, or doing bicycle legs as fast as humanly possible in the air while laying on your partner’s back? It was hard to resist. Then, due to last minute injuries, I got a shot. However, this simultaneously exciting and potentially nerve-wracking experience was different than almost any previous or many since. [Read more…]

Atlanta Ballet Welcomes Gennadi Nedvigin, Announces 2016-2017 Season

April 21, 2016 by Rachel Hellwig

Yuan Yuan Tan in Yuri Possokhov’s "Firebird". Photo by Erik Tomasson, courtesy of San Francisco Ballet. — Yuan Yuan Tan in Yuri Possokhov’s “Firebird”. Photo by Erik Tomasson, courtesy of San Francisco Ballet.

By Rachel Hellwig

“I’ve wondered…what I will do after I stop dancing? Be a florist?” joked San Francisco Ballet principal dancer Gennadi Nedvigin in a media Q&A on Wednesday. “I could have performed for two or three more years,” said the soon-to-retire 39-year-old who will become Atlanta Ballet’s next artistic director in August. “But being offered this position took priority. I wanted to focus on one thing.”

“My aesthetic has been formed by the diverse range of choreographers and dancers I’ve worked with and by the diverse range of pieces I’ve performed in my career. Different styles of dance and choreography are like different languages,” he said. “The more languages you know, the better.” Drawing further upon the language parallel, the Bolshoi-trained Nedvigin related that he’s experienced the challenge of being immersed in new language environments before—first when he moved from his native Russia to dance with Le Jeune Ballet de France in France, and then again when he came to the United States to join San Francisco Ballet in 1997. “It’s like being dipped in water and forced to swim—twice,” he said.

Nedvigin will be “dipped in water” again as he transitions from dancer to director. Though this will be his debut in such a role, he has worked with Atlanta Ballet before when he staged Yuri Possokhov’s Classical Symphony on the company in 2014. “I was drawn to the sense of community among Atlanta Ballet’s dancers,” he said. “And I was proud of their performance.”

Gennadi Nedvigin (center). "Classical Symphony" rehearsal with Atlanta Ballet. Photo courtesy of Atlanta Ballet. — Gennadi Nedvigin (center). “Classical Symphony” rehearsal with Atlanta Ballet. Photo courtesy of Atlanta Ballet.

Nedvigin announced that Atlanta Ballet’s 2016-2017 season will include works the company has performed before, such as John McFall’s Nutcracker, David Bintley’s Carmina Burana, and Helen Pickett’s Camino Real, as well as mixed repertory performances he personally selected. “I’ve carefully chosen these programs. They will hint at the direction I will take the company,” he said. He also emphasized that the company will perform “classical, neoclassical, and contemporary works”– bringing to mind the “many languages” analogy again.

Among the mixed repertory programs, Gennadi’s Choice will feature his staging of selections from Paquita, the Atlanta premiere of Liam Scarlett’s Vespertine, and a world premiere by Gemma Bond. Firebird will include Yuri Possokhov’s Firebird, George Balanchine’s Allegro Brillante, and Jiří Kylián’s Petite Mort.

What other changes might Nedvigin bring to Atlanta Ballet? He indicated that he’s open to the idea of a ranking system for the currently unranked company. “Ranking exists whether it’s announced or not,” he said. “Ranking helps give dancers recognition and it doesn’t prevent lower-ranked dancers from performing lead roles.” Another possibility he’s looking into is touring. However, he acknowledges that changes will take time and that it will be at least a few years before he begins to attain his vision for the company. One thing that won’t significantly change for the present is the roster of Atlanta Ballet’s dancers. All had their contracts renewed, though some have opted not to return in the fall.

Nedvigin will conclude his 19-year performing career with San Francisco Ballet in May as Lensky in John Cranko’s Onegin. He will succeed John McFall who retires in June after 23 years as artistic director of Atlanta Ballet. Nedvigin will be just the fourth artistic director in the history of the 87-year-old company. “It’s an honor to be joining Atlanta Ballet,” he said. “These are exciting times.”

Atlanta Ballet in Helen Pickett's "Camino Real". Photo by Charlie McCullers. — Atlanta Ballet in Helen Pickett’s “Camino Real”. Photo by Charlie McCullers.

Atlanta Ballet’s 2016-2017 Season

ATLANTA BALLET’S NUTCRACKER

December 9 – 24, 2016 | The Fox Theatre

Live with the Atlanta Ballet Orchestra

Encore Presentation of David Bintley’s CARMINA BURANA

February 3 – 11, 2017 | Cobb Energy Performing Arts Centre

Live with the Atlanta Ballet Orchestra

One Hour Family Ballet – TITLE TO BE ANNOUNCED

February 11 & 12, 2017 | Cobb Energy Performing Arts Centre

Recommended for families and younger audiences.

GENNADI’s CHOICE (Mixed Repertory)

March 17 – 19, 2017 | Cobb Energy Performing Arts Centre

Selections from Paquita choreographed by Marius Petipa and staged by Gennadi Nedvigin, the Atlanta premiere of Vespertine by Liam Scarlett, and a world premiere by Gemma Bond.

FIREBIRD (Mixed Repertory)

April 14 – 16, 2017 | Cobb Energy Performing Arts Centre

Firebird by Yuri Possokhov, Allegro Brillante by George Balanchine, and Petite Mort by Jiří Kylián.

Encore Presentation of Helen Pickett’s Tennessee Williams-Inspired CAMINO REAL

May 12 – 14, 2017 | Cobb Energy Performing Arts Centre

Choreography by Helen Pickett

Music & Sound Design by Peter Salem

Live with the Atlanta Ballet Orchestra

Preview: The Joffrey Ballet: Bold Moves

February 9, 2016 by 4dancers

*The Joffrey Ballet in RAkU. Photo by Cheryl Mann*

by Catherine L. Tully

The Joffrey Ballet opens its Bold Moves program Wednesday, February 10th at Chicago’s Auditorium Theatre with one world premiere and two audience favorites. The evening will feature live music from The Chicago Philharmonic, with Joffrey Music Director Scott Speck at the helm.

Joffrey Ballet in Forgotten Land — *Christine Rocas and Rory Hohenstein in Forgotten Land. Photo by Herbert Migdoll*

Jirí Kylián’s Forgotten Land is the opening piece, set for 12 dancers, with music by English composer Benjamin Britten. Last performed by the company in 2012, this well-received ballet was inspired by an Edvard Munch painting of women staring at the sea from the beach. The choreography does indeed evoke water, its many lifts and swirling motions resembling the ebb and flow of waves.

Preview of world premiere:

Another work for 12 dancers, Ashley Page’s world premiere, Tipping Point, is the next item on the program. This piece is centered around the music, Thomas Adès’ violin concerto Concentric Paths. An award-winning choreographer, Page has a strong background in ballet, but this abstract piece focuses on highlighting human behaviors that are illuminated by the shifting tensions of the score. Take a closer look at how Page came to work with Joffrey in this post on Art Intercepts.

Joffrey dances RAkU — Fabrice Calmels and Victoria Jaiani in RAkU. Photo by Cheryl Mann

RAkU is the final piece in the Bold Moves program, and it is a truly unique offering. First created for San Francisco Ballet in 2011, Yuri Possokhov’s contemporary story ballet is based on the burning of Kyoto’s Golden Pavilion. The choreographer commissioned a score by composer Shinji Eshima, and the music illuminates the love story beautifully. A stunning visual piece as well, RAkU fits nicely with the program’s theme, as it leaves quite an impression.

Bold Moves runs from February 10th through the 21st at Chicago’s Auditorium Theatre.

Take a quick peek at the three program pieces here:

Hubbard Street Dances Kylián

March 15, 2014 by 4dancers

Hubbard Street Dancers Ana Lopez, left, and Garrett Patrick Anderson in Petite Mort by Jiří Kylián. Photo by Todd Rosenberg. — Hubbard Street Dancers Ana Lopez, left, and Garrett Patrick Anderson
in Petite Mort
by Jiří Kylián. Photo by Todd Rosenberg.

by Catherine L. Tully

Thursday evening Hubbard Street Dance Chicago offered up an evening focused completely on choreographer Jiří Kylián at Chicago’s Harris Theater. Two works the company has performed before (27’52” and Petite Mort) and two are company premieres (Sarabande and Falling Angels).

The program is arranged beautifully—working its way back from 2002 to 1989, letting the audience see the choreographer’s development—but in reverse. First on the bill is 27’52” with its stark set, authoritative music and unusual poses. The title of the work refers to its length, but the force supplied by both the movement and the music draws the viewer in, making it feel much shorter.

The flooring is used in different ways here—sometimes as a cover or wrap for a particular dancer, other times as the impetus for the movement itself. Once it even pulls a dancer along the stage, resulting in a forceful type of floating motion—which is oddly compelling.

Kylián uses the spoken word throughout the work, which in and of itself isn’t particularly unusual, but the fact that the recorded voices are those of the original cast gives it a deeper layer, tying past to present dancers each time it is performed.

Petite Mort is the next Kylián work, and it is an audience favorite. The beginning presents a striking image, with six men on stage maneuvering six foils and six women standing in the shadows behind them looking on. Gender roles are on display front and center here, with the men brandishing weaponry and the women darting in and out from behind voluminous black dresses that slide across the stage on wheels. Although most sequences are danced expertly by the company, the eroticism does at times translate more as a series of poses and steps to be executed rather than raw, visceral movement.

Hubbard Street Dancer Johnny McMillan in Sarabande by Jiří Kylián, with Jason Hortin, left, and Jonathan Fredrickson . Photo by Todd Rosenberg. — Hubbard Street Dancer Johnny McMillan
in Sarabande by
Jiří Kylián, with
Jason Hortin, left, and Jonathan Fredrickson
Photo by Todd Rosenberg.

Sarabande begins with a literal bang as six men lay stretched out on the floor, slapping their arms down in unison, as if demanding attention. The women’s gowns are back on display again, but this time they are heavily decorated, hovering over the men–empty–almost haunting. The men roll through a series of postures and poses, ranging from primal, manly screams in unison—to little boys peering at something interesting on the ground.

They dance at times with shirts up around their heads, reminiscent of a miniature Martha Graham costume from Lamentation, and other times with pants down around their ankles. A series of short robust solos is the highlight here, very well executed and supremely powerful.

Falling Angels is the final work of the evening and it features live accompaniment by the steady hands of Third Coast Percussion. While the men of Sarabande seem to alternate between singularity of focus and camaraderie, Falling Angels is a multitasking, tribal marvel. This piece was perhaps the best suited to Hubbard Street, as the women of this company are fierce dancers who hold nothing back.

The choreography is at once aboriginal and contemporary, alternating between African dance movements and a scattershot series of expressions of modern femininity. The women moved in strength—rotating very quickly between shy, sexy, hurried, self-conscious and powerful poses and movements.

Hubbard Street performs at the Harris Theater through March 16th.

Joffrey Ballet’s “Human Landscapes” Program Connects

October 18, 2012 by 4dancers

by Catherine L. Tully

The Joffrey Ballet’s 2012-2013 season opened Wednesday evening with a mixed repertory program aptly titled “Human Landscapes”. Forgotten Land, Pretty BALLET and The Green Table were offered to the audience at Chicago’s Auditorium Theatre, along with a live orchestra to accompany the three works.

Joffrey Ballet 2012 — Christine Rocas & Rory Hohenstein in Forgotten Land, photo by Herbert Migdoll

With its simple set and dancers clothed primarily in earth tones and varying shades of red, Jirí Kylián’s Forgotten Land opened the program for the evening. Set to music by Benjamin Britten, the contribution that the musicians and conductor Scott Speck made to the atmosphere was immediately apparent. As dancers whirled across the stage in what seemed an endless series of lifts, the music punctuated both the timing–as well as the tone of the piece. Performed confidently by the 12 dancers with the exception of a few minor timing issues, it was a surprise to learn that the piece hasn’t been done by the company since 1985.

joffrey ballet — Pretty BALLET, photo by Herbert Migdoll

Next was Pretty BALLET by James Kudelka, which opened with Victoria Jaiani held in a striking, if unusual pose–high above the head of partner Miguel Angel Blanco. With white fog blanketing the stage, the simple, dream-like scene was interrupted visually by a pair of bright red pointe shoes.

The contrast of effortless beauty and diligent work is explored throughout this piece–both concepts dear to the very heart of ballet as an art form. Denis Lavoie’s fragile-looking white skirts lend a magical quality to the stage, while the plain gray tights and shirts worn by the men seem to depict the repetition, labor and practice involved in perfecting ballet movements.

Highlights from the four movements in Pretty BALLET included a magnificent pas de deux, which featured Jaiani and Blanco, and a complex and extremely well-executed sequence for five men, performed by Derrick Agnoletti, Raul Casasola, John Mark Giragosian, Graham Maverick and Ricardo Santos. The music by Bohuslav Martinu˚ was brought to life by The Chicago Philharmonic, adding significantly to the overall impact of the piece.

Always last on the program (by the specific request of choreographer Kurt Jooss) is The Green Table, a ballet that is interwoven with the very history of the Joffrey itself. Originally choreographed in 1932, the Joffrey was the first American company to perform this German Expressionist work–years later in 1967. A commentary on the fruitlessness of war, it is a powerful piece illuminated by costuming, gesture, music and nuance.

The ballet opens and ends with a group of diplomats who are gathered around a large green table. Clad in wonderfully crafted masks created by Hermann Markard, this is a political gathering that could be taking place anywhere–at any time. At the outset of the ballet, negotiation gives way to argument and the scene helps to set the stage for what is to come; battles, war, and eventually, death.

Death is a strong character in this ballet, and it seems as if dancer Fabrice Calmels was born to play this role. With his large frame costumed in frightening skeletal imagery the mere sight of him is imposing, whether he is marking time before he collects the next body or is claiming someone from the battle ground of war. Other standout performances include April Daly as The Old Mother and Temur Suluashvili who seemed to have boundless energy as The Profiteer.

The costuming by Hein Heckroth certainly adds to the haunting atmosphere of this ballet–especially since the scenery is, for the most part, absent. Frederick A. Cohen’s music gives the choreography another dimension, especially because of the dual piano work of Paul James Lewis and Mungunchimeg Buriad, which was incredibly powerful.

The entire company danced well here, and there were many strong characterizations and striking moments. As a ballet, The Green Table is only as good as the care taken to preserve its symbolism and structure, and that was done with a wonderful attention to detail by the Joffrey Ballet at all levels.

It connects.

“Human Landscapes” is at the Auditorium Theatre through October 28th.

Atlanta Ballet’s 2016-2017 Season

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