215 items found

  • Los Angeles Ballet tries the untraditional | Los Angeles Ballet

    Los Angeles Ballet tries the untraditional May 9, 2010 Kate Highstrete made Myrtha, the Queen of the Wilis, an other-worldly creature of pitiless steel. Los Angeles Times by Victoria Looseleaf DOWNLOAD PDF 2021/2022 Season > News > Previous Item Next Item

  • error404 | Los Angeles Ballet

    2021/2022 Season > Our Apologies! The page you have requested has either been moved or no longer exists. Please select the menu or search tool at top right of this page to help you find the content you may be looking for. We welcome you to visit the new home page and enjoy Los Angeles Ballet's presentation of the 2021/2022 Season . VISIT NEW HOME PAGE

  • Passing the Balanchine Baton | Los Angeles Ballet

    Passing the Balanchine Baton May 15, 2013 An elite group of artists called “repetiteurs “ carry on the works of one of the greatest choreographic masters of all time, George Balanchine. For 30 years since his death on April 30, 1983, these human “style guides” for the Balanchine aesthetic have served as guardians of his expansive repertoire of nearly 400 works, and storytellers of his legacy. Many have danced the roles themselves under his tutelage, such as Colleen Neary, co-artistic director of Los Angeles Ballet. She, along with about 30 other New York City Ballet disciples -- the acclaimed ballet company that he founded in 1948 -- have the stamp of approval from the Balanchine Trust to stage the choreographer’s works. As such, they travel the world ensuring that professional ballet companies who present Balanchine on their playbill, perform it, just so. “There was always a style and way of dancing the role that was very important to him,” Neary says. “He gave you the freedom to do what you wanted but not to the extreme where it took the piece another direction. And we grew up around that style - we saw what he wanted. We all respect each other but we all have differences in the years we danced with Balanchine and for versions we danced in. When I danced “Rubies” and “Symphony in C” in the same roles as my sister, [Patricia Neary for whom many roles were created by Balanchine], she was a decade before me, and he may have changed it for me, or changed his mind on certain timings. He changed as he went along. We always say ‘Before Death.’ Those are the years we look at. And after he died, things kept changing, so we try to keep it as tight as we can,” she says. Noelle “Rubies” Neary danced as a soloist from 1969 to 1979 in The New York City Ballet under the direction of Balanchine. Like her sister, she also had numerous roles created for her by Balanchine, as well as by other acclaimed choreographers such as Peter Martins, Jacques d’Amboise and others, throughout her career. Now Neary is poised to pass the Balanchine baton to a new generation of dancers at her own company, which she founded nine years ago with husband and former Royal Danish Ballet and New York City Ballet dancer Thordal Christensen. To commemorate Mr. B’s death (as he’s called fondly) and to celebrate his work, Los Angeles Ballet recently launched a Balanchine Festival 2013. Having just wrapped “Balanchine Gold” in March and April, Los Angeles Ballet recently launched part two of the series, “Balanchine Red” across Southern California that runs through June 9. Balanchine Red features his works, “Agon,” “La Valse,” and “Rubies.” The next performance takes place Saturday, May 18 at the Carpenter Performing Arts Center, followed by a night at the Valley Performing Arts Center May 25, an afternoon at the Alex Theatre May 26 and ending at Royce Hall June 9. Each performance is accompanied by lectures prior to curtain by experts in Balanchine’s work, including Kent Stowell, Francia Russell, Lewis Segal, Victoria Loos leaf, and of course, Neary herself. One of Los Angeles Ballet’s principal dancers is Southern California native Allynne Noelle. A tall, lithe figure who crackles on stage, Noelle has been with the company since 2011, coming from Miami City Ballet where she also performed Balanchine under the direction of Eddie Villella, another former principal dancer with New York City Ballet. Kenta, Noelle, “TchaiPas” “I like ‘Rubies’ ‘Tall Girl.’ LOVE Jewels as a whole ballet. Oh, and ‘Tchai Pas’ is fun (that’s ballet slang for 1960’s Tchaikovsky Pas de Deux),” she says, ticking off her favorite Balanchine ballets similar to how someone of a different milieu might rattle off pop music hits. “I really like “Apollo” too, but I’ve never performed it.” In Los Angeles Ballet’s “Balanchine Festival Red,” Noelle will dance the Pas de Deux in the notoriously challenging Agon (1957) an abstract masterpiece in which nary a note is lost on movement; and she will revisit “Tall Girl” in Rubies (1967). The fact that Neary has coached her in a masterpiece that Neary herself has danced for the master is clearly not lost on her. “I was a little scared at first because I know [Neary] has done the role,” she says. “Colleen gives me the freedom to do what I want with the role as an artist, but if there’s a step that isn’t right she lets me know. Even though it’s crazy hard technically, it’s artistically freeing.” Neary is quick to dispel any notion that she expects a cookie cutter interpretation of how she performed the part. “It’s perfect for Allynne. I give her feedback as to how I did it, but I don’t like to say: ‘This is MY role!’; even though you might feel like it’s your role. I want to train the next generation who are dancing the Balanchine ballets and dancing them well so eventually The Balanchine Trust might approve them to stage the ballets. The Balanchine Trust is very tight with [its] mechanism, and typically, they come from New York City Ballet. But I think it’s important for those of us who are with other companies to train the next generation to be able to rehearse his work,” she says. Mr. B, Pat, Colleen. Meanwhile Neary’s next repetiteur “gig” will be with the Paris Opera Ballet staging the original “Symphony in C” called “Palais de Cristal.” Neary also invites other repetiteurs to Los Angeles to stage Balanchine on Los Angeles Ballet dancers. “It’s good for the dancers to work with someone different. Although sometimes it’s hard for me to keep my mouth shut,” she laughs. Noelle, a self-proclaimed repetiteur in waiting, is one of six dancers with Los Angeles Ballet from Southern California. Noelle grew up in Huntington Beach and began classical ballet training at age 5. She remembers limited exposure to professional productions beyond seeing New York-based companies like New York City Ballet, American Ballet Theatre and “the occasional Russian company” breeze through to perform. “The cultural growth (in Southern California) has been exponential since then,” Noelle says. “I’m so happy to be back here dancing in a company that offers the opportunity to perform such great ballets. Last time I was on stage performing ‘Tchai Pas’ I thought, ‘Wow, this is my job. Should I really be having this much fun?’” KCET by AC Remler DOWLOAD PDF 2021/2022 Season > News > Previous Item Next Item

  • Bergamot Station Hosts Art for the Arts | Los Angeles Ballet

    Bergamot Station Hosts Art for the Arts November 1, 2006 The event, with Honorary Chair Anjelica Huston, offered works by celebrity artists Tony Bennett, Orlando Bloom, Jeff Bridges, Tommy Chong, Leonard Cohen, David Cowles, Tony Curtis, Gil Garcetti, Joel Gray, Buck Henry, Dennis Hopper, Anjelica Huston, Steve Martin, Joni Mitchell, Viggo Mortensen, Martin Mull, Jane Seymour, Richard Schiff, and Yoko Ono, among others. The auction was conducted live by Santa Monica Auction House auctioneer, Robert Berman. The evening included fine food and wine, live music, and a first glimpse of Los Angeles Ballet! Exhibits of the new sets and costumes for Los Angeles Ballet’s The Nutcracker were also on display. Company News from the Staff at LAB 2021/2022 Season > News > Previous Item Next Item

  • Allynne Noelle Appointed Los Angeles Ballet Principal Dancer | Los Angeles Ballet

    Allynne Noelle Appointed Los Angeles Ballet Principal Dancer December 1, 2011 Co-Artistic Director Thordal Christensen announced the promotion of Ms. Noelle to LAB Principal Dancer at the curtain call of the December 17th 1 pm performance of The Nutcracker at Royce Hall, UCLA. Company News from the Staff at LAB 2021/2022 Season > News > Previous Item Next Item

  • 'The Nutcracker' Opens LA Ballet Sixth Season | Los Angeles Ballet

    'The Nutcracker' Opens LA Ballet Sixth Season December 15, 2011 LA County’s resident classical ballet company, Los Angeles Ballet opens a sixth season with Thordal Christensen and Colleen Neary’s original staging of Tchaikovsky’s “The Nutcracker.” This sweet holiday treat is currently making its annual three-week tour from Glendale’s landmark Alex Theatre to UCLA’s Royce Hall to the Redondo Beach Performing Arts Center. The ballet opens on sumptuous storybook sets designed by LA artist Catherine Kanner. As a festive Christmas party gets underway at the Steinbaum house, young Clara – danced by Mia Katz – and her friends play with their favorite dolls. New to the role last year, Katz shows a deepening dramatic and technical rtistry. Clara’s bratty brother, Franz, is played with devilish glee by Aidan Merchel-Zoric. Sweeping into the party, the children’s Uncle Drosselmeyer brings mechanical dancing dolls to entertain the guests. Revealing himself as a fine dramatic dancer in last season’s Sonya Tayeh world premiere, the charismatic Nicolas de la Vega commands the stage in his first performances as the wizardly uncle. Sparkling Isabel Vondermuhll repeats last year’s spicy performance as the commedia dell’arte Columbine Doll, partnered by Angel Lopez in a bravura company debut as Harlequin. Following his electrifying performance as Hilarion in last year’s acclaimed “Giselle,” Chehon Wespi-Tschopp brings the audience to a screaming frenzy with the virtuoso leaps and turns of Drosselmeyer’s Cossack Doll. Eighteen-year-old Pacific Northwest Ballet guest artist Nathaniel Solis guides his compact frame through perfect double tours en l’air and grands jetés with flashing eyes and a brilliant smile. This handsome young man is clearly one to watch. The midnight battle between the brave toy soldiers and menacing mice is delightful, led by Zheng Hua Li as the high-leaping, hilarious Mouse King. As ever, the women’s corps de ballet presents a breathtaking Dance of the Snowflakes to end Act I. Act II begins in the Palace of the Dolls, all brought to life by magical Uncle Drosselmeyer. Allyssa Bross and Christopher Revels made auspicious LAB debuts as presiding dolls Marie and her Cavalier in last season’s “Nutcracker.” In the short year since – which included their partnering in both “Giselle” and Balanchine’s “Raymonda Variations” – Bross has developed a confident insouciance to go along with her perfect technique and superb balance, flirting shamelessly with her adoring audience during the fiendish variations of a long and arduous Pas de Deux. One year ago, Revels made an indelible impression with his ebullient, sky-high leaps and enormous strength and stamina. Now only 20 years old, he exhibits an authority and refinement rare in so young a premier danseur. The fortuitous partnership between these two young artists, carefully and wisely mentored by Christensen and Neary, brings out the best in both of them. Newly named company principals, they exude considerable star quality, which has created a national flurry of anticipation for their pairing in LAB’s upcoming “Swan Lake.” In alternate performances, the Cavalier is danced by returning guest artist Kenta Shimizu, who has parlayed his spectacular jumps, turns, and enormous lifts into a blossoming international career. Second-act highlights included a sizzling, Flamenco-flavored Spanish Dance, featuring passion and precision from soloists Kate Allynn Noelle as The Rose Photo: Reed Hutchinson Highstrete, Kelly Ann Sloan, Alexander Forck and Zheng Hua Li. Lithe and lovely Julia Cinquemani and majestic Alexander Castillo repeated their mesmerizing Arabian pas de deux from last year. Wespi-Tschopp vaulted through a show-stopping Russian Dance, joined by buoyant and acrobatic Christopher McDaniel and Tian Tan. Always enchanting, the Waltz of the Flowers is especially striking with Allynne Noelle as The Rose. Her strong debut as Queen of the Wilis in last season’s “Giselle” marked her as a brilliant addition to LAB’s impressive roster of soloists. This season Noelle and Bross share performances as Marie and The Rose. The children’s corps de ballet offers disciplined and precise step-work, and a rollicking sense of fun throughout the evening – no doubt inspiring the throng of young audience members, who can be seen whirling and leaping through the lobby after the show. For five years, LAB has presented every one of its productions in at least three locations. A recipient of large grants from LA County Arts Commission and the Schubert Foundation, the company has announced two additional performance venues – in Long Beach and Northridge – for its production of “Swan Lake” in March. “The Nutcracker” plays at UCLA’s Royce Hall on Saturday, Dec. 17, and Sunday, Dec. 18, at 1 and 5 p.m.; and Redondo Beach Performing Arts Center on Thursday, Dec. 22, and Friday, Dec. 23, at 7:30 p.m., and Saturday, Dec. 24, at 1 p.m. For tickets and information, please visit www.losangelesballet.org . —Penny Orloff, Culture Spot LA CultureSpotLA by Penny Orloff DOWNLOAD PDF 2021/2022 Season > News > Previous Item Next Item

  • Supporting Los Angeles Ballet | Los Angeles Ballet

    Supporting Los Angeles Ballet October 1, 2009 Guests came from the worlds of entertainment, finance, healthcare and other industries to a gala at the Bel-Air home of Stephanie Murray in support of Los Angeles Ballet. Guests enjoyed dinner in the garden and a performance of "The Evangelist," originally created for Neary and Christensen, and selections from the great choreographer George Balanchine. Company News from the Staff at LAB 2021/2022 Season > News > Previous Item Next Item

  • Repertoire | Los Angeles Ballet

    LAB Repertoire 2021/2022 Season > About LAB > 2019/2020 Season The Sleeping Beauty Christensen and Neary after Petipa / Tchaikovsky Cancelled due to the COVID-19 pandemic Balanchine Black & White Agon Balanchine / Stravinsky Concerto Barocco Balanchine / Bach Apollo Balanchine / Stravinsky The Nutcracker Christensen and Neary / Tchaikovsky 2006/2007 Season An Evening of Balanchine Serenade Balanchine / Tchaikovsky Apollo Balanchine / Stravinsky Rubies Balanchine / Stravinsky The Nutcracker Christensen and Neary / Tchaikovsky New Beginnings Concerto Barocco Balanchine / Bach Agon Balanchine / Stravinksy Napoli Bournonville / Helsted and Paulli *LAB Commissioned Work | World Premiere The performances of Balanchine® Ballets are presented by arrangement with The Balanchine Trust and are produced in accordance with the Balanchine Style ® and Balanchine Technique ® service standards established and provided by the Trust . 2017/2018 Season Swan Lake Christensen and Neary after Petipa & Ivanov / Tchaikovsky Pushing Dance Boundaries | Director's Choice Second to Last and Pacopepeluto Cerrudo / Pärt, Martin, Scalissi This is you* Lou / Scheele, van der Loo The Four Temperaments Balanchine / Hindemith The Nutcracker Christensen and Neary / Tchaikovsky 2016/2017 Season Balanchine | Master of the Dance Divertimento No. 15 Balanchine / Mozart Prodigal Son Balanchine / Prokofiev Who Cares? Balanchine / Gershwin Modernists | Ballet Visionaries Napoli Pas de Six and Tarantella Bournonville / Helsted, Paulli Stravinsky Violin Concerto Balanchine / Stravinsky Untouched Barton / Kong Kie, Macdonald, Shurbin The Nutcracker Christensen and Neary / Tchaikovsky 2014/2015 Season Directors’ Choice Tchaikovsky Piano Concerto No. 2 Balanchine / Tchaikovsky The Moor's Pavane Limón / Purcell arr. by Sadoff Sechs Tänze Kylián / Mozart Swan Lake Christensen and Neary after Petipa and Ivanov / Tchaikovsky The Sleeping Beauty Christensen and Neary after Petipa / Tchaikovsky The Nutcracker Christensen and Neary / Tchaikovsky 2015/2016 Season Romeo and Juliet Sir Frederick Ashton / Prokofiev Giselle Christensen and Neary after Coralli, Perrot, Petipa/Adam Don Quixote Christensen and Neary after Marius Petipa and Alexander Gorky /Minkus The Nutcracker Christensen and Neary / Tchaikovsky 2013/2014 Season Serenade Balanchine / Tchaikovsky The Nutcracker Christensen and Neary / Tchaikovsky Quartet Return to a Strange Land – Kylián / Janácek Beneath One's Dignity *– Tayeh / Sigurðsson Cipher* – Stowell / Agruss Stars and Stripes – Balanchine / Kay after Sousa La Sylphide Bournonville / Løvenskjold 2012/2013 Season Balanchine Festival RED La Valse Balanchine / Ravel Agon Balanchine / Stravinsky Rubies Balanchine / Stravinsky The Nutcracker Christensen and Neary / Tchaikovsky Balanchine Festival GOLD La Sonnambula Balanchine / Rieti after Bellini Concerto Barocco Balanchine / Bach Tchaikovsky Pas de Deux Balanchine / Tchaikovsky The Four Temperaments Balanchine / Hindemith 2011/2012 Season NextWaveLA colony* McNamee / Clyne Duets in the act of...* Tayeh / Arnalds Sirens* Walsh / Rivera Jr. Be Still* Tookey / Banks and Johannsson The Nutcracker Christensen and Neary / Tchaikovsky Swan Lake Christensen and Neary after Petipa and Ivanov / Tchaikovsky 2010/2011 Season Giselle Christensen after Coralli, Perrot, Petipa / Adam The Nutcracker Christensen and Neary / Tchaikovsky Celebration Raymonda Variations Balanchine / Glazounov My Greatest Fear* Tayeh / Richter and Pärt Western Symphony Balanchine / American Songs Orchestrated by Kay 2009/2010 Season NewWaveLA Wink* Moore / Cirque Eloize Transmutation* Walsh / Rivera Jr. Reflect. Affect. Carry On ...* Wall / Queen, U2, Sigur Ros the back and forth* Tayeh / Bjork, Piazzolla, Paris Gotan Trio The Nutcracker Christensen and Neary / Tchaikovsky Balanchine, 'See the Music, Hear the Dance' Serenade Balanchine / Tchaikovsky Kammermusik No. 2 Balanchine / Hindemith Tchaikovsky Piano Concerto No. 2 Balanchine / Tchaikovsky 2008/2009 Season La Sylphide Bournonville / Løvenskjold The Nutcracker Christensen and Neary / Tchaikovsky Directors’ Choice Prodigal Son Balanchine / Prokofiev An American Camelot* Backhaus / Basie, Fitzgerald, Kitt, Martin Stravinsky Violin Concerto Balanchine / Stravinsky 2007/2008 Season Summer 2008 Allegro Brillante Balanchine / Tchaikovsky The Evangelist Lubovitch / Ives she said / he said* Backhaus / Muhly Napoli Bournonville / Helsted and Paulli The Nutcracker Christensen and Neary / Tchaikovsky Spring 2008 The Four Temperaments Balanchine / Hindemith Lost In Transition* Barak / Meyer Tarantella Balanchine / Gottschalk Who Cares? Balanchine / Gershwin 2020/2021 Season All performances cancelled due to the COVID-19 pandemic 2018/2019 Season Serenade & La Sylphide Serenade Balanchine / Tchaikovsky La Sylphide Bournonville / Løvenskjold Modern Moves | Directors’ Choice Les Chambres des Jacques Barton / Vigneault, Vivaldi, Les Yeux Noirs, The Cracow Klezmer Band Lickety Split Cerrudo / Banhart Western Symphony Balanchine / American Songs Orchestrated by Kay The Nutcracker Christensen and Neary / Tchaikovsky 2021/2022 Season The Sleeping Beauty Christensen and Neary after Petipa / Tchaikovsky Bloom Ghosts Wheeldon / Winger Bloom Lopez Ochoa / Glass Apollo Balanchine / Stravinsky The Nutcracker Christensen and Neary / Tchaikovsky ABOUT Lab History Read the history of the company from the premiere performances of LAB’s original production of The Nutcracker in 2006 to the present. Learn about LAB’s Leadership, Mission, Outreach initiatives, commissions of original works and much more. LEARN MORE ABOUT Los Angeles Ballet Founded in 2004 by Artistic Directors Thordal Christensen and Colleen Neary, and Executive Director Emerita Julie Whittaker, Los Angeles Ballet is known for its superb stagings of the Balanchine repertory, stylistically meticulous classical ballets, and its commitment to new works. LAB has become recognized as a world-class ballet company. LEARN MORE LAB Repertoire

  • The new company's diverse dancers form a robust whole in a program of Balanchine and Bournonville. | Los Angeles Ballet

    The new company's diverse dancers form a robust whole in a program of Balanchine and Bournonville. March 17, 2007 Los Angeles Ballet's diverse program forms a robust whole. It's hard enough for dancers trained in different styles of ballet — sometimes in different countries — to form a unified ensemble. It's harder still to display that unity in the distinctive dance languages of two choreographic masters. Born just four months ago, Los Angeles Ballet passed that test in its first repertory program Thursday at UCLA's Freud Playhouse — maybe not perfectly, maybe not without a pervasive sense of effort, but splendidly enough to make three challenging pieces come alive for a large, enthusiastic audience. Classical Balanchine, contemporary Balanchine and buoyant, Romantic Bournonville all received scrupulous performances in stagings by company artistic directors Colleen Neary (a Balanchine specialist) and Thordal Christensen (an alumnus of Bournonville's Royal Danish Ballet). Whether or not it can survive in our traditionally inhospitable dance landscape, their Los Angeles Ballet is the real thing, a force for many kinds of excellence that deserves the community's attention and support. One could wish that as the company moves from Westwood to Redondo Beach and then to Glendale this month, the dancers might relax into their roles and enjoy their dancing as much as the audience does. It's not a matter of smiles (of which there were plenty Thursday) but of the sense of interpretive freedom within the choreography that only Melissa Barak and a very few others showed opening night. Barak's individual and often spontaneous attacks came in Balanchine's "Concerto Barocco," which always seems to be a showcase for conservative classical purity until you look more closely and see the innovative body-foldings, partnering experiments and other creative wonders that Balanchine devised in 1941 to music by Bach. Mirroring Barak in the outer sections and becoming the work's focus in the central duet, Corina Gill gave a rapt, secure performance, partnered with great nobility by Oleg Gorboulev. Gill and Gorboulev also brought their remarkable ability to deliver a string of choreographic fireworks as one brilliantly sustained phrase to Balanchine's "Agon," an inspired 1957 game of neoclassic one-upmanship played with and against Igor Stravinsky. All fire and ice, whimsical forays into off-balance balance and a modernistic milestone, the choreography can look a lot jauntier than it did Thursday, but Neary's deadpan staging did allow all the non sequiturs to take you by surprise. As with "Concerto Barocco," the company as a whole often managed the complex passages more artfully than the simplest steps, but Lauren Toole endowed both with a serene confidence in her technical control. Sergey Kheylik threw himself into his solo with complete abandon, but neatness definitely counted here, and his wild vivacity proved far more useful in the divertissements from Bournonville's "Napoli." With music by Helsted and Paulli, the celebratory "Napoli" pas de six and tarantella date from 1842, before classical bravura acquired the edge of aggression it gained, for better or worse, in Russia. If "Agon" is consummately spiky and "Concerto Barocco" supremely flowing, this quasi-Italianate showpiece is indomitably fluffy, marked by major shifts in tempo and pressure (to which the company needs greater attention) but always light and genial. On Thursday, exposed balances in extension sometimes proved shaky and terminations not always ideally clean. But it was fascinating to see what elements of Bournonville style attracted the individual soloists and dominated their performances. Guest Rainer Krenstetter of the Berlin Staatsballett had the sparkle, Masahiro Suehara the precision, Gill the sweetness and Toole the calm center. Kheylik, as always, brought invigorating energy to the party. The excerpt also displayed the talents of Peter Snow, Kelly Ann Sloan, Alexandra Blacker, Nancy Richer and Erin RiveraBrennand. Everyone looked yummy in Soren Frandsen's prismatic abstractions of folk costumes and behaved as if an L.A. company dancing a Danish interpretation of Italian folklore was, somehow, natural casting. Taped music accompanied all the pieces on the program. lewis.segal@latimes.com Los Angeles Times by Lewis Segal DOWLOAD PDF 2021/2022 Season > News > Previous Item Next Item

  • Julia Cinquemani Promoted to Principal Dancer | Los Angeles Ballet

    Julia Cinquemani Promoted to Principal Dancer November 1, 2014 On November 1, 2014, LAB Co-Artistic Director Thordal Christensen announced Julia Cinquemani's promotion from Soloist to Principal Dancer. The announcement came minutes after the curtain went down on Julia's debut as Odette/Odile in Los Angeles Ballet's Swan Lake. Julia joined Los Angeles Ballet in 2010 and was promoted to Soloist in March 2013. Company News from the Staff at LAB 2021/2022 Season > News > Previous Item Next Item

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