2019-01-31 20:002019-02-02 22:0060Canada/Eastern🎟 NAC: The National Ballet of Canada
https://nac-cna.ca/en/event/18652
As a top international company, The National Ballet of Canada boasts an impressive repertoire of choreographic gems. Their NAC program will feature works by the illustrious George Balanchine and Sir Frederick Ashton, principal architects of 20th century classical ballet, and trailblazer Justin Peck. Apollo, one of Balanchine’s most famous collaborations with composer Igor Stravinsky, is a masterpiece of neo-classicism that changed the language of ballet forever. Paz de la Jolla is a joyous...
“Simply put, Apollo is on a short list of the greatest ballets ever.”
National Post
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≈ 2 hours (Paz de La Jolla – 20 min., Apollo – 30 min., The Dream – 51 min.)
· With intermission
NAC Presentation
As a top international company, The National Ballet of Canada boasts an impressive repertoire of choreographic gems. Their NAC program will feature works by the illustrious George Balanchine and Sir Frederick Ashton, principal architects of 20th century classical ballet, and trailblazer Justin Peck. Apollo, one of Balanchine’s most famous collaborations with composer Igor Stravinsky, is a masterpiece of neo-classicism that changed the language of ballet forever. Paz de la Jolla is a joyous work by New York City Ballet dancer and resident choreographer Justin Peck and Ashton’s beguiling The Dream is a lyrical masterpiece based on Shakespeare’s A Midsummer Night’s Dream.
Did you know:Paz de la Jolla was the subject matter of the 2014 feature-length documentary Ballet 422 by Jody Lee Lipes.
Running time Paz de La Jolla – 20 min. Apollo – 30 min. The Dream – 51 min.
In his 2013 workPaz de la Jolla, New York City Ballet dancer and Resident Choreographer Justin Peck has created a heartfelt and sun-washed homage to his southern California upbringing. Set to Martinu's Sintonietta la Jolla, the ballet is a sweet-natured billet-doux to beach life and young love, the choreography both brisk and languid, salty and sensual, rich in emotional undercurrents and evocative of the pleasures and fears of youth and coming of age.
Apollowas first performed by Diaghilev's Ballets Russes on June 12, 1928. It was the first ballet choreographed by George Balanchine to receive international recognition and is the earliest work that illustrates Mr. Balanchine's flair for revitalizing 19th-century classicism with a modern dance vocabulary distinctly his own. Apollo was his second ballet set to the music of Stravinsky and marked the beginning of his lifelong partnership with the composer.
The ballet depicts Apollo, the young god of music, who is visited and instructed by three Muses, who were also the children of Zeus and therefore his half-sisters: Calliope, Muse of poetry, whose symbol is a tablet; Polyhymnia, Muse of mime, whose symbol is the mask and Terpsichore, Muse of dance and song, whose symbol is a lyre.
Created in 1964, Frederick Ashton's The Dream, based on A Midsummer Night's Dream, is one of the most universally admired and artistically satisfying of all ballet adaptations of the playwright's work. Using Felix Mendelssohn's beloved music, arranged by John Lanchbery, Ashton's version of the play is a miracle of dramatic concision, giving us the familiar characters of Titania and Oberon, the four confused lovers, Puck and the rude mechanicals in a taut but lyrical one-act re-imagining of the story set in Victorian times. Ashton's vibrant, moonlit choreography seamlessly integrated with every magical shift in the narrative's mood.
Barry Hughson joined The National Ballet of Canada as Executive Director in 2014. Since that time, the company has accelerated its trajectory of artistic growth, fiscal responsibility, community engagement and international acclaim. In 1988, Barry began his professional career as a dancer with The Washington Ballet, performing at the Kennedy Center and internationally. As an arts executive, he has led a variety of arts institutions in the US, including The Warner Theatre, Complexions Contemporary Ballet, American Repertory Ballet, Atlanta Ballet and Boston Ballet. For nine years, he served on the board of Dance/USA, North America's largest service organization for professional dance. In partnership with Dance/USA and The Royal Ballet, Barry spearheaded the first meeting of international executive dance leadership in 2015. In Canada, Barry was a member of the Coordinating Committee for Respectful Workplaces in the Arts, where he chaired the working group responsible for the development of a nationwide Code of Conduct for the Live Performing Arts. He currently serves as a member of the Steering Committee for the Canadian Acts Coalition and as a member of the Advancement Committee for the International Society of Performing Arts.
Barry Hughson a joint le Ballet national du Canada à titre de directeur général en 2014. Depuis ce temps, la compagnie a mis le cap sur la croissance artistique, la responsabilité fiscale, l’engagement communautaire et le rayonnement international. Il a commencé sa carrière comme danseur au Washington Ballet en 1988, se produisant au Kennedy Center et en tournée à l’international. En tant qu'administrateur artistique, il a dirigé diverses institutions artistiques aux États-Unis, notamment le Warner Theatre, le Complexions Contemporary Ballet, l’American Repertory Ballet, l’Atlanta Ballet et le Boston Ballet. Il a été pendant neuf ans membre du conseil d’administration de Dance/USA, le plus grand organisme nord-américain de services pour les professionnels de la danse. En 2015, il a organisé, en partenariat avec cet organisme et le Royal Ballet, la toute première rencontre internationale de cadres dirigeants du milieu de la danse. Au Canada, Barry est vice-président du conseil d’administration de l’Assemblée canadienne de la danse. À titre de membre du comité de coordination du projet Respectful Workplaces in the Arts, il a dirigé un groupe de travail visant l’élaboration d’un code de conduite national pour les arts du spectacle. Il est actuellement membre du comité directeur de la Canadian Acts Coalition et membre du comité d'avancement de l'International Society of Performing Arts.
Jeff Morris joined The National Ballet of Canada in 1995. Born in Toronto, he studied technical theatre production and administration at Ryerson's Theatre School. From 1990 to 1995, he was Production Stage manager for Toronto Dance Theatre, including the company's debuts in Berlin, Warsaw, Tokyo and at the Joyce Theater. He was Production Stage manager for Dancers For Life (1991-1997), Stage Manager for Théatre Passe-Muraille (Never Swim Alone) and for the Fringe Festival of Independent Dance Artists.
Since joining the National Ballet, he has stage-managed a wide range of the company's unique classical and contemporary repertoire, including the world premieres of James Kudelka's The Four Seasons, Cinderella and An Italian Straw Hat, Crystal Pite's Emergence and Angels's Atlas, Guillaume Côté's Le Petit Prince and Frame by Frame (with Robert Lepage). Company premieres include John Neumeier's The Seagull, A Streetcar Named Desire, Nijinsky and Anna Karenina, and Christopher Wheeldon's Alice's Adventures in Wonderland and The Winter's Tale.
He is an adjunct faculty member at the School of Toronto Dance Theatre and Festival Co-Director for dance:made in Canada/fait au Canada.
Jeff Morris s’est joint au Ballet national du Canada en 1995. Né à Toronto, il a étudié la production théâtrale et l’administration à la Ryerson’s Theatre School. De 1990 à 1995, il a été régisseur de production au Toronto Dance Theatre, entre autres lorsque la compagnie a fait ses débuts à Berlin, à Varsovie, à Pékin, à Tokyo et au Joyce Theater de New York. Il a été régisseur de production pour Dancers For Life (de 1991 à 1997), régisseur de plateau pour le Théatre Passe-Muraille (Never Swim Alone) et pour le Fringe Festival of Independent Dance Artists.
Depuis qu’il s’est joint au Ballet national, Jeff Morris a assuré la régie de nombreuses productions du répertoire classique et contemporain propre à la compagnie, comme les premières mondiales des Quatre Saisons, de Cendrillon et d’Un chapeau de paille d’Italie de James Kudelka, d’Emergence et d’Angels’ Atlas de Crystal Pite, du Petit Prince et de Frame by Frame (avec Robert Lepage) de Guillaume Côté. Parmi les premières de la compagnie, citons La Mouette, Un Tramway nommé désir, Nijinsky et Anna Karenine de John Neumeier, ainsi que Les aventures d’Alice au pays des merveilles et Le conte d’hiver de Christopher Wheeldon.
Il est professeur auxiliaire à l’École du Toronto Dance Theatre et codirecteur du festival dance:made in Canada/fait au Canada.
Liliane Stilwell joined The National Ballet of Canada in 2015 and has stage managed The Merry Widow, Onegin, Giselle, Swan Lake, The Sleeping Beauty and Pinocchio. Previously she served as stage manager for the Canadian Opera Company for 22 years. Highlights include Don Quixote, Barber of Seville, Lucia di Lammermoor, La Cenerentola, Otello, Marriage of Figaro, Götterdämmerung (complete Ring Cycle) Macbeth, La Bohème, Eugene Onegin and Madame Butterfly and was part of the team that took Oedipus Rex to the Edinburgh International Festival. She was production stage manager for Grease and stage manager for Robin Hood and Cinderella at the Elgin Theatre, Dirty Dancing at the Royal Alexandra Theatre and Hairspray at the Princess of Wales Theatre. Other credits include Tom Jones, Speed-The-Plow, Romeo and Juliet, Midsummer Night’s Dream, Big River, Carousel, Me and My Girl and Roar of the Greasepaint - Smell of the Crowd. Ms. Stilwell has stage managed several industrial shows in Canada and the US.
Liliane Stilwell s’est jointe au Ballet national du Canada en 2015 et a, depuis, assuré la régie de La Veuve joyeuse, Onéguine, Giselle, Le Lac des cygnes, La Belle au bois dormant et Pinocchio. Auparavant, elle a été régisseuse de la Compagnie d’opéra canadienne pendant 22 ans. Parmi ses nombreuses collaborations, mentionnons Don Quichotte, Le Barbier de Séville, Lucia di Lammermoor, La Cenerentola, Otello, Les Noces de Figaro, Götterdämmerung (l’intégrale du cycle de L’Anneau),Macbeth, La Bohème, Eugène Onéguine etMadame Butterfly. Par ailleurs, elle a fait partie de l’équipe qui a présenté Œdipus Rex au Festival international d’Édimbourg. Elle a été régisseuse de production pour Grease et régisseuse de plateau pour Robin Hood et Cinderella au Elgin Theatre, ainsi que pour Dirty Dancing au Royal Alexandra Theatre et pour Hairspray au Princess of Wales Theatre. Elle a aussi collaboré aux spectacles suivants : Tom Jones, Speed-the-Plow, Roméo et Juliette, Midsummer Night’s Dream, Big River, Carousel, Me and My Girl,The Roar of the Greasepaint – The Smell of the Crowd, et a été régisseuse dans plusieurs salons commerciaux au Canada et aux États-Unis.
Born: Toronto, Ontario
Trained: Richmond Academy of Dance in British Columbia
Joined: 1998
Principal Dancer since: 2005
Né à : Toronto, Ontario
Formation : Académie de danse de Richmond en Colombie-Britannique
Début avec la compagnie : 1998
Danseuse principale depuis : 2005
Paz de la Jolla
CHOREOGRAPHY
Justin Peck
STAGED BY
Christian Tworzyanski
MUSIC
Bohuslav Martinů
COSTUME DESIGN
Reid Bartelme and Harriet Jung
LIGHTING DESIGN
Mark Stanley
Apollo
CHOREOGRAPHY
George Balanchine
MUSIC
Igor Stravinsky, Apollon Musagète
LIGHTING DESIGN
Robert Thomson
The Dream
CHOREOGRAPHY
Frederick Ashton
MUSIC
Felix Mendelssohn Bartholdy
OVERTURE AND INCIDENTAL ARRANGMENT
John Lanchbery
SCENERY AND COSTUME DESIGN
David Walker
LIGHTING DESIGN
Thomas Saunders after The Royal Ballet design.
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