On Stage: A Very Full Monteverdi

June 29, 2015

TANCREDI&CLORINDA

Attack Theater turned schizophrenic this past spring. Co-founder Michele de la Reza was flitting from Pittsburgh Opera’s Daughter of the Regiment (see CrossCurrent’s April 22 post), where she served as assistant choreographer, to the Hillman Auditorium, where the company was collaborating with Chatham Baroque and Ping in Claudio Monteverdi’s The Battle of Tancredi and Clorinda.

You have to love collaborations like this, with two distinctive and vital Pittsburgh arts organizations like Attack and Chatham mentoring a talented start-up like Carnegie Mellon University’s Baroque early/new music vocal ensemble, Ping (which also provided an adventurous and entertaining selection of Monteverdi madrigals before the main event.) Then there was the cherry on top — renowned tenor Aaron Sheehan, playing the narrator with uncommon intelligence and musicality.

Nothing seems to be impossible for the Attackers, though, and it was particularly satisfying to see them helping to open up the Hillman in the Hill District to new audiences.

Perhaps the most satisfying, though, was a rare look/see/hear of Monteverdi’s work, which was far more contemporary than its age might indicate (377 years). More than heralding the transition from Renaissance to Baroque music, this piece surprised and resonated with today’s listeners, given the imaginative use of repeated notes (forerunner of the tremolo), dissonances and assorted musical rules that he broke in service to the text.

It sounded that fresh.

Speaking of which, the love story of Tancredi, a Christian knight, and Clorinda, a Saracen princess and a Muslim, gives an enduring political and religious backdrop that is still so relevant today.

Set against Sheehan and an expanded Chatham Baroque (six instruments, so full and satisfying on this occasion) on the Hillman stage, the artists decided to build another elevated stage in front to provide better sight lines for the audience and the stage action. Although it was connected by a small lower level, almost a miniature canyon that ran the width between the stages and was sometimes cumbersome for the performers to negotiate, it provided a way to highlight the action.

Much of that was provided by Dane Toney (Tancredi) and Kaitlin Dann (Clorinda), with some integration from singing doubles Chloe Holgate and Sean Salamon of Ping. Toney and Dann have never been more compelling, inspired by this tragic story of love and war, and literally transformed by the music that transported them to new emotional levels. They were joined by Ashley Williams in the final section, Regret, which used a trio of early madrigals to bring it all to a poignant conclusion.


Dance Beat: Bill Shannon, Starz. Flesh and Bone, Bolshoi

June 13, 2015

3RIVERS NEGOTIATION. There was a satisfying conclusion to the Bill Shannon/3Rivers/CREATE2015/Wyndham Grand issue. (See yesterday’s post). Bill was able to complete his contract that evening at 6 p.m. during the cocktail party for CREATE, which looked to be a hit. He pushed his shopping cart, with minimally squeaky wheels, across the social area. Then he donned his “mask” for a walk-through, with considerable interest from attendees. Thank you, Veronica Corpuz, director of the Dollar Bank Three Rivers Arts Festival!

flesh-bone-artFLESH AND BONE. For those of you who have Starz, there will be a new reality show this fall based on a balled company. Titled Flesh and Bone, it will feature honest-to-goodness ballet dancers. Sarah Hayes, former American Ballet Theatre soloist who did many of the technical shots in Natalie Portman’s Black Swan and current member of Semperoper Ballet in Germany, has won the leading role. Also in the cast are former ABT principal dancer Irina Dvoravendo and soloist Sasha Radetsky, plus Ballet Arizona’s Raychel Diane Weiner to lend reality to the show’s ballet world. As if that weren’t enough, former ABT principal and current artistic director of the New Zealand Ballet Ethan Stiefel (Center Stage) will serve as consultant and choreographer. Moira Walley-Beckett, writer on Breaking Bad, will head a production team including  executive producers Lawrence Bender (Inglorious Basterds, Good Will Hunting), Kevin Brown (Rosewell), John Melfi (Sex and the city, House of Cards). Bender and Walley-Beckett are former dancers and Brown’s family served as a basis for the Oscar-nominated feature The Turning Point. Although Bunheads and Breaking Pointe were juicy dance dramas, Flesh and Bone,  has the potential to be a truly adult, perhaps award-winning ballet drama. Stay tuned.

BOLSHOI NEWS. The Bolshoi Ballet is set for a new season to be shown in movie theaters, although the Pittsburgh area audiences have been rather sparse. Hopefully that will change. On tap for 2015-16 are Giselle (Oct. 11), George Balanchine’s Jewels, featuring prodigy Olga Smirnova in Diamonds (Nov. 15), John Neumeier’s The Lady of the Camellias (Dec. 6), The Nutcracker (Dec. 20), Jean-Christophe Maillot’s The Taming of the Shrew (Jan. 24), Spartacus (Mar. 13) and b(Apr. 10). Dates listed are opening nights, but may vary. There is also sad news to report. Maya Plisetskaya, one of the all-time stars of the Bolshoi and a famous Kitri in Don Quixote, passed away. Read about her history and enjoy her perform some of her greatest successes.


Dance Beat: Controversy at 3Rivers and CREATE

June 11, 2015
Bill Shannon, after he was escorted off the Wyndham Hotel property.

Bill Shannon, after he was escorted off the Wyndham Hotel property.

The waters weren’t running smoothly this morning at Three Rivers Arts Festival/CREATE 2015. Resident Pittsburgh genius Bill Shannon showed up at the Wyndham Grand Hotel lobby at 8 a.m. to begin a scheduled pop-up performance in the lobby. Deliberately dressed in a clownish way — checked pants and top, bowler hat, black-rimmed glasses and canvas boots with hard yellow toe overlay, the Crutchmaster began attracting attention.

He blew an air horn while pushing a squeaky red shopping cart. Eventually a man dressed in a suit came up to tell him to stop. Thinking him a rude heckler, Bill engaged back. But it was the manager of the hotel and soon law enforcement officers were involved.

Little did they know that Bill had exhibited at the Tate Liverpool Museum and the Smithsonian’s Hirshhorn Museum in Washington, D.C., had spoken at Massachusetts Institute of Technology, had created for Cirque du Soleil and much, much more all over the world.

He was there to perform for CREATE 2015, a technology and arts festival that is a festival within a festival. Very forward-thinking — check it out. It’s a festival within a festival, that being the Three Rivers Arts Festival, also a must-see.

To keep the story short, Bill was escorted across the street from the Wyndham property by three officers, cart squeaking the whole time.

Cornelius Henke with fractured mask showing Bill Shannon.

Cornelius Henke with fractured mask showing Bill Shannon.

But his mates were still able to walk around the mezzanine with a companion piece, a collaborative art/tech creation. Australian Jack Hodges wore  a “mask” of sorts, with duck-taped cell phones, maybe a battery (I’m no techie), and a half dozen or so hollow dot screens forming a fractured face around his head. Actually Bill’s face was being projected on the multiple screens, so he was still “in the building.” Monroeville native Cornelius Henke, the mapper for the project, followed with a cord and electronic box, the tail to this “dragon,” you might say.

Bill is also scheduled for a 6 p.m. performance. Where? Right now that is subject to negotiation. Stay tuned and turn out.

 


On Stage: Staycee Pearl at Play

June 1, 2015

11Staycee Pearl Playground

It seemed like a perfect summer evening as Staycee Pearl dance project seemingly set off the summer season with Playground.

The parking lot setting outside the SPdp studio was festive with poster boards, like large pages from coloring books with connecting strings of lights to define the dance area.

Before things started, audience members were instructed to carry their folding chairs to the opposite side of the area — no problem. Herman Pearl (DJ Soy Sos that night), set up his equipment in a corner of the 201 North Braddock Avenue location and a couple of vendors filled out the periphery.

The message was loud and clear — be informal and enjoy even though this particular project had been in the works for two years.

The dancers wore deliberately child-friendly attire, but sophisticated, too, with flirty baby doll dresses — black — for the women and denim shorts and black tees for the men.

As the title indicates, Playground was built on childhood, beginning with “play” of all sorts. That twirly, arms spread, face-to-the-sky position was probably something that everyone has done at one point in their lives.

Staycee neatly transferred that joy and freedom to the dancers and the dance.

Set to Soy Sos’ always impeccable sound landscape,  they were still able to express their own individuality, which allowed the interactive games, including hide and seek (of course) and child-like movements to lend a welcome spirit to the more adult-like vocabulary.

Best of all was Staycee’s use of multiple fronts, movement that “plays” at different angles at the same time and is hard to conceive, and some of the best I’ve seen in a long time.

 

 


On Stage: The newMoves We Like

May 22, 2015

Maree ReMaliaWhenever the Kelly Strayhorn Theater chooses to produce its newMoves Contemporary Dance Festival, it has a profound effect on Pittsburgh dance. This time was no exception. Tune in to newMoves via the Pittsburgh Post-Gazette.

Supernatural


On Stage: Dancing in the Regiment

May 15, 2015

There is always a different flavor to the opera when a choreographer is in charge, in this case Sean Curran at Pittsburgh Opera’s Daughter of the Regiment. Maybe it’s because his mind’s eye sees the outcome through a different artistic lens.

Curran is hardly a stranger to the dance community here (Pittsburgh Dance Council, Dance Alloy and Point Park University among them). But in this highly entertaining Regiment, he was wearing another hat (and apparently sporting a spiffy handlebar mustache), that of director.

He had choreographed the Santa Fe Opera version. But because of the nature of Gaetano Donizetti’s comic opera, bursting with physical potential, it was a logical choice for him to stage/direct here in Pittsburgh. So he set about using his three male dancer/soldiers and three female dancer/peasants/ballerinas in a clever fashion, strategically placing them to lead the choral ensemble through more complex than normal choreography (Michele de la Reza of Attack Theater was associate choreographer).

Daughter’s heroine, Marie, was found abandoned on a battlefield as a baby and was adopted by a regiment of soldiers. She grew up with unbridled spunk and nary a feminine grace or wile, but fell for the love-struck Tonio, who joins the regiment just to be near her.

Of course love has to find things to conquer and Marie is spirited away by her rich “aunt” to be “refined.” We all know that they will win out in the end, but how will the lovers get there?

A good amount of artifice was involved, given the candy-coated costumes and a snazzy coloring-book Alpine cyclorama with hidden entrances and exits. There were super-titles, even though the opera was spoken and sung in English.

Why not take things to the extreme? Donizetti provided plenty of vocal calisthenics for lyric coloratura Lisette Oropesa (it was a signature role for all-time great Joan Sutherland) and one of opera’s most exciting arias, Ah, mes amis, resplendent with high “C’s” for rising star Lawrence Brownlee and the pinnacle of this production.

But  these two (and the rest of the cast) were obviously open, to their credit,  for some tongue-in-cheek comedy and physical calisthenics from Curran, making this Daughter of the Regiment a visual as well as aural feast. It was hard to believe that the petite Oropesa, in particular, was as active as she was — the strapping tomboyish stride, being lifted onto a bench in the middle of an aria — while negotiating her vocal minefield.

She also was asked to don a tutu and floral headpiece, ala Edgar Degas’ famous ballet paintings, plus combat boots in a hilarious ballet lesson. That scene signaled a slapstick surge to the finish, with the entire cast throwing aside all operatic caution and whisking the audience through references to Pittsburgh, Paris of the Allegheny to a ribald conclusion.

Opera should be epic, whether musically, dramatically, theatrically or, in this instance, visually. And for a generation brought up on television, Broadway and the Internet,  this Daughter of the Regiment signaled a way to not only attract new audiences but tickle the fancy of established operatic fans.

 

 


On Stage: Dance Recitals 2015

May 5, 2015
Ballet Academy of Pittsburgh's Tommie Kesten, winner at the Youth America Grand Prix Semifinals in Pittsburgh Photo: Katie Ging

Ballet Academy of Pittsburgh’s Tommie Kesten, winner at the Youth America Grand Prix Semifinals in Pittsburgh Photo: Katie Ging

Tommie in Esmeralda solo.

Tommie in Esmeralda solo.

It’s grand to note the growth of area dance recitals year upon year. Both business-wise and artistically they contribute so much to the Pittsburgh area. If you have a chance, catch a couple of performances during the recital season. The enthusiasm is contagious! Click on Pittsburgh Post-Gazette for complete listings.


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