Podcasts about balanchine trust

Christopher Stowell was born in New York City and received his training at Pacific Northwest Ballet School and the School of American Ballet. In 1985, he joined San Francisco Ballet where he danced for 16 years, appearing in theaters throughout the world. An established interpreter of the George Balanchine repertoire, Stowell has appeared in almost every Balanchine ballet performed by San Francisco Ballet. In 2003 Stowell was named the Artistic Director of Oregon Ballet Theatre, a position he held until 2012. In 2017, Stowell was named the first Associate Artistic Director of The National Ballet of Canada, a position he held until 2022. Stowell has taught and coached in San Francisco, New York, Japan, China and across Europe. He has created works for San Francisco Ballet, Pennsylvania Ballet, The National Ballet of Canada, The Los Angeles Ballet and Pacific Northwest Ballet as well as the New York City Ballet Choreographic Institute. His ballets are in the repertoire of Carolina Ballet, Grand Rapids Ballet, Ballet Idaho, Diablo Ballet, Orlando Ballet and Oregon Ballet Theatre. Stowell is a representative of the Balanchine Trust and has also staged the works of Mark Morris and Christopher Wheeldon. Last month, Stowell began his tenure as the Artistic Director of the Royal Winnipeg Ballet. Stowell brings a leadership philosophy centred on relationship-building and community connection to the Royal Winnipeg Ballet. He articulates a refreshing vision for making ballet accessible: bringing performances to unexpected spaces, letting audiences witness the creative process up-close, and strengthening relationships with regional communities. His dancer's directive: "be a student in the classroom and a wild animal on stage". Listen as Stowell shares insights from both sides of the stage and his plans to shape ballet's future in Winnipeg and beyond. Connect with us:Madison Beale, HostCroocial, ProductionBe a guest on The Artalogue Podcast

Join this creative and talented dance educator/leading professional in the ballet world as he takes us through his Kick Ball Change moments in life. Dive into how they became a foundation for his training, his family, career, and professional journey, which most recently receiving approval by the Balanchine Trust to perform the full “Who Cares?” for the Cary Ballet Conservatory. From early Kick Ball Change moments of having to use a padlock on his school bag, to having a universal chance to audition for a company director he denied previously. Donnell talks openly about how ego can be a catalyst for young dancers, and as he takes you through his journey of how he let go of his ego of the TOP 5 dance companies to be in, and how that opened the doors to principle dancer, securing contracts for companies dancers in the future and becoming a leading educator with the prestige Cary Ballet Conservatory. His involved work onstage has carried him through the supportive training he offers, as well as his engagement with the ORZA ballet shoe which is using corrective technology to keeps ballet dancers healthy. https://orzabrand.com/collections/orza-pro-one Check out the Cary Ballet Conservatory, in North Carolina which has an amazing Spring 24 line up: Jill Bahr's “Alice in Wonderland” and George Balanchine's “Who Cares?” May 4th in Raleigh, NC. https://www.caryballetcompany.org/season-tickets-spring-works/ https://www.caryballet.com/about-us

In Doug Fullington's pre-performance talk for George Balanchine's A Midsummer Night's Dream, he outlines the plot of the ballet (based on the Shakespeare play of the same name), details the 1997 PNB-specific redesign of the ballet, and the international touring history of the ballet at PNB. Fullington also answers questions from the audience including details about working with The Balanchine Trust and approaching redesigns of works by George Balanchine as well as classical choreographers.  This episode was recorded live in the Nesholm Lecture Hall in Marion Oliver McCaw Hall in Seattle, WA in April 2023. 

This week on ‘Conversations On Dance' we are joined by Viki Bromberg Psihoyos, former New York City Ballet dancer and repetiteur with the Balanchine Trust. Viki takes us on a journey through her experiences working with Balanchine from her childhood to her professional career, how she became a repetiteur and what it is like working […] The post (315) Viki Bromberg Psihoyos, Balanchine Trust Repetiteur appeared first on tendusunderapalmtree.com.

This week on ‘Conversations On Dance' we are joined by Viki Bromberg Psihoyos, former New York City Ballet dancer and repetiteur with the Balanchine Trust. Viki takes us on a journey through her experiences working with Balanchine from her childhood to her professional career, how she became a repetiteur and what it is like working […] The post (315) Viki Bromberg Psihoyos, Balanchine Trust Repetiteur appeared first on tendusunderapalmtree.com.

Former New York City Ballet dancer, current stager for the Balanchine Trust and project associate for the George Balanchine Foundation's Interpreter Archive, Paul talks with Ballet Idaho Associate Artistic Director Anne Mueller about his incredible journey from Sioux Falls, South Dakota to the most prominent stages of the world. Paul has worked with Ballet Idaho frequently, staging numerous Balanchine ballets for the company. In addition to having an impressive career working with the dance geniuses of our time, Paul also talks about being befriended by Salvador Dali. --- Send in a voice message: https://anchor.fm/ballet-idaho/message Support this podcast: https://anchor.fm/ballet-idaho/support

This week on Arts and (Space)Crafts Kevin teaches us about the James Webb Space Telescope while Jake ponders the Balanchine Trust and applying for big things that might be out of your reach.  Art- Kerina McCarthy Music- Tribe Society  Tweets- @gakejodek @kevbot817 email- artsandspacecrafts1@gmail.com   

The newest episode of Hear the Dance is a special two-part discussion of Diamonds, the glittering final movement of Balanchine's Jewels, from the perspective of the lead ballerina. In this first installment, host Silas Farley interviews iconic former Principal Dancer Merrill Ashley, who recalls learning the corps role in her first season as a member of the Company, and the many factors that aligned in her eventually making her debut in the lead role. Now, as a répéteur with the Balanchine Trust, Ashley has taught Jewels to companies in America and abroad; as she describes it, this particular movement in the ballet is “cool, but hot—like a diamond.” (36:33) Music: Pelléas et Mélisande (1898) by Gabriel Fauré Capriccio for Piano and Orchestra (1929) by Igor Stravinsky Symphony No. 3 in D major, Op. 29 (1875) by Peter Ilyitch Tschaikovsky Recommended Reading: 1) Holding On to the Air: An Autobiography by Suzanne Farrell and Toni Bentley        2) Dancing for Balanchine by Merrill Ashley      3) George Balanchine: Ballet Master: A Biography by Richard Buckle in Collaboration with John Taras

We have performed A Midsummer Nights' Dream over 100 times in the history of  Pacific Northwest Ballet, we have taken it on tour to many places including Istanbul, Hong Kong and Scotland. In fact, Doug Fullington went on the 2001 tour to London (where it was filmed and released by the BBC) and was in charge of the 24 student "bugs"! Learn how ballet companies have to get permission from the Balanchine Trust to alter George Balanchine's works, and who started out as a Hound, and is now performing the role of Titania.

In this special episode moderated by Ellen Sorrin, Director of the Balanchine Trust, San Francisco Ballet Artistic Director and Principal Choreographer […]

This week we are joined by Susan Pilarre, esteemed teacher at the School of American Ballet, repetiteur for the Balanchine Trust, and former New York City Ballet soloist. Suzy, as her students, friends and family call her, joined the New York City Ballet under George Balanchine's direction at the age of 15. She spent 16 years […] The post (59) Susan Pilarre, Esteemed Teacher at the School of American Ballet appeared first on tendusunderapalmtree.com.

This week we are joined by Susan Pilarre, esteemed teacher at the School of American Ballet, repetiteur for the Balanchine Trust, and former New York City Ballet soloist. Suzy, as her students, friends and family call her, joined the New York City Ballet under George Balanchine’s direction at the age of 15. She spent 16 years […] The post (59) Susan Pilarre, Esteemed Teacher at the School of American Ballet appeared first on tendusunderapalmtree.com.

Patricia Neary from the Balanchine Trust reminisces about working with George Balanchine on the creation of Jewels.