The Met’s 2013-14 season has just been announced. Here are the operas to be broadcast between October and April. We have not included the dates for the moment as ArtSpring will not be able to show all of them as live broadcasts owing to previous bookings for our theatre by community groups. It looks like two of these operas will have to be shown as encore presentations; the rest should be fine as live broadcasts. We will publish a list of dates later on. Tickets, as usual, will go on sale in late August.
EUGENE ONEGIN (Tchaikovsky) – New Production
Valery Gergiev; Anna Netrebko, Oksana Volkova, Piotr Beczala, Mariusz Kwiecien, Alexei Tanovitsky
THE NOSE (Shostakovich)
Pavel Smelkov; Andrey Popov, Alexander Lewis, Paulo Szot
Riccardo Frizza; Patricia Racette, Roberto Alagna, George Gagnidze, John Del Carlo
FALSTAFF (Verdi) – New Production
James Levine; Lisette Oropesa, Angela Meade, Stephanie Blythe, Jennifer Johnson Cano, Paolo Fanale, Ambrogio Maestri,
Yannick Nézet-Séguin; Renée Fleming, Emily Magee, Dolora Zajick, Piotr Beczala, John Relyea
PRINCE IGOR (Borodin) – New Production
Gianandrea Noseda; Oksana Dyka, Anita Rachvelishvili, Sergey Semishkur, Ildar Abdrazakov, Mikhail Petrenko, Štefan Kocán
WERTHER (Massenet) – New Production
Alain Altinoglu; Lisette Oropesa, El?na Garan?a, Jonas Kaufmann, David Biži?, Jonathan Summers
LA BOHÈME (Puccini)
Stefano Ranzani; Anita Harting, Susanna Phillips, Vittorio Grigolo, Massimo Cavalletti, Patrick Carfizzi, Oren Gradus,
COSÌ FAN TUTTE (Mozart)
James Levine; Susanna Phillips, Isabel Leonard, Danielle de Niese, Matthew Polenzani, Rodion Pogossov, Maurizio Muraro
LA CENERENTOLA (Rossini)
Fabio Luisi; Joyce DiDonato, Juan Diego Flórez, Pietro Spagnoli, Alessandro Corbelli, Luca Pisaroni
Almost a year ago, I had the pleasure of witnessing Unbound, an utterly captivating contemporary dance performance by Wen Wei Wang, performed by Wen Wei Dance. This year, Les Ballets Jazz de Montréal brought Wen Wei’s Night Box to the stage in addition to two other works by two other choreographers. The evening’s performance was guided by one artistic director, Louis Robitaille, who has been dedicated to the group for 15 years. The stage was set and the Salt Spring audience was brimming with youthful energy; this was a night to remember.
The first performance, entitled Locked Up Laura, was a dance by one man and one woman, with movement and music that unveil choreographer Annabelle Lopez Ochoa’s intended meaning. To begin, Lopez Ochoa places Laura and her partner at opposite ends of the stage; the couple move toward one another and in sequence and both dancers reveal their skill and talent for the art. Throughout the performance, however, Laura seems unwilling to perform with her postures lethargic and doll-like. She gestures discomfort with her costume and flops on the stage in and out of her partner’s arms. The juxtaposition of lethargy with firm moves that are focused and determined gives the work tension and release, grabbing the attention of audience members, leaving them questioning.
In Night Box we are taken to the club scene of Crescent St in Montreal where sensual movement, body contact and personality rule. Costumes, choreography, sound, lighting, and the art of the dance all came together to create a pulsing dark and light that warmed up the stage to sizzling temperatures throughout. Each dancer had a different gift to offer, and as a team provided a variety of glimpses into what happens when it gets dark. One of these scenes included a tall woman dancing with two men who were shorter in comparison, an unusual scene in the world of dance. A woman in the audience asked during the question period about what it is like to incorporate a tall woman dancer. Robitaille responded with ease. He explained that she can hold herself and become centred and light; “she knows how to make it easier on the men who lift her.”
In the finale, a dance-theatre piece called Harry, by Isreali-American choreographer Barak Marshall, audience members were mesmerized. Post-war Swing era guys and gals in dresses and slacks struggle with existence at a time of chaos. As a dance-theatre work, the dancers dance and share their footwork talent while occasionally projecting their voices to convey a story. The story is about Harry, the main character who weaves in and out of life’s trials and tribulations. The dancing was poignant, with fresh, sharp and exaggerated movements glittering on stage. The emotions were ripe with a richness that was clear to see, feel and hear with animated facial expressions and punctuated accents. Louis Robitaille explained that the dancers had to really push their boundaries with the vocal projection as dancing and projecting at the same time is not an easy task. All of that hard work was clear to see; the performance was altogether magnificent and Salt Springers were not afraid to express their gratitude with a lengthy standing ovation.
ArtSpring has a new Board of Directors whose members would like you to know a bit about them. Each month, you will hear news about one board member and learn what the diverse group of people we have on board are doing. The group cares deeply about ArtSpring and its community.
This month we feature Carole Eyles, who is new to the board but not to Salt Spring. She has lived here for 33 years: many of those years were spent working as a teacher-librarian, raising children, and being active in the Fulford Water Service. She currently swims with the Salt Spring Seals and sings with the Salt Spring Singers.
Carole has just been appointed to the Salt Spring Island Governance Study Committee, where she chairs its Terms of Reference committee, to determine what people feel works on this island and what doesn’t. The newly formed committee will gather information and community input, ultimately reporting to the Ministry of Sport and Community Development, to ascertain whether Islanders want to continue governance as it is or to go some other direction.
Sounds like a typically contentious Salt Spring endeavor! The new committee is lucky to have Carole: calm, wise, and experienced.