Ballet San Jose | Program 2, “Neoclassical Masters”
When: March 22 – 24, 2013
Where: San Jose Center for the Performing Arts, 255 Almaden Boulevard in downtown San Jose (corner of Park Avenue)
Prices: $30 – $105
* Reduced Price Family Matinee (Saturday, March 23 at 1:30) $21 – $75
Tickets: 408.288.2800 or Ballet San Jose’s website
Friday, March 22 at 8pm
* Saturday, March 23 at 1:30pm (Reduced Price Family Matinee) Saturday, March 23 at 8pm Sunday, March 24 at 1:30pm All performances with Symphony Silicon Valley and special musical guest artist, violinist Rachel Lee
Program 2, “Neo-Classical Masters”, March 22-24, features the Company Premiere of Les Rendezvous, one of Sir Frederick Ashton’s signature works.
Set to music from the opera L’Enfant prodigue by Daniel Francois Espirit Auber, this suite of light-hearted dances for young people in a park was the first major ballet created by Ashton for the Vic-Wells Company in London. A second Ashton offering is the dramatic and exotic Méditation from Thaïs set to Jules Massenet’s “Meditation” from his opera Thaïs. The program closes with encore performances of Clear from choreographer Stanton Welch with music by Johann Sebastian Bach, and Clark Tippet’s Bruch Violin Concerto No. 1 set to Max Bruch’s famed Concerto No. 1 in G minor for Violin, Opus 26.
Guest artist, violinist Rachel Lee will appear with Symphony Silicon Valley performing the Bruch, Bach, and Massenet. Ballet San Jose Music Director George Daugherty will conduct.
The Ballets on this Program
MARCH 22-24, 2013 / Mixed Repertory
LES RENDEZVOUS (Company Premiere)
Choreography by Sir Frederick Ashton
Music by Daniel Francois Esprit Auber (L’Enfant prodigue)
Scenery and costumes by William Chappell
World Premiere: Vic-Wells Ballet at Sadler’s Wells Theatre, London, 1933
Les Rendezvous is a suite of witty, light-hearted dances in a park where friends meet, flirt and then part. Although abstract and plotless, it has humor, mime and comic devices set to saucy and bouncy musical numbers from Auber’s opera L’Enfant prodigue. Two leading dancers follow the pattern of an extended pas (entry, adagio, solos and coda), accompanied by an ensemble that seems intent on distracting and interrupting them. One of his very early works, Ashton himself wrote that the ballet was created “to please my audience…entertain, amuse and charm them.”
MÉDITATION FROM THAÏS (Company Premiere)
Choreography by Sir Frederick Ashton
Music by Jules Massenet (“Meditation” from Thaïs)
Costumes by Anthony Dowell
World Premiere: Méditation from Thaïs was given its World Premiere at a Gala Performance of the Royal Ballet at the Adelphi Theatre, London on March 21, 1971
Erotic and atmospheric, this dramatic pas de deux beautifully complements Massenet’s Thaïs Meditation and its exquisite solo violin with a breathless, sweeping romantic encounter between an elusive veiled beauty and her ardent hero-warrior partner.
CLEAR (Encore Presentation)
Choreography by Stanton Welch
Music by Johann Sebastian Bach (Concerto for Violin and Oboe in C minor and the first and second movements from the Violin Concerto in G minor)
Costumes by Michael Kors World
Premiere: American Ballet Theatre, City Center, New York, 2001
In an encore performance, Ballet San Jose presents Clear, from Houston Ballet Artistic Director Stanton Welch. The piece is classical in technique but contemporary in style, with explosive movement fiercely danced by seven men and one woman. Set to Bach’s rich and emotionally resonant music, Clear is an abstract study of life’s connections, the importance of the people in our daily existence, and the love that brings you home. Noted New York fashion designer Michael Kors created the sleek and sexy costumes that focus attention on the dancers.
BRUCH VIOLIN CONCERTO NO. 1 (Encore Presentation) Choreography by Clark Tippet Music by Max Bruch; Concerto No. 1 in G minor for violin, Opus 26 Costumes by Dain Marcus World Premiere: Orange County Performing Arts Center, Costa Mesa, CA December 1, 1987. Commissioned for American Ballet Theatre.
Clark Tippet’s work is a “plotless” tutu ballet in the classical mode, but highly experimental in it use of classical technique to comment on ballet conventions from a contemporary perspective. It is filled with perfectly timed canons and complex, stage-crossing patterns.