I started in my new role (Ballet Master and Assistant to the Artistic Director) on July 6th and it has been a whirlwind first few months. There is, as I already knew there would be, a lot of repertory in the 2010 season, and it all needs to be prepared during the months leading up to Nutcracker, so it’s full on. So far I’ve worked on Petrouchka, The Little Mermaid, Theme & Variations, Yuri Possokhov’s 2010 World Premiere, and now Swan Lake. On top of the preparations for the season, the company is also heading off to China as part of the USA’s participation in the 60th anniversary of the founding of the People’s Republic of China and the 30th anniversary of the normalization of relations between the United States and the PRC – a great opportunity for the company, not just to be going, but to be representing the nation.
It’s been a bit of a relief to know that the repertory for China is, in the main, repertory that will be performed in the coming season. With so many ballets already needing to be prepared, having a chance to get some of them set, rehearsed and performed ahead of the 2010 season makes perfect sense. It means that the dancers can keep their focus on the ballets we’ll be performing in China, with the knowledge that they’ll then be performing them back here in the season.
A typical day in the office. (© Erik Tomasson)
Each year Helgi aims to get the company performing in the fall, during the rehearsal period; this allows the dancers to work towards real performances ahead of Nutcracker so they have a goal midway through the rehearsal period to work towards, making sure that they’re in shape and refined for the stage.
As I’ve indicated above, the way the company works means that the dancers have to learn an enormous amount of repertory in the fall and, if there were no thrill of performances to work for, the rehearsal period could seem longer than it actually is. The extra dimension, frisson, and challenge of performing offers the edge that dancers need and relish. Nothing really feels the same as performing to an audience.
A fall tour also offers Helgi–and all of his ballet staff–a chance to see the dancers in action ahead of Nutcracker and the full season…it’ll provide an opportunity to see who’s making good progress and who might be ready to be offered greater challenges later in the season.
It’s also important for the company to be seen beyond the Bay Area, nationally and internationally. SFB has built a great international standing and touring helps the company maintains its visibility around the world. So, the tour to China, as a new country to visit for SFB, fulfills the need for international visibility and, as we’ll be performing during the celebrations for both of these important anniversaries, there’ll be even greater kudos for the company.
It’s going to be a fascinating trip, and hopefully I’ll get a chance to blog about it after we’re all back in October. Until then…
And… We’re Off!
Ballet Master & Assistant to the Artistic Director
September 16, 2009
I started in my new role (Ballet Master and Assistant to the Artistic Director) on July 6th and it has been a whirlwind first few months. There is, as I already knew there would be, a lot of repertory in the 2010 season, and it all needs to be prepared during the months leading up to Nutcracker, so it’s full on. So far I’ve worked on Petrouchka, The Little Mermaid, Theme & Variations, Yuri Possokhov’s 2010 World Premiere, and now Swan Lake. On top of the preparations for the season, the company is also heading off to China as part of the USA’s participation in the 60th anniversary of the founding of the People’s Republic of China and the 30th anniversary of the normalization of relations between the United States and the PRC – a great opportunity for the company, not just to be going, but to be representing the nation.
It’s been a bit of a relief to know that the repertory for China is, in the main, repertory that will be performed in the coming season. With so many ballets already needing to be prepared, having a chance to get some of them set, rehearsed and performed ahead of the 2010 season makes perfect sense. It means that the dancers can keep their focus on the ballets we’ll be performing in China, with the knowledge that they’ll then be performing them back here in the season.
A typical day in the office. (© Erik Tomasson)
Each year Helgi aims to get the company performing in the fall, during the rehearsal period; this allows the dancers to work towards real performances ahead of Nutcracker so they have a goal midway through the rehearsal period to work towards, making sure that they’re in shape and refined for the stage.
As I’ve indicated above, the way the company works means that the dancers have to learn an enormous amount of repertory in the fall and, if there were no thrill of performances to work for, the rehearsal period could seem longer than it actually is. The extra dimension, frisson, and challenge of performing offers the edge that dancers need and relish. Nothing really feels the same as performing to an audience.
A fall tour also offers Helgi–and all of his ballet staff–a chance to see the dancers in action ahead of Nutcracker and the full season…it’ll provide an opportunity to see who’s making good progress and who might be ready to be offered greater challenges later in the season.
It’s also important for the company to be seen beyond the Bay Area, nationally and internationally. SFB has built a great international standing and touring helps the company maintains its visibility around the world. So, the tour to China, as a new country to visit for SFB, fulfills the need for international visibility and, as we’ll be performing during the celebrations for both of these important anniversaries, there’ll be even greater kudos for the company.
It’s going to be a fascinating trip, and hopefully I’ll get a chance to blog about it after we’re all back in October. Until then…