Miami City Ballet Blog

Corps dancer Rebecca King will be snapping pics around the studios as this week’s guest photographer on Instagram.  Follow her #RebeccaMCBphotos to catch dancers Jeanette Delgado and Kleber Rebello preparing for the world premiere of Justin Peck’s new work Chutes and Ladders, which will debut at the New World Center on April 20. Also, stay tuned for a sneak peek at our 2013/14 Season as the dancers already begin rehearsals for Balanchine’s dreamlike masterpiece Serenade.

Rebecca King

FUN FACT: You might already know Rebecca from her blog Tendus Under a Palm Tree. Now, she has created her very own blog logo wear! Check it out!

MCB dancer Jennifer Lauren. Photo by Leigh Esty.

This week’s guest photographer on Instagram is no other than corps dancer Rebecca King!  Rebecca will be capturing an important piece of dance history as Liam Scarlett’s Euphotic makes its world premiere debut on Friday, January 11.  From rehearsals in our studios, to the dressing rooms, to the stage, Rebecca will make sure that no one misses out on the exciting action this week!

Fun fact about Rebecca: She has her own blog! Check it out by clicking here!

Corps dancer Rebecca King caught up with Marie Johansson, manager of Freed of London’s New York store, to discuss a pointe shoe’s perfect fit.  Each year, Marie visits Miami City Ballet’s studios for pointe shoe fittings, helping dancers select a shoe that matches their unique needs.  In addition to performing expert pointe shoe fittings, Freed of London also sponsors Miami City Ballet School’s annual audition tour for its Summer Intensive Program.  All of us at the ballet thank Freed for its generosity!

Discover the science behind the perfect fit in this video created by Rebecca King.

The Wilis have to work extra hard on their appearance before going on stage to take revenge on men in the forest and making them dance to their deaths! Act two of Giselle requires special hair and makeup, and some of the girls have just a 20-minute intermission to get it all done! Corps member Suzanne Limbrunner talked to some of the Wilis while they were getting ready for show time.

There is still one more chance to see Giselle! MCB performs the romantic classic this weekend at Kravis Center. Click here for more information.

Post by Rebecca King, Corps de Ballet

As we gear up for the World Premiere of Viscera tomorrow evening at Adrienne Arsht Center, we’d like to continue the conversation on the music: Lowell Liebermann’s Concerto No. 1 for Piano and Orchestra.  I had the pleasure of discussing the piece with Mr. Liebermann earlier this week to get his perspective on the powerful score. Today we bring you a conversation with our very own, Maestro Gary Sheldon.  Throughout the season, audience members will spot him in the orchestra pit, leading the Opus One Orchestra.

Mr. Sheldon and I talked a little bit about the music and it’s interpretation through dance:

RK: Have you ever conducted a Lowell Liebermann work before?
GS: This is the first time I’ve conducted a work by Lowell Liebermann.  It’s especially helpful and inspiring to be able to consult with the composer and I’ve had the opportunity to discuss the music with Mr. Liebermann who lives in New York.

RK: What do you see as the defining element of this piece?
GS: I can see why Liam Scarlett was drawn to the music.  The accents and phrases in the music are clearly defined, making it inviting to choreograph.  While the idiom is relatively modern, with clashing dissonances, the form of the music is quite classical, making this music easy to digest on first hearing.

RK: As you anticipate conducting this piece for Miami City Ballet for the first time on Friday, January 6th, what do you most look forward to?  What element, if any, do you anticipate to be a challenge?
GS: It’s always exciting to work with a choreographer on a new work for me as a musician, just as it is for the dancers.  As part of the creative process, I have the opportunity to shape the music in ways that support the dancers and meet the choreographer’s vision.
I always enjoy presenting a new work to the orchestra.  My greatest challenge in conducting a new score is to reflect the nuances of the music as represented by the choreography to the orchestra.

RK: What should the audience be listening for when they are sitting in the audience?
GS: I think that the music will be quite accessible to the audience, as Liam Scarlett’s choreography itself is so ‘musical’.  The choreography mirrors the music in a natural and beautiful way.

RK: You have sat in on quite a few rehearsals for Viscera.  Mr. Scarlett told the dancers how important the music is to his piece, citing it as the main source of his inspiration.  After studying the music, how was the experience of seeing the music come to life?
GS: There is nothing quite as exciting as seeing the music come to life onstage when the choreography is so naturally entwined in it.  Liam has created an outstanding ballet that audiences are sure to enjoy.

Come and experience this powerful piece of music come to life through Miami City Ballet’s World Premiere of Liam Scarlett’s Viscera! For ticket information, click here.

This adorable two-part series comes to an end as Rebecca King talks to the Delgado sisters, Jennifer Lauren, and Tricia Albertson about their Nucracker memories!

Click here to see Our Nutcracker Memories – Part 1.

Everyone has a special Nutcracker memory they will always cherish, whether it be a childhood experience or watching The Nutcracker for the first time as an adult. ‘Tis the season to reminisce about those special Nutcracker times. Corps de ballet dancer Rebecca King gathered some of the dancers to talk about their Nutcracker memories in this heartwarming video (which she produced =) ). Check back next week for Part 2!

Want to take part in the action? Leave a comment and tell us your favorite Nutcracker memory!

Post by Rebecca King, Corps de Ballet

In Program III, Miami City Ballet brings you the third of four company premieres, Paul Taylor’s Promethean Fire. I sat down with a few dancers to talk to them about dancing this piece for the first time.

The last Paul Taylor work that MCB performed was Company B last season. For those of you who have seen this spectacular work, you may agree with Jennifer Lauren when she describes it as “playful and lighthearted.” But she mentions that this work is much different than Promethean Fire, not only in energy, but also in style. “Promethean Fire is much more controlled with a specific technique.” This piece is rumored to be Taylor’s choreographic reaction to the tragedy of 9/11. Leigh Esty observed that this piece reflects the sediments of that day, calling it “emotional, almost even dark.”

With a different Taylor style to conquer, Ms. Lauren said, “the steps began to feel good once I became more comfortable and more familiar with the ballet. Until then, it all felt very foreign to me.” Ms. Esty added that this piece is much more “modern” than any Taylor work the company has done in recent history.

“The first movement of Promethean Fire never stops. Getting through until the end was a challenge for me at first,” says Ms. Lauren. Ms. Esty adds that she found herself having difficulties with the steps where she had to gracefully get from a standing position to the floor. “I have never had to do so much crawling around on the floor in my life!” she muses.

The dancers’ favorite moment in this work was unanimous. “The first movement is fast and chaotic,” Ms. Lauren describes, “then all of a sudden everyone slows down moving in unison.” This section is called the “back exercise” as it is similar to an exercise you work on in a modern class. Ms. Esty agrees that she likes this moment adding, “the human pile we create at the end is also a highlight for me. It is a really powerful moment.”

There is always an element that the dancers look forward to most when it comes to dancing Taylor pieces: working with Patrick Corbin. Mr. Corbin danced for Paul Taylor, now has his own company CorbinDances, and comes to Miami to set Taylor pieces on MCB.

When I asked the dancers about Patrick, everyone began to gush. “I love Patrick. I think he has a really amazing way of seeing a dancer for who they are and working with them to develop into better dancers. He just helps you love yourself as a dancer,” says Stephen Satterfield. Ms. Lauren points out his positive and calming energy. Ashely Knox agrees, saying, “He knows that this style of dance is foreign to us and does everything he can to encourage us.” Ms. Esty chimes in saying, “He is just inspiring because you can tell he loves what he does and it makes you want to love what you do.”

Patrick Corbin working with MCB.

Post by Rebecca King, Corps de Ballet

It is Miami City Ballet’s 25th anniversary and what better way to start this season than by bringing the orchestra back!  If you have attended any of our performances so far this season, you have experienced the delight of Opus One Orchestra.  However, there has been a change in the pit; our Artistic Director, Edward Villella, recruited a new conductor to lead the musicians – Maestro Gary Sheldon.  And Mr. Sheldon knows what he is doing! It’s obvious to the dancers as we interact with him, but his resume proves it.

Gary Sheldon is a native of Bay Shore, New York and a Julliard School alum. He was a conducting fellow for the Aspen Music Festival, Berkshire Music Center, and International Music Seminar.  Mr. Sheldon has been the principal conductor for the Opera Theater of Syracuse and Ballet Met, and principal guest conductor of the Columbus Symphony and San Francisco Ballet.

In 1988, Mr. Sheldon founded the Lancaster Festival Orchestra, which won The American Prize in Orchestral Performance. In 2010, he won The American Prize in Conducting in the professional orchestra division.  (To learn more about Gary Sheldon, click here.)

As we continue to celebrate the orchestra’s return throughout our run of Program I and Fanfare, I asked Mr. Sheldon if he would answer a few questions to enlighten readers about his role and his work with the dancers of Miami City Ballet.

You have worked with many ballet companies, including San Francisco Ballet and Ballet Met.  Has your experience thus far with Miami City Ballet been different than these other companies?

In some ways, working with different companies is quite similar.  Much of the repertoire is the same and the tireless commitment dancers must make to their art inspires me everywhere I go.  That said, the difference between companies can be great.  What repertoire does vary, and is usually very different, and dancer types and personalities will differ, both reflecting the preferences and repertoire predilections of the artistic director.

One striking observation I will make however is the remarkable connection I feel to the spirit and genius of George Balanchine working with Edward and our excellent ballet mistresses.  Even having conducted Balanchine with other fine companies for nearly 30 years, there is something extra special in the air here. In just one month with the company, I’ve seen some truly outstanding performances of Mr B’s work.

How is conducting for the ballet different than conducting a performance for a symphony?  What are the unique challenges that you encounter?

Conducting for ballet could not be more different than conducting for opera or symphony.  It all begins with an understanding of dance technique, which is something no conducting class or school in the world offers.  So one must find other ways to learn – like attend classes, competitions, apprentice with an established ballet conductor and ultimately, just jump in and “do it” if you are lucky enough to get the opportunity.

As we were in the final stages of rehearsing for Program I before opening at Adrienne Arsht Center in Miami in October, you attended many of our in-studio rehearsals.  What did you gain from this time in our studios on South Beach?

I especially enjoy every opportunity I get to see the dancers rehearse in the studio. Doing so allows me to become familiar with the choreography which is helpful in several ways.  Learning the tempo of the music is critical to what a conductor does.  While one could simply listen to a recording to replicate the preferred tempos of the choreographer, going to studio rehearsals and becoming familiar with the choreography illuminates what prompted the choregrapher to pick those tempos.

Attending studio rehearsals also helps me become familiar with the individual dancers.  When there are casting changes, it’s necessary to become familiar with the varying interpretations and tempos that different dancers might require.

On average, how much time did it take for each musician to prepare for Program I? How much of that time is on their own, and how much is the entire orchestra together?

The Opus One Orchestra usually has four rehearsals per program, including two rehearsals with the dancers.  Prior to rehearsing with the orchestra, musicians practice countless hours on their own.

A special thanks to Mr. Sheldon for giving me a moment of his time for this interview.

If you still haven’t heard the orchestra play, you have one more opportunity to see Program I: Fanfare, Bugaku, and Theme and Variations at Kravis Center for the Performing Arts in West Palm Beach.  Come Friday, Nov. 19 at 8:00 p.m., Saturday, Nov. 20 at 2:00 p.m. & 8:00 p.m., or Sunday, Nov. 21 at 1:00 p.m.