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The last date listed for Preludes & Poetry was Saturday October 26, 2013 / 2:30pm.
Currently at The Lyceum Stage
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Minor Fall / Major Lift is a bi-coastal collaboration of live music and dance, featuring all-new… More
Suite Italienne (Excerpt – Pas De Deux)
Dancers: Stephanie Maiorano & Maxim Tchernychev
Music: Igor Stravinsky
Suite Italienne is set to Stravinsky’s piano and violin concerto of the same name. “When people think of Stravinsky they either think of the lush sounds of Firebird or the dissonance of his later works,” says Velasco. “But this little gem has an enormous amount of clarity, and intimacy, and beautiful melodies. I keep coming back to this piece over and over, but for some reason it hasn’t been able to make it into our programming. I love it because it doesn’t try too hard. It just sort of flows out like a clear stream. And yes, it’s going to be a tutu ballet. Classical… and romantic.”
Dancers: Zoe Marinello -Kohn & Joseph Hochschild
Music: David Burge
Reminscence was the final piece composed for the San Diego Ballet by composer David Burge. Mr. Burge served as resident composer for the organization for over a decade, during which he composed 10 pieces for SDB. A champion of 20th century music, and an internationally acclaimed pianist, he would often accompany the ballets himself. This piece was written for violinist Päivikki Nykter to be performed with the ballet. We are thrilled that she will be joining us for this series of performances in his memory. “We often take musical accompaniment for granted,” says Velasco. “When we break it down to a single instrument onstage, we become much more aware of the relationship between dancers and that which shares the stage with them.”
*_*Love: 20 Cents the First Quarter-Mile*_
Dancers: Stephanie Maiorano & Joseph Hochschild
Music: Bert Turetsky
Love is accompanied by the depression era poetry of Kenneth Fearing, together with the improvisational music of bassist Bert Turetsky. This award winning piece can be a different experience from performance to performance. “Just as we take accompaniment for granted, we also take for granted that dancers and musicians are somehow supposed to “mirror” each other,” says Velasco. “In this piece, the dancers need to be aware and listen, because much of it is done to text and improvised music. There are sections in silence. The performers have to relate to each other or it doesn’t work.”
*_*How High the Moon*_
Dancers: Members of the San Diego Ballet
How High the Moon is one of the types of pieces SDB has become known for. Bright. Bouncy. Jazzy. And fun! ”I heard the music of Les Paul and Mary Ford a few years back,” says Velasco. ”The clarity and intricacy of the early electric guitar experimentation just sounded like a natural accompaniment to the precision of the pointe work used in ballet. What a better marriage than the steel strings of a guitar and the steely toes of a ballerina? I didn’t realize until after I chose these pieces that they featured guitars as main instruments. Maybe we should have called this show _Pointe Shoes and Picks _or Tutus and 12 Strings."