Venue Details

The Lyceum Stage
79 Horton Plaza San Diego, CA 92101
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3.9 / 5 Rated by 10 members
Review from mariabpenny
97 events 59 reviews

The event was described as "non-traditional choreography". It was 4 short pieces, involving subsets of 6 dancers. The dancers were excellent: well-trained, poised and secure in their roles. The choreography was not as good as the dancers. It is...continued

reviewed Oct 25 2013 report as inappropriate
Review from amy
57 events 15 reviews
Review from Allamay
8 events 3 reviews

Enjoyed the dancing and the live music (violin and bass) added to the experience as did the poetry reading.

reviewed Oct 26 2013 report as inappropriate
Review from Arlene richards
13 events 3 reviews

It was exciting and different! Each piece was very creative! Loved it!

reviewed Oct 25 2013 report as inappropriate
View All 6 Reviews
More Information


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."

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