Cincinnati Ballet’s extravagant production of Washington Ballet Artistic Director Septime Webre’s Alice (in Wonderland)
hits the Aronoff stage again this weekend, two years after the
Cincinnati premiere, with live music from the Cincinnati Symphony
Orchestra conducted by Cincinnati Ballet Music Director Carmon DeLeone.
features countless exciting opportunities to support the arts around the
city (and beyond) in the fields of visual arts, dance, vocal arts and
classical music, theater and film. We encourage you to break out of your
typical routine this season, and this Fall Arts Preview is stocked with
plenty of ideas for your calendar.
It’s a rare person today who sticks to
the same career path — let alone the same position — for more than a
handful of years. How about four-plus decades? Enter Maestro Carmon DeLeone, Cincinnati Ballet’s music director for 43 seasons running.
What memories do you have from summer camp
— maybe swimming in the lake, hiking in the woods or paddling a canoe?
Think again. How about memories of playing chess, redecorating rooms,
honing skills in sports, music or art or even swinging from a trapeze?
The idea of “dance theater”
(“Tanztheater” in German) evolved from expressionist dance in 1920s
Vienna, with a new form developing and spreading throughout Central
Europe beginning in 1917. The term re-emerged during the 1980s and Pina
Bausch, a student of one of the leaders of this school of dance, became a
new school practioner of note.
At heart, Carmen is a sensual
story of passion. Putting a daring new spin on one of the best-known and
beloved stories of opera repertoire sounds like a tall order. But internationally renowned
choreographer Amedeo Amodio is perfectly suited to create a
contemporary-infused dance version.
Between them, they have worked with some of the most significant modern choreographers on the dance scene today and have performed in top-ranked companies. One is a former dancer with Dance Theatre of Harlem and the other grew up on a ranch two miles east of Boise, Idaho.
One aspect of contemporary dance I appreciate is that, for the most part, you can never really be certain of what you're going to see. This notion also becomes a reason why too many people avoid it: They don't know what to expect; perhaps they fear they won't get it.