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.