Honor, valor, love, betrayal — these are
the thematic elements of Cincinnati Ballet artistic director and CEO
Victoria Morgan’s full-length world premiere, King Arthur’s Camelot,
opening this weekend with five performances at the Aronoff Center.
Over the Rhine, the bluesy, jazzy, folksy
band headed by blonde chanteuse Karin Bergquist and real-life partner
Linford Detweiler, named after Cincinnati’s historic Over-the-Rhine
neighborhood where they once lived, this weekend will perform live with
Cincinnati Ballet dancers in the closing series of the company’s 50th
Ever heard of freelance dancing?
Independent ballet dancers Joseph Gatti and Adiarys Almeida — formerly
of the Cincinnati Ballet — stepped out as free agents this past July,
following five years of contracts with some illustrious international
Cincinnati’s Bi-Okoto (pronounced
“Bee-O-Ko-Toe”) Cultural Institute, a nonprofit performing arts
organization that illuminates Africa’s rich traditional heritage,
recently won the African Professionals Network (APNET) award for African
culture, community and entertainment.
Over-the-Rhine’s Memorial Hall, the
Tiffany-chandeliered, 1908 Beaux-Arts treasure teeming with handcrafted
details in marble, wood and plaster, is tucked at Grant and Elm streets,
next to Music Hall. The space is said to be haunted by the figure of a
Civil War-era soldier who materializes in one of the steep balconies.
It’s perhaps the most iconic dance segment in the world-famous 19th-century ballet Swan Lake.
It begins in Act II, when enchanted swan maidens, costumed in pristine
white tutus, enter a moonlit lakeside scene one by one in what’s often
been called the greatest possible accomplishment for a corps de ballet.