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Exclusive Jeté Subscription Black and White SwanSeptember 15-October 2, 2011 Fletcher Opera Theater In the psychological thriller Black Swan, Oscar-winning actress Natalie Portman plays a ballerina struggling to play Odette, the innocent white swan, and Odile, the sensual black swan, in a production of Swan Lake. Carolina Ballet tops the film with the company premieres of the “White Swan” and “Black Swan” pas de deux both in their entirety using Petipa’s original choreography and featuring four rotating casts of dancers. The program also includes works from the company’s vast repertory of more than 100 ballets.
When the “Prince of Darkness” and the “Master of Horror” debuted here last season, the double feature played to sold-out houses and left audiences anticipating the pair’s next visit. Good news—both have graciously accepted our invitation to return this season for a strictly limited Halloween engagement with J. Mark Scearce’s music performed by a live orchestra conducted by Music Director Alfred E. Sturgis. The Tony-nominated Broadway and television star Alan Campbell reprises the role of Dr. Seward in Dracula.
Robert Weiss’s new version of his ballet set to Igor Stravinsky’s Concerto for Two Solo Pianos highlights our Thanksgiving week offering, which opens with the company’s popular one-hour version of Cinderella set to an original score by Karl Moraski played live. This win-win combination offers two sides of classical ballet at its finest—an additional cause for celebration during the November holiday.
Progress Energy Presents Carolina Ballet’s NEW production of The Nutcracker features a cast of over 100 dancers and children accompanied by a live orchestra of classical musicians, lavish redesigned scenery and stunning beautiful costumes. This year experience new magic (designed by illusionist Rick Thomas and made possible by WRAL-TV) when young Clara’s godfather, Dr. Drosselmeyer, makes toys come to life, people shrink and then reappear out of thin air, and characters levitate high above the stage. Then watch as a Christmas tree grows to enormous heights to begin Clara’s journey to the Land of the Sweets, a truly magical place where it snows indoors, candy canes dance, and boats fly. See Christmas unfold through the eyes of a child in a way that only the world’s most popular classical ballet can do. Carolina Ballet’s Nutcracker: it’s where the holiday magic begins.
This program features three rarely performed works by George Balanchine, including A La Françaix, an innocent tale about a handsome tennis-playing athlete, a pretty young lady, and a graceful ballerina dressed as a winged sylph. The New York Times hails the work, one of Balanchine’s few comic story ballets, as “whimsical . . . told with clarity, charm, wit—and just enough seriousness.” The program also includes two seldom seen Balanchine tour-de-force Pas de Trois, the Glinka and the Minkus. This project has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius.
Two-time Tony Award nominee Lynne Taylor-Corbett has created memorable choreography for Broadway shows (Titanic, Chess and Swing!) and films (Footloose, My Blue Heaven and Vanilla Sky). She also has created some of Carolina Ballet’s most popular works, including The Ugly Duckling, which was a big hit last season. Like that production, her world premiere version of The Little Mermaid also features an original commissioned score by Michael Moricz and will undoubtedly charm and entertain audience members of all ages.
“O Fortuna!” Two great ballets. Two great choreographers. First up—Lynne Taylor-Corbett’s stunning work set to Carl Orff’s scenic cantata Carmina Burana takes the stage backed by the North Carolina Master Chorale, vocal soloists, and instrumentalists—all conducted by Music Director Alfred E. Sturgis. Then—a new ballet from Carolina Ballet’s Artistic Director Robert Weiss has its world premiere.
Hope. Triumph. Peace. Freedom. Joy. Beethoven’s Symphony No. 9 embodies them all like no other piece of music. Every performance of this towering work with its “Ode to Joy” choral finale is a celebration—a new Robert Weiss ballet set to this work is truly the artistic event of the year. The program opens with the company’s first revival of the family-friendly Beauty and the Beast, featuring an original score by Karl Moraski played live.
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