New Interpretation Gives This Year’s Nutcracker a Unique Feel
By Emily Klopfer - Dimond High School
Jason Hodges, the Executive Director of the Anchorage Concert Association, welcomed the Nutcracker Ballet on its first performance by declaring that it was a new show with a new ballet. This soon became a very true statement.
While the Eugene Ballet Company’s performance of the Nutcracker Ballet (based on E.T.A. Hoffmann’s tale, “The Nutcracker and the Mouse King”) contained some of the timeless memories of the traditional Nutcracker, it also provided its own interpretation that was decidedly different in parts.
The first noticeable difference was the very beginning of the play. Most performances of the Nutcracker begin with the main character, Clara, looking through the keyhole of a door with her brother, Fritz. The pair is attempting to catch a glimpse of their parents adorning the house with Christmas decorations. When the children are finally allowed in the room, a small tree begins to grow until it stretches from the stage to the ceiling, causing audiences to gasp at its ornamented boughs.
This interpretation of the Nutcracker, however, began with Drosselmeyer and his assistant creating the nutcracker itself. When the duo begin walking in front of a painted curtain city-scape, Drosselmeyer pauses, works a bit of magic, and suddenly the audience is plunged into the party that is taking place in Clara’s home. The children and adults danced in elegant dresses and suits, beautifully portraying the clothing of the time period. In this scene, the second difference to this particular Nutcracker Ballet could be seen. The set was different from what it had been in the past. All of the set, including props, looked somewhat like painted cardboard. Not to be taken the wrong way, the painting was well done and showed perspective, but it was also angular and lacked the homey feeling of the traditional set that had contained realistic seeming walls and actual furniture.
The wind-up dancers in the party scene were more comical than they had been in the past by not wanting to go back into the boxes from which they came. This added a nice dose of comedy in the midst of the family favorite.
Another aspect of the show that was different from previous performances was the scene in which the nutcracker and the toy soldiers battle the mice during Clara’s dream. In this show, the entire scene had a much scarier and more intense feel than previous performances. Props from the previous party scene were turned around for the battle scene, revealing giant mouse heads, fire, and creepy blinking eyes. A strobe light was added to intensify the battle scene, along with a black light that accentuated the red eyes of the mice. A well-choreographed battle ensued, including a pirate ship that was a new element to the Nutcracker Ballet. A cannon was brought out onstage to aid the side of the nutcracker and his soldiers. Due to the lack of a “boom,” it seems as if the cannon had some technical difficulties during the performance. The battle ended with Clara saving the day and saving the nutcracker from the evil mouse king. Act one ended with Clara and the nutcracker sailing away upon a hot air balloon and waving goodbye to the dancers below.
The premise of Act two, is that dancers from around the world are putting on a show for Clara and the nutcracker. Every dancer in this section was superb, however the Russian dancers received the most applause with their more acrobatic dance moves. The music in this section was the memorable music that always prepares people and puts them in the right mood for the holidays.
This first of performance of the Nutcracker Ballet’s six show stint in Anchorage went flawlessly, besides the technical difficulty of the cannon in the first act. The dedication, preparation, and practice was definitely apparent in the talent of the ballet dancers. This show’s differences gave it a unique interpretation that still left the audience wanting more. This family favorite was performed by ballet dancers from the Eugene Ballet Company and local dancers from the Alaska Dance Theatre. The exceptional music was provided by the Anchorage Symphony Orchestra.
The Nutcracker Ballet
Anchorage Concert Association
11/27/2009 at 2:00 pm
The Alaska Center for the Performing Arts, Atwood Concert Hall
Monday, November 30, 2009
Friday, November 20, 2009
Review of the Anchorage Youth Symphony performance (“Autumn Reverie”)
by Emily Klopfer - Dimond High School
“Without great music, education is not complete.” This is the belief of the Anchorage Youth Symphony.
Tuesday, November 17 the Anchorage Youth Symphony gave a joint concert with the Anchorage Junior Youth Symphony, entitled, “Autumn Reverie.”
The seven o’clock performance opened with the Anchorage Junior Youth Symphony. A moment of collective tuning welcomed their conductor, Daniel Whitfield to the stage. With a signal from Whitfield, the orchestra launched into the recognizable “Prelude to Carmen,” written by Georges Bizet and arranged by Casey Kriechbaum, from the play, Carmen. While the one small horn portion of the piece was good, it soon became apparent that the strings were the shining section of this orchestra.
“Contraption,” the following song, changed the mood of the concert to a more dark and edgy feeling. During this piece, written by Brendan McBrien, the string section was still the superior portion of the orchestra. The song ended with the lingering sound of the percussion section.
Eunice Kang led the third song of the evening with a flawless violin solo. “Ashokan Farewell,” written by Jay Ungar and arranged by Bob Cerulli, changed the mood of the night yet again. Kang’s violin solo was joined in increments by the rest of the orchestra, the percussion being the last instruments heard to join this mournful tune.
“Romany Dances,” written by Elliot Del Borgo, was the final song of the night for the Anchorage Junior Youth Symphony. The violinists were the musicians to watch during this piece. Their dedication and rigorous practice was apparent by watching the enthusiasm with which they played. A clarinet solo during the piece added a nice glimpse at the woodwinds, however, the string section provided the more clear-sounding and crisp notes throughout the first half of the performance.
Intermission followed the Anchorage Junior Youth Symphony’s performance and preceded the Anchorage Youth Symphony.
Linn Weeda, the conductor for the Anchorage Youth Symphony, began the performance with a piece from Ludwig van Beethoven titled “Coriolan Overture.” Riddled throughout the song were areas in which the orchestra ceased playing, then began again. In these areas, the orchestra stopped with precision, leaving their last notes resonating and lingering in the ears of the audience, then began again with sharp, crisp notes. The verbato sounds of the string section could be clearly heard, along with the woodwinds.
“Hungarian Rhapsody No. 2,” composed by Franz Liszt, was the second song of the evening for the Anchorage Youth Symphony. This particular rhapsody showcased the cellos and the string basses, along with a clarinetist who had three separate solos. The low, vibrating sounds of the cellos and string bases accentuated the darker tone of the piece. Half way through the song, however, the mood suddenly changed to a more staccato and upbeat feeling. The cellos plucked at their strings instead of using their bows, which gave the piece a harmonious underlying beat. Towards the end of the piece, the song became more hectic with many notes being played in quick succession.
Arturo Marquez wrote the final song for the evening, called “Danzon No. 2.” The song began with the percussion and was soon followed by a clarinet solo. A piccolo solo could be heard next, followed by a piano solo. A solitary violinist began to play once the piano had ended, the last instrument in the string of solos. After a short focus on the brass, there was a pause in which the audience was unsure of whether or not to clap. Before the audience had made their decision, the orchestra came back with a powerful ending to conclude the performance.
The Anchorage Youth Symphony and the Anchorage Junior Youth Symphony provide a venue for students to improve their skills and further their talent. Their potential and the talent they already possess, combined with their dedication and hard work, was definitely apparent in Tuesday’s “Autumn Reverie.”
* Before they began their performance, Weeda took a couple moments to thank everyone for helping with the Anchorage Youth Symphony program, and to demonstrate the sound of the new donated cello. Zach Atkins of the Anchorage Youth Symphony had the pleasure of playing on the cello that was donated by the Rasmusson Foundation. The cello had longer string length, which allowed Atkins to play deeper notes than a regular cello.
by Emily Klopfer - Dimond High School
“Without great music, education is not complete.” This is the belief of the Anchorage Youth Symphony.
Tuesday, November 17 the Anchorage Youth Symphony gave a joint concert with the Anchorage Junior Youth Symphony, entitled, “Autumn Reverie.”
The seven o’clock performance opened with the Anchorage Junior Youth Symphony. A moment of collective tuning welcomed their conductor, Daniel Whitfield to the stage. With a signal from Whitfield, the orchestra launched into the recognizable “Prelude to Carmen,” written by Georges Bizet and arranged by Casey Kriechbaum, from the play, Carmen. While the one small horn portion of the piece was good, it soon became apparent that the strings were the shining section of this orchestra.
“Contraption,” the following song, changed the mood of the concert to a more dark and edgy feeling. During this piece, written by Brendan McBrien, the string section was still the superior portion of the orchestra. The song ended with the lingering sound of the percussion section.
Eunice Kang led the third song of the evening with a flawless violin solo. “Ashokan Farewell,” written by Jay Ungar and arranged by Bob Cerulli, changed the mood of the night yet again. Kang’s violin solo was joined in increments by the rest of the orchestra, the percussion being the last instruments heard to join this mournful tune.
“Romany Dances,” written by Elliot Del Borgo, was the final song of the night for the Anchorage Junior Youth Symphony. The violinists were the musicians to watch during this piece. Their dedication and rigorous practice was apparent by watching the enthusiasm with which they played. A clarinet solo during the piece added a nice glimpse at the woodwinds, however, the string section provided the more clear-sounding and crisp notes throughout the first half of the performance.
Intermission followed the Anchorage Junior Youth Symphony’s performance and preceded the Anchorage Youth Symphony.
Linn Weeda, the conductor for the Anchorage Youth Symphony, began the performance with a piece from Ludwig van Beethoven titled “Coriolan Overture.” Riddled throughout the song were areas in which the orchestra ceased playing, then began again. In these areas, the orchestra stopped with precision, leaving their last notes resonating and lingering in the ears of the audience, then began again with sharp, crisp notes. The verbato sounds of the string section could be clearly heard, along with the woodwinds.
“Hungarian Rhapsody No. 2,” composed by Franz Liszt, was the second song of the evening for the Anchorage Youth Symphony. This particular rhapsody showcased the cellos and the string basses, along with a clarinetist who had three separate solos. The low, vibrating sounds of the cellos and string bases accentuated the darker tone of the piece. Half way through the song, however, the mood suddenly changed to a more staccato and upbeat feeling. The cellos plucked at their strings instead of using their bows, which gave the piece a harmonious underlying beat. Towards the end of the piece, the song became more hectic with many notes being played in quick succession.
Arturo Marquez wrote the final song for the evening, called “Danzon No. 2.” The song began with the percussion and was soon followed by a clarinet solo. A piccolo solo could be heard next, followed by a piano solo. A solitary violinist began to play once the piano had ended, the last instrument in the string of solos. After a short focus on the brass, there was a pause in which the audience was unsure of whether or not to clap. Before the audience had made their decision, the orchestra came back with a powerful ending to conclude the performance.
The Anchorage Youth Symphony and the Anchorage Junior Youth Symphony provide a venue for students to improve their skills and further their talent. Their potential and the talent they already possess, combined with their dedication and hard work, was definitely apparent in Tuesday’s “Autumn Reverie.”
* Before they began their performance, Weeda took a couple moments to thank everyone for helping with the Anchorage Youth Symphony program, and to demonstrate the sound of the new donated cello. Zach Atkins of the Anchorage Youth Symphony had the pleasure of playing on the cello that was donated by the Rasmusson Foundation. The cello had longer string length, which allowed Atkins to play deeper notes than a regular cello.
Autumn Reverie
Anchorage Youth Symphony
November 17, 2009 at 7:00pm
The Alaska Center for the Performing Arts, Discovery Theatre
Monday, November 16, 2009
Bye Bye Bullies Does More than Benefit the Audience
By Dominique Williams - East Anchorage High School
The third annual Bye Bye Bullies benefit brought awareness to a great cause and two Jazz Greats to Anchorage for a close to three-hour concert of great music and fun. The night started late but ended in a standing ovation.
The benefit hosted by Eddie P began featuring Dr. Dorothy Espelage. Dr. Espelage founded the charity and addressed the audience on the charity and the reason for this benefit. The charity started after a seventh grader hung himself because of bullying and didn't die and now is unable to function without assistance.
After Dr. Espelage finished, the opening act, The Veronica Page Band emerged to pump a slightly stiff crowd. Veronica Page used her vocal range to astound the audience by singing old classics such as "I Heard It Through The Grapevine," "Tell Me Something Good," and "Mr. Big Stuff," to ending with a song unknown to many titled "I'd Rather Go Blind" by Etta James. By the end of the first act, Ms. Page was giving the crowd all she could in terms of her voice and sincerity in her emotions.
Post-intermission the true benefit began. Rick Braun started the set in the audience dancing while playing the trumpet. In the first song, each band member did a solo. The crowd instantly started bobbing their heads to the jazz grooves,
Jeff Golub and Rick Braun alternated songs for the rest of the night. Both accompanied on all songs and interacted with the crowd. The highlight songs of the night were "Notorious" and "Green Tomatoes" by Braun and "Always There" and "I'll Play the Blues For You" by Golub.
By the end of the hour and a 45-minute set, with killer bass solos, hearing a guitar purr and a trumpet sing, people were up dancing and singing when asked. It was a remarkable concert. Jeff Golub and Rick Braun ended up receiving a standing ovation and came out for one last jam with the audience.
After the concert, the artists signed autographs and went to an after party at the Whales Tail. This concert left the audience ready to dance and feeling good about contributing to a fine cause.
Jazz Greats: Bye Bye Bullies Benefit
Blues Central Productions
November 13, 2009 at 7:00 pm
The Alaska Center for the Performing Arts, Atwood Concert Hall
By Dominique Williams - East Anchorage High School
The third annual Bye Bye Bullies benefit brought awareness to a great cause and two Jazz Greats to Anchorage for a close to three-hour concert of great music and fun. The night started late but ended in a standing ovation.
The benefit hosted by Eddie P began featuring Dr. Dorothy Espelage. Dr. Espelage founded the charity and addressed the audience on the charity and the reason for this benefit. The charity started after a seventh grader hung himself because of bullying and didn't die and now is unable to function without assistance.
After Dr. Espelage finished, the opening act, The Veronica Page Band emerged to pump a slightly stiff crowd. Veronica Page used her vocal range to astound the audience by singing old classics such as "I Heard It Through The Grapevine," "Tell Me Something Good," and "Mr. Big Stuff," to ending with a song unknown to many titled "I'd Rather Go Blind" by Etta James. By the end of the first act, Ms. Page was giving the crowd all she could in terms of her voice and sincerity in her emotions.
Post-intermission the true benefit began. Rick Braun started the set in the audience dancing while playing the trumpet. In the first song, each band member did a solo. The crowd instantly started bobbing their heads to the jazz grooves,
Jeff Golub and Rick Braun alternated songs for the rest of the night. Both accompanied on all songs and interacted with the crowd. The highlight songs of the night were "Notorious" and "Green Tomatoes" by Braun and "Always There" and "I'll Play the Blues For You" by Golub.
By the end of the hour and a 45-minute set, with killer bass solos, hearing a guitar purr and a trumpet sing, people were up dancing and singing when asked. It was a remarkable concert. Jeff Golub and Rick Braun ended up receiving a standing ovation and came out for one last jam with the audience.
After the concert, the artists signed autographs and went to an after party at the Whales Tail. This concert left the audience ready to dance and feeling good about contributing to a fine cause.
Jazz Greats: Bye Bye Bullies Benefit
Blues Central Productions
November 13, 2009 at 7:00 pm
The Alaska Center for the Performing Arts, Atwood Concert Hall
Thursday, November 12, 2009
Anchorage Opera's Dark Night Series - The Audition
by Anthony Sallows - Alaska Pacific University
Remember, remember the 10th of November, the Kaladi cup, Carharts, and arias.
By incorporating modern, local elements, and a splash of humor, Anchorage Opera's The Audition was an engaging thrust into the world of opera. November 10th marks the night of this performance, the first Dark Night series, as well as my virgin experience with the art form.
Toting a Kaladi cup and wearing worn Carharts was Andrew Sweeney, playing the part of The Worthless Accompaniast. An ironic role for him, as he was the show's music and stage director. His appearance resonated with my Alaskan roots and replaced my ignorant skepticism with a smile and anticipation. The smile remained as more Alaskan grown stereotypes and script were revealed.
Little Bo Peep, Jack and Jill, and Humpty Dumpty are titles usually found in the children's section, not a night at the opera. By blending childhood rhymes and smooth singing, I found myself impressed with the creative talents of the cast and crew. The familiarity of the young prose washed away whatever skepticism was left within me.
My most memorable character was Martina Nevertoloveyou, played by Martin Eldred - in drag. Coming to the stage squeaky and high pitched, the audience was shocked as Eldred showed his true talents as a bass-baritone when his character went into her "audience piece."
The storyline is a mock (hopefully) for an audition for the Anchorage Opera. Banking on outrageous characters that are exaggerated versions of what most directors would find in their nightmares, the show was entertaining and punny - a word derived when you combine funny with pun. While short in length, the script was able to fill the time with arias from across the gamut. Deepening my positive preview of what opera has to offer. I couldn't imagine a better introduction to the art, this performance has certainly made an opera fan out of me.
The Dark Night Series
Anchorage Opera
November 10, 2009
The Alaska Center for the Performing Arts, Discovery Theatre
by Anthony Sallows - Alaska Pacific University
Remember, remember the 10th of November, the Kaladi cup, Carharts, and arias.
By incorporating modern, local elements, and a splash of humor, Anchorage Opera's The Audition was an engaging thrust into the world of opera. November 10th marks the night of this performance, the first Dark Night series, as well as my virgin experience with the art form.
Toting a Kaladi cup and wearing worn Carharts was Andrew Sweeney, playing the part of The Worthless Accompaniast. An ironic role for him, as he was the show's music and stage director. His appearance resonated with my Alaskan roots and replaced my ignorant skepticism with a smile and anticipation. The smile remained as more Alaskan grown stereotypes and script were revealed.
Little Bo Peep, Jack and Jill, and Humpty Dumpty are titles usually found in the children's section, not a night at the opera. By blending childhood rhymes and smooth singing, I found myself impressed with the creative talents of the cast and crew. The familiarity of the young prose washed away whatever skepticism was left within me.
My most memorable character was Martina Nevertoloveyou, played by Martin Eldred - in drag. Coming to the stage squeaky and high pitched, the audience was shocked as Eldred showed his true talents as a bass-baritone when his character went into her "audience piece."
The storyline is a mock (hopefully) for an audition for the Anchorage Opera. Banking on outrageous characters that are exaggerated versions of what most directors would find in their nightmares, the show was entertaining and punny - a word derived when you combine funny with pun. While short in length, the script was able to fill the time with arias from across the gamut. Deepening my positive preview of what opera has to offer. I couldn't imagine a better introduction to the art, this performance has certainly made an opera fan out of me.
The Dark Night Series
Anchorage Opera
November 10, 2009
The Alaska Center for the Performing Arts, Discovery Theatre
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