The following article was seen on page four of the RhyDin Post, March the fourteenth.
"Entrez sans crainte, mignonne"; The RhyDin Ballet Troupe's Carmen March 14, 2010
http://i738.photobucket.com/albums/xx21/dfenner_photo/6264346944a710cfe80dc5.jpg Senior Columnist and Investigative Journalist: Darien Fenner
Of the popular French op"ra comique by Georges Bizet, Tchaikovsky once said, "Carmen is a masterpiece in every sense of the word; that is to say, one of those rare creations which expresses the efforts of the whole musical epoch " In ten years will be the most popular opera in the whole world." Who knew that centuries later the famous Russian composer would have undershot the opera's success on a such a universal level" And when we say universal, we really mean interversal.
Carmen, set in Seville, Spain circa 1830, is a tragic operatic tale that follows the lamentable, if not devastating love triangle of a gypsy cigarette factory worker and her circle of would-be suitors. The story itself is a testament to Bizet's impervious idiosyncrasies as a writer and composer, and ultimately revolves around love, sex, violence, and murder. How does one inject grace or poise into so raunchy a tale" Putting it in a lighthearted, bourgeois composition is one way, certainly. But what about slapping some skirts on it, putting the actors in pointe shoes and calling it a ballet"
The RhyDin Ballet Troupe, in cooperation with RhyDin's Opera Company, recently took on the daunting task of doing just that. Between the principals, chorus, and supernumeraries (extras who do not sing or speak), the opera itself is already a massively cast production. Still, the Troupe fearlessly took on the project, and opened Friday night to a sold-out audience. In any other situation, or perhaps in any other company, this intention might have flopped. But thankfully, the grandeur of the RhyDin Theatre and Opera House, die-hard fans of the flourishing Troupe, and precise musical and physical choreography not only kept the production afloat, but sent it soaring.
Katarina Smith, a principal dancer originally hailing from a planet called Hope, plays none other than Carmen herself. Despite having undergone a routine surgical procedure on her ankles, Smith stuns the audience with flawlessly executed grace onstage - a truly surprising endeavor, given the lead is often perceived as manipulative and unsympathetic. Smith imbues Carmen's otherwise two-dimensional character with a ruminative, almost sorrowful magnetism that tempts the audience into commiserating with her, even as her guileful, morally questionable behavior leads her into the arms (and beds) of more than one suitor. Unsurprisingly, Smith's every flamenco-inspired step is exemplary and well timed, despite the otherwise talented Korsokov's (Don Jos") occasional half-second delays.
Of her role in Carmen, Smith had the following to say:
"Carmen has been a challenge only because it isn't really a ballet to begin with' A lot of classical ballet has strong female roles, to be sure, but....sometimes not as bold as Carmen..."
The sets are incredibly simplistic in design, and they should be. Couturier staffers rely on bold, alluring costume designs in dauntless reds and morbid blacks that reflect not only the characters" inner struggles, but also the corrupt political upheaval in Spain following the July Revolution of 1830. The chorus, while it could stand to be better miked, is resonant and euphonious in its execution, giving critics consideration of a permanent alliance among various forms of art.
Apparently, critics aren't the only ones with that idea.
The Ballet Troupe has also been advertising a First Annual Living Pictures Show for RhyDin, which encourages layfolk to become an actual work of art.
"Living Pictures is going to be the biggest production the Troupe's ever put on," claims Smith. "And we're not performing in a way we usually do. Living Pictures is a dedication to both famous and local artwork, and having anyone able to participate. I've seen a demonstration myself, an' it's quite overwhelming and amazing to not only see, but be a part of."
Interviews for the Living Pictures Show are reportedly concluding on March 14th. A good thing, too; apparently, RhyDin's favorite principal dancer will up to her eyes in planning of other sorts.
"Locke and I are engaged," announced Smith proudly in an interview Thursday. Locke D'Vestavio, designer for Highlife Haberdashery, was reportedly the recipient of the proposal.
"Well - he didn't ask. I did," explained Smith. "I wasn't prepared - just felt right' I will say though - matter who the recipient , there were still waterworks?"
No word yet on whether the engagement will interfere with Smith's dancing.
All in all, however, her latest production was not without merit. The Post gives The RhyDin Ballet Troupe's Carmen five out of five stars for such a unique undertaking and its comely, pleasant execution.
The last show is scheduled for April 10th.
"Entrez sans crainte, mignonne"; The RhyDin Ballet Troupe's Carmen March 14, 2010
http://i738.photobucket.com/albums/xx21/dfenner_photo/6264346944a710cfe80dc5.jpg Senior Columnist and Investigative Journalist: Darien Fenner
Of the popular French op"ra comique by Georges Bizet, Tchaikovsky once said, "Carmen is a masterpiece in every sense of the word; that is to say, one of those rare creations which expresses the efforts of the whole musical epoch " In ten years will be the most popular opera in the whole world." Who knew that centuries later the famous Russian composer would have undershot the opera's success on a such a universal level" And when we say universal, we really mean interversal.
Carmen, set in Seville, Spain circa 1830, is a tragic operatic tale that follows the lamentable, if not devastating love triangle of a gypsy cigarette factory worker and her circle of would-be suitors. The story itself is a testament to Bizet's impervious idiosyncrasies as a writer and composer, and ultimately revolves around love, sex, violence, and murder. How does one inject grace or poise into so raunchy a tale" Putting it in a lighthearted, bourgeois composition is one way, certainly. But what about slapping some skirts on it, putting the actors in pointe shoes and calling it a ballet"
The RhyDin Ballet Troupe, in cooperation with RhyDin's Opera Company, recently took on the daunting task of doing just that. Between the principals, chorus, and supernumeraries (extras who do not sing or speak), the opera itself is already a massively cast production. Still, the Troupe fearlessly took on the project, and opened Friday night to a sold-out audience. In any other situation, or perhaps in any other company, this intention might have flopped. But thankfully, the grandeur of the RhyDin Theatre and Opera House, die-hard fans of the flourishing Troupe, and precise musical and physical choreography not only kept the production afloat, but sent it soaring.
Katarina Smith, a principal dancer originally hailing from a planet called Hope, plays none other than Carmen herself. Despite having undergone a routine surgical procedure on her ankles, Smith stuns the audience with flawlessly executed grace onstage - a truly surprising endeavor, given the lead is often perceived as manipulative and unsympathetic. Smith imbues Carmen's otherwise two-dimensional character with a ruminative, almost sorrowful magnetism that tempts the audience into commiserating with her, even as her guileful, morally questionable behavior leads her into the arms (and beds) of more than one suitor. Unsurprisingly, Smith's every flamenco-inspired step is exemplary and well timed, despite the otherwise talented Korsokov's (Don Jos") occasional half-second delays.
Of her role in Carmen, Smith had the following to say:
"Carmen has been a challenge only because it isn't really a ballet to begin with' A lot of classical ballet has strong female roles, to be sure, but....sometimes not as bold as Carmen..."
The sets are incredibly simplistic in design, and they should be. Couturier staffers rely on bold, alluring costume designs in dauntless reds and morbid blacks that reflect not only the characters" inner struggles, but also the corrupt political upheaval in Spain following the July Revolution of 1830. The chorus, while it could stand to be better miked, is resonant and euphonious in its execution, giving critics consideration of a permanent alliance among various forms of art.
Apparently, critics aren't the only ones with that idea.
The Ballet Troupe has also been advertising a First Annual Living Pictures Show for RhyDin, which encourages layfolk to become an actual work of art.
"Living Pictures is going to be the biggest production the Troupe's ever put on," claims Smith. "And we're not performing in a way we usually do. Living Pictures is a dedication to both famous and local artwork, and having anyone able to participate. I've seen a demonstration myself, an' it's quite overwhelming and amazing to not only see, but be a part of."
Interviews for the Living Pictures Show are reportedly concluding on March 14th. A good thing, too; apparently, RhyDin's favorite principal dancer will up to her eyes in planning of other sorts.
"Locke and I are engaged," announced Smith proudly in an interview Thursday. Locke D'Vestavio, designer for Highlife Haberdashery, was reportedly the recipient of the proposal.
"Well - he didn't ask. I did," explained Smith. "I wasn't prepared - just felt right' I will say though - matter who the recipient , there were still waterworks?"
No word yet on whether the engagement will interfere with Smith's dancing.
All in all, however, her latest production was not without merit. The Post gives The RhyDin Ballet Troupe's Carmen five out of five stars for such a unique undertaking and its comely, pleasant execution.
The last show is scheduled for April 10th.