Tag Archives: David Cooper

Right On Pointe: Preview of Avant Chamber Ballet’s Beauty And Bach Performance

Avant Chamber Ballet. Photo: Glenn Preuett
Avant Chamber Ballet celebrates its artistic growth with three physically and musically challenging works in Beauty and Bach.
Dallas — One major sign of a business’s staying power lies in its ability to grow even when facing obstacles that are out of its control. Since its inception in 2012, Avant Chamber Ballet (ACB) has been sticking to its mission of reconnecting ballet with live music by providing live chamber music at every one of its performances, while also stretching audiences’ understanding of classical ballet with Artistic Director Katie Cooper’s bold choreographic choices and keen eye for interesting and diverse guest artists and local collaborations. Cooper will need to rely on these skills moving forward in the midst of The Arts Community Alliance’s (TACA) announcement last month that it will be cutting its funding to local arts groups. To try to counter this hit to ACB’s bottom line, Cooper has been busy applying for grants as well as promoting the heck out of their performances with the hopes of increasing ticket sales.
The silver lining in all this is that people have been talking about ACB’s upcoming Beauty and Bach performance, which takes place Feb. 17-18 at Moody Performance Hall, since the company made the announcement back in the summer. The line-up includes George Balanchine’s musically challenging Concerto Barocco, the world premiere of Cooper’s Appalachian Spring featuring a 13-member orchestra and Cooper’s restaging of Aurora’s Wedding from Sleeping Beauty with music from Pyotr IIyich Tchaikovsky’s score, which is arranged by Bryan English. Dallas native Brad Everett Cawyer will conduct the whole evening with the group of musicians he has hand-picked with ACB Music Director David Cooper.
ACB dancer Emily Dixon. Photo: Rhilee Photography
When asked if ACB is ready for such an ambitious program Cooper replies, “Musically it is ambitious and I think the company needs to grow in that way because artistically we are the strongest we have ever been.” She adds, “I almost hate to use the word ambitious because I think it’s not ambitious in some ways because we have been working toward this since the beginning. Yes, it’s a bigger program that we have done before, but we are definitely ready for that.”
Cooper also notes that a program such as this one enables the audiences to see a variety of balletic styles in one setting. And with live accompaniment. “In this case we have a beautiful neo-classical Balanchine piece, my Appalachian Spring which is quite neo-classical and modern ballet, and then Aurora’s Wedding, which is the only super classical ballet we’ll do this season.”
With her strictly classical background you would think it would be challenging for Cooper to tap into the modern nuances of Martha Graham’s Appalachian Spring (1944), but Cooper says her lack of modern training actually worked in her favor. “It wasn’t hard for me to create something different because I am not a Graham dancer and therefore her work is not in my mind or body. I know Martha’s verision, but it’s so far apart from my vocabulary that I knew nothing was going to come out looking like hers.” Cooper adds that a lot of the movement for the piece was a testament to how fantastic the music is, which was composed by Aaron Copland and features a 13-member chamber orchestra.
“It’s such beautiful music and it’s easy to dance to because Copland wrote it for Martha Graham so, the counts are really clear and melodic sounding.” She adds, “There are also a lot of familiar themes like ‘Simple Gifts’ which is just really famous, so a lot people can sing the words to that song. So, in that I think Appalachian Spring is a very accessible piece for audience members who don’t get to see music concerts and dance pieces very often.”
Unlike other ballets of this time period, Concerto Barocco was created with no story or theme in mind. Instead, the choreography is a direct response to Johann Sebastian Bach’s Double Violin Concerto, which will be performed by soloists Eleanor Dunbar and Lauren Densinger. The work is split into three movements with the third one being the allegro section featuring the entire ensemble, which ACB was in the process of cleaning when I stopped by the company’s rehearsal at Bruce Wood Dance’s studio in the Dallas Design District two weeks ago.
All 10 dancers hop on pointe into two parallel lines that extend diagonally across the space, their arms moving from fifth then alternating side lines, as they shift their focus from side to side to match the syncopated chords of the music. The dancers’ stamina and continuity are tested with the section’s many formation changes and complicated phrasing such as asymmetrical arm and leg movements as well as quick balances and constant weight changes on pointe. “Balanchine’s choreography is so incredibly clear and every note of the music has a step, so really the dancers never stop moving for the whole 18 to 19 minute ballet.” Cooper adds, “It’s all about clarity and stamina.”

>This preview was originally posted on TheaterJones.com.

 

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Avant Chamber Ballet Announces 2017-18 Women’s Choreography Project Recipient

Michelle Thompson Ulerich Dance Photo 2
Michelle Thompson Ulerich

Dallas – It was announced this week that New York-based choreographer Michelle Thompson Ulerich is this year’s winner of Avant Chamber Ballet’s (ACB) Women’s Choreography Project (WCP), which will take place April 21-22 at Moody Performance Hall in conjunction with ACB’s spring performance. Never one to just stick with the status quo, ACB Artistic Director Katie Cooper started the project in 2015 with the objective of providing more opportunities for up-and-coming female choreographers to showcase their work. Since then the WCP has gained quite a following in Dallas thanks to Cooper’s insistence of live orchestration and her eclectic programming, which has included works by herself, Shauna Davis, Elizabeth Gillapsy, Emily Hunter, Amy Diane Morrow, Janie Richards and Hailey von Schlehenried. Cooper continues to enrich the Dallas arts landscape with her “dare to be different” attitude when it comes to the rules and traditions surrounding classical ballet and the expectations that come with being a choreographer in this particular genre. Cooper has also successfully brought live music and dance back together, which I think is putting positive pressure on other professional companies in the area to find creative ways to incorporate more live music in their performances. I can’t wait to see what Cooper and ACB have in store for us in the coming years.

Below is Avant Chamber Ballet’s press release in its entirty:

Avant Chamber Ballet Announces Women’s Choreography Project Winner

FOR IMMEDIATE RELEASE
August 30, 2017

Dallas, TX – For the last three years, Dallas-based Avant Chamber Ballet has broken stereotypes and glass ceilings with live music and new works. This season’s Women’s Choreography Project presented in April 2018 is no different.  “You might not notice the imbalance and sexism in ballet from the outside,” says Avant artistic director Katie Cooper. “There are more female ballet dancers than male by far, but there are very few female choreographers getting commissions from professional ballet companies. With Women’s Choreography Project, we give emerging women choreographers the opportunity they need to take their careers to the next level.”


Avant Chamber Ballet held an international search for the right choreographer to commission a new work for this season. Out of over 50 applicants, Michelle Thompson Ulerich was chosen to be this year’s winner. “I am thrilled to be choreographing for the artists of Avant Chamber Ballet,” says Ulerich. “Texas was my home for 14 years, and I am looking forward to coming back to create and to bring some of my New York experiences with me.”

Michelle is a choreographer, dancer, and teacher in New York. In 2017, she will present new works in New York; Austin, Texas; Napa, California; and Spartanburg, South Carolina. Prior to moving to New York, she was a professional ballerina with Ballet Austin for 14 years. Michelle has been teaching ballet at SUNY Purchase since September 2016. She has created works for Ballet Spartanburg, Ballet Austin II,  Ballet Zaida, MOTION Dance Theatre. Her work for Avant Chamber Ballet will be presented on April 21-22, 2018 at Moody Performance Hall on the program Moving Music alongside masterworks by George Balanchine, Christopher Wheeldon and Paul Mejia.

 

Also commissioned this year through the Project is a new work from Kimi Nikaidoh. As the artistic director of Dallas’s Bruce Wood Dance, Kimi has choreographed for her own company of modern dancers but this will be her first commission with a professional ballet company. “I’m beyond lucky that Dallas provides me with the opportunity to create work for high-caliber modern and ballet dancers,” says Nikaidoh. “Working with the lovely ACB company will be a delight!”

 

MOVING MUSIC

Women’s Choreography Project

George Balanchine’s Valse Fantaisie

Christopher Wheeldon’s The American pas de deux

Paul Mejia’s Serenade in A

April 21-22ND, 2018

Moody Performance Hall, Dallas, TX

 

Tickets available through TicketDFW.com

Forward Thinkers: Katie Puder, Avant Chamber Ballet

Photo: Robert Hart
Photo: Robert Hart

With numerous successes in its short history, including its first full-length ballet and performance at Dallas DanceFest, Puder’s Avant Chamber Ballet is one step closer to its goal of reconnecting live music and dance.

Over the past three years Avant Chamber Ballet (ACB) has accomplished what takes most small ballet companies years to do. Along with bringing together a cohesive group of talented professional dancers and building a solid audience base, ACB is also filling a void in the Dallas dance scene with the use of live chamber music at its performances. This feat can be attributed to Artistic Director Katie Puder’s tenacity and resourcefulness both artistically and enterprisingly speaking.

Puder began her ballet training with Wichita Falls Ballet Theater before moving to Fort Worth at age 13. She continued training with Paul Mejia and Maria Terezia Balogh and at 17 she joined the Metropolitan Classical Ballet. The idea for starting ACB came to Puder while attending multiple Dallas Symphony Orchestra (DSO) concerts. “I was inspired to start doing more choreography just from hearing so much fantastic live music. Our first choice for the musicians for our performances are always DSO musicians, and I think very few ballet companies in the world can say they have musicians of that quality performing with them.”

With the aid of DSO principal horn David Cooper, ACB’s focus is on strengthening the ties between live music and dance in the Dallas area. Since its inception in 2012, ACB has performed eight new works, including Puder’sExactly Woven and Carnival of Animals, which premiered at the Eisemann Center in October 2014. This past year ACB also produced its first full-length ballet, Alice in Wonderland, with a commissioned score by resident composer Chase Dobson to positive reviews. “It seems that dance audiences have really missed live music. We also have a part of our audience who are music fans and we are their first exposure to dance performances. I love hearing from people who are discovering how exciting live ballet and music can be for the first time.”

Not one to idle, Puder is always looking for news way to increase exposure while also enriching the local dance culture. Participation in local dance festivals this year, including the {254} DANCE-FEST in Waco and the reimagined Dallas DanceFest at the Dallas City Performance Hall has helped ACB expand its reach within these communities. Puder’s plans for 2015 include the company’s first Women’s Choreography Project, which happens this weekend at Richardson’s Eisemann Center for the Performing Arts and a collaboration with the Dallas Symphony Orchestra’s SOLUNA: International Music & Arts Festival in May.

The Women’s Choreography Project, a series she plans to continue, features work by Puder and local choreographers Elizabeth Gillaspy and Emily Hunter, as well as guest choreographer Amy Diane Morrow.

A firm believer in supporting other local artists Puder has invited local dance companies such as Dark Circles Contemporary Dance to come perform with ACB. Puder is beginning to see this supportive stance spread across the whole dance community. “I have this feeling of a real community between different companies and circles. There is more awareness of what other people are doing and people are being supportive.” With Puder’s work ethic ACB will continue to draw in new audiences and raise the bar for other professional dance companies in the area.

This piece was originally posted on TheaterJones.com.