Last October the first-ever book about Dance Theatre of Harlem was released. Written by Judy Tyrus and Paul Novosel, Dance Theatre of Harlem: A History, A Movement, A Celebration documents the full history of the company. From its inception by Arthur Mitchell and Karl Shook through some incredibly challenging moments, their book captures it all. It’s filled with some of the finest dance photography from throughout its over 50 year history.

Last month I spoke via Zoom with Tyrus and Novosel about the book, their own personal histories as a former dancer and former pianist with the company and how Dance Theatre of Harlem has survived those incredible challenges. What follows are excerpts from my conversation that have been edited for length and clarity. If you want to watch the full interview (and there’s so much more to hear), please go here to our YouTube channel.

Q: I’ll start with something that that Arthur Mitchell was apparently told by George Balanchine and Lincoln Kristien that if he “took the bull by the horns” and did what he had to do, eventually “know that the world will catch up to what you’re doing and appreciate it”. Is your book a document to prove that they were right about Mitchell and by extension, Dance Theater of Harlem?

Paul Novosel: It was a bold experiment and I think what he was out to prove to things that the dancers with African heritage can do ballet and that you can build a wonderful ballet company from the community because it is community based. And I think those were the two big things. From that everything else flowed.

Judy Tyrus: I just think that Arthur Mitchell’s life from the very beginning was about engagement. He needed to engage with with everyone that he met in order to get better, in order to improve. Definitely without question Arthur Mitchell carried [that] over into the school and the company.

Q: The quote that starts chapter one says “What we started out to do, to prove, was that Black children – given the same opportunity as white children – could be great dancers.” I’m not trying to sound naïve about the late 60s, but that seems obvious to me. It must have seemed obvious to him as well.

Judy Tyrus: I think it was obvious to him because he was told all you have to do is work hard and you can be whatever you want to be. And so that’s what he did. He started the school with that idea that look, people, all we have to do is work hard and we’ll get there, you know? And so I think that was a very important lesson that he taught all of us the moment you stepped foot in the building.

Q: What did you want to accomplish with this book since no other books about Dance Theatre of Harlem and its history had been written?

Paul Novosel: The first meeting I had with Judy, the first question when we kicked off the whole idea was what kind of book do we want? We had these beautiful collections of photographs. We had all of the great theatrical photographers. And then Judy said to me “I want it to be fun and enjoyable.” And we wanted it to be academically sound. So all our sources are in there and we wanted to be informative and fun and enjoyable to read.

Q: Judy, to your experiences having been a dancer for as long as you were, what stands out to you most about your time dancing with Dance Theatre of Harlem?

Judy Tyrus: When I stepped in the door the very first day I remember there was this group of dancers that were all similar in age. I was 16 when I got to New York from San Francisco. I was a baby. As a baby you look towards the people that are around you to help you. And so that sense of community was really strong. At Dance Theatre every day is a learning experience and it hasn’t stopped. The thing about being a dancer is that you have to always learn something new. There’s never a day when you can just kind of float through the day. Your career is so short: we start dancing, we work really hard, we become successful and then it goes really fast.

Q: The company has historically gone through peaks and valleys, both artistically and economically. What do you believe is the reason the company survived all of those challenges? 

Paul Novosel: I think the most important thing is that it’s community based, right? So if you go from that platform there is this huge community of support. There’s a huge alumni association, an association, but a huge alumni base. They were the darling company during the 70s, 80s and 90s of what they were doing because people love the fusion of the style which we talked about in the book. So that’s a recipe for success and that’s their recipe. And that’s a product and it’s sellable. It’s because of that, because it’s sellable and marketable, I think that’s why it’s survived to this day.

Judy Tyrus: We watched those peaks and valleys happening and the reaction from them. And it was never to give up, to lay down and just let go. It was always to fight. He was a fighter from the very beginning of his life. You know he had to fight just to pay for classes and to support his family. So I think that became part of the DNA of Dance Theater of Harlem to never give up and it’s a part of the performer to never give up. Always persevere. Just keep doing the work. And that’s what they did.

Main Photo: Dance Theatre of Harlem Ensemble (Courtesy Kensington Books)

The post Celebrating The Full Story of Dance Theatre of Harlem appeared first on Cultural Attaché.

Our top pick this week is Heartbeat Opera’s Breathing Free, a powerful 45-minute film that is having its West Coast debut courtesy of The Broad Stage. Opera, spirituals, movement and imagery combine to explore the challenges Black men have of simply breathing without fear. I saw the film last year and can tell you this is easily one of the strongest works you’ll see all year.

If you are a fan of The Supremes and want to catch quite possibly Mary Wilson’s last performance (she passed away earlier this week), you will want to catch A Catalina Soulful Valentine fundraiser on Friday night.

It’s not all dance and topical issues this week, in fact, our first listing might find you mixing your own cocktails. Get your ice out of the freezer, get your cocktail shaker on standby and dig in!

Here are my Best Bets: February 12th – February 15th (we’re including Monday since it’s also a holiday weekend):

PLAY: Dixie’s Happy Hour – Segerstrom Center for the Arts – Now – February 21st

Dixie Longate hosting a happy hour? That will certainly have heavy emphasis on the happy. And probably on the adult side, too. Dixie, though a Southern girl at heart, has a quick wit and is never shy about sharing her thoughts.

With everything that has gone on the world since Dixie was last selling Tupperware locally, I can only imagine what she’ll have to say.

And what drinks she’ll make. I don’t believe Dixie has been in the Alabama slammer, but I bet she knows how to make a fierce one! Actually, she does have a pre-show margarita recipe to share.

There are performances every night through February 21st at 7:00 PM PST. Tickets are $35.

BALLET: Digital Program 02 – San Francisco Ballet – Now – March 3rd $29 for 72 hour access

The world premiere of Colorforms, a new work by Myles Thatcher, is featured in San Francisco Ballet’s Digital Program 02. The work, set to Variations for Vibes, Pianos and Strings by Steve Reich, seeks to illuminate the parallels between the creation and consumption of art. The film, directed by Ezra Hurwitz, was shot in multiple San Francisco locations including the War Memorial Opera House where the San Francisco Ballet regularly performs.

Opening the program is Dwight Rhoden‘s Let’s Begin at the End which features music by Johann Sebastian Bach, Philip Glass and Michael Nyman. The work was created for SF Ballet’s 2018 Unbound and had its debut on April 26th of that year.

Closing out the program is Sandpaper Ballet by Mark Morris with music by Leroy Anderson. The work was created in 1999 for San Francisco Ballet. Composer Anderson is probably best-known for having written the popular holiday song, Sleigh Ride. Sandpaper Ballet was composed in 1954.

Tickets are $29 and allow for 72 hours of streaming.

BALLET: Raymonda Act III – Royal Opera House – Now – March 14th

Marius Petipa’s ballet, Raymonda, had its world premiere in St. Petersburg in 1898 and is set to the music of Alexander Glazunov. In 1948 the Kirov Ballet revived the ballet with new choreography by Konstantin Sergeyev. This latter choreography is the one most commonly used in performances of the ballet.

Ballet star Rudolf Nureyev dance the ballet with the Kirov. He would later stage a full-length version for the Royal Ballet in 1964. Five years later he tweaked the very popular third act. It is that version that will be seen in this film which comes from a 2003 tribute to Nureyev. (The event took place ten years after his death.)

The two acts leading up to the segment being presented depicts the story of two lovers, Raymonda and Jean de Brienne who plan to get married. Unfortunately Abderman shows up at her birthday party and makes his intentions clear. Jean de Brienne does not arrive for one more day. He does arrive just in time (in Act 2) to break up Abderman’s kidnapping attempt of Raymonda. A duel ensues between the two men and Abderman is killed.

So what’s left in Act III? A big celebration. The full ballet isn’t performed as often as is this third act.

Pavel Sorokin conducts with Natalia Osipova as Raymonda and Vadim Muntagirov as Jean de Brienne.

Tickets to stream this performance are £3 which at press time equals approximately $4.15

THEATRE TALK: Virtual Halston – Cast Party Network on YouTube – February 12th – 5:00 PM EST/2:00 PM PST

Fans of the original cast of The Producers will certainly recognize Julie Halston’s guests for this week’s Virtual Halston: Cady Huffman (who originated the role of Ulla and won both the Drama Desk Award and the Tony Award as Best Featured Actress in a Musical) and Brad Oscar (who originated the role of Franz Liebkind). Oscar would later assume the role of Max Bialystock (the role Nathan Lane created) as the show continued its successful run on Broadway.

The two will be reunited on this Friday’s virtual happy hour with Halston. It’s a holiday weekend, your work is being mostly done by remote, why not mix a drink early and join in the fun?

PLAY: Yorick, La Historia de Hamlet – REDCAT – February 12th – February 14th

Hamlet’s soliloquies form the basis for this one-man show created by and starring Chilean actor Francisco Reyes. Yorick, the late court jester in Shakespeare’s play, is the narrator of Yorick, La Historia de Hamlet. Co-creator Simón Reyes wrote the script.

Joining Reyes in the performance are puppets that he manipulates. The puppets were created by Ismael Reyes.

The film is also uniquely lit by only candlelight. Music was composed by Miguel Miranda with songs by Rocío Reyes.

The work is performed in Spanish with English subtitles. There are only three showings of this highly-acclaimed film by Reyes. Friday, February 12th at 8:00 PM EST/5:00 PM PST; Saturday and Sunday at 6:00 PM EST/3:00 PM PST. Tickets range from $8 for students up to $15 for general admission.

JAZZ: SF Jazz Collective – SFJAZZ – February 12th – 8:00 PM EST/5:00 PM PST

This weekend’s Fridays at Five concert celebrates the work of two very influential and different artists: Sly and the Family Stone and Miles Davis. As befitting such groundbreaking artists, this concert runs nearly two hours.

The San Francisco Jazz Collective, an octet, performs music from Stand! and Davis’ In a Silent Way. Both albums were released in 1969.

This concert, from November 2019, celebrates the 50th anniversary of both works. Stand! featured the songs I Want to Take You Higher and Everyday People. Davis was more austere with his recording – it only had two tracks, but ran 38 minutes.

The members of the SF Jazz Collective are bassist Matt Brewer; trumpeter Etienne Charles; drummer Obed Calvaire; vocalist Martin Luther McCoy; guitarist Adam Rogers; tenor saxophonist David Sánchez; pianist Edward Simon and vibraphonist Warren Wolf.

There is also a cameo appearance by Family Stone drummer Greg Errico. 

Tickets are $5 (which includes a one-month digital membership) or $60 (which includes an annual digital membership). This concert will stream just once.

JAZZ/CABARET: A Catalina Soulful Valentine – February 12th – 9:00 PM EST/6:00 PM PST

Los Angeles nightclub, Catalina Jazz Club, has been severely impacted by the pandemic. They are doing everything they can to keep the doors open and amongst them is Friday night’s A Catalina Soulful Valentine.

For weeks they have been touting the appearance of Mary Wilson of The Supremes as one of their performers. Of course, she passed away earlier this week. But, her set was filmed in advance and will be seen in its entirety to both support Catalina Jazz Club and to honor her.

Sally Struthers and singer/musician Mr. Chris Norton serve as hosts. The list of performers includes Lucie Arnaz, Carole J. Bufford, Linda Purl, James Snyder, Nita Whitaker and more.

The show will air on Catalina’s Facebook page and Chris Isaacson Presents’ YouTube channel. There is no charge to watch the concert, but donations are definitely encouraged.

JAZZ: Douglas J. Cuomo’s Seven Limbs featuring Nels Cline and Aizuri Quartet – CAP UCLA – February 12th – 10:00 PM EST/7:00 PM PST

Composer Douglas J. Cuomo’s Seven Limbs was meant to have its world premiere last year. We all know what happened to preclude that. This digital performance of the work had its world premiere earlier this week from The Moss Arts Center at Virginia Tech.

UCLA’s Center for the Art of Performance is making the film available on Friday with on demand opportunities beginning on Sunday for one week.

What is Seven Limbs? It is a 75-minute work for electric guitar and string quartet. Cuomo composed this specifically for the artists who perform it: Wilco guitarist Nels Cline and the Aizuri Quartet.

But what is it? Best to let the composer describe it for you:

“This piece is inspired by an ancient Buddhist purification ceremony called The Seven Limbs. It’s part of a meditation practice I do every day. The practice has lots of words; the piece has none. The feel of this ceremony is what I kept going to as I composed, and then at some point I realized I was setting text without using words. For me Seven Limbs is a dream-like piece; I can look inward to a new terrain and find out what’s there. Stillness, turmoil, suppleness, euphoria, high drama. I wrote it for Nels Cline and the Aizuri Quartet because, for composers, to write for great players is another kind of dream. Together, we offer you our dream, in the hope it makes some connection with you.”

CAP UCLA is making this performance free to view.

OPERA: Save the Boys – Opera Philadelphia – February 12th

Last week our top pick was musician/composer Tyshawn Sorey’s two-night gig at the Village Vanguard. He returns to our Best Bets this weekend with the debut of his twenty-minute song cycle Save the Boys.

Sorey uses Frances Ellen Watkins Harper’s 1887 poem of the same name as the inspiration for this work.

Harper was an Black women’s rights activist and abolitionist.

Performing Save the Boys is the vocalist for whom it was written: countertenor John Holiday. If his name sounds familiar, perhaps you saw him on the most recently concluded season of The Voice. In 2019 I interviewed Holiday. You can read that interview here.

Holiday is accompanied on the piano by Opera Philadelphia’s Grant Loehnig.

Tickets are $10 which allows for a seven-day rental.

OPERA: Cosí fan tutte – San Francisco Opera – February 13th – February 14th

Conducted by Nicola Luisotti; starring Ellie Dehn, Susannah Biller, Marco Vinco, Francesco Demuro and Philippe Sly. This revival of the 2004 John Cox production is from the 2012-2013 season.

Mozart’s Cosí fan tutte had its world premiere in Vienna in 1790. Lorenzo Da Ponte, who wrote the libertti for The Marriage of Figaro and Don Giovanni, wrote the libretto.

Ferrando and Guglielmo are vacationing with their fiancées, Dorabella and Fiordiligi. They are sisters. Don Alfonso challenges the men to a bet revolving around the women and their ability to be faithful. Using disguise, deception and a wicked sense of humor, Mozart’s opera ends happily ever after for one and all.

Joshua Kosman, writing for the San Francisco Chronicle, raved about Sly’s performance as Guglielmo , “In the ensemble cast of six, the standout performance was the precocious and phenomenally assured company debut of Adler Fellow Philippe Sly as Guglielmo. Adler Fellows don’t often get cast at this level, but then again, Adler Fellows this gifted and accomplished are rare indeed.

“Sly’s singing was at once robust and lyrical, with a beautiful range of tonal colors and the ability to combine virility and tenderness in a single phrase.”

CLASSICAL MUSIC: Anna Clyne’s Stride – Detroit Symphony Orchestra – February 13th – 7:30 PM EST/4:30 PM PST

It must be daunting for a composer to have a world premiere or relatively new work precede one of the stalwart compositions in classical music. Such is the status of British composer Anna Clyne who’s Stride will be performed by members of the Detroit Symphony Orchestra prior to their performance of Bach’s Brandenburg Concerto No. 6 in B-flat Major, BWV 1051.

But it is Clyne’s composition that is most interesting about this concert. The Australian Chamber Orchestra commissioned Clyde to write a piece as part of their celebration of the 250th anniversary of Beethoven’s Birth. The Covid-19 pandemic forced the cancellation of many of their performances last year, but they were able to return on November 14th with the world premiere of Stride.

The work weaves themes from Beethoven’s Pathetique Sonata throughout and also includes nods to other composers, most notably Bernard Herrmann (best known for his film scores for director Alfred Hitchcock).

Tickets are $12 to stream the concert.

DANCE: John Henry – Dance Theatre of Harlem on Stage Access – Debuts February 13th – 8:00 PM EST/5:00 PM PST

Dance Theatre of Harlem gave the world premiere performance of Arthur Mitchell’s John Henry on June 28, 1988. Before getting into her review, Anna Kisselgoff of the New York Times reported, “…its premiere at the company’s opening at the City Center Tuesday night roused cheering fans out of their seats during the curtain calls. Mr. Mitchell, the troupe’s founder and artistic director, stayed in the spirit of things by throwing himself into a choreographed clog dance to acknowledge the applause.”

With music by Milton Rosenstock, Dance Theatre of Harlem will make available, via Stage Access, a performance filmed in Denmark at Danmarks Radio. The performance will remain available through February 19th.

Stage Access offers up a 7-day free trial with two subscription options: an annual plan of $69.99 or a monthly plan of $7.99

TOP PICK: OPERA/MOVEMENT: Breathing Free – The Broad Stage – February 13th – 10:00 PM EST/7:00 PM PST

Earlier this week I published an interview with Michael Blakk Powell, a formerly incarcerated man who was a member of the Kuji Mens Chorus at Marion Correctional Institute in Ohio. Through his participation in that chorus, he found himself learning German to perform music from Beethoven’s Fidelio.

One of the two pieces in which that performance can be seen and heard is in Heartbeat Opera’s powerful Breathing Free. This 45-minute film combines movement and opera to explore the challenges Black men in particular face in simply being allowed to breathe freely.

Joining the Beethoven heard in Breathing Free are works by Black composers and lyricists Harry T. Burleigh, Florence Price, Langston Hughes, Anthony Davis and Thulani Davis. The project also uses Negro spirituals.

The cast includes bass-baritone Derrell Acon, tenor Curtis Bannister, soprano Kelly Griffin and dancers Randy Castillo, Tamrin Goldberg, Brian HallowDreamz Henry. Breathing Free was directed by Ethan Heard. Music Direction was by Jacob Ashworth and Daniel Schlosberg (who also did the arrangements of the music from Fidelio).

Tickets prices range from $10 – $75 based on what you can afford to pay. I strongly urge you to consider carving out time on Saturday night to see Breathing Free.

CABARET: Laura Osnes – Seth Rudetsky Concert Series – February 14th – 8:00 PM EST/5:00 PM PST

You have to be a pretty versatile performer to believably portray Cinderella in one musical and Bonnie Parker in another. Add to that the ability to be Nellie Forbush in South Pacific and Sandy in Grease. Broadway star Laura Osnes has done them all.

She received Tony Award nominations for her performances in Rodgers + Hammerstein’s Cinderella and also for Frank Wildhorn’s musical about the outlaws Bonnie and Clyde.

Osnes is Seth Rudetsky’s concert guest this week. In addition to Sunday’s live performance there is an encore presentation February 15th at 3:00 PM EST/12:00 PM PST. Tickets are $25 for either showing.

THEATRE: Justin Hicks’ Use Your Head for More – Baryshikov Arts Center – February 15th – March 1st

Looking at composer/creator/performer Justin Hicks’ website, he describes himself as “a multidisciplinary artist, and performer who uses music and sound to investigate themes of presence, identity, and value.” For this digital world premiere, Hicks has created a performance based on a transcript of a conversation he had with his mother. Use Your Head For More is offered up as a series of audiovisual portraits.

His work runs 30 minutes and was filmed at Hicks’ home in Bronx, New York. Two vocalists, Jasmine Enlow and Jade Hicks, collaborated with Hicks on Use Your Head for More.

There is no charge to watch Use Your Heard for More.

For those interesting in digging further into the project, there will be a live-streamed conversation between Hicks and Meshell Ndegeocello on February 24th at 8:00 PM EST/5:00 PM PST. You must register to watch the conversation. Registration for that opens up on February 15th.

CABARET/OPERA/JAZZ: Jim Caruso’s Pajama Cast Party – February 15th – 8:00 PM EST/5:00 PM PST

It’s sad that we don’t often have Monday listings, because Pajama Cast Party would be on the list every week. Which means you need to check out Jim Caruso and his fabulous guests. This week they include opera star Zachary James, jazz singer/songwriter Lauren Kinhan, actress/singer Avery Sommers and comedian Gianmarco Soresi. They will share stories, songs, jokes and more during the show.

Cast Party is a weekly ritual for New Yorkers and it takes place at Birdland. This is a modified version, but no less entertaining – just less physically tangible. It’s also the 45th episode Caruso has done…so far. No doubt he’d love to be back at Birdland as much as the rest of us would!

That’s the complete list of my Best Bets: February 12th – February 15th. But you know I’ve got a few reminders for you as well!

Pianist Richard Goode performs works of Bach and Claude Debussy on Saturday in a performance from New York’s 92nd Street Y.

The Metropolitan Opera concludes their second week of Black History Month with performances of Akhnaten by Philip Glass on Friday (strongly recommended); Berlioz’s Les Troyens on Saturday and Wagner’s Die Walküre on Sunday. Plus here’s an early preview of Week 49 at the Met. They will be celebrating Franco Zeffirelli and launch the week with the 2007-2008 season production of Puccini’s La Bohème.

This week’s episode of In Concert at the Hollywood Bowl is called Música sin Fronteras (Music without Borders) and concludes the Los Angeles Philharmonic’s series on PBS. (Check your local listings).

The films.dance festival continues with this week’s Pássaro Distante. They debut a new film, and one of my favorites, Match on Monday, February 15th.

That ends all my Best Bets: February 12th – February 15th. There’s culture to enjoy with the family; culture to enjoy with that special someone and certainly great options for those going solo this year. Whatever you choose, be safe and have a wonderful weekend.

Main Photo: An image from Breathing Free (Courtesy The Broad Stage)

The post Best Bets: February 12th – February 15th appeared first on Cultural Attaché.

Most of the events listed are free. When they are not, they are noted. Links to each event can be found in the individual names of the events.

Creole Giselle – Dance Theatre of Harlem – Now – June 19th

The classic ballet Giselle was reconceived by Arthur Mitchell in the early 1980s. In 1984, Dance Theatre of Harlem premiered Creole Giselle at the London Coliseum in England.

The original Giselle choreography was by Jean Coralli and Jules Perrot. The production was staged by Frederic Franklin.

Creole Giselle garnered rave reviews in both London and New York. For some background on the creation of this work, I suggest reading this 1984 column from Burton Taylor writing for the New York Times.

Dance Theatre of Harlem is making the full ballet available for free viewing through June 19th. The film they are showing of Creole Giselle aired on television in Denmark in 1987.

Hamlet – Stratford Festival – Now – June 25th

Stratford Festival’s ongoing series of Shakespeare’s plays continues with this 2015 production of Hamlet.

Jonathan Goad stars as “Hamlet” with Seana McKenna as “”Gertrude; Geraint Wyn Davies as “Claudius/The Ghost”; Tim Campbell as “Horatio”; Adrienne Gould as “Ophelia;” Tom Rooney as “Polonius;” and Mike Shara as “Laertes.” The production is directed by Stratford Festival Artistic Director Antoni Cimolino.

Stratford’s streaming productions of Shakespeare’s Timon of Athens and Love’s Labour’s Lost are also still available this weekend.

The Madness of King George – National Theatre Live – Now – June 18th

Many of us first became aware of this Alan Bennett play by seeing the 1994 Nicholas Hytner film starring Nigel Hawthorne and Helen Mirren.

This 2018 Nottingham Playhouse production stars Mark Gatiss as King George and Debra Gillett as Queen Charlotte. It was directed by Adam Penford.

Bennett’s play depicts a king whose relationship with what is real seems to change on a dime. He’s both a very powerful man and a wildly erratic leader whose delusions call into question his ability to lead. This prompts others to do whatever they can to undermine the King and take control of the Crown.

This production sold out and earned rave reviews. Bennett wrote staggeringly complicated roles for the two leads. It should be pure theater joy watching Gatiss and Gillett in this production.

Michael Tilson Thomas and Yuja Wang at Carnegie Hall – MediciTv – June 12th – June 14th

The collaboration between Carnegie Hall and Medici.Tv continues this weekend with a concert from May of 2019. Michael Tilson Thomas leads the New World Symphony and America’s Orchestral Academy. They are joined by pianist Yuja Wang.

The program features Julia Wolfe’s Fountain of Youth (in its New York premiere); Prokofiev’s Piano Concerto No. 5 and Berlioz’s Symphonie Fantastique. The encores find the conductor taking to the piano for a solo performance of his composition You Come Here Often? The concert concludes with Wagner’s Prelude to Act III of Lohengrin.

There is no charge to watch this program.

Björk Ballet – San Francisco Ballet – June 12th – June 19th

San Francisco Ballet’s Unbound Festival in 2019 featured this ballet by Arthur Pita centered on the songs by best-selling singer/songwriter Björk.

Pita used a wide range of her music: from her first album in 1993, Debut, through 2017’s Utopia.

A playlist on SF Ballet’s website for Björk Ballet indicates that the songs used are “Overture” from Selmasongs; “All Is Full of Love” and “Bachelorette – Family Tree Version” from Homogenic; “Vokuro” from Medulla; “Frosti” from Vespertine; “The Gate” from Utopia; “Hyperballad” from Post and “The Anchor Song” from Debut.

Pita says that the duality he finds in Björk as an artist inspired the story he created for this ballet. “She’s this very playful, naughty fairy, dancing nymph, otherworldly creature, full of light and love. And then you’ve got this very deep, mournful, sorrowful, almost tragedy in some of her songs. So it’s like the theater masks.” 

La Fille mal gardée – Royal Ballet – June 12th – June 26th

A love story between Lise and a young farmer, Colas, is the centerpiece of this ballet choreographed by Frederick Ashton. This ballet had its world premiere in 1960.

The translation of the title is The Wayward Daughter. Clearly her parents aren’t too keen on her taste in men. Or in this case, her widowed mother.

Ashton based this work on a 1789 ballet by Jean Dauberval. The music was adapted by John Lanchberry from an 1828 score by Ferdinand Hérold.

Marianela Nuñez dances the role of Lise. Carlos Acosta dances the role of Colas. The role of Lise’s mother is danced by William Tuckett.

Il Trittico – San Francisco Opera – June 13th – June 14th

Puccini’s trilogy of operas seems popular this month. Last week the Royal Opera in London made their 2012 production available. This weekend San Francisco Opera makes their 2009 production available for viewing.

The three operas are Il Tabarro, Suor Angelica and Gianni Schicchi. For details on these three operas, check out our Royal Opera House preview here.

Cast in this trilogy are soprano Patricia Racette (who performs in all three pieces), contralto Ewa Podles, tenor Brandon Jovanovich and baritone Paolo Gavanelli. Patrick Summers conducts this James Robinson production.

San Francisco Opera’s production received glowing reviews.

Live from Covent Garden – June 13th – 2:30 PM EDT/11:30 AM PDT

This is the first of three live performances from Covent Garden since it had to temporarily close. It takes place on Saturday evening in London.

The event is being streamed live and has an impressive line-up.

Benjamin Britten: On this Island op.11 (1937, to five poems by W.H. Auden), performed by soprano Louise Alder

George Butterworth: Six Songs from A Shropshire Lad (1911, to poems by A.E. Housman), performed by tenor Toby Spence

Ballet Interlude: New pas de deux, choreographed by Wayne McGregor to Richard Strauss Morgen! op.27 no.4 (1894, to the poem by John Henry Mackay). Louise Alder (soprano) and violinist (tbc). Performed by Francesca Hayward and Cesar Corrales

Mark-Anthony Turnage: Three Songs (2000, to texts by Stevie Smith, Thomas Hardy and Walt Whitman), performed by baritone Gerald Finley

arr. Benjamin Britten: The Crocodile (1941, to a traditional text and melody), performed by Gerald Finley

Gerald Finzi: Fear No More the Heat o’ the Sun op.18 no.3 (1929, to a text by William Shakespeare), performed by Gerald Finley

George Frideric Handel: ‘Tornami a vagheggiar’ (from the opera Alcina, 1735, after a story from Orlando furioso), performed by Louise Alder

Georges Bizet: ‘Au fond du temple saint’ (from the opera Les Pêcheurs de perles, 1863, to a libretto by Eugène Cormon and Michel Carré), performed by Toby Spence and Gerald Finley

Vanessa – Glyndebourne – June 14th – June 21st

Composer Samuel Barber won the Pulitzer Prize for his 1958 opera that features a libretto by Gian Carlo Menotti. The world premiere was at the Metropolitan Opera in New York.

This Glyndebourne production took place in 2018. Keith Warner directed and the orchestra is conducted by Jakub Hrůša.

Barber’s opera is a psychological drama about family relationships. The title character (sung by Emma Bell) finds herself alone after her boyfriend, Anatol, has left her. She pulls away from the world leaving her with only her mother (Rosalind Plowright) and her niece (Virginie Verrez) for company. Their world gets upended when Anatol’s son (Edgaras Montvidas) shows up twenty years later.

Jeremy Jordan – Seth Rudetsky Concert Series – June 14th – 8 PM EDT/5 PM PDT

Seth Rudetsky travels across the country with Broadway stars for evenings of conversation and songs. Unable to take his shows on the road, he’s bringing them to our homes.

This week’s performance features Jeremy Jordan who starred in the musicals Bonnie and Clyde and Newsies (for which he received both Drama Desk and Tony Award nominations). He was also featured in the television series Smash.

The live performance takes place as listed above. If you cannot watch that performance, there is an encore presentation on June 15th at 3 PM EDT/12 PM PDT. These are not free events. Tickets are $25 not including service fees.

Upcoming concerts will feature Seth with Jessie Mueller (Beautiful), Lea Salonga (Miss Saigon), Melissa Errico (Passion) and Audra McDonald (Porgy and Bess).

Life in a Pandemic: “One Day At a Time:” Norman Lear and Rita Moreno in Conversation with RuPaul – 92Y – June 14th – 7:00 PM EDT/4:00 PM PDT

Legendary television producer Norman Lear and living legend Rita Moreno will discuss the many lives of the reboot of One Day at a Time with RuPaul. This is a live-streaming event presented by the 92Y in New York.

I find it unlikely that any of these three need introduction, but here goes. Norman Lear is the five-time Emmy Award winning creator of such shows as All in the Family and Maude. He has also won a Peabody Award and has been awarded a Kennedy Center Honor.

Rita Moreno is an EGOT. She won two Emmy Awards, one Grammy Award, an Oscar for West Side Story and a Tony Award for The Ritz. She also happens to have a Presidential Medal of Freedom, a National Medal of Arts, a SAG Lifetime Achievement Award and is also the recipient of a Kennedy Center Honor.

RuPaul is the six-time Emmy Award winning host and producer of RuPaul’s Drag Race.

Tickets are required for this event which is not free. The price of each ticket is $20. You must be registered in advance in order to get access to the event.

Before we close out our Best Bets at Home: June 12th – June 14th, here are a few reminders:

Friday’s at Five from SF Jazz features Rhiannon Giddens & Francesco Turrisi. This takes place at 8 PM EDT/5 PM PDT on June 12th.

The Metropolitan Opera programming this weekend features their April 2020 At-Home Gala on Friday and Saturday. Sunday is the 2011-2012 production of Handel’s Rodelinda with Renée Fleming.

The musical Allegiance streaming on Broadway on Demand has been extended through June 23rd. You can get details at our preview here.

Here ends our list of your Best Bets at Home: June 12th – June 14th. Enjoy your weekend. Stay safe and healthy!

Main Photo: Elizabeth Powell and Ulrik Birkkjaer in Björk Ballet at San Francisco Ballet (Photo ©Erik Tomasson/Courtesy of SF Ballet)

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