On Friday, in Program 7, the night was evolving into a splashy snooze. The new work by New York City Ballet choreographer Christopher Wheeldon, was the last chance for something significant to happen. Wheeldon is an erratic hitter, which he proved Thursday with 2010’s “Ghosts,” so there was little reason not to feel gloomy. Then the curtain rose on Wheeldon’s “Number Nine,” and the corps de ballet rushed out in electric yellow unitards as Michael Torke’s big modernist score boomed to a beat that seemed to cross Beethoven with a fandango. Was this another busy ballet, or one of the choreographer’s best works — something big and provocative as well as subtle and thrilling?.
Nobilis digital ballerina clip art, ballet clipart, purple ballet girls clip art, purple ballet shoes, purple ballet dress, ballet dance performed a work by its pianist Stephen Prutsman: his Paraphrase on Themes from Tchaikovsky’s “Eugene Onegin.” It swings between the Russian’s arching operatic melodies and his brisk dances; an artful alternation of high romance and plain tension, Prutsman, who lives in San Francisco, is a commanding player, and so are his two colleagues: violinist Ruggero Allifranchini (who is associate concertmaster of the Saint Paul Chamber Orchestra, where Prutsman once was an artistic director) and cellist Suren Bagratuni, a widely-traveled soloist..
One of the early highlights was the title track to 1995’s “Days Like This,” delivered with tasteful restraint yet ample soul. He also scored when he reached back to his days with the band Them for a driving rendition of the blues staple “Baby, Please Don’t Go” and then ricocheted through the Lester Young number “Jumpin’ With Symphony Sid.”. Not everything worked so well, however. In particular, his upbeat and jazzy makeover of “Have I Told You Lately” was ordinary at the best. This version lacked the heart and soul that went into the original recording of the beloved ballad, which has been used for countless first dances at weddings.
Also being inducted are the acclaimed jazz singer Faye Carol; popular Pittsburg singer Nicky DePaola; Jesse Torres, lead singer of the JD & Company show band; Lou DiMaggio, one of the top accordion players from the big band era; California Theatre organist Tony Enea; jazz man and mentor Raymond Glasper, Also performinmg will be big band singer Bob Grabeau; longtime musician John Guerrero; versatile musician Delfo Lanzafame; singer-poet and supporter of the arts Guillermo Muniz; Felix Urbina, founder of Pittsburg’s first Latin big band; drummer Leo Vigil and bluesman/inventor digital ballerina clip art, ballet clipart, purple ballet girls clip art, purple ballet shoes, purple ballet dress, ballet dance Sam Wesley Sr..
Claire Alexander’s choreography shows originality and takes full advantage of the smallish stage. The musical takes a strange (but comical) U-turn at the end of Act 1. Doralee, Violet and Judy kidnap Hart and decide to hold him hostage in his own home….in a mechanical harness attached to his garage door opener. (This nefarious action seems wildly popular with the audience.). Of course, in a musical comedy such as this, all turns out happily in the end. Reliable character actor Todd Wright turns up in an all-white suit as Mr. Tinsworthy, CEO of the company (and Hart’s boss). He gives Hart a promotion — more like a punishment — by sending him to manage the company’s branch in Bolivia, then promotes Violet to fill Hart’s position, and everybody — cast and audience alike — goes home happy.