The Sweetheart Concert performed by The Virginia Ballet Theatre under the direction of Ricardo Mendelez was on the 26th and 27th of February 2016 at The Roper Theatre. The intent of this performance and the name of it clearly influenced one another because of the attempts at courting in the Pas de Fiancée and the “lovey-doveyness” of Vivaldera. There were stunning scores written by Tchaikovsky and Vivaldi along with breathtaking costumes from the Royal Ballet designed by Jean Percival and by the company’s director, Ricardo Mendelez. In the theatre, Todd Rosenlieb and Ricardo Mendelez had a period of discussion with their audience members before the performance. They elaborated on the historical elements of the costume along with how dancers,
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Blachman danced with such nobility that one would mistake her for an actual princess. But, about 20-30 seconds in, I realized that the way she dance correlated with the time period of French culture. During the 1800’s women in France held rebellions and forcefully involved themselves in politics and because of that they were not allowed to speak in public. That relates to France in the Pas de Fiancée because she danced as if it was the complete opposite for her— she danced with the finest aspects of entitlement and reagalness. After France came Romania, dance by Caitlin Coley, came to stage. Romania in the Pas de Fiancée appeared to be a strong, but feminine princess. The Princess of Romania relates to the culture of the Romanian nation in the 1800’s because the hierarchical structure gave most of their respects to the oldest of each position. Romania in the Pas de Fiancée had to appear to be strong because of her subjects believing that she couldn’t handle the decision making of finding a prince, but feminine enough to show the Prince that she could be a supple wife. Next, Raker stormed on staged as Italy. The variation was the one thing the nation of Italy has made their mark on in this world: robust. Italy in the Pas de Fiancée had a subliminal glow about her. It could be because Italy was going through reunification in the 1800’s. The Princess of Italy danced like she was full of the joy of her nation becoming one, and one …show more content…
While all of the princesses were dancing, they had such a presence that made the audience feel included. While the festiveness of the dance was flowing, The Princess of Russia began to do fouetté turns. Out of habit, I hold my breath when I see any ballerina perform those turns because they can make or break a musical phrasing. Meaning: if there is a mistake, the audience can tell because the dancer is behind or ahead of the music. The success of Ortt after the first few was so unbelievable, the audience began to clap along with her. Eventually, the end of the dance came the applause of great magnitude that the ballerinas deserved.
Next on the program was the world premier of Vivaldera choreographed by Ricardo Mendelez. Vivaldera was danced to a Vivaldi classic interpreted by Joshua Bell and The Academy of St. Martin in the Fields. Costumes were provided by Ricardo Mendelez with a striking set designed by Elwood Robinson. The piece opened up with a comical short video by Roger M. Richards. All of the audience was enamored with the video so much that the hall was filled with laughter every second of the
Blachman danced with such nobility that one would mistake her for an actual princess. But, about 20-30 seconds in, I realized that the way she dance correlated with the time period of French culture. During the 1800’s women in France held rebellions and forcefully involved themselves in politics and because of that they were not allowed to speak in public. That relates to France in the Pas de Fiancée because she danced as if it was the complete opposite for her— she danced with the finest aspects of entitlement and reagalness. After France came Romania, dance by Caitlin Coley, came to stage. Romania in the Pas de Fiancée appeared to be a strong, but feminine princess. The Princess of Romania relates to the culture of the Romanian nation in the 1800’s because the hierarchical structure gave most of their respects to the oldest of each position. Romania in the Pas de Fiancée had to appear to be strong because of her subjects believing that she couldn’t handle the decision making of finding a prince, but feminine enough to show the Prince that she could be a supple wife. Next, Raker stormed on staged as Italy. The variation was the one thing the nation of Italy has made their mark on in this world: robust. Italy in the Pas de Fiancée had a subliminal glow about her. It could be because Italy was going through reunification in the 1800’s. The Princess of Italy danced like she was full of the joy of her nation becoming one, and one …show more content…
While all of the princesses were dancing, they had such a presence that made the audience feel included. While the festiveness of the dance was flowing, The Princess of Russia began to do fouetté turns. Out of habit, I hold my breath when I see any ballerina perform those turns because they can make or break a musical phrasing. Meaning: if there is a mistake, the audience can tell because the dancer is behind or ahead of the music. The success of Ortt after the first few was so unbelievable, the audience began to clap along with her. Eventually, the end of the dance came the applause of great magnitude that the ballerinas deserved.
Next on the program was the world premier of Vivaldera choreographed by Ricardo Mendelez. Vivaldera was danced to a Vivaldi classic interpreted by Joshua Bell and The Academy of St. Martin in the Fields. Costumes were provided by Ricardo Mendelez with a striking set designed by Elwood Robinson. The piece opened up with a comical short video by Roger M. Richards. All of the audience was enamored with the video so much that the hall was filled with laughter every second of the