Latest news with #RoméoetJuliette
CBS News
4 hours ago
- Entertainment
- CBS News
Boston Ballet's "Roméo et Juliette" features unique form of dancing in the tragic love story
Boston Ballet's new production of "Roméo et Juliette" is unlike any you've seen before, with Juliette taking on a different form of dancing. The tragic love story in this contemporary piece is still intact but the presentation of the ballet is unique, with Juliette dancing some of the piece barefoot. "The barefoot dance is actually harder for classical ballet dancers," said principal dancer Seo Hye Han. "We are switching from pointe shoes to bare feet. That means we are using different muscles of the legs, so I do some exercises to turn on the different muscles." In rehearsals, the dancers wrap their ankles for extra support and in some cases, tape their toes to protect their feet from blisters. "[It] was a little challenging but now I understand why it must be barefoot because it changes the mood, it changes the movement, it gets more wild and more natural," said Han. "I think when you see a dancer, barefoot, hair down, just fully herself or himself, it makes it such a personal journey. It makes it so vulnerable," said second soloist Courtney Nitting. "Playing the nurse, I am very close with the Juliette and the Roméo even throughout the entire ballet and seeing those characters go through the starts in pointe shoes and then going to barefoot, you just really much of her soul that she can give to the audience. I think that's what dancing barefoot does. You're grounded in the floor, you're not really wearing anything, your hair is down, you're just completely you and you're in the story with the music." Combining dancing and acting For both dancers, acting is a key part of the performance. "I already danced a different version of Juliet many years ago and that Juliet was more girly, fragile, lyrical. So I needed to recreate my own Juliet again when I learned this ballet," said Han. "The funny thing is this Juliet is more close to my personality so I had so much fun doing not really shy in this version. She knows what she wants. She's very wild. She's bold, sometimes very rebellious." "I get to be super fun and silly and flirty as the nurse," said Nitting. "And then I also get to find those deeper, more intimate particular version of 'Roméo et Juliette' is just very human and I think that's something that's really special about it and it makes it personal for us as dancers and hopefully for the audience as well." "It drains lots of emotions from me and that's the actually hardest part, dancing in this Roméo et Juliette," said Han. "I have to put everything in it." Boston Ballet's production of "Roméo et Juliette" is at the Citizens Opera House through Sunday, June 8.
Los Angeles Times
a day ago
- Entertainment
- Los Angeles Times
L.A. Opera names rising star Domingo Hindoyan as music director
When Domingo Hindoyan, the Venezuelan chief conductor of the Royal Liverpool Philharmonic, made his debut with L.A. Opera last November with 'Roméo et Juliette,' Times classical music critic Mark Swed called it 'a coup for the company.' Swed also wondered if it was a 'signal that he is a candidate to succeed Music Director James Conlon, who steps down in 2026?' It turns out Swed was right. On Friday, L.A. Opera announced that Hindoyan has been named the company's Richard Seaver Music Director. He will succeed Conlon, the longtime music director who joined the company in 2006 and announced last year that he will step down at the end of the 2026 season. Conlon will take on the newly created role of conductor laureate. In a statement, Hindoyan said he was deeply honored to become only the third music director in the company's nearly 40-year history. 'From the first rehearsal, I felt a strong connection to the extraordinary musicians, staff, and spirit of this company,' he said. 'It is a privilege to follow Maestro James Conlon, whose legacy has shaped L.A. Opera into what it is today — a dynamic and ambitious institution.' After considering 'dozens' of candidates from around the world, L.A. Opera President and CEO Christopher Koelsch said he was 'struck by the fluidity of his technique and the clarity and command of his musical ideas' after seeing Hindoyan at the Berlin State Opera in 2016. 'His deeply collaborative nature and generous spirit in rehearsal make him a favorite among singers, who are inspired by the space he creates for musical risk-taking and expressive freedom.' Koelsch also praised Hindoyan's 'deep rapport with musicians and audiences alike.' Hindoyan, 45, is originally from Caracas, Venezuela, and began his career as a violinist. Like departing Los Angeles Philharmonic Music Director Gustavo Dudamel, he attended Venezuela's renowned public music education program known as El Sistema. In addition to his role as chief conductor of the Royal Liverpool Philharmonic Orchestra, a role he has held since 2021, Hindoyan has served as principal guest conductor for the Polish National Radio Symphony Orchestra; he has conducted opera productions at New York City's Metropolitan Opera, Lyric Opera of Chicago, Berlin State Opera, Vienna State Opera, Paris Opera, Royal Swedish Opera, Dresden Semperoper, Madrid's Teatro Real and Barcelona's Gran Teatre del Liceu. In a statement, Conlon said he was happy to pass the baton to someone who shares his passion for opera. 'Domingo is an artist of exceptional depth and imagination, and I know the company will welcome him warmly,' Conlon said. Hindoyan's five-year contract will begin July 1, 2026, and continue through the 2031 season. According to a Facebook post from Hindoyan, the new role in L.A. will run concurrently with his position with the Royal Liverpool Philharmonic Orchestra. Hindoyan, son of Venezuelan violinist Domingo Garcia, a former president of the Orquesta Sinfónica Venezuela, is married to the soprano Sonya Yoncheva, who's singing at the Metropolitan Opera in Tchaikovsky's 'The Queen of Spades.' (Performances are scheduled on Wednesday and Saturday.) The couple has two children and lives in Switzerland. In late April, the album 'Tchaikovsky: Souvenir de Florence & Symphony No. 6 'Pathetique,'' from Hindoyan and the Royal Liverpool Philharmonic Orchestra, was released.
3 days ago
- Entertainment
Domingo Hindoyan to become music director of LA Opera for 2026-27 season
NEW YORK -- Domingo Hindoyan will succeed James Conlon as music director of the LA Opera and start a five-year contract on July 1, 2026. The appointment of the 45-year-old Venezuelan-Armenian, the husband of soprano Sonya Yoncheva, was announced Friday night. Conlon has been music director since 2006-07 and said in March 2024 that he will retire after after the 2025-26 season. 'LA is a city that is known by innovation, taking risks in productions and musically,' Hindoyan said in New York, where his wife is currently singing at the Metropolitan Opera. 'The idea is to do new pieces, commissions and modern pieces, something to really have a balance between what is classic and go further as much as we can.' Hindoyan will conduct two productions in 2026-27 and three in each of the following four seasons, LA Opera President Christopher Koelsch said. Koelsch hopes Hindoyan can lead works with Yoncheva, who has not sung a staged production at the LA Opera. Like other companies, the LA Opera has struggled with increased costs following the pandemic and scrapped a planned pair of world premieres over finances. Tenor and conductor Plácido Domingo was a key figure in fundraising for the company as general director from 2003-19. 'Part of my job as a music director and the job of any musician is to really take care of the art form as much as we can," Hindoyan said, "not only on stage, not only studying at home (but also) the connection with the community and the connection to the donors.' Hindoyan was born in Caracas, played violin and is a product of El Sistema, the Venezuelan music education system that was instrumental in the careers of Gustavo Dudamel and Rafael Payare. He was an assistant to Daniel Barenboim at Berlin's Staatsoper unter den Linden. 'Given Barenboim's extremely exacting standards, I was impressed that he had that job and held onto that job," Koelsch said. 'And then I saw a performance of 'Tosca' and was kind of immediately struck by the elegance of the baton technique and just the sort of the absolute clarity of what he was conveying.' Hindoyan has been chief conductor of the Royal Liverpool Philharmonic since the 2021-22 season. He first conducted the LA Opera last November in Gounod's 'Roméo et Juliette.' 'There's a kind of a natural warmth and charisma to him. In my experience, he almost always coaxes the best out of people," Koelsch said. 'The 'Roméo' run for me was kind of a test run of how those qualities resonated inside our building, how it worked with the orchestra and the chorus and the administration and the audiences.'
Winnipeg Free Press
3 days ago
- Entertainment
- Winnipeg Free Press
Domingo Hindoyan to become music director of LA Opera for 2026-27 season
NEW YORK (AP) — Domingo Hindoyan will succeed James Conlon as music director of the LA Opera and start a five-year contract on July 1, 2026. The appointment of the 45-year-old Venezuelan-Armenian, the husband of soprano Sonya Yoncheva, was announced Friday night. Conlon has been music director since 2006-07 and said in March 2024 that he will retire after after the 2025-26 season. 'LA is a city that is known by innovation, taking risks in productions and musically,' Hindoyan said in New York, where his wife is currently singing at the Metropolitan Opera. 'The idea is to do new pieces, commissions and modern pieces, something to really have a balance between what is classic and go further as much as we can.' Hindoyan will conduct two productions in 2026-27 and three in each of the following four seasons, LA Opera President Christopher Koelsch said. Koelsch hopes Hindoyan can lead works with Yoncheva, who has not sung a staged production at the LA Opera. Like other companies, the LA Opera has struggled with increased costs following the pandemic and scrapped a planned pair of world premieres over finances. Tenor and conductor Plácido Domingo was a key figure in fundraising for the company as general director from 2003-19. 'Part of my job as a music director and the job of any musician is to really take care of the art form as much as we can,' Hindoyan said, 'not only on stage, not only studying at home (but also) the connection with the community and the connection to the donors.' Hindoyan was born in Caracas, played violin and is a product of El Sistema, the Venezuelan music education system that was instrumental in the careers of Gustavo Dudamel and Rafael Payare. He was an assistant to Daniel Barenboim at Berlin's Staatsoper unter den Linden. 'Given Barenboim's extremely exacting standards, I was impressed that he had that job and held onto that job,' Koelsch said. 'And then I saw a performance of 'Tosca' and was kind of immediately struck by the elegance of the baton technique and just the sort of the absolute clarity of what he was conveying.' Hindoyan has been chief conductor of the Royal Liverpool Philharmonic since the 2021-22 season. He first conducted the LA Opera last November in Gounod's 'Roméo et Juliette.' 'There's a kind of a natural warmth and charisma to him. In my experience, he almost always coaxes the best out of people,' Koelsch said. 'The 'Roméo' run for me was kind of a test run of how those qualities resonated inside our building, how it worked with the orchestra and the chorus and the administration and the audiences.'
Boston Globe
3 days ago
- Entertainment
- Boston Globe
Boston Ballet takes a leap of faith with Jean-Christophe Maillot's ‘Roméo et Juliette'
Boston has seen many versions of Prokofiev's 'Romeo and Juliet' ballet. The Kirov brought Leonid Lavrovsky's 1940 Soviet première staging to the Wang Center in 1992. Over the past 40 years, Boston Ballet has offered versions by Choo San Goh, Daniel Pelzig, Rudi van Dantzig, and John Cranko. Now, as its 2024–25 season closer, the Ballet is presenting the stripped-down, streamlined creation that Les Ballets de Monte-Carlo director Jean-Christophe Maillot devised in 1996, and it's safe to say Boston has never seen a 'Romeo and Juliet' like this one. Thursday's opening night at the Citizens Opera House slid off the rails from time to time, but stupendous performances from Advertisement Prokofiev's score is a literal evocation of Shakespeare's play; that's why, regardless of choreography, stagings of the ballet tend to the traditional, with sumptuous Renaissance costumes and sets, a carnival atmosphere in the town square, and lots of swordplay. 'Roméo et Juliette' goes its own way. Ernest Pignon-Ernest's sliding white panels and ramps and blocks conjure the backdrop for a dream sequence; Dominique Drillot's atmospheric lighting sets the emotional tone for each scene. Jérôme Kaplan dresses the Montagues in pale tones and the Capulets in darker shades, everything long and flowing and floppy, no two outfits quite alike. Ernest Pignon-Ernest's sliding white backdrop and Dominique Drillot's atmospheric lighting provide emotion and contrast in each scene. Rosalie O'Connor The Prince, Lord Capulet, and Lord and Lady Montague have been eliminated from the cast, along with the Gypsies, the market wares, and anything resembling a sword or dagger. The full score can last close to 150 minutes; here, about a half hour has been removed, mostly ensemble numbers. Thursday's performance, with an intermission after act one and a pause between acts two and three, ran a reasonable 2½ hours. The Boston Ballet Orchestra under music director Mischa Santora was in top form; the erotic Knights' Dance in particular had the weight and accent it needs and doesn't always get. Advertisement 'Roméo et Juliette' opens with the credits — including the performance's principal cast — projected on a scrim while the orchestra plays the Introduction, a nice touch. When the curtain rises, we see Friar Laurence being hoisted aloft, in a crucified position, by two 'acolytes.' Maillot's conceit is that the story is being narrated by the friar, who's racked by regret at having failed the star-crossed lovers. It's a bold idea, given that he's a very minor presence in the score, but it's not a good one. Wearing a clerical collar and acting more like the Revivalist in Martha Graham's 'Appalachian Spring' than Shakespeare's humble Franciscan, this Friar Laurence stalks the action in one-dimensional anguish, his silent screams powerless to affect the outcome. It would be the same ballet, only better, without him. Maillot's contemporary choreography adds to a "Romeo and Juliet" unlike any other performed in Boston before. Rosalie O'Connor Maillot's version still has much to recommend it. His contemporary choreography is, like the costuming, flowing and floppy, but it has an angular quality that suits the music. His Romeo and Juliet are giddy, dizzy, frolicking teenagers; one moment she's backing off when he tries to kiss her, the next she's kissing him. In the balcony scene Thursday, Chae and Cirio were all speed and spontaneity, and their nuances made conventional ballet partnering seem generic. Advertisement A slinky, slit-skirted Rosaline (Emma Topalova on Thursday), who like Juliet is a Capulet, shines as Romeo's first love before a spiky Tybalt (Yue Shi) intervenes. Maillot's jittery, overworked Nurse (Courtney Nitting) is comic but not ridiculous; a sassy Mercutio (Sun Woo Lee) and a peacemaking Benvolio (Daniel R. Durrett) get room to ramble in the 'Masks' prelude to the Capulet party. Lady Capulet ( The delivery of the tragedies in the ballet's second and third acts occasionally feels out of place and uneven. Rosalie O'Connor Acts two and three are less rewarding. A slapstick puppet show in the square anticipates the deaths to come. When Tybalt kills Mercutio, slapstick Mercutio's prolonged death agony, a highlight of the score and a showpiece for the dancer, is cut. Romeo's pursuit of Tybalt is enacted in slow motion, a neat counterpoint to the lickety-split music, but the eventual brutal strangling seems out of place. Maillot is, again, at his best with Romeo and Juliet in the lovers' farewell, where she slaps him for killing Tybalt before falling into his arms and coaxing him back to bed. By now, though, the Nurse's idiosyncrasies and Lady Capulet's histrionics have begun to wear thin. An underused Paris exits the reluctant Juliet's bedroom and is never seen again. After a perplexing sequence with Friar Laurence and the acolytes that has nothing to do with the all-important potion, Juliet in bed becomes Juliet in the tomb. Romeo appears and rams his head into the base of the bier; Juliet wakes and, with Friar Laurence looking on helplessly, strangles herself with a long red rope of sheet that she seems to have pulled from Romeo's body. No Capulets or Montagues arrive to reconcile. Watching this bleak dénouement, you could sympathize with Prokofiev's original impulse to rewrite Shakespeare and give the ballet a happy ending. Advertisement ROMÉO ET JULIETTE Music by Sergei Prokofiev. Choreography by Jean-Christophe Maillot. Sets by Ernest Pignon-Ernest. Costumes by Jérôme Kaplan. Lighting by Dominique Drillot. Presented by Boston Ballet. With the Boston Ballet Orchestra conducted by Mischa Santora. At Citizens Opera House, through June 8. Tickets $32-$232. 617-695-6955, Jeffrey Gantz can be reached at Jeffrey Gantz can be reached at
