Dancer: Liana Caprio; Photo Amitava Sarkar

Houston Ballet II is Houston Ballet’s second company and part of Houston Ballet Academy. A group of young dedicated dancers that get to experience various opportunities like touring around the U.S. This Sunday, January 22 HB II will be in Alexandria, Louisiana performing at Coughlin-Saunders Performing Arts Center. Before they hop in the HB tour bus with their luggage and costumes — I had the chance to sit down with HB II students Liana Carpio and Joel Woellner.

Ready for this weekend? Are you looking forward to going to Alexandria, LA?

Liana: Super excited, I love touring and going to different places. Sightseeing is so much fun!

Joel: This is my first tour, I’m really really excited about it — I get to travel with HB II for the first time! And I get to explore more of America.

Can you tell me a little bit more about this weekend?

Liana: We are doing 4 contemporary ballets and what makes this trip unique is that this time we will have a live orchestra. We have live music from the Baroque to the Beatles.

Joel: We will be performing: The Long and Winding Road, Blue and Fingerprints, all by Stanton Welch, and Den III by Garrett Smith.

Exciting! How many tours have you been on?

Liana: Lets see…3 tours with Houston Ballet.

Joel: This will be my very first tour.

Do you feel that touring is an important experience for students?

Liana: Definitely a great learning experience because you learn to handle yourself outside of your usual routines. Touring is also a great way to learn how to perform in different environments and to work together as a group.

Joel: You’ve been practicing for so long to get better — now’s your chance to perform and showcase your talent and entertain the audience.

Liana, any advice you would give to others about touring?

Liana: Act professional. Stay focused. You are in charge of yourself; it’s a growing experience and take it for all it’s worth!

Any challenges of touring?

Liana: Adjusting to the different stages, some stages may be hard or slippery. Also after a while you get really tired. When you are touring, you are constantly on the road. It isn’t like your normal routine schedule. It’s very important to stay healthy!

Have you started packing?

Liana + Joel: ..(silence)..

Tell me a bit about yourself? Hobbies?

Liana: I was born in LA and live here with my family in Houston. I’ve been dancing since I was a child. I love to shop on my free time! Lots of fun!

Joel: I’m from Sydney, Australia. I’ve been dancing since I was a child too. This is sort of my first year with Houston Ballet. I’ve been in Houston for about four months. In terms of hobbies, sleeping and eating are my favorite things to do when I’m not practicing.

Outside of the studio — what are some of your favorite places to perform?

Liana: I love the big stage…The Wortham Theater Center! It’s great!

Joel: I love performing for people, wherever people are and willing to watch I will dance!

Great, good luck and have fun!!

To learn more about Houston Ballet II touring dates visit our webpage here.

So how can you help us win the top spot? Click on the Vote button below and be sure to select En Pointe with Houston Ballet in the best Dance Organization/Dancer category. Voting is open from Dec 27 – Jan 4. We can do this!

Claudio Muñoz will be choreographing a new dance for Houston Ballet II to be premiered on Musiqa’s Jan 7, 2012 concert Free of the Ground. The music for this new ballet, Argentinean composer Astor Piazzolla’s Tango Suite arranged by Kyoko Yamamoto for piano, will be performed live by Tali Morgulis.

The Jan 7 program also includes Karim Al-Zand’s Tagore Love Songs, Anthony Brandt’s Creeley Songs and Philippe Hurel’s Tombeau In Memoriam Gérard Grisey.

Claudio Muñoz graciously took some time out of his busy schedule to answer a few questions for the MusiqaBlog about choreography, ballet, and music.

Musiqa: Where do you begin when choreographing a new ballet? Do you start the music and let it inspire the movement?

Claudio Muñoz: In this particular case, the music was a given. Putting it on, I start to play around with ideas, shall I say… poetic ideas, the poetry, not of words, but of what’s beyond words. Only ideas though, not steps. Not yet, anyhow. For that, I would wait until I meet the second important element of my art: the dancer. Music first, the human medium comes second. I come last. My choreography is the soul of the music, expressed through the body of the dancer. A tailor doesn’t make a dress until he sees the lady who’s going to wear it. Neither would I make a choreography until I have seen the actuality, the physicality who’s going to put it on, on stage.

M: Are there certain elements in music that you feel ballet dancers respond to? Or can a good dancer dance to anything?

CM: Dancers are music. Period. There’s not even a question of responding. You are music, or you are no dancer. A good dancer would response to even silence, the inner rhythm, let alone music. So I would have already typically gone with a dancer whose response is spot-on, nail-on, dead-on, since the very first second. Nothing else is good enough.

M: Is ballet in Latin America different than what one sees onstage in Houston or New York? Is it, like much classical music, an art form that simply lands in the same identifiable form no matter where it’s performed? Or does it take new shapes and influences as it is developed and received across different cultures?

CM: There would of course be a slight difference in the feel and the look, chiefly because the ballet there has very strong roots in the Russian school. Here in the States, ballet is eclectic, it is pluralistic, it combines many styles. Of course that’s good. But, south of the equator, things somehow stay more resolutely Russian. It would also look different, just because of the feel of it…a certain approach to the roles, how to interpret them, how to get them across to the audience. That’s basically because Latins live life at a different beat than norteamericanos. There is something in the Latin American air, maybe the cultural background, the ambiance, the nuances, that affect the sensibility of the dancers, a much more earthy, physical, abandoned, free, feeling for movement, for the expression of what’s inside. It has helped Latin American dancers capturing the world stage of late.

And no, on the other hand, Ballet itself, with a capital “B” doesn’t pick up on local colors…Swan Lake is going to be recognizably Swan Lake no matter where it is staged. Of course there were variants from the many classical schools, or there will be legitimate variants from the individual artistic choice of a specific choreographer, but never from the geographical location. Ballet is an attitude, not a latitude. Classical art aims for the universal, not the local. You can add nuances, but not change the color spectrum. Aurora in Sleeping Beauty let’s say is a diamond. She can never become a topaz, an amethyst, an emerald…she can be cut into many shapes, but a diamond she’s got to stay.

Here is how the contest works: if you find yourself constantly checking in to see what Houston Ballet and our amazing dancers are up to, just post a comment on this blog entry! It’s that easy to show your support. After December 20, Dance Advantage will vote on the twenty blogs that received the most comments.

Make our holiday wishes come true and get us on Dance Advantage’s Top Dance Blog List!

From 1974 – 1984, Andrea Vodehnal was one of Houston Ballet’s brightest and most popular stars, giving acclaimed performances in the great 19^th century ballerina roles while also excelling in contemporary works by such choreographers as Glen Tetley, John Cranko, Choo-San Goh, and Ben Stevenson.

We at Houston Ballet were saddened to learn of Andrea’s passing on Thursday, November 24 at the age of 73.

A native Houstonian, Andrea trained with Alexander Kotchtovsky from the age of seven.  At the age of 15, she won Houston’s first Allied Arts Scholarship, which enabled her to continue her studies with the legendary ballerina Alexandra Danilova.  Andrea began her career with the fabled Ballet Russe de Monte Carlo in 1957, gradually rising through the ranks to assume ballerina roles.  After the Ballet Russe closed, she toured Europe with American Festival Ballet, and she then danced with the National Ballet of Washington, D.C. as the company’s ballerina touring across the United States from 1962 to 1968.

She spent the last ten years of her career as a principal dancer with Houston Ballet from 1974 to 1984, attracting praise from national critics.  Reviewing her performance in the dramatic leading role of the wife in Walter Gore’s ballet Eaters of Darkness in March 1978, Anna Kisselgoff, chief dance critic of The New York Times, enthused, “”Andrea Vodehnal was superb in her acting and in the minimal dancing as the girl.”

A memorial service for Andrea will be held at noon Sunday, December 18, 2011 in the Chapel of Heights Funeral Home at 1317 Heights Boulevard.  Many at Houston Ballet still carry fond memories of Andrea and her wonderful gifts as a dancer.  We share some of those memories and historical photos of Andrea below.

Houston Ballet principal dancer Andrea Vodehnal in 1982. Photo: Jack Mitchell

Houston Ballet’s Director of Production Thomas Boyd, who danced with Andrea in the late 1970s:

Andrea danced beautiful interpretations of the traditional roles of Odette/Odile, the Sugar Plum Fairy, Cinderella, Aurora, and Giselle. But, I also remember her extraordinary work in contemporary roles like  Lykanion in Glen Tetley’s Daphnis and Chloe, Ben Stevenson’s Four Last Songs, and Cranko’s The Lady and the Fool.

Andrea was one of those dancers who considered every movement as a piece of the puzzle when learning and rehearsing the choreography.  But when performing she was able to let go of the academics and just allow you to feel the movement in a very organic way.  She was able to portray an extraordinary range of  technique and emotion, and she was absolutely fearless.

Andrea was such a hard worker.  She was first in the studio and last to leave.  And she rarely if ever complained about anything.  She just came to work and did her job.  Knowing her reinforced my “farm-kid” work ethic, and confirmed my suspicion that this business is not for wimps or whiners or those not willing to work hard for what they believe in.

Andrea was a very “classy lady”, as they say, beautiful and charming.

Andrea Vodehnal as the Swan Queen in Swan Lake in the 1970s

Lauren Anderson, former Houston Ballet Principal Dancer and currently the company’s outreach associate:

As a little girl dancing as one of Mother Ginger’s children in The Nutcracker in the 1970s, I would watch Andrea from the wings and think how beautiful she was. She had long legs and she moved them effortlessly.  I remember her as the Sugar Plum Fairy, and her shoes never made a sound.

She was magnificent in Glen Tetley’s Daphnis and Chloe. And she was the original Green Lady in Ben Stevenson’s staging of Peer Gynt in 1981.

Andrea Vodehnal – 1970s

Hiller Huhn, assistant to former artistic director Ben Stevenson, who performed with Andrea Vodehnal at the National Ballet of Washington, D.C. from 1966-1968 and coached her as a dancer from 1975-1984

I first met Andrea when she was in the Ballets Russes around 1961-62. And then she was ballerina of the “National Ballet of Washington” when I joined it in 1966 as a dancer.

One of the most incredible gifts she had was her technique. She could throw off the most difficult steps without a hitch. She had a concentration on whatever role she was doing — classical or contemporary — that you believed in what she was expressing through her interpretation.

She was a very shy person until you got to know her.  But in the studio for class or rehearsals, she was totally there! No matter what or who, she was committed to her work

She was outstanding in all of the George Balanchine repertoire.  And when she danced Ben Stevenson’s ballets, she was great in all of them too. When Ben staged his ballet Bartok Concerto on her, she was so strong  a dancer technically that Ben gave the little boy’s solos in the third movement to her.   When Ben choreographed the fourth movement of Four Last Songs especially for her, she was terrifically moving, and I know she loved doing it. She also shone in other contemporary works like Eaters of Darkness and Ramifications.

And you could see her love of dance shine through when she did the classics: Giselle, Swan Lake, The Sleeping Beauty, The Nutcracker, and  Coppelia which I know she particularly loved.

Andrea Vodehnal as Odile in Swan Lake, with Whit Haworth as the Prince, circa 1976

Genie Lanfear, a dancer with Houston Ballet who performed with Andrea and is currently Houston Ballet’s shoe coordinator:

Andrea was a beautiful dancer and performer. She had a beautiful body, excellent turns and thoughtful artistry.  Even more than that, she was always kind and encouraging in a very competitive career.

Andrea taught me the value of working hard and never giving up.  She really made a strong impression when she created the role of the Green Lady in Ben Stevenson’s Peer Gynt in 1981.

She was always so kind to me.

Andrea Vodenhal – 1970s

Can you imagine seeing these characters walking down the hallway?

Sara Webb, Kelly Myernick, Karina Gonzalez, Katelyn May and Madison Morris pay a visit to Texas Children’s Hospital.

It would brighten anyone’s day!

Amy Fote in Ben Stevenson’s The Nucracker. Photo Amitava Sarkar

Guest writer: Soloist Nao Kusuzaki

“Take pleasure in your dancing”, Monique Loudières reminded me during a recent sugarplum fairy rehearsal.  She is our newest guest teacher to join the Houston Ballet for 2 weeks, teaching morning classes and coaching the sugarplum fairies and princes. Petite in size but full of energy, Monique’s presence is luminescent. She brings with her a wealth of knowledge in time for the the Nutcracker to open on November 25th. This week was especially exciting.  Along with our family of ballet masters, Damian Welch, Stanton Welch’s brother is here teaching the men and coaching for the Jubilee as well as The Nutcracker, Ben Stevenson is here to oversee the Nutcracker, and Monique takes care of the morning classes and the Grand Pas de Deux rehearsals. Yes, it’s true the Nutcracker happens every year, and yes, this one is particularly invigorating. With all of the staff and the fiercely talented dancers, each of the 12 casts are dancing with their own delicious blend of spices. You really want to come see all 12 sets.

Our special guest from France, Monique Loudières, danced from 1972 to 1996 with the Paris Opera Ballet, where she was appointed Danseuse Ètoile in 1982. She danced leading roles in all of the major classical works. Her favorites include dramatic characters in Mat Ek’s and traditional Giselle, Manon, Eugene Onegin, and Romeo and Juliet, along with a large number of ballets by master choreographers in the neoclassic and contemporary repertoire  (Balanchine, Lifar, Kylián, Béjart, Ek and Neumeier). She was handpicked by Rudolph Nureyev to dance the role of Kitri in Don Quixote, and they danced together on many occasions. Her special partners also include Manuel Legris, Mikhail Baryshnikov, and Fernando Bujones, to name a few.

After a steller career at the Paris Opera and as international guest artist, Monique Loudières was artistic and pedagogical director at l’Ecole Supérieure de Danse Rosella Hightower in Cannes till 2009.

In 1996, she was awarded the title Commandeur des Arts et Lettres. She was recently named Officier dans l’Ordre du Mérite National.

Ballet fans can still see her dance on DVD: 

Rudolph Nureyev’s Romeo and Juliet (Opera National de Paris)

Comme les Oiseaux 

      Translates into English as “like a bird” and applies to Monique Loudières.  A biographical documentary by director Dominique Delouche.  Delouche shot much of the performance footage at the Paris Opera, where she interprets selections from works including Giselle, Don Quixote, and In the Night.

Yvette Chauvire: France’s Prima Ballerina Assoluta 

      Monique Loudières dances Nauteos in the film

When I asked about her impression of the company, she replied, “This company has positive energy to work, and positive energy together.  This kind of energy, day by day in class is a very good way to work. Because they are serious workers, as a result, dancers are ready very quickly.”  She adds, “Even within the class, there is progress. When they repeat the exercise again, I see that they understand. I see improvement…..  This is a gift for me–to receive this positive energy and to rediscover through teaching.”

“I learned so much from these wonderful people in my career, and I think I can help use it for dancers’ future and for classical ballet– to be more articulate in their movement and have freedom, even in classical ballets. Always ask “what does it mean?” what can I do, what can I say.  what does it mean for me.Take the freedom to feel first. When you are aware, you’re prepared to work with any choreographer.”

You can see the NEA’s grant put to good use by attending performances of Rock, Roll & Tutus and Made in America. Don’t miss your chance to see an exciting world premiere! Tickets are available at www.houstonballet.org

Momentum is building for “Toy Town Texas,” the 31st annual Nutcracker Market, which will roll into Reliant Center Thursday, November 10 – Sunday, November 13.  The annual holiday shopping extravaganza will feature over 323 national and international merchants carefully selected for their unique offerings — including many new merchants — selling gifts for the entire family:  home décor, gourmet food, garden, clothing, sporting gifts, novelties, accessories and more. All proceeds from the Market benefit Houston Ballet Foundation, Houston Ballet’s Ben Stevenson Academy and its scholarship funds.  Click here to watch the video preview of the market.

Market chairman Sharon Erskine is thrilled that the Macy’s Fashion Show on Friday has sold out, and that the Saks Fifth Avenue Fashion Show on Thursday, Nov. 10 is close to selling out.  This year Sharon has led a dedicated army of volunteers from the Houston Ballet Guild, who have overseen the staging of The Nutcracker Market every year since 1981, raising over $32 million for Houston Ballet and its Academy over the last three decades.
 
In 2010, the Market welcomed over 95,000 shoppers, who spent $15.4 million over the course of the event.  The Market set a new record in 2010, generating over $3,000,000 for Houston Ballet and its Academy.  The Market is Houston’s third largest fundraising event after the Houston Rodeo and the Shell Houston Open.  It requires tons of volunteers to pull it off successfully, and this year Houston Ballet has been blessed with over 1,000 corporate and community volunteers who’ve stepped forward to lend a helping hand.

Tickets may be purchased at the door for $12, or in advance for $11 at Houston-area Randall’s stores.  Half-price admission is available daily 3 hours prior to closing. Four-day shopping passes (including priority shopping privileges, which allows for early admission an hour before the public opening) are available for $40 by calling 713.535.3231.  For more information, visit nutcrackermarket.com.

In New York, concrete jungle where dreams are made, oh
There’s nothing you can’t do, now you’re in New York
These streets will make you feel brand new
Big lights will inspire you, let’s hear it for New York
New York, New York
                                                -Empire State of Mind, Jay-Z

Principal dancer Melody Mennite at the Joyce.
Photo by Jessica Collado.

With an Empire State of mind, we arrived in New York. It was Houston Ballet’s return to the city after a 26 year break.  We had seven shows to be performed at the Joyce Theater.

 The program of Falling Angels, ONE/end/ONE, and Hush fit magically well in the intimate, 472 seat, art-deco theater. Personally, it was a joy to find my friend who drove down from Boston in the second row cheering me on. In the dressing room post-performance, dancers shared who they saw out there and the true, up-close reaction they witnessed as the show progressed.

View photos from the tour here.

This tour to NYC was a transcendental one, and it may be my imagination, but I sensed unusually strong curiosity from New Yorkers.  It was beautifully balanced with Houston patrons, friends, and families who took the time to visit the Joyce for this occasion.

Stanton also reminded us of the significance in his “chookas” card (a note he always writes to the company on opening night):

We are the first company to perform Kylian’s Falling Angels in Manhattan. Last time, the original Netherlands Dance Theater performed it at B.A.M in Brooklyn.  And the other two pieces, ONE/end/ONE and Hushare tailor-made to Houston Ballet personalities. This program is uniquely us…

The house was filled each night, and the response was extremely positive…minus a few critics, though strong opinions aren’t necessarily bad, in my opinion.  Through experiencing the audience on stage, I sensed it exceeded their Tex-pectations.

The Joyce staff was impressed with the quality and the consistency of our performances–a huge compliment.  And there is something very special about the Joyce.  After practically living there for a week, I’ve decided it was the lively staff.  They seemed thrilled to be working there and seeing us perform. Even though they’re exposed to dance companies from around the globe–over 270 companies since its inception in 1982–they welcomed us like their family.  The stage manager, Sharonica, was the first connection I made.  Not only was she more than excited to see the show, but she was always available.  Her response was “I can help you with that” followed by a huge smile.  As the days went on, I felt the same attitude from all. It was obvious they were proud to be working there.  After all, the Joyce was created by dancers for dance, and over the years it’s become one of the premiere venues for the art form.

I was charmed to find the Joyce was formerly the Elgin Theater, a 1941 movie house. It was then closed by the community when this revival movie house became a pornographic movie theater. The architect, Hardy Hugh, rescued the place, and after a two year renovation it became the Joyce we know today.

Now we’re back in Houston, tougher and more inspired.  We are in preparation for The Nutcracker and Jubilee of Dance. I’m especially looking forward to seeing this evolving group of artists in motion this holiday season.

Keeping in mind the Empire State of Mind, I go back to plié.

-Nao