California Ballet Company:
Presents . . .
Presents . . .
"NOCHE LATINA"
This November at the Balboa Theatre in downtown San Diego, California Ballet presents Noche Latina, an evening of fire, passion, and romance with a Latin Flare! The evening will feature Bizet's "Carmen", and the world premiere of Jared Nelson's interpretation of the fiery "Bolero". Also on the program is the West Coast premiere of Septime Webre's Juanita y Alicia, a dance narrative based on the choreographer's real-life family in Cuba.
California Ballet Company
Juanita y Alicia will be accompanied by
a live Cuban band.
Performance dates and times:
Friday, November 9, 2018 - 7:30 pm
Saturday, November 10, 2018 - 2:00 pm & 7:30pm
Tickets: $30, $40, $50, $65
Call for Reservations: (858) 560-5676
California Ballet Company
Juanita y Alicia will be accompanied by
a live Cuban band.
Performance dates and times:
Friday, November 9, 2018 - 7:30 pm
Saturday, November 10, 2018 - 2:00 pm & 7:30pm
Tickets: $30, $40, $50, $65
Call for Reservations: (858) 560-5676
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SD Dance Theatre:
2018 - Returns In The FALL
The NTC Foundation has commissioned Jean Isaacs and the San Diego Dance Theater, to create a walking tour of the North Promenade at ARTS DISTRICT Liberty Station to view six new site-specific dances, inspired by existing or newly created visual art installations. "Installation Dances", a play on the wildly popular Trolley Dances, is slated for October 14th, 2018. The three tours will be led by San Diego Dance Theater's Artistic Director Jean Isaacs - who created two of the dances herself. “All the great outdoor space at the ARTS DISTRICT lends itself to so many creative endeavors,” said NTC Foundation executive director Alan Ziter. “Just as we have commissioned visual artists to reinterpret our campus through site-specific art installations, we’re now commissioning renowned site-specific dance creator Jean Isaacs to interpret our art installations through dance to showcase the art installations in a new, unique way.” Choreographers include San Diego Dance Theater Artistic Director Jean Isaacs, along with Anne Gehman, Liv Isaacs-Nollet, Zaquia Mahler Salinas, and Jessica Reed de Cancel. As with the annual Trolley Dances, exact locations are not revealed until the tour has begun, to ensure a sense of discovery and surprise.
At the helm of SDDT since 1997, Jean Isaacs (right photo) has built an organization that performs with a talented company of dancers, and trains young people in the art and technique of dance. Over two upcoming weekends, September 24th–25th and October 1st–2nd, SDDT will present one of its signature events, the 18th Annual Trolley Dances. The site-specific performances at stations along and near the MTS Blue Line, features choreography by Isaacs, as well as guest choreographers Monica Bill Barnes, Jess Humphrey, Zaquia Mahler Salinas, and Bill Shannon.
Starting at the new Continuing Education César E. Chávez Campus in Barrio Logan, “We’re going on a completely different journey this time,” Isaacs promises of the performances. “These neighborhoods are working class and historical. Audiences feel revitalized when they come.” The outdoor Trolley Dances event has been around as long as it has for a reason. As Isaacs says, with its near-perfect fall weather and scenic sites along the trolley route, “San Diego is the perfect city for it.” Ask Jean Isaacs, Artistic Director of Liberty Station’s San Diego Dance Theater, if she has the same passion for her craft that she had when she came to town 46 years ago, and she responds like one of her young students might: “Totally!”
The respected dancer, choreographer, and teacher, is just as expressive as the dances she creates. Of those who dream to dance professionally one day, she says: “You work to get where you are. You need to dance every day during the formative period - You have to love that kind of life.”
Jean Isaacs in 1980 - Check, check, and check for Isaacs herself. When she arrived in San Diego as an experienced artist, she discovered virtually no dance scene at all. It was like a blank slate here, she recalls. “I think I helped create a palette for it."
Jean Isaacs in 1980 - Check, check, and check for Isaacs herself. When she arrived in San Diego as an experienced artist, she discovered virtually no dance scene at all. It was like a blank slate here, she recalls. “I think I helped create a palette for it."
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San Diego OPERA:
Presents . . .
OPERA NEWS Reveals
2018-2019 Singers’ Studio Lineup
~ Stephanie Blythe and Pretty Yende among stars signed on for the series ~
2018-2019 Singers’ Studio Lineup
~ Stephanie Blythe and Pretty Yende among stars signed on for the series ~
NEW YORK, NY (August 6, 2018) – OPERA NEWS today announced the prestigious artists in its intimate interview series, Singers’ Studio. Hosted by the editors of OPERA NEWS, the annual series brings some of today’s biggest opera stars to the Metropolitan Opera Guild’s Opera Learning Center, to discuss their careers and current performances at the Metropolitan Opera.
Director David Bennett
“Our Singers’ Studio sessions present a unique opportunity to engage in casual conversations with today’s leading opera artists,” said F. Paul Driscoll, Editor-in-Chief, OPERA NEWS. “We are pleased to be able to provide opera fans with behind-the-scenes insights and exclusive anecdotes through this series.”
The artists scheduled to speak include:
Director David Bennett
“Our Singers’ Studio sessions present a unique opportunity to engage in casual conversations with today’s leading opera artists,” said F. Paul Driscoll, Editor-in-Chief, OPERA NEWS. “We are pleased to be able to provide opera fans with behind-the-scenes insights and exclusive anecdotes through this series.”
The artists scheduled to speak include:
Quinn Kelsey
Quinn Kelsey (October 9th, 6-7 pm): This season, Quinn Kelsey, one of the most acclaimed baritones of his generation, sings his first Met performances of Amonasro in Verdi’s Aida. Mr. Kelsey sits down for a discussion with OPERA NEWS Editor-in-Chief F. Paul Driscoll.
Christian Van Horn (November 14th, 6-7 pm): Christian Van Horn, winner of the 2018 Richard Tucker Award, takes on the title role in the Met’s eagerly anticipated revival of Boito’s Mefistofele. The bass-baritone joins
OPERA NEWS Digital Editor Adam Wasserman in conversation.
Christian Van Horn
Stephanie Blythe and Pretty Yende (February 14th, 6-7 pm): Spend Valentine’s Day with two of the Met’s favorite leading ladies. Mezzo-soprano Stephanie Blythe and soprano Pretty Yende will share the Met stage this season in Laurent Pelly’s hilarious production of "La Fille du Régiment". Both artists, will be making their company role debuts in Donizetti’s comic masterpiece – Ms. Yende as the vivacious MARIE, and Ms. Blythe as the outlandish MARQUISE of Berkenfield. OPERA NEWS Editor-in-Chief F. Paul Driscoll joins these two delightful singers for a lively conversation about their careers in opera and recital. Stephanie Blythe
Ramon Vargas
Ramón Vargas (April 9th, 6-7 pm): Beloved tenor Ramón Vargas has given more than 200 performances with the Met since his company debut in 1992, as EDGARDO in "Lucia di Lammermoor". One of the most admired singers of his generation, Vargas performs this season in Los Angeles, Vienna, Hamburg, and Geneva. Join this elegant artist for his interview with OPERA NEWS Senior Editor Louise T. Guinther.
Ramón Vargas (April 9th, 6-7 pm): Beloved tenor Ramón Vargas has given more than 200 performances with the Met since his company debut in 1992, as EDGARDO in "Lucia di Lammermoor". One of the most admired singers of his generation, Vargas performs this season in Los Angeles, Vienna, Hamburg, and Geneva. Join this elegant artist for his interview with OPERA NEWS Senior Editor Louise T. Guinther.
SD Civic Theatre
Tickets are on sale now: $30 public; $28 Guild members and students. Registration is limited, and on a first-come, first-served basis. For more information, and for the full selection of classes and ticket prices visit MetGuild.org.
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THE SEARCH FOR THE NEXT SUPERSTAR IS ON!
“AMERICAN IDOL” OPEN “BUS TOUR” AUDITIONS KICK-OFF ON THE WEST COAST
at TUNA HARBOR PARK ! SAN DIEGO, CA – SATURDAY, AUGUST 25th
Please email the contact below to apply for credentials to attend the auditions in SAN DIEGO, California
WHAT: Open call auditions for AMERICAN IDOL in SAN DIEGO, California
WHERE: Tuna Harbor Park
3 Tuna Lane,
San Diego, CA 92101
WHEN: REGISTRATION / AUDITIONS – Saturday, August 25th
· Media check-in for auditions will begin at 6:30 AM on Saturday. Please note, that this time is subject to change. If you are interested in being onsite earlier than 6:30 AM, please note your request in your RSVP.
· Available press coverage includes: B-roll opportunities, photos, interviews with “American Idol” hopefuls and guests, interviews/photos with an available “American Idol” producer,
interviews with additional onsite talent (pending availability).
· Please note: crews must be self-contained and hard-wired, no additional power will be provided.
RSVP: You must RSVP to request credentials by emailing: Gigi.Stevens@fremantlemedia.com
no later than 5:00 PM PST on Wednesday, August 22nd.
Crews MUST check-in with onsite publicity contacts upon arrival, in order to receive their credentials.
Advance interviews are available with an “American Idol” producer upon request.
Please visit www.americanidol.com for more information and specific audition details,
locations, full eligibility requirements, submission forms, terms and conditions.
ON-SITE CONTACTS:
Gigi Stevens – 310-435-4834 – Gigi.Stevens@fremantlemedia.com
Greg Khach – 818-281-4231 – greg.g.khach@disney.com
Gigi Stevens
Communications & Publicity
T: 818.748.1158 | gigi.stevens@fremantlemedia.com
at TUNA HARBOR PARK ! SAN DIEGO, CA – SATURDAY, AUGUST 25th
Please email the contact below to apply for credentials to attend the auditions in SAN DIEGO, California
WHAT: Open call auditions for AMERICAN IDOL in SAN DIEGO, California
WHERE: Tuna Harbor Park
3 Tuna Lane,
San Diego, CA 92101
WHEN: REGISTRATION / AUDITIONS – Saturday, August 25th
· Media check-in for auditions will begin at 6:30 AM on Saturday. Please note, that this time is subject to change. If you are interested in being onsite earlier than 6:30 AM, please note your request in your RSVP.
· Available press coverage includes: B-roll opportunities, photos, interviews with “American Idol” hopefuls and guests, interviews/photos with an available “American Idol” producer,
interviews with additional onsite talent (pending availability).
· Please note: crews must be self-contained and hard-wired, no additional power will be provided.
RSVP: You must RSVP to request credentials by emailing: Gigi.Stevens@fremantlemedia.com
no later than 5:00 PM PST on Wednesday, August 22nd.
Crews MUST check-in with onsite publicity contacts upon arrival, in order to receive their credentials.
Advance interviews are available with an “American Idol” producer upon request.
Please visit www.americanidol.com for more information and specific audition details,
locations, full eligibility requirements, submission forms, terms and conditions.
ON-SITE CONTACTS:
Gigi Stevens – 310-435-4834 – Gigi.Stevens@fremantlemedia.com
Greg Khach – 818-281-4231 – greg.g.khach@disney.com
Gigi Stevens
Communications & Publicity
T: 818.748.1158 | gigi.stevens@fremantlemedia.com
********
Per Welton Jones:
For San Diegans, the words "Starlight Bowl" probably wake a vision of dancing, singing, costumed musical comedy, outdoors in the soft summer airs of Balboa Park, interrupted only occasionally by airplanes headed toward Lindbergh Field but mainly blissful beauty, aglow with nostalgia.
That hasn't been reality for many years. The historic
4,273-seat amphitheatre is still there, though worn from years of neglect - but, there hasn't been a show on its stage since 2010, when the remnants of the San Diego Civic Light Opera Association walked away.
That hasn't been reality for many years. The historic
4,273-seat amphitheatre is still there, though worn from years of neglect - but, there hasn't been a show on its stage since 2010, when the remnants of the San Diego Civic Light Opera Association walked away.
Famed architect Richard Requa, who supervised the building of the 1935-36 California Pacific International Exposition, called the bowl. Undoubtedly, the most valuable new single contribution from a cultural standpoint ...
In second place, he listed the Spreckels Organ Pavilion.
Originally called the Ford Bowl, the amphitheatre was built in tandem with the Art Deco Ford Building next door (now the San Diego Air & Space Museum), as a showcase for Ford vehicles, and a winding exhibition road, down the slope behind the buildings ... all for an estimated $2 million.
In second place, he listed the Spreckels Organ Pavilion.
Originally called the Ford Bowl, the amphitheatre was built in tandem with the Art Deco Ford Building next door (now the San Diego Air & Space Museum), as a showcase for Ford vehicles, and a winding exhibition road, down the slope behind the buildings ... all for an estimated $2 million.
Ford money also was provided for a season of 132 symphony orchestra concerts, usually two-a-day except Mondays, beginning in May 1935. Nino Marcelli conducted the San Diego Symphony for the first two weeks, followed by the Los Angeles Philharmonic and the symphony orchestras of Portland, Seattle and San Francisco, plus the Long Beach Women's Symphony. Portions of these concerts were broadcast live, coast to coast, sponsored by Ford.
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In addition to the orchestras onstage, the Ford Bowl had its own organ, an early Hammond, billed as
"the world's most powerful musical instrument", because of the 8,000 pounds of amplification equipment needed. Organist Walter Flandorf, presided at the console, on the concrete platform in the center of the bowl seating area -
still there today, for concerts at noon and 5:30 p.m. ... whenever nothing else was scheduled.
When the orchestra season ended in October, the California Light Opera Co. presented "H.M.S. Pinafore" and "The Mikado" - twice daily at no charge. Next, the Expo management provided five acts of vaudeville entertainment, each afternoon and evening, also free of charge, and a touring stage show called "Anything Happens" - featuring the famed vaudeville and radio duo of Ole Olsen and Chic Johnson.
Though attendance was sparse for the 1935 shows in the bowl, the orchestral concerts were considered the artistic peak of the exposition.
When, for 1936, the Ford Company did not renew its sponsorship of the exhibit, it did agree to sponsor four weeks of 46 concerts in August and September, by Marcelli and the San Diego Symphony, and two by the San Francisco Orchestra, conducted by Alfred Hertz ... which proved to be great popular successes.
"the world's most powerful musical instrument", because of the 8,000 pounds of amplification equipment needed. Organist Walter Flandorf, presided at the console, on the concrete platform in the center of the bowl seating area -
still there today, for concerts at noon and 5:30 p.m. ... whenever nothing else was scheduled.
When the orchestra season ended in October, the California Light Opera Co. presented "H.M.S. Pinafore" and "The Mikado" - twice daily at no charge. Next, the Expo management provided five acts of vaudeville entertainment, each afternoon and evening, also free of charge, and a touring stage show called "Anything Happens" - featuring the famed vaudeville and radio duo of Ole Olsen and Chic Johnson.
Though attendance was sparse for the 1935 shows in the bowl, the orchestral concerts were considered the artistic peak of the exposition.
When, for 1936, the Ford Company did not renew its sponsorship of the exhibit, it did agree to sponsor four weeks of 46 concerts in August and September, by Marcelli and the San Diego Symphony, and two by the San Francisco Orchestra, conducted by Alfred Hertz ... which proved to be great popular successes.
On opening night Aug. 14, 1936, according to The San Diego Union, the symphony's performance of the Idyll from Wagner's "Siegfried" was: "interrupted for the audience, by low-flying airplanes over the Exposition:'
After the Expo closed, the Symphony continued to perform regularly in the Ford Bowl, and various other events and performances took place until, in 1942, the entire Balboa Park was taken over by the U.S. Navy for World War II. There is no record of specific use of the bowl during the war.
After the Expo closed, the Symphony continued to perform regularly in the Ford Bowl, and various other events and performances took place until, in 1942, the entire Balboa Park was taken over by the U.S. Navy for World War II. There is no record of specific use of the bowl during the war.
In 1946, a group of local operettaians incorporated, as the San Diego Civic Light Opera, and, using the title
Star-Light, had begun performing light opera and musical comedy, in the 1,200-seat Wegeforth Bowl at the San Diego Zoo. Within five years, both the company and Zoo were ready for them to move. The city
turned over the Balboa Bowl, as was ... in 1950.
During the 1950s and early '60s, Star-Light dropped the hyphen, and presented extremely popular summer shows, using local performers only. These well-drilled, but poorly-paid ensembles benefitted from paid union stage hands and musicians, to build the basis of all the legends, about the grand old days of Starlight.
Star-Light, had begun performing light opera and musical comedy, in the 1,200-seat Wegeforth Bowl at the San Diego Zoo. Within five years, both the company and Zoo were ready for them to move. The city
turned over the Balboa Bowl, as was ... in 1950.
During the 1950s and early '60s, Star-Light dropped the hyphen, and presented extremely popular summer shows, using local performers only. These well-drilled, but poorly-paid ensembles benefitted from paid union stage hands and musicians, to build the basis of all the legends, about the grand old days of Starlight.
But, tastes in Broadway musicals were changing, and professional productions both on tour and in residence, were setting a higher standard. Starlight's audiences sagged.
During this time, the San Diego Symphony played regular seasons at the bowl, renamed in 1961 "Balboa Park Bowl." Shows of other sorts, also were booked by the city management ... including the new rock concerts. Then the new Civic Theatre, opened downtown in 1965 - everybody agreed that Starlight should be one of the tenants. This was a disaster, when amateur talent was compared to the touring Broadway roadshows.
During this time, the San Diego Symphony played regular seasons at the bowl, renamed in 1961 "Balboa Park Bowl." Shows of other sorts, also were booked by the city management ... including the new rock concerts. Then the new Civic Theatre, opened downtown in 1965 - everybody agreed that Starlight should be one of the tenants. This was a disaster, when amateur talent was compared to the touring Broadway roadshows.
The Starlight brand was rescued by the United States International University in 1968, which moved the shows back to the Wegeforth Bowl at the Zoo, and for the 1973 summer, the Open Air Theatre at San Diego State. Except for occasional concerts and community events, Balboa Park Bowl had sat empty for 8 years.
In 1973, after USIU removed its support, Starlight reorganized and returned to the bowl. The following year, J. Howard Stein, then the company's executive producer, made a historic decision: He set up a signal light system to the conductor, who stopped the show. when an airplane passed over. Thus was born, a "tradition" universally loathed by artists -
but fondly remembered by many former customers.
In 1973, after USIU removed its support, Starlight reorganized and returned to the bowl. The following year, J. Howard Stein, then the company's executive producer, made a historic decision: He set up a signal light system to the conductor, who stopped the show. when an airplane passed over. Thus was born, a "tradition" universally loathed by artists -
but fondly remembered by many former customers.
Under Stein and subsequent managers, Starlight gradually added professionals, and carefully moved beyond the "family show", repertoire. In 1984, "Starlight Bowl" became the official name of the facility, and the following year, a major addition was designed by architect Gerald Garapich for $2 million - including a stagehouse for proper handling of scenery.
Soon thereafter though, the company began a long slide away from prosperity ... and into deficit. Productions
were cancelled, and then entire seasons followed. Occasional revivals, faded-away until September, 2010, when
the last scheduled show was presented. Thereafter, the bowl slipped back into neglect.
were cancelled, and then entire seasons followed. Occasional revivals, faded-away until September, 2010, when
the last scheduled show was presented. Thereafter, the bowl slipped back into neglect.
And, that is the case, in the now, as the City of San Diego and Save Starlight
work to find a new future for Richard Requa's favorite Balboa Park contribution to the
Expo of 1936-37.
work to find a new future for Richard Requa's favorite Balboa Park contribution to the
Expo of 1936-37.
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SD Civic Theatre:
Presented . . .
Per James Colt Harrison
In what has to be the biggest smash on Broadway in years, Lin-Manuel’s modern take on U.S. history, set a new standard for musicals. San Diegans were all excited when it was announced Broadway/San Diego would bring the award-winning sensation to our Civic Theatre.
In what has to be the biggest smash on Broadway in years, Lin-Manuel’s modern take on U.S. history, set a new standard for musicals. San Diegans were all excited when it was announced Broadway/San Diego would bring the award-winning sensation to our Civic Theatre.
Actor/Writer/ Composer Lin-Manuel Miranda (photo right) already was appearing in a hit Broadway show “In the Heights”, when he happened upon a copy of the book “Alexander Hamilton” by historian Ron Chernow. Being of a creative mind, Miranda saw possibilities in the story, for it to become a musical … of all things! Hamilton, was not exactly a subject of frolic and tap dancing, during Broadway’s years of making musicals. Miranda roughed-out some songs that were bouncing around in his head, that would later be used in the Alexander Hamilton musical. Where better to test out some songs, than at the White House when President Obama invited him to perform?
Miranda, tinkered with the show in a workshop production in 2013, and ironed-out some kinks. All he had worked-out was the first act. Finally, he worked up enough material for a complete show, and put on an Off-Broadway version beginning in February 2015. Playing King George III was Broadway favorite Brian D’Arcy James (“Something Rotten”). The show was a hit … and ran until May 3, 2015.
After closing Off-Broadway, Miranda got down to work, to polish up the rough edges, and the show then opened at the Richard Rodgers Theatre August 6th, 2015. Directed by Thomas Kail, the show became a Broadway sensation, with ticket sales approaching $30 million. The reviews were generally all favorable. The New York Times critic Ben Brantley, praised it by saying “I am loath to tell people to mortgage their houses, and lease their children, to acquire tickets to a hit Broadway show. But, Hamilton … just might be worth it. ”The show was eligible for the TONY Awards, and in 2016, it was nominated for 16, and took home 11 of the TONY statues!
Winning, among others, was Lin-Manuel Miranda for Best Book and Best Original Score. The show won as Best Musical, and Leslie Odom, Jr. won as Best Actor in a Musical, whereas Daveed Diggs, won for Best Featured Actor in a Musical. The accolades kept pouring in from the Drama League, the Dramatists Guild, the Fred and Adele Astaire Awards and the NAACP Image Awards. But the topper was Miranda winning the Pulitzer Prize for Drama. the Dramatists Guild, the Fred and Adele Astaire Awards and the NAACP Image Awards. But the topper was Miranda winning the Pulitzer Prize for Drama.
Photos by – KEN JACQUE
Photos by – KEN JACQUE
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