Elizabeth! OC arts patron honors exiled Russian ballet dancers in Segerstrom gala

Dance

Reunited in Dance,” was a gala so glorious, so glamorous, so grand that it would normally take a village to produce. But perhaps you haven’t met Elizabeth Segerstrom. A Polish-born, Russian-speaking dynamo who holds a doctoral degree in psychology, she is an accomplished entrepreneur and published author. Elizabeth (everyone calls her that) threw a ballet party and invited the town. It came off swimmingly.

Alarmed by the dance world despair and chaos she was sensing, and hearing about, Ms. Segerstrom did so much more than cut a check. She created an outlet to perform for 18 racehorse ballet dancers–top dogs, all exiles from Russian-based dance companies, whether the Bolshoi, Mariinsky, Mikhailovsky, or Stanislavsky Theatre. Fashioning a program of warhorse greatest hits interspersed with select contemporary ones, Ms. Segerstrom did all the groundwork of staging “Reunited in Dance,” right down to commissioning marvelous animated backdrops to transform the concert-hall setting.

In the above photo, she is surrounded by her gathered troupe of ‘ballet nomads’; whether indigenous or expatriates, each led a career interrupted by the chaos brought on by the war in Ukraine. Some are in costume, others in their funny warm-up clothes. But for a stretch on Saturday night, they brought their art, and their pedagogy, to a stage of Segerstrom Center for the Arts.

It all took place, not in Segerstrom Hall, which is The Center’s standard-bearer for dance presentation, rather, it was in the neighboring, somewhat more glittering Renée and Henry Segerstrom Concert Hall, which, on occasion, but not often, presents dance. In a nice community gesture, the program was live-streamed onto a huge screen set up in the Plaza outside the theater, as the fully sold-out program could not accommodate all. But before we describe the program, hey, what about that party?

Prior to the performance, on the ramps, staircases, and balcony of the Concert Hall lobby, Ms. Segerstrom entertained a who-is-who of invited guests, a list that felicitously included members of the press. The bold, brassy, and fun-loving OC social-whirrr was in high gear. It was on view in the fresh flowers bedecking the arrival walkway; it bubbled up in flutes of champagne; it was buried beneath mounds of caviar in tubs so enormous they were surely wheeled in. Russian caviar! On teensy blini! With enough sour cream to harden your arteries on sight. Steak-ragout! Risotto! Red wine! And chocolate bon-bons to get you through the weekend.

Thus fortified, the audience filed into the hall for the world premiere of director Xander Parish’s ballet classroom handbook, The Ballet Class, impeccably delivered by a cast of twelve. From plies and tendus to just about everything, both at barre and at center, the ‘ballet ABC’s work aptly displayed the dance prowess that would be put to good use later in the program. One felt pleasure in the room at seeing the dancers go through their training paces; alas, the work went on too long.

The next stop of interest was Christopher Wheeldon’s much-trod After the Rain duet, in a careful and tender performance by Andrea Lassakaova and Adrian Black Mitchell, who not only seemed to understand their choreography, they actually owned it, and were present for each other in the nicest unforced manner.

vsevolod maevsky, boris zhurilov and alexis tutunnique in raymonda

Want ballet classics? We had The Dying Swan, the Nutcracker, Swan Lake (the White Swan pas de deux sumptuously danced by ABT Principal Dancer Christine Schevchenko), and that whole shebang was topped up by the pas de deux from Le Corsaire in which Jacopo Tisi did this:

jacopo tissi, le corsaire

The evening was very grand, as mentioned, but it was also very human and touching. The performance opened with a montage of video testimonies about the trauma and dislocation the dancers have undergone, having uprooted from their homes, and their daily, dependable routines, which is something that dancers need. We have published the words of Jacopo Tissi, whose marvelous leap is in the above photo. Read his story here.

The dancers were troupers. Uplifted by the opportunity to perform, if not a tad out-of-joint having been dormant for months and months, they bent over backward (well, sometimes that was in the choreography) to honor the audience, their art form, Mother Russia in her better days, but mostly, Elizabeth Segerstom, whose enthralling vision it was to stage this one-night-only extravaganza.

The performance had artistic direction by British dancer Xander Parish, former principal dancer at the Mariinsky Ballet. Ms. Segerstrom’ executed her passion project in collaboration with the Henry T. and Elizabeth Segerstrom Foundation in association with the Center.

an honor to be photographed with elizabeth segerstrom

Dance critic Debra Levine is founder/editor/publisher of arts●meme.

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Composer Inon Zur: symphonic scores for video games

Film · Music
noreen green, inon zur, emily bear (at piano)
photo courtesy los angeles jewish symphony

When The Grammys™ added a brand-new category earlier this year—‘Best Score Soundtrack for Video Games and Other Interactive Media’—it was in acknowledgment of musical excellence. But it also had to do with business. Big business. In 2022, video gaming is primed to attract over three billion players worldwide. And the users are not just kids. They are consumers with disposable income, this year churning revenues of $203 billion—twice the amount of movies and television combined. The colorful, stirring soundscape that injects atmosphere and emotion into a gamer’s visceral trip will be the spotlight of a surprising concert at The Soraya this Sunday evening, November 20.

The Los Angeles Jewish Symphony under the baton of Dr. Noreen Green, in its third Soraya outing, will perform several scores by Inon Zur, an accomplished EMMY award-winner and three-time BAFTA-nominated composer. The highlight of the full-evening tribute will be the world-premiere performance of Zur’s sumptuous score for Suite from Syberia: The World Before. Bringing vivification to the Syberia music, in more ways than one, will be an appearance by the youthful Grammy and Emmy award-winning Emily Bear, as piano soloist. In a wheel inside a wheel, Bear’s playing will not only generate sublime music; it will also reflect a character, Dana Roze, the hero of Syberia. Similar to Bear, Dana is a female pianist in her late teens. Dissimilar to Bear, Dana’s start as a concert artist is overshadowed by the fascist threat in Europe at the dawn of the Second World War.

The EMMY-winning, three-time BAFTA-nominated Zur, after graduating from the Music Academy of Tel Aviv, continued his music education at UCLA before launching a prodigious composing career in film and television. Drawn by the creative freedoms of the gaming field, he made his transition. Zur, who is among the genre’s ‘A’-list composers, will accompany his own music, Fallout Medley Suite, at piano. Other Zur works programmed by Noreen Green will be music from Dragon Age, The Elder Scrolls: Blades, and Starfield.  

Those game titles are known to millions. Are they known to you? Up till now, The Soraya’s music-savvy Artistic and Executive Director Thor Steingraber was a newbie. “I am not a gamer,” he admitted in a recent phone chat. “The last game I played was PacMan,” he said with a laugh. In recent years, however, Steingraber said he has grown aware that certain video games have an avid following for their scores, in concerts that draw massive crowds of mostly young gamers. Said Steingraber, “Noreen Green brought this project to me, explaining that video-game music can be beautiful, and a possible gateway for young people into the concert hall.” That opened Steingraber’s mind to the world of interactive entertainment. “Noreen also told me about a terrific Israeli American composer [Zur] who lives in Encino and whose music is incredibly beautiful and somewhat narrative in style,” he said.

Pianist Emily Bear is another gaming newbie. “When I first learned about my character, Dana, it was hard to not picture myself in her shoes, with some of the obvious connections that we have,” she says, speaking in a YouTube video alongside Inon Zur. “While playing, it’s easy to get lost in her world. I think the biggest thing for me is telling the character’s story through music.”

Zur provided more background. “What Emily Bear will perform on Sunday depicts the romance between our hero, Dana, and her lover. There is a concert [in Syberia] because Dana, like Emily, is an aspiring concert pianist. It’s not really pronounced, but she is Jewish and needs to find ways to escape.” To illustrate that musically, says Zur, “I took a lot of influences from Chopin, Rachmaninoff, Debussy, and Stravinsky. Because the era in which Dana performs is influenced by romantic music at the end of the 19th and beginning of 20th.”

Zur’s rich sound (it streams here), in the creation process, hearkens age-old methodologies of classical music composition. “When a composer is writing music for film or television, it has to be blocked to a picture,” Zur explains. “It doesn’t have a traditional music structure, like, exposition-development-recapitulation. All that classical terminology.” An example is the movie chase scene. “You see the hero being chased by the bad guys, and the music is following them. But when you hear the music not in context, it sounds erratic, messy, and not well organized. In video games, since we are not writing for the picture (we are given blocks of times: one minute, three minutes, five minutes), it’s free music. It’s back to the old composing world, where you have ideas, you want to create mood, and you just write freely.”

Most people, Zur acknowledges, think of gaming as “You shoot someone … or you die.” Just taking Syberia as an example, “it is a much richer, much deeper, much more serious and complex world. Some games are psychological; some games require much concentration and energy to solve the puzzle.” In Zur’s mind, Syberia, is more along the lines of an “interactive movie.” Unlike some games in which the player jumps around, the plot of Syberia is linear. “It starts in one place and you are making your way with the character you are playing,” says Zur. “The story is laid out and you have a mission to accomplish.”

Having successfully staged many “stage-to-screen” live symphonic film scores at The Soraya, played in real time to movies (The Phantom of the Opera, Titanic, On the Waterfront, and coming next March, Aladdin), Steingraber believes that video-game music merits exploration. As for Sunday’s concert, he says, “My expectation is that I will discover a form of music that in its scale and function is operatic.”

The World Premiere of the Suite from Syberia: The World Before, and other works by Inon Zur | Los Angeles Jewish Symphony | The Soraya | Sun Nov 20
 


Debra Levine, who founded artsmeme in 2008, is a journalist specialized in the performing arts.  

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Dance
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Dance
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