A ballet company is a type of dance troupe that performs classical ballet , neoclassical ballet , and/or contemporary ballet in the European tradition, plus managerial and support staff. Most major ballet companies employ dancers on a year-round basis, except in the United States, where contracts for part of the year (typically thirty or forty weeks) are normally offered. A company generally has a home theatre where it stages the majority of its performances, but many companies also tour in their home country or internationally.
31-459: The Cincinnati Ballet is a professional ballet company founded as Cincinnati Civic Ballet in 1958, based in Cincinnati , Ohio , United States . After being registered as a company, it had its first performance in 1964. Organizing founders Nancy Bauer, Virginia Garrett, and Myrl Laurence first chartered the company as the “Cincinnati Civic Ballet” in 1958. Then in 1962, seven ballet teachers in
62-399: A music director , generally a conductor by profession, though this is often a part-time position. The music director has a lower status in ballet than they have in opera, where they are the head of the company. Freelance conductors are hired to conduct specific productions as and when required. Large companies have their own orchestra , which is often shared with an opera company resident in
93-525: A European-trained dancer whose career had taken him through Europe and the United States, was appointed director for the first performances. He originally came to Cincinnati to teach ballet and stage the classics at The University of Cincinnati – College-Conservatory of Music (CCM). In 1966, the directorship passed on to David McLain. He also headed the Dance Division of CCM. CCM gave the young company
124-611: A gender-neutral hierarchy. Some companies (mainly in Russia and countries strongly influenced by Russian ballet ) employ specialist character dancers : unlike ballerinas female character dancers do not dance en pointe . The largest ballet company in the world is the Bolshoi Ballet of Moscow, which employs over 240 dancers, as of 2010. The largest companies in Western Europe and North America employ around one hundred. Many companies have
155-422: A loss at the box office and depend on external financial support of one kind or another. In Europe, most of this support comes in the form of government subsidies, though private donations are usually solicited as well. In North America, private donations are the main source of external funding. Many ballet companies have an associated school which trains dancers. Traditionally the school would provide almost all of
186-526: A permanent staff of craftsmen and craftswomen such as prop makers and costume makers, and technical staff such as lighting technicians and stage managers. Smaller companies hire freelancers for these roles as and when required. Some companies also have physiotherapists , masseurs , and physical trainers on the staff. The term " ballet " is sometimes used to refer to dance styles in any culture's classical tradition, mainly about classical styles of dance performed in parts of Asia. Classical Ramayana Hindu ballet
217-1125: Is often performed in Indonesia . The Royal Ballet of Cambodia is an example of a ballet company in the Eastern tradition. The companies listed below are ballet companies that perform according to the European tradition, although some international companies also perform contemporary ballets that merge Western and Eastern themes and dance techniques. Algeria Egypt Tunisia South Africa Armenia Azerbaijan China Hong Kong Indonesia Iran Israel Japan Kazakhstan Mongolia Philippines Singapore South Korea Taiwan Thailand Uzbekistan Austria Belarus Belgium Bulgaria Croatia Czech Republic Denmark Estonia Finland France Greece Germany Hungary Ireland Italy Kosovo Latvia Lithuania Moldova Monaco Netherlands American Guild of Musical Artists The American Guild of Musical Artists ( AGMA )
248-449: Is the labor union of singers, dancers, and staging staff in opera, ballet and concert dance, and concert choral performance in the United States. A national union with a membership of over 6,000 artists, AGMA provides forceful advocacy and defense of its members' employment and artistic rights. AGMA negotiates and enforces over 65 collective bargaining agreements throughout the country, ensuring fair and safe working conditions and enhancing
279-519: The Houston Ballet , was also performed every year in Knoxville as part of another sister-city arrangement. Repertoire included a full-length La Sylphide and Balanchine's Four Temperaments as well as pieces by contemporary choreographers such as Andre Prokovsky , Mauricio Wainrot, and Ronald Hynd . Nagy left in 1989 and three artistic directors came and went in quick succession. Richard Collins
310-538: The Kaplan Foundation and the Budig Foundation, a new permanent home was built for the company. The Cincinnati Ballet Center on Central Parkway at Liberty Street opened in 1994. The Otto M. Budig Academy of Cincinnati Ballet was launched in 1996. Offices, dance studios, a training school, wardrobe/costume storage, and rehearsal space were all in the same complex. The intimate Mickey Jarson Kaplan Performance Studio
341-538: The 2007–2008 season, Morgan negotiated a performing partnership with The Suzanne Farrell Ballet , which resulted in the presentation of a joint program both at The Aronoff Center and Washington, D.C.’s Kennedy Center in 2008. The 2013-2014 season marked the 50th Anniversary of Cincinnati Ballet. In May 2014, as a part of Cincinnati Ballet's 50th Anniversary celebration, they performed at the prestigious Joyce Theater in New York City. In 2014, Cincinnati Ballet danced
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#1732858088137372-832: The Cincinnati area, including Anneliese von Oettingen , Shirley Frame Elmore, Mac Vestal came together to officially form the company. The first official auditions were in 1963 at the YMCA where 41 dancers were chosen from the 200 audition hopefuls. Debut performances took place at the University of Cincinnati ’s Wilson Auditorium in 1964 and 1965. The first performance included an original ballet by guest choreographer Joseph Levinoff, Chopin Piano Concerto in F Minor . The repertoire consisted of ballets choreographed or staged by Oleg Sabline, Tania Karina, William Dollar , and John Taras . Oleg Sabline,
403-513: The advantages of studio space for classes and rehearsals, access to talented students, and the use of the Wilson Auditorium for performances. The dancers in the company also had to pay a fee of $ 10.00 per year to be a part of the company. As the organization outgrew the profile of a non-professional civic company, the company was re-named “Cincinnati Ballet Company” in 1968 and gained Carmon DeLeone as music director. By 1970, professional status
434-576: The company to a new standard of performance. The company expanded to include five principals, nine soloists and twenty-three corps members. It joined the American Guild of Musical Artists and added the SCPA Dance Department, along with the CCM Children's Dance Division, as “feeder” institutions to provide apprentices and child performers. A new Nutcracker , choreographed by Ben Stevenson of
465-472: The company's dancers, something which helped to create clear distinctions in style between companies, but 21st-century ballet has open hiring practices, and many ballet companies have a very international staff. The head of a ballet company is called the artistic director . He or she is usually a retired dancer, and often they choreograph some of the company's productions themselves. In a large company, they will have one or more assistants. Day-to-day coaching of
496-441: The corps de ballet and may be unpaid. Some companies further subdivide these grades, and the terminology used varies from company to company. In the 19th century and early to mid-20th century the top female dancer was often recognized as the prima ballerina , but this practice has ceased. Male and female dancers were historically split into separate hierarchies (for more information see ballerina ). Today, many companies choose to use
527-422: The country, ensuring fair and safe working conditions and enhancing the quality of life of its members. AGMA claims exclusive jurisdiction over all aspects of the work of its members and shares some Broadway jurisdiction with its fellow union, Actors' Equity Association . AGMA was founded in 1936 in an effort to protect opera singers who were being forced into unfair contracts without benefits or protections. Over
558-612: The dancers is the responsibility of one or more ballet masters and ballet mistresses . Some companies also employ répétiteurs and dance notators . There is often a resident choreographer . All but the smallest companies divide their dancers into at least three grades. The most common names for the two higher grades in English are principal and soloist and the junior dancers form the corps de ballet . Some companies (especially in North America) have trainees or apprentices, who rank below
589-652: The mid-1970s, CBC was still first and foremost a ballet company with classical works in the repertoire, including Les Patineurs , Pas de Quatre and variations from The Sleeping Beauty , along with two Balanchine ballets, Concerto Barocco and Serenade . Performances took place at the Taft Theatre and tours were added in Kentucky, Ohio, South Carolina, Puerto Rico , the Virgin Islands , Jacob's Pillow and at New York City's Dance Festival in 1975. The Nutcracker
620-706: The original 16 mm film with coaching from Franklin. Also of note were three collaborations between Cincinnati Ballet and BalletMet Columbus. Together the companies presented Balanchine's Jewels (2003), Stars and Stripes (2006) and a full-length production of Swan Lake (2009). In 2008 Devon Carney, a former principal dancer and Ballet Master with Boston Ballet , was appointed as Associate Artistic Director. In addition to providing his own choreography for nine pieces, Carney has restaged and added fresh choreography to full-length classics such as Giselle , Sleeping Beauty , and Swan Lake to this date and during his five previous years as Ballet Master-in-Chief. During
651-636: The quality of life of its members. AGMA has a direct charter from the AFL–CIO and is affiliated with the AFL–CIO Branch of Associated Actors and Artists of America and the Department for Professional Employees (DPE). AGMA is also a part of the Coalition of Broadway Unions and Guilds (COBUG). The American Guild of Musical Artists (AGMA) negotiates and enforces over 65 collective bargaining agreements throughout
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#1732858088137682-482: The same theatre or opera house. Smaller companies hire a local orchestra on a contract basis for each season of performances, or hire a scratch orchestra for specific performances, e.g. when they are on tour. During company classes and rehearsals, music is provided by one or more staff or freelance pianists. All but the smallest companies have a separate administrative staff that deals with marketing, accounts, personnel issues, logistics and so on. Larger companies employ
713-402: The schedule expanded from three series to five by 1980. The company's name was shortened to “Cincinnati Ballet”, and in 1983 a sister-city arrangement begun with New Orleans to further increase performing opportunities. McLain died in 1984 and Frederic Franklin became interim director. A permanent artistic director, Ivan Nagy , was appointed in 1986. The company moved out of CCM, although it
744-459: The third movement of Seventh Symphony (music by Beethoven ), and Gaîte Parisienne , choreographed by Leonide Massine . Franklin restaged the two remaining extant movements from Seventh Symphony two seasons later, aided by Cincinnati Ballet's Principal Ballet Mistress and former Cincinnati Ballet soloist dancer Johanna Bernstein Wilt, who researched and recreated all three Seventh Symphony movements from
775-1401: The world premiere of Victoria Morgan’s King Arthur’s Camelot with a score composed by John Estacio . In February of 2020, it was announced that lead principal dancer Cervilio Amador would retire and assume the position of Ballet Master. Cincinnati Ballet is made up of dancers from all over the United States and the world. They perform at The Aronoff Center and tour American cities, as well as Europe. Colleen Geisting, Karl Lindholm, Patrick Hinson, Richard Early, Peggy Lyman, Cynthia Ann Roses, Kimberly Smiley, Donna Grisez-Weber, Roman Jasinski , Sara Nieto, Diane Edwards, Melissa Hale, Patricia Rozow, Christina Foisie, Leisa Moran, Debra Kelly, Patricia Kelly, Margo Krody, Barbara McFarlane, Michael Sharp, Thomas Morris, Ian Barrett, Kevin Ward, Charles Flachs, Rose Marie Wurzer, Suzette Boyer, Philip Rosemond, Meridith Benson, Claudia Rudolf, Carol Krajacic, Rebecca Rodriguez, Trinidad Vives, Marcello Angelini, Victoria Hall, Darren Anderson , Daniela Buson, René Micheo, Karyn Lee Connell, Alexei Kremnev, Anna Reznik, Kristi Capps, Cervilio Amador, Anthony Krutzkamp, Stephanie Crank, Janessa Touchet, Adiarys Almeida, Joseph Gatti and Dmitri Trubchanov. Karen Kuertz Travis, Jane Wagner Green 2020-2021 Season: TBA Ballet company Ballet companies routinely make
806-519: Was achieved when ten salaried dancers were hired. CCM faculty member James Truitte began to train dancers in the contemporary technique created by the American choreographer Lester Horton . As the company dancers became proficient in Horton technique, they began to perform Horton's choreography. As a result, Cincinnati Ballet Company earned national recognition for keeping this historic work alive. However, by
837-603: Was added in 2005. The Aronoff Center for the Arts became the permanent home for the repertoire series of performances and a number of ballets were acquired. “Americana” ballets such as Agnes DeMille ’s Rodeo , and modern dance pieces by Paul Taylor challenged the dancers and intrigued audiences. In 1996, Balanchine's full-length Jewels , was performed by the company. Other contemporary choreographers included Kirk Peterson, Kathryn Posin, Stanton Welch and Val Caniparoli, Trey McIntyre in addition to Nigel Burgoine and Victoria Morgan, who
868-527: Was appointed artistic director in 1997. Artistic Director and CEO Morgan, whose tenure continues at the present time, has honored the Cincinnati Ballet tradition of performing not only new works, but also keeping the historic repertoire alive. An example was the tribute to Frederic Franklin and the Ballet Russe de Monte-Carlo in 2002. The ballets presented were Devil’s Holiday by Frederick Ashton, plus
899-488: Was premiered in 1974 at Music Hall . Frisch's Restaurants from Cincinnati sponsored the performances and have continued to do so. Today Frisch’s presents: The Nutcracker is a Cincinnati tradition. The Nutcracker was choreographed by Moscelyne Larkin, Roman Jasinski and Frederic Franklin. This led to Franklin's long tenure as Resident Choreographer and the period of his being Interim Director. Beginning in 1978, regular repertoire performances were also held at Music Hall, and
930-470: Was still designated the official school. It was Nagy's intention to have Cincinnati Ballet stand alone as a professional company. The company continued to perform at Music Hall but rehearsals were now in the Emery Building. A Hungarian native who had danced all over the world, Nagy knew many foreign dancers, and brought a number of them to Cincinnati. The arrival of highly experienced dancers began to raise
961-460: Was the first. A British-trained dancer, and a director of promise, he was killed in a car accident. Nigel Burgoine succeeded him in 1992 and Peter Anastos in 1994. During his two years in Cincinnati, Anastos created the very successful ballet Peter Pan with an original score by DeLeone. The ballet (now with the 2001 choreography by Septime Webre) was last performed in 2018, which also marked DeLeone's 50th anniversary with Cincinnati Ballet. Through