[Independent] The Symphony Plays Stravinsky for State Street Ballet Dancers
February 12, 2013
By Charles Donelan, Independent
The Santa Barbara Symphony extended an exceptionally interesting season of programming last weekend with what has now become a very welcome annual event — their collaboration with State Street Ballet. This year, the two organizations took advantage of the very considerable talents of choreographer William Soleau, whose work has, over the past several years, contributed to the distinction that State Street has achieved as one of the country’s most productive and original contemporary ballet companies. Soleau created a new setting of Igor Stravinsky’s Suite from “The Firebird” in its 1945 version, and the results, both onstage and in the orchestra pit, were splendid.
[Noozhawk] Santa Barbara Symphony, State Street Ballet Stage ‘The Firebird’
February 09, 2013
Saturday, Sunday performances at The Granada Theatre will feature a Stravinsky masterpiece
By Gerald Carpenter, Noozhawk Contributing Writer
The success of their last collaboration with the State Street Ballet — sold-out performances — has encouraged the Santa Barbara Symphony to try it again. At 8 p.m. Saturday and 3 p.m. Sunday at The Granada Theatre, the symphony, conducted by music director Nir Kabaretti, will team up with the State Street Ballet, under the direction of Rodney Gustafson, to set the stage afire with Igor Stravinsky’s L’oiseau de feu/The Firebird. To fit other works onto the program, the dance will be shaped to fit Stravinsky’s own Suite from the ballet, rather than the full score.
The concert, dubbed “The Firebird,” will open with the symphony’s superb principal harpist, Michelle Temple, fronting the band with a performance of Claude Debussy’s Danses sacrée et profane for Harp and String Orchestra, followed by what, under other circumstances, would be the main event of the evening: Johannes Brahms’ Symphony No. 3 in F-Major, Opus 90.
[Newspress] Kids enjoy Santa Barbara Symphony
February 08, 2013
By Jordan Ecarma, News-Press staff write
More than 2,500 fourth-, fifth- and sixth-graders crowded the Granada Theatre on Thursday morning to hear performances of the Santa Barbara Symphony’s Concert for Young People.
“It’s completely exciting to welcome them and see the entire house full of students,” said Amy Bassett, director of education and community development with the Santa Barbara Symphony. “You have students from all over Santa Barbara County here.”
The Santa Barbara Symphony has presented the Concerts for Young People series, which introduces children to classical music, for more than 50 years.
Cinthia Avila, 10, and Michelle Alba, 9, didn’t mind missing math class to attend their first concert at the Granada Theatre.
“I’m excited,” Cinthia told the News-Press.
[Casa Magazine] Together again, at last!
February 08, 2013
By Daniel Kepl, Casa Magazine
It’s been awhile since the Santa Barbara Symphony and State Street Ballet dated. The corsage fro their first foray together in 2011 was Aaron Copland’s Appalachian Spring. This Saturday and Sunday’s boutonniere will be Igor Stravinsky’s The Firebird. It’s only the second date, but the two organizations are settling into a productive relationship. New York City-based choreographer William Soleau is in charge of the dance card again, and conductor Nir Kabaretti, the party favors.
Bound to be a sell-out, the happy occasion is part of the Symphony’s regular subscription series, 8pm on Saturday, and 3pm on Sunday, in the Granada Theatre. Brahms’ Symphony No. 3 will be the focal point of the first half of the program, which will also include Debussy’s Danses Sacree et Profane, with harp soloist Michelle Temple. After intermission, State Street Ballet will occupy the stage, while the Symphony adjourns to the orchestra pit, for the world premiere of Soleau’s original choreography to Firebird.
[Scene Magazine] A Sacred, Profane and Firebird-ish Encounter
February 08, 2013
Santa Barbara Symphony principal harpist Michelle Temple is featured as a soloist this weekend on Debussy’s ‘Sacred and Profane Dances’
By Josef Woodard, New-Press Correspondent
In the scheme of the current, 60th annual concert season of the Santa Barbara Symphony, this weekend’s program arrives with special fanfare. Music meets dance, and different arts organizations collude, when the Symphony meets State Street Ballet for a newly-choreographed production of one of Stravinsky’s great ballets, “The Firebird.” This will be an encore collaboration, after a music-dance partnership on the theme of Copland’s “Appalachian Spring” three years ago.
But in another way, for the opening piece of the concert, the weekend’s program turns a special spotlight inward to the orchestra’s own musical ranks. Soloist-wise, the Symphony’s principle harpist Michelle Temple will take center stage to play the classic Debussy harp piece “Sacred and Profane Dances,” also heard last fall via Camerata Pacifica, with harp soloist Bridget Kibbey. Ms. Temple has long been principle harpist with the Santa Barbara Symphony as well as the Pacific Symphony, and has worked with many other classical music groups around Southern California, along with doing studio work.
We checked in with Ms. Temple recently to discuss her spotlight moment, and other relevant matters.
News-Press: The upcoming Santa Barbara Symphony concert is a special program, with the “The Firebird” music and dance collaboration as the centerpiece. Is there a sense within the orchestra’s ranks that this concert is a special moment on the season schedule?
[Scene Magazine] Taming ‘The Firebird’
February 08, 2013
Esteemed choreographer William Soleau premieres his original choreography for Igor Stravinsky’s eminent ballet ‘The Firebird’
By Joe Hansen, News-Press Correspondent
Today it’s difficult to imagine the world of ballet without Igor Stravinsky.
But prior to the evening of June 25, 1910, Stravinsky was just an unknown 27-year-old composer. That was before “The Firebird.”
The nearly hour-long ballet famously propelled Stravinsky to renown — he would pen “Petrushka” and the Earth-shattering “Rite of Spring” in the next two years — and Stravinsky’s musical genius became a boon for a long list of gifted choreographers who left their stamp on the ballet, beginning with the original choreographer Michel Fokine.