Sadko Russian Folk Orchestra and Ballet 1995 20 City American Tour

Sadko Russian Folk Orchestra and Ballet gained fame in 1991 in Russia and in Europe by presenting an adaptation of Rimsky-Korsakov’s opera “Sadko”. The opera is about the legend of Sadko, a rich merchant sea traveler who lived during the late 12th century, when Novgorod was an independent trade city. Sadko was taking one of his long voyages, which had already lasted twelve years, when his ship stopped in the middle of the ocean. The crew, after a while, believed the sea king wanted a sacrifice, and they drew straws to see who would be the sacrifice.  Sadko lost the draw.

Sadko was one of the best Gusli (stringed instrument that has a similar tone like those of the Russian Orthodox Church bells) players anywhere. Sadko strummed his Gusli and the sea opened and he went down to the bottom of the sea to see the sea king. The sea king asked Sadko to play the Gusli and to sing for him. The king liked Sadko’s music so much that he asked him to stay in his kingdom and to marry his daughter, Princess Volkhva, who had already fallen in love with Sadko.Sadko had a faithful wife, Lubava, who had been waiting for him for many years. So, with the help of a fairy godmother, he was released and returned. The sea king’s daughter still wanted to be near Sadko, so she turned into the River Volkhva that runs right beside Novgorod, where Sadko lived.


“Sadko” orchestra is noted for its timbre variety. Its composition includes all Russian instruments: balalaika, dombra, accordion (“garmoshka”), folk wind instruments, which usually replace the flute and oboe in other orchestras.”Sadko” folk orchestra includes solo-vocalists and ballet group. The orchestra was founded in early 1991 by the famous promoter in the field of culture, Mikhail Serov, a professional musician and professor of the musical academy named by Gnesin-Valeriy Korostelev. Young professional musicians, postgraduates of several musical colleges make up this orchestra.


Sadko is the only privately owned folk orchestra and ballet company in Russia. The main purpose of this collective is to promote revival and popularization of the Russian musical culture. The orchestra has become a part of the “Center of Russian Culture “Darya””, headed by Michail Serij.In 1991 the first record of the orchestra was recorded by “Melody” firm. Russian television loved the orchestra and made the television show and repeated it several times. Nikoly Kalinin, the main manager of the famous orchestra named Osipov, admitted the artistic significance and value of the new group.In 1992, the ballet was founded by the famous cultural promoter, soloist of “Beryoska” (Birch Tree) group, Yury Chiviligin. Dances performed or original music is specially written for the group according to the original Russian folk music. They include Russian kadril, Kozak dance, “Gzel” dance (winded by the artistic images of the world famous Gzel china) and other dances.


The orchestra and the ballet group have original costumes, made according to the 12th and 13th century artists’ sketches. All musical instruments are made by special top Russian craftsmen. Popular and famous solo-vocalists perform with the orchestra.In recent time the following vocalists perform in the show: Julia Uchvatova, Russian folk songs singer, honored at the prestigious show “Voices of Russia”, held by Russian television and radio; tenor Vladimir Baka, soloist of Moscow Filarmony.


During the concert original Russian melodies, adapted by talented composers especially for “Sadko” orchestra, are played. The head of the orchestra is the honored conductor Valery Kazakov, famous student of Professor Vladimir Minin, the head of the Moscow Chamber Choir.”Sadko” is unique and is the only private folk music group in Russia. It is very popular among tourists from different countries, visiting Moscow. Its concerts along with the Bolshoy and Moscow circus performances are high on the list of cultural events for many tourists. The group is more knowable under the name “Folk group at “Uzkoye”. “Uzkoye” is a hotel, where the “Sadko” performance usually takes place. During the existence of the folk group more than 400 concerts have been performed. In October-November of 1993 a successful tour to Germany received wonderful reviews.



Produced by Samuel Roggers & Associates and Sirron Kyles


The Taste of New Orleans – A Food & Music Festival


image30The Taste of New Orleans
A Food & Music Festival

You can’t get a more authentic slice of New Orleans than this two-day food and music festival, featuring ton’s of fresh boiled crawfish seasoned New Orleans Cajun style, plenty of jambalaya, gumbo, red beans & rice, sizzling hot blackened spicy chicken and even a little fried alligator.


Festival goers will sample and help judge the New Orleans style gumbo and jambalaya from the many vendors competing in the “Gumbo & Jambalaya Cook Off.”


The “Taste of New Orleans Festival” will be held Saturday and Sunday, November 2nd & 3rd 2002 @ Summerlin Hills Park (9099 Hillspointe between Rampart and Hill Street in Summerlin) Music begins at Noon each day and ends with an all band and staff finale at 10:00 PM each night.

Tickets for the “Taste of New Orleans Festival” are available at all Ticketmaster outlets and online at http://www.ticketmaster.com. Ticket prices are: $8 presale, plus service charge, and $12 at the gate.

The “Taste of New Orleans Festival” will feature music from performers ranging from traditional to contemporary New Orleans style Jazz, Blues, Ragtime, Gospel, Cajun, Rhythm & Blues, Funk and Zydeco. Last but certainly not least are the Dixieland brass bands.

The Festival will close each night with a New Orleans style funeral procession featuring one of the top funeral bands from New Orleans. This group will entertain the fans before leading them to the exits.


The Festival’s “Arts and Crafts Village” will showcase Louisiana, Africa and the South, providing Festival goers with a window into New Orleans and its unique way of life through top artists and vendors that will present jewelry, clothing, painting, woodwork, ceramics and more.

For more information on sponsor and marketing opportunities, or to inquire about participation in the Festival as a volunteer or performer, please contact the Festival Hotline at 702 254-9064. The Festival can be reached by email at: tasteofneworleans@juno.com. Remember, no food, beverages or glass containers will be allowed into the Festival.

The “Taste of New Orleans Festival” is not associated with any other event. The Festival is produced nationwide by SV Kyles & Associates.



Cuban National Television Ballet Company’s US Tour

Cuban National Television Ballet Company’s US Tour


Radio Havana Cuba, Thursday, February 4, 1999


CUBANEWS FROM RADIO HAVANA CUBA


CUBAN NATIONAL BALLET COMPANY BEGINS U.S. TOUR PRODUCED BY SAMUEL ROGGERS AND ASSOCIATES U.S.


Havana, February 4(RHC) — Cuba’s National Ballet Company will perform
In Centennial Hall in Tucson, Arizona on Thursday night as part of a
U.S. tour that will also take them to several other U.S. cities.


Audiences will be treated to performances of the ballet classic
“Giselle” with the choreography of Alicia Alonso, Director and
Founder of Cuba’s National Ballet.






The renowned ballet troupe will also perform in the McCullum Theater
In the California city of Palm Desert, the Wiltern Theater in Los
Angeles and in Berkeley, Seattle, Cleveland, Minneapolis and Newark.


Cuba’s National Ballet Company performed in the U.S. last year and
Received outstanding reviews from the public and media, also produced by Samuel Roggers and Associates.

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June 20, 1997
CUBAN TELEVISION BALLET CO. PRESS RELEASE Fusion 20000 40 City American Tour, Music, Vaudeville, Dance & A Little Bit Of The Circus (Based on Cuba’s cultural fusion) For nearly fifty years, the United States has not had the opportunity to experience one of the world’s greatest entertainment joys, Cuban song and ballet dancers and performers direct from Cuba. All of the Cuban Television Ballet Co. members are graduates from Cuba’s School of Ballet & Dance.


The Cuban Television Ballet Company was founded in 1967 by Louis Trapazo and Christy Dominguez, the first premier ballerina and teacher of Cuban stage dance. In January of 1993, Guillermo del Rosario, of Gap Del Caribe S.A. De C.V. (a Cancun based production company), a Cuban Producer General Manager, began to recruit 25 of Cuba’s most talented and beautiful male and female top dancers, specialty performers and a 14 member Cuban band, many of whom have previously performed throughout the world on both stage and television (where they have received many awards and acknowledgments), to show the excellence and professional talents of these performers. The Cuban Television Ballet Company members, Fusion 2000, are based in Cancun, Mexico, and all payments received go to the ballet cast and production company. The Cuban government is not included, nor does it receive any of the monetary proceeds.


Fusion 2000 is a collection of the expression of Cuban, Spanish, Mexican, African and American vaudeville, music, hot rhythms and dance, and skits of both past and present.


This presentation will prove to be one of the best, most exciting, most refreshing, stimulating, cultural musical and dance shows of all time. Fusion 2000 includes the award winning Perezoff Trio Cycling Troupe, featuring the Cuban master of cycling, Raul Perez Martinez. This medal winning act is something truly special to see.  Most of all, Fusion 2000 is funny, sexy, creative and dramatic, with 22 different dynamic scenes. The show is 21/2 non-stop hours in length… The show is the expression of the fusion of cultures portrayed by dance and music.




The Cuban Television Ballet Co.’s B CFusion 2000 BC is exclusively produced in the United States by Sirron Kyles of Samuel Roggers & Associates…P.O. Box 8305, Houston, Texas 77288…


Touch the World Tour

Produced in part by Samuel Roggers & Associates and Beaver Production

 

Four years passed between 1983’s embarrassing Electric Universe and their reunion album, Touch the World. Before the album’s release, there was excitement as well as skepticism among Earth, Wind & Fire fans. Was EWF still capable of delivering a great album? And even if it was, how well would the album do in an R&B market that was radically different than that of the image0011970s? As it turned out, a lot of the old magic was still there, and Maurice White and Philip Bailey proved that they could still be a powerful combination. From “Evil Roy” (which describes an urban youth’s life of crime) to the major hit “System of Survival,” Touch the World proved that EWF was still quite capable of excellence.

 

Though White doesn’t shy away from technology, he uses it in an organic fashion and remains faithful to the outfit’s rich history. Despite “System of Survival”‘s success, the album wasn’t the huge commercial hit it deserved to be, but it wasn’t a bomb either. ~Earth Wind & Fire Touch The World Tour 1987 Last Muriece White's Tour Picture B

January 4, 2006 Guangzhou Acrobatics Troupe

Chinese acrobatics troupe turns ‘Swan Lake’ on its head



January 4, 2006


‘Swan Lake” is one of the best-loved of all ballets, especially in China, where it was the first full-length ballet performed by Chinese dancers after the founding of the People’s Republic. The Tchaikovsky classic is a standard in the Central Ballet of China’s repertory and is also frequently performed by cash-strapped ballet companies from the former Soviet Union.


Acrobatics, on the other hand, is the ugly duckling of China’s performing arts, ignored and disdained by city dwellers who consider it both passé and déclassé. Attendance at acrobatics performances has been declining for years, and nowadays its audiences are almost exclusively foreign tourists and overseas Chinese.So producing an acrobatic version of “Swan Lake” would seem to be a risky undertaking, destined to be criticized by high culture purists and ignored by audiences who like their “Swan Lake” just fine without the trapeze. But the Guangzhou Acrobatics Troupe a military troupe attached to the Guangzhou Greater Military Region and no stranger to risk has done just this. Surprisingly, its acrobatic version of “Swan Lake” has taken China by storm, filling houses in more than half a dozen cities, including more than 30 sold- out performances at the Shanghai Grand Theater, where it premiered last March. The show completed a weeklong run in Beijing on Dec. 28, its last domestic performances before it begins an international tour that includes Russia, Japan, Germany, Malaysia and the United States and is expected to last up to five years.

“Acrobatic Swan Lake” is directed and choreographed by Zhao Ming, a former ballet dancer who studied modern dance in New York in 1984 and was a principal dancer with the Hong Kong Ballet from 1993 to ‘95. He is also this year’s chief choreographer for the annual China Central Television Lunar New Year gala that is watched by 800 million people.


“People usually talk about the skill of acrobats and the beauty of ballet. Now they can talk about the beauty of acrobats and the skill of ballet,” Zhao said. “I really love to turn things on their head.”

His stunning production overturns many conventions, starting with the story itself. In this version, the Princess Odette becomes a Chinese girl turned into a white swan by an evil eagle that descends from the sky on high wires. A European prince sees the distressed maiden in a dream and sets sail to rescue her. His quest is ultimately successful, and instead of drowning in the lake, the happy couple marries in the Forbidden City.


The prince’s sea journey provides a platform for many amazing and beautiful acrobatics, including one scene in which the masts of his ship are represented by three men standing about 3 meters, or about 15 feet apart, holding three long bamboo poles pointed skyward. Three sailors from the ship clamber up the poles and fly through the air from pole to pole gripping only with their legs until finally all three sailors cling to a single pole, still borne aloft by only one man. Zhao also turns certain ballet conventions on their head most remarkably with a beautiful pas de deux in which the White Swan dances on point atop the prince’s head and shoulder. When the prince seeks the White Swan at the beginning of the second act, she is walking on a tightrope and he is floating across the misty lake on a giant lily pad. Acrobatic monkeys creep along the tightrope, crawling on top, hanging beneath, somersaulting and back-flipping. The prince and the White Swan meet and dance, and then the other swans float out on roller skates that are obscured by long white gowns; the impression, on a misty lake surrounded by gnarled trees and dangling vines, is that of a magical floating world. Like Matthew Bourne, who created an all-male “Swan Lake” in 1995, Zhao injects humor into the traditionally tragic story. He pays homage to Bourne’s version (and to China’s own tradition of male actors playing female roles) with four male acrobats dressed as ballerinas who coquettishly try to woo the prince away from the White Swan or clumsily fall over one another as they pirouette.


In several scenes, acrobats walk on stilts that are disguised by red toe shoes and give the effect of exaggerated on-point dancing. The famous dance of the four little swans has been amusingly transformed into a dance of four little frogs, with four men who do the entire dance on their arms.


Although this “Swan Lake” is performed by an acrobatics troupe, Zhao also alters many of the traditions and conventions of acrobatics. “Acrobats have very high technique, but they don’t know how to listen to music,” he said. “But Tchaikovsky’s music is the most important part. You can’t change the music you have to fulfill all your goals within it. Everything has to be in the music, and come from it. This was very hard very, very hard.”


The acrobats also had to study dance and performance and, perhaps most difficult of all, learn to subsume their hard-mastered techniques to the music and the drama. “Sometimes I had conflicts with the acrobats,” he explained. “They have very strong traditions and ways of doing things. But you can’t let them make a mistake; it would ruin the whole drama. It’s not like an acrobatics show, where you can make a mistake, try again until you get it right and everybody claps for you.”


Although Zhao has great respect for acrobatics performers he argues that they should “come out of the tent and onto the stage” worldwide he does not think that this production, or any other, will truly revive the art form in China.


“There is a very good market for ‘Swan Lake’ here,” he said. “But the market for acrobatics is outside China.” Indeed, in another upturning of convention and a sign of things to come, this entire production has been made with an international market in mind. In an unusual arrangement, but one likely to become more common, the show is a cooperative venture between a private company, Shanghai City Dance, and the government-owned acrobatic troupe. “Not one penny comes from the government” for the production and touring costs, explained Michael Sun, the president of Shanghai City Dance. “It’s all private money. In creating this we have thought of the audience and the market. This is revolutionary in the performing arts, to have all the money coming from a private company. And we are not doing this to give the government face or to win prizes. Our goal is to bring talented artists to the market.”


In fact, “Acrobatic Swan Lake” is exactly the sort of production that is likely to make the Chinese government look good. After years of reducing subsidies to its arts organizations and urging them to learn to support themselves, the government is finally giving them the freedom to do just that. Shows like “Acrobatic Swan Lake” are certain to face a receptive market overseas the show’s U.S. tour already includes 150 performances in Las Vegas and it should surprise nobody if China’s next big export product is high-quality, hybrid performing arts shows like this
Produced by Samuel Roggers & Associates in Association with S.V. Kyles & Associates