Bat, Ball and Bard -Strauss Beyond Borders

Eisenstein (Roger Honeywell) attempts to mesmerize Adele (Suzanne Rigden)
Photo by Tim Matheson

Plan for a late night! Vancouver Opera’s performance of Die Fledermaus is a long performance that will keep you engaged from beginning to end. With 2 intermissions, the performance extends to almost 3 1/2 hours, and longer if you take in the pre-performance talk or stay to meet the cast at the end…of course the lengthy standing ovation also adds to the time. Maybe it was the mesmerizing effect Eisenstein’s watch; or perhaps it was that those of us who attended Doug Tuck’s amazing pre-performance talk were made honourary citizens of Vienna for the evening, whatever the reason was, the time just flew by and will for you too.

Saturday’s performance was dedicated to Dr. Irving Guttman (October 27,1928-December 7, 2014) Founding Artistic Director of Vancouver Opera, and he no doubt would have been proud for a number of reasons. Suzanne Rigden as Adele, captured everyone’s heart within the first few seconds; her operatic laughter, squeals, and giggles could be understood in any language. Her role did much to keep the laughs rolling throughout the evening. Up until Act III I would have said her performance was my favourite, but then surprise, surprise, Christopher Gaze went and stole the show.

In fact it was a great surprise to see Christopher Gaze, Artistic Director of Bard on the Beach, on stage at the Vancouver Opera. Although he was mentioned in the program, I missed this piece of information. It was not until the woman sitting behind me whispered, “That’s Christopher” that I realized who it was. He was by then reciting Shakespeare and to Vancouverites, there is only one Christopher who recites Shakespeare.  I’ve met Christopher Gaze a number of times at parties but never would have identified him based on his transformation into the character of Frosch. His performance was brilliant both for its artistic quality as well as for its pure genius as a clever marketing ploy. Peppered throughout his “darling” conversation with Conductor Johnathan Darlington, were references and suggestions Bard on the Beach fans could not miss. Christopher Gaze is one of the gems of the Vancouver Arts scene and seeing Vancouver Opera and Bard on The Beach collaborating in this way reassured me that the arts community is getting smarter.

It used to be that arts groups viewed each other as competitors, each one vying for support of ticket goers, donors and sponsors. The world is evolving to be a more collaborative space where borders between groups now serve as points where cooperation can be fostered. It takes a different skill set to share a border than to defend it. In the end the effort to learn these skills is well worth it. Whoever came up with the idea to cross promote Shakespeare and opera should get a bonus for fantastic, creative marketing. Bard on the Beach got some extra exposure, but Vancouver Opera in my mind was the real winner. In my estimation they’ve just been promoted be the arts group that offers one of the best options to get your corporate or organizational message out to 2,700+ audience members each performance.  I’m not sure what arrangement was made between the two groups, but if your target market is same as Vancouver Opera’s, I’d make a call to Doug Tuck Director of Marketing at Vancouver Opera to see if a similar arrangement could be made for your organization. The art of advertising was at its best on Saturday. The clever twist made the performance relevant and refreshing.

Doug Tuck’s detailed, funny, and informative pre-performance talk did much to provide the history and background to Strauss and Die Fledermaus. The various twists Vancouver Opera and Director Nancy Hermiston put on this work brought Vienna to Vancouver and Vancouver to Vienna.    The “Instant Expert” section of the program also added provided useful information. Opera can be an intimidating art form. Vancouver Opera offers many ways for newcomers in the audience to feel comfortable, well-informed and relaxed. The integrity of the German opera was preserved even as English was woven into it. Projected English translations helped everyone to follow the German parts.

Die Fledermaus 8 Prison governor Frank (Andrew Greenwood), tasked with bringing Eisenstein to jail, is unaware that it is actually Alfred (David Pomeroy) that the tipsy jailer Frosch (Christopher Gaze) is attempting to apprehend. Rosalinde (Joyce El-Khoury) is fully aware of the embarrassing mistake. Photo by Tim Matheson

The entire cast was extraordinary.  Joyce El-Khoury as Rosalinde and Roger Honeywell as Eisenstein kept a delightful tension between them as they fell victim to the scheme of Dr. Falke (Hugh Russell).   Although poor Alfred never quite got what he wanted, the audience certainly did. When David Pomeroy took his curtain call the audience rewarded him with an especially thunderous applause, which was already roaring loudly for the previous members of the cast who had taken their bows.

Rosalinde (Joyce El-Khoury) deals with the advances of her enthusiastic ex-lover, Alfred (David Pomeroy)
Photo by Tim Matheson

One of the things I’ve always loved about the Opera is that it combines so many other arts: singing, orchestra, acting and dancing can all be found in Die Fledermaus. Had any one of these art forms been less than spectacular, the performance would have suffered. Instead all of the parts worked in harmony to do justice to Strauss’s phenomenal work. One member of the chorus danced with such enthusiasm during Act II that the tall grey haired gentleman would have received a mention here had I been able to confirm his name; bravo to that unsung hero of the cast who made the ball at Pince Orlovsky’s come alive with his dancing.

The singers could not have done their job without the formidable support of the orchestra under the direction of Johnathan Darling. It was nice to see them get some extra recognition during the exchange with Christopher Gaze. It’s good to see the spotlight shining on members of the orchestra every now and then. We cannot forget the importance of orchestras to the many performing arts which they support.

One of my new favourite charities is Instruments Beyond Borders; a group I heard about from one of its founding members, Praveen Varshney of Varshney Capital. To find out more about this wonderful organization and how they are “harnessing the power of music to better children’s lives” visit their website at www.instrumentsbeyondborders.org. I’m hoping all of the orchestra members will take a special interest in this group to keep music alive and thriving in the next generation. Hats off to Goldcorp and other sponsors who helped Vancouver Opera bring Die Fledermaus to the Queen Elizabeth Theatre, a place where the customer service continues to be among the best in Vancouver.

Die Fledermaus is onstage from Saturday February 28 to Sunday, March 8,

Saturday, February 28 7:30pm

Thursday, March 5  7:30pm

Saturday, March 7  7:30pm

Sunday, March 8  2:00pm matinée

All performances are at the Queen Elizabeth Theatre, corner of Georgia and Hamilton Streets, Vancouver, B.C.

Die Fledermaus will be sung in German with English dialogue, with English translations projected above the stage.

In Praise of the Good Thief – Balanchine

Photo By Daniel Azoulay

“God creates, I do not create. I assemble and I steal everywhere to do it – from what I see, from what the dancers can do, from what others do.” George Balanchine.

Stealing is not something normally advocated here, and neither is spray painting cars parked in the downtown core. However, based on what I saw last night, and for the sake of art, I’m inclined to recommend both activities today. If George Balanchine stole to assemble his works, then we were made the richer last night by sharing in the spoils of that crime. If Infiniti Auto is willing to offer up one of its cars as a canvas for art on the grounds of the Queen Elizabeth Theatre, then perhaps the only true crime would be missing the opportunity to view both the car and the ballet while they are here.

At the beginning of the arts season when Ballet B.C. announced that Miami City Ballet would perform the works of Balanchine I said, “I will be there. No mater what, I will be there.” This week was hectic and filled to the brim, stealing time out of my schedule for the ballet did not seem right, the but missing Balanchine seemed even worse. Fortunately for me, one of the clients who needed to meet with me this week was a former dancer in the Winnipeg Ballet; she was kind enough to hold our meeting before the performance and during the intermission. When you really want something, you will find a way to get it.

It seems what Miami City Ballet really wanted was to perform the choreography of Balanchine as it was meant to be performed, flawlessly. The technical precision of the performers, the brilliance of the choreography, and the inspiration of the music all point to the fact that Balanchine knew the capacity of humanity and perhaps more importantly the capacity of the female members of the species. On this point he said,

“In my ballets, woman is first. Men are consorts. God made men to sing the praises of women. They are not equal to men: They are better.”

Knowing many of my readers are men, it is perhaps not wise to spend too much time belaboring this point, except to say, that if you are the type of man for whom the feminine mystique is vexing, perhaps you may gain a better appreciation of women through Balanchine’s work. You could ask for no better introduction to it than Miami City Ballet’s performance of Ballo Dela Regina, Symphony in Three Movements, and Serenade. Set to the music of Verdi, Stravinsky and Tchaikovsky respectively, each work demonstrates the brilliance of the man who understood the feminine form like none other.

His combination of bold movements and subtle gestures are timed perfectly to the music. At some points the dancers appear to suspend themselves in mid air. At other times the work captures, elongates, and defines the precise moment where a body goes from being at rest to being in motion. One of these moments appeared at the beginning of Serenade. As the curtain rose to reveal the corps de ballet in formation on the stage, in unison the audience released an extended “Ahhhhh!”; it summed up the work with brilliance. The dancers were motionless with arms extended and that was enough to indicate the dance had started.
As if anticipating the audience’s reaction to the stillness, Balanchine’s first motion of this piece was a simple movement of the wrist. It reminds us that dance is not just about the feet; it is about the body, and the mind and soul contained within it. Stillness is to dance, what silence is to music. Every note and space had a corresponding movement or stillness that wove sight and sound together. Balanchine invites us to dance with the senses, all of the senses perhaps even those some have lost access to in our modern world. If the mind occupies a space, as we synaesthetes suppose it might, then last night we crossed the threshold and into that space where Balanchine’s mind still exists. As the male dancers transported a female dancer across the stage, it seemed as if we had accessed the very archetype from which all other Balanchine movements are derived. Stillness, motion, progression -both forward and backward coexisted in a harmony like that of the planets. We had entered one of Balanchine’s own dreams and for a moment shared the space of his mind. Balanchine is ballet.

Moments like this are why, despite all of our technical advances, humanity needs art as much as ever. It is moments like this which also cause me to raise an issue I have commented on in other reviews. It is an issue which is no fault of the performers but rather lies squarely in the hands of the audience. Vancouver audiences do not know when to applaud! They do it too much, at inappropriate moments and as if to point out that someone might miss something. Nothing of last night’s performance was missed, but several points were intruded upon by spontaneous outbursts of loud clapping. It is humorous to me that for the past several performances I’ve been to at the QE an overeager applauding audience is my biggest complaint…perhaps I am getting old. If it is not a generational thing, then perhaps it is sign the audience is comprised of diverse cultures where frequent clapping is the norm. Perhaps it is an indication that ballet is now appealing to an audience which is new to the performing arts. Perhaps it is the impact of social media which prompts us to announce everything we like. Whatever the reason, it seems we will have to put up with it if Ballet B.C. keeps bringing us performances like this one; it is a small price to pay for the privilege of viewing the work.

The costumes of Serenade were blue with white motif, making the male dancers look as if they were a piece of fine Wedgewood china come to life. Their costumes reflected the power of man’s strength, while the women’s costumes reflected the power of their beauty. They were perfect for the work. All of the costumes were well-suited and used colour appropriately to capture the mood. The robin egg blue used in Ballo Della Regina evoked the spring and the various shades of pink worn by three women in Symphony in Three Movements stood in contrast to the black and white worn by the corps de ballet. If the colours worn by the corps were less vibrant than those of the principal dancers, rest assured their performance was not. As Ashley Bouder of the NYC Ballet once said, “Balanchine let the corps dance.” Last night Miami’s corps did.

Photo By Joe Gato

On the topic of colour, it was the colour red that caught my eye heading into the QE. A man holding an aerosol can was spray-painting a car on the grounds of the QE plaza. There were a few people milling around and the one holding a camera tipped me off that, what might have otherwise looked like a graffiti crime in progress was actually something else. With piqued curiosity, I approached the vehicle. A conversation with one of the reps confirmed Infiniti was partnering with the QE to celebrate Chinese New Year. She kindly answered my request for more information by giving my card to Mark James of Cohn & Wolfe, the creative firm behind getting the word out about Infiniti and their installation. On their website they say they “pride [themselves] on [their] commitment to creativity – seeking out the next big idea that makes a difference – big or small.”

Of this particular big idea from Infiniti Mark James said, “Infiniti has created a unique and interactive vehicle display featuring a Q50 sports sedan that will be specially-designed by local artist, Carson Ting. Carson will be onsite at the Queen Elizabeth Plaza (Thursday-Friday 2pm-9pm; Saturday11am – 9pm) in Vancouver, as he paints his interpretation of the Year of the Goat on the Q50 and creates a Chinese New Year celebratory piece of art. This will create a living, evolving art exhibit that will be prominently displayed at the Queen Elizabeth Plaza this weekend with special offers from Infiniti for visitors onsite.”

I’m passionate about business and art; few things excite me more than moments where business and art share the stage to enhance each other. Emily Molnar, Artistic Director of Ballet BC is always quick to point out the important role their sponsors like: The Rosedale On Robson Suite Hotel, Assante Financial, CI Investments and Wells Fargo play in bringing groups like Miami City Ballet to Vancouver. Program ads like those of The Dance Shop, CTV and QMFM caught my attention. Infiniti’s promotion however, brought art to the streets. Well done Infiniti Auto for stepping up the game on collaborating with the arts!

The power of the arts to drive business, and the power of business to support the arts is a recurring theme in my life these days. It is nice to see the Queen Elizabeth and Ballet B.C. getting the importance of this symbiotic relationship.

If you’re looking for a place to eat prior to the performance, I highly recommend an early meal at Vij’s on West 11th. There you will be treated to the hospitality of Vikram Vij’, a man who like Balanchine understands the power some women can command. In a talk he gave recently, Vikram attributed his success to his wife Meeru Dhalwala and the other women who’ve made the dream of Vij’s a reality for over 20 years. It was a pleasure to attend this talk with Junior Bali (Dj 151) and Mark Rosner as the guests of Vik Khanna of T.I.E. and Praveen Varshney of Varshney Capital. A shout-out to all of these individuals who have also found innovative ways to combine commerce and commitment to art and culture. It is no longer art or business; it is the art of business. To find out more about the organizations with which these people are involved, and how they are contributing to arts and culture. Please visit the following links:

Mark Rosner connects artists and businesses to other with artistdeals.ca

Praveen Varshney brings musical instruments to disadvantaged children with Instruments Beyond Borders

Vik Khanna mixes culture and business with T.I.E. 

I would love to see all of these groups strengthen their ties with Ballet B.C. in the future; you have much to share with each other, and Vancouver will the richer for everyone knowing more about strengths each group brings.

An evening of Indian food, Chinese art, and ballet from a Russian-American; only in Canada are we able to steal so much from other cultures without raising a weapon to do so.

Balanchine plays the Queen Elizabeth Theatre at 8:00pm February 19-21, 2015.Tickets range from $40.00 to $98.50 (including service charges) and can be purchased through Ticketmaster at 1-855-985-2787 (855-985-ARTS) or online at ticketmaster.ca.

There is an additional matinee 2PM Saturday!

Miami Ballet -Balanchine

I’m very excited to be reviewing Miami City Ballet’s performance of Balanchine’s choreography tomorrow (Feb 19).  As part of my commitment to build bridges between Vancouver’s business and Arts communities here is a special shout out to the sponsors who contribute to Ballet BC.

Ballet BC would like to thank Platinum Season Sponsor and Official Hotel Sponsor: Rosedale on Robson Suite Hotel, Gold Season Sponsors: Assante Wealth Management and CI Investments, Performance Sponsor: Wells Fargo, and Media Sponsors: The Vancouver Sun, CTV and QM-FM. Support for Ballet BC has been generously provided by the Canada Council for the Arts, the BC Arts Council, the Province of British Columbia, and the City of Vancouver.

Please see the following press release for more details:

BALLET BC PRESENTS REVOLUTIONARY CHOREOGRAPHY IN

 MIAMI CITY BALLET’S BALANCHINE 

Vancouver, BC — For the first time in the company’s history, Ballet BC presents Miami City Ballet in a program of George Balanchine’s revolutionary choreography at the Queen Elizabeth Theatre for four performances, February 19-21, 2015. Performed by Miami City Ballet, one of America’s finest Balanchine interpreters, Balanchine is a triple bill of acclaimed George Balanchine works: Serenade,Symphony in Three Movements, and Ballo della Regina.

In an evening that displays Balanchine’s inspiring marriage of ground-breaking ballet with classical music, each piece is choreographed in dynamic relation to some of the world’s most celebrated scores.

Serenade, first performed by New York City Ballet in 1935, is a milestone in the history of dance, planting the seeds for his reshaping of classical ballet into an American art form. Set to Tchaikovsky’sSerenade for Strings in C, Serenade is revered as Balanchine’s masterpiece and even he referred to it as his “favorite child.” Symphony in Three Movements is a large ensemble work that is bold and breathtaking – a tour-de-force that is striking for its simplicity and power. Balanchine’s choreography mirrors the propulsive rhythm of Stravinsky’s titular score with angular, athletic choreography. The virtuosic and exhilarating variations in Ballo della Regina are set to Verdi’s music edited from the original score from Don Carlos. The work is a beautiful and intricate set of variations for the ballerina, her partner, and the corps de ballet that offers many unique challenges with its vibrantly fast-paced and elaborate choreography.

Each of these works expertly demonstrates how George Balanchine redefined the classical tradition in progressive ways and how Miami City Ballet has earned its reputation for being one of the finest interpreters of his work.  The New York Times calls Miami City Ballet, “one of the world’s leading exponents of choreography by George Balanchine” and Ballet BC’s Artistic Director Emily Molnar says, “Ever since I became the Artistic Director of Ballet BC, one of my desires has been to bring an evening of works by George Balanchine, a pioneer of contemporary ballet. Miami City Ballet is one of the leading ballet companies interpreting his work today. We are thrilled to share this exciting program of masterworks with Vancouver audiences.”

Miami City Ballet Artistic Director, Lourdes Lopez – former principal dancer with New York City Ballet under Balanchine and Jerome Robbins – echoes Emily Molnar’s enthusiasm by adding, “We are thrilled and grateful to Ballet BC for presenting us in their programming this season, and to have an opportunity to perform at such prestigious venues outside of our home theaters. Mostly, I am looking forward to the company performing stellar ballet of remarkable artistry before our Canadian friends.”

Balanchine runs for four performances, February 19-21, 2015 at 8:00pm plus Saturday, February 21 matinee at 2:00pm at the Queen Elizabeth Theatre. Tickets range from $40.00 to $98.50 (including service charges) and can be purchased through Ticketmaster at 1-855-985-2787 (1-855-985-ARTS) or online at ticketmaster.ca.

About Miami City Ballet

Hailed by the New York Times as “one of America’s most beloved dance companies,” Miami City Ballet is led by Artistic Director Lourdes Lopez. The Company has 50 dancers and a repertoire of nearly 100 ballets. Among the Company’s notable achievements have been critically acclaimed performances in Paris and New York City and the nationally televised PBS THIRTEEN special: Great Performances – Dance In America: Miami City Ballet Dances Balanchine and Tharp. During its October to April season Miami City Ballet performs in Miami, Fort Lauderdale, West Palm Beach and Naples. Miami City Ballet maintains its headquarters in Miami Beach in a facility designed by renowned architectural firm Arquitectonica. The facility houses rehearsal studios and administrative offices as well as the Miami City Ballet School, home to one of the nation’s leading pre-professional ballet training programs. 

About Ballet BC

Combining classical integrity with a contemporary sensibility, Ballet BC is a company of 18 talented dancers from Canada and around the world that is committed to the ballet of today. Solidly grounded in the rigour and artistry of classical ballet, with an emphasis on innovation and the immediacy of the 21^st century, the company presents a distinct and diverse repertoire of the most sought-after Canadian and international contemporary ballet choreography. Ballet BC continues its commitment to perform highly acclaimed productions on regional, national and international tours in addition to its regular performance season at the Queen Elizabeth Theatre in Vancouver. For more information, visit balletbc.com or follow us on Facebook, Instagram and on Twitter @balletbc.

 Ballet BC would like to thank Platinum Season Sponsor and Official Hotel Sponsor: Rosedale on Robson Suite Hotel, Gold Season Sponsors: Assante Wealth Management and CI Investments, Performance Sponsor: Wells Fargo, and Media Sponsors: The Vancouver Sun, CTV and QM-FM. Support for Ballet BC has been generously provided by the Canada Council for the Arts, the BC Arts Council, the Province of British Columbia, and the City of Vancouver.

I Saw Three Ships Come Sailing in…

If you see three ships come sailing in, it’s a good bet they’re on their way to the Vancouver Christmas Market, conveniently located at the Queen Elizabeth Theatre Plaza in the heart of Vancouver. A short distance from Coal Harbour and Quayside Marina, this seasonal favourite should be included on the itinerary of boaters visiting Vancouver from November 22nd to Dec 24th 2014. Over 50 vendors with local and international Christmas merchandise offer countless options for you to deck the halls, or decorate the decks.

A complete review of this year’s event will be posted soon. Be sure to check back for details on some of the items that may be of special interest to you.

Many Vancouverites make the Vancouver Christmas Market a part of their annual tradition. Now in its 5th year, the event has something for everyone. Great food, outstanding merchandise, and engaging entertainment. For complete details on this year’s vendors and entertainers, be sure to check out vancouverchristmasmarket.com

 2014 Vancouver Christmas Market

November 22nd to December 24th
11am to 9pm daily; 11am to 6pm on December 24th
Queen Elizabeth Theatre Plaza, 650 Hamilton Street, Vancouver

Admission: Adults (13+): $7 – Mon-Fri 4pm-9pm & Weekends 11am-9pm
Adults (13+): $4 Special! Mon-Fri 11am-4pm
Seniors (60+): $1 off regular admission
Youth (7-12): $3
Child (0-6): FREE

Carousel Rides: $3 per ticket; $10 per package of 5 tickets

No. 29 Starts Thursday!

 

 

I’ll be reviewing this Thursday’s performance of No. 29. Be sure to check back later for the full review. If you plan to take in the performance that night, I’d love to hear your comments or meet up with you at the intermission for your thoughts on it. For more details on the work, or to purchase tickets click here.

QUEEN ELIZABETH THEATRE
NOVEMBER 6 – 8, 2014 • Performances at 8:00 pm

 For past arts reviews click here

Love design?, Ya might like this story too.

Cirque Musica Delights VSO Audience

There are two sounds which are very pleasing to the ear: the sound of a well-tuned diesel engine warming up, and the sound of a symphony orchestra doing the same; both sounds suggest that something exciting is about to happen. As the VSO warmed up on Saturday night in preparation for the Cirque Musica performance, you could tell this symphonic event would be different. Above the stage at the Orpheum hung long flowing ribbons and contraptions not normally seen at a VSO performance. My expectations of the evening’s performance were high, and yet the VSO and the Cirque Musica troop managed to surpass them.

During the opening number, Gordon Gerrard looked confident and relaxed on stage in his tailcoat; and his baton appeared to direct the symphony before him effortlessly. When he first turned to the audience, a large smile seemed to confirm what had been inferred from his body language; he was having fun. So were we. The evening was a wonderful event for the whole family and it was nice to see the well attended event included many children. All of whom, as far as I could tell, were exceedingly well behaved. The spellbinding performance no doubt helped to keep their attention.

One indication that the performance was an unusual one for the VSO came at the beginning. At first audience members seemed somewhat confused about when and where to applaud. It seemed inappropriate to clap in the middle of the VSO’s performance, but just as inappropriate not to clap in response to the fantastic cirque acts. By the time they played Offenbach’s “Orpheus in the Underworld” the audience instinctively started clapping and didn’t stop all night. In fact, my only complaint of the evening was that the audience clapped over the violin solo, part of which was played in midair. While this fete was worthy of applause, it was the dance being performed simultaneously that evoked the untimely hand clapping . It is not that the dance performance did not deserve the applause, it is just that audience’s thunderous clapping competed with Veronica Gan’s violin solo. Perhaps telling the audience not to applaud during this part would have built the dramatic tension and made that part a little less distracting. But then again, this was the music of the Circus, so perhaps the effect was intentional. With the dancers centre stage, the VSO in the background and Veronica hanging from the rafters, the effect did mimic a three ring circus with simultaneous acts. One had to decide which act to focus on; my choice was Veronica, which is perhaps why I would have preferred enough silence to let her talent be heard.

All of the acts were stunning however a few stood out as being especially great. The 11 year old performer wearing western attire mesmerized the audience with his incredible command of the Chinese yo-yo. As was said on stage during the performance, this one has “the skills to pay the bills”. The young performer had a fantastic stage presence and a natural gift with the audience. On seeing one of the tricks, an audience member let out a loud extended “WHAT?????”, summing up succinctly the thoughts we all were having.

Throughout the evening, the VSO performed with precision playing. The Imperial Death March from Star Wars, Tchaikovsky’s 1812 Overture, and Rossini’s William Tell Overture were played along with other pieces including several orchestrated pop favourites. To this music acrobatics, dance, and trapeze acts were performed. All of the acrobats were graceful and sleek. At one point, two women dressed in black leotards shared the stage; first one performed, and then the other, alternating back and forth for several rounds. It was a dual-like competition between them, where each tried to outdo the other’s previous fete of strength, agility, and mind blowing contortions. The audience was both shaken and stirred. Either one of them would have given any Bond girl a run for her money. As one climbed toward the ceiling on a rope tying herself in knots as she went, one could not help but think her skills would be useful on a sailboat; she did not require a bosun’s chair and her ability to manipulate the rope outshone any seasoned crewman’s ability to manipulate lines and halliards.

Comic relief was supplied throughout the evening by a pigeon-toed gentleman wearing saddle shoes ,an oversized tailcoat, and undersized tuxedo pants. Many of his lines were worth quoting, but out of respect for those who may see a Cirque Musica performance at a later date, his punchlines will not be revealed here. You must go to hear them for yourself.

A special shout-out must go to the stagecraft team who worked tirelessly behind stage and in the wings. At times the performers’ lives were literally in their hands;  a “well done” goes out  to each of you who contributed so much to the evening from behind the scenes. Joining the troop on stage would have been entirely appropriate, and I hope that you are invited out front to take your bow for future performances. The lighting, rigging, and wardrobe people all helped to pull the evening off. At times the VSO was relegated to the background only because the visual acts were so stunning. Let us not forget that behind the great cirque acts, the VSO filled the house with all of the appropriate sound to evoke the many emotions the audience felt throughout the evening. Bravo to the whole crew, cirque stars, musicians and unsung heroes alike.

If you attended the performance I would love to hear your comments about what you enjoyed most. The VSO is a treasure in our city; if you are ever visiting Vancouver on your yacht, you will be pleased to learn that the Orpheum theatre, where most VSO performances are held, is within walking distance to some of Vancouver’s finest marinas.

Be sure to check out their schedule at www.vancouversymphony.ca and add a performance to your West Coast itinerary.

Gordon Gerrard reminded the audience of the VSO Fall Lottery which is currently underway. Grand prize options include the choice of 2014 Mercedes-Benz SLK 250 Roadster, a 2014 Mercedes-Benz GLK 350 4Matic or $50,000 in cash. Additional prizes are also available; more details can be found at http://www.vancouversymphony.ca

To have your arts event reviewed, please get in touch with Katrina at: katrinaboguski(AT)hotmail.ca. Remember to include your contact info and the performance details. If you own a yacht that is a work of art, or one that has a stellar performance record, please remember Katrina is always on the lookout for eye catching yachts to review. In addition to her career as a writer, she remains involved in the West Coast yacht industry and is always keen to help match people with the right yacht whenever she can. Please drop her a note if you have any questions about buying or selling luxury yachts in Vancouver. If she can’t answer the question directly, she will point you toward some who can.

VSO Presents Cirque Musica October 11th, 2014 -8PM

 

 

Planning to be in Vancouver this Saturday, October 11th, 2014? Be sure to reserve tickets to the Vancouver Symphony Orchestra’s presentation of Cirque Musica. This Vancouver debut promises to be an entertaining event where “The best of the Cirque world blends with live symphonic music”.  The VSO is a favourite for local Vancouverites. Visitors arriving to the city via yacht will find it easy to get to their concerts as they are conveniently located in the heart of downtown Vancouver.  Those mooring in Coal Harbour, Quayside Marina or False Creek Yacht Club will find the venue within walking distance; while those staying at the North Shore Marinas or the Royal Vancouver Yacht Club will find transit or taxi service gets them there very quickly.

The VSO performs at the Orpheum Theatre which is a Vancouver landmark. Boaters interested in history and architecture should note that VSO concerts allow you to take in fabulous music in a fantastic setting. The 1927 Art Deco building had new life breathed into it in 2009 and is an National Historic landmark. Originally designed as a Vaudeville theatre, the grandiose structure is now the permanent home of the VSO as well as a venue where other world-renown performers stage their productions while in Vancouver.

 

The Cirque Musica performance is designed to entertain the whole family in a production that will be both visually and musically stunning. Gordon Gerrard will conduct the performance. He is now the Associate Conductor of the VSO and has gained respect as a member of the “new generation” of conductors. The Cirque Musica performance will no doubt benefit from his breadth of experience which includes conducting operatic performances. Prior to moving to Vancouver, Gordon Gerrard was Resident Conductor and Repetiteur for Calgary Opera

Local boaters who keep their vessels at downtown marinas may find Saturday’s Cirque Musica performance the perfect excuse to fit in one more trip to the yacht before the weather changes. Dinner on the deck ahead of the show, or a night on board afterward seem the perfect way to celebrate boating in Vancouver, and the start of another arts season.

Tickets are available online at http://www.vancouversymphony.ca or by calling the VSO Customer Service at (604) 876-3434.

I plan to attend Saturday’s performance and post a review here afterwards. Please check back to read the review and add your comments. I hope to see lots of familiar faces there; if you plan to attend, please be sure to say hello during intermission.

The Lazy Jacks

Many thanks to the folks who make up the sea shanty singing group “The Lazy Jacks”. They and their songs added to the festivities at the Vancouver Maritime Museum. A special thanks to Marian Buechert who followed up the performance by sending me some additional info on the group. As you can see, and hear, this group is anything but lazy, in fact they are getting quite busy and are becoming very popular. Past performances include: the Vancouver Maritime Museum, Hastings Mill Museum, Hollyburn Wooden Boat Festival, the Royal Society of St. George, the Vancouver Folk Song Society, and live on the radio.

If you missed them at the Maritime Museum, mark your calendar for their next performances which include:

The Langley International Festival on June 30
The Steveston’s Ships to Shore Festival on July 1.

The Lazy Jacks are available to perform at your yacht club, or boating rendezvous. For more details on booking the group contact: mbuechert@telus(dot)net

In addition to singing some fabulous old standards, the group’s captain Alison Campbell set the tone for each piece by telling us a bit more about the origin of the songs and the conditions under which they were originally sung. One comment she made stuck with me all week, namely that the songs helped people keep time while they were working on common goals like hoisting sails.  The work flow and efficiency of the sailors was improved, and their labour made sweeter by the accompaniment of these tunes. Many hands working together in time to a well-known tune helped improve efficiency and morale on vessels where working conditions where less than favourable.

I’ve spent years studying Organizational Psychology and corporate training and development strategies. Most of my research has centred around how to create environments where the “whole person” is encouraged to show up and do their best work. After hearing Allison’s comment about the impact singing can have on a group’s efficiency, I had one of those, “Duh why didn’t I think of that!” moments. I have coaxed managers, supervisors, and executives into trying some fairly creative strategies to develop their teams; getting them to sing an old sea shanty at work might have helped them reach their goals even sooner. It’s never too late to try something new.

I’m glad I had the chance to hear the Lazy Jacks and to speak to a few of the singers individually. They reminded me of the joy that singing can bring; the value of keeping alive old traditions, and the incredible force a group can be when they show up together to do something they love.

Members of the Lazy Jacks include:
Allison Campbell,Marian Buechert,Elizabeth Dunn,Betty McBurney,Mary Mitchell,Evelyn Corker,Pat Howard,and Rick Pollay

The Irrational Pursuit of Yachts, and Cars, and Dreams

Having to justify the desire to get involved in a French car is like having to justify the desire to get involved in a French kiss. In the end, the decision to commit the act is driven by the passions, not the intellect. Under the right circumstances, giving way to the desire may be an act of great love, not of great folly. In these conditions, the burden of responsibility is born easily by a heart filled with delight and the regret is found not in committing the act, but in not committing it more often. The key is to control the circumstances, not the desire.

My quest for an early 70’s Citroen (DS or ID) has initiated several great conversations about what moves one to purchase things like cars and yachts, and bicycles which approach the price of cars and yachts. While we may attempt to justify the decision by some reference to the object’s specifications, we know instinctively that no one feature is the underlying cause of our attraction. Consequently, no one objection to the purchase is going to move us to change our mind. Despite knowing this fact intuitively, we still feel obliged to pretend that we are acting rationally. To every social gathering we come armed with a surplus of reasons why the pending purchase is a sound decision. That way, if a friend offers several reasons why we should avoid the purchase, we will have at least one more argument in defense of our madness. Our justifications are merely rehearsed attempts at fending off the well meaning friends and colleagues who, for various reasons, would wish to dissuade us from our prize. However, with each conversation we degrade our dream just a little bit more by attempting to fit it into the rational box constructed by someone else. We feel more and more miserable and eventually risk abandoning our dream and a part of ourselves along with it merely because it could not be rationalized. The fastest way to kill a dream is to rationalize it.

Well trained by the industrial age, we’ve been conditioned to limit our hopes and expectations to better blend in with the masses en route to the factory. Dreamers, rebels, and revolutionaries have never been welcomed on the factory floor, although there are many other domains where they are received with great affection, this blog being one of them. In case you haven’t noticed, the factories are going, and in most cases are gone already; the need to dumb down your dreams is no longer necessary. The millions who mourn for the loss of factory jobs are not so much victims of economic distress as they are victims of Stockholm syndrome. The hand that fed them and the hand that shackled them to the chain were one and the same. The hands that can break our chains and craft our future belong to us alone. They are attached to the arms upon which we may occasionally affix well crafted wings and fly to places unknown. Man’s ability to fly is not the product of the factory but the offspring of his dreams. Man’s ability to fly was recorded by Ovid long before the Wright Brothers took off. It is not important to know who invented flight, but rather that each of us does so again every time we aspire to something a little beyond our reach.

Our rational mind is intended to govern our passions, not to destroy them all together. It is possible to commit an irrational act in circumstances that celebrate the true the good and beautiful. It is possible to enjoy great pleasure without neglecting great discipline, it is possible to hail the dawn of a new era without letting go of tradition. Indeed in the post industrial age, the role of tradition is as great as it ever was. The handing on of information from one person to another is potentially greater now than ever. We live in a day where we can again celebrate craftsmanship, friendship, and talent. We live in a time where surrounding ourselves with creative and audacious people offers more security than any factory job ever could. The term “job performance” is no longer measured by what we produce in a given time; performance now evokes the sense of timelessness and talent that the word has when we say a surgeon performs a surgery or a pianist performs Rachmaninoff. In these instances, we do not insist that the performer behave rationally because we know that the whole person must be involved in the act and the pursuit of its aim. We will not be judged how we performed our job, but by how we performed our lives and how we responded the opportunities we’ve been given to soar. In our final breath we will not be judged by men but by the one who planted the seed of our dreams and by the voice that said make them grow. To God and our conscience we must account for our dreams, both those fulfilled and those cast off too soon.

When we talk about cars or yachts or bikes, we also use the term performance. An object well designed is appealing not only for its ability to perform in the sense we use the word in an industrial context, but perhaps more so for its ability to perform in the artistic sense. If the mere presence of an object makes you want to stand up and applaud, it is evidence that the dream of its designers was carried through to the end.

Good design celebrates not only man’s ability to think rationally but his call to love deeply and his capacity to dream boldly. If another wishes to surrender a part of his wealth for the privilege of acting as steward of an object that is evidence of another’s achievement, this is not an act of folly, but one of great service. To be a guardian of art, whether that art is a painting, or a yacht, or a car is to say to the next generation, “Be great; we will pass on your creation so that others may build on the work of your dreams.” They waste little who appreciate much.

And so, while pursuing the Citroen I have long desired to care for, I am simultaneously pursuing those habits and skills that would make me worthy of the task. When I was engaged full time in the selling of yachts, I made a study of the habits and techniques of successful yacht purchasers. By successful yacht purchasers, I mean those people who where genuinely happy with the purchase of their boats and who could comfortably afford the time, money, and emotional commitment that their purchase required. What I learned from these people was that the objects of their affection were as irrational as anyone else’s, but their behaviour gave them confidence to commit themselves wholeheartedly to their decisions once they were made. They knew which forces they could control, which they could influence, and which they must skillfully endure.

Over the next few posts I will discuss what I learned from these people and how I’m applying their techniques to the pursuit of my Citroen. The hunter rejoices long before the fox is caught, and even before bugle is blown. The heart of the marksman first quickens with joy the moment he says I will make myself ready for the game. If you would not dare to dream to make yourself ready, you have not understood why men pursue things beyond their reach. It is not for the end result alone that we applaud, but for every moment that the dream was sustained, and for the inspiration that ours might be too. If your friends say your dreams are irrational, they are right. It would be far better for you to lose your friends than lose your dreams. Those who desire to have great friends, must first start with great dreams. If you cannot sustain a dream, you cannot sustain a friendship.

The Art of Talking About Boats (Part 2 of a 6 Part Series on Selecting Art For Your Yacht

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“The real art of conversation is not only to say the right thing at the right place but to leave unsaid the wrong thing at the tempting moment.”

Dorothy Neville

I’m a writer and a speaker; if you cut me I bleed words. Starting a conversation is never a problem for me; stopping one? Well, yes that can be an issue. I had always put my “gift of the gab” down to being Irish, however there may be more to it than that. Part of my ease with words and story-telling comes from my ample use of conversation pieces, things in my home, or things I carry with me which serve to enkindle curiosity in those who might look upon them. Once the curiosity is sparked, conversation flows easily, and often toward subjects I am most fond of discussing. Choose the conversation piece well and you are half way there to enjoying an evening of inspiring communication. In a world of text messaging and e-mails, the art of conversation is prized now more than ever. If you are able to enjoy those fine words aboard your yacht in a place like Vancouver, well then the only thing left to do would be to count your blessings.

Given my propensity toward conversations and the pieces which inspire enjoyable ones, it is no wonder that a certain salt-cellar caught my eye while in for a visit with Jeanette Langmann at her gallery (Uno Langmann Limited). It may come as no surprise to you to learn that this “nef”, as it is more appropriately called, was in the shape of a ship. I love talking about boats and such a piece would no doubt direct one’s thoughts toward the finer points of that theme. Its beauty and intricacy coexist with its whimsy and utility. As with the best of yachts, the work that went into creating it is obvious the minute you see it.

Such works of craftsmanship often graced the tables of finer homes in France, Germany, Spain and Italy between the 13^th and 16^th centuries. This particular one originates from late 19^th Germany, but would be perfectly placed as a centerpiece in present day Vancouver. It would be a welcomed addition to my home or to that of any yacht aficionado. In fact its size and shape would make it a well-chosen piece to have aboard your yacht. Yes, you could leave a salt shaker on the table, but such an act at best would inspire the question, “Would you please pass the salt?” Add a silver nef like this one to your table and don’t be surprised if the questions sound more like, “Goodness, is that the sun rising already? Why we haven’t even finished dessert! Could this evening have come to an end already?” If you think I exaggerate, check out the little silver nef and all of its details. See how many questions come to your mind in an instant; multiply that by the number of guests on board your yacht for an evening cruise and you will understand why they call it a conversation piece.

In choosing art for your yacht, considering the types of conversations you might want to enjoy can be a great selection criterion. If you want to talk about your family, portraits of loved ones will set the stage; business conversations can be sparked by objects which relate to your industry. If you would rather keep the focus on yachts, selecting ocean scenes or paintings of ships will certainly help you out, as would the silver nef mentioned above. In perusing Langmann’s vast collection, it strikes me that it contains conversation pieces for any need; the collection itself is worth talking about. Many locals already will be familiar with this well-established gallery, while visitors to Vancouver will surely want to add a trip to it on their shopping itinerary; located in the South Granville district it is easy to get to from any marina in the downtown core.

If you enjoy conversations about yachts and art perhaps we might consider gathering a few like-minded people together, either to discuss art aboard the yachts, or yachts amid the art; either setting would inspire exalted discourse.  If you would be interested in being invited to such an event, drop me a quick e-mail (katrinaboguski@laetareconsulting.com) or add a comment to this post; if enough people are interested I’ll set the idea in motion and see where it ends up. I am sure the little nef will quickly find its way onto the table of some yacht or fine Vancouver home if it has not done so already. If that happens before you get the chance to see it fear not, Jeanette’s collection is filled with an endless banquet of conversation pieces to feed the mind and bring forth pleasant words. You will find the Uno Langmann Gallery located at the south side of the Granville bridge, where it has been inspiring art patrons, antique collectors and good conversations for many years.

To read the first article in this series please click here!