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| Caniparoli, a prolific freelance choreographer, was the most mature dancemaker of this bunch, but his work for this program was uneven. Best was an excerpt from Bird Nest, created in 2000 for the Washington Ballet. SF Ballet corps member Joseph Phillips turned in an eye-opening performance in this swingy solo set to music by Charlie "Bird" Parker (played live by a smokin� but uncredited saxophonist), flinging himself into the air like a paper bag in a sudden gust of wind, loose one moment and tightly controlled the next, never hamming it up. Otherwise, Canparoli was represented by excerpts from 2002�s Devil�s Sonata, a series of Forsythian but indistinct duets set to Giuseppe Tartini�s La Sonata del Diavolo. There was invention here�like the scissor jete, supported with Brandenhoff�s clasped hands above, that sent Rogers slicing the air like a machete�but no real statement. Same for excerpts from Jaybird Lounge, or Uri�s Goldberg Variations, a series of solos and duets set to Bach as updated by Uri Craine. The impression that lingered was of a pleasant but unmemorable duet between Rogers and Diablo Ballet�s Matthew Linzer, a handsome fellow who lands his jumps heavily but partners like a dream./ Review Lambarena has delighted audiences since it was introduced a decade ago, and, although a few sections could be safely trimmed, the piece resonated again on Tuesday. The music is familiar Bach and traditional African music, as arranged for a Sony recording by P. Akendengu� and H. de Courson. The movement welds ballet to African dance and, somehow, it all works. I can�t buy the dumb charge of cultural vandalism; Caniparoli was guided every step of the way by African dance consultants Naomi Gedo Johnson-Washington and Zakariya Sao Diouf./ Review This Cinderella springs from the world of the �Twenties where flappers expressed female emotional emancipation in a slick chic and sophistication; rhinestones flickered frequently on garments, available distractions to missing tiaras, earrings or anything else. Well-turned legs and slender ankles proved effective contestants to fans and handkerchiefs. The kitchen which Cinderella dusts, scrubs and polishes, is arrayed with glass-door cabinets and a multi-drawer cupboard where a stash of alcohol is secreted from the unsteady jaunts of the Step Mother, sporting a Gloria Swanson lounging robe. She�s so in love with the grape or grain the daughters just have sprung rather than grown up. Her lurches, the lengthy cigarette holder, the uneven path undulations, entrance to spirit supply to exit, are minted inspiration, Jennifer Glaze adding a 100-proof daze. The garment entourage, arriving from stage left, was foppishly smart, perfectly equipped to provide narcissism. Raul Salamanca swirled a cape while Jaime Diaz, singularly handsome, fretted deliciously with his chore to provide foot fitness to the hyper-charged step-sisters, elegance vs the hoyden, the hired escorts graphic portraits of struggle./ Review |
| Lily Rogers and Matthew Linzer in Val Caniparoli's Jaybird Lounge. Photo by Walter Swarthout. |
| Cinderella |
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| 1997
Quartette,'' world premiere by Val Caniparoli 1998 Val Caniparoli's "Slow" 1999 Val Caniparoli's "Lambarena'' and ``Aria,''r Caniparoli's "Slow.'' 2001 Death of a Moth/ Val Caniparoli 2002 Val Caniparoli's "Death of a Moth." 2003 Connotations/ Val Caniparoli 2005 Lambarena/ Val Caniparoli 2008 Ibsen's House |
| SF Ballet History |
| "Lambarena" Joseph Gatti & Adiarys Almeida Round 2 USAIBC 06 Joseph Michael Gatti and Cuban Finalist Adiarys Almeida performing "Lambarena" Choreography by Val Caniparoli ....USAIBC 2006 Adiarys Almeida Joseph Gatti Ballet Contemporary Competitions Lambarena/ YouTube |
| Lorena Feijoo and Pierre-Francois Villanoba in Val Caniparoli's Lambarena. Photo by Erik Tomasson. |
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| His theatrical training gives him a particular flair for character roles/ Profile With Val Caniparoli as her handsome Rich Boy, she made insolent sexiness an integral part of her phrasing. These two swells, drunk as Nick and Nora, suave as Fred and Ginger, were irresistible./ Review 1998 |
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