Complete Series: 4038
Power Center For The Performing Arts Ann Arbor, Michigan
The Universal v Musical Society
The University of Michigan
The Ballerina of the Venezuelan People
Wednesday Evening, February 2, 1977, at 8:00
Power Center for the Performing Arts
Ann Arbor, Michigan
Corps de Ballet
Patricia Moreno Arelys Gonzalez
Antonio Cartagena Cesar Gamez
Moraima Perez Julio Perez
Narciso Gil Juan Andrade
Raquel Francia Olga Peralta
Romulo Gonzalez Franklin Bustos
Lina Marino Evelyn Leon Maria Barragan Jasmin Joseph Ingrid Lopez Mireya Malave
Luis Gonzalez Jorge Romero Eudo Chacon Carlos Nieves Rafael Segovia Enrique Alvarado
Xiomara Acosta Sonia Blanco
Edgard Vivas Emilio Marchena Adrian Jimenez Roberto Cordova Carlos Reyes
Benilde Gonzalez Rosines Sosa Elina Briceno Belkis Suarez Nelson Diaz Jesus Nessi Eliecer Zapata
Nelson Diaz Jose Ovalles Marcos Villalobos Carlos Reyes
Twelfth Program Sixth Annual Choice Series, Power Center Complete Programs 4038
Margarita Es una Lagrima (Margarita Is a Tear)
From a Venezuelan poem, this sketch to music of the region represents scenes and customs of the island of Margarita, inhabited principally by fishermen and the largest and most beautiful island of the region.
Corps de Ballet
Burriquita Caraquefia (Little Donkey of Caracas)
The Burriquita is a very old and popular masquerade costume which is worn through the streets of Caracas, capital of Venezuela, to the sound of characteristic music during Carnival time.
La Burriquita: Juan Andrade El Saltarin: Narciso Gil
Seis por Derecho (Six for the Right)
This is one of the typical Venezuelan numbers, originating from the great plains called "Les Llanos," where live the "Uaneros," strong men who tend livestock and are extraordinary horsemen on very fiery steeds. It is interpreted by Yolanda Moreno with a group of dancers.
Yolanda Moreno Julio Perez Luis Gonzalez Franklin Bustos Eudo Chacon
Danza de los Piaches Piaroa (Dance of the Piaroa Priests)
The Piaroa are Indians who live in the dense forest at the source of the Orinoco, the largest river in Venezuela and one of the biggest in the world. The strange music of the Piaroa, obtained by record tape, and the ceremonial robes of the "piaches" (priests) make this dance a classic.
Julio Perez Raquel Francia Corps de Ballet
Sobre el son de los Tambores (To the Sound of the Drums)
With movements characteristic of the Venezuelan Negro dances Yolanda Moreno performs to the typical beat on native drums.
Percussion: Nelson Diaz Jose Ovallks Marcos Villalobos
San Pedro (Saint Peter)
This number goes back to colonial times. The Negro slaves of the farms near Caracas wore the clothing of their masters on certain days of the year to celebrate a tradition according to which a white girl was cured through San Pedro's intervention. This number is danced only by men, in?cluding the role of "Maria Ignacia," performed by a man in a woman's clothing. The apostle, San Pedro, also dances while the other dancers, in top hats and tails, lift with their feet a contraption called "cotiza," which is much like taps on the shoes.
San Pedro: Juan Andrade Maria Ignacia: Narciso Gil Male Dancers and Musicians
This dance takes the name given to the local plum in western Venezuela. Luis Mariano Rivera, an admirable musician and farmerpoet, sings about it in a sweet composition which serves as the base for this charming rural dance.
Corps de Ballet
Cantos de Trabajo (Songs of Trabajo)
The peasants of certain regions of Venezuela sing a melancholy and simple method called "tonada" in which they refer to facts of daily work (horses, milking, herding of cattle) or to small familiar events which are commented upon during rest periods. Little tunes animate this small picture.
Singers: Benilde Gonzalez Nelson Diaz Elina Briceno
La Tierra Venezolana (The Venezuelan Land)
The "joropo," outstanding Venezuelan music and dance, is of remote Spanish origin with changes introduced by the native Venezuelans. It is characterized by its syncopated and quick rhythm. When performing the "joropo" the dancers must show exceptional ability, doing numerous movements with agile steps. In this dance to music with some variations of the "joropo" the beauty of various regions and periods of Venezuela is presented.
Corps de Ballet Instrumentalist and Singers
San Benito Palermo
San Benito, also called "the Negro," has been the theme of numerous folk songs in many regions of Venezuela since old colonial times of the conquest. This fanciful sketch portrays the traditions and presents the characteristic costumes used by those devoted to San Benito as they danced in the streets of the villages located at the edge of Lake Maracaibo.
El Capitdn: Juan Andrade
La Promesera: Benilde Gonzalez
Los Enanos: Julio Perez & Romulo Gonzalez or Rafael Segovia
Corps de Ballet Instrumentalists and Singers
La Reina (The Queen)
The great city of Maracaibo is the most important economic center of the Venezuelan oil district; and, for many years, has also been a cultural center of the first order, and the source of delightful musical productions. Among the typical music of the region, one of the most famous dances is La Reina, which Yolanda Moreno interprets with exquisite grace.
Yolanda Moreno Cesar GAmez Franklin Bustos
Built on two outstanding musical themes of the center of western Venezuela, this dance shows a beautiful picture of the past when the dancers, first shown in an animated parade through a salon, start a waltz which opens the great ball.
Corps de Ballet
Danza del Pan de Maiz (The Dance of the Corn Bread)
The bread peculiar to Venezuela called "arepa," and made of corn, is prepared at dawn in every Venezuelan household. The corn, cooked the night before, is ground in a hand mill. Made into dough, it is manipulated into small rounds which are then baked. In this delightful comic dance Yolanda Moreno mimics a housewife who must rise in the morning to make the "arepas."
Paramo, Luz y Montana (High Plateau, Light and Mountain)
Venezuela is located amidst imposing peaks of The Andes, the chain of mountains which extends through South America from north to south. In these high altitudes there are delightful valleys and enchanting villages and cities inhabited by the "andinos," who are represented in this dance to beautiful, very lyrical music, with pleasing and serene steps of pronounced Indian influence.
Corps de Ballet
Una Negrita en Apuros (A Negro Girl in Trouble)
A Venezuelan merengue which originated in parts of Caracas where the inhabitants sang and composed pieces called "guasas" with music of roguish character. Between two old Venezuelan men, a Xegro girl comes down to the market to meet with popular types.
Moraima Perez Narciso Gil Antonio Cartagena Instrumentalists and Singers
Arpa, Cuatro y Maracas
These are typical Venezuelan instruments to which custom has added the international bass fiddle. The musicians of the company present an interpretation of the unsurpassable music of their country.
Danza de los Viejitos (Dance of the OldTimers)
Scenes of a love which starts when the lovers are, inconveniently, too old for it! Rafael Segovia and Mireya Malave
El Tango Matigua
In this instance the word "tango" does not mean the well known Argentinian dance but was given by the Negroes in Venezuela to a dance with mainly hip movement. This tango, originally from Barlovento, a Negro region in eastern Caracas, represents some comic situations between personalities who want to celebrate a fiesta in the home of the wealthiest man in town. The char?acters speak the special dialect of the Negroes and in typical costumes dance and sing to very brilliant music.
La Pola: Yolanda Moreno Don Danii: Antonio Cartagena
Corps de Ballet Instrumentalists and Singers
Despedida and Finale: Alma Llanera (Soul of the Country)
As final farewell, the company sings some passages of Joropo (twostep waltz)-a melody which is very well known in distant nations, and which the Venezuelan people consider the folkhvmn of their nation.
Artistic Direction and Choreography...........Yolanda Moreno
Words and Texts............Dr. Manuel Rodriguez Cardenas
Musical Direction.................Nelson Diaz
Wardrobe Master.................Juan Andrade
Costumes: Designs...............Yolanda Moreno
Elaborations:........Carmelina Rodriguez, Eva de Gonzalez,
Trina Andrade, Nerio Belisario, Rafael Segovia
Ballet Master................Prof. Henry Danton
Mistress of National Technique.............Patricia Moreno
Mistress of Traditional Technique.............Julia Merino
General Director............Dr. Manuel Rodriguez Cardenas
Scenic Director.................Miguel Gonzalez
Assistant .............Manuel Rodriguez Moreno
Warsaw Quintet (piano and strings).....Thursday, February 3
Jorge Bolet, Pianist..........Saturday, February 5
Haydn: Sonata in Eflat major; Schumann: Carnaval, Op. 9; Brahms: Sonata in F minor, Op. 5.
Rajko--Gypsy Orchestra and Dancers.....Sunday, February 6
Leningrad Symphony OrchestraTemirkanov . . . Thursday, February 10 Mozart: Piano Concerto No. IS in Bflat major, K. 4S0, Eliso Versoladze, Pianist; Shosta?kovich: Symphony Xo. 7.
Guarneri String Quartet........Saturday, February 19
Beethoven: Op. 18, No. 1 in F major; Op. 74 in Eflat major; Op. 131 in Csharp minor.
Guarneri String Quartet.....(sold out) Sunday, February 20
Alvin Ailey Dance Theater.....Monday, Tuesday, Wednesday,
February 21, 22, 23
JeanPierre Rampal, Flutist.....(sold out) Friday, February 25
Yamini Krishnamurti, South Indian Dancer .... Monday, February 28
Czech State Orchestra, Brno........Friday, March 4
(replacing Czech Philharmonic)
Janos Starker, Cellist..........Monday, March 14
Masked DanceDrama of Korea......Wednesday, March 16
Detroit Symphony OrchestraChoral UnionSoloists . . Sunday, March 20 Aldo Ceccato conducts Beethoven's "Missa Solcmnis"; Benita Valente, Soprano; Elaine Bonazzi, Contralto; Seth McCoy, Tenor; Ara Berberian, Bass.
Frans Brueggen, Flute & Recorder .... (sold out) Tuesday, March 22
Yugoslav National Folk Ballet.......Thursday, March 24
Osipov Balalaika Orchestra........Saturday, March 26
Third Annual Benefit Concert........Friday, April IS
Guarneri String Quartet........Saturday & Sunday,
April 16 & 17
Four concerts -April 27, 28, 29, 30
The Philadelphia Orchestra Eugene Ormandy, Conductor The Festival Chorus Jindrich Rohan, Conductor Gary Graffman, Pianist Norman Carol, Violinist
Jerome Hines, Basso Martina Arroyo, Soprano
UNIVERSITY MUSICAL SOCIETY
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