Seven eight is the one to three for pie the uh many of us will recognize a spectacular piece of music o fortuna from the content to compose by calm orphan nineteen thirty five.
So when you get when you pair this epic score with some of the world's finest ballet dancers and eye popping choreography that all sins of the orchestra is joining forces with the national ballet for their two night performance of come in her honor at the guilford center were glad to be joined by caleb hours or a ballerina with the national ballet and kailey general manager of the charleston symphony orchestra thank you both for being here thank goodness the choreography looks fantastic.
Tell me a little bit more about the choreography.
Yes i'm coming over on this particular production was choreographed by artistic director and ceo paul bass milliontwo thousand nine and is one of the most dynamic pieces of choreography that we have done collectively just as a company it's so demanding.
Everyone is dancing the entire time it's nonstop there's tons of costume changes for everyone and there's just a big depth of dance vocabulary in it i think it's really draws everyone and whether you buy or not i can see that and what are we looking at about twenty dancers on stage and i'll be looking that it this is just at the combination of movement and everybody coming together on the stage i think a lot of people here in charleston may not have had the opportunity to see something like this is very exciting.
Kyle coming nevada and is in love with this piece of course everybody knows o fortuna yes it's a really well known piece an exciting meal to put this on with the full orchestra and ballet as originally intended actually the orchestra it's the vocals that i'm a little bit about what all of this there's we use our full course yellow hundred and twenty singers in being able to get those the singers on the stage is quite a feat we have a children's chorus and three vocalists soprano baritone and counter tenor that also are involved with production that's right you have the additional three guest vocalists in addition to the one hundred fifty singers twenty dancers of course and if all seventy musicians orchestra hall in the pit with two grand pianos it's quite amazing how old that really is amazing what made you decide to put all this together to come to charleston particular you know it's been such a treat to be able to be here and takes to have the chance to share this valley that we've only done in as fun actually st louis twice to be able to share with that ross an audience as mrs. martha ingram is a huge huge advocate for the arts in both nashville and charleston to see was a huge huge reason they were able to hear tat spell it strikes me is a little bit similar to new york city ballet as far as the athleticism and that goes into it i think a lot of people used to very kind of stayed in true ballet which is more of the russian or the french technique but he can explain more about the nashville technique absolutely it's we are not just going out there to be delicate and soft dancers i'm lead there really is athleticism behind what we're doing and i think that's something that people today really can appreciate and see and to see the work but also are of course trying to keep it refined and and to not show you that it's difficult really certainly seems like the effort in the energy that goes into the dancing is very much the same effort and energy that goes into playing the music absolutely absolutely and you know our music director ken lam putting this together with all the seniors coordinating with the chorus the amount of energy that you experience with with with other musicians and the dancers is something that you're only going experience where they are quite amazing the don't use a live orchestra of course national ballet is one of the few lucky ones that get to work with an orchestra for all their performances but a lot of us are used to pre recorded music being piped in through the speakers said that it combined the orchestra the vocalists and the dancers all at one time maybe can walk is through with that processes between rehearsal and getting everything together the process starts a very long time in advance and our maestro gets tempe tempos from from the company to make sure that we can put this music either way the dancers can still actually dance to and that's a big part of it and so there's a lot of that has to go into that at the temple is right make sure the dancers are able to do it the singers were able to sing it and then be the result is the audience gets to see something it's incredible how wan to take you to rehearse we had two days of rehearsals and the bally's actually doing more today and then we have performances tonight and tomorrow tonight and tomorrow but really only had two days to it versus altogether as as a group as this group.
Yes because just knowing how you have to work with those tempos and to see all the dancers up on the state of the same time that can be a little tricky sometimes either it's too fast or too slow so you really have to hit the mark right yeah and make no mistake n lamb has spent a very long time making sure to get that correct musicians don't really follow him.
I was coming up for the south the next few months we've got some great things coming up two weeks from now we are back together doing pasco fully orchestra onstage with them some metropolitan opera singers excited about that and opening a pickle as plato at the customs house building one of them a fine kill what you first are dancing how long he'd been a dancer i took my very first ballet class like most answers at age four but i'm new at a pretty young age i really wanted to to pursue dancing i really just connected to you sort of that regiment of going in and trying to refine the same steps but building on them each day and it's it's been a wonderful wonderful experience where he studied i've studied the national ballet summer intensive of course is how i ended up in the company they're actually danced here in charleston for a year before moving to moving to nashville and summers with american ballet theater and school of the arts as well so any last piece of advice for those hopeful dancers.
Yes absolutely take from as many people as you can just always trying to see how you can learn something from