Lisa Harris is known for her musical work in the ballet classroom, both as a pianist and as an artist who releases CDs for ballet class (as well as digital music). “Artistry in Motion” is an excellent example of why she is so well-regarded in the field.

Selections here include favorites such as an adagio from Swan Lake, slow tendu music from Bach and a minuet from Mozart. Harris has a knack for selecting composers that mesh well with a particular exercise, and her command of the piano insures that they are played flawlessly. This makes for a CD that is wonderful for both the teacher and the students in the classroom.

This album has 26 (repeated) tracks for the barre and 16 for the centre. Other composers that are included in the mix here include: Schubert, Beethoven, Vivaldi, Handel, Verdi and Adam.

Interested in this album, or in seeing more of what Lisa Harris has to offer for the ballet classroom? Visit her site. For those who are making the switch to digital music–she has options for you as well.

I’m fascinated by the lives of dancers. Even though I was one, I can never seem to get past the fact that each of us has such a distinctly different path–and a totally unique perspective on what it is like to live this life.

Because of that, I was excited to read Every Step You Take, a memoir written by Jock Soto (with Leslie Marshall). After all, this is a man that I grew up watching in the ballet world. Soto was a principal dancer with NYCB when he retired at the age of 40, and this book begins with the end of his career on stage. A peek inside the thoughts and fears that swirl around one’s head when the final performance looms, I thought it was a great opener.

Where, I thought, will this book go from here?

Interestingly, Soto weaves the story of his life and his heritage together with his career in ballet. We see the influence his family and background had on him, and he is free with his inner thoughts, which was quite refreshing. It is obvious that he spent time thinking through how the person he is inside influenced the person he was on stage–and the man he has become on the other side of his life as a performer. This intimate look at his thoughts and feelings becomes the centerpiece of what draws the reader in to this memoir–an an opinion shared by my friend and colleague, Henrik Lamark in his review of Soto’s book on Tights and Tiaras.

There was a kind of unexpected twist in the book in that Soto includes a variety of recipes throughout. This was such a fun thing to do, and it added another dimension to the book that I really enjoyed. I just might have to try his “Grilled Skirt Steak with Arugula” or the “Paradise Valley Potato Salad”.

I don’t like to give too much away when writing a review of a book, so I won’t spoil the details. Suffice it to say that I enjoyed the memoir, the photos–and the recipes, and think it would make good reading for both ballet dancers and those interested in dance alike. Soto takes us on a rich trip through his career, whirls us back in time to see what shaped him and let’s us tag along with him as he processes those things that helped him find his way once he retired.

It’s a fun ride.

Learn more about Jock Soto’s book or purchase a copy.

Seasons/Elton John

History of Us/Indigo Girls

Save the Best for Last/Waldmen

‘Til There Was You/Willson

The Rose/Midler

Piano Man/Joel

And many others, including classical composers, Tchiakovsky and Delibes. Played expertly by Harris, there are tracks for both barre (19) and centre (20). If you are looking for a ballet class music CD with lots of variety, this is it.

The music here can be used for classes at all levels. I’m sure adults would appreciate the selections, but the music would work for any age group. If you haven’t heard Ms. Harris play before, know that she has plenty of experience–and many other CDs to choose from, as well as digital downloads available. Look for more reviews of her music on 4dancers soon.

Visit her site for more information and for samples of the music.

“Dancing Keys” has 28 tracks–all original works that were played and composed by Civil. I really do love the original ballet class music CDs. I think it adds another level of artistry to the class environment to use compositions that were created with this particular dance form in mind. Adapted pieces are fine–and many people like them. I just prefer original work.

I believe this would be a perfect CD for an adult ballet class or beginner/intermediate class. The music is clear and metered, and the selection is good. The reason I wouldn’t use it for an advanced ballet class is because the barre is on the short side. Other than that, it is appropriate. Tracks are of adequate length–neither too short, nor too long.

The centre music is plentiful, with tracks that include sautes, allegro, waltz, gavotte and adage. I found the music inspiring and beautiful. I think it is such a challenge to come up with tracks that have heart in them, and Civil is able to do so. She has quite a background in the field, having played for schools and companies in New Zealand, Canada and Australia–she’s no newbie to this type of music and it shows.

If you would like to hear samples of the music on “Dancing Keys” or if you want to purchase a CD to use for teaching, visit her website.

Ballet Studio Inspirations, Volume Two is a terrific CD, appropriate for more advanced classes in my opinion. The music is stunning, but a more expert ear is required to find the music here–it is perfect for honing musicality as a dancer at a higher level—something I believe is very important. While not every track is challenging this way, I do think that younger, more inexperienced dancers may find some of the music difficult to follow.

The other reason I would recommend this CD for higher level classes is the fact that there are plenty of choices for the instructor. There are 45 original compositions for barre and centre here, with some designed specifically with pointe in mind–although they can be used for other exercises as well.

There are 12 tracks for the regular barre and six more for the pointe barre. The centre features music for port de bras, petit allegro, grand allegro and more. The pointe section of the centre has an additional eight tracks.

This CD would make a fine addition to any ballet teacher/studio’s collection. Hear samples and more at Maddock’s website–and if you need digital downloads, he offers those as well.

by Catherine L. Tully

Better late than never–right?

It has taken me a long while to get around to doing this review. I was hesitant about watching this movie–not sure if I wanted to see what the depiction was of the ballet world. Somehow I knew it would fall short, and for me it did.

As I had heard, the movie rang true to overarching stereotypes of ballet dancers and what goes on behind the scenes, and I found myself disappointed that it didn’t try a little harder to stretch beyond the typical. After all, not every director is “grabby”, not every retiring ballerina is morose and suicidal, and not every dance mom is overbearing. It would have been nice to depart a bit from these images and strive to create real characters with dimension rather than falling back on old, tired images of these roles. Here, the director played it safe, but, admittedly, it is difficult subject matter to tackle. Still, it would have been nice to have had more range.

The behind-the-scenes look into the ballet world was again somewhat typical, but served as a decent bit of background for those who may not be aware of what goes on in a dance company. Many dancers can relate to things such as the cramped physical therapy office, the nerves as everyone checks the board for their name when ballets are posted and the hush that comes over a room when the director appears.

I loved the scene where you get to see how pointe shoes are “worked” and broken in and the realism of the dancers sitting around in the hallway with their ballet bags. How true, how true. Still, it would have been wonderful to have a little more of that–I think it would have helped explain dancers in a way that would have helped make sense of things better in the movie. After all, there is a lot more to the life of a ballet dancer than people may realize.

Nina, the main character, is driven in a way that pretty much drives her mad. I get that. But her character is also very fragile–I would argue too fragile to be at that level in ballet. There is an inner strength one needs to have to dance that type of role which was simply missing. To me, it made for a mix that just didn’t make sense. Perhaps this pairing is needed to make for a character that we see losing touch with reality, but it was hard for me to buy into.

I will say that Natalie Portman did manage to convince me that she was indeed frigid and naieve, but the push/pull in her dancing white swan and black swan was something I was not able to hone in on–until the scene where she takes the stage as the black swan.

To me, this scene was the movie’s triumph by far. The camera work, the facial expressions – even the choreography – all came together seamlessly. The transformation was at once powerful and intense, especially as she came offstage and circled around for her next entrance – I was spellbound for this one brief time in the movie, and from here out I thought it worked quite well. Portman did a lovely job of portraying a ballerina I thought–and although it was obvious this was from the waist up, it still worked for me. Pretty arms and lovely épaulement, which is an enormous challenge.

I have to say that I’m glad I finally did see the movie. While I can’t give it two thumbs up in terms of a dance movie, I do think that the conversation and controversy that it has caused in its wake are a good thing. At least people are talking about dance–and having some pretty intelligent conversations about it. And that’s something I like to see.

For other perspectives, read what Henrik had to say about this movie on Tights and Tiaras and see Rebecca King’s thoughts on Tendus Under A Palm Tree.

What did you think about this movie?

There is almost nothing I enjoy more than pointing out that the qualities that make a great ballet dancer can be harnessed for other things—and this book is a perfect example. Sophie Flack was a dancer with New York City Ballet from 2000 to 2009, and after leaving the company she is now studying English at Columbia University. She is also the author of Bunheads – a thoughtfully crafted novel about life in the world of ballet.

Written with an authenticity that can only be garnered by experience, Ms. Flack creates an inviting cast of characters that draws the reader in right away. The main character, Hannah Ward, is a corps de ballet dancer with the Manhattan Ballet, and the story is told through her eyes. We follow her through the ups and downs of her career as she competes for roles, pushes to improve her dancing and sacrifices much of what a “normal” life would otherwise be for her first love—ballet.

As the story evolves, conflict arises within Hannah when she meets a handsome musician named Jacob. The connection between the two of them is strong, but having a relationship with someone outside of the ballet world proves to be incredibly difficult—a fact she struggles with. Hannah begins to compare her life in dance to the idea of living life without the demands of being with the company, and knows she must eventually choose which path she will take.

Ms. Flack is a skilled writer and it’s easy to disappear into the pages of this book because she has built a solid story that rings of truth and passion. By having been an insider in this typically closed world, she is able to show both the beauty of it–and the strain. Those who have experienced life in a ballet class or company are sure to find themselves nodding in recognition with the trials and triumphs Hannah faces along the way. That said, I think that Bunheads would also appeal to those outside the ballet arena. The book provides a rare peek behind the scenes into the day-to-day life of a dancer, but not in a way that would leave other readers behind.

Human Kinetics Book

My absolute favorite part of this book is the way Ms. Flack crafted the circle of friends that Hannah hangs around with in the company. The dancers that she spends every day with are at the same time her closest pals—and her toughest rivals. It makes for an unusual situation, that in ballet is actually very common. Somehow you have to learn to walk the fine line between being a competitor and a confidant. It certainly isn’t easy, and here it is captured so very well.

This is undoubtedly the best fiction book on the life of a ballet dancer that I have read in a long time and I highly recommend it. Younger dancers will find a great story that they can relate to and older dancers will be transported back in time for a bit of reminiscing. This would make a perfect gift for someone who loves dance.

Hats off to Sophie Flack for taking the creativity, determination and attention to detail it takes to be a ballet dancer and writing her first novel. I look forward to the next one.

Read more about the author on the 4dancers feature – 10 Questions With…Sophie Flack

Purchase Bunheads Here

Maddock is truly an artist–his work is just beautiful, and I am looking forward to using it in my adult ballet class. Although it was developed for a pre-professional class, this CD would work well for most levels, and it is a refreshing departure from the standard ballet class music. There is more of a gentle, yearning feel to Maddock’s slower tracks that should coax out feeling from your dancers–even at the barre.

The more upbeat tunes are lively and well-played too, but I believe Maddock is at his best when the more lyrical music is running through his fingers. All-in-all this album of tracks created for ballet class is something that would round out any dance teacher’s collection nicely. When you are in the mood for something that will motivate your dancers to experiment with phrasing and emotion, this is the CD you will reach for. The port de bras music is especially lovely.

I found Maddock’s CD to be an unexpected and wonderful addition to my collection of ballet class music. It’s really nice to have some original compositions to include–especially when they are arranged and played as well as they are here. It can be challenging to find great CDs for ballet class. This is one of them.

Maddock has sample tracks on his website and you can also purchase CDs there. In addition, his work can be found on Amazon and iTunes if you are looking for digital downloads.

Disclosure

Sophie Flack

This week on “10 Questions With…” we’re featuring Sophie Flack, author of “Bunheads”… a book about the ballet world. I’m reading it right now, and it’s fabulous!

1. How did you get involved in dance?

When I was seven, the Boston Ballet studios were under renovation and they temporarily relocated to my school gymnasium. I’d see these lithe ballerinas lingering in the hallways as they stretched and spoke to one another between rehearsals. I begged my mother to take ballet classes, but I was too shy to walk into theclass that first day. I wanted my mother to go with me. It took me six months to find the courage to walk in alone.

2. What is your dance background?

I began my training at the Boston Ballet School learning the Vaganova technique. When I was eleven I was introduced to the Balanchine technique by Patricia McBride at the Chautauqua summer intensive. After watching a video of McBride dancing Tchaikovsky Pas de Deux, I decided that I wanted to dance with the New York City Ballet, because I wanted to move like she did.

When I returned home, I transferred to Ballet Workshop of New England in order to study Balanchine technique. I spent my summers training with Suzanne Farrell, Gloria Govrin, Violette Verdy and Patricia McBride.

My mother would drive me to New York City in order to take private lessons with Nancy Bielski and Wilhelm Burmann, some of the best coaches in the country. I took open classes at Steps on Broadway alongside New York City Ballet dancers, and regular Pilates privates with Laurie Hurt.

At fifteen, I was accepted into the School of American Ballet on full scholarship and moved to New York City alone. At age seventeen, I joined the New York City Ballet as an apprentice and became a member of the corps de ballet the following year.

After dancing with the New York City Ballet for nine years, I retired from professional dance in 2009.

3. What is your book about, and who is it written for?

After dancing professionally for nearly a decade I wanted to give readers an inside look at what happens backstage, and what it’s like to grow up in the professional dance world.

The world is viewed though the eyes of a corps de ballet dancer named Hannah Ward, who is conflicted about whether she wants to continue to compete against her friends for a promotion, or see what’s beyond the windowless theater. Even though the novel is set in the elite and insular world of professional dance, Hannah’s coming of age story is really universal – she is trying to figure out what sort of person she wants to be.

4. What made you decide to write this book?

Though Bunheads is a work of fiction, I was inspired by the relationships between the women in the corps de ballet – we relied on one another for emotional support and yet we were competitors. When I was in the corps, the dressing room was a safe haven to vent and commiserate and laugh together. In the dressing room, everything was shared and intimate; we discussed every aspect of our lives, and yet there was a distinct air of distrust, too. We were still competitors.

The ballet world has been reluctant to draw back the velvet curtains for fear that the art form would loose it’s magic. I’ve always found the backstage drama really interesting, and I think that allowing the audience a peek will only increase interest.

I was also interested in the non-dancers that are involved in putting on a performance; the stagehands, Greenroom dressers and hairdressers all had unique stories and interesting relationships to the ballet world.

5. How did being a dancer impact your writing? 

Because I was writing fiction in the setting of a familiar place, writing this book was a proverbial John Malkovich experience: I peered out of someone else’s eyes – be it a stagehand, a pianist, an apprentice, or a principal dancer. It felt a bit like an acting exercisebecause I imagined that I was right there experiencing what the character was experiencing.

6.  6. What has been the most challenging part of the process?

The writing process was at times emotionally exhausting, because I put myself right back into the world that I had just departed. As I was moving forward with my life, and attending classes at Columbia, nearly all of my free time was spent imagining I was still in thetheater. Writing proved to be an important tool for me as I transitioned from the ballet world into academia. But I was so entrenched in writing that there were times when I had to remind myself that I had left and wasn’t going back. Even today I still have ballet anxiety dreams in which I hear my music and miss my entrance.

7. What has been the most rewarding part of the process? 

When I received the very first advanced copy of the book from my editor, I held the book in my hands and started to cry. I was able to feel the weight of my experience in my hands. It was very moving.

8. What do you love most about the dance world?

I love how dancers, and all artists for that matter, need to be incredibly tough, fearless, and resilient, and yet in order to be an artist they must be vulnerable, and be willing to expose their inner most bits.

9. Do you think your dance training helped you at all with writing? Why or why not?

Studying ballet certainly instills discipline, focus, and perseverance – all of which are paramount in writing.

While writing the book, I was taking a fewclasses at Columbia, which sounds insane, but the intensity of the work load actually fueled me, and felt familiar coming from the rigorous schedule of the corps de ballet. When I was dancing I used to comfort myself by thinking, “You’ve done more difficult things before, and you survived,” and the same mantra rang true in writing a book.

10. What’s next for you?

I’ve begun to write scenes for my next novel! Stay tuned.

There are 17 tracks for the barre and 36 for the centre. Frankly, I think that owning all three of these CDs would be a great idea for any ballet teacher or studio owner. They add a bit of spice and verve to the class environment without being silly. It’s nice to change things up a bit here and there.

If you can’t have a live pianist, it pays to invest in good music that you will be able to use again and again. This CD of ballet class music qualifies–and it is available in the UK (as well as other places…see link below) – something that I get requests for all the time.

It’s obvious that Hobson plays for dancers. Not every pianist can arrange music so that it is paced correctly without taking the life out of it. He is able to maintain passion and energy while keeping proper time for the exercises. Well done indeed.

Keep an eye on what’s up with Christopher Hobson and his music by joining him on Facebook

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If you like, purchase Modern Ballet Studio Melodies, Volume 3 here.