Cirque de la Symphonie, where cirque meets the symphony, will be at the Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda, Thursday, July 12, at 8 p.m. Joined by aerialists, strongmen, mind-boggling contortionists and jugglers, the BSO performs classics such as Khachaturian’s "Sabre Dance" and Dvorák’s Carnival Overture. All tickets $30. Visit www.strathmore.org or call 301-581-5100. Questions answered by Bill Allen, director of Cirque de la Symphonie.
Describe the show:
"Cirque de la Symphonie" is designed to bring the magic of cirque to the music hall. The symphony experience is expanded with performances by aerial acrobats, jugglers, a contortionist, and an amazing strongman act. Artists include gold medal winners, national champions, and world record holders, adding another dimension of visual experience and excitement to the concert. Classical music is intertwined with classic cirque performances, perfectly choreographed to compliment the energy provided by the orchestra. It is an unforgettable experience for the whole family. Cirque de la Symphonie artists are selected because of their extensive professional experience, their ability to perform in the limited stage space of the music hall, and because of their ability to add to the mystique of a symphony performance.
How are you involved with the show?
As creator and director of Cirque de la Symphonie, I am the point man for communications with symphony personnel, as well as the coordinator among all of the artists for scheduling events. I work collaboratively with symphony staff to assist in arranging the best possible show for the venue. Because each symphony maintains full artistic control of their event, it is a true collaboration involving selection of artists, music, and programming. This ensures that each performance has a unique flavor, and each performance has a special atmosphere.
What are your responsibilities as the shows director?
The director of Cirque de la Symphonie must coordinate all of the details of scheduling an event with a symphony with all symphony personnel involved in the program. Each venue is different, and so there are technical questions that must be addressed for rigging. Cirque de la Symphonie works with symphonies large and small, and that means different operating budgets. It is up to the director to help assemble the best possible cirque program, while addressing the budget limitations of each symphony. That flexibility allows audiences from Idaho to New York to be entertained by some of the finest artists in the world. It is absolutely essential to provide reliable and consistent communication for all personnel involved, especially as showtime draws near.
How did the show come about?
Cirque de la Symphonie came about gradually as a result of years of experimentation with pops programs in several symphonies. After 1991, I was introduced to circus administrators in the former Soviet Union, and I became very well acquainted with many circus artists from around the country. Back in the United States I found that there were several symphonies interested in adding a cirque element to their pops programs. Introducing some of the best Russian artists on stage with the symphony was an instant hit with audiences. The idea was gradually expanded to a complete cirque program with artists from all over the world, and symphonies found that this was a perfect addition to pops programs and special events. The greatest challenge was finding just the right artists for the program. A core group of Cirque de la Symphonie artists have been instrumental in identifying and contacting other sensational artists from around the world to become part of the program.
What are some of the challenges of producing the show?
Most engagements are limited to a weekend, or at most a week. This means that the artists, who live all over the country, must be prepared to travel to various cities, rendezvousing only a day or two before a program, and they must be fully prepared for what may be only one rehearsal with the orchestra. Because the music may vary from program to program, artists must adjust their performances accordingly, choreographing the music selections in advance for each show. For the aerialists, we must know all the schematics of each venue to make sure that there are no surprises when it is time to set up the rigging. Because this is not a tour, but a continuous run of special events, scheduling can be quite challenging as well.
How do the performers and the music interact?
The artists are all consummate professionals, and they have the ability to adjust their acts to a wide range of music selections. Once on stage, the artists appear to have been performing to the music all their lives, and the audience is riveted by the visual coordination of their movements to the energy of the symphony. It is a stunning fusion of audio and visual performances, and it reflected by the enthusiasm exhibited by patrons.
What do you like best about the performance?
When our artists take the stage with the full symphony performing behind them, it is simply a magical experience. No matter how many shows you attend, the chills always run up the spine. I have seen audience members with tears in their eyes from the emotional effect generated by the performances. Standard symphony etiquette goes by the wayside as spontaneous applause erupts. For Cirque de la Symphonie artists, there is simply no better performance than being backed by a live symphony. But the greatest satisfaction, I think, is when I hear a conductor say "this is the best pops performance ever!" It is a great pleasure to be a part of something which brings so much joy to so many people.
What pieces will you be playing? Why were they chosen?
The music presents a real range of selections, some proposed by the music director, and some suggested by us. The fast-paced Sabre Dance from Gayane is the background for our sensational juggling act. The power of Shostakovich: Symphony No. 5, 4th Movement is apparent with the strongman act of Duo Design. Lezghinka from Gayane is the driving force behind the cube spinning act of Alexander Streltsov. Grieg's Morning and Anitra's Dance from Peer Gynt is the perfect backdrop for the elegance of Elena Tsarkova, the Lady in White. Aloysia Gavre takes to the air with Saint-Saens' Bacchanale from Samson et Dalila. Alexander Streltsov soars out over the audience with Brahms' Symphony No. 3, 3rd Movement. The orchestra also plays several other unaccompanied pieces. As with any program, the symphony maintains artistic control, but we collaborate to provide a range of music from our repertoire that has worked in previous performances. We feel that every music director has a unique creative talent related to the symphony he is conducting, and we wish to compliment the program, not dominate it. This really makes it fun for everybody.
What do you hope people take away from the performance?
We hope that all of the patrons who come to see this program will leave with a sense of awe and inspiration, with a renewed vigor for attending a symphony concert. We expect that there will be many younger persons in attendance, and we hope to assist the symphony as they try to increase the number of younger persons experiencing the magnificence of the symphony concert. This is truly a treat for the whole family- something they will be talking about for weeks. Our goal is to enhance this symphony experience by adding a new dimension to the program.
Anything special about the upcoming show?
We are very excited about the BSO program, because it is the most complete show we have put on to date. We are excited about the music selections that will be performed by the BSO, some of which have never been used in a CDLS show. For me, personally, I am excited about having some nieces and nephews in attendance for the first time, and as always, it is simply wonderful to look out over the faces of the audience and see the enthusiastic expressions on all of their faces.
Are there plans for future shows between the BSO and Cirque?
Every performance by Cirque de la Symphonie has been very well received, selling out venues from small music halls to large arenas, and the success of each program seems to almost automatically generate a return invitation. We hope that will be the case with BSO, and we already have enjoyed the interaction with all the great staff in BSO's administration. But before we plan ahead, we must focus on providing the Baltimore area with simply the best concert they have ever attended.