FIREBIRD and Other Ballets, My Take on BP's Gala Performance

August 19 was the date of the official opening of Ballet Philippines’ 47^th season with a very special production of Firebird and Other Ballets.  Along with the Philippine Philharmonic Orchestra (PPO), the opening night was a festivity of sights and sounds.

As you enter the main lobby of the Cultural Center of the Philippines, various visual art pieces are on display for the enjoyment of those attending the show.  Photographs, sketches and art works were all in display!  People were also dressed for the occasion!  Despite the rain outside, the stars have left heaven for a while and decided to be part of the celebration that night.

With the PPO playing all the musical scores that night, under the baton of Olivier Ochanine, the audio treat is definitely set.  From the first note of the National Anthem down to the last note of Igor Stravinsky’s “Firebird”, PPO truly made that night more enchanting to the audience and perhaps more to the performers.

The first dance presented that night was Carlo Pacis’ Weighted Whispers.

Garry Corpuz and Rita Winder

It’s a show stopper!  The emotional weight of the dance may be heavy but the story was clear!  It was a true pleasure to see two long limbed dancers paired and danced beautifully.  The Garry Corpus and Rita Winder pairing were exquisite to behold!  The extensions and the marvel of the twist being done by this two were truly something to watch out for.  I am not saying that the two other dancers who paired off with them were not good, what I am saying is the effortless matching of moves when to physically matched dancers were seen on stage.  Rita was quite something to see in this piece that night!  She was basically displaying her emotions on her sleeves, so to speak.  The pain, sorrow and desire were all presented clearly by Rita for us to see and feel.  It may be emotionally heavy but it was one dance piece truly worth watching. 

Thank you Carlo Pacis for this extended version of Shifting Wait now known as Weighted Whispers!  Your creation was divine and breathtaking.

Up next was the playful dance of Dwight Rodrigazo entitled Moving Two.

I love the booty!  That red and with a hint of black in their dance costume was just the right mix to capture every one’s attention.  The piece has humor and playfulness that allowed the dancers to truly let go but still showing their hard earned discipline.  The movements were precise that it was in a near perfect sync knowing that it is a pas de deux.  The story of the piece? That you have to see.

Ne Neh Ledej or Do Not Look Any Further by renowned choreographer David Campos, took the curtains down for the first part of the program that night.

This is a dance that has a cultural mix into it.  The music was lively that you get to be captivated by it with its opening chord. The movements were snappy yet fluid and playful that you see humor in it.  I would say, laughter was one key ingredient in the creation of this piece.  The mix of cultural beat and classical rhythm is truly remarkable!

What is fascinating with this piece is how two different things gets to be combined and works well.  The stage design and light played an important part to it too.  Ne Neh Ledej is no comic piece but you will definitely feel happy and glad that you have watched it!

After 20 minutes of intermission, now come the piece de resistance, the Firebird – choreographed by Georgian born US citizen George Birkadze (who is by the way a mix martial artist also).

Firebird - Denise Parungao as the Spice Princess

The 2016 version of the Firebird is not a far cry in terms of interpretation from its classical predecessors.  The difference?  How it was visually interpreted by Mark Higgins, this production’s costume designer and president of SLIM’s Fashion School.  He took his inspiration from different known elements during the trade industry of the pre-colonial era such as spices, porcelain and gold.  Visually, the costumes were beautiful!  It was also strong enough to deal with the demands of the choreographer and dancers.  No wonder it would be displayed in some SM Malls after the weekend run of this production.

How do I find the Firebird?

The costumes are beautiful!  The way the original music was played was exquisite (thank you PPO!)!  The choreography was clear and precise.  The interpretation somehow fell a little short from its intended mark.  Why do I say this?  I have seen a sample dance of it during the press launch which took place some weeks back and the sample was remarkable!  The dancer was a bird in the making already.  The evil magician already emitted menace at that time.  The enchanted princesses look like dolls – porcelain dolls to be exact.  All this were not evident that night.

The fight scene - Rita Winder as the Firebird

The bird was not a bird but a confused character.  Trapped with being a bird or a woman, the movements were not showed-off properly.  The bird like nuances’, which were evident during the press launch, was like a flickering bulb that night.  It was there, it wasn’t there.  The evil magician became soft in his interpretation somehow.  That personality of evil became simply a shadow that blended with the shadows on stage.  The masks used to denote enchantment placed on the princesses look like a misplaced Phantom of the Opera inspiration.  Don’t get me wrong, I LOVE PotO very much but that mask was a visual blunder.  The princes’ face pieces were far way better in showing enchantment was placed on them.  The chase scene between the Pearl Merchant and the enchanted princes was somehow comedic, for the steps used was similar to that of a ballet themed for kids which I saw some time back.  Knowing also that most of them performed in the other dance pieces that night, proper energy release is a must.  Somehow you feel a subtle lack of energy in some performers which made this piece soar but not to the height it should soar. 

Koschei, the evil magician with the enchanted princesses, the
Pearl Merchant (Garry Corpuz) and the Princess from the
Land of Spice (Denise Parungao)

Is this a case of too much dancer’s freedom or communication hindrance between choreographer and dancers?  Why do I say dancer’s freedom?  From the horse’s mouth, they say that they were given the liberty to experiment and try some moves.  That is good, for the creation of a masterpiece calls for two-way clear communication. But was the experimentation right?  That night, it came out not the way you expected it to be.  I saw some post in social media of the choreographer coaching the dancers during rehearsals and I saw the same pose between the dancer and the choreographer but the emotions exuded were different.  I saw this group of dancers perform some of George’s work before and have done it with panache so I don’t think there is a communication gap somewhere.  I have some other thoughts about it but I leave it to those who have seen it also to understand where I am coming from.

Do I like George Birkadze’s interpretation of the Firebird?  Yes I do.  His way of creating a story was evident in the moves given per scene.  Did I enjoy it that night?  It is a yes and a no.  Yes, because it was given new taste, a very George Birkadze style.  No, because his interpretation didn’t reached the height I expected it to be delivered.  It flew but not high enough.

As a whole, Firebird and Other Ballets was a blast nonetheless!  It was a fitting season opening piece for Ballet Philippines 47^th season.

*All images used were provided by Ballet Philippines.

The Choreographers of FIREBIRD and Other Ballets, 47th Season of Ballet Philippines

Behind the glorious curtain of the performance stage is someone who has spent endless night to create a story and set it to dance.  They are the choreographer's; sometimes un-song, sometimes rained with accolade.

This 47th Season of Ballet Philippines, FIREBIRD and Other Ballets is graced with both homegrown and foreign guest choreographer making this opening very unique and remarkable.  It is time that we get to know them.

GEORGE BIRKADZE

Choreographer, “Firebird”

Born December 21, 1975 in Tbilisi, Georgia. His primary dance training began at the National Academy of Dance of Tbilisi with Wahtang Chabukiany. In 1991, his was invited to attend the School of the Bolshoi Ballet under the direction of Genady Ladiah, former director of the Verse Conservatoire. In 1996, Birkadze graduated with Honours in Classical Ballet, Pas de Deux, and Traditional Dance.

Birkadze was awarded the Gold Medal in Moscow for his brilliance in World History and Literature. During his dance studies, Birkadze obtained his Diploma in Business Administration with a Master in Art Direction, and Public Relations and Marketing. Upon graduating from the School of Bolshoi Ballet, he decided to further his studies in Dance Pedagogy. In September of the same year, under the direction of Ekaterina Maximova, principal ballerina of the Bolshoi Ballet, he entered the Kremlin Ballet with director Erick Volodin (former Director of the Bolshoi Theatre) and Yuri Grigorovich (Choreographer and Director of Bolshoi Ballet).

Some of his numerous roles include: “The Jester” in Swan Lake, “Mercutio” and “The Clown” in Romeo and Juliet (choreography by Grigorovich), Nutcracker, Don Quijote, Tom Sawyer, Napoleon Bonaparte, among a plethora of others. He participated in a number of Galas interpreting choreographic works by Y. Grigorovich, A. Petrov and V. Vasiliev, all with European success and acclaim. He was awarded the Silver Medal in Russia, and the Bronze Medal in Luxembourg in 1996.

In October 1999, he was promoted to Principal Dancer in the Young Ballet of Catalonia, a company directed by renowned teacher Rodolfo Castellanos, principal dancer of the National Ballet of Cuba. In 2002, Birkadze created “In a Coma” for International Dancer Angel Corella that premiered at the Gala de la Hispanidad in Murcia, Spain. He was also named Artistic Director of BMK Company.

In the following years, he participated in numerous productions at the Gran Teatre del Liceu of Barcelona, while Teaching Advanced Technique in the most prestigious schools in the city. He continued to work with Angel Corella, creating Macbeth, Taming of the Shrew, and Celaje for the tour, Angel Corella and the Stars of American Ballet. In 2007, he started working in Corella Ballet Castilla y Leon as a dancer and choreographer. In 2010 joined Sarasota Ballet as a Soloist and Choreographer. Nowadays, Birkadze is a Resident Choreographer in Festival Ballet of Providence in Boston.

Some of the featured dancers in Birkadze’s Choreographies include iconic figures in the dance world, in the ranks of international star Marc Peretokin, ABT principal and Principal and Artistic Director of Corella Ballet CyL, Angel Corella, former Soloist of ABT and Principal and Assistant Artistic Director of Corella Ballet CyL, Carmen Corella, ABT and Corella Ballet CyL principal, Herman Cornejo, former ABT soloist and Boston Ballet principal, Erica Cornejo, ABT principal, Cory Sterns, ABT Soloist, Maria Riccetto, Lienz Chang of Etoile of Roland Petit, Nadezda Grachova, and Aidar Ahmetov of the Bolshoi Theatre, Svetlana Romanova of the Bolshoi and Kremlin Ballet, Boston Ballet Soloists Aidarys Almeida Santana, and Joseph Michael Gatti, Het National Ballet Principal, Matthew Golding, and Birmingham Royal Ballet Principal, Iain Mackay.

Birkadze, also an extensive traveler, has choreographed and danced in numerous countries including Russia, Portugal, France, and Spain; teaching, and molding the careers of professional dancers. Having a great passion for operas, he has also performed as a dancer and actor in countless productions with the Gran Teatre del Liceu, including Giulio Cesare, Boulevard Solitude, Turandot, Don Carlos, Pikovaia Dama, La Gioconda, Norma, Elisir d’amore, Cleopatra, to name a few.

He has worked as an Assistant Director as well, having his choreography shown in many grand productions. His most important works are displayed in operas such as Manon, Khovantxina, L’enfant et le sortilege, and La Gazzetta.

He has worked with prestigious directors including Herbert Wernicke, Nuria Espert, Stein Winge, Xavier Montsalvatge, Amilcare Ponchielli, Peter Konwitschny, Nikolaus Lehnhoff, Mario Gas, and Francisco Negrín.

Most importantly, Birkadze has had the great pleasure and honor of working with some of the most prominent figures of the current cultural world, in the likes of Dario Fo, Italian winner of the Nobel Prize of Literature in 1997, as well as the genuinely talented David McVicar, with whom he has made many fond memories.

Also dabbling in mass media, and entertainment, Birkadze has choreographed for the 2007 Freixenet television commercial featuring Angel Corella and International Actress, Gwyneth Paltrow.

DAVID CAMPOS

Choreographer, “Nenelehdej”

Born in Barcelona, David Campos began classical dance training at the Insttituto del Teatro, Barcelona, and later in Paris with Solange Golovine Master (Marquis de Cuevas) His ballet training began at Städtische Bühne Hagen in Germany, culminating with the Royal Ballet of Flanders in Belgium, under the direction of Madame Brabants and later with Valeri Panov.  He became a soloist of the Royal Ballet of Flanders at the age of 18, and with the company, danced key roles of ballets by leading choreographers in the likes of Jiri Kyliam, Nils Christie, Valery Panov, John Butler, Frederick Ashton, and Agnes De Mille, performing in Europe, United States and Asia.

In 1989, he returned to Barcelona with his wife, Irene Sabas, also Royal Ballet of Flanders soloist, to start a project company: Ballet David Campos. With the aim of fomenting ballet in his home city, the project company right away gained ground to establish itself as one of the most recognized, and acclaimed professional dance projects of Catalunya and Spain, opening doors for the ballet to perform in various towns and venues all over the country, and internationally. With the company, Campos was able to develop his choreographic ideas, developing his unique style of movement and modern visual conception, strongly based on the rigorous classical technique of his dancers, combined with new tendencies.

Since 2004, having gained residence in Teatro Sagarra, Barcelona, Campos has created an original repertory of new choreographies. He has created comprehensive revisions of full-length ballets, such as his own versions of the Nutcracker, Petrushka, The Sleeping Beauty, Don Quixote, and lately, Giselle. Campos continues to explore new movements and innovation for the classic idiom in his works: Rock Requiem (music Metallica), Carmina Burana (Orff), and The Mask of the Red Death, based on Allan Poe´s story, with the music of the Finnish rock group Apocalyptica. He is also able to create pieces on original musical compositions such as: The Key of Jazz, Turn Me On, with a collaboration with the Virus String Quartet, and Eurasia, a multicultural reflexion through dance between the two giant continents,  Asia and Europe, amongst other works.

Aside from company activity and creativity, Campos and Sabas have also founded their own dance center and school in Barcelona: the Escola Ballet David Campos, specializing in classical dance, and initiating pre-professional and professional dance courses. The school has produced outstanding students, including Aleix Martinez, 2008 Gold Medallist in the prestigious Prix de Lausanne Competition in Switzerland.

CARLO PACIS

Choreographer, “Shifting Wait”

Carlo is a dancer, teacher, and choreographer who joined the Hong Kong Ballet after graduating with First-class Honours from the Hong Kong Academy for Performing Arts in 1998.  As a senior soloist in the company he essayed lead roles in ballets such as The Merry Widow, Madame Butterfly, Romeo and Juliet, Swan Lake, and Firecracker, and was a principal in abstract works such as Balanchine’s Rubies and Stanton Welch’s Clear.  He received the Hong Kong Dance Award  in 2002 for his technical  artistry and  the depth of his  dramatic  reading  of roles.  In the twelve years he spent with the company  he  worked  closely  with Alexander Grant, Natalie Weir, Stephen Baynes, Wayne Eagling, Irek Mukhamedov, Ronald Hynd, Bengt Jorgen, Merrill Ashley, Stephen Jefferies, and John Meehan. 

He began choreographing for the company’s workshops and educational programs in 1999 and had the premier of his first one-act ballet, Beatles On A String, in 2004.  In 2006 his work, There’s A Fly In This Soup, was invited to the 1st Asia Pacific Ballet Festival in Seoul, Korea.  He did the additional choreography for the company’s Swan Lake in August 2007 and this production has been taken overseas on tour.  In October 2007, he was given an opportunity to work with Opera Hong Kong, choreographing for their production of Aida which was also restaged for the Beseto Opera in Seoul, Korea that same year.  He obtained his Master of Fine Arts in Dance degree from the HKAPA in 2009.  His work for Ballet Philippines, Shifting Wait, which was based on his MFA thesis project, received a GAWAD BUHAY 2010 from PhilStage for Outstanding Choreography for a Dance Production.  Most recently, his full-length version of Shakespeare’s A Midsummer Night’s Dream premiered in Manila and received from PhilStage, 11 nominations including Outstanding Choreography for a Dance Production.

Currently, he works freelance and is based in Hong Kong.  He teaches in the full-time and Gifted Young Dancer Program at the HKAPA; is Associate Artistic Director of the Youth Ballet of Asia; is involved in the projects of various local and international institutions such as the Asian Grand Prix International Ballet Competition, The Hong Kong Dance Alliance and Ballet Philippines; and is a Stott© Pilates and CoreSuspend™ Instructor and a CoreBarre™ Intructor Trainer.

DWIGHT RODRIGAZO
Choreographer, “Moving Two”

Dwight Rodrigazo has had a long history with Ballet Philippines, with whom he has toured all over Asia, Europe and the USA. He was a former Principal Soloist of the company, and has been a choreographer and dance teacher for several years. Mentored by Agnes Locsin, he was one of the performing artists “Moriones” and “Babaylan” which garnered the Silver medal and was awarded the Prince Takamado Award in the International Choreographer’s Concourse in Tokyo, Japan.

In 1996, he accepted a residency grant with the Brumachon Center Choreographique National de Nantes in France, and represented the Philppines in the 2003 Edinburgh International Arts Festival in Scotland and in the International OFF-Festival in Avignon, France with Paul Morales that same year. He was a former Associate Artistic Director and Chief Choreographer of Airdance Philippines, and has been a dance workshop conductor of the British Council of the Philippines, the Cultural Center of the Philippines, and the National Commission for Culture and the Arts. He is also an accredited ballet teacher of the Australian Conservatory of Ballet (ACB).

Rodrigazo has four full-length ballets to his credit, all critically acclaimed: “Indios Bravos” for Airdance, “Tsukat Yeshua” for Dance, Inc., and most recently, “Karga Tapas” and “Port Links for the Dance Pull Project. An excerpt from “Indios Bravos” garnered Airdance the prize for Best Young Contemporary Dance Theater Group of the Philippines during the 3^rd Mindanao National Modern Dance Competition in 2004. Another of his critically acclaimed pieces was “Bread of Angels” on which he collaborated with award-winning theater director Anton Juan, and was presented in the 1993 Neo-Filipino production in CCP. He also choreographed the dance series of the 24-hour live band concert, “Bistro sa Amoranto.” His works have continuously been commissioned by various dance companies and dance schools around the country. In May 1997, he was awarded “Artista sang Banwa” (Artist of the Town) in the field of dance in Murcia, Negros Occidental.

He recently formed and conducted the Composition and Movement Analysis Program (C-MAP) for Choreographers and Dance Teachers held in Bacolod City, Negros Occidental Philippines. The program teaches the choreographers how to sculpt movements through ideas/visualization and construct through intuition, knowledge, and creativity. Its objectives are to further develop the choreographer’s and dance teacher’s knowledge, intuition, and creativity in crafting dances in the Philippines, and to create an environment where choreographers and dance teachers could freely exchange thoughts and ideas. Accompanying this program is a syllabus containing learnings from Rodrigazo’s vast resource of choreographic studies and experiences derived from his time as a dance scholar in France as well as his many years in creating dance, mentored by Denisa Reyes, Edna Vida, and Agnes Locsin.

Currently, he is the Artistic Director of the Dance Pull Project Inc., and the owner of the Dance Pull School of Performing Arts, based in Bacolod City. Not only do his students compete in prestigious dance competitions such as the Asian Grand Prix, but they often emerge as finalists. His school is the Center of the Australian Conservatory of Ballet Training and Examination Program, Visayas Chapter.

FIREBIRD and Other Ballet: Meet The People Behind the Curtain

            The 47th Season of Ballet Philippines, initial offering won't be possible without the collaboration of some famous and truly creative people in their respective fields.  Along with the dancers, they are there to bring life to FIREBIRD and Other Ballets this August 2016.

             Let us get to know them now.
 

MARK LEWIS HIGGINS

Costume Designer, “Firebird”

The fusion of cultures is not a new phenomenon to Mark Lewis Higgins, who was born in Manila to an Irish-English father, and a Chinese-Filipina mother. After studying Fine Art in Canada, and Fashion Design in New York, he also lived in Hong Kong, San Francisco, and Rome. He is currently based in Manila.

Although primarily a painter, his diverse interests have included textile and costume design. An inherent respect for rich color, texture and drama is apparent in all his work, as is his interest in both Eastern and Western history, culture, and religion.

His solo exhibitions namely “Invisible Cities”, “Tribes”, and “Diaspora” have been showed in New York, Boston, Hong Kong, and Manila. He co-created the book, “SLIM: Salvacion Lim Higgins – Philippine Haute Couture 1947-1900”, and collaborated with Gino Gonzalez in authoring “Fashionable Filipinas: An Evolution of the Philippine National Dress in Photographs, 1860-1960”, published by Bench.

From 1997 to 1998, he conceptualised and designed costumes for an original Philippine musical production of C.S.Lewis’ “The Lion, The Witch, and The Wardrobe,” staged in Manila for three consecutive seasons. In 1998, he collaborated with Ballet Philippines in designing costumes for choreographer Agnes Locsin’s “Four Last Songs”. He has been co-director of SLIM’s Fashion and Art School in Manila since 2009.

He is currently working on the costume designs for Ballet Philippines’ new production of “Firebird” to be choreographed by George Birkadze. With pre-Hispanic Philippines as the ballet’s setting, he draws upon elements such as gold, spices, and porcelain in his designs, reflecting the objects of trade at the time.

A selection of his paintings will also be exhibited at the CCP Main Theater lobby during the shows of “FIREBIRD and other ballets”.

OHM DAVID

Set Designer, “Firebird and other ballets”

Ohm designs scenery and lighting for theater and events. He started in Dulaang UP as a property master and actor in Tony Mabesa’s 1996 production of FILI2 and ELIAS AT SALOME . From there he focused on technical direction and stage design. Among his works as technical director for Dulaang UP includes Clare Boothe Luce's THE WOMEN (1997), Euripides' LYSISTRATA (2005), Del Valle Inclan's DIVINAS PALABRAS (2004), Federico Garcia Lorca's THE BUTTERFLY’S EVIL SPELL (2004), Nick Joaquin's TATARIN (2004), Shakespeare's OTHELLO (2000), THE WINTER’S TALE (2001), LULU (2009), OROSMAN AT ZAFIRA (2010 and 2011), and RIZAL X (2011).

He has toured several countries as set and lighting designer and technical director for theatrical and commercial events. This includes the Hong Kong International Concert Series in 2003, South Korea's First Gangneung International Folklore Festival in 2005, the 2006 Athens Video Art Festival, 2006 Arpiyes Concert in Athens. In 2006, under the tutelage of Anton Juan Jr., Ohm went to Athens and served as the resident technical director, scenery and lighting designer for The Aggelon Vima Center for Theater. From 2007-2008 he became the resident designer of another theater company in Athens, Altera Pars. With Altera Pars, he designed numerous plays including Eve Ensler's NECESSARY TARGETS, which played one year in Athens and toured Central Greece.

Other set designs for the theater include UP-FEU Sarswela's SA BUNGANGA NG PATING, UP Dulaang Lab's MACHINAL, MAL, UBU ROI, ANG AHAS, FEU-ATC's production of Euripides' ELEKTRA, Arts and Culture Asia’s Production of SA KAHARIAN NG ARAW, UP Los Banos' ISANG DULANG PANAGINIP, Repertory Philippines' THE JOY LUCK CLUB, Tanghalang Ateneo’s FIREFLIES, AUF Repertory Theater’s MULAN, OUR TOWN, ANG SUPREMO AT LAKAMBINI, THE SARIMANOK VS THE IBONG ADARNA, GREASE, THE WOMEN. Dulaang UP’s ANG MUNTIK NANG DI MAPIGILANG PAGHAHARI NI ARTURO UI, SHOCK VALUE, THE FORSAKEN HOUSE, THE SEAGULL, COLLECTION, ANG NAWALANG KAPATID, ANG HULING LAGDA NI APOLINARIO MABINI, # R </3 J, KING LEAR, and THE DRESSING ROOM. The Theater of Lavriotiki’s RATHIS KYRION, and ROMEOS KAI JULIETA, 2015 APEC show, FUSED, CCP’s TOSCA, Ballet Philippines’ SARONG BANGGI, Repertory Philippines’ THE SECRET GARDEN, and Ballet Manila’s PINOCCHIO

Recently, Ohm has ventured into museum and restaurant design. He designed the TAOID MUSEUM in LAOAG, ILOCOS NORTE, and the MILIEU Restaurant in LILAC st., MARIKINA. Ohm also does Art Installation. Recent works are THE OEDIPUS PROJECT in UP Diliman, THE BAKAWAN PROJECT, THE EDSA30 EXPERIENTIAL MUSEUM, and THE GRID, an installation work for the UP Diliman Month 2015.

The University of the Philippines recently awarded him the 2016 Most Productive Artist for his work inside and outside the University.

Currently, he is working with the University of Notre Dame for the 750th Anniversary of Dante Alighieri.

Set Design for FIREBIRD and other Ballet
(scale model)

OLIVIER OCHANINE

Conductor, “Firebird”

Olivier Ochanine is the 1st Prize Winner of the 2015 Antal Dorati International Conducting Competition in Budapest, Hungary, surpassing nearly 120 other conductors from 23 countries. His victory led to further performances in Europe. He is also the winner of the prestigious 2015 The American Prize in the Professional Orchestra Conducting division.  Olivier is also 2nd Prize Winner in the 2015 London Classical Soloists International Conducting Competition, where he conducted the orchestra in various Beethoven symphonies.  

Being the youngest Musical Director in the history of the Philippine Philharmonic Orchestra, Olivier is regularly praised for his charisma on and off the podium, as well as for his breadth of orchestral repertoire. Olivier's term with the Philippine Philharmonic Orchestra, the nation's leading orchestra, started with the 2010-2011 performance season.  Under his leadership, the orchestra has performed numerous Philippine premieres.  In June 2016, the orchestra performed at the world renowned Carnegie Hall, a project that took Olivier three years of hard work to make a reality, making the orchestra the first Filipino orchestra to perform at the revered venue, and in the U.S. mainland. His stint with the PPO spanned two three-year terms from 2010 to 2016.

A native of Paris, he began his music studies in France, then proceeded to the United States, expanding his focus on orchestral conducting, taking up graduate studies, and attending master classes with some of the best conducting mentors, including Mark Gibson, Gustav Meier, Marin Alsop, Larry Livingston, Robert Baldwin, John Barnett, John Farrer, and Achim Holub.  In 2003, he obtained his Masters Degree in Conducting from the University of Southern California, where he was given the Conducting Department Award.  In 2009, he began his Doctoral Studies in Orchestral Conducting at the Cincinnati College-Conservatory of Music under Mark Gibson.

Aside from an internationally recognized conductor, Olivier is also a  world class musician. He earned his Bachelor’s Degree from the University of Kentucky, as a flutist and bassist. He has also played as bassist for the Lexington Philharmonic Orchestra.

Olivier has been invited to the California Conductors Institute several times.  In 2009, he was among a handful of conductors invited by Baltimore Symphony Orchestra Music Director, Marin Alsop, to conduct in the Cabrillo Music Festival in Santa Cruz, California, and to participate in a conducting workshop. He has also been a participant in the Cincinnati College-Conservatory's conducting workshops.

In the Philippines, Olivier is an active clinician, leading chamber music masterclasses at various schools. He has also led master classes in conducting for the Cultural Center of the Philippines.  As part of his outreach mission, Olivier serves as head visiting conductor of The Orchestra of the Filipino Youth, a program geared towards training talented youth that stem from severely unfortunate financial backgrounds.  Olivier is also a strong advocate of heritage, recently winning a campaign he spearheaded to save the the Philamlife Theater from demolishment by a large commercial developer.

He has collaborated with artists such as violinist Odin Rathnam, Argentinian bandoneonist Rodolfo Mederos, and celebrated pianist Cecile Licad.  He is a regular guest conductor with the Vietnam National Symphony Orchestra and the Sichuan Philharmonic Orchestra of China. He has also conducted the Cincinnati College-Conservatory Orchestras, Budapest MAV Symphony Orchestra, George Enescu Philharmonic Orchestra, and Moscow State Symphony Orchestra.  Some of his upcoming engagements include conducting the Esterhàza Festival Orchestra, the Philippine Philharmonic Orchestra, and Virtuosi Italiani. Aside from Carnegie Hall, Olivier has also conducted in the Great Hall of the Moscow Conservatory, and China's National Centre for the Performing Arts.

PR: “WINGS”: BALLET PHILIPPINES’ 47TH SEASON TAKES FLIGHT WITH “FIREBIRD AND OTHER BALLETS” THIS AUGUST 19-21

The country’s flagship classical and contemporary dance company opens its 47^th performance season with “FIREBIRD and other ballets”. A mixed bill of contemporary and neo-classical works, the show features pieces by David Campos, Dwight Rodrigazo, and Carlo Pacis, and an all-new “Firebird”, choreographed by George Birkadze.

Russian-born choreographer George Birkadze reimagines the Russian folk tale of “The Firebird” and brings it into a pre-Hispanic Philippine setting. The ballet’s costumes are designed by Mark Lewis Higgins, taking inspiration from historical documents such as the Boxer Codex, and using elements such as gold, spices, and porcelain.

Renowned Spanish choreographer David Campos draws from the company’s unique strengths as he reworks “Ne Neh Ledej” for the cast. Originally performed by Barcelona-based Ballet David Campos, the piece is a witty take on neo-classical ballet.

“Moving Two” by Dwight Rodrigazo is a contemporary pas de deux originally choreographed for Jean Marc Cordero and Candice Adea after their victory at the USA International Ballet Competition in 2011.

Originally choreographed in 2010, Carlo Pacis’ “Shifting Wait” won the Gawad Buhay for Outstanding Choreography in Modern Dance. This production features an expanded version of the piece, with an added third movement, and six pairs of dancers instead of the original four.

“FIREBIRD and other ballets” runs for one weekend: August 19, 8:00 PM, August 20 & 21, 2:00 PM & 6:00 PM at the Tanghalang Nicanor Abelardo (CCP Main Theater). For inquiries, visit www.ballet.ph, send an email to info@ballet.ph, or call Ballet Philippines at 551-1003.

The productions lined up for Ballet Philippines’ 47^th Season include: “Bagong Sayaw” on September 9-18 at the CCP Studio Theater, “Crisostomo Ibarra back to back with “Simoun” on October 21-23 at the CCP Main Theater, “Awitin Mo At Isasayaw Ko” on December 2-11 at the CCP Main Theater, and a full length production of “Swan Lake”, from February 24 to March 5, at the CCP Main Theater.