httpv://youtube.com/watch?v=lYaLLX_bF7c
Cirque Du Soleil O video
Cirque Du Soleil Head Cast
“Getting your head totally covered in a plaster cast – with only two holes for your nostrils. Ugh!” Location: Montreal, Canada at Cirque Du Soleil headquarters.
Racheal Cogan is one of my bandmates in the Cirque Du Soleil show at the Sands Venetian in Macau, China. She was nice enough to let me post pictures of her head casting today.
Cirque Macao 2008
Cirque du Soleil will see its first resident show in Asia debut at The Venetian® Macao-Resort-Hotel next summer.
This brand new 90-minute mega-production brings together 75 high-calibre artists from all four corners of the globe. Presented in one of the most impressive theatres ever created by Cirque du Soleil, the show will immerse its 1,800 spectators in an unforgettable experience.
Keep your eyes and ears open, the adventure will soon commence …
(“Macao” is also spelled as “Macau”. Show is on the Cotai Strip between the islands of Macau and Taipa.)
Visit http://www.cirquedusoleil.com/World/en/au/shows/macau2008.asp
Visit the Sands Venetian Macau website at http://www.venetianmacao.com
Cirque Macau – Alice in the Cosmos
This is very ironic. Here’s a news release about the overall concept of the new Cirque Macau show at the Sands Venetian that I’m working on (I knew about it, but won’t release any info on the show until it’s released to the media).
The ironic part is that one of the projects I had to cancel when I joined Cirque Du Soleil was writing my new musical version of Alice in Wonderland. It was scheduled for performance in April of 2008. Mmmm…..coincidental don’t you think?
Stéphane Baillargeon
Édition du mardi 19 février 2008
Article on Cirque Macau I released in French by Ledevoir.com at http://www.ledevoir.com/2008/02/19/176805.html?fe=3176&fp=242761&fr=68506
You can translate the original article from French to English at: http://babelfish.altavista.com/
Partial English Translation:
The director Gilles Maheu prepares an original production described in the documents of the company like “Alice with the country of the wonders, but in cosmos”. The spectacle of Venetian Hotel, inaugurated next October, will use seven lifting performances, including three calling upon about fifteen dancers. Gilles Maheu, well-known for his work of dance-theatre within the late troop Carbon-14, called upon Martino Müller, the choreographer who worked already with him on the musical Our-injury of Paris.
The CDS quickly hopes to propose “at least five” spectacles with Macao, according to an internal source. In fact, the company wishes to reproduce there with identical the model of development of Las Vegas where it is about to offer its sixth production and aims programming at ten spectacles from here 2015.
– With reading tomorrow: Will the CDS settle in London and New York?
Excerpt in French:
Le metteur en scène Gilles Maheu prépare une production originale décrite dans les documents de la compagnie comme «Alice au pays des merveilles, mais dans le cosmos». Le spectacle du Venetian Hotel, inauguré en octobre prochain, utilisera sept performances acrobatiques, dont trois faisant appel à une quinzaine de danseurs. Gilles Maheu, bien connu pour son travail de danse-théâtre au sein de la défunte troupe Carbone 14, a fait appel à Martino Müller, le chorégraphe qui travaillait déjà avec lui sur la comédie musicale Notre-Dame de Paris.
Le CDS espère rapidement proposer «au moins cinq» spectacles à Macao, selon une source interne. En fait, la compagnie souhaite y reproduire à l’identique le modèle de développement de Las Vegas où elle est sur le point d’offrir sa sixième production et vise une programmation à dix spectacles d’ici 2015.
– À lire demain: Le CDS s’installera-t-il à Londres et à New York?
Rehearsing at Cirque Du Soleil
Here I am rehearsing at Cirque Du Soleil’s top secret band rehearsal venue. Picture blurred to protect all the highly classified info…
*insert James Bond music here*
Eduard Harutyunyan
 
Eduard Harutyunyan is a percussionist from Armenia and currently with the Cirque Du Soleil band for the Macau China show at the Sands Venetian. I’ve been getting to know him a bit in rehearsals. He is very serious about his craft and has a tight natural feel which he keeps in top shape daily. I’ll have more info on him down the road.
Road to Svara
Performance from Saturday, September 18, 2004 – 11:43 PM
Armadam & Vahagn Hayrapetyan
Flute: Valeri Tolstov
Sax: Suren Kyarunts
Duduk, Zurna: Araik Mkoyan
Ud: Tarek Mustafa
Violancello: Artem Manukyan
Piano: Vahagn Hayrapetyan, Ruben Satyan
Guitar: Vardan Gasparyan
Bass: Artur Molitvin
Percussion: Eduard Harutyunyan
Drums: Alexander Grigoryan
“Time Reportâ€
“Time Report†is one of the most popular jazz bands in Armenia, playing ethnic jazz. The original founders of the group are Khachatur Sahakian and Armen Hyusnunts, who produced their first album (Songs Without Words) in 1996. On the following year drummer Alexander Grigorian (Sash) and bass player Vardan Arakelian joined the duo.
The united band made its debut as “Time Report†in 1998. It conquered highest acclaims in the First International Jazz Festival in Armenia (Yerevan-98).
In 2000 percussionist Eduard Harutyunyan joined the group and drummer Arman Jalalian replaced Alexander Grigorian. In 2005, duduk and zurna player Vardan Grigorian joined the band.
The style of music of “Time Report†is defined as “ethnic-jazzâ€. Their arrangements of Armenian traditional songs and the colorful original compositions of each musician had placed the band at an advanced position on the modern Armenian jazz scene.
They have toured and performed in many countries of the world and participated in various jazz festivals.
Jay Elfenbein
 
“Jay Elfenbein made his instrument roar, howl, slide and buzz… and he did so with virtuosity and flair.” – The New York TimesÂ
I’ve been working with Jay Elfenbein in the Macau Cirque band and he’s pretty damn incredible. I guess what first caught my ear is how he can switch from early music to jazz at the drop of a hat. A swingin’ bass man and very knowledgable music historian with a passion for early music. And he’s got that loveable New York charm to boot so he’s a real catch for Cirque. I’ve been learning a lot from him about approaches to music and interpretation which has been awesome.
“Jay Elfenbein, who many regard as the finest medieval and renaissance musician in New York City, is as well an astoundingly unique jazz player, and a composer of undeniable brilliance.”
THE IVORY CONSORT – founded by Jay Elfenbein
The Ivory Consort, founded and directed by Jay Elfenbein, is an ensemble that specializes in medieval music performed in an exciting and historically informed manner. For over ten years, they have brought ancient music to life on stage and over the radio with stunning clarity and brilliant improvisation. The Consort presents a fascinating mosaic of songs from the Golden Age of Spain, when Jews, Muslims and Christians forged a common musical language. With 10th through 13th century songs in Ladino, Hebrew, Arabic and Galician-Portuguese, the program provides a historical context for the intermingling of cultures before the 1492 Expulsion.
The Ivory Consort Jay Elfenbein (vihuela d’arco/vielle/rebab/psaltery/back-up vocals) “Jay Elfenbein made his instrument roar, howl, slide and buzz… and he did so with virtuosity and flair.” – The New York Times
Cirque Band in Montreal
Greetings from the Cirque Du Soleil band (Macau I) in Montreal, Canada. This is just part of the band. From left is Olivier Milchberg, Conrad Askland, Darrin Johnson, Rose Winebrenner and Steve Bach.
Some people have asked where the players are from. Musicians are from the US (Mount Vernon, WA – Denver, CO – Chicago, IL – New York City and Branson, MO), France, Sweden, Australia and Armenia.
We’re fffffffffffffffffffrrrrrrrreeezing up here. Please send Lutefisk and Lefse. (The Lefse won’t keep me warm, I just want some.)
Guy Laliberte
Guy Laliberté (born September 2, 1959 in Quebec City, Quebec, Canada) is the founder and chief executive officer of Cirque du Soleil. Starting out as an accordion player, stiltwalker and fire-eater; Laliberté created his circus which is a synthesis of all circus styles around the world. In 2006, this 95% share holder of the 1.2 billion dollar Cirque Du Soleil was named the Ernst & Young Entrepreneur of the Year.
(In April 2007, Laliberté finished fourth in the World Poker Tour Season Five event at Bellagio in Las Vegas. Laliberté also played on GSN’s High Stakes Poker Season 4 show.)
By the time he was sixteen, he had decided to pursue a career in the performing arts after producing several high school events. After graduating, he became involved with a folk music group called “La Grande Gueule”, playing the accordion and harmonica. His work on the folk music scene was what introduced him the art of street performance.
After quitting college, Laliberté toured Europe as a folk musician and busker. He had learned the art of fire breathing by the time he returned home to Canada in 1979. Although he became employed at a hydroelectric power plant in James Bay, his job ended after only three days due to a labor strike. Supporting himself off of his unemployment insurance, he decided not to look for another job. Instead, he joined the stilt-walking troupe “Les Echassiers De Baie-Saint-Paul” that was led by Gilles Ste-Croix. Shortly afterward, Laliberté and Ste-Croix organized a summer fair in Baie-Saint-Paul with the help of Laliberté’s soon-to-be business partner Daniel Gauthier.
This festival, called the “La FÄ“te Foraine”, first took place in July of 1982 touring Quebec. Ironically, the event was barred from its host town shortly thereafter because of complaints by local citizens. Laliberté managed and produced the fair over the next couple years, nurturing it into a moderate financial success. But it was during 1983 that the government of Quebec gave him a 1.5 million dollar grant to host a production the following year as part of Quebec’s 450th anniversary celebration of the French explorer Jacques Cartier’s discovery of Canada. Laliberté named his creation “Le Grand Tour du Cirque Du Soleil.”
The celebration turned out to be a critical and commercial success. Although the first tour of Cirque only netted a forty-thousand dollar profit, it allowed him to sign almost 1.5 million dollars in contracts. They had been performing exclusively for Canadian audiences until 1987 when Laliberté risked everything and took his circus to the Los Angeles Arts Festival. It cost the production’s entire cash reserve to make the move. Had it not been successful, he would not have had the money to move the troupe back home to Quebec.
Pope Du Soleil
A performer from Cirque Du Soleil kisses the hand of the pope.