Saturday night at the Winspear Opera House, patrons and guests gathered in the grand lobby dressed in their finest glittering gowns, elegant tuxedos, perfectly styled hair and engaged in anticipatory chatter. The champagne flowed freely as the audience geared up for TITAS’ annual Command Performance gala, an evening of eclectic pieces spanning the spectrum from pure classical ballet to neo-modern, and contemporary ballet. The pre performance speeches by TITAS Artistic Director Charles Santos and board member Gail Zaiks Halprin promised a little something for everyone, and the repertoir certainly delivered on that promise.

The evening’s performance opened with one of two aerial dance expositions featuring Jenny Mendez. Mendez and her two different partners, Joshua Dean and Timothy Harling, have taken Lisa Giobbi’s aerial choreography to a new stunning level. The movement sequences were an awesome result of their dramatic presentation, physical power, graceful elegance and an uncanny ability to use precarious stillness as Mendez anxiously perched over a trapeze swing or was suspended by overhead wires moving her to the very precipice of safety.

The second of four couples to perform, Wendy Whelan and her partner Desmond Richardson brought back Christopher Weeldon’s “After The Rain,” a piece danced on the Winspear stage just over a month ago when TITAS presented the Joffrey Ballet of Chicago. The Joffrey dancers were outstanding, but there was a mesmerizing quality in the dance this evening that gave a rare depth of interpretation. No doubt, NYC Ballet’s, Wendy Whelan shines in this abstract work, filling emotionally empty slates with defiance, power, and longing.

Janessa Touchet and her partner, Cervilio Miguel Amador, embraced versatility with two completely different styles: the ultra contemporary, undulating, rolling hip movements of “Remix,” set to the music of Philip Glass, and “Flames of Paris,” a seldom performed classical pas de deux. Janessa sailed through the opening jetés with impressive elevation, and later, in her solo, she made the endless diagonal of hops on pointe look effortless. Cervilio matched the height of her jumps dancing with great speed and precision throughout.

Without a doubt, the evening’s standout couple were Yuan Yuan Tan and Damion Smith of San Francisco Ballet. Their first piece, choreographed by Jessica Lang to Ryuichi Sakamoto’s sonorous music, “Among The Stars,” was commissioned specifically for this evening’s gala. It’s a music-inspired abstract—an interplay of melancholy melodies and sophisticated dance movements. Costumes were designed by Nicole Pearce—Lavander ballet dress, a romantic poets blouse and tights on Damion, coupled with a breathtaking, translucent, silk scarf, large enough to span the entire width of the Winspear stage—accentuate the beauty of their dancing bodies. Yuan Yuan was undoubtedly the centerpiece of this dance. She seemed to float in space and time for the duration of the piece. Her incredible artistry continued with their second performance, possibly the most well-known classical pas de deux of the last 100 years, “Swan Lake.” The air of soulfulness about Yuan Yuan, the sense of buried grief that emerges at times, the warmth in her facial expressions, the beauty of her lines and her movement – all are at once describable and elusive.

Like “Flames of Paris” the final selection for the night, “Don Quixote,” was a jarring showpiece providing the bravura that one comes to expect with these types of galas. The pas de deux was performed by Carla Korbes and Karel Cruz of the Pacific Northwest Ballet, who appeared earlier in the evening in the neoclassical, “Concerto Dsch Pas De Deux.” Carla exemplifies the beauty and purity of Petipa with an elegance of those great ballerinas who came before her in the role of Kitri. Equally, Karel’s dancing was exaulted and abundant, yet precise and controlled. Form was never sacrificed for quality, and every leap and turn finished neatly and particularly in the series of double tours and double pirouettes at the end of his variation.

This year’s command performance serves to underline TITAS’ position as a presenter of world class ballet in Dallas Texas. Artistic director, Charles Santos’ ability to attract the best guest artists from around the world speaks volumes to their reputation. Year after year, TITAS continues to set new standards of excellence for dance patrons across the metroplex.

http://frontrow.dmagazine.com/2013/03/with-command-performance-titas-reasserts-itself-as-the-regions-premier-dance-presenter/

Doug Varone and Dancers creates modern
choreography that is as accessible as it is groundbreaking.
The renowned company relies on its technical and physical
prowess to keep audiences engaged and energized as they
explore the complexities of the human spirit. From the smallest
gesture to the most powerful bursts of movement, Doug Varone
and Dancers reveals the subtle beauty and raw energy in
everyday moments. The result is a performance that will draw
you in, surprise and delight you, challenge and reward you—
and take your breath away.
Award-winning choreographer and director Doug Varone works
in dance, theater, opera, film, television and fashion. By any
measure, his work is extraordinary—not only for its emotional
depth and kinetic breadth, but also for its effortless adaptation
to so many media. As a company, Doug Varone and Dancers is
recognized for its vision, versatility, technical ability, storytelling,
and sheer physicality.

Stephen Petronio Company ( November 16, 2012)

Acclaimed by audiences and critics alike, Stephen Petronio is widely regarded as one of the
leading dance-makers of his generation. Music, visual arts and fashion collide in a dazzling scene for the senses. Petronio has worked with some of the most provocative composers, visual artists and fashion designers in the world—including Rufus Wainwright, Lou Reed, Laurie Anderson, Michael Nyman, Cindy Sherman, Anish Kapoor, Donald Baechler, Rachel Roy and Manolo. Since their founding in 1984, Stephen Petronio Company has performed in 26 countries. The troupe boasts 35 New York City engagements, including an impressive 15 seasons at The Joyce Theater.
TITAS welcomes Stephen Petronio Company to the Winspear Opera House for their debut
Dallas appearance. With an evening that pushes visual and technical boundaries, their
spellbinding choreography and distinctive style blurs the lines between performance and art.

The Joffrey Ballet (January 18-19 2013)

In recognition of the 100th anniversary of Nijinsky’s iconic Le Sacre du Printemps (Rite of Spring), TITAS and the Joffrey are proud to present this classical masterpiece—complete with its original choreography. The Joffrey Ballet has been hailed as “America’s Company of Firsts.” Among their long list of notable performances: first dance company to perform at the White House (at the invitation of Jacqueline Kennedy), first to appear on television, first American company to visit Russia, first to commission a rock ‘n’ roll ballet, first (and only) dance company to appear on the cover of Time magazine, and the first company featured as the subject of a major motion picture (Robert
Altman’s “The Company”). Founded in 1956 by visionary dancer, teacher, choreographer Robert Joffrey, The Joffrey Ballet is known for its unique, inclusive perspective on dance. The company, the audiences and the repertoire reflect America’s rich diversity through story ballets, reconstructions of masterpieces and contemporary works.
Guided by celebrated choreographer Gerald Arpino from 1988 until 2007, and now thriving under Artistic Director Ashley C. Wheater and Executive Director Christopher Clinton Conway, the Joffrey Ballet is one of America’s most recognizable arts institutions—and one of the top dance companies in the world. This season, TITAS and the AT&T Performing Arts Center are proud to welcome The Joffrey Ballet back to Dallas after a 20-year absence.

A Gathering pulled it together. TITAS executive director Charles Santos took on the daunting task of producing A Gathering, a collective of area performance arts companies, commemorating 30 years of AIDS. Groups such as the Dallas Opera, Turtle Creek Chorale and Dallas Theater Center donated their time for this one-of-a-kind show with all proceeds benefiting Dallas’ leading AIDS services organizations. And it was worth it. A stirring night of song, dance and art culminated in an approximate 1,000 in attendance and $60,000 raised for local charities. Bravo, indeed.

http://www.dallasvoice.com/good-bad-%e2%80%98a-list%e2%80%99-1098075.html

That was 10 years ago last month. Which means that 10 years ago this month, Santos celebrated a decade as the executive director of TITAS. Thus, the board of TITAS, along with luminaries like Veletta Lill, Matrice Kirk, Chris Heinbaugh and city councilwoman Ann Margolin, noted the anniversary with a surprise party for Santos at Komali last night.

Santos was bestowed a sculpture, pictured, to mark his time here, and he indicated his desire to be around for another 10 years.

TITAS next brings the inventive dance troupe Pilobolus to the Winspear on Nov. 19.

A Gathering: The Dallas Arts Community Reflects on 30 Years of AIDS

December 6, 7:00pm, Winspear Opera House

BUY TICKETS – PROMO CODE: GATHERING

or call the Box Office at 214-880-0202

100% of the proceeds from A Gathering will directly benefit four of Dallas’ leading AIDS service organizations. Don’t miss this rare opportunity to be part of an extraordinary night of song, dance, hope and solidarity.

The Dallas arts community is coming together for a spectacular One-Night-Only performance commemorating 30 Years of AIDS. An unprecedented collaboration between some of the finest arts organizations in Dallas, A Gathering: The Dallas Arts Community Reflects on 30 Years of AIDS will feature eleven Dallas cultural institutions coming together and sharing their talents to create a powerful evening of entertainment. With a cast of more than 200 singers, dancers and actors, A Gathering promises to be a soul-stirring performance, and a night to remember.

Benefiting: