Symphony, BalletMet to display combined power of artistic genres

Peter Stafford Wilson is used to being in charge. As the music director of orchestras in Westerville and Springfield — and an associate conductor with the Columbus Symphony — Wilson leads dozens of musicians on stages throughout central Ohio.

Leadership is less clear, however, when Wilson conducts an orchestra during a ballet performance.

“When I’m conducting a symphonic show, I’m in charge,” Wilson said. “And when I conduct a ballet show, everyone else is in charge.”

This weekend, BalletMet and the Columbus Symphony will join forces for artistic director and choreographer Edwaard Liang’s “Romeo & Juliet,” a three-act ballet based on Shakespeare’s tragedy-tinged tale of young love. Wilson will lead the symphony in the score by Sergei Prokofiev.

The “unpredictability” of working with dancers appeals to Wilson. For example, he might adjust the tempo depending on what he sees on stage.

“The dancer could sustain something a little bit longer, and if I’m watching and I catch it, we have a beautiful moment,” Wilson said. “If I’m not and I keep plowing, then I’ve ruined that beautiful moment.”

Dancer David Ward — who will appear as Romeo on Saturday night and Sunday afternoon — said that the collaboration between dancers and musicians is mutually beneficial.

“First and foremost, it’s just amazing to have them play for us,” said Ward, 30, who will dance opposite Adrienne Benz as Juliet. (A second cast, seen on Friday night and Saturday

“Romeo & Juliet” BalletMet with the Columbus Symphony Ohio Theatre, 39 E. State St. 614-469-0939; 1-800745-3000, www.ticketmaster. com

afternoon, will feature Miguel Anaya as Romeo and Caitlin Valentine-Ellis as Juliet.)

“I talk with some of the members of the orchestra, and they love the collaboration, too,” Ward said. “They tell us, ‘You inspire us so much. We love the music … but we’re getting teary watching you at the same time.’ “

Benz also sings the symphony’s praises.

“We only see the tips of the instruments in the pit, but it’s just incredible that we are facilitating each other’s craft,” said Benz, 32. “Without one or the other, it wouldn’t be the same experience for an audience member.”

Performances featuring both BalletMet and the Columbus Symphony are relatively rare. Apart from the annual presentation of “The Nutcracker,” the companies have combined for eight fullscale programs (including the current “Romeo & Juliet”) since 2000.

When Liang’s “Romeo & Juliet” was first performed by the Tulsa Ballet in 2012, the production featured orchestral accompaniment — an element that the choreographer wanted to retain.

Thus began a nearly threeyear fundraising drive with the goal of hiring the symphony to perform the show.

“We did it outside of what I would say our normal development budget would have been,” said executive director Sue Porter, who declined to reveal how much money was raised during the fundraiser.

“It’s so special when we’re able to do it,” Porter said, referring to using live music, “but, quite honestly, it’s a huge expense to us as well.” 8 p.m. Friday, 2 and 8 p.m. Saturday, 2 p.m. Sunday; dress rehearsal: 11 a.m. Friday $29 to $91, or $23 for the dress rehearsal

At the start of the 201415 season, Liang met with philanthropist Anne Melvin (who died in December); Liang said that Melvin committed to providing one-third of the necessary funds if BalletMet raised the balance.

“She really wanted to make sure that organizations weren’t just depending on her and her generosity,” Liang said. “She wanted to grow other arts advocates and leaders and patrons.”

With the fundraising complete, Porter announced the symphony’s involvement in the show midseason — on the opening night of BalletMet’s “Peter Pan” in February.

To prepare for the collaboration, musicians and dancers will rehearse together three times ahead of opening night (including a dress rehearsal open to the public on Friday). Four performances will follow.

Wilson is counting on the symphony to inject energy into the performers.

“If they were doing this to a CD, the physical exhaustion — because everything was exactly the same — would take its toll,” he said. “The fact that everything is to live music … gives those dancers the edge that they need to carry off a mandate like that.”