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About pherank

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    Sapphire Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan, balletgoer
  • City**
    San Francisco/San Diego
  • State (US only)**, Country (Outside US only)**

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  1. SVP and Tiit Helimets are currently listed for these remaining dates: Sunday, April 30, 2017 - 2 pm May 4, 2017 - 7:30 pm Sunday, May 7, 2017 - 2 pm Frances Chung and Joseph Walsh were having to dance two nights in a row, so something unplanned for must have occurred.
  2. 'From grand spectacles to poignant close-ups, experience Helgi Tomasson's bravura interpretation of Shakespeare's Romeo & Juliet like you've never seen it before. With passionate choreography, spine-tingling swordsmansip, and a celebrated score by Sergei Prokofiev, San Francisco Ballet's passionate retelling of the Bard's greatest tragedy has packed houses around the world. Romeo & Juliet is one of the Company's most popular and widely toured ballets and has been seen by more than 200,000 people since it premiered in 1994. Choreographed by Helgi Tomasson, with sets and costumes by Jens-Jacob Worsaae, this visually stunning production and the brilliant dancers of San Francisco Ballet bring this powerful and touching tragedy - and Renaissance-era Verona - vivdly to life. "Tomasson lifts Shakespeare's complex and familiar language off the gilded pages and translates it into lucid classical choreography that is visceral, fresh, and ultimately sublime"' (Huffington Post). This is the same production that was shown in U.S. theaters more than once (Lincoln Center at the Movies). Maria Kochetkova and Davit Karapetyan are the leads. Please use the Amazon search box on this forum (upper right area of the home page) to help support this website. Note that if you use ad blocking in your browser the search box may not appear.
  3. I'm sure you're right, Sandik. ;)
  4. New video from SFB about the costumes for Wheeldon's Cinderella - "Hear from Julian Crouch and Oliver Haller about the challenges of designing Christopher Wheeldon’s Cinderella©." I'm not sure how it is possible to copyright the name "Cinderella", in fact, I have to think it would not hold up in court. Perhaps the copywriter was being overzealous.
  5. SFB Sleeping Beauty from 2007: YYT and Tiit Helimets
  6. I believe you've answered your own comment, Helene. ;) It's not about having enough bodies, but how the A.D. can find exceptional talents (not already snatched up by other companies). One thing I wonder about: SFB is dancing so much contemporary ballet - are the young Cuban dancers as interested in that repertoire as the North Americans?
  7. L.A. Dance Project has acquired a 5 year lease on a rehearsal and performance space. No simple task in Los Angeles. It's a big step for the company. '[Millepied] said that the raw space would be equipped with a full lighting plot and modular seating. “We’ll be able to create work and rehearse with lighting, which is a major luxury,” he said. He added that he planned to program multidisciplinary performances and events year-round, have classes and workshops, and offer the space to other artists and ensembles when the troupe is on tour. “There is an amazing amount of talent in Los Angeles, but a lack of infrastructure, and rehearsal space is at a premium,” he said. “I’ve seen firsthand how expensive it is to self-produce, so I want to offer local artists residencies and performance opportunities.”'
  8. "On Saturday, April 29, observe the dancers of SF Ballet in action in a Company class, led by one of the Company's Ballet Masters, on stage at the War Memorial Opera House. Guests will enjoy open seating in the Opera House auditorium." You must RSVP the company to attend - fill out this short form: Saturday, April 29 Doors Open: 11:30 amClass Viewing: 11:45–1 pm P.S. Please note that no audio/visual recording of any kind is allowed during this event.
  9. Interesting that YYT and Masha plan to be back for this. Right now they're both with Davit in St. Petersburg: I do hope SVP gets her chance to dance the lead in Cinderella - fingers crossed.
  10. Dores André comment: "I don't really feel sorry for Cinderella anymore."
  11. A rather amazing maneuver by Masha Kochetkova and Sebastian Kloborg in rehearsal for Saint Petersburg gala:
  12. The Future:
  13. I would think parenthood could a make big difference in a dancer's career choices, and longevity. Of course it depends upon the individual to some degree. Lorena Feijoo returned to dancing after her daughter was born, but it has to be very stressful looking after a young child and maintaining a career that demands peak physical conditioning. YYT and Sofiane have avoided that 'pitfall' thus far, and continue to dance at a high level. It has to be a tough decision to make. I think Vanessa and Davit may be thinking of starting a family - and time is running out - so they made the career change. That's just my guess though - I don't know that for certain. ;)
  14. Yes, I think it needs to be brought back either for next year or the following year.
  15. Personally I love mixed rep programs - I feel like I've had a full evening. And, if the program has been well-designed, the ballets can be easily compared and contrasted. But I concede that many ballet goers want to concentrate on a single narrative ballet, and submerge themselves in that one particular world. Walkaround Time is a conceptual piece, which instantly marks it as "not for everyone". I have to think that the general ballet audience will have trouble with this: 'Nine dancers meander around them, occasionally posing as if they were part of an ongoing exhibition. Midway through there is a jokey “interval” during which the cast stretch and chat onstage.' The audience paid money to see great dancing, so some of those people are going to feel that they have been robbed. It's not necessarily ignorance on their part either: those audience members are simply wishing for a different entertainment. In the U.S., however, it would be very unlikely that the dancers would have been booed - a subdued applause would be more likely if the audience was not happy.