pherank

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About pherank

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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)**
    CA

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  1. Mathilde's arm dance, at Sensorium 2017: https://www.instagram.com/p/BR8zr0dline/?taken-by=lapetitefrench_
  2. The Georgiadis-designed tutu is a stunner, and the headdress is also quite nice. I actually prefer the kokoshnik myself (because I just like the kokoshnik look - not because it is more appropriate - it is not). The wire kokoshnik must have been a pain to affix and dance with though. My understanding is that "Andrew" is a correct translation of the Slavic "Andrei" into English. But Andrei would not be the Hungarian name (Andrej? André?) Here's Elisabeth Platel as Raymonda in the Georgiadis costume:
  3. I'm reviving this thread to point people to the very informative Conversations on Ballet interview with Alastair Macaulay regarding the history of Serenade. This is a very in-depth discussion, with lots of technical bits, but I think fans of this Balanchine ballet will find it to be very worthwhile. http://conversationsondancepod.com/2017/01/23/30-alastair-macaulay-nyt-chief-dance-critic-on-balanchines-serenade/ 'For the past 30 years Alastair has been researching George Balanchine’s Serenade and has recently complied his work into a Symposium at the New York Public Library entitled “Balanchine’s Serenade: An Evening of Films, Commentary, and Memories.”'
  4. Here, btw, is the promo video for Sensorium 2017. It would be great to hear from anyone that took part in the event.
  5. Made for San Francisco Ballet is the title of this program, and there's an early teaser video available for Myles Thatcher's new ballet: Ghost in the Machine 'The LA Times called Helgi Tomasson’s Trio, “elegant and engrossing.” The SF Chronicle said it was “sheer extroversion.” This program features the world premiere SF Ballet dancer Myles Thatcher's second new work for us, Ghost in the Machine. Christopher Wheeldon’s inventive and mystical Within the Golden Hour© completes this meditation on contemporary classicism and ballet at its best.' Myles should get a copyright for his ballet's name too. ;)
  6. Yes, very intelligent questions, and they managed time well. I have noticed with that podcast and a couple others that I listened to, that they have an issue with the microphone sound levels (mainly for the interviewers, not the interviewees).
  7. It's good you have family that you can stay with - the hotel, transportation and restaurant charges are immense these days. It's been "bumming me out". It would definitely be easier on the dancers to spread things out a bit - this will be at the end of the season too, so some of them may be banged up. I'm starting to wonder if the rest of the season is likely to be repeats of ballets that the dancers (and audience) already know.
  8. Thanks Helene - very enjoyable. It's actually good to hear some information about the whole Balanchine to Martins transition period at NYCB, as well as to get more specifics on Boal's influences. I liked hearing about the various teachers and classes offered back in the day.
  9. I've found the following reference online, in Nutcracker Nation: How an Old World Ballet Became a Christmas Tradition by Jennifer Fisher (Google book search) http://www.burntscarlet.com/_test/ballet-alert/nutcracker_quote.png (I don't have any OCR software at the moment to try to convert this to text)
  10. I have to think this was a tactical decision by Tomasson to deal with the many retirements. There is a point when it starts to feel like all the air is being let out of the balloon. He's got to keep people excited about the future, not nervous and worried. To me, it was respectful to promote Stahl before, say, Strongin, even if Strongin is, talent-wise, deserving. That shows the management does not forget the people who have come up through the ranks, step-by-step (so to speak).
  11. It's not over until it's over. ;) Does this mean Tomasson is also trying to pull in a dancer(s) from outside the company and needs to keep a space open? We'll just have to wait and see. Those announcements tend to come in late spring/early summer. Thanks for your thoughts on Morse.
  12. Wow, isn't that interesting? If this is indeed the first instance of the "Nureyev era" Raymonda costumes, then yes, I think we can credit Barry Kay with the costume design. I can't really make out Fonteyn's headpiece in this particular shot, but the demi-soloists(?) behind her are wearing some type of wire kokoshnik. The patterns on the tutus are very similar to the later ones. I would say the overall effect is definitely Slavic - not reminding me of Provence or Hungary in the slightest. ;) Thanks RG!
  13. There's no mention of Hernandez performing the Prodigal Son, which is the kind of role one dances before being promoted (not that Frankenstein's monster isn't good too). It is definitely time for Jennifer Stahl's promotion - she's made the necessary sacrifices. I've not seen as much of Morse, so it would be good to hear from other members on what they think of his dancing.
  14. Promotions for Jennifer Stahl, Esteban Hernandez, and Steven Morse From a SFB email to subscribers: "...Soloist Jennifer Stahl has been promoted to principal dancer and Corps de Ballet members Esteban Hernandez and Steven Morse have been promoted to soloist, effective July 1. Born in Dana Point, California, Jennifer Stahl trained at SF Ballet School before being named an apprentice in 2005, a corps de ballet member one year later, and a soloist in 2013. Since then, she has created roles in works by Forsythe, Morris, Peck, Possokhov, and Thatcher and has performed numerous principal roles. From Guadalajara, Mexico, Esteban Hernandez trained at The Rock School in Philadelphia before joining SF Ballet as a member of the corps de ballet in 2013. He has performed a variety of principal and featured roles, most recently as Henry in Scarlett’s Frankenstein. Steven Morse from Harbor City, California was a trainee at SF Ballet School before joining the Company in 2009. As a corps de ballet member, he created principal roles in Scarlett’s Fearful Symmetries and Thatcher’s Manifesto. Please join us in congratulating Jennifer, Esteban, and Steven on their promotions and look for them in upcoming performances of Tomasson's Swan Lake and Made for SF Ballet." A hearty congratulations to Stahl, Hernandez and Morse!
  15. I completely agree that Vishneva is dovetailing more than one issue together, as part of a general complaint about relaxing standards (and perhaps, quality). But I suppose she's trying to get a dialogue going. "Under Vaziev the Bolshoi is hardly performing its core repertoire any longer. (Count 'em: three performances of Giselle, four performances of Swan Lake, five performances of Spartacus in Moscow this season; audiences can't be too happy about this.) Frankly I don't know what sort of dancer it needs today." The Bolshoi just premiered The Cage apparently, so they're going to need something besides Moscow Ballet Academy or Vaganova training if they're going to keep that sort of thing up. ;)