Terez

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About Terez

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

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  1. Makes great sense, Pherank, on both points mentioned.
  2. Very interesting to watch! Great stuff. Quiggin - I smiled when I saw your comment because my first thought was "In the Countenance of Kings" as I watched. The music, the short film aspect, the propulsive-yet-flowing choreography. I hope Nyman's whole score isn't like that, though - a whole ballet of that would be exhausting to the ears. (And here, I was thinking of the score to the movie The Piano when I saw his name. Certainly not my thought now!) Bought myself a ticket to this program; am looking forward to enjoying it w/o having to write up a review.
  3. Oh, dear, what just crossed my mind was that Lauren Strongin has not been tapped - and it seems to me she's been dancing at SUCH a high level lately. : (
  4. Pherank, we posted at the same time, and there you go, my opinion on Morse. Last spring - I can't remember which ballet, now, it was him with seven other dancers, all principals (and surely there was a soloist or two in the group) and he fit in so seamlessly, I was SO impressed. He really seemed ready to be moved up.
  5. Well, I've been falling out of my chair all week long (and we'll include last week, too) at all these promotion announcements. Just love hearing them all! I'm particularly excited for Steven Morse, as I'd feared he might be overlooked and he had such a strong season last year, it seemed to me. Actually, I'm thrilled for all three; they are all a pleasure to watch. Wow, WHAT an eventful season for the SFB's roster!
  6. Well, my goodness, the news keeps coming from the SFB, doesn't it? Very happy for both dancers; they were on my wish list for promotions, back last spring. As always, I feel a little sad for the dancers who came just shy of garnering this prize, but ah, well, that's how it goes in a dance company. Big congratulations to both dancers!
  7. Loved your comments here, Josette - especially your description of Wei Wang as The Creature. I'm nodding over your comments that his Creature was the opposite of monstrous. I felt the exact same way about Taras Domitro in his interpretation. So much empathy arose in me, watching him, and yes, the rejection he keeps receiving felt so sorrowful. Am so glad the role and its interpretation was so nuanced and polished. (And it doesn't help that these men have superb, beautiful, can-stare-at-endlessly bodies, LOL!)
  8. Me too, Dreamer! And I'm with you, that it would be so much fun to see a promotion being made publicly. Of course, with my luck, it would fall on a night other than the night I was there, and I'd be gnashing my teeth at having missed it. (Good thing for cell phone recordings and YouTube, however!)
  9. Enjoyed your comments, Pherank. It will indeed be interesting to see if it shows up next year. Although with their New Works Festival, it's hard to imagine finding room amid the tried-and-true repertory the patrons will flock to. I wasn't really following the SFB at the time of their 2008 New Works Festival. Am wondering what the season is going to be like. And you have a good point, Pherank, on wishing we'd known all the changes that were going to come about this year (actually, the last couple of years). I have an uneasy feeling I will miss out on the chance to see Davit Karapetyan dance again, and that thought makes me sad. Ah, well. With departures come promotions, and that's been a lot of fun to follow over the past few years.
  10. Watching Salome, wholly entertained by it unfolding onstage, the thought DID cross my mind that, wow, for all the wonderful theatricality of it, the great acting (just loved Val Caniparoli and Anita Paciotti as Herod and Herodias - and both André and Robison did a fantastic job), none of the actual dancing was staying in my mind, producing a "wow" feeling in me, the way Liam Scarlett's choreography, for example, will do. It was all about the amazing feeling of seeing a stretch limousine roll onstage, and the astonishing amount of confetti that kept being shot out from cannons in the downstage wings, watching Dores André, etc. The final pas de deux between André and Robison was very well done - some of that aching, imploring feeling that the final pas de deux in Frankenstein brought, although with obviously different motivations behind it, of course! I felt pretty riveted by the whole thing - a little unnerved at the very end. Although I would have loved to see Froustey do this, I thought Dores did an incredible job. She's really stepping up to the plate and doing a bang-up job as a principal this season, it seems to me. Nice to see. I just loved Possokhov's Fusion. Those men in skirts - wow, did that work well. I was slow in getting to my seat, so I didn't get to read program notes, and the ballet was new for me, so I'd had no idea they were representing whirling dervishes, at first. I just thought, hey, men in skirts. That's a good gender-bending tactic. Loved the ensemble effort of the quartet - it went beyond their being spot-on; they really did exhibit this serene spirituality that worked so well for me. All four couples did such a great job. So nice to see Yuan Yuan Tan performing; this it the first time I've seen her since last spring. The pas de deux with her and Luke Ingham was incredibly good. I missed Fearful Symmetries last year, but I saw the complaints about it looking too dark onstage, and they seem to have remedied that. I find that little coda at the end, new music/pacing/costumes/couple to be baffling. It's like Scarlett (or Adams) was given an extra two minutes' worth of music at the 11th hour and told "do whatever, just make it beautiful." The way the lights shut off just before, and just after - again, what was the point of that? It felt so abrupt. There was so much to like here, but it was so endlessly propulsive, it started getting hard to appreciate. I saw that SFB had some footage on their FB page and site, of Scarlett talking about the ballet, while showing five minutes of rehearsal time mixed with performance footage, and I enjoyed watching that over and over. I felt like only then could I appreciate the choreography. That's the problem with some of this fast-paced stuff (much like In the Countenance of Kings) - I honestly can't enjoy it fully. My brain wants a breather. Thank goodness Adams' score was melodic and likable - I'd been worried that it was going to be an atonal composition. In the end, I'd say I quite liked the program - maybe more than I liked Program 2, actually. I think I liked Frankenstein more than Salome - my thought upon seeing the former was, "I want to see it again! Soon!" I can't say that about Salome, actually. It had a sort of delicious shock value that might get old if one were to attend 2 or more performances in the same season. And the confetti cannons, shot off so effectively the first few times, started getting a little "done that already" by the third and fourth time. Sometimes more is less.
  11. So very happy about this news; I've been looking forward to hearing it for a long time now. ((I'd been banking on a backstage promotion after a performance night of Frankenstein - but I'll take this!)) Well, knock me over with a feather - I had no idea about Max and Sasha. How charming to learn!
  12. I was there Thurs pm, and wow, it was some show. Will report back with my own impressions later today, but I just wanted to contribute this link to Janice Berman's review, and wow, she did NOT like it. http://www.sfcv.org/reviews/san-francisco-ballet/new-salome-mediocrity-unveiled. I'm fascinated by the variety of opinions being voiced. A bit like Frankenstein, it would seem, with less agreement than usual among the usual top 5(ish) reviewers. Is it just me, channeling the tensions of the polarized US political situation right now, or is there more heated disagreement going on this season? I saw that Ann Murphy and Allan Ulrich have offered their two cents' worth, as well. I quite liked Claudia Bauer's review - a great, informative read in all ways.
  13. Anybody know, BTW, why we've seen nothing of WanTin Zhao in recent programs? Or maybe it's just been luck of the draw and she hasn't performed in the three performances I've seen in the repertory season to date. And Pherank, I never got the chance to thank you for your comments on my last query about absent dancers. Yikes, I hope Sarah VP and Sofiane aren't thinking retirement any time soon. They dance so "young" in my mind. Crazy to hear that Sofiane started professionally at 14. Wow.
  14. Pherank, thank you for the lovely shout-out! Much appreciated. The review was a bit longer than Bachtrack allows me (only 800 words) and that's one advantage of a blog review - you can really stretch out and offer thoughts about the mood, and such. Quiggin, like you, I enjoyed the production more than I'd expected I would. I was just crazy about Taras Domitro's performance, the raw emotion in it. Like I said in my review, the Creature was a being you could almost love, certainly feel a whole lot of sympathy for. I noticed in other reviews how more than one reviewer brought up how the story paralleled (or should have) today's technology and the "monster" we might be creating with artificial intelligence. No one brought up how the story relates to the way the "undesirables" of the world, those homeless wrecks you see on the streets of SF and go out of your way to avoid any contact with. There was this utterly brilliant moment during the Creatures early days of reanimation, where, through the scrim and a spotlight, you see him wandering the streets (sorta), being pushed and shoved and despised. It was fleeting, but just a brilliant way to encapsulate how he fared in that post-reanimation period. I thought Scarlett's production made the character wonderfully sympathetic. Those two pas de deux at the end, between Victor and The Creature, and the latter with Elizabeth - were so very, very good, both in performance and choreography. Such "love me - please!" yearning. Domitro didn't hold anything back. I remember being dazzled by his performance in Swimmer last season for the same reason. What a great dramatic artist he can be. I was thrilled to see Cast 2 perform and thought Max, Lauren, Taras, Julia Rowe and Angelo Greco did amazingly well. Was so hoping we'd hear news of a backstage promotion to soloist for Max, the way we heard of Jennifer Stahl getting promoted after Rite of Spring. Speaking of whom, she performed very well as Madame Moritz (?) the housekeeper. I didn't even recognize her; I had to check the name on the cast sheet at intermission. I heard Prokofiev's "Cinderella" in the final waltz scene (but not the bordello scene) - I was so relieved the score was more traditional than innovative. The ballet itself, or its libretto (is that what it's called in a ballet vs an opera?) was plenty innovation for me. I didn't need another Sufjan Stevens or Thom Willems score pushing me out of my comfort zone. Enjoyed your comments on the production, Quiggin. Anyone see Cast 3? Josette, I hope you enjoy the Sun matinee - do report in, if you can, on how Wei Wang did as The Creature. I imagine he'll do fine with it.
  15. I know - I was pretty surprised to see that! Delighted though, as I've always enjoyed watching him, and that's the performance I'll be attending. Am also seeing Lauren Strongin in a lot of principal sort of roles so far this season. Wouldn't surprise me if (when?) it happens. It's all a little disorienting, though. I feel like the company is undergoing quite a changing of the guard. Haven't seen Sarah VP since her return from maternity leave. Nor Vanessa, since opening night of Nutcracker. Nor YY, at all. Ah well, the season has just begun.