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About miliosr

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    Sapphire Circle
  • Birthday 06/16/1967

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  1. According to Benjamin Millepied's Instagram feed, Axel Ibot will be joining LA Dance Project
  2. Pascal Molat update . . . He will be dancing with James Sofranko's SF Danceworks in Jose Limon's 1942 solo Chaconne: "On the historical end of the spectrum, Pascal Molat, a former principal dancer with San Francisco Ballet, will perform “Chaconne,” a solo created in 1942 by the legendary choreographer José Limón. Violinist René Mandel will perform the live music for Molat, J.S. Bach’s Chaconne from Partita No. 2 in D minor." After a rehearsal Molat explained, 'Jim asked me right after I retired last year if I would dance this season, and he showed me a video of “Chaconne." It’s a very long piece with different kinds of movement and beautiful music. When I started to learn it, I saw what a big challenge it was going to be. As a more mature artist, I decided I had to stop worrying and feel free and enjoy dancing in the moment.”
  3. Benjamin Millepied has announced on his Instagram feed that Axel Ibot (Paris Opera Ballet), Francisco Mugamba (San Francisco Ballet) and Patricia Zhou (Staatsballett Berlin) are joining LA Dance Project.
  4. From a July 9, 1979 Arlene Croce review of the Stuttgart: "I've hated every ballet I've ever seen done by the Stuttgart." So . . .
  5. Parade must have been "hot" in the 70s because the Paris Opera Ballet staged it as well: 1978-79 would have been when Violette Verdy was Director.
  6. With so much interest in World War I right now (heck, the new Wonder Woman movie is set in World War I), a revival of Parade would seem like a no-brainer if for no other reason that the Ballets Russes was wandering around Europe in the middle of the conflict. And, irony of ironies, Gary Chryst, whose performance as the Chinese Conjuror was much admired in the Joffrey revival, was just seen by a member of this board having a meal with Kevin McKenzie and Martine van Hamel!!! In any event, here is a clip about the Joffrey revival:
  7. What is that happy medium between commissioning new works and finding a "creative present" in old works? I think of the old Joffrey under Robert Joffrey and how he lovingly presented works from the first half of the 20th century. Under Ashley Wheater, the new Joffrey might as well be an adjunct to the San Francisco Ballet; so closely does it hew to the same names you find at the San Francisco Ballet. This year is the 100th anniversary of the Ballets Russes production of the Cocteau-Massine-Picasso-Satie Parade, which Massine revived for the Joffrey in the early 70s. It might be really interesting to see the 70s production performed in 2017 rather than seeing the same old-same old from the usual suspects. Instead, the only salutes to Parade I'm aware of have been/are museum shows: Picasso and the Great War last year in Philadelphia and Picasso Parade Napoli this year in Naples.
  8. Thanks for the review silvermash. One hears that Aurelie Dupont plans to discontinue the annual company choreographers presentation so this year's presentation is something of an experiment in a void.
  9. Have any of our French correspondents seen the Bertaud/Bouche/Paul/Valastro (the four sujets) bill?
  10. Outside of the Smuin works being performed at the Smuin Ballet, I would say no. After 84 years, does San Francisco Ballet possess a choreographic patrimony that would survive the inevitable changeover from Helgi Tomasson to a new director?
  11. Adam West went through a very hard time finding work after the show ended in 1967. He spent many years having to put on his Bat costume from the show and go to comic book conventions to make ends meet. (This was long before the comic book convention circuit became very lucrative for participants.) But he lived long enough to see fortune swing his way. The members of Generation X loved the show (which they had watched in reruns) and, as they started to assume positions of prominence in the entertainment industry, West's fortunes rebounded both in terms of job opportunities and public acclaim. He died knowing that he was beloved by several generations of TV viewers. He also lived long enough to see the show appreciated as the absurdist, Pop Art masterpiece it always was.
  12. I've been reading through Arlene Croce's second volume of collected reviews. The November 20, 1978 review discusses the San Francisco Ballet's then-recent performances in New York. Croce wrote that the company presented 11 works: Lew Christenson: Con Amore (1953), Divertissement d'Auber (1959/63), Il Distratto (1969) and Stravinsky Pas de Deux (Norwegian Moods) (1976) Michael Smuin: Shinju (1975), Romeo and Juliet (1976), Songs of Mahler (1976) and Quattro a Verdi (1978) Robert Gladstein: Stravinsky Capriccio for Piano and Orchestra (1978) John McFall: Beethoven Quartets (1977) Tomm Ruud: unnamed by Croce but I'm guessing it was Trilogy (1978) It's interesting to read about the repertory presented in 1978 and realize there is zero continuity from the company's in-house efforts then to the company's repertory today. I make no claim that this is good or bad -- just interesting.
  13. Kevin McKenzie gave an interview to Dance Europe last year in which he was asked specifically about the guest star policy: Were guest artists part of your strategy to get the company back on track? He answered that "it was" but that it became like being "an alcoholic" -- the solution "becomes the problem". Did the presence of guests affect company morale? He said that the guests did have a "negative impact on the company morale," which is why he is shifted away from the pure guest star approach to the dancer exchange policy.
  14. I couldn't agree more with this. I don't think the company ever truly adjusted to the departures/retirements of Bocca, Carreno, Corella, Steifel and Malakhov. McKenzie has managed to paper over the cracks with smart international hires (Bolle, Lendorf) and pickups from the Boston Ballet (Whiteside, Cirio) but that can't last forever. The day is coming (and that day will be soon) when management will have to revamp the male principal ranks once again: Gomes is in his late-30s and won't be the backbone of the company forever. Cornejo is on the other side of 35 as well. Bolle is already past 40 and is dialing down his commitment to ABT. Hallberg is back onstage after a long absence due to injury but whether he can stay injury-free is an open question and, in any event, he will be spending part of his year with the Australian Ballet. The current crop of male soloists are Forster, Gorak, Hammoudi, Hoven, Salstein, Scott and Zhurbin. I would say that Zhurbin has found his niche as the company's foremost actor-dancer. Salstein is on the other side of 35 and, like Zhurbin, has probably found his primary niche as an actor-dancer. Of the remaining five, I think only Hammoudi and Gorak have immediate prospects to rise. However, injury and inconsistency have stymied what, to me, is the company's desire to promote Hammoudi to principal. Gorak looked like he was on the fact track but appears to be stalled somewhat this season. That leaves the corps guys but, boy, are they young. Is the collective age even over 25? Calvin Royal may get a promotion to soloist but I think the person the company is really missing right now is Sterling Baca. I think he was poised to move up but the company didn't do it and he didn't want to wait.
  15. That's fair. The Dowager Empress Marie would have agreed with you. As early as March 7/19, 1897, she wrote the following to her father (the King of Denmark): "They (Nicholas and Alexandra) are very pleased at spending the winter at Tsarskoe, where dear Nicky does, indeed, have a bit more freedom and can be outside in the good air more than here in the city. But it does have its less positive sides in that she (Alexandra) hardly sees any people, and that they are living far too much by themselves and do not even see the poor ladies and gentlemen of their entourage who live there. Well, that will probably come with time, we must hope." (Maria Feodorovna, Empress of Russia, 1997, p. 176.) And, of course, that time never came.