All Activity

2018 - yes. But what an odd coincidence! I doubt we'll ever know the whole story, but it's more and more puzzling. Why was Kim given a visa, when he never publicly criticized the war and hasn't performed in the West since the invasion. Were these visa decisions rushed through by the state department without taking time to check things out on all of them? Did somebody say, well, we denied visas in 2018, must be something suspicious?

This sounds like a minor official - a NY State Assemblyman - intimidating the head of the Koch. The above letter does not cite to any violation of any sanctions as the basis for his demand that YAGP break its contract with these dancers.

Here's the BBC story about Smirnova leaving Russia and criticizing the war. This one is the most baffling in this episode: https://www.bbc.com/news/entertainment-arts-60767490

The Pointe Magazine article about Smirnova and Tissi is from 2018, FYI. I agree that Khoreva and Kim shouldn't have been pulled out at the last minute (not fair to anyone involved), but would having dancers from the state-funded Mariinsky at an American event violate sanctions rules? Or is this purely an emotional matter?

Kimin Kim did not perform last night. Denying a visa to Smirnova and Tissi is insanity. Smirnova left her homeland in protest of the war. It is too bad that a NY State Assemblyman could derail a private contract between YAGP and its contracted talent. There are plenty of Russian nationals performing at the Met and in other classical venues in the U.S. The litmus test is whether they came out and supported Putin and the war. In my opinion, banning these individual dancers is wrong.

Two more sources on the YAGP gala: two Bolshoi dancers were denied visas - Smirnova and Tissi. https://pagesix.com/2018/04/18/acclaimed-russian-ballerinas-denied-entry-into-us/ Kimin Kim got a visa but did he perform? The On Pointe story says he did. Chloe posted a picture of her with Kim a few days ago. I don't see anything on her Instagram this morning with Kim, just Bell. https://pointemagazine.com/bolshoi-dancers-denied-us-visas/

On this morning's Instagram stories from Chloe, there are pictures of her performing with Aran Bell at the YAGP gala. No Kim. Nothing in the morning NY Times. But I did find a story from a NY state assemblyman objecting to the performance of Mariiinsky dancers in NYC. Not at all clear who ordered the cancellation. I hope the story comes out. Here's the letter:

I am very glad to read this. I was genuinely distressed when Igor Zelensky took over the Bavarian State Ballet and literally threw Ratmansky's reconstruction of Paquita onto the scrap heap. I haven't enjoyed Ratmansky's reconstructions equally, but that one was revelatory for me.

I had been surprised to see Kimin Kim, May Nagahisa, and Maria Khoreva scheduled for the YAGP gala in New York. According to Khoreva's instagram the Koch theater has canceled their appearance, so I guess I wasn't the only one caught by surprise. I have many questions about what happened and why, but my first three or four would be for YAGP -- which got a lot of (deserved) positive publicity for helping many young Ukrainian pre-professional dancers at the start of the war. https://www.instagram.com/p/C57MVRFO2U_/

What great unofficial news Josette! 🎉

I agree, volcannohunter. I used to load up on Saturdays with maybe two different programs but the pairings in the coming seasons aren't as interesting to me. On a different note, finally got around to reading the NYT story on the new seasons and I guess I missed this news: "Alexei Ratmansky (Feb. 6), the company’s artist in residence. He will stage a suite of dances from Petipa’s full-length “Paquita” that incorporates the “Minkus Pas de Trois,” Balanchine’s restaging of the ballet’s pas de trois." Again, another rare Balanchine is being brought back. I think it's interesting that Whelan herself performed in some of the works revived for the historic 1993 Balanchine Celebration season. I'm pleased to think that maybe Wendy, having that experience, has led to her bringing those ballets back. She was in the cast for the revival of Haieff Divertimento in 1993. I don't believe it was performed thereafter before being brought back more recently. Whoever is responsible for these revivals, kudos. I'm looking forward to seeing these works, again.

In recent years Paul Taylor has performed at the Koch directly after ABT, so if that's still the case, ABT can't really push their season any further.

Yes, ABT’s fall season always follows NYCB, but as California noted above, it’s not a guarantee until it’s announced. There is a general inquiry form, e-mail address and phone number where you can contact ABT directly for general questions. I posted the link below. Hopefully they will be nice enough to confirm the dates so you could make your flight arrangements. https://www.abt.org/contact/general-inquiries/

Thanks so, @California. Your kind advice is KEENLY appreciated. I'll just pray they stick to previous form.

I'm looking at old calendars from 2018, 19, 21, 22, 23: Yes, ABT always followed immediately after the NYCB fall schedule at the State Theatre. Of course, past performance is no guarantee of the future!

A query if I might about the ABT Fall Season at State Theater. Does anyone know if this ALWAYS follows immediately on from the finish of the NYCB Fall Season. I know it did last year - but just want to check if this is always the case. I'm a dedicated NYCB fan and attend the majority of performances but live in London. I've just set my dates/plans out for the NYCB '24/25 season and thought I would stay on a week after the Fall '24 season end to catch ABT - but want to make sure that it is in fact the week following so i don't mis-book my flight/accommodation dates. Grateful for your kind advice.

Not to start a dogpile on SFB marketing choices, but I know the exact photograph you're referencing, and I had a similar head-scratching response to that. SFB truly has had an embarrassment of riches at least since the 10-12 years I've been following them closely. I don't mean to speculate too much, but I wouldn't be surprised if other dancers feel disheartened when one gets significantly better billing than the rest. More logistically speaking about Angelo Greco's leaving - it seems a shame to me that they're losing a smaller, powerful dancer. There are quite a few shorter principal/soloist women, and while there still are some smaller principal men on the roster, I thought Greco looked great partnering not only Misa, but Frances Chung, Sasha de Sola, and others. End of an era for sure.

From the press release for Coppelia: Production will salute departing PNB Rehearsal Director Otto Neubert. “I met Otto Neubert 41 years ago when he auditioned for New York City Ballet,” said PNB Artistic Director Peter Boal. “He was the most reassuring presence when I arrived at PNB. For twenty years I have watched him welcome countless students into the studio to start the arduous process of learning to be a gliding angel, scampering mouse, darting bug, or raucous Fritz. His talent to nurture and empower dancers of all ages and abilities is unmatched. Otto has always believed in dancers’ strength and artistry. He has guided hundreds to find the best path to success. Beyond his vital role as a coach, he's a shoulder to lean on and the go-to guy for a much-needed laugh. I can’t quite imagine PNB without this gentle lion, but I take comfort in knowing his legacy of care and commitment lives on in our students and our company.” Peter Boal called him a gentle lion, but there was nothing gentle about his portrayals of BvG in Swan Lake. No one else has that look that can paralyze the bravest and most determined Siegfrieds. Nor in his roaring Don Quixote. One of the most moving things I've seen in the company was him walking side by side with Jonathan Porretta, who's looked at him in awe with those big, saucer eyes. Two of the greatest character dancers. to him.

The last time I saw Kondaurova was in fall of 2019 in La Bayadere and Diamonds. She was breathtaking.

She’s a Barbie girl in a ballet world… Pacific Northwest Ballet presents Production will salute departing PNB Rehearsal Director Otto Neubert. May 31 – June 9, 2024 Marion Oliver McCaw Hall 321 Mercer Street, Seattle Center Seattle, WA 98109 Seven performances only! Friday, May 31 at 7:30 pm Saturday, June 1 at 2:00 and 7:30 pm Thursday – Saturday, June 6 – 8 at 7:30 pm Sunday, June 9 at 1:00 pm Streaming Digitally June 13 – 17 SEATTLE, WA – For the final performances of its 2023-24 Season, Pacific Northwest Ballet presents one of the happiest ballets on earth, George Balanchine’s Coppélia. A comical case of living dolls and mistaken identity, Coppélia promises bravura classical ballet, exquisite scenery and costumes, and pristine choreography for PNB Company dancers and 24 tiny dancers from the PNB School. Coppélia runs for seven performances, May 31 – June 9 at Seattle Center’s Marion Oliver McCaw Hall. Tickets start at just $38. The production will also stream digitally June 13 – 17: Digital access is $40. For tickets and additional information, contact the PNB Box Office at 206.441.2424, in person at 301 Mercer Street, or online 24/7 at PNB.org. Audiences and critics were mesmerized when the curtain rose on PNB's 2010 premiere of its exquisite, wisteria-hued production of Coppélia: “The audience actually gasped when the curtain went up” (Journal Newspapers). The story is a lighthearted comedy about vivacious young Swanilda, her impetuous suitor Franz, and the eccentric toymaker Dr. Coppelius. Though Franz loves Swanilda, he is smitten by Coppélia, a life-sized doll whom he believes is real. When Swanilda steals into Dr. Coppelius' workshop and discovers the truth about Coppélia, she dresses up as her rival and amuses herself by tricking both toymaker and her beau. All ends well in the final act’s splendid wedding festivities, enhanced by the addition of 24 “baby” ballerinas who perform as the corps de ballet framing four solo variations. Beautifully detailed by Italian designer Roberta Guidi di Bagno's lavish sets and costumes, this production is a complete delight for all ages. “Coppélia...demands repeat viewing” (criticaldance.com). The emergence of the 24 “baby” ballerinas in Act III will have extra significance this time around, as it marks the final performances staged by PNB Rehearsal Director Otto Neubert, who will be retiring at the end of the season. Mr. Neubert joined Pacific Northwest Ballet in 1992 and has assisted PNB’s artistic directors in rehearsing, teaching, and scheduling the Company, as well as rehearsing countless PNB School students in their roles for George Balanchine’s The Nutcracker® and other productions. He has also performed in PNB’s The Sleeping Beauty, Don Quixote, Prodigal Son, Giselle, and Swan Lake. Prior to joining PNB, he danced as a soloist with New York City Ballet and Stuttgart Ballet. “I met Otto Neubert 41 years ago when he auditioned for New York City Ballet,” said PNB Artistic Director Peter Boal. “He was the most reassuring presence when I arrived at PNB. For twenty years I have watched him welcome countless students into the studio to start the arduous process of learning to be a gliding angel, scampering mouse, darting bug, or raucous Fritz. His talent to nurture and empower dancers of all ages and abilities is unmatched. Otto has always believed in dancers’ strength and artistry. He has guided hundreds to find the best path to success. Beyond his vital role as a coach, he's a shoulder to lean on and the go-to guy for a much-needed laugh. I can’t quite imagine PNB without this gentle lion, but I take comfort in knowing his legacy of care and commitment lives on in our students and our company.” ABOUT THE PRODUCTION Music: Léo Delibes (Coppélia, ou la Fille aux Yeux d’Émail, 1869-1870; with excerpts from Sylvia, ou la Nymphe de Diane, 1876, and La Source [Naïla], 1866) Book: Charles Nuitter, after E.T.A. Hoffmann’s Der Sandmann, 1815 Choreography: Alexandra Danilova and George Balanchine © The George Balanchine Trust (after Marius Petipa) Staging: Judith Fugate and Garielle Whittle Scenic and Costume Design: Roberta Guidi di Bagno Lighting Design: Randall G. Chiarelli Running Time: Approximately 2 hours and 30 minutes (including two intermissions) Original Production Premiere: May 25, 1870; Paris Opera Ballet, choreography by Arthur Saint-Léon Petipa Production Premiere: November 25, 1884, Imperial Ballet, St. Petersburg, choreography by Marius Petipa (after Arthur Saint-Léon); revised 1894 by Enrico Cecchetti Balanchine Production Premiere: July 17, 1974; New York City Ballet (Saratoga Springs, New York) Pacific Northwest Ballet Premiere: June 3, 2010 Based on the book by Charles Nuitter, after E.T.A. Hoffmann’s Der Sandmann, Coppélia is considered one of the triumphant comic ballets of the 19th century and marked the passing of ballet supremacy from France to Russia. Originally choreographed by Arthur St. Léon in Paris in 1870, it was restaged by Marius Petipa in St. Petersburg in 1884 and revised by Enrico Cecchetti in 1894. Little, if any, of St. Léon’s choreography remains in today’s production, although Acts I and II retain his ideas and the story of mischievous young lovers. Balanchine provided entirely new choreography for Act III. Balanchine wrote, “In 1974, I decided we should stage Coppélia at the New York City Ballet and asked the ballerina and teacher Alexandra Danilova, celebrated for many years for her Swanilda, to collaborate with me on the choreography. I remember very well performances by the Russian Imperial Ballet of Coppélia and as a member of the company danced in the mazurka. “I have often said that Delibes is one of my favorite composers for dance. In our new Coppélia, we used the entire score of the three-act version. The first dance drama of really uniform excellence deserves no less! No part of the ballet is subordinate to any other; most important of all, ballet music in Coppélia participates in the dance drama as never before, Delibes’ charming, melodic music assisting the plot and unifying the music and dance. Tchaikovsky was directly inspired by Delibes’ score to write his own ballet music. Delibes is the first great ballet composer; Tchaikovsky and Stravinsky are his successors.” Balanchine and Danilova’s production celebrates its 50th anniversary this year. [Program Notes by Doug Fullington.] About the Designer: Roberta Guidi di Bagno is recognized as one of the world’s most respected and prolific scenic and costume designers. Born in Rome, Italy, she studied at the Accademia Libera del Nudo. She worked as an assistant to the late director and set designer for opera, theater and ballet, Pier Luigi Samaritani. For the past 45 years, she has worked extensively with many of the major opera houses and ballet companies around the world including Houston Ballet, Teatro alla Scala Milano, Teatro dell’Opera Roma, Queensland Ballet, English National Ballet, Zagreb National Theatre, Spoleto Festival Italy and USA, Pacific Northwest Ballet, Semperoper Ballet Dresden, Royal Danish Ballet, Teatro San Carlo Napoli, Maggio Musicale Firenze, Teatro Massimo Palermo, Teatro Filarmonico Verona, New National Theatre Tokyo, Joffrey Ballet, Tulsa Ballet, Hong Kong Ballet, Shanghai Ballet, and Staatsballet Berlin. Ms. Guidi di Bagno has received a number of prestigious awards including the “Positano Massine Prize for Ballet” for her artistic accomplishments (1997), Premio Anita Bucchi, and Giornale della Danza’s “Best Costume Designer in 2012.” TICKET INFORMATION & SPECIAL EVENTS Coppélia runs for seven performances only, May 31 through June 9 at Seattle Center’s Marion Oliver McCaw Hall, and streams digitally June 13 – 17. Tickets to PNB’s performances may be purchased through the PNB Box Office: Phone - 206.441.2424 In Person - 301 Mercer Street at Seattle Center Online 24/7 - PNB.org Subject to availability, tickets are also available 90 minutes prior to showtimes at McCaw Hall. Advance tickets through the PNB Box Office are strongly suggested for best prices and greatest availability. Tickets for the live performances of Coppélia are $38 - $210 (discounts available for children up to 14.) Groups of ten or more may enjoy discounts up to 20% off regular prices (not valid on lowest-priced tickets or combined with other offers): Visit PNB.org/season/group-sales for more info. For information about special ticket offers including group discounts, The Pointe, Pay-What-You-Can, rush tickets, Beer and Ballet night, TeenTix, and more, visit PNB.org/offers. PNB’s digital presentation of Coppélia (available for viewing June 13 – 17) is $40. PNB CONVERSATIONS & DRESS REHEARSAL Thursday, May 30, 5:30 pm Nesholm Family Lecture Hall at McCaw Hall Join retiring PNB Rehearsal Director Otto Neubert, in conversation with cast members. PNB Conversations offer in-depth interviews with artists involved in putting our repertory on stage. Attend the Conversations event only or stay for the dress rehearsal of Coppélia. Tickets (suggested donation of $25) are available through the PNB Box Office. BALLET TALK Nesholm Family Lecture Hall at McCaw Hall Join dance historian Doug Fullington for a 30-minute introduction to each performance, including discussions of choreography, music, history, design, and the process of bringing ballet to the stage. One hour before performances. FREE for ticketholders. MEET THE ARTIST Nesholm Family Lecture Hall at McCaw Hall Skip the post-show traffic and enjoy a Q&A with Artistic Director Peter Boal and PNB dancers, immediately following each performance. FREE for ticketholders. Caveat Emptor: Like many performing arts, PNB struggles with ticket resellers. At their most mundane, third-party sites snap up less expensive tickets and sell them for a profit. At their most dastardly, they sometimes sell invalid tickets. For peace of mind and to enjoy the ballet at the best prices available, always purchase tickets directly from PNB. Suspected ticket scams should be reported to the Better Business Bureau. Health, Safety, and Accessibility: At this time, masks are encouraged but not required as part of the PNB audience experience. For details and info regarding PNB’s current health and safety policies, visit PNB.org/Health. For information on McCaw Hall accessibility, visit PNB.org/Accessibility. The show must go on: Pacific Northwest Ballet is committed to honoring its performance calendar. Performances will not be cancelled for weather, traffic, or acts of Congress. In the unlikely event that the status of a performance does change, an announcement will be posted on PNB.org.

I would love to see Scarlett's Hummingbird again. I remember how beautiful Lorena Feijo and Victor Luiz were in the pas de deux, and later saw YY Tan dance it. The ballet was removed by SFB from the announced season's repertoire when the Scarlett controversy surfaced. I knew that the Joffrey danced it in February. Ashley Wheater has been steadfast where the Scarlett ballets are concerned.

Yes, it was a great performance. The Costa Mesa crowd tends to be "clap happy", but much of that applause was deserved. I knew of Kondaurova because she was the first really believable 'contemporary' dance performer the Mariinsky had. I think those early tours were partly intended for Kondaurova to prove herself as a classical ballerina. She was an up-and-comer at that time.

I was there. She was superb and had the most successful characterization in making the two roles different that I have seen.

Classical ballet in LA has certainly struggled. You have just reminded me of the time I went to see Ekaterina Kondaurova and the Mariinsky perform Swan Lake in Costa Mesa, because I wanted to see a traditional version of Swan Lake. Seems like a lifetime ago.

Like PNB, the SFB audience has enjoyed watching young dancers come from the school and work their way up in the ranks.