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California

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About California

  • Rank
    Sapphire Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan, professor
  • City**
    Denver
  • State (US only)**, Country (Outside US only)**
    CO
  1. POB 2018 US tour cancelled

    I'm disappointed, too, as I had been tentatively planning to visit NYC for this one. I'm wondering though: any chance Houston might bring their Mayerling as a substitute? That would be a treat I'd welcome.
  2. When Works and Process posted this event on Facebook, I wrote a comment that I hoped they would find a way to reprint the book and sell by mail through their bookstore. Somebody from Guggenheim (?) responded that they were still trying to trace the ownership rights and hoped to do that. The problem of "orphan copyrights" was never solved by Congress. I hope they figure it out.
  3. Colorado Ballet 2017-18 season

    So were the first four last weekend. I had never seen it before and found it interesting and worthwhile: very theatrical, lots of special effects, lavish sets and costumes, and challenging choreography. This version goes back almost two decades and is performed by a lot of regional companies. If it means the company ends the year in the black, I'm good with it! When people complain about Dracula, I wonder how they felt about the Royal Ballet's expensive Frankenstein last year with decidedly mixed reviews, co-produced with San Francisco Ballet. I didn't bother seeing that one.
  4. 2017-2018 season

    Not a good sign -- I just got this e-mail for $20 off on opening night. I don't see any restrictions to subscribers or Friends so I'll paste it in below. I actually would enjoy this production (and would have enjoyed Washington Ballet's last weekend), but you can't get to everything and the Mariinsky next week was my choice for this month's travel: ========================== See The Sleeping Beauty on Opening Night this Thursday and Save $20! Enjoy this glorious world of enchantment, magic, tragedy and true love – where everyone really does live happily ever after. Tchaikovsky’s beautiful and familiar score will enhance your enjoyment of this classical ballet for all ages. Today and tomorrow only, use the button below or promo code BEAUTY20 for $20 off seats to the 10/12 performance.* Experience this enchanting story told through the amazing artistry of Pennsylvania Ballet, with live music from the Pennsylvania Ballet Orchestra. Hurry, this is our one-and-only discount for Opening Night. The sale ends Tuesday at midnight!
  5. I have "Google Alerts" set up for a wide variety of names and companies. For unknown reasons, I'm getting a steady stream of Playbill articles from 2005. I wonder if somebody just dumped old materials into their on-line database and Google Alert is picking it up. Very strange...
  6. "Where are the Women in Ballet?"

    "Equality" can mean "identical," as in "identical twins" or it can mean "comparable worth." I guess I'm willing to give him the benefit of the doubt in his use of English, his second language. This debate about the meaning of "equality" has tripped up plenty of specialists in law and ethics.
  7. Thanks for this report! I saw her Giselle at the Met with ABT, partnered by McRae, a few years ago (the performance where she took a bad fall near the end). But, as you note, she's high-risk and I've endured quite a few cancellations along the way, too. Good for Germany in subsidizing prices as much as they do. That's becoming increasingly rare!
  8. Executive Director position description

    According to this new story, they are interviewing finalists: http://www.philly.com/philly/entertainment/arts/pennsylvania-ballets-angel-corella-is-either-a-hero-or-a-villain-depending-who-you-ask-we-asked-him-20171005.html "Finalists have been interviewed for the executive director job now held by interim leader Elizabeth Warshawer."
  9. 2017-2018 season

    Sleeping Beauty is on for two weekends. Looks like Harry Potter is only the second, so you could still catch the first one: DATES 7:30 PM | Thursday, October 12 7:30 PM | Friday, October 13 2:00 PM | Saturday, October 14 7:00 PM | Saturday, October 14 2:00 PM | Sunday, October 15 7:30 PM | Friday, October 20 12:00 PM | Saturday, October 21 5:00 PM | Saturday, October 21 2:00 PM | Sunday, October 22
  10. But let's hope Guggenheim takes the hint! I'd order it, for sure.
  11. I'm not finding the information on how to order the reprint. It's not yet on Amazon. Is Guggenheim selling them?
  12. 2017-2018 season

    Plan to arrive an hour early -- they have a great pre-performance talk before every performance for ticket holders. Corella himself does some of them. I saw their Don Q and Corsaire (several performances) in the last two years. It's a bit of a crap shoot with so many new principals and soloists. But it's worth the trip, especially if you can see several performances. Seating suggestions: Avoid the first several rows of orchestra - you'll have trouble seeing the feet I like side orchestra, on the aisle, but only from about row 8 back I also like their first tier - what they call parquet, but only in first couple of rows Lots of pillar obstructions to watch for Avoid sides of the tiers - partial views, as you get in traditional opera houses I like to take a hard look at images on Google for Academy of Music seating, e.g.:
  13. The Bolshoi under Vaziev

    Ah, yes -- the 70s, when serious people who should have known better argued that equal pay for equal work was unwarranted as only men had families to support...
  14. The Bolshoi under Vaziev

    I remember that scene -- but I thought she said "we" are only being paid by the performance. It wasn't just Freddie! And this was in the mid-70s.
  15. The "studio companies" I see at many companies play this role, too, especially in big productions. But we also seem to like it when schools (from the Mariinsky to School of American Ballet to the JKO school, etc., etc.) find ways to give their students serious performing experience while they are students. It's an uncomfortable reality in countries without state-subsidized schools to use younger dancers on stage while expecting them to pay for the privilege of this training. I suppose the only consolation is a substantial scholarship program so students not from wealthy families can participate both in the school and in these trainee roles on stage.
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