California

Darn! I wonder if there are copyright issues with the other content on that site. I found out about it from an NYCB Twitter:

You can sign up for notification when this new video series goes "live" on the AOL On site: http://on.aol.com/cityballet It seems to be free, sponsored by Citibank. Parker was at the NYCB Friends Luncheon last February and showed some clips of this very interesting series about the lives of NYCB dancers. (As readers of this site know, of course, she is a member of the NYCB Board.)

He has been Tweeting for days about leaving New York for an extended time. We already knew he was not on the casting lists for the ABT fall, Nutcracker, and Japan seasons. This morning he tweeted that he will be gone for 8 months. So I guess he'll rejoin ABT's roster for the Met season in 2014. Let's hope! Perhaps we can also hope for some Bolshoi live cinema/DVDs while he's away. https://twitter.com/DavidHallberg/status/377049325328932864/photo/1

It seems to me Bolshoi press release is not enough for NYT and it's waiting for announcement from LC to make it official. To read between the lines, I think NYT is trying to say "We can't really trust whatever Bolshoi has to say." This makes a lot of sense. For what it's worth (which might not be much!), the NY visit is still listed on the Bolshoi English-language site: http://www.bolshoi.ru/en/performances/#tour1

I wonder if the non-compete clauses we have discussed elsewhere are an issue here -- not just for Hallberg, but also for Vasiliev and Osipova, who were guests with Bolshoi in their London season last month. As people no doubt remember, that was fatal in the planned Mikhailovsky season last year. The Bolshoi can sell tickets without any of those artists, though I'm sure the tour presenters would be happy to have them. I rather suspect, too, that Osipova's contract with ABT may have changed since she is no longer a principal with the company (and in any renegotiation Ardani would presumably have been ultra conscious of the issue). Which leaves Hallberg...In his most recent article, Macauley at least entertains the possibility that he'll dance with both companies. As abatt noted: http://www.nytimes.com/2013/09/08/arts/dance/british-ingenuity-delivered-by-americans.html?pagewanted=all In his interview at the Kennedy Center yesterday, Hallberg said Osipova was his favorite partner. Both ABT and Bolshoi would no doubt love to feature that partnership next summer. As she is no longer a principal with either company and he is a principal with both, this could get very interesting!! Perhaps they could do R&J with ABT and Don Q with Bolshoi...but then what about Vasiliev?? (Earlier reports said the Bolshoi was planning to bring Don Q, Spartacus, and Swan Lake.)

I wonder if the non-compete clauses we have discussed elsewhere are an issue here -- not just for Hallberg, but also for Vasiliev and Osipova, who were guests with Bolshoi in their London season last month. As people no doubt remember, that was fatal in the planned Mikhailovsky season last year.

Here's a 28-minute excerpt from the film: http://www.nga.gov/content/ngaweb/audio-video/video/diaghilev.html It's worth getting the entire 55-minute DVD -- only $14.99 on Amazon (and remember to use the Amazon box on this site): http://www.amazon.com/gp/product/B00CLUME24/ref=oh_details_o03_s01_i00?ie=UTF8&psc=1

While we are reminiscing about the "good old days" on PBS, WNET is showing a 90-minute documentary about some of its historic performances, including Baryshnikov. If you scroll down, they have a 3 minute clip about him (and also Gregory Hines). Notably, they seem to focus mainly on the 1980s, not the even more elusive 70s we have been discussing. http://www.broadwayworld.com/bwwtv/article/THIRTEENs-THE-80s-TRUSTED-VOICE-To-Air-910-20130906 It will be shown in New York Tuesday, 9/10. I suppose the rest of us have to hope it will be picked up by our local PBS channels.

I'm sure Yo-Yo Ma and the estate of Isaac Stern would disagree There's far more to the PBS archives than dance. Oh, for sure. I was only thinking about dance.

Meanwhile, the Cunningham people have found it feasible and worthwhile to put out three separate - and in the first two cases multi-disc - releases since Merce's death. Yes, but he lived long enough to make sure they would have the rights to do all of that. People forget that in the 1970s, the movie studios were trying to block or heavily tax the sale of blank videotapes as they thought VCRs would destroy their business - until they realized they could make serious money by selling tapes of the films in their libraries. It was a very different era and even the industry professionals did not anticipate the digital revolution post-1980.

My memory regarding the 11-year delay in releasing the "Live from Lincoln Center" Giselle with Makarova and Baryshnikov was precisely because the contracts in 1977, when it was broadcast, did not anticipate release in VHS/Beta. Home videorecording machines in 1977 were prohibitively expensive. I remember setting a goal that when prices came DOWN to $1000, I would buy one and that turned out to be 1980. Renegotiating contracts for anything prior to about 1980 is expensive and is only done when they at least think they'll get a return on the investment. The release of "Baryshnikov at Wolf Trap" was even more complicated. The performances were in July 1976 (they did two consecutive nights) and the entire show was broadcast on PBS in fall of 1976. We had to wait many years to get a VHS (and now a DVD), not only because the contracts did not anticipate VHS/DVD release but also because Gelsey Kirkland balked. (She finally relented when they included that statement at the end of the tape.) People who remember the originals from 1976 know that the first movement of Push Comes to Shove (with Tcherkassky and van Hamel, the original cast) disappeared from the VHS. Presumably Tharp objected, as she had a studio version of the complete work (with Kudo and Jaffe) in the works. Anything with Baryshnikov is a money-maker, but other "Live" broadcasts from the 1970s are risky. There are a few, but not many. If they could get past the contract renegotiations, they could explore download and streaming sales to avoid having to make physical media, but the contracts seem to be the bigger problem.

In this lengthy article about opera and ballet companies using live cinema, I was stunned to read this excuse from NYCB as to why they don't do this: I see two excuses: (1) the unions: but, obviously, the other organizations have figured out how to negotiate this. The Met says they share net revenues with the artists and organizations, so presumably that could be done at NYCB, too. (2) The expense: I'm sure there are start-up expenses, but the article also says that the Metropolitan Opera is making $20 million a year in net profits. I suppose the ballet might earn less, but the Met shows it can be done. It's also interesting that ABT is not even mentioned. I wonder if someone there was interviewed? http://www.nytimes.com/2013/09/05/arts/music/stars-of-stage-and-now-screen.html?pagewanted=all The paucity of broadcasts and DVDs from the current iterations of NYCB and ABT is a continuing complaint on this board. I wonder what others think of the NYCB excuses?

The Colorado Ballet just announced a 20% discount for the first week of the two-week Giselle season. The Promo Code: LOVE Performance dates and times: Friday, October 4, 2013 @ 7:30 p.m. Saturday, October 5, 2013 @ 2 p.m. - Best availability Saturday, October 5, 2013 @ 7:30 p.m. Sunday, October 6, 2013 @ 2 p.m. Thursday, October 10, 2013 @ 6:30 p.m. - Best availability http://tickets.coloradoballet.org/single/EventListing.aspx?promo=1330 This is a standard promotional technique for them, at least in recent years, and I think it's a good idea. The Opera House seats 2,225, which is a heavy lift in a city that doesn't have a major tradition of ballet-going. Subscribers get a 25% discount on all additional tickets for the year, which is also a great incentive for subscribing.

Two guest artists for fall have been announced, both dancing with Steven McRae: Iana Salenko and Evgenia Obratzsova http://www.roh.org.uk/news/cast-confirmation-iana-salenko-and-evgenia-obratzsova-to-perform-as-guest-artists-with-the-royal-ballet-this-autumn

Don't get me wrong - I love Roberto Bolle as a dancer. He's one of the dancers I look for in deciding which Met programs to see, and I own several of his DVDs from La Scala. I'm just skeptical of that marketing promo for one work and I wonder which came first, "Prototype" or "Years Later." Baryshnikov toured that program extensively for a few years, both in the U.S. and Europe, as well as Israel. So there were plenty of opportunities for others to see it.

I just received a promotional e-mail regarding Bolle's evening at City Center September 17. They describe one piece, "Prototype," by Volpino, as a "ground-breaking work combining both video and dance as Roberto Bolle duels his virtual double." (I don't see that language on the City Center site just yet... http://www.nycitycenter.org/tickets/productionnew.aspx?performanceNumber=7440 http://www.nycitycenter.org/content/misc/RobertoBolle-13a.pdf It does sound interesting, and I wish I could see it, but they must think we're all stupid with short memories. Just a few years ago, Baryshnikov toured extensively with a piece by Millepied, "Years Later," which featured old video of Baryshnikov with today's edition dancing in front. I saw it in Santa Monica, and it was delightful. Here's a NY Times report from May 14, 2009: http://www.nytimes.com/2009/05/17/arts/dance/17laro.html?pagewanted=all&_r=0 I don't see a date on the Volpino piece. Do we know which came first? Has anyone seen the Volpino, which is described as an American premiere?

Balanchine's Birthday (January 25) is typically very special. Although not yet on the schedule, they usually have extra events of great interest to Balanchine lovers. Last January they had a panel discussion in the theater between the matinee and evening performances. Among the programming, Concerto Barocco and Kammermusik No. 2 are special (as is Union Jack on January 24). http://www.nycballet.com/NYCB/media/NYCBMediaLibrary/PDFs/SubscriptionDocuments/NYCB-Winter-2014-Repertory-Calendar.pdf

It appears that we'll get a little bonus treat at the Fall 2013 performances of Les Sylphides, viz., Britten's orchestration of the score, which has apparently just been located. I'm wondering if this might also bring in a few music lovers to those performances. http://www.nytimes.com/2013/08/28/arts/music/benjamin-brittens-lost-score-for-les-sylphides.html?pagewanted=all&_r=0

The program also just appeared on their web site: http://www.bostonballet.org/nightofstars/ Looks like a great way to attract new audiences with a nice sampler of what the company can do. I just told some Boston-area relatives who are ballet novices to go see it.

This all makes sense (and thanks for the links to the articles on Bass and Fry). The "bright lines" typically drawn at Universities for named endowed professorships are actually a good guide here -- e.g., the University's standard procedures for hiring and evaluation remain intact and donors are excluded. In recent years, an (in)famous wealthy donor (who also donates liberally to the ballet) has tried to dictate hires for their endowed chairs in economics and caused quite a flurry of controversy, but I won't go into that and take us too far onto a tangent. EDIT: I don't want to be accused of unattributed gossip. Here's one of many news stories about the economics controversy: http://www.truth-out.org/news/item/1044:koch-brothers-fueling-farright-academic-centers-across-the-us

Something seems a little off on this...I can't imagine the dancers' union would allow them to perform without compensation. And it seems unreasonable to expect the dancers themselves to recruit a wealthy donor to sponsor them. Perhaps some could do that on their own, but all of them? I tried a little googling to see if anything turned up with these comments, but struck out.

Just to avoid any misunderstanding. . . The Times story was published in 2004, before the current artistic director, executive director, and development director at Colorado Ballet were hired. I agree that this was a very peculiar situation and unfortunate precedent.

I can't imagine that this type of 'sponsoring' is actually related to visa sponsoring, which is a complicated process that involves the employer. Actually, are we sure that all three dancers are non-US citizens? In any case, since so many dancers in the US are from other countries, I would imagine that it's just chance that the three dancers in this case happen to be. Of course I was referring to financial 'sponsorship' in this case. Tan now lives with her parents in the Bay Area, and I don't know if her father was able to get work in this country, so it has to be expensive for the Tan family to remain here each year. I can't see it being coincidental that Kochetkova, Tan and Karapetyan are being helped in this manner - they are arguably the biggest draws for the company. Whether Karapetyan has gotten dual citizenship is a question (now that he is married to Zahorian). I would expect Tiit Helimets to get a sponsor as well, but I'm not sure of his citizenship standing (assuming that has anything to do with it). I really just think that the SF patrons are trying to help make SFB a rewarding place to be for these dancers, so they are less likely to leave the nest. We don't know how the financial arrangements work at SFB (at least from what I've read here), but from that old NY Times article, it seems that it would be unusual for the sponsorship to consist of extra compensation over and above the salary paid by the company. I saw this mainly as a way to shore up company budgets by recruiting donors to pay some or all of that dancer's salary/benefits, although perhaps that's not always the way it works. Major donors like to have their names on things (buildings, theater chairs, classrooms, etc., etc.) and get recognition, so sponsoring dancers fits right in with that incentive. The comparison with endowed professorships at Universities would not necessarily be helpful here. At some schools, the named endowment is buying a supplemental salary, research account, reduced teaching load, etc. in combination with the base university-paid salary. At others, the revenue from the endowment pays the full salary and perks of the professor who occupies the chair. So those professors with endowed chairs are getting extras one way or another but (as someone noted with endowed "chairs" in orchestras), the endowment stays with the institution and a succession of professors occupies the chair over time. Finances are difficult for many U.S. dancers, not just those who are foreign-born, especially corps members. We had a link a few weeks ago, as I remember, to stories about how young dancers survive -- waiting on table, sharing apartments with several other dancers, teaching, etc., etc.

Funny that you would mention this PeggyR - I just noticed these designations myself last week on the SFB website. Note that these dancers also happen to be non-US citizens, so understandably may require sponsorship. Or their position is financially more precarious? But I do think this sponsorship may be necessary to help out the foreign national dancers. I would imagine that if Froustey stays with SFB past the 1 year trial period, she will become 'sponsored' as well. I'm a little confused by this. My former employer hired some foreign citizens periodically and it's true that getting the right kind of visa is treacherous and time-consuming (especially after 9/11), but the employer as an institution was the sponsor. Wouldn't SFB be the sponsor for the right kind of visa to work in the U.S.? Is there a new requirement that they also now find an individual to "sponsor" them for visa purposes?

And if you can't get there, the one-hour documentary and the huge catalog (both for sale at great prices on Amazon) are also fabulous. http://www.amazon.com/Serge-Diaghilev-Ballet-Russes-Swinton/dp/B00CLUME24/ref=sr_1_2?ie=UTF8&qid=1377541186&sr=8-2&keywords=Diaghilev http://www.amazon.com/Diaghilev-Golden-Ballets-Russes-1909-1929/dp/1851777490/ref=sr_1_3?ie=UTF8&qid=1377541227&sr=8-3&keywords=Diaghilev (Be sure to go through the Amazon box at the bottom of the page, so Ballet Alert earns some revenue.)