California

I guess we can look forward to Ballet Imperial at the Met in 2024. Interesting they use that name instead of the current Tchaikovsky Piano Concerto No. 2. The absence of the Russian companies for the indefinite future is going to be felt for many of these dance series - Kennedy Center, Segerstrom.

SFB just sent out email announcing the 2023-24 roster. I'll paste in the message. Here's the updated web site: https://www.sfballet.org/the-company/artists/dancers/principals/ I don't follow this company enough to know what any of this means, but I am glad that Aaron Robison is on the roster. We're Unveiling Our Company Roster for the 23–24 Season San Francisco Ballet is thrilled to announce the roster for our 23–24 Season, featuring new corps de ballet members as well as a newly-defined group of Character Artists. We are delighted to welcome aboard new company members Katharine Lee, Hui-Wen Peng, and Simone Pompignoli who will join the coveted positions within SF Ballet's esteemed corps de ballet beginning July 1. We've also promoted a group of gifted apprentices to the rank of corps de ballet: Jihyun Choi, Benjamin Davidoff, Jasper True Stanford, Angela Watson, and Seojeong Yun have shown dedication and immense growth throughout their apprenticeship. Former Principal Dancers Joanna Berman, Pascal Molat, and Tiit Helimets, known for their extraordinary contributions to the dance world, will join as distinguished character artists. Their invaluable expertise and profound artistry will add depth and intrigue to SF Ballet's performances. SF Ballet School faculty members, Kristi DeCaminada and Jeffrey Lyons will also take on additional roles as character artists. Their wealth of experience and profound understanding of dance will captivate audiences at every turn. With an electrifying blend of fresh talent and esteemed artists, San Francisco Ballet's 23–24 season promises to be a captivating journey through the world of dance. Prepare to be spellbound by the extraordinary performances and innovative artistic vision that define SF Ballet's enduring legacy. For the updated roster, visit our website.

The altitude at Vail is 8150'. If you live at sea level, it's quite a jolt. Take it easy, drink lots of water, easy on the alcohol. I don't think you need to buy a personal can of oxygen (which is sold everywhere), but the dancers have oxygen tanks in the wings for a good reason. (Denver is 5280' and even that takes some adjustment. When I've been away, I take aspirin first day home to stave off the inevitable headaches from the altitude.) Very chilly when the sun goes down, so you'll want a warm jacket for the evening performances. Lots of great restaurants. Joe's Famous Deli is a favorite for sandwiches: http://www.joesfamousdeli.com/

Gillian just posted the titania shot on her own Instagram: "today at work" https://www.instagram.com/p/CsE9Y8QPMVe/

Possible icing on the cake: Simkin has performed Etudes! We can hope! https://www.facebook.com/watch/?v=550352332334047

He was a guest in Don Q in spring of 2022 at Kennedy Center and the Met. As I remember he was brought in to replace Whitehead after the latter's serious injury in December 2021 in Nutcracker at Segerstrom. But Simkin isn't currently listed in any capacity on the ABT web site: https://www.abt.org/the-company/dancers/

I follow Simkin on Instagram, as I'm sure many of you do too. He just returned from several performances in Australia and is in Rome this month for a couple more. Not a hint of future plans. Let's hope he's negotiating something with ABT!

It would be such a treat if Simkin performed in ABT's fall schedule at Koch in October (assuming they again do two weeks right after the close of the NYCB fall program. I do hope he turns up in North America again!

Has anyone found information on how they are handling tickets for the October 11 75th anniversary performance? It's excluded from all the subscription packages (standard and flex) and the web site also says subscription tickets cannot be exchanged into that performance. I assume that performance will be much in demand, and I wonder how/when they'll make it available.

My fantasy for this company: that they'll hire an AD who can lure Brooklyn Mack back for some guest appearances!

Thanks! Nothing on their web page yet. Programming by "themes" seems to be the current thing -- a marketing technique? It sounds like their Sleeping Beauty was a huge success. Wonder why they're not trying something comparable for next year -- Swan Lake or Giselle, e.g. Any announcement of the new artistic director?

Anderson is 68 years old -- it's possible he will take a new position somewhere else, but it's hard to think he'd take on the artistic directorship of another company.

All the more reason for them to have started the search even earlier! Of course, it's quite possible they started one in confidence for the board to consider what's out there before public recruitment announcements. A private company would not be bound by the sorts of restrictions that face public universities, etc.

Kent's appointment at Houston was announced December 22. I would have assumed they'd immediately start looking or retaining a search firm, especially with so much turn-over/retirements in the ballet world. https://www.houstonballet.org/globalassets/news/2022/press-release_houston-ballet-announces-julie-kent-as-co-artistic-director_122222.pdf

The United Ukrainian Ballet will perform their Giselle June 29 - July 2 at the Segerstrom Center for the Arts. https://www.broadwayworld.com/costa-mesa/article/United-Ukrainian-Ballet-Makes-West-Coast-Debut-At-Segerstrom-Center-20230503

Washingtonians: any word on the Washington Ballet schedule for 2023-24? Or, at least, when they plan to announce? Almost every other company has announced by now. I'm wondering if they are waiting until Julie Kent is actually gone from the company. Also, do we know who will be artistic director next year?

The Royal Opera House has announced their season for 2023-2024: https://www.roh.org.uk/tickets-and-events?booking-season=summer-2324,autumn-2324,spring-2324,winter-2324

In email today from the Royal Opera House, their plans for the Coronation: THE CORONATION CONCERT FEATURING THE ROYAL BALLET AND THE ROYAL OPERA As part of the Coronation Concert, The Royal Ballet, The Royal Opera, The Royal Shakespeare Company, The Royal College of Music and The Royal College of Art will come together for the first time ever to create a spectacular one-off performance featuring Ncuti Gatwa. Based on themes of love and togetherness, the piece will combine music, dance, art and theatre in what will be the ultimate Royal collaboration. At the centre of the show, The Royal Shakespeare Company will perform excerpts from a Shakespeare play, featuring Ncuti Gatwa alongside Mei Mac, Olivier Award nominee for My Neighbour Totoro. The Royal patronages will perform a beautiful arrangement of a classic song from West Side Story, with music by Leonard Bernstein and lyrics by Stephen Sondheim, accompanied by the Chorus of The Royal Opera House singing a choral version of the song. The Royal Ballet's Principal dancers, Francesca Hayward and Marcelino Sambé, will also perform a bespoke piece of choreography for the occasion. The visual backdrop projected onto Windsor Castle and the stage will showcase artworks by students from The Royal College of Art. Alongside the other performers, a string quartet of four Royal College of Music students will perform as soloists: Betania Johnny and Katherine Young on violin, Declan Wicks on viola and Marion Portelance on cello, who will be playing His Majesty's cello, which is currently kept by The Royal College of Music.

Ib Anderson is retiring in June 2024. This was just sent out by email: Artistic Director Ib Andersen Departing Ballet Arizona National search underway for successor PHOENIX – Ballet Arizona’s Board of Directors has announced that Ib Andersen, Artistic Director, will be leaving the organization on June 30, 2024 after 24 years of service. A national search firm has been retained to find Mr. Andersen’s successor. The Board has voted to name Mr. Andersen as Artistic Director Emeritus, effective following the transition to new leadership, in recognition of his significant contributions to the organization. “Since Ib joined Ballet Arizona in 2000, we have marveled at his ability to create masterful pieces and bring to life his unique vision,” said Mike Bolar, chair of the Ballet Arizona Board. “Ballet Arizona greatly appreciates Ib for his immense contributions over the last 23 years.” Mr. Andersen’s career in the world of dance began at age seven in Copenhagen, Denmark, at the Royal Danish Ballet School. He earned a promotion to Principal Dancer in the Royal Danish Corps de Ballet at the age of 20, becoming the youngest Principal Dancer in the company’s history. His stellar reputation in Europe brought Mr. Andersen to the attention of the director of the New York City Ballet, George Balanchine, and he joined the company in 1980, learning 39 ballets in the first three months of his time there, including challenging works of Balanchine’s Symphony in C. During his 10 years with the company, he appeared in 60 ballets. This led Balanchine to create principal roles for him in Ballade, Davidsbündlertänze, and Mozartiana. Jerome Robbins and Peter Martins also created roles for Andersen’s unique style. “My work will continue. There are still stories I look forward to telling and I will be exploring new opportunities to showcase my performances,” said Mr. Andersen. “I want to thank the amazing dancers and loyal patrons that I’ve gotten to know at Ballet Arizona over the past two decades. Their support and friendships have been inspiring.” Ballet Arizona has engaged a well-regarded national search firm to identify potential successors who can build on the strong foundation that Mr. Andersen has created as Artistic Director. Mr. Andersen will continue to lead the company as Artistic Director for the coming season and assist with the transition to a new artistic director. “Anyone who appreciates dance knows it is about building greatness from greatness and strength upon strength. It is about renewal and rebirth. This transition year is a time to celebrate all that Ib has brought to Ballet Arizona while we plan for our continued success in the future,” said Jami Kozemczak, Executive Director of Ballet Arizona. Ballet Arizona’s 2023-2024 season promises to excite and inspire audiences with a blend of classical and contemporary ballets. The new season will include the return of Juan Gabriel, The Nutcracker, a world premiere ballet choreographed by Ib Andersen titled Moving Movies, and more. More information can be found at www.balletaz.org. Ballet Arizona Ballet Arizona is dedicated to preserving and celebrating classical dance while creating new and innovative works. Under the artistic direction of internationally acclaimed choreographer Ib Andersen – a former Principal Dancer with The New York City Ballet and The Royal Danish Ballet – Ballet Arizona follows his lead to the future of dance in Arizona. The School of Ballet Arizona promotes access to the art form of ballet through dance education, with a focus on excellence in the form, directing each student to a life-long love of dance. Following this vision, Ballet Arizona connects to more than 35,000 children and families every year through its free and low-cost outreach programs. For more information, visit balletaz.org.

Boston Ballet has just announced their 2023-2024 season: https://www.bostonballet.org/home/tickets-performances/ Copy-paste doesn't work so well, but highlights: the Ashton Cinderella and two re-imagined one-acts that seem designed to get rid of the cultural issues: Raymonda and Kingdom of the Shades

The National Endowment for the Humanities just announced a new round of grants. https://www.neh.gov/sites/default/files/inline-files/NEH grant awards April 2023 state by state list.pdf Of interest here: Center for Independent Documentary, Inc. [Boston] Match: $75,000 [Media Projects Development] Project Director: Jack Walsh Project Title: An Art of Choice: Lucinda Childs Project Description: Research and development of a feature film about choreographer Lucinda Childs.

That's also my memory - that Lincoln Center owned several things that were released. Also, for many of the things released during that time, including NYCB, Pennsylvania, and PNB, they typically thanked the many unions who waived rights so they could be streamed during the lockdown. Everyone seemed to understand the importance of keeping audiences interested in their product. And they almost always asked for donations, which was fine.

ABT has something called On Demand for members: https://www.abt.org/support/abt-on-demand/ Periodically I get email that they will live stream a rehearsal or do an interview with a dancer. During the worst of the lock-down, they released several things (like the Live from Lincoln Center in 1978 with the Kirkland-Baryshnikov T&V and Manon with Bolle and Ferri). But I've always understood that they have problems with the rights. The things that exist on tape often are owned by somebody else. Still, their promotion via free, public clips is very limited and part of their problem. Several dancers post extensive rehearsal clips on social media (especially Instagram) -- Aran Bell, Herman Cornejo, Skylar Brandt -- all worth following. And "ABT Official" on Instagram posts a lot that way.

If you're looking for an easy-to-read calendar in PDF showing each season on single pages, scroll down to 23-24 season materials: https://www.nycballet.com/season-and-tickets/subscribe/23-24-subscription-packages/

I just saw all four performances this weekend of the Colorado Ballet's final program of the season, MasterWorks. (I'm out of town next weekend, so I'll miss those.) This is always the best program of the season for serious ballet lovers and they didn't disappoint. (For all three ballets, they used sets/costumes from ABT.) Bruch Violin Concerto No. 1: They perform this every few years and it still works for me. Some of the partnering feels a little gimmicky (especially some of the extended overhead lifts in odd positions), but his choreography for the eight pairs of corps/soloists is very effective. Tippet was good at moving groups around stage in interesting ways. And with four pairs of leads, there is plenty of interesting choreography, well-performed. Prodigal Son: I haven't seen this performed by this company and they rose magnificently to the challenge. I remain fascinated by this early Balanchine, chock full of imaginative choreography, especially to capture the drinking scenes and the seduction of the Son. And that magnificent Prokofiev score -- several passages swell with emotion that never gets old. The gold standard for this ballet (or at least the one most are likely to remember) is the Baryshnikov recording in1978 for Dance in America. Several dancers stood out this weekend: Prodigal Son: Yosvani Ramos performed opening night and brought the requisite energy and drama to the piece. He will perform this for his retirement on April 23, which I'll miss. Jonnathan Ramirez (newly hired two years ago) was magnificent in clearly capturing the range of emotions. He performed at both the Saturday and Sunday matinees. Sean Omandam (long-time demi-soloist) was the big surprise, in a good way. He was a substitute for Ramos Saturday night, announced right before the performance. A few days earlier he had posted on Facebook in costume that he was grateful for the opportunity. I assumed he was the understudy and was going to perform at the schools' matinee on Thursday. He looks younger than he is and brought the awe and surprise of a teenager to the role, which worked well. (Ramos was in the Bruch on Sunday, and there was no explanation for the substitution Saturday.) The Siren: Jennifer Grace (also newly hired two years ago) has the stature and presence to make this role work well for her, partnering Ramirez. I was surprised to see principal Asuka Saski (with Ramos) and demi-soloist Ariel McCarty (with Omandan) cast in this role. Both are very petite dancers, but both brought a haughtiness and command to the role to make it work well. That hat and pointe shoes helped, but their dagger looks carried the day! Sinfonietta: I saw ABT do this last October at the Koch and just love this ballet, as I love most Kylian. The performances in Denver were full out with the brass choir and orchestra, and the dancers seemed so joyful. I can't wait until they bring this one back. The biggest disappointment was the audience size. The Ellie Caulkins opera house, holding 2,225, was barely half full. They did have stiff competition at the performing arts center (Pink Floyd at the Colorado Symphony and Anastasia). Dracula, Nutcracker, and Cinderella sold out, but this was by far the best program of the year. I read with disappointment reports on this site that Balanchine and classic opera don't seem to be selling as well as more contemporary things. Is this a fluke or are we entering a period when younger audiences just don't appreciate the real masterpieces?