California

Ha! I saw the Paris Opera schedule after I posted my comment. Well, good for them. They really work well together.

Ugh. Ratmansky is on record (in 2019) that it's time to drop blackface. I have to think he's spent enough time in the US to understand why it's such a problem for us. https://www.nytimes.com/2019/12/23/arts/dance/blackface-ballet-bolshoi-misty-copeland.html And not all Russians have taken the Bolshoi’s side. Alexei Ratmansky, a former director of the company, now an artist in residence at American Ballet Theater, wrote on Facebook that it was time to drop blackface. “What is the artistic value in black makeup, under which you can’t even recognize an artist?” he wrote. “Why provoke?”

One disappointment in their 23-24 season: for many years, they have offered an all-Balanchine program, usually three one-acts. Next year, just Prodigal Son (and Nutcracker) - a decided move away from their early founding. The company had been "fostered and encouraged by the great George Balanchine." https://philadelphiaballet.org/our-history/

Philadelphia Ballet has announced their 2023-2024 season: https://philadelphiaballet.org/23-24-season/ Carmen October 5-15, 2023 Carmen brings us bullfights, bandits, and lovers, whose passion burns as bright as the sun in southern Spain. Artistic Director Angel Corella’s captivating and innovative choreography combines traditional Spanish dance and classical ballet to tell this tragic story set to Bizet’s indelible music. Giselle Feb 29 - March 10, 2024 Perhaps the most beloved early Romantic ballet, Giselle returns to Philadelphia Ballet. Set in the forests of the Rhineland, it is the story of true love, real heartbreak, and the awesome power of forgiveness. Artistic Director Angel Corella’s elegant choreography breathes new life into a timeless tale told on both sides of the grave. Dance Masterpieces March 14-16, 2024 Experience the work of three of the most inspiring and influential choreographers of the 20th Century. Featuring iconic works—Alvin Ailey’s The River, William Forsythe’s In the Middle, Somewhat Elevated, and Twyla Tharp’s In the Upper Room—it is a portrait of modern dance genius. The Dream May 9-12, 2024 Frederick Ashton’s take on Shakespeare’s timeless and hilarious comedy will dazzle Philadelphia audiences. Hapless lovers, dancing fairies, a braying donkey, and Mendelssohn’s incandescent music make for a magical evening. This dream world is paired with the powerful realism of Balanchine’s Prodigal Son, which showcases some of Balanchine’s most daring choreography, set to equally daring music by Prokofiev and astonishing sets by the great painter, Georges Rouault. Add-on: George Balanchine’s The Nutcracker® December 8-30, 2023 The Nutcracker leaps from the stage with prize-fighting mice, gallant toy soldiers, dancing candy canes, and waltzing flowers. Tchaikovsky’s glorious score guides young Marie and her Prince through a fantastical dreamworld in this beloved holiday tradition.

Berlin State Opera Ballet has announced their 2023-2024 season: https://www.staatsballett-berlin.de/uploads/content/download/Staatsballett-Berlin_23-24.pdf I was hoping they would bring back Ratmansky's reconstruction of La Bayadere, which premiered in 2018, but not this year.

Alexei Ratmansky just posted a long statement on Facebook. https://www.facebook.com/1377723438/videos/1846169425740086/ I'll paste it in for those of you not on Facebook: Alexei Ratmansky PHARAOH'S DAUGHTER. This is a reconstructed variation from the famous Act II Pas d'Action, a rare example of Petipa's choreography for the men, danced here by the brilliant António Casalinho. It is part of a larger ongoing project called 'Petipa Variations', a long time dream of mine. A filmed record of the notated 19c variations done by the best dancers. I wanted to post it on the day of PhD premiere at the Mariinsky. In the spring of 2021, after two years of preparation, I was able, together with my wife Tatiana, to stage close to two hours of reconstructed choreography and mise en scene of PhD at the Mariinsky and was going to finish the production in May 2022. We had complete runs of the material and the dancers (superb) were ready to go on stage. However when Russia invaded Ukraine in February 2022 I left in protest and had to cancell (officially postpone) the premiere. UKraine is a home country where my family still lives, there was absolutely no other choice for me. My designer Bob Perdziola who at the time when the war started did most of his job already was just informed couple of weeks ago about the new premiere date and the new 'artistic team' taking over. This team consists of Toni Candeloro and Juan Bockamp, people I knew and corresponded with, who choose to become tools of putin's propaganda. Hope they realize that the taxes they pay in Russia are spend to kill and torture Ukrainians. And there is one more aspect. After seeing recent rehearsal footage I am suspicious that parts of my work might have been used. I won't make any statements until I see the film of the full production. All I can say now is that the PhD is the most painful professional experience in my life. And it does hurt. EDITED TO ADD: Ratmansky just posted the same thing on Instagram: https://www.instagram.com/p/CqLB-9uAU45/

Wow -- powerful statement from Macaulay! At the United Ukrainian Ballet performances at the London Coliseum last September, he was seated with Ratmansky's party in the orchestra/stalls. I wonder what sort of schism will remain among artists after this awful war is over -- those who stayed in Russia, those who left. As @volcanohunterobserves, it's particularly troubling when foreigners return or stay in Russia for their "art."

Here's MCB's complete schedule: https://www.miamicityballet.org/2324season We already know it's not on the KenCen schedule next year. If Lincoln Center would do some things in June or July, perhaps!

I'm reminded of something Dolly Parton said: "It's take a lot of money to look this cheap!"

I'd add Onegin to the list of works I'd be happy to see again and again. I fear that Bayadere would run into problems with protesters (cf. Paris). A more "traditional" Sleeping Beauty would sell, but I'm not sure about the Ratmansky reconstruction -- all that demi-pointe, no fish dives. Alas, they'd have to go back to the Kirkland version, which had problems of its own.

I would be much more interested in this livestream if it included Daniil Simkin, who is doing three performances in Australia. He was interviewed on Australian TV (as per his Instagram) and talked about how different it is from the other versions he has performed. I doubt we'll have another opportunity to see him in the Nureyev version. I'm guessing, though, that Australian audiences might have resented using the livestream opportunity to showcase a visitor instead of their own talents.

ABT on Tour this spring has some mixed bills in Stony Brook, Chicago, Iowa City in various combinations: Song of Bukovina, Touche, Some Assembly Required, Zig-Zag, R&J PdD, Black Swan. Not the most exciting substitutions, but depending on casting, might sell. Depending on how bad things are, they would not be hard to substitute, as none require a fancy set. The Ratmansky Tempest was billed as a co-production of ABT and National Ballet of Canada. But NBC never performed it, instead doing some or all of the Ratmansky Trilogy. Every contract is different, but it looks like NBC decided that Tempest was such a loser they'd pay whatever price they needed to avoid showing it.

Sorry -- I should have included that from the email: Donors Circle members enjoy Advanced Ticketing starting at the end of March. Tickets will go on sale to the general public in mid-April. If you would like early ticketing access, please make an additional gift to upgrade your membership to Donors Circle level today online or contact Michelle Palmour, Director of Individual Giving (212-769-6611 or mpalmour@sab.org).

The School of American Ballet has just announced the program for the 2023 Workshop (apologies for the sloppy copy-paste from their e-mail): https://sab.org/workshop-performances/ La Source Music By Léo Delibes Choreography by George Balanchine Coppélia (Excerpts from Act III) Music by Léo Delibes Choreography by George Balanchine & Alexandra Danilova Brahms-Schoenberg Quartet (3rd Movement Only) Music by Johannes Brahms Choreography by George Balanchine Napoli (Pas de Six and Tarantella) Music by Holger Simon Paulli Choreography by August Bournonville Workshop Performances will take place on: Saturday, June 3rd, at 2 PM & 8 PM and Monday, June 5th, at 7 PM (Benefit Performance) at the Peter Jay Sharp Theater at Lincoln Center

Shocking! Somebody must be losing sleep over the 12 performances at the Met! Do any old-timers remember late schedule revisions for something like this? Maybe a few more Giselle's, which is scheduled for the next week? https://www.abt.org/performances/master-calendar/?start=2023-03-22

Normally, all companies use a pick-up/local orchestra at Kennedy with the home company's own conductor(s). When Bolshoi played Lincoln Center several years ago at the State Theater, they insisted on bringing all their own Bolshoi musicians. I don't know if they had to pay the local musicians or not, but wouldn't be surprised if they did. The Musicians' Union has historically been one of the strongest of the performing arts unions. EDITED TO CORRECT: As @volcanohunter points out, their correct name is the Kennedy Center Opera House orchestra. They are not a pick-up orchestra and I apologize if I offended them. I gloomed onto that jargon long ago when my late aunt, who played the viola in the (unionized) orchestra in a midwestern city, was hired for the orchestra used for the one-time visit of the Moody Blues. The local Musicians' union dictated who could play in what was truly a pick-up orchestra -- performances which she thoroughly enjoyed and loved to talk about until her death many years later.

Something I'm glad to see and would recommend to others, whether in person or on the digital option: Rep 1 Petite MortMusic: Wolfgang Amadeus MozartChoreography: Jiri Kylian Sechs Tänze (Six Dances)Music: Wolfgang Amadeus MozartChoreography: Jiri Kylian Many companies do Petite Mort (including Colorado Ballet) but this is the only company that does both of the Mozart ballets that I have noticed. I saw PNB do this in the theater about a decade ago and plan to watch it again on their digital streaming. They really work well together and it's a puzzle why more companies don't do both paired. (Cost, perhaps?) PS. It's too bad more companies don't have this option of digital streaming -- the technology, the agreements with unions, whatever it takes. It's a great offering by PNB,

I don't see many major motion pictures and have only seen one on the list of nominees-- All Quiet on the Western Front, which I've watched several times on Netflix. Extraordinary work. I'm glad it at least won for best foreign feature film. In showing the horrible reality of war, it reminded me of Platoon. There's an American-made version from 1979 free on Amazon Prime (with ads), starring Richard Thomas and Ernest Borgnine. Nowhere near the impact for me.

The schedule has been announced for the 2023 Vail Dance Festival July 28-August 7: https://vaildance.org/

Ballet Arizona has announced their 2023-2024 season: https://balletaz.org/2023-2024-season/

I'm sorry I can't find the social media posting where I saw this -- I vaguely remember that Sarah's husband Luis Riborgado took a leave of absence to sell real estate and then returned to ABT, all while she was in the company. Can anybody confirm? More importantly, there are other companies in the west where he might have found work. He was never a high-priced principal.

Bell is partnering Brandt in these rehearsal shots of Like Water For Chocolate: https://www.instagram.com/p/Cpqb5vcAYv9/

Huge disappointment! Nothing worth travelling to see. I understand why the Russians won't be coming back for a long time (if ever). But I was hoping for a return visit from the United Ukrainians, as we know they are working on a mixed bill to show in Europe. Perhaps if they find an underwriter it will be added!

Bell is doing Giselle July 4 (with Teuscher), Swan Lake July 11 and 15 (with Seo), and R&J July 18 (with Teuscher).

The English National Ballet announced their 2023-2024 season a few days ago. Two Giselles -- Khan and Skeaping, Swan Lake (in the Round), Carmen. I'm guessing Rojo programmed this before she left. Pretty disappointing. No Raymonda (which I hope Rojo brings to San Francisco) https://www.ballet.org.uk/whats-on/ Our Voices THU 21 – SAT 30 SEP 2023 Three works showcasing the vast possibilities of ballet Giselle THU 19 – SAT 28 OCT 2023 National Tour The iconic ballet, reimagined. Nutcracker WED 29 NOV 2023 – SUN 7 JAN 2024 The magical Christmas tradition for all the family Giselle THU 11 – SUN 21 JAN 2024 A celebrated production of one of the greatest Romantic ballets Emerging Dancer 2024 THU 1 FEB 2024 – WED 31 MAY 2023 Further details to be announced Celebrating the talent of tomorrow’s stars Carmen WED 27 MAR – SAT 6 APR 2024 Sadler's Wells, London Johan Inger's fresh take on the classic tale of seduction and obsession Swan Lake THU 4 – SUN 14 APR 2024 Peacock Theatre, London A first introduction to the magical world of ballet Swan Lake in-the-round WED 12 – SUN 23 JUN 2024 Royal Albert Hall, London The splendour of ballet on a grand scale.