California

Thank you. Interesting modification of the Peasant PdD - one element of Giselle that wouldn't trigger complaints for a major change from the standard version. It sounds like there were no significant modifications for Giselle, Albrecht, or Myrtha, which I had wondered about.

A few of you have mentioned that Tomasson plays to dancers' strengths. Could you elaborate or give an example? Did he modify/omit/add to the standard choreography?

For the 2022 Met Season, Friends at or above the Affiliate level ($480) got access to single tickets one week ahead of the regular single ticket sales. This year that would be April 17. I have not seen any announcement about this for 2023. Someone asked about time. I believe the box office and on-line sales start at 12 noon EDT.

If you are a member of the PBS Passport (which I think is a $60 minimum donation to your local affiliate) you can watch the entire Nashville Ballet on-line. https://www.pbs.org/video/lucy-negro-redux-nashville-ballet-ri5xn6/ The book: LUCY NEGRO, REDUX: The Bard, a Book, and a Ballet by Caroline Randall Williams https://www.amazon.com/LUCY-NEGRO-REDUX-Bard-Ballet/dp/0997457821/

Colorado Ballet just announced that Chris Moulton is being promoted to Principal for 2023-24. I approve! With the retirement of Yosvani Ramos and Dana Benton this spring, that will leave two female and three male principals. So I'm wondering if a female soloist will be promoted soon. In some recent rehearsal clips, Chris can be spotted practicing a torchlift with his wife, Asuka Sasaki (already a principal), so maybe we'll see that again next year after a long absence. Asuka used to do the torchlift with the sorely-missed Fran Estevez. https://www.instagram.com/p/CpDOeQSgeZ0/

I thought it was interesting that Murphy and Cornejo are scheduled for the last two days of the Met season - Murphy on the 21st and Cornejo on the 22nd. If anybody is about to retire, that's the time and place to do it. Cornejo has been looking so strong lately, I wonder if he'll hang on for another year. Murphy seems most likely to retire, to me.

I did not realize that OLAR was a co-production! Interesting...https://fr.national.ballet.ca/Media-Room/News/2020-21/Alexei-Ratmanskys-Of-Love-and-Rage You might remember that Ratmansky's disastrous Tempest was also a co-production by these two companies, but it never appeared in Canada. Instead, they staged some of his Trilogy. I actually thought OLAR was more of a success -- certainly than Tempest!

National Ballet of Canada just announced their 2023-2024 season: https://national.ballet.ca/Tickets/Next-Season (Onegin - I'm so jealous!) Emma Bovary & Passion November 11 – 18, 2023 Onegin November 22 – 26, 2023 The Nutcracker December 8 – 30, 2023 Alice's Adventures in Wonderland March 6 – 17, 2024 New William Yong & islands & Suite en Blanc March 20 – 24, 2024 Don Quixote June 1 – 9, 2024 Jewels June 15 – 22, 2024

Years ago there was a discussion here about Tippet's Bruch Violin Concerto, which premiered in 1987. Something about Kevin and the stager. But Colorado Ballet does it every few years and will do it again this April. The artistic director here is Gil Boggs; he had been a principal in the 80s so I assume that's why he likes it and presents it. Jaffe was in the original cast - perhaps she'll revive it? https://www.abt.org/ballet/bruch-violin-concerto-no-1/ EDITED TO ADD: Note that Amanda McKerrow and John Gardner were also in the original production. Both are now "Director of Repertoire" at ABT. There is a tiny clip of the ending of Etudes in The Turning Point (1977). ABT premiered it in 1961. I don't remember seeing it on ABT's schedule in the past decade (at least), but San Francisco did it in 2019. It's a killer ballet and very exciting. Are the current ABT principals up to it? https://www.abt.org/ballet/etudes/

I have no idea where that came from! But people seem to know what I'm talking about!

Glad to see they are rehearsing the table top lift, which PNB included and Ratmansky omitted (as it wasn't in the original...)

Joseph Gordon's Instagram Stories has two fish dives with Fairchild. Those only stay on-line for 24 hours (I think), so look fast. They seemed okay to me.

If you are within driving distance of Mississippi State University, please consider attending the conference March 31-April 2, 2023 on "Philosophy, Race and the Arts in Nashville Ballet's Lucy Negro Redux." The conference (funded by the Mississippi Humanities Council and the American Society for Aesthetics) is free and open to the public. It will include a showing of the Nashville Ballet program featured last year on PBS. Schedule: FRIDAY, March 31: 1-2:15 Public Lecture Chair: Thomas Anderson (MSU) Speaker: Nancy Isenberg (Università Roma Tre), "Make Way for Lucy: Tracing Blackness in Shakespeare Performance" 2:30-4:30 Works and Process roundtable discussion and demonstration with Paul Vasterling (choreographer and artistic director of NB) Caroline Randall Williams (Poet) and Kalya Rowser (original Lucy); moderated by Rita Snyder (University of Alabama) 5-7: Public Screening of Nashville Ballet's Lucy Negro Redux; Introduction by Julie Van Camp (Secretary-Treasurer, American Society for Aesthetics) SATURDAY, April 1: 9:30-10: 45 Chair: Susan Feagin (Temple University) Speaker: Gillian Lipton (independent Scholar), TBD Respondent: David Davies (McGill University) 11:00-12:30 Chair: Alicia Hall (MSU) Speaker: Thomas F. DeFrantz (Northwestern), "Amazing Grace: Rethinking Ballet and the Human" Respondent: Richard Richards (University of Alabama) 2-3:15 Chair: Nancy Hargrove (MSU) Speaker: Richard Shusterman (Florida Atlantic University): "Rethinking an Ancient Philosophy of Art: Creation and Possession" Respondent: Renee Conroy (Independent Scholar) 3:30-5 Chair: Donald Shaffer (MSU) Speaker: Halifu Osumare, "The Black Female as Nature/Body in the European Imagination" Respondent: Devon Bailey (University of Johannesburg) Concluding Reception For more information: https://aesthetics-online.org/events/EventDetails.aspx?id=1679338

I'm so sorry I can't get to the SFB Giselle, after wallowing in Giselles this past month! Please post if you're going. I'm especially interested in Aaron Robison, who has been posting some rehearsal clips. Also interested in how it compares with the reconstructions from Ratmansky and PNB.

Thanks for the clarifications, @doug and @Helene The costumes make much more sense now.

Let me enthusiastically recommend the Digital option for PNB's Giselle this weekend with unlimited viewings until Monday, Feb 20. Especially if you saw Ratmansky's reconstruction (either the Bolshoi theater stream in January 2020 or the United Ukrainians), it's fascinating that both versions apparently had access to the same historical materials but made so many different choices. A few notable things for me (by no means comprehensive or in any particular order): The PNB costumes are gorgeous, but it seemed strange that Hilarion and the hunters wore long formal jackets with velvet collars and vests. Isn't Hilarion a poor peasant? Albrecht also wore one in Act II for the lilies pas de deux, which seemed (to me) to interfere with some of his dancing. (He loses the jacket for his return after Hilarion's death.) The fresh, pristine Willis costumes with ribbon hems also seemed odd, like they were jilted at the alter yesterday. I liked the slightly greyed ragged skirts for the Ratmansky Willis -- they've been buried for a long time.Think of the wear-and-tear of climbing in and out of those graves every night! (I do realize the Ukrainians had to work with borrowed costumes from Birmingham.) The Willis "chugs" had only four across (two in each direction), when we're used to six (or more!). Although well-performed, it seemed to lose some of the impact. I love that PNB retained the tabletop lifts in Act II, as well as the pas de poissons. Ratmansky said in interviews that they weren't in the original, so he left them out. I loved the return of the hunters in Act II, not once but twice, the second time engulfed by Willis. I prefer the white lilies Albrecht brings to the grave, instead of the red roses in the Ratmansky. I am guessing there was something in the historic record that led Ratmansky to the red roses, but lilies just seem much more appropriate. In the passage where we once saw Baryshnikov's flying brises, Albrecht did the endless series of entrechats facing the audience, my least favorite choice at that point in the music and not at all what we saw in the Ratmansky version. I missed the Fugue that Ratmansky re-installed. Also missed the passage where Albrecht flies Giselle across the entire front of the stage. PNB's ending that brought back Bathilde and others was nice, but not nearly as dramatic as Ratmansky's. And Giselle just vanished into her grave instead of being swallowed up by the earth, a little more like what we are used to seeing. I hope I'm not breaking any rules here, but Leigh Witchel saw both versions and makes some very interesting comparisons: https://www.dancelog.nyc/the-present-the-past-the-future-all-at-once/

I went to ABT's opening night gala on June 13, 2022, as an ordinary audience member. The people in expensive clothes who attended the fancy receptions and dinners were in the Orchestra. The rest of us were above in tiers and boxes. But it was fun to see the performances and the hoop-la.

One possible difference for printed programs: both NYCB and ABT offer as a small perk for donating above a certain level including your name in the program. Colorado Ballet does the same thing. I believe it's $2500 for NYCB and $1200 for ABT. If printed programs are discontinued, will that put a slight damper on the size of donations? I don't know, maybe not, but they must be wondering about that. Kennedy Center doesn't have the large network of small-ish donors that those companies have. I wonder what Washington Ballet does, as they do have an active Friends group. I was hoping to bring home a nice print program from the Kennedy Center for my dental assistant, as he is a refugee from Ukraine! The only thing I could find for him was the xeroxed large print program! A group of us at one performance wondered if we might ask Ratmansky for his autograph as he was sitting nearby - but what could he sign? Our tickets? We chickened out, but I wouldn't mind having that autograph - he was the real star of the show!

Colorado Ballet has announced their 2023-2024 season: https://coloradoballet.org/23-24-Season-Productions Swan Lake always sells in Denver, as it does everywhere else. The company has other works by Val Caniparoli, so Jekyll & Hyde is a nice addition; it apparently was made for the Finnish National Opera and Ballet. This company does one Balanchine each year and Rubies will be interesting to see in spring 2024. SWAN LAKE October 6–15, 2023 Colorado Ballet will open its 2023/2024 Season with Swan Lake. An iconic romantic-classical ballet that is beloved worldwide, Swan Lake features virtuosic choreography by Marius Petipa and Lev Ivanov, with additional choreography by Ballet Master Sandra Brown, Amanda McKerrow and John Gardner, with Tchaikovsky’s indelible score performed live by the Colorado Ballet Orchestra. THE NUTCRACKER November 25–December 24, 2023 Fan-favorite ballet The Nutcracker returns to Denver, featuring the company’s custom-made sets and costumes which debuted in 2021. The Nutcracker is a festive, family-friendly production that has become synonymous with the spirit of holiday season and sees sold-out performances year after year. In alignment with Colorado Ballet’s mission to increase accessibility and grow a diverse audience base, a public sensory-friendly performance of The Nutcracker will be presented for the third year in a row. JEKYLL & HYDE February 2–11, 2024 Colorado Ballet will treat audiences to a Denver premiere of the full-length ballet Jekyll and Hyde. Inspired by the classic Gothic novella by Robert Louis Stevenson, choreographer Val Caniparoli’s neoteric production explores the human psyche and capacity for both good and evil. Set to the music of acclaimed composers Frédéric Chopin, Krzysztof Penderecki, Henryk Górecki, Wojciech Kilar and Henryk Wieniawski, Jekyll and Hyde premiered in 2020 and features scenic and costume design by David Israel Reynoso. COPPÉLIA March 8–17, 2024 For the first time in 15 years, Colorado Ballet will present Coppélia, a widely acclaimed ballet based on two short stories by E.T.A. Hoffmann. Renowned for its charming blend of humor and classical sensibility, Coppélia is a whimsical story of love and mistaken identity. Colorado Ballet’s adaptation features original choreography by Arthur Saint-Léon, staged by Sandra Brown, Lorita Travaglia, and Maria Mosina, set to the music of Léo Delibes. MASTERWORKS April 12–21, 2024 Colorado Ballet’s 63rd Season concludes with Ballet MasterWorks. Audiences will see the return of George Balanchine’s scintillating masterpiece Rubies, choreographed to the music of Igor Stravinsky. The 2023/2024 Season’s annual repertory production will also feature a new work and a third ballet yet to be announced.

Houston Ballet has announced their 2023-2024 season: https://www.houstonballet.org/seasontickets/pdps/2023-2024/ A Midsummer Night's Dream: September 8-17, 2023 (Neumeier) TuTu: September 21 - October 1, 2023 Cinderella: February 22 - March 3, 2024 Bespoke: March 7-17, 2024 Mayerling: May 23 - June 2, 2024 Four Seasons: June 6 - 16, 2024

This would be the last season planned by Susan Jaffe, but I don't think we can read much into this vis-a-vis her likely programming for ABT. https://www.pbt.org/performance-category/2023-2024-season/ They have 34 dancers, including four apprentices: https://www.pbt.org/artists/ The program looks aimed at attracting people who don't go to much ballet, especially family friendly programs like Beauty and the Beast, Cinderella, and Nutcracker. The opening program is promising, but it is just one weekend, as is the closing program and Cinderella. Only Beauty and Nutcracker have longer runs. Light In the Dark: Date: Oct 27 - Oct 29, 2023 The Nutcracker: Date: Dec 8 - Dec 28, 2023 Beauty and the Beast: Date: Feb 16 - Feb 25, 2024 Spring Mix with the PBT Orchestra: Date: Apr 5 - Apr 7, 202 Cinderella with the PBT Orchestra: Date: May 17 - May 19, 2024

You might check Expedia.com on those dates. Most are actually in the suburbs or outer areas. Two in short walking distance from the Performing Arts Center are the Westin-downtown and Magnolia - both showing under $200 and nice hotels. I only use Expedia to identify hotels and then go to the hotel sites, to avoid problems with the 3rd party involvement.

Welcome to Denver, Sophoife! I have lived in downtown Denver for 11+ year, so here are my recommendations. Dana Benton's retirement is in Cinderella March 19, so you'll miss that. Yosvani's retirement is on April 23. They haven't announced, but I'm guessing he'll do Prodigal Son that day. Tickets are here: https://tickets.coloradoballet.org/events?view=list The Opera House has great sightlines and acoustics. I like side orchestra and the Mezzanine (1st tier). They don't sell tickets through 3rd party vendors or discounters like Goldstar. I will be out of town the weekend of April 23, alas, so I will miss it. There is a Curtis hotel operated by Doubletree by Hilton literally across the street from the Performing Arts Center. https://www.thecurtis.com/ For those dates in April, they're quoting $255, but check special rates (senior, AAA, etc.) Popular restaurant (The Office) in the building and a Starbucks on that block on 14th. Two blocks down on 14th is an Embassy Suites, also by Hilton, quoting $255: https://www.hilton.com/en/hotels/deneses-embassy-suites-denver-downtown-convention-center/hotel-info/ Populare restaurant here: South Street Social All the major chains are downtown. Hyatt Regency. Marriott Residence Inn. etc. If you're within a few blocks of the Performing Arts Center, it will be safe to walk back after an evening performance. If you're a serious foodie, try Terra on 14th: https://www.terra-denver.com/ Things to do: Terrific Denver Art Museum about six blocks down 14th street from the Performing arts center: https://www.denverartmuseum.org/en History Colorado across the street from DAM has high-tech interactive displays (virtual ski jump, etc.): https://www.historycolorado.org/history-colorado-center Museum of Contemporary Art about six blocks down 14th in the other direction: https://mcadenver.org/ Transit from airport: The A line light rail to Union Station is the main option. https://www.rtd-denver.com/app/route/A/schedule Fare is $10.50: https://www.rtd-denver.com/fares-passes/fares From Union Station to hotel, cabs generally won't help, as it's a short ride. Some use Uber/Lyft. The Mall bus is free and goes through downtown. They keep changing the route due to construction on the Mall. Take it over 17th, then short walk south to 14th street. Here's the route now: https://www.rtd-denver.com/services/free-mallride I don't know of a nearby florist and they generally don't send flowers here anyway.

Thanks @canbelto! I wanted to check spelling of Oleksei Tiutiunnyk, Shevchenko's partner both Wednesday and today. My favorite Albrecht, for sure! As others have noted, such ballon!

I was at the final performance Sunday afternoon, with Shevchenko, who was wonderful, of course. I gather it was sold out days ago. I was going to look up some names on the digital programs on the KenCen site, but they're already gone. The main annoyance today: a one-woman Shevchenko fan club who applauded and screamed very loudly at everything Shevchenko did. When Shevchenko appeared from the wings with an armful of lilies and started handing them to Albrecht, Fan Club Lady started clapping and cheering, all by herself! Yikes. And on impressive sequences (like the hops on pointe and the rapid-fire changements in Act II), she started clapping and screaming at the beginning. She applauded virtually nothing else -- Albrecht, peasant, Hilarion, Wilis chug, you name it. Did she think Shevchenko needed the encouragement? Or was that to educate the rest of us to support her? She was seated in fourth row orchestra on the left. Ratmansky was actually over on the right this time, but he couldn't avoid noticing. Now I have to wonder what's next for these dancers. From instagram, it sounds like they're putting together a mixed bill, with one piece by Ratmansky. But it seems unlikely we'll see them again in North America. I found the national anthem, all those flags, and the applause and cheers from the audience very, very moving. I'm glad several of us got to see it.