California

Thank you for this report! I'm really looking forward to the digital program. If you follow Ratmansky on social media, you know that he's very invested in the Ukrainian cause. I'm still hoping they will find a way to show broader audiences his Giselle reconstruction with the United Ukraine dancers. A North American tour would be ideal if they can find the funding. The way things are going, we aren't likely to see the Bolshoi do it and the version he staged for the United Ukrainians comes very close to that.

Really fascinating! Thanks for posting. And isn't it sad we don't have more venues where work like this can be published, now that Ballet Review has shut down. http://www.balletreview.com/

Anna Kisselgoff's 1983 review addresses some factors that might have motivated Balanchine: https://www.nytimes.com/1983/07/08/arts/ballet-la-sonnambula.html I don't know if that is public access, so here are some interesting insights: As a ghost story derived from 19th-century sleepwalker tales, it would seem too romantic for his taste. And yet it moves along anything but literally. For although the ballet has a story, it is one told on an allegorical plane. A baron holds a ball. A poet enters, flirts with the baron's mistress, but is drawn into a fatal encounter with a sleepwalker, the baron's wife. Themes rather than narrative hold sway. The poet is the artist alienated by society. The beauty he seeks in life is available to him only in death. Repeatedly, the social dances of the guests symbolize a frivolous society that covers up feeling. When the poet dies, it is his fellow artists - the dancers hired as entertainers - who carry him and place him in the arms of the sleepwalker.

I'm very interested in reports on Ratmansky's new Wartime Elegy, which I plan to see on the digital subscription. Was he there for the bows?

This is one program I plan to see on their digital offering. I'm very interested in Ratmansky's new piece.

I saw the final three performances, with Alina Cojocaru on Friday evening, Elizabeta Gogidze at the Saturday matinee, and Christine Shevchenko Saturday evening. Ratmansky was seated in the audience at all performances and he came on stage with a Ukrainian flag Saturday evening when they all sang the Ukrainian national anthem. Each performance opened with God Save the King and closed with the Ukrainian anthem and several flags held up by dancers. I don't have the greatest memory for details, but this version was very similar to Ratmansky's reconstruction for the Bolshoi in 2019, which I saw on a live stream in a movie theater in January 2020, before everything shut down. The Ukrainian version includes the Willis Fugue (which I love!), the ending when the earth swallows Giselle and Bathilde reappears, lots of mime, and very different choreography for things like Albrecht's solo. Considering the circumstances and the fact that dancers came from different companies, the corps was really marvelous in their lines and symmetry, in both the first and second acts. I remember Cojocaru fondly from guest appearances with ABT long ago. Sadly, although her interpretation is a lovely as ever, her technique was overshadowed by the other two I saw, especially in things like height and speed. Shevchenko was powerful in all aspects. Gogidze was a wonderful surprise and I hope a North American company finds a way to bring her over. Her little entrechats in act II were gorgeous. Audiences seemed almost sold out at the performances I attended. Now I wonder: what happens next? This week depended on the generosity of so many for costumes, sets, orchestra. I can't imagine they have funds to visit North America, although I am confident they would draw huge crowds. I hope the dancers aren't turned lose to fend for themselves again.

Not a great deal in the US either and I'm really annoyed that it is not included in my annual subscription to Marquee. I have to pay extra, too. Having seen this in the theater last Monday, I can't really recommend it.

If you follow Hallberg on Twitter, you'll remember that last year he was looking for a recording of the Cranko R&J, which had just been released on DVD (as was Onegin). Perhaps he just wanted something different from the MacMillan version most companies use.

The announcement and a short video are also on Yosvani's Instagram: https://www.instagram.com/p/CifXfkvgwn4/ I don't know what his plans are post-retirement. He spent several months this summer in England as a guest teacher at several companies, as he documented on Instagram. He was a principal with ENB for many years before leaving for Australia and then the US.

Not sure where to post this...Baryshnikov was having fun yesterday in Vogue's fashion walk in lower Manhattan. Everybody wants to see him move - so he moved! He's 74 years old -- he can goof around if he wants to! https://www.instagram.com/p/Cibg6Y0LOUb/

The Drury has announced that the Monday matinee of Nureyev Legend will go on as scheduled: "In accordance with the wishes of the Royal Household, performances will continue until further notice. https://lwtheatres.co.uk/whats-on/nureyev-legend-and-legacy/

And look at the origins of the money for the Rockefeller, Carnegie, and Ford Foundations (and many others). They do a lot of good now, but historically those individuals did enormous damage to the country. It's interesting that Sackler money is being rejected now with the public awareness of the opiod crisis - or, at least, their name is being removed even if the money isn't being returned.

PBS has had what it calls "enhanced underwriting" since the early 90s - essentially 30-second commercials to offset the loss of federal funding. https://www.courant.com/news/connecticut/hc-xpm-1995-06-07-9506070196-story.html

I'm struck in that excerpt by the detailed reporting on Balanchine's moods, thoughts, and emotions while touring the Soviet Union. I hope the book (which I pre-ordered) includes detailed explanations of her sourcing -- interviews at the time? dancers' memories now? journals (did he keep one?)? Apollo's Angels has brief endnotes, but I hope we see more in this one.

I wonder if there is a connection to the Vilar Performing Arts Center in Colorado! In the US, the desperate search for donors, rewarded with naming opportunities, is also widespread. https://vilarpac.org/

I'm a subscriber and it looks like they are charging us an extra $9.99 to "rent." They have had surcharges on other things, which I find annoying, after buying a one-year subscription. I hope I'm misreading this!

And at the beginning of the Met season, his DonQ with Hurlin was cancelled and Ahn substituted. At the time, no explanation, but he was seen in rehearsal clips for Love and Rage, so the GUESS was to be safe and avoid injury for the premiere of Love/Rage. It's possible he's just been cast so much he needs a little rest or perhaps he has a slight injury that he doesn't want to take risks with. Pure speculation for all of this, but it does seem puzzling.

The @ABTofficial photo posted today on Instagram includes Bell in a flesh-colored costume (does anybody recognize that?) and he is listed on the press release today. But his own Instagram has been quiet since a clip of Don Q from the spring. He also hasn't joined several ABT principals at a whirlwind of international festivals in the US and elsewhere this summer. Concerning... https://www.instagram.com/p/ChptJEsp2YI/

Casting for each performance is now on the master calendar: https://www.abt.org/performances/master-calendar/?start=2022-10-20 I'm surprised to see that Aran Bell doesn't seem to be listed in any of the casting, including Seasons, a role he has done before. Sinfonietta doesn't list casting, so he might be doing that. Both Whitehead and Stearns are scheduled.

The Instagram announcement: https://www.instagram.com/p/Chov9jAKWZf/ Just announced to supporters: Aaron S. Watkin will be English National Ballet's new Artistic Director, taking up the position from August 2023. Aaron comes to English National Ballet from the Semperoper Ballett in Dresden, Germany, where he has served as Artistic Director since 2006. During his tenure, he has built an internationally respected reputation for the company, known for the diversity of its artists and repertoire. He has presented works by some of the world’s most renowned choreographers, from George Balanchine to Pina Bausch, William Forsythe to Martha Graham. Aaron’s appointment as Artistic Director sees him return to English National Ballet having previously danced with the Company thirty years ago. Born in Canada, his stage career also saw him dance with National Ballet of Canada, Dutch National Ballet and Ballett Frankfurt, before becoming a Choreographic Assistant to William Forsythe, staging his works throughout the world. Of his appointment, Aaron S. Watkin said: “I am delighted to be returning to English National Ballet to lead the company forward as Artistic Director. I have a great appreciation for all of Tamara’s achievements in developing and diversifying the company over the past 10 years. ENB has established itself as a creative force and it is an honour to be entrusted to continue to build on this.” “It is my ambition to further develop the Company’s unique identity at the forefront of dance: embracing tradition and forging innovation. I want to lead a truly open and inclusive organisation that continues its founding principle to bring world class dance to the widest possible audience.” “Over the last 17 years at Semperoper Ballett, I have built a creative, nurturing environment for all to thrive in, both on and off the stage. I look forward to continuing this with English National Ballet, working alongside the Company’s exceptional dancers, creatives and staff to create a vibrant future.” I am thrilled that Aaron will be joining the Company. His extensive experience, drive and respect for what we do are what English National Ballet needs, and will enable us to build on Tamara’s significant legacy. The news follows January’s announcement that Tamara Rojo will step down in late 2022 to take up the position of Artistic Director of San Francisco Ballet. English National Ballet’s outgoing Artistic Director, Tamara Rojo, commented: “I would like to congratulate Aaron on his appointment as Artistic Director. Leading English National Ballet for the last ten years has been a great privilege. I am immensely proud of what we have achieved together, but my admiration and support do not end here. I will remain invested in the company’s continued success and look forward to seeing it continue to evolve and inspire audiences across the UK and around the world.” Aaron has been appointed following an extensive, extremely thorough and highly competitive search and we are grateful to the Search Committee of Trustees and the Artistic Advisory Panel members for all of their work. I would also like to take this opportunity to thank you for your ongoing support for English National Ballet. Yours sincerely, Patrick Harrison Executive Director

Brooklyn Mack is re-joining English National Ballet for the Fall-Winter season in Swan Lake, Nutcracker, and Raymonda. https://www.instagram.com/p/ChkA59PqXXO/

For the London performances of the United Ukrainian Ballet, Christine Shevchenko will perform the role of Giselle Saturday, September 17, but the announcement doesn't say whether that's the matinee or evening. She will also do Myrtha at several performances, but it doesn't say which ones. UPDATE: In the comments, the Ballet says Shevchenko will do the evening performance on September 17, with her Myrtha performances TBA. https://www.instagram.com/p/Chj2yYEoEyj/

Thank you for posting! Fascinating! In one of the many Facebook postings on this, I saw a reference to Christine Shevchenko making an appearance, but haven't been able to find any more information. She's not listed as Giselle, but would make a wonderful Myrtha. Perhaps they were just noting that she is from Ukraine. In the Ratmansky reconstruction for Bolshoi, shown on a live stream in the theaters in January 2020, Giselle also tells Albrecht to return to his fiance. My understanding was that was from the original version in Paris. In an incredibly fortunate coincidence, I will be in London that week for a conference and have a ticket for one of Cojocaru's performances. I'll be interested in comparing notes with any others who are able to attend. https://londoncoliseum.org/whats-on/giselle/ http://unitedukrainianballet.com/

Colorado Ballet is doing seven performances of the Bruch Violin Concerto in April, as part of Ballet Masterworks (along with Prodigal Son and the Kylian Sinfonietta): April 14-16 and 21-23. Live orchestra for everything at the Ellie Caulkins Opera House. https://tickets.coloradoballet.org/events?view=list

The tape of the live stream from Vail is on YouTube for the next week. Justin Peck's new piece is last on the program and begins about 1:48