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As a long-time Friend at a substantial level, it would be nice if we were offered the ABT at Vail program! I confess that I find the interviews with dancers at ABT and elsewhere boring and I no longer bother with them. I suppose they're attractive to some. If they need a fund-raiser, I wish they would release some of their valuable tapes, most notably the new Ratmansky Love and Rage, which premiered at Segerstrom, especially as it looks to be a long time before we'll be able to see it in the theater. The Don Q at Minneapolis might be worth the $$, but I'm waiting for casting. I've looked at a lot of their archival tapes at NYPL and they're really not of the decent quality you'd want for release now, alas.

Sarasota Ballet has just announced that tickets are on sale for their fall digital season. Very impressive, especially the Ashton Program I https://mailchi.mp/03b81d43e9af/30th-anniversary-digital-fall-season-programming-tickets?e=68308311cb The Sarasota Ballet's Digital Fall Season Tickets and Subscriptions Available! The Sarasota Ballet is ecstatic to announce that tickets for our Digital Fall Season, encompassing the first three programs of our 30th Anniversary Season, are officially available! Each program of our Digital Fall Season has been designed around a specific balletic theme, to deliver an artistic experience comparable to that of our in-person programs. Our inaugural Digital Program celebrates the choreographic creations of Sir Frederick Ashton, featuring a collection of solos, pas de deux, and extracts that highlight Ashton's unique synthesis of classical technique, musicality, and narrative flair. Our Digital Programs also include extra features to bring audience members behind the scenes, such as special guest interviews, rehearsal clips, and more. On scheduled dates corresponding to our standard Season schedule, these Programs will be emailed to ticket holders, who can watch the performance at their leisure over a period of five days. Digital single tickets for each program are available for sale on our website for $35. If you would like to see all three programs of our Digital Fall Season, a discounted Digital Subscription option is also available for $90. Full Season and Flex Four Ballet Subscribers (excluding Digital Subscribers) of The Sarasota Ballet will additionally gain exclusive access to a look into the process of creating and rehearsing a ballet world premiere. Click Here to Buy Single Tickets Click Here to Buy The Digital Fall Subscription How to Watch On the morning of the Performance release, all ticket buyers will receive a personalized private link that will enable you to view the Program from the comfort of your home via the Vimeo media platform. To watch using your television, you can connect your computer via a video cable such as an HDMI cable, depending on your computer's video out connections. Verify the manufacture and model of your computer in advance, to determine which cable you will need. In addition, you can watch each Program on your smartphone or tablet (such as an iPad), and even wirelessly connect these devices to certain televisions (such as Smart TVs) to experience ballet in your home theater environment without plugging in additional devices. Digital Program 1 - 23 October 2020 Featuring performances and excerpts of Sir Frederick Ashton's: Meditation from Thaïs - first performed by Dame Antoinette Sibley and Sir Anthony Dowell 21 March 1971, to music by Jules Massenet Monotones II - first performed by The Royal Ballet 24 March 1965, to music by Erik Satie orchestrated by Claude Debussy and Alexis Roland-Manuel Façade, Extracts - first performed by the Camargo Society 26 April 1931, set to William Walton's score originally created as a setting for the poetry of Edith Sitwell Romeo & Juliet, Balcony pas de deux - first performed by Royal Danish Ballet 19 May 1955, to music by Serge Prokofiev La chatte métamorphosée en femme - first performed by Merle Park 31 March 1985, to music by Jacques Offenbach arranged by Philip Gammon The Sleeping Beauty, Vision Solo - first performed by Sadler's Wells Ballet 20 February 1946, to music by Peter Ilyich Tchaikovsky Les Patineurs, Extracts - first performed by Vic-Wells Ballet 16 February 1937, to music by Giacomo Meyerbeer arranged by Constant Lambert Additional content includes rehearsal footage, along with coaching and an interview with retired British ballet dancer and former Artistic Director of The Royal Ballet Sir Anthony Dowell Single Tickets to Digital Program 1 Digital Program 2 - 20 November 2020 Featuring performances and excerpts of the works of George Balanchine, such as: Tarantella - first performed by New York City Ballet 7 January 1964, to music by Louis Moreau Gottschalk reorchestrated by Hershy Kay The Four Temperaments, Extracts - first performed by Ballet Society 20 November 1946, to music by Paul Hindemith Donizetti Variations, pas de deux - first performed by New York City Ballet 16 November 1960, to music by Gaetano Donizetti from the opera Don Sebastien Additional content to be announced Single Tickets to Digital Program 2 Digital Program 3 - 18 December 2020 Programming and additional content to be announced Single Tickets to Digital Program 3 Find out more on our website!

Ominous news for the performing arts: The Metropolitan Opera just cancelled its entire 2020-21 season https://www.nytimes.com/2020/09/23/arts/music/metropolitan-opera-cancels-coronavirus.html?action=click&module=Top Stories&pgtype=Homepage

Here's the information on the Royal Ballet web site: https://www.roh.org.uk/tickets-and-events/the-royal-ballet-back-on-stage-details Impressive list of dancers, but I'm going to wait to see what they are performing. I would love to see some dazzling PdD that might be performed at a gala.

I feel so badly for all the dancers. I see them all over social media trying to stay in shape, looking for outdoor performing venues, safely rehearsing in small groups in whatever huge spaces they can secure. They have such short careers. Even leaving aside the financial hardships, this pandemic is brutal for all of them. What I like about the new virtual efforts: they are using actual dancers now, whether alone in black box theaters or empty theaters or outdoors, with all the requisite distancing, testing, etc. At least they are performing. I hope these experiments spread, especially as we start facing up to the realities of 2021. Does anybody believe NYCB will be back to normal for their winter season?

Boston Ballet is going to try a six-performance virtual season @$180, just a little less than the PNB subscription. I'm on their e-mail list so I'm surprised I hadn't received any publicity about this. https://www.bostonballet.org/Home/Tickets-Performances/Subscription-Information/Virtual-Subscriptions Details about the programs: https://www.bostonballet.org/Home/Tickets-Performances/Performances/BB-at-your-home So that's PNB, Louisville, Boston -- are there others planning to try this?

I've been puzzled by the wide variation we're seeing on re-opening. SAB is posting daily photos of students with masks, distanced, etc., so that seems an option in NYC. I assume the variations have a lot to do with finances, technical capabilities, and local health regulations of each company. PNB can use their theater for their digital programming this fall, but many don't have that capability. I also assume we're seeing the reflection of long-range financial planning and negotiations with their unions. Is it better to furlough dancers, let them keep health insurance and preserve funds for a return in the spring? Can a company afford to bring them back at full salary now without ticket revenue possibilities? Is a company getting enough money from donors and local governments to tide them over? There is presumably wide variation in all these factors that we're not aware of.

This is a new piece, "Hope," choreographed by Sandra Brown for two Colorado Ballet dancers. The performing space is the platform for two huge white sculptures (fondly known by locals as the Dancing Aliens) on the large, grassy backyard of the Denver Performing Arts Center, which is now closed. Across the street on the other side is the Auraria Campus, shared by the University of Colorado-Denver, Metro State University of Denver, and Denver Community College. Brown, a ballet mistress with the company, was a soloist at ABT.

From several reliable on-line sources: furloughed employees retain benefits (most importantly, I think, health insurance) and are expected to return. Laid off employees are actually terminated as employees and thus lose benefits. They might be the same for unemployment compensation, but the retention of benefits seems very important. E.g., https://www.shrm.org/resourcesandtools/tools-and-samples/hr-qa/pages/furloughlayoffreductioninforce.aspx I assume this fund-raiser will be going on for the next year. I have been impressed that several trustees have made major contributions -- $5K, $20K, and one at $100K! Many anonymous donations in the $1K - $5K range. Colorado does have a huge incentive: for non-profits that are in the "enterprise zone" you get a 25% tax credit on state taxes for donations of at least $250. Colorado Ballet, Central City Opera, and Cleo Robinson all have this designation, but not Opera Colorado. As I understand it, to be qualified, the organization must include a component of local job hiring. You can only claim the credit up to your total state tax obligation for the year, but excess carries over to future years. So, it's pretty generous.

Very effective allegory, although we'll never really know for sure!

The current production is "staged by Kevin McKenzie and Susan Jones." https://www.abt.org/ballet/don-quixote/ I'm guessing they receive some royalties for each performance. How eager are they to give them up? How do costs compare with staging Ratmansky's? I have to assume that the next several years are going to be a real struggle financially for this and every other company.

I'm afraid we will have to wait for one or more of these people to retire and write their memoirs to understand what happened. We've all been watching for hints on social media for a long time - nothing.

At least her husband is still in the corps (unless he just got removed, too!), so at least they have health insurance. I'm not finding anything from her on social media. Hoping she gets some free lanced gigs or a new home worthy of her -- Boston? Berlin?

Oh my gosh! I looked 15 minutes ago! You're right, of course. They just updated. Hallberg is still listed but I gather he plans a retirement performance next spring. So unfortunate to lose Sarah Lane!

I'm really pleased to see this. Given that Abrera, Hallberg, and Simkin are still listed as principals, even though we don't expect them to dance much in the next year, you can see that they needed to replenish. I wonder if they'll try to give Abrera some kind of retirement send-off in 2021. Fingers crossed that they all get to perform next year! https://www.abt.org/the-company/dancers/

Yes. They were brought back on contract for August, with virtual company class and Giselle rehearsals for one month. Then they were all furloughed until January and administrative staff are all taking pay cuts. I don't know rules on unemployment eligibility in Colorado, but I hope that helped at least some qualify. https://www.9news.com/article/entertainment/colorado-ballet-institues-staff-layoffs-furloughs/73-339044422 Like many companies, they have a big fund-raiser going on to help cover the gap this fall with a goal of $3 million. https://give.coloradoballet.org/campaign/relief-and-recovery-fund/c297017

Instagram video of Bell & Hurlin performing Spring Waters outdoors at the Kaatsbaan Festival. They nail the torch lift, which bodes well for Ratmansky's Nutcracker some day. I've been surprised that more performers haven't used outdoor venues like this during the pandemic. MacKenzie and van Hamel are in the audience.

On Instagram, Hallberg is posting video of his "boot camp" at Ballet Arizona studios. Seems like he's re-learning basic things, like soutenu, and it's quite interesting. I wonder if he plans to say in shape in anticipation of a retirement performance with ABT next spring. Seems so far away for all of us!

I'm really hoping there's a Nutcracker festival of streamed performances in December. I believe Ovation did something like that a few years ago, but many of us don't get that cable channel. Although several are already available on-line, it would be nice to see a few more -- Ratmansky's for ABT would be a special treat and one I'd happily pay for. I'm thinking that a lot of young kids who are inspired by seeing Nutcracker need to see these, even on-line. Will European companies be back in the theater in December for live performances? Another opportunity for them to stream theirs, even with some kind of charge.

I'm seeing all the text now. Thanks!

I am seeing headers in pale gold and blanks in the text boxes. I've tried re-loading. Nada. I can't see the text I'm writing, except to highlight it.

Fernanda Oliveira just announced that she's leaving the Colorado Ballet corps to join Pennsylvania Ballet for the 2020-21 season. She posted on Instagram and her own web site: https://www.fernandacoliveira.com/bio She seems to be taking virtual company class with PA while still in Denver. She did a great job as Mercedes last year and also stood out in Cluedo.

Here's a link to the six-program season, which is for sale for $190 https://www.pnb.org/season/subscriptions/digital/?utm_source=wordfly&utm_medium=email&utm_campaign=NP21DigitalSeasonAnnouncement-Donors&utm_content=version_A&promo=21498 This is intriguing -- but I wonder if this bodes ill for the many companies still hoping to have an in-person season in spring 2021. PNB has the equipment needed, but I doubt all companies do. As already announced, Louisville Ballet is planning an all-digital season, and Sarasota Ballet plans digital for fall, although rep and pricing have not yet been announced. https://www.sarasotaballet.org/fall-digital-season?utm_source=wordfly&utm_medium=email&utm_campaign=Eblast_1920_SarasotaBalletatHome&utm_content=version_A

Thanks! I find all of this fascinating. I do find it interesting that at least two of the Baryshnikov daughters (Anna and Alexandra) kept the non-feminized name. (I don't know about the third daughter.) A Russian-born American I follow on Twitter (because of his coverage of Chernobyl!) said once that this drives him nuts. I wonder how other Russian emigres feel about this!

Just to voice my agreement. Some of our most respected critics/historians/writers on dance were never dancers -- Robert Gottlieb, Arlene Croce, Selma Jeanne Cohen, many more. Writing is an art form in itself and draws on different skills of observation and articulateness. While some professional dancers do go on to be excellent writers (Deborah Jowitt and Nancy Reynolds come to mind), they seem to be the exception more than the rule.