California

The SAB Workshop Celebration will be shown July 9-13: The Virtual Workshop Celebration has a new date! Please join us on Thursday, July 9 at 7PM ET at sab.org, Facebook, or Youtube for the Live Premiere of this special evening. The Celebration is free to watch and will be available beginning on Thursday, July 9 until Monday, July 13 at 7PM ET. We hope you will tune in to celebrate the School and our talented students. Help SAB ensure that we are able to continue providing exceptional ballet training for our students, maintaining our commitment to our artistic and administrative employees, and sustaining our facilities and our School for the future by making a gift to the SAB Response Fund today. A gift of any size is impactful and would mean the world to us and our students. Make a gift to the SAB Response Fund

Sally received the Lifetime Achievement Award in 2008 for the Selma Jeanne Cohen Prize in Dance Aesthetics at the American Society for Aesthetics. She will be sorely missed. Among her many books, I especially recommend her landmark feminist dance history: Dancing Women: Female Bodies on Stage https://www.amazon.com/Dancing-Women-Female-Bodies-Onstage/dp/0415096715/

The National Endowment for the Arts just announced its second round of grants for the current fiscal year, including 87 grants for dance for $1,973,000. https://www.arts.gov/sites/default/files/Spring2020-DisciplineListReport-6.10.20.pdf

One big problem for diversity in dance is the "pipeline." Most dance instruction in the US is private and although many private dance schools have some scholarship help, it's certainly not on a par with what we understand is provided in legendary schools in Russia, e.g. (Please note that figure skating has an analogous pipeline problem in the US.) It's worth noting Eliot Feld's Ballet Tech, a public school in NYC. I understand that the most promising are referred to schools like the SAB boys' division. But how many cities are able to provide such education? https://ballettech.org/about/

There are alternative recordings for this ballet, but Acosta has now retired and I am a big Nunez fan. As Ashton isn't getting much/enough attention anymore, it seemed useful to have.

Yes, that's the same as the DVD, which I have.

I believe Balanchine did much more -- e.g., sending teachers (including Tany LeClercq) and asking his dancers to save usable pointe shoes to send to DTH.

Very interesting. She is now on the faculty of the Oberlin Conservatory: https://www.oberlin.edu/kara-leaman

I'm watching Creole Giselle, which I had seen many years ago. In the chatroom they say this will only be on-line until tomorrow. Cynthia Harvey and Virginia Johnson are both in the chatroom! Here's the direct link:

Here's the page - no log-in required: https://www.metmuseum.org/events/programs/met-live-arts/digital-premiere-silas-farley?&eid=A001_{FFDEAF10-1142-425F-A59A-F8CD866B6958}_20200520123050

Ballet Arizona is showing Topia again, this Sunday, June 7 for 24 hours only on their YouTube channel from 9 am Pacific Time

Same question! I'm not finding it.

Coincidentally, I was in Phoenix last fall for a professional conference and was SO disappointed they weren't performing while I was in town. If they do another all-Balanchine program of this caliber I might even consider flying back -- that is, when it feels safe to fly -- soon, I hope! A Bournonville festival might also get me to visit.

A new twist on streaming: Royal Ballet and Opera will do some with requests for donations, which has become the standard. But if you scroll down in the message, two will be sold for 4.99 pounds. This is an interesting experiment to see if there is a market. They don't say what is on those programs. Friends of the Royal Opera House <membership@roh.org.uk> 7:21 AM (15 minutes ago) View in a web browser Live from Covent Garden A special message from Antonio Pappano, Music Director of the Royal Opera, Kevin O’Hare, Director of The Royal Ballet and Oliver Mears, Director of the Royal Opera. As our closest Friends and supporters, we are delighted for you to be among the first to learn about our new series of live concerts. Live from Covent Garden will be streamed live on Facebook and YouTube from our beloved theatre, with the first being broadcast on Saturday 13 June at 7:30pm. We have worked together to curate this programme, celebrating some of the best talent in opera alongside the unparalleled artistry and athleticism of our dancers from The Royal Ballet. Get ready for 13 June... The first concert, hosted by the BBC’s Anita Rani and our very own Director of Music, Antonio Pappano, will be broadcast on 13th June at 7:30pm. It will see the ROH open its theatre to a limited number of musicians, artists and performers in the first live concert since closing our doors on 17 March 2020. The first concert will draw on the Royal Opera House’s heritage, with works from Benjamin Britten and George Frederic Handel, as well as repertory favourites, from George Butterworth to Mark Anthony Turnage. These will be performed by stars including Louise Alder, Toby Spence and Gerald Finley. We also look forward to a world premiere by Wayne McGregor, Resident Choreographer of The Royal Ballet. Further details of this exciting new work will be announced in due course. We hope these concerts will bring you the joy and connection of a live performance. We will be asking for donations around the show as, with more than 60% of our income gone, we are at one of the most difficult times in the organisation’s long history. As loyal Friends and supporters we hope you will enjoy these concerts and support us. The following two performances on Saturday 20 June and Saturday 27 June will be available to view live and on demand for just £4.99 and will include a host of ballet and opera direct from The Royal Opera, The Royal Ballet, and the Orchestra of the Royal Opera House. We look forward to sharing details with you soon. We look forward to welcoming you, from your house, back to our house. Antonio Pappano Music Director of the Royal Opera Kevin O’Hare Director of The Royal Ballet Oliver Mears Director of the Royal Opera Subscribe to our social channels for the latest information about Live from Covent Garden

I'll look for that one. Ballet Arizona took theirs off-line after 24 hours, as promised. And they blocked downloading with RealPlayer and Vimeo, so it was impossible to save. This is the kind of ballet I would happily pay a fee to download. We pay fees to download certain films and music - why not make some performing arts performances available? I hope the vague mentions of digital downloads in NYCB comments considers this. Ditto for the T&V on ABT's stream. So much to study in the movement and music. For anyone who is a serious writer or student of music/dance, you really need to be able to study details and not everybody is in NYC to study tapes at the NYPL.

Interesting. Virtually every company that wants to present a Balanchine ballet is started with Serenade, as I understand it, to see how they do. Wonder who owns all those blue tutus? Should be big business renting them out.

Does NYCB rent out their costumes and sets when they license use of one of their ballets? Was it cheaper for MCB to make new ones than to pay rent and transport on NYCB's? ABT rents out theirs regularly and (except for Nutcracker) I thought this was standard in the ballet world. Everybody needs their own Nutcracker for December, but they don't seem to think they need their own stuff for every ballet when good options can be rented.

I have no idea. As ABATT said, it seems odd that Monday was determined to be a bad time to show the screening of the SAB Workshop. I hadn't heard about this before, but it sounds like there is something called "black-out Tuesday"? So they don't want to show anything then. Okay. But of course the Workshop could have gone dark on Tuesday and come back Wednesday. Well, all these organizations are making decisions on the fly, trying to do what's best. Like everyone here, I'm grateful that we have had such a wide selection of digital offerings in this terrible time.

No, but if the rationale is respect for victims and the widespread demonstrations, that only seems to be an issue for Lincoln Center at Home, not others streaming now.

Very vague statement. And note that Ballet Arizona has not postponed their on-line discussion of Symphony in 3 Movements, although I suppose they might: The School of American Ballet has made the decision to postpone the Virtual Workshop Performance Celebration which had been scheduled to premiere tonight and stream until Friday, June 5. At this time of national strife and soul searching following the murders of George Floyd, Ahmaud Arbery, Tony McDade, and Breonna Taylor, the focus of our School has turned to reflection and purposeful solidarity with the Black community. While this is only a postponement of our event, it is an important one. We will keep you updated with our plans to air the Virtual Workshop Performance Celebration at a more appropriate time in the coming months, and we thank you for your ongoing support of the School of American Ballet.

NYCB just announced that the Lincoln Center at home streaming of Coppelia and the SAB workshop are postponed: Along with arts and cultural institutions across the country, New York City Ballet and the School of American Ballet will participate in Blackout Tuesday to stand against all forms of racism, violence, and discrimination. Please note the following updates to previously announced Lincoln Center Dance Week events: New York City Ballet’s stream of Coppélia has been postponed until Saturday, June 6 at 8 PM (EDT). The School of American Ballet Virtual Workshop has been postponed and will be rescheduled at a more appropriate time in coming months.

No surprise, but Segerstrom Center for the Performing Arts just cancelled the La Scala performances July 31-August 2. Performances of Teatro alla Scala Ballet's Onegin Have Been Canceled! Dear Ticket Holder, Segerstrom Center for the Arts considers the health and wellbeing of our patrons, artists and staff to be our top priority. Amid ongoing orders from the State and County health agencies relating to the COVID-19 virus, Segerstrom Center’s presentation of Teatro alla Scala Ballet's Onegin, originally scheduled for July 31st - August 2nd, 2020, has been cancelled. If you have tickets to this show, please visit our website to see your ticket options by next Wednesday, June 3rd to let us know what you would like to do with your tickets. After this date, if we have not heard from you, your purchase will be converted to an account credit that you can use for any future purchase. Please note that credits and refunds are only available for tickets purchased directly through the presenter. Segerstrom Center is not responsible for the refund practices put in place by secondary ticket providers. Our box office and administration offices are closed until further notice. For any other questions, please email the box office at BoxOffice@SCFTA.org. Thank you, Segerstrom Center for the Arts

Dance Theatre of Harlem has announced a digital season, with their Creole Giselle this Saturday, June 6: https://www.dancetheatreofharlem.org/dthondemandvirtualballetseries/

My hunch: A lot of rights holders had to agree to this limited release. When it was broadcast in 1978, it didn't occur to people that there was such potential for different forms of distribution. So I'm guessing that one (or more) of the rights holders for this one insisted on very limited release, with these restrictions. If you remember back to the very long delay in getting the Makarova-Baryshnikov Giselle released on videotape, that was the explanation at the time. They hadn't anticipated these forms of distribution and had to get permission from all the rights holders. Ditto the long delay in releasing the tape of Baryshnikov at Wolf Trap, originally broadcast in fall 1976 on PBS to include the opening movement of Push with Tcherkassky and van Hamel (the original cast). This was omitted from the commercial tape released years later, presumably because Tharp was planning a release of the complete work (although with a different opening cast (Kudo and Jaffe). And there were reports that Kirkland was resistant to releasing it at all because she was in such terrible physical shape in July 1976; thus her statement at the end as part of the compromise.

They seem to have gone to extraordinary lengths to prevent it from being copied or seen again. I hope there are at least a few more opportunities.