California

What are the odds there will be a fall season for NYCB and ABT in September-October? I have to think the directors of dance companies (and other performing arts groups) are starting to face up to the realities of this pandemic.

What a treat. Thank you! And, as many of you know, there is NO complete recording of Glass Pieces available in North America. I would have happily bought a tape or DVD many years ago if only NYCB had figured out how to release it.

Here's the email they sent out: View Online Version Given the ongoing impact of the COVID-19 pandemic, we have made the difficult decision to cancel this summer’s Lincoln Center for the Performing Arts programming, including Midsummer Night Swing, the Mostly Mozart Festival, and Lincoln Center Out of Doors. These festivals have brought great joy to New Yorkers for decades, in ways only extraordinary, fearless artistry can. It is our intention, when it is safe again to gather in person, to stage a free, pop-up festival in a celebration of our great city and the selfless first responders and healthcare workers who are giving so much during this crisis. Currently, and for the foreseeable future, we’re taking our work online with Lincoln Center at Home, our new portal helping families and communities keep the performing arts front and center. Lincoln Center Pop-Up Classrooms, #ConcertsforKids, and archival & live stream performances from across campus feature the arts from wherever they’re still happening – empty halls, living rooms, and more. We are in awe of the teaching artists, musicians, dancers, educators, and staff who are sharing such impressive creativity during this time. As previously announced, Lincoln Center for the Performing Arts has cancelled all spring performances and events. For details on cancellations specific to Lincoln Center’s resident organizations, you may wish to consult their individual websites. For your convenience and in order to manage call volume, we are reaching out to ticket holders for cancelled events to facilitate donation and refund options. You may also contact your point of sale directly or call CenterCharge at 212.721.6500 to speak with a guest services representative. We hope you will consider donating the cost of your tickets as a tax-deductible gift. Your support helps ensure the vitality of the arts now and into the future. In these times of heightened anxiety and vigilance, we are holding on to the important role the arts play in our lives: they nourish our hearts and minds, teach us valuable lessons and critical skills, and help us create community. We are resolved not to lose sight of what connects us, and we hope you will follow us on social media and continue to be part of our community from wherever you are.

I got the DVD for Bolt several years ago as part of a 3-disc set from the Bolshoi (along with Pharoah's Daughter and Petit's Pique Dame). I haven't watched it in a long time, but I think (from liner notes) that Ratmansky did all the choreography because they didn't have a decent record of the original. I enjoyed Bright Stream and it seemed popular with US audiences, but I can see why they haven't tried showing Bolt here. It reportedly was a critical failure in 1931 and disappeared from the rep under the Soviets. Stalin (a great ballet lover) reportedly had a heavy hand on the lives (literally) of the theater people in that era. I originally thought Bolt might help me understand the obscure Soviet references in Ratmansky's Trilogy (which I love, especially Symphony No. 9), but I guess you have to have grown up in the Soviet era to figure it out. Your comment makes me curious about all of this again, so I'll try to take another look soon.

I remember the struggle to release the 1977 ABT Giselle with Makarova/Baryshnikov. When it was first shown on TV, it didn't occur to people that there would be a market for videotapes and none of that had been anticipated in the contractual arrangements with all the unions involved (dancers, musicians, stagehands, etc.) They had to go back and work all that out. There was also a very long delay in releasing the 1976 PBS show Live from Wolf Trap with Baryshnikov and Kirkland. We learned much later that part of the delay was Kirkland's reluctance and the statement from her at the end was a result of those negotiations. And some of us are old enough to remember that the program actually opened with the first movement of Push Comes to Shove. That was shown in the PBS broadcast, but omitted from the video (presumably at the insistence of Tharp). I've just assumed that agreements with European and Russian companies for future release take all of that into account and make it much easier for them to release these things, in comparison with the negotiations needed with North American unions, even now. Of course, it costs money to make broadcast quality recordings and release them. With the paucity of government subsidies in the US (compared with the European and Russian companies), it all makes sense. I'm just grateful that so much is available from the European and Russian companies.

What a treat! It would be nice, of course, if NYCB had recordings of these ballets that they would share... Here's the link:

The message ABT sent to ticket holders and the web page say nothing about getting a refund on tickets already purchased (including subscriptions). To get that, log into your account on the Met Opera page. It knows which tickets you hold and gives you a choice of a refund or a donation. https://www.metopera.org/

Here's another complication: Colorado Ballet is doing Giselle October 9-18. Last time around, they rented the ABT sets and costumes and I assume they plan to do that again this year. Could they get them trucked back to NYC in time for the end of the Koch season? I suppose so, but who knows... Then again, to listen to the gloomy predictions for a second wave of COVID-19 this fall, perhaps there won't be any fall seasons for anybody. I shudder to think about the next year until they develop a vaccine by mid-2021...

I'm surprised SAB has not yet cancelled their spring Workshop May 30, although I assume it will be cancelled as well. https://sab.org/events/

ABT just sent email that the Gala scheduled for May 18 is postponed to October 21. AN UPDATE FROM AMERICAN BALLET THEATRE ON THE 80th ANNIVERSARY SPRING GALA Dear Friends, I hope this note finds you and your loved ones safe and healthy. While we had been looking forward to celebrating ABT's 80th Anniversary with festivities and fanfare on May 18th, this is not the time to celebrate. The health and safety of our artists and audiences, our ABT community and our beloved New York City are our paramount concerns. To do our part in slowing the spread of the COVID-19 crisis in New York and globally by social distancing, we have arrived at the difficult decision to postpone the gala originally scheduled for May 18, 2020. Please save the date to join us for ABT's 80th Anniversary Gala on October 21st, 2020. In place of the tickets or tables (and the new dress or tuxedo) you would purchase in normal times, we kindly ask that you consider a fully tax-deductible donation to support ABT's artists - including dancers, ballet masters, pianists, musicians, production crew, and education faculty - in these uncertain and unsettling times. To make a donation to the ABT Crisis Relief Fund, please click HERE. With ABT's revenue from ticket sales and touring fees disappearing, your philanthropic gift is more meaningful than ever. Thank you for your generosity and your friendship. With resilience and optimism, we look forward to celebrating ABT's glorious eight decades on October 21st with beloved classics and world premieres. The magnificent program will honor ABT's vibrant history and foreshadow its brilliant future. Should you have any questions or concerns, please reach out to us at specialevents@abt.org. With gratitude for your understanding and wishes for your continued good health, Warmly, Kara Medoff Barnett Executive Director

Actually, Prokofiev wrote his score with a happy ending, but the theater management vetoed his plan: But the most unconventional decision Prokofiev made was in the ending: It was happy. According to the ballet’s original scenario, by Adrian Piotrovsky, Romeo wants to stab himself but is stopped by Friar Laurence. While they are entangled in a struggle, Juliet begins to breathe. Then the stage fills with people, who watch as Romeo and Juliet begin to dance. The music is bright as the young lovers leave the stage in an Orphic apotheosis. https://www.nytimes.com/2018/01/23/arts/music/prokofiev-romeo-and-juliet-new-york-philharmonic-new-york-city-ballet.html

Boston Ballet has just cancelled the balance of their spring season: http://email.wordfly.com/view/?sid=MjM0XzMzODQ2XzQxMTMwM183MTYx&l=0a30cbcf-4074-ea11-bd94-e61f134a8c87&utm_source=46207&utm_medium=email&utm_campaign=SWA_OTC&utm_content=version_A AN UPDATE  ON THE SPRING SEASON FROM SENIOR LEADERSHIP: We’ve always been so proud that our art provides joy and community, especially when life is challenging or uncertain. So it is particularly painful that we must suspend the rest of Boston Ballet’s spring season in the interest of the health and safety of our community and in accordance with Governor Baker’s most recent order. Our current plan is to welcome Boston Ballet audiences back to the theater in August with Carmen, and to reschedule Swan Lake and Off the Charts for future seasons. We very much want Boston Ballet to continue to play an uplifting role in your lives, and we are committed to providing you with art and inspiration virtually over the weeks and months ahead. As a non-profit organization employing hundreds of artistic and administrative staff, this is an especially challenging time for us. This suspension totals 75% of our spring season and Boston Ballet expects to lose well over $8 million as a result. These are vital resources that pay for the talented dancers and staff who make everything you love about Boston Ballet possible. To maintain the people power necessary to bring world-class dance back to our theaters and studios, we need your help. Please consider doing what you can to provide critical relief to the Boston Ballet community. When you turn your unused performance ticket into a tax-deductible donation, you support our artists and staff. When you make an additional gift to Boston Ballet, you keep our workforce preparing for the moment we can welcome you back to our theater and studios once again. If you currently have tickets to Swan Lake or Off the Charts, you will be hearing more from our team about your options shortly. Thank you for being with us, for your encouragement, and for your generosity that inspires us through this period of unprecedented difficulty. We hope that you stay well and take care of yourself, and we are so looking forward to being with you again. Yours truly, Mikko Nissinen Artistic Director Max Hodges Executive Director Boston Ballet 19 Clarendon Street Boston, MA 02116 617.695.6950 | www.bostonballet.org All rights reserved © 2019 Boston Ballet View in browser

The Washington Ballet just sent out an announcement for their 2020-21 season: https://www.washingtonballet.org/become-a-season-ticket-holder/ Join us for a season of JOY Experience the delight and wonder of The Washington Ballet as a Season Ticket Holder Season Ticket Holder Benefits & Packages NEXTsteps September 30–October 4, 2020 The Harman Center for the Arts, Shakespeare Theatre A Night of RATMANSKY March 3–7, 2021 The Kennedy Center, Eisenhower Theater Giselle April 7–11, 2021 The Warner Theatre Cinderella May 12–16, 2021 The Kennedy Center, Eisenhower Theater Plus, The Nutcracker November 21–22, 2020 at THEARC Theater November 28–December 27, 2020 at The Warner Theatr

This exchange reminded me of how startling it is to hear the children of Princess Grace of Monaco speak - not only fluent English, but perfect American accents! I understand that young children easily pick up other languages and this seems to be an example.

Letter from the Kennedy Center just arrived, if you were wondering where the $25 million went: Dear friends, The family we have here at the Center is beyond measure and we are so grateful for the community we have created together. We know so many of you are dealing with unprecedented circumstances right now and I want to take a moment today to send you our thoughts and love during this time. I hope you and your loved ones are sheltering at home, are safe, and most importantly healthy. I also hope that you find respite and comfort in each other and the arts in all its forms during this time. As you are someone who cares about this institution as much as we do, I felt it was important for you to hear directly from me regarding some of the difficult decisions we have recently had to make. As America and countries around the world try to make sense of the current global public health and economic crisis, new realities have come sharply into focus for business and non-profit leaders, forcing many—including the Kennedy Center—to do everything possible to ensure our long-term financial health and survival. Without question, the Kennedy Center has been impacted by the coronavirus pandemic and has experienced overwhelming financial losses. The shared sacrifices we make as an institution and the financial steps we take today, though painful, are vitally important to securing the future of the Kennedy Center. By safeguarding our financial position now, we also improve our capacity to open our doors and stages for audiences as soon as it is safe to do so. As a living presidential memorial and congressionally created National Center for the Performing Arts, the Center’s economic model is different than most arts organizations. Our business operations rely heavily on ticket revenues and donations, which combined, equal 80% of the Center’s annual operating budget. The coronavirus pandemic has forced us to cancel all performances through at least May 10, 2020, depleting almost all ticket income and greatly reducing charitable gifts to the Center. With no end in sight to the current crisis, we feel it is prudent to assume that our business may not resume for several months. Our extensive financial modeling indicates that if no changes are made to our spending patterns, even if we are able to open in mid-May, with the recent $25 million federal stimulus funding, the Kennedy Center would run out of cash as early as July. In order to stretch the Center’s finances as long as possible, we must take immediate action to change our expense structure and preserve cash. In addition to drawing from the $25 million stimulus funding and the Center’s existing $10 million line of credit, we must furlough approximately 60% of the Kennedy Center’s full-time administrative staff beginning April 6 through at least May 10, 2020. These measures are apart from the 725 hourly and part-time employees already impacted. The remaining skeleton staff consists primarily of box office, finance, marketing, and development employees required to maintain business continuity. It is imperative that we scale back the entire institution’s personnel costs during this time of closure and dearth of ticket income. While, all of these choices are incredibly difficult, they are necessary for us to re-employ staff and musicians when we can resume our programming and bring audiences back to the Center in the months to come. The human impacts of these actions are indeed devastating, which is why Kennedy Center leadership has committed to covering full healthcare benefits for all furloughed employees. In the last week, we have received many questions from the public and our patrons about the $25 million designated for the Kennedy Center in the federal stimulus package (CARES Act). This economic relief will save jobs and ensure jobs for our furloughed staff to come back to once the pandemic subsides and we are able to reopen for business. The following breakdown illustrates how the Kennedy Center will use these funds to cover essential expenses over the next six months: How is the $25M being spent? Employee Compensation $12,750,000 Employee Benefits $7,500,000 Artist Contracts and Fees $1,750,000 Deep Cleaning $250,000 IT to Improve Telework Capacity $250,000 Rent or Utilities $1,000,000 Information Technology $750,000 Other Admin Expenses $750,000 TOTAL $25,000,000 After exhaustive review and scrutiny of all options, the Kennedy Center’s leadership and board believe the plan outlined above is the only way forward. Our priority and responsibility is to ensure that the Kennedy Center is able to fulfill its mission into the future and re-open once the pandemic has subsided and our lives, our community, and the economy may return to some normalcy. We look forward to re-engaging artists and re-employing staff, just as soon as health and public officials indicate it is safe to do so. Our nation’s stages will come alive. On behalf of the entire Kennedy Center family, we wish you all good health and courage in the days to come. With gratitude for your patronage, Deborah F. Rutter President

Yup. Season 11 - episode 3 - "Dissonance" https://www.imdb.com/title/tt0629241/

If you go to Amazon and the hardcover edition, use their feature "look inside" and you can read p. 98. No way to copy-paste from that. I would recommend this book very highly. Chock full of fascinating details. https://www.amazon.com/Marius-Petipa-Emperors-Ballet-Master-ebook/dp/B07QRWZXXF/

p. 98: Perrot sued Petipa. Petipa used Perrot's "Cosmopolitana" from Gazelda, after being denied permission by Perrot. Perrot won at trial.

I confess to being a long time Law & Order fan. In the first few years of the original series, many episodes were very clearly drawn from the headlines and there would typically be an explanation at the end of what happened next. Some were drawn from Mafia episodes or city corruption, and the explanation would say what happened to main characters later (prison, whatever). Sometimes the final explanation would say something like "This might have reminded you of x in the news. However, this was different in this way...). Those explanations for clarifying facts and history seem to have disappeared in more recent years. I am somewhat familiar with the details of the Waterbury story and fear that others only vaguely familiar will conclude that this is essentially what happened. I do think the series producers owed the audience and the real players one of those old explanations at the end. I was most appalled at the plot twist in which the "prima ballerina" was auctioned off to a high bidder for dinner and more. It reminded me of the stories we hear about 19th century dancers being expected to deliver to rich patrons.

SF Ballet just sent email with some attractive incentives to donate to their emergency fund. Most notably, for $200, they'll give you access to that recording of MSND! SF BALLET CRITICAL RELIEF FUND DONATE NOW Dear ... It's been just three days since San Francisco Ballet launched our effort to support our artists and workforce, and whether it's been through a donation or your meaningful words, we've been entirely overwhelmed by the outpouring of love. More than 54,000 enthusiasts have amplified our efforts on social media channels and since launching, our caring community donated over $100,000. We are humbled and invigorated by this support. We are super excited to announce two new benefits for those who support the SF Ballet Critical Relief Fund, including an independent project from one of our dancers! Enjoy Balanchine in quarantine! The evening of Saturday, March 14, in an eerily empty War Memorial Opera House, we video captured A Midsummer Night's Dream. When you give $200, you can escape to George Balanchine's enchanting fairy realm through the artistry of our dancers. Qualified donors will receive a link and email to access this recording! A ghost light remembrance: in 2019, our Principal Dancer Sasha De Sola teamed up with her favorite SF jewelry store, Fiat Lux, to create "The Ascendant," a charity initiative with pieces that are co-designed and inspired by dance. Every purchase made from this line prompts a gift directly to SF Ballet Critical Relief Fund. With a gift of $5,000 or more, you will receive a gorgeous limited edition Fiat Lux silver pin inspired by the ghost light, a single bulb left burning whenever a theater is dark. While our ghost light is on, we know that we will return, triumphantly, to the Opera House as soon as it is safe. See below for all the different ways you can get involved and hear from us: SF BALLET CRITICAL RELIEF FUND As one of our supporters said best: "We can't wait for the curtain to go up again -- take care until then!" With unwavering gratitude, The Entire SF Ballet Team

They used recorded music for the Tour de Force March 6-8. They would have used the orchestra for the final performance, at least for Petite Mort and T&V, which I've seen them do before. Not sure about Upper Room.

The Royal Opera House has just announced an expanded list of programming on-line, notably including The Winter's Tale on May 1. https://www.roh.org.uk/news/the-royal-opera-house-launches-a-programme-of-free-online-content-for-the-culturally-curious-at-home? This will include the following productions offered on demand and for free via the ROH’s Facebook and YouTube channels: Peter and the Wolf, The Royal Ballet, 2010 – 27 March 2020, 7pm GMT Acis and Galatea, The Royal Opera, 2009 – 3 April 2020, 7pm BST Così fan tutte, The Royal Opera, 2010 – 10 April 2020, 7pm BST The Metamorphosis, The Royal Ballet, 2013 – 17 April 2020, 7pm BST Gloriana, The Royal Opera, 2013 – 24 April 2020, 7pm BST The Winter’s Tale, The Royal Ballet, 2014 – 1 May 2020, 7pm BST

Colorado is only paying people for the final four weeks of the contract. ABT would be cancelling a much longer season. But please note that the financial supporters of regional companies like Colorado tend to be local, while ABT "Friends" are national/international. I've been impressed that so many community leaders provide major support for the Colorado company, and I suspect that's also true for other successful regional companies around the country. Of course, right now there are major demands from all over the non-profit horizon on all these generous supporters. The Senate bill now pending in the House includes support for non-profit cultural organizations to pay salaries, benefits, rent, utilities, etc. They are also eligible for loans from the Small Business Administration which will be forgiven if they keep people on the payroll. https://www.cnn.com/2020/03/25/politics/trump-kennedy-center-funding-stimulus/index.html https://www.nytimes.com/2020/03/24/arts/coronavirus-arts-bailout.html

No surprise, especially with the restrictions on international travelers entering the US. That could also impact Kimin Kim,Smirnova, Osipova, etc. if the ABT season goes forward.

Washington Ballet sent out email today about their emergency fund-raiser. Here it is on their web site: https://washingtonballet.secure.force.com/donate/?dfId=a0nf4000001pWCoAAM&_ga=2.109913926.218270347.1585096853-848836025.1584050940 Pacific Northwest Ballet has a fund: https://www.pnb.org/support/special-projects/relief-fund/