California

Aaron Robison, now of SFB, has a lot of fans on this site (including me) and their season ends in May. He's done Manon (with Houston) and has quite a rep. https://www.sfballet.org/artists/dancers/aaron_robison

I saw a friends' rehearsal on December 11, 2015 at Segerstrom of Act II. It was supposed to have Gorak and Boylston, with everybody in full costume. Abruptly, Gorak disappeared and Stearns in practice clothes suddenly appeared to partner Boylston. No explanation. Rumors about the difficult choreography and possible injury, but Gorak appeared in lesser roles that weekend, so who knows. Has anybody ever seen Gorak do the original choreography? That substitution with Lane might be all he can handle.

My sentimental favorite will always be the 1976 Baryshnikov version and I'm so glad it's still available on tape so younger people can see two such exquisite dancers in their prime in several lovely PdD (and that pas de trois in Act II!). (And no kids! Sorry, but that's usually just so much filler to sell tickets to parents and family.) ABT/Ratmansky: I saw a weekend's worth of this a few years ago at Segerstrom. Loved the bees. But putting in a torch lift that most of the principals can't do decently was sadistic. NYCB: I know, I know. I've seen this in the theater and on DVD. I do like choreography for various principals - feels distinctively Balanchine. But I'd rather just see those clips than the whole thing. Colorado Ballet: I have to put in a plug for this version. The Nutcracker and Clara are played by adults, and they get some serious choreography in Act I - a great opportunity for several soloists and promising corps members to shine during the run. Much more interesting than the kids in the NYCB version. The Sugar Plum and Cavalier also have great choreography in Act II. And, as I mentioned before, Asuka Sasaki and Francisco Estevez do a torch lift that outshines anything I saw at ABT/Ratmansky.

And Copeland is getting both of Murphy's Manon's (19th and 22nd). I think that will be a debut in the lead, no?

I'm hoping they will release this on DVD for those of us in North America! Very happy with their Onegin DVD and I hope they're seeing that there's an audience.

I just have to brag a little with this clip of Francisco Estevez and Asuka Sasaki doing a gorgeous torchlift in the Colorado Ballet's Nutcracker this season. Very exciting. I haven't seen this in Denver since Alexei Tyukov and Maria Mossina retired. In truth, this looks as good as clips I've seen of the same move in Ratmansky's version for ABT - actually, better than many attempts there.

Fascinating...have they ever looked at the range of music used by Balanchine? Much/most not written for dance!

The Bolshoi seems to like Costa Mesa, and it sells well. I saw their Don Q there in February 2010. As I remember, they had originally announced La Bayadere and then substituted the Don Q, perhaps so they could show off Osipova-Vasiliev. https://latimesblogs.latimes.com/culturemonster/2010/02/dance-review-the-bolshoi-returns-to-the-orange-county-performing-arts-center.html

Fake "service animals" are becoming a real problem. Public transportation in Denver has started posting very detailed signs that they only allow service animals specifically trained to assist a person with a disability. Airlines are also getting stricter. https://kdvr.com/2018/10/19/rtd-to-riders-stop-bringing-snakes-spiders-other-fake-service-animals/ https://usaservicedogs.org/airline-policies

I noticed a tattoo on Herman Cornejo's arm when he reappeared topless at the end of In the Upper Room last month. Something I've never understood: don't tattoos interfere with the body's ability to sweat at those locations? It just seems like too many would be a health issue, especially for athletes, but that doesn't seem to discourage people.

Mine arrived today. I've never seen these principals in the theater (Vogel and Amatriain) but they were terrific on this DVD from 2017. With a dark set, it was sometimes difficult to see dancers clearly (despite my fiddling with settings), but it will do. A second DVD is included with an interview with the costume designer Jurgen Rose, Marcia Haydee and Reid Anderson. Almost two hours long (in German with English subtitles) it has some interesting tidbits, e.g.: Cranko had originally been commissioned to create this ballet for the Royal Ballet with Nureyev, Fonteyn, Dowell, and Sibley. But it was cancelled by the Royal (no explanation given) before he could get started and decided to just do it for Stuttgart instead.

I wonder about this, too, but now it seems vinyl records are making a comeback - now that I have long since given all my old records and stereo players to Good Will. I still have a TV hooked to a working VHS player, as some of my most precious VHS tapes were never released on DVD. But this is a continuing issue -- remember cassette music tapes? Beta videotapes? Video disks? Super 8 movies? Floppies for your PC? For better or worse, there are always tech shops (for a price!) that will happily convert your old generation stuff to a new generation. Planned obsolescence...

Colorado Ballet also performs exclusively to live music and has its own orchestra. I suspect there are other regional companies who can claim this achievement. I'm glad Ballet Arizona can claim this about their own company, but I agree that there's no need to misrepresent the condition of other companies.

Very glad to hear this. It would be fun to be able to do a close comparison of the two R&Js (Cranko-MacMillan). Speaking of rights: I'm reminded that there was a problem with the LeClerq cookbook. Wish they'd get that resolved!

I'm wondering what triggered this release. I can't find any other Cranko or Stuttgart ballets on DVD, although it appears there was an ancient VHS no longer available. I'd also love to get his R&J, especially because of the intriguing comparisons with MacMillan's. European companies are usually so generous in releasing DVDs (unlike the American companies!). Perhaps they need money? Or perhaps they feel overshadowed by all the other companies gaining worldwide recognition with their DVDs? Anybody know the story?

Here's the UK: https://www.amazon.co.uk/Tchaikovsky-Crankos-Onegin-Various-Entertainment/dp/B07HNFX47S/ref=sr_1_1?ie=UTF8&qid=1542301230&sr=8-1&keywords=cranko+onegin+ballet Here's Canada: https://www.amazon.ca/Tchaikovsky-Crankos-Onegin-Alicia-Amatriain/dp/B07HNFX47S/ref=sr_1_fkmr0_1?ie=UTF8&qid=1542301395&sr=8-1-fkmr0&keywords=onegin+ballet+cranko To be released November 16, so perhaps that's the delay. EDITED TO ADD: Just appeared on Amazon US: https://www.amazon.com/John-Crankos-Onegin/dp/B07HNFX47S/ref=tmm_dvd_swatch_0?_encoding=UTF8&qid=1542301559&sr=8-1-fkmr0

Good for Balanchine!! This is consistent with other reports of his rejection of America's ugly Jim Crowe racism, especially in that era.

I am very glad to see this evolution. And I'm glad the Balanchine Trust supports it.

Alas, I get a message (in Denver): "network access unavailable"

Baryshnikov also started as a soloist. I believe his first role in performance was in peasant PdD in Giselle: https://www.britannica.com/biography/Mikhail-Baryshnikov "In 1966 he joined the Kirov Ballet as a soloist without having to serve the customary apprenticeship as a member of the corps de ballet."

In the past, there have been musicians' union issues with bringing in outside groups. Visiting troupes can bring their own conductor, but must use local musicians. Deals have been reached with some companies.

Clips on the Northern Ballet site: https://northernballet.com/jane-eyre

She was lovely Saturday night. I'm not a fan of Stearns, but he did seem to extend himself in this and was also notably gracious to her. Lucky people get to see her next weekend with Cornejo (who was terrific again in Upper Room). Did they plan this schedule to use as little of the full orchestra as possible? This one had a trio for Garden, solo pianist on stage for Other Dances, and recorded Glass for Upper Room. The houses I've seen Friday and Saturday seem nearly sold out, but I have no way of knowing what was papered.

Wow! Wish I could see her with Cornejo next weekend, but this is good news! (I do hope Seo is not seriously injured or ill, if that's what happened...)

I saw the Friends rehearsal Friday afternoon with run-throughs for both casts of Garden Blue, so I knew what to expect Friday night. I couldn't decide if those hinged scenery pieces that they kept moving around in different formations were clever or just gimmicky. Lots of gimmicky partnering, for sure, and sculptural posturing. I couldn't quite figure out the "plot," as it were -- was Hee Seo the odd woman out trying to intrude on the three other couples and being rejected? I guess so. I have a ticket to see it again Saturday night, but think I'll skip it. Fortunately, In the Upper Room is worth the price of admission. Really love that one. The highlight Friday night was the amazing Herman Cornejo in Garden and then In the Upper Room. I hope he stays in such fine form for the spring Met season. (I asked a friends volunteer when that would be released, but they don't seem to know. I have it on my calendar that it was released October 27 last year.) Two back-to-back exhausting ballets and he was just super, although I did sense exhaustion at the end of Room. Also very nice to see Aaron Bell in this. High hopes for him. Someone on this site warned us about Bukovi. I mainly am just trying to understand continuations of Ratmansky's signature choreography -- super-fast with surprising everyday movement injections, sometimes clever, sometimes gimmicky, plus sudden directional changes. They did both casts at the Friends rehearsal and I don't think I want to sit through this one again either. They really saved money on musicians with that program! Pianist for Bukovi, string trio for Garden, and recorded Glass score for Room.