California

This looks to me like a splendid partnership. ABT needs the injection of funds. Duke is the long-time home of the American Dance Festival. This will be a big expansion of Duke's commitment to the arts, and should benefit all their students and faculty in the arts.

Ratmansky's Bayadere, Anderson's La Sylphide and Napoli -- this is one very interesting schedule! Maybe time to think about visiting Berlin! I can't find the calendar schedule for the new season, but hope it's posted soon. EDITED TO ADD: At the bottom of the press release is a button for "presskit downloaden" - it's a zip file. The calendar with dates is under Programme 18-19 near the end of the list.

Side orchestra, on the aisle, is one of my favorite places to sit, even farther back, but it's difficult to get, as many seem to be reserved for critics and VIPs. Still, in an unfamiliar theater, it's safest. You're at a slight angle, so you don't have the tall person's head problem. At the Met, second choice is side parterre, in the front row, as Angelica says. But you also have to be careful about the ballet. To see the balcony in R&J, you have to be theater left. To see Giselle's grave, theater right. etc. Third choice is Grand Tier, Row A or B, even if it's over to the side - unobstructed view, but very far from the stage.

On the subscription ordering page, the Friday night fixed series including 5/18 is still available. But if you try to do a choose-your-own-3, 5/18 is not one of the options. No doubt the hottest ticket of the season. But I've been burned so many times by Osipova cancellations that I guess I'm not as upset as some might be.

Waiting list? Do you mean that the house is completely sold out for that night just with subscribers?

The complete season is now on their web site: http://paballet.org/2018-2019-season/ RENEW YOUR SUBSCRIPTION Romeo and Juliet October 11 – 21 Sir Kenneth Macmillan’s emotional choreography pairs with Prokofiev’s famous score to portray this moving tale of star-crossed lovers that is sure to stay with you long after you leave the Academy of Music. Petite Mort World Premiere by Andrea Miller World Premiere by Russell Ducker November 8 – 11 Set to music by Mozart, Jiří Kylián’s Petite Mort features six men, six women, and six fencing foils, which combine to explore ideas of aggression, sexuality, energy and vulnerability. The program will also include world premieres from award-winning choreographer and Pennsylvania Ballet company dancer Russell Ducker and Gallim Dance founder and artistic director Andrea Miller, who currently Artist in Residence at the Metropolitan Museum of Art. George Balanchine’s The Nutcracker® December 7 – 30 What would the holidays be without George Balanchine’s The Nutcracker®? Whether it’s your first or thirty-first time seeing Pennsylvania Ballet’s production of the classic, watching the timeless story brought to life is always a delight. Giselle March 7 – 17 One of ballet’s oldest and most continually-performed works, Giselle tells the story of a young woman whose love triumphs over vengeance and lasts even beyond death. Apollo The Cage World Premiere by Matthew Neenan Stravinsky Violin Concerto April 4 – 7 We celebrate the work of famed Russian-born composer Igor Stravinsky with four works set to his music: George Balanchine’s Apollo and Stravinsky Violin Concerto, Jerome Robbins’ The Cage (company premiere), and a world premiere by our Choreographer in Residence, Matthew Neenan. DGV (Danse à grande vitesse) World Premiere by Jorma Elo Glass Pieces May 9 – 12 Christopher Wheeldon’s DGV: Danse à Grand Vitesse is set to Michael Nyman’s MGV (Musique à Grande Vitesse), which was composed to commemorate the French train à grand vitesse, and conveys the sense of movement and momentum of the high-speed train. Internationally recognized choreographer Jorma Elo will present an all new-ballet for us, and the program will conclude with the company premiere Jerome Robbins’ Glass Pieces, set to the music of composer Philip Glass.

Was it just one performance? I had the misfortune of visiting NYC that spring to see the premiere (June 2010?). All the Friends rehearsals that week were devoted to it, alas, so I knew how awful it was by the premiere. I guess I didn't notice that it had been pulled from the rest of the season. The one bright spot: Robbie Fairchild had the lead and got to show his talent for Broadway and spoken words. (I don't know if he had previous opportunities like that.)

And another: this from the Colorado Ballet's performance of Derek Deane's Romeo and Juliet tonight:

Here's one from ABT:

Houston Ballet posted this on Instagram today -- they're wearing orange in honor of Jaime, one of the students murdered who was a dancer. I also saw some photos of ABT costumes with orange ribbons. Has anybody else seen this?

Gomes will perform with Misty Copeland at a Gala for the Sarasota Ballet April 7: https://www.sarasotaballet.org/events/sarasota-ballets-27th-season-gala

The School of American Ballet just sent out this e-mail. I don't see it on their web site, so I'll paste it in: Dear Friends of SAB, We are writing to inform you of the outcome of the independent investigation concerning allegations of sexual harassment and misconduct by Peter Martins and how we are moving forward, together with New York City Ballet (NYCB). As we previously informed you, an independent law firm with expertise in such matters thoroughly investigated the non-specific allegations of sexual harassment by Peter Martins contained in an anonymous letter received by SAB. During the course of the investigation, other allegations were made directly to the media, which the investigation then also examined. The Boards of SAB and NYCB take very seriously the information and concerns shared by all who participated. Investigators conducted interviews with 77 people, including current and former dancers, across generations, who came forward during the process to share their experiences. We are grateful to all those who came forward during the process to help. Ultimately, the investigation did not corroborate the allegations of harassment and violence made regarding Mr. Martins in the letter and media; and, more specifically, the investigation did not indicate any reason whatsoever for concern about student safety. Nevertheless, we want you to know that both Boards remain fully committed to assuring that all students, dancers and employees at SAB and NYCB operate in an environment where they feel safe, respected, and able to voice their opinions and concerns freely. Even though the allegations were not corroborated, both Boards have taken this opportunity to reexamine their governance practices and structure to assure added accountability and effective oversight. Therefore, in conjunction with the search for a successor to Mr. Martins, who retired from his positions with SAB and NYCB while the investigation was ongoing, the Boards will also evaluate the current responsibilities of the position to determine if changes to the structure of the role are also advisable. SAB has developed a wide range of program enhancements over the past several years – including improvements in the overall scope and responsibilities of its Student Life staff and has continuously improved and strengthened its policies and procedures. Most recently, the School instituted a system for anonymous reporting of any concerns or specific incidents of inappropriate conduct. SAB also provides ongoing training programs for faculty, students and staff to assure full understanding of expectations regarding appropriate interaction at all levels and the consequences for violations of its policies. All of these efforts are being conducted within the context of the unique and vital mission of both SAB and NYCB to preserve and protect the artistic legacy of George Balanchine, and to ensure that the institutions continue to provide and present the world-renowned performances and training that they are known for. Both organizations are grateful for Peter Martins’ contributions that have kept this legacy alive and vibrant and have upheld the highest standard of artistic excellence. Over the past several months we are fortunate to have had the stability and continuity provided by our outstanding Co-Chairman of Faculty, Kay Mazzo. Together with the ongoing involvement of Jonathan Stafford, who is head of the NYCB interim artistic leadership and our primary liaison to the Company, we are helping our students and faculty to stay focused on the education and training that are the foundation of our institution. Most of all, we appreciate your support throughout this period, and we will continue to ensure that our students feel safe, respected and supported at SAB. Sincerely, Barbara M. Vogelstein Chairman of the Board of Directors Carrie W. Hinrichs Executive Director

Colorado Ballet did the Tetley Sacre in spring of 2013 and it was quite impressive. It was acquired by ABT for Baryshnikov in 1976, two years after its premiere by the Bavarian State Opera: http://www.abt.org/education/archive/ballets/rite_of_spring.html

A lot of presenting organizations that include dance also got grants, e.g., the Stern Grove Festival got $30,000.

The National Endowment for the Arts has just announced new grants. Largest grants in ballet: ABT, NYCB: $75,000 Miami City Ballet, PNB, Boston Ballet: $50,000 Houston Ballet: $35,000 Lots of grants to smaller regional companies in the $10,000-$15,000 range. The complete list: https://www.arts.gov/sites/default/files/FY18_GrantAnnouncement2.7.18_Statev3.pdf Use the search tool for "ballet" to see more details.

Does anyone know dates of the Northern Fall for Dance? It just says "October 2018." Coincidentally, I have a meeting in Toronto in October and would love to see the Peck again. (But nothing else on their schedule is sufficiently intriguing to make me want to travel to Canada to see it.) https://national.ballet.ca/Productions/2018-19-Season/Fall-for-Dance

Let me add a little more about the collaborative program Tour de Force. The Cleo Parker Robinson company is African-American: https://cleoparkerdance.org/ Wonderbound is a contemporary group: https://wonderbound.com/ In recent years, there has been a lively debate in Denver about the allocation of funding from the Scientific and Cultural Facilities District http://scfd.org/ and a major foundation, Bonfils-Stanton https://bonfils-stantonfoundation.org/ Some of the debate has been the allocation of funds to the largest, best-established organizations vs the smaller/outreach groups. This looks to me a great project that addresses some of those concerns.

This was just sent out by e-mail. I'm glad they are returning to five programs a year, after cutting back to four for financial reasons the last several years. The addition is the Tour de Force, a joint performance with two local groups, Wonderbound and the Cleo Parker Robinson Dance Companies, March 8-10, at the Opera House. I'm looking forward to the Wizard of Oz in February; Septime Weber did the Alice (in Wonderland) that was presented a few years ago. My sister's grandchildren loved it, and so did I! (And they sold out well in advance.) Interesting that all productions will be at the Opera House, with nothing at the University of Denver, where they have performed once a year for many years. Sleeping Beauty | October 5 – 14, 2018 Ellie Caulkins Opera House Let Colorado Ballet take you to an enchanted world with Sleeping Beauty, choreographed by Marius Petipa, and music by Peter Ilich Tchaikovsky performed live by the Colorado Ballet Orchestra. The fairytale Sleeping Beauty will entertain with captivating fairies, curses, princes and a beautiful princess—all depicted through the artistry of Colorado Ballet’s dancers, along with dreamy costumes and sets. Performance Dates* Friday, October 5, 2018 – 7:30pm Saturday, October 6, 2018 – 2pm Saturday, October 6, 2018 – 7:30pm Sunday, October 7, 2018 – 2pm Thursday, October 11, 2018 – 7:30pm Friday, October 12, 2018 – 7:30pm Saturday, October 13, 2018 – 2pm Saturday, October 13, 2018 – 7:30pm Sunday, October 14, 2018 – 2pm The Nutcracker | November 24 – December 24, 2018 Ellie Caulkins Opera House Just in time for the holidays, Colorado Ballet’s acclaimed production of The Nutcracker returns for its 58th year. In addition to being the largest production of The Nutcracker in the state, Colorado Ballet’s 2016 production was named the best-loved Nutcracker in the U.S. in the 10th Annual Goldstar National Nutcracker Award Contest. Live music will be performed by the Colorado Ballet Orchestra. Last season’s performance of The Nutcracker sold out, so be sure to get your tickets early! Performance Dates* Saturday, November 24, 2018 – 1pm Saturday, November 24, 2018 – 6:30pm Sunday, November 25, 2018 – 1pm Saturday, December 1, 2018 – 1pm Sunday, December 2, 2018 – 1pm Sunday, December 2, 2018 – 6:30pm Thursday, December 6, 2018 – 7:30pm Friday, December 7, 2018 – 7:30pm Saturday, December 8, 2018 – 1pm Saturday, December 8, 2018 – 6:30pm Sunday, December 9, 2018 – 1pm Sunday, December 9, 2018 – 6:30pm Thursday, December 13, 2018 – 7:30pm Friday, December 14, 2018 – 7:30pm Saturday, December 15, 2018 – 1pm Saturday, December 15, 2018 – 6:30pm Sunday, December 16, 2018 – 1pm Sunday, December 16, 2018 – 6:30pm Wednesday, December 19, 2018 – 6:30pm Thursday, December 20, 2018 – 6:30pm Friday, December 21, 2018 – 1pm Friday, December 21, 2018 – 6:30pm Saturday, December 22, 2018 – 1pm Saturday, December 22, 2018 – 6:30pm Sunday, December 23, 2018 – 1pm Sunday, December 23, 2018 – 6:30pm Monday, December 24, 2018 – 1pm The Wizard of Oz | February 1 – 10, 2019 Ellie Caulkins Opera House In the winter of 2019, Colorado Ballet will bring a premiere to Colorado—The Wizard of Oz. From the creator of the huge 2014 hit Alice (in wonderland), Septime Webre choreographed The Wizard of Oz for a unique partnership between three esteemed ballet companies. Colorado Ballet has partnered with Canada’s Royal Winnipeg Ballet (Artistic Director Andre Lewis) and Kansas City Ballet (Artistic Director Devon Carney) to bring into existence this new large-scale work that will not only expand the repertoire, but will also delight audiences and critics alike. Music by Matthew Pierce will be performed live by the Colorado Ballet Orchestra. Follow the yellow brick road to new and exciting adventures at Colorado Ballet. Performance Dates* Friday, February 1, 2019 – 7:30pm Saturday, February 2, 2019 – 2pm Saturday, February 2, 2019 – 7:30pm Sunday, February 3, 2019 – 2pm Sunday, February 3, 2019 – 6:30pm Friday, February 8, 2019 – 7:30pm Saturday, February 9, 2019 – 2pm Saturday, February 9, 2019 – 7:30pm Sunday, February 10, 2019 – 2pm Sunday, February 10, 2019 – 6:30pm Tour De Force | March 8 – 10, 2019 Ellie Caulkins Opera House Colorado Ballet will present Tour de Force featuring Colorado Ballet alongside Colorado’s own Wonderbound and Cleo Parker Robinson Dance Companies. This collaborative program will showcase a contemporary work performed by Colorado Ballet, a new work choreographed by Wonderbound Artistic Director Garrett Ammon starring Colorado Ballet and Wonderbound dancers, and a new work choreographed by Artistic Director Cleo Parker Robinson featuring Colorado Ballet and Cleo Parker Robinson Dancers. This vibrant and innovative program will celebrate dance in Colorado and the incredible way that the art of dance can create joy and inspiration. Performance Dates* Friday, March 8, 2019 – 7:30pm Saturday, March 9, 2019 – 2pm Saturday, March 9, 2019 – 7:30pm Sunday, March 10, 2019 – 2pm Ballet Masterworks | April 5 – 14, 2019 Carmina Burana Ellie Caulkins Opera House Closing out the 2018/2019 season, Ballet Masterworks at the Ellie Caulkins Opera house will feature Carmina Burana, and a second work to be announced. For the first time in nearly 20 years, Colorado Ballet will perform Carmina Burana. Choreography by former Colorado Ballet Artistic Director Fernand Nault. The evocative and powerful music by Carl Orff will be performed live by the Colorado Ballet Orchestra and chorus. Performance Dates* Friday, April 5, 2019 – 7:30pm Saturday, April 6, 2019 – 2pm Saturday, April 6, 2019 – 7:30pm Sunday, April 7, 2019 – 2pm Thursday, April 11, 2019 – 7:30pm Friday, April 12, 2019 – 7:30pm Saturday, April 13, 2019 – 7:30pm Sunday, April 14, 2019 – 2pm Please Note: Subscriber renewal packets will be mailed in April. Season Tickets on Sale Soon. Single Tickets on Sale in July 15, 2018. To purchase new or additional season tickets, call 303-837-8888 ext. 2. Benefits of becoming a season subscriber include 25% off all performances, free ticket exchanges, priority seating and much more.

In the Royal Ballet DVD of the performance by Nureyev and Fonteyn, the slap is included. I haven't actually checked DVDs of other productions, but I wouldn't be surprised if older productions also included it. Corporal punishment of children was routine until recent years. https://www.amazon.com/Prokofiev-Juliet-Nureyev-Fonteyn-Ballet/dp/B00003M5GE/ref=sr_1_1?ie=UTF8&qid=1518486443&sr=8-1&keywords=romeo+and+juliet+ballet+dvd

The NY Times article cites the very high cost -- perhaps exclusivity was part of the deal. Still, Chicago in late February can be dicey weather-wise. "Ms. Barretto said the costs of bringing the production were high. “When I put the numbers together, I almost fell off my chair,” she said. A trustee, Caryn Harris and her husband. King (a member of the Harris family for which the theater is named), agreed to provide a substantial proportion of the budget, enabling the Harris to bring around 95 members of English National Ballet — dancers, the artistic team and production staff — to Chicago."

The 2018-19 season has been announced for Ballet West: https://balletwest.org/uncategorized/ballet-wests-55th-season-brims-with-energy-magic-and-drama The Onegin is interesting. I don't know anything about their principals and wonder if that one would be worth a visit. I can't find any dates yet for this on their web site. The Season opens with Jewels, George Balanchine’s only plotless full-length ballet inspired by his relationship with jeweler Claude Arpels. Jewels is a ballet in three-acts with each act’s music revealing the essence of each stone. The mysterious Emeralds, set to the delicate music of Fauré, epitomizes French elegance, followed then by the high flying Rubies, which uses the jazzy strains of Stravinsky. The ballet’s elegant and grand finale, Diamonds, features music by Tchaikovsky and a large cast to portray the grandeur of imperial Russia. Artistic Director Adam Sklute said, “Each of the three sections is evocative of a mood, an era, and–even though the ballet is plotless—it tells a multilayered story.” Last year, Ballet West unveiled new sets and costumes for Willam Christensen’s The Nutcracker, presented by the George S. and Dolores Doré Eccles Foundation; it was a phenomenal success in both critical reviews and record-breaking ticket sales. The production, in its 63rd year, is the longest running in the United States, and possibly the world, and it remains a favorite Utah holiday tradition. In February, Ballet West returns with Sklute’s critically acclaimed production of Swan Lake. Glorious and heart-melting music by Tchaikovsky and a timeless story make this one of the most beloved ballets in the Company’s repertoire. Ballet West’s Swan Lake broke attendance records when the Company produced it in 2014, and the Deseret News exclaimed, “the execution of artistry is some of the best in the ballet world.” A major Utah premiere will highlight the spring, with the staging of John Cranko’s internationally renowned telling of Alexander Pushkin’s Onegin in April. “For many years I have dreamed of bringing Onegin to Utah,” said Sklute. “I consider this one of the great ballets of the 20th century. Cranko’s genius of storytelling, and his brilliant pas de deux work shine in his deft handling of Pushkin’s heartbreaking verse-novel Eugene Onegin. This piece of dance-theater will have you on the edge of your seat.” Onegin first premiered at the Stuttgart Ballet in 1965, and the choreography includes a wide range of styles. “When I arrived in Salt Lake City 10 years ago I was honored to become part of a Company already known for a broad repertoire,” said Sklute. “My vision was to weave the great and storied history of Ballet West with a new, dynamic, and 21stcentury outlook.” Sklute’s dream of molding Ballet West into one of the world’s most versatile ballet companies is on full display in the range of productions he will bring to the stage in the upcoming Season. The Ballet West World Choreographic Festival closes the Season in May, with performances by Ballet West and four esteemed international ballet companies. The Festival has gained national attention and continues to grow as Adam Sklute invites companies from outside the United States this year, who will bring with them an even more diverse and unique perspective on ballet. In addition to the regular Season, Ballet West II dancers and students from the Ballet West Academy will bring back to the stage Beauty and the Beast, full of comedy, romance, and adventure. After the World Premiere two years ago, this production has traveled the United States receiving high praise. Beauty and the Beast is part of the Family Series, which has guided narration and a truncated presentation, perfect for the youngest balletomanes. Single tickets do not go on sale until September, so patrons are encouraged to subscribe now or renew their season memberships early to get bests available. Three-show subscription packages begin at just $64. Contact Ballet West at 801-869-6900 or visit www.balletwest.org.

The 2018-19 season has been announced: http://www.joffrey.org/1819season 2018-2019 SUBSCRIPTION SERIES: SWAN LAKE October 17-28, 2018 Choreographer: © Christopher Wheeldon | Music: Peter Ilyich Tchaikovsky Art intertwines with life in Wheeldon's modern retelling of one of the most famous ballets of all time. Set in the studios of the Paris Opera Ballet, a company dancer falls in love with his beautiful partner, a star ballerina who is being pursued by an arts patron with bad intentions. A ballet-within-a-ballet, Wheeldon's version combines classical elements with a touch of fantasy, as lavish sets and breathtaking choreography take hold in this timeless story danced to Tchaikovsky's mesmerizing score. ANNA KARENINA Choreographer: Yuri Possokhov | Music: Ilya Demutsky Leo Tolstoy's seminal tale of passion and revenge comes to life in groundbreaking fashion. Stuck in a cold marriage, the regal Anna Karenina yearns for love in dangerous places, as a sweeping affair leads to unspeakable heartbreak and death. Led by visionary choreographer Possokhov, this world premiere-collaboration between The Joffrey Ballet and The Australian Ballet enlists an all-star creative team, including Possokhov; composer Ilya Demutsky, 2016 Gold Mask Award recipient, Russia's most prestigious theatre honor; Emmy Award-winning designer Tom Pye; and renowned lighting designer David Finn. World Premiere ACROSS THE POND KAIROS Choreographer: Wayne McGregor | Music: Max Richter Performed to Vivaldi's The Four Seasons, reimagined by experimental composer Richter, Kairos, an ancient Greek word denoting "weather," combines McGregor's signature physicality with the sleek designs of award-winning London-based artist Idris Khan. Together, this stunning performance is a feast for the ears and eyes. Chicago Premiere SYMPHONIC VARIATIONS Choreographer: Frederick Ashton | Music: César Franck Considered one of Ashton's finest works, this ethereal ballet is a true dance classic. Ashton evokes the mystical splendor of the seasons through exquisite movement, embodying everything from the calming stillness of winter to the colorful resurgence of spring and summer. Joffrey Premiere WORLD PREMIERE Choreographer: Andrea Walker | Music: TBA Known for his work with international sensations Coldplay and Lady Gaga, the Founder and Artistic Director of London's 201 Dance Company brings his striking vision state-side with an exclusive new work for the Joffrey. Walker combines an exciting blend of Hip-Hop and dance theatre with a penchant for topical social issues. ADD ON THESE PERFORMANCES: THE NUTCRACKER Choreographer: © Christopher Wheeldon | Peter Ilyich Tchaikovsky Journey to Chicago's 1893 World's Fair with Wheeldon's holiday masterpiece. Magic is on the horizon for young Marie and her mother, a sculptress creating the iconic Statue of the Republic. As they prepare for their annual holiday celebration, a visit from the charming but mysterious Grand Impresario sets off a Christmas Eve dream of whirlwind romance and adventure. Wheeldon's Nutcracker is a must-see tradition boldly reimagined for a new generation. JOFFREY GALA PERFORMANCE Our annual gala performance, to be held at the Lyric Opera House for the first time, celebrates the artists who make the Joffrey one of the world's leading international dance companies. This special, one-night-only performance features a hand-curated program by Artistic Director Ashley Wheater.

ENB will visit Chicago in 2019 and present this February 28-March 2 at the Harris Theater! I'm trying to find announcements of other cities on their North American tour, but nothing is appearing yet. Let's hope they visit several cities! https://www.nytimes.com/2018/02/12/arts/akram-khan-giselle-english-national-ballet-chicago.html

A postcard just went out to previous ticket buyers, donors, and subscribers reporting that the 2018-19 season will be announced in "a few weeks." But it also says that the season will open in October with MacMillan's Romeo and Juliet.

Houston Ballet's new season announced: https://www.houstonballet.org/seasontickets/2018-19-season/?id=15131 Not sure about some of these. They're doing Stanton Welch's Sylvia and Stevenson's Coppelia. They've commissioned new pieces by Justin Peck, Azure Barton, and Jiri Kylian, which should be very interesting on the same program.