California

It would violate the protocol of Friends open rehearsals to say anything about Ratmansky's new Odessa, which premieres at the gala Thursday night, so I will just say this: GO SEE IT, IF YOU CAN.

Pleased to see ABT's Bayadere in 2018. Presumably will also be at the Met that spring.

Yes - it was announced in the program at University of Denver that Dyer and Valdés have retired. Already announced retirements : Maria Mosina and Alexei Tyukov, my two favorite Russians.

Wheeldon posted this today on his Instagram:

The Denver Art Museum just announced a Degas Exhibit February 11-May 20, 2018. It appears this will be the only exhibition in North America. http://denverartmuseum.org/exhibitions/degas-passion-perfection?utm_source=newsletter&utm_medium=email&utm_content=SEE MORE&utm_campaign=Member Email 2017.4.26 If you're in Denver, you can also see the Colorado Ballet's Romeo & Juliet at the historic Opera House a few blocks away, February 16-25, 2018 (Deane choreography, Prokofiev score, live orchestra): http://www.coloradoballet.org/performances/romeoandjuliet Or, see the NEA-funded performances of Tudor's Pillar of Fire and Tharp's Brief Fling, March 30-April 1, 2018, at the University of Denver: http://www.coloradoballet.org/performances/ballet-directors-choice-2018

I didn't know that about Martins. It reminds me of the much-publicized escapades of actress Sean Young and her attempts to be cast as Catwoman. Admittedly, her career trajectory and accomplishments have not exactly paralleled Martins' but one wonders how men are treated in similar situations. Here's one of many on-line reports about her: http://ew.com/article/2007/01/30/agony-and-ecstasy-sean-young/

Ratmansky just posted this to his Facebook page: "if the question about women choreographers was part of the discussion conducted by the NYTimes, I am sure each of us - Christopher, Justin and myself - would have more to say about the subject. but it wasn't. it was added post factum and I had to text in response between the rehearsals. why not to have a proper conversation? if my words were unclear I am glad to elaborate. just don't like reading comments that turn what I meant upside down." The reporter should have let us know that the question was NOT part of the in-person interviews, but came later by e-mail.

Your disappointment in LeCrone reminded me of a similar comment I made about her in spring 2016 in Symphony in 3 Movements: "Biggest disappointment: Megan LeCrone. I know she has a lot of fans on this board, but...I was near the front on Friday night and her pasted-on grin was appalling. Her variations alone were limp and uncommitted. In this ballet, as with many others, Balanchine interwove non-ballet moves with classical steps and positions -- jogging, arm pumping, odd shapes, etc. LeCrone almost seemed embarrassed to be doing them. Saturday afternoon, the grin was dialed back, but the movements were just as limp and uncommitted. She needs to OWN that choreography and I just didn't see it. Joseph Gordon had the thankless task of partnering her, but couldn't compensate for her flaccid performance, to my mind. Sorry!" How much coaching do these people get?

On Instagram, she seemed ecstatic about performing this four times this season.

Even Balanchine had some clunkers - PAMGG, e.g. (I actually wish we could see it - can't find any trace on YouTube or elsewhere.)

Oh no! I was so hoping to see a lot more of him at SFB.

All the more disturbing, as the 2017-18 schedule includes the Balanchine Nutcracker, Jewels, and T&V. http://www.paballet.org/upcoming-programs Doesn't the Trust send somebody out to rehearse works, even if the company already knows them? And one wonders how many of the continuing dancers do know all of these.

Kyra Nichols and her husband David Gray are leaving the Pennsylvania Ballet: http://www.philly.com/philly/columnists/peter_dobrin/Pennsylvania-Ballet-leaders-husband-and-wife-stepping-down.html They won't say just yet where they are going. And the company isn't clear that she will be replaced.

Very glad I had already bought a ticket for this performance. Such a treat to look forward to!

Although Balanchine choreographed La Valse in 1951, the music harkens to the ominous mood in Europe before each of the two world wars. In the classic biography of Balanchine, the narrator mentions the dark mood in Europe. https://www.amazon.com/Balanchine-George/dp/B00019G8BA/ref=sr_1_9?s=movies-tv&ie=UTF8&qid=1492703784&sr=1-9&keywords=balanchine Fascinating history on the Balanchine Trust site: http://balanchine.com/la-valse/ Seems scarily appropriate for our times!

The Lew Christensen Trust has a web page. Looks like several things have been staged in recent years: http://lewchristensen.org/

I appreciate Gottlieb's concern, but the one element overlooked in these discussions is the typical audience. How many people who attend regional companies have the means and the time to see other companies on a regular basis? There is very little touring nowadays, thanks to the demise of NEA support from earlier decades, and precious little on PBS. Yes, DVDs exist in abundance, but to see a dance company live in the theater is special. I don't know if the data exist, but I have to wonder how many audience members in cities like Kansas City or Denver or Atlanta or...anything other than New York...have ever seen or will ever see NYCB or ABT or international companies visiting NYC and the Kennedy Center. A few people (including many on this board!) are fortunate to be able to jump on airplanes several times a year to see other companies, but what percentage of the national audience is that? Miniscule, I'd guess. I'd much prefer that these audiences around the country see a little Petipa, a little Balanchine, something contemporary, something experimental - than worry about regional companies having a unique and special identity that would make the NYC critics happy!

In 2015, Cornejo was paired with Obratzova, which was sublime (one guest artist I'd love to see again). Copeland was paired with Simkin in 2016. Copeland seems to dance with Cornejo fairly often (Swan Lake in 2017), so Cornejo or Simkin might be the more likely pairing in 2018 than going back to Gorak - if R&J is on the Met schedule again.

Many of us suspect that staff from ABT, NYCB, etc. look at this site regularly. As soon as they realize that we've discovered the early postings, they take them down. Best to stay mum on these discoveries!

And in 2008 they used live musicians: http://www.nycballet.com/ballets/l/les-noces.aspx

I saw it so long ago, I only remember that I would like to see it again! But I also remember thinking back then: I've seen the Nijiinska and Lubovitch versions -- why hasn't Robbins? It would be very interesting to look at archival tapes (at NYPL?) before seeing Robbins again - if they exist. I'm hoping the actual calendar/schedule is posted soon.

I noticed that, too -- it's something I've always appreciated about SFB. I wondered if it had anything to do with very elaborate sets. Disappointing for out-of-towners.

I'm glad to see his Les Noces on the schedule. Long ago, I read an interview with him about this -- he said he would not have attempted it if he had been familiar with Nijinska's or Lubovitch's versions. Reportedly, also, the cost of performing it is staggering, with the chorus, dancers, and orchestra required. Not much mention of Balanchine, other than Coppelia. I hope that's not a bad sign!

Intriguing. Any idea when they will post the complete schedule on their web site? Usually late spring, I think.

The complete season is now posted on the SFB web site: https://www.sfballet.org/season/upcoming-season Dec 13–30, 2017 Nutcracker This holiday season, join us as the lights dim, the music soars, snowflakes swirl, flowers dance, and a little girl dreams about a whole new world in a Nutcracker that is as unique as it is magical. And it's only at SF Ballet. Learn More Sleeping Beauty Jan 23-Feb 04, 2018 This classic story of a sleeping princess, a handsome prince, and the triumph of true love’s kiss will sweep you off your feet. With spectacular sets, lavish tutus, and Tchaikovsky’s glorious score, Helgi Tomasson’s production of Sleeping Beauty highlights our dancers’ classical virtuosity, casting its spell over a fairytale ballet of romance and wonder. Learn More Feb 13–24, 2018 Program 02: Bright Fast Cool Blue Balanchine turned up the volume on classical ballet, making the movement bigger, faster, and more energetic, and New York City Ballet alums Benjamin Millepied and Justin Peck have put their own stamp on this aesthetic. Balanchine’s moonlit Serenade is followed by Millepied’s propulsive and expanded The Chairman Dances, and Peck’s Rodeo, an athletic, high-energy interpretation of Aaron Copland’s iconic music. Learn More Feb 15–25, 2018 Program 03: Distinctly SF Ballet Three works, all created for SF Ballet, and all delightfully distinct. Helgi Tomasson’s neoclassical On a Theme of Paganini, set to Rachmaninov’s brilliant music, shimmers with charm and romance. For Ibsen’s House, Val Caniparoli created a dramatic, emotional ballet from five of the Nordic playwright’s works. Included in the program will be a select world premiere from our 2017 Repertory Season. Learn More Mar 06–11, 2018 Program 04: Frankenstein The Creature is back! The sold-out hit of 2017, Liam Scarlett’s Frankenstein bowed to roaring ovations. The Mercury News wrote "[Frankenstein] offers luscious performances, relentless drama, and spectacular set design and lighting.” Inspired by Mary Shelley's Gothic masterpiece, and set to Lowell Liebermann’s powerful score, this production features sumptuous costumes, and sets that will astonish. Learn More Mar 20–25, 2018 Program 05: Robbins: Ballet & Broadway Our all-Robbins program celebrates the centennial of Jerome Robbins and Leonard Bernstein with four iconic works: Fancy Free, a high-spirited story of three sailors on shore leave in New York City; the otherworldly, pensive Opus 19/The Dreamer; the electrifying and brilliantly ferocious The Cage; and Other Dances, a gorgeous, lyrical duet set to Chopin's piano music. Learn More Apr 03–08, 2018 Program 06: The National Ballet of Canada in Nijinsky National Ballet of Canada returns to the Bay Area for the first time in a decade with Nijinsky, John Neumeier’s imaginative tribute to the legendary dancer-choreographer. In this kaleidoscopic biography, pivotal moments surface through the lens of Nijinsky’s psychosis, illuminated by the iconic characters he danced. "Stamina, guts and passion are what define this company right now." —National Post Learn More Apr 20–May 06, 2018 Programs 07 & 08: Unbound: A Festival of New Works The future of ballet is coming to San Francisco. We’ve celebrated "maker culture" here in San Francisco for decades—now we’re taking it to a whole new level. Unbound features 12 world premieres by 12 innovative, international choreographers. Planned and conceived by Artistic Director and Principal Choreographer Helgi Tomasson, this ambitious festival encompasses four distinct programs, each featuring three brand-new ballets. Learn More