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About pherank

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan, balletgoer
  • City**
    San Francisco/San Diego
  • State (US only)**, Country (Outside US only)**

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  1. The advert does say, "Duration 1 hour 45 minutes with one intermission". But from the description and video, it feels more like a gala performance, with small cast (and that's why it needs to be short). Ballet performances without orchestra sometimes feel sad, and de-energized - more like a rehearsal than a public performance. It's really up to the dancers to make it work for the audience. There's a small regional company in San Diego, CA named "City Ballet" (I would describe them as semiprofessional given the meager stipend given to these dancers), and City Ballet performs publicly with a semiprofessional orchestra (consisting of classical musicians and students looking to be members of one of the big orchestras, naturally). They have a Chorus as well! Having an orchestra showing great enthusiasm for the material, playing along beside the excited young dancers has great charm, even for audience members who have been watching the big companies for years. With ballet, the orchestra really makes a difference in the presentation. But, paying for all those musicians is normally expensive, and I can well imagine the traveling Russian troupe simply doesn't have funds for such things. Only the Mariinsky and Bolshoi have state funds to pay for orchestra and dancers, and support staff.
  2. FYI: as first poster (and thread creator) you have the ability to edit your first post, and that includes the title. Editing any of your other posts in the thread will not allow you access to the thread title.
  3. Vanessa Zahorian and Davit Karapetyan's Pennsylvania Ballet Academy is having a fund raising gala on Oct. 12. One of the guest performers will be Taras Domitro (ex-SFB, partnering Adiarys Almeida), along with Ilaria Guerra of Alonzo King Lines Ballet. There may be more performer announcments… https://www.instagram.com/p/B3ctFMZgiyL/
  4. Thanks to Natasha Sheehan for pointing out that Myles Thatcher was one of the choreographers for the new film High Strung Free Dance (opening Oct. 11). https://www.instagram.com/p/B3XO1dCALMv/ https://highstrungthemovie.com/trailer/
  5. Sasha De Sola has organized a benefit for non-profit organization Dancin Power: https://www.instagram.com/p/B3XLPa8DeSg/
  6. This video is worth watching. Lind discusses the move from SF to the Netherlands, and some of the differences between Dutch National Ballet and SFB (she is now in Munich at Bayerische Staatsballett). A Ballerina Abroad: Kristina Lind https://www.youtube.com/watch?v=tcE4pYRqCoQ
  7. Congratulations to Kristina - well done!
  8. Jennifer Homan's latest article (in the New Yorker) is worth a read: William Forsythe’s Self-Portrait in Absentia In “A Quiet Evening of Dance,” the choreographer pulls ballet’s original elements through his own imagination. https://www.newyorker.com/magazine/2019/10/07/william-forsythes-self-portrait-in-absentia
  9. For fans of early Jazz ... I was interested to learn that a documentary about New Orlean's innovative Boswell Sisters has been in production, in fact for some time. Apparently the filmmakers are still hoping to raise money, because, as their website states, "any additional funds we receive would help us acquire more rare, and often expensive, but ultimately priceless films, stills, and recordings that will make this documentary shine even brighter". Makes sense, but unfortunately that means this independent project has dragged on for many years. Hopefully it will be available soon... Filmakers website http://www.boswellsfilm.com/ Two segments from the documentary can be watched for free on Vimeo - The Boswell Sisters: Close Harmony (Excerpt-1) https://vimeo.com/108432428 The Boswell Sisters: Close Harmony (Excerpt-2) https://vimeo.com/108434768 Related Interview: Why The Boswell Sisters Matter https://www.youtube.com/watch?v=FkoVFHTwUOE Connee (originally "Connie") Boswell, though paralyzed in the lower body due to polio, continued on as a crooner after the sister's act broke up. Her career lasted until the late 1950's. Connee Boswell performing Stormy Weather live (1946), she's actually seated on a stool that's hidden by her gown to disguise the fact that she couldn't stand: https://www.youtube.com/watch?v=N4tWpH-H2lg Connee Boswell sings Martha, Ah So Pure https://www.youtube.com/watch?v=J6UmBtGyC0g
  10. The military tattoo is such a particular type of choreography and music - it's definitely a love it or hate it kind of thing. Or maybe that's 'love it, or be bored by it'. ;) There are few things more purposefully traditional than military events and ceremonies, so if that's not your cup of tea, it's going to be painful. (Even with Balanchine putting his own spin on the spectacle.)
  11. Lovette has created something like three ballets at this point, so she's a beginner. There's nothing wrong with that - one has to start someplace, and it's a long process, a life's work, and she's very fortunate to be able to create on NYCB dancers. Most choreographers start out working with other students in dance school. Lovette is learning not just how step sequences are created, but also how to conceive an entire ballet that hopefully feels like an organic whole and syncs well with the chosen music. She's going to learn about visual themes, and variations, narrative lines and building atmospheres and dramatic tension. There's going to be a lot of mistakes made no matter what. It's just interesting that she is doing her initial learning on the "big stage" in front of the NYCB audience. Very few people get that chance (and probably wouldn't want that kind of exposure in the beginning). She seems to have a good attitude about the work though, and that should serve her well. Balanchine was 21 when he choreographed the revival of Le Chant du Rossignol (The Song of the Nightingale) for the Ballets Russes in 1925. His earliest works had been created mainly on his fellow Mariinsky students, in his teens. His first choreographed piece, La Nuit, almost got him kicked out of the school - so Lovette is having an easier time of it already. ;)
  12. Since the August 1 announcement, Kourlas has written 17 dance pieces for NYT, so she's being kept busy. Two of her most recent articles: Lessons From Baryshnikov on Robbins (Less Is More) Mikhail Baryshnikov is back at New York City Ballet, coaching Jerome Robbins’s “Opus 19/The Dreamer”: “It’s like not a dancer who is a man. It’s just a man who is a dancer.” https://www.nytimes.com/2019/09/27/arts/dance/mikhail-baryshnikov-coaching-new-york-city-ballet.html Review: At New York City Ballet, an Intriguing Glimpse of the Future The fashion gala featured two premieres: Edwaard Liang’s had a strong dose of nostalgia, but Lauren Lovette’s imagined a brave new world. https://www.nytimes.com/2019/09/27/arts/dance/review-new-york-city-ballet-fashion-gala.html
  13. Love is blind. ;) And apparently determines casting. If Scheller's acting skills have improved then she has the total package. So good for her. Maybe you know - where does NB of U list their current season and tour plans? Their website is quite out-of-date.
  14. Goridiskii did not distinguish himself at SFB, imo. I can't imagine quality suffering at SFB performances due to his absence. ;) I think this has a lot more to do with Scheller's needs, and clout, than it has to do with Goridiskii.
  15. An update on the upcoming Ballet Insights seminars: September 22, 1–3 pm: Early Days Get a quick history of American ballet on film and television. See footage of SF Ballet productions from the 1950s and 1960s. Hear from former SF Ballet dancers Sally Bailey, Henry Berg, and Carlos Carvajal about what it was like to perform in these productions. September 29, 1–3 pm: The Dance Boom What was it like to film dance for television at the height of the dance boom? Hear from producer and SF Dance Film Executive Director Judy Flannery about managing the production department for KQED during the 1980s and its partnership with SF Ballet. Hear from former SF Ballet dancers Anita Paciotti and Jim Sohm who performed in SF Ballet’s major works for television, including Romeo & Juliet (1980) and The Tempest (1981). October 6, 1–3 pm: New Modes, New Media With the advent of the internet, modes of transmission have dramatically increased. Learn about what it takes to produce dance films and live streams from SF Ballet General Manager Debra Bernard. Screendance and the SF Dance Film Festival offer opportunities for SF Ballet dancers and choreographers to flex new muscles. Hear from Principal Dancer Benjamin Freemantle and Soloist Madison Keesler about their work in this medium, how dancing on film is different from dancing on stage, and how they transfer their skills behind the camera. Tickets: https://www.sfballet.org/season/events/balletinsights
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