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Thanks everyone for the suggestions. If it is Charles Askegard, then the Cortege Hongrois video would be at least 6 years old.

If you mean do they have a classic repertoire that will continue to be passed from generation to generation a la Petipa and Balanchine (though mostly only in the USA for Mr. B) - the answer is probably, no. And neither does any other company in North America, excepting NYCB for what they already possess, and select works done for ABT. The other regional companies borrow the best works that they can, and rely on lots of secondary choreography. That's show business. And I'm sticking by my earlier comment: It's all about the new. Justin Peck is a talented man, and I think Myles Thatcher is as well, but they both have a lot of learning to do as artists. Many Ratmansky pieces have lasting value, but certainly not all. Of the pieces done specifically for SFB, I'm not remembering any that I would call 'classics'. Tomasson and Possokhov both have particular ballets that are enjoyable for me, but again, I'm not sure I've seen anything that would last beyond a single generation. (Of the two, I think most people would agree that Yuri's ballets are the more distinctive and risk-taking). Scarlett's Frankenstein was a necessary risk, imo. The ballet did well with the SFB audiences - better than in London - but I think it mainly showed people that such a ballet was doable, but the choreography has to be developed a great deal more. It's just not significant choreography. The earliest Balanchine ballets to survive in the general repertoire are Apollo and Prodigal Son, and those were his 84th and 94th ballets [according to the Balanchine Foundation listing]. I'm wondering if any of these current choreographers even have that kind of staying power, let alone Balanchine's ability to evolve.

It's all about the new. I'm curious if any of these ballets are being performed anywhere these days? McFall may have moved on to (performing) other creations in his time at Atlanta Ballet.

The dancers aren't being revealed yet, but the jurors are listed on this page: http://www.medici.tv/en/moscowballetcompetition/jurymembers/ Johannes Öhman dancer John Meehan dancer, choreographer Kumiko Ochi Étoile Margherita Parrilla Étoile Nikolaj Hübbe dancer Olivier Patey ballet master Sergey Usanov Artist Svetlana Zakharova principal dancer Thomas Edur principal dancer Vadim Pisarev dancer Valentine Elizariev choreographer, ballet master Yuri Fateev ballet master Zijiao Qu principal dancer Marina Leonova ballerina Vladimir Malakhov principal dancer Nikolay Tsiskaridze dancer

How do you like the huge shadow of Peter Martins looming over the Cortege Hongrois rehearsal? Must be something symbolic in that. He seems unhappy about something at 0:55. Can anyone tell who she is dancing with? Ask la Cour? Daniel Ulbricht?

Well that's a first. I can't even remember the last time Kochetkova withdrew from a planned performance.

Yuan Yuan Tan, Sasha De Sola, Carlo Di Lanno (fresh from the Bolshoi appearance) and choreographer Medhi Walerski are in Shanghai for the Shanghai International Ballet Competition and Masterclasses https://www.instagram.com/p/BVCd87Xgfun/?taken-by=tanyuanyuansf

Great performances in the rehearsal. De Luz reminded me so much of Villella it put a smile on my face.

Cortege Hongrois pas de deux - Balanchine, Ana Sophia Scheller https://www.youtube.com/watch?v=T1FGgZwrjzA Black Swan Rehearsal, Ana Sophia Scheller https://www.youtube.com/watch?v=mqD09mZwN1w Ana dancing with Taras Domitro(!), Coppelia Pas de Deux (image ratio is squashed, unfortunately) https://www.youtube.com/watch?v=KLOwc5rOVHA And there is more on her YouTube channel: https://www.youtube.com/channel/UCTIy_Zv71G960f-agq3qHsw

"After years of phenomenal dancing, SF Ballet says goodbye to Principal Dancers Vanessa Zahorian and Davit Karapetyan. Take a look at Vanessa’s farewell message to her audience. Enter to win her final pair of pointe shoes and make a donation below..." https://www.sfballet.org/vanessa "My parting gift to you: Enter to win my last pair of pointe shoes from my performance of Swan Lake – my final performance with the Ballet. I also ask that you consider making a gift to this Company that we love so much."

Congratulations to Ms. Barker. She looks a bit angry in that picture. ;)

An Intimate Duet for Not-Quite-Retired Ballerinas (and Friends) Benjamin Millepied made “In Silence We Speak” for two ravishing dancers: Carla Körbes and Janie Taylor.

Personally, I think the staff cares more about deciding who shows the most talent, commitment and good chemistry with the other soloist dancers. There may be a loose quota for how many in-house dancers they will promote VS. how many outside dancers they can hire. And of course the different levels (Corps, Soloist, Principal) carry with them different budget sizes and investments of time and energy. A Corps dancer isn't paid nearly as well as a Principal (and in SF they still feel like they are scraping by) and they don't receive nearly the amount of personal attention in terms of rehearsals and coaching. All that has to figure into staff selections. In osme ways, it's much harder to choose dancers at a large company since there are so many deserving dancers. But the staff is always thinking about who will be exceptional. There are now 18 principals and 13 soloists listed and that's about right for SFB. And 41(!) Corps dancers. But it's not over until it's over - we have the entire summer to hear of any further changes. Occasionally, a dancer changes his/her mind about relocating, and sometimes a dancer of real 'stature' suddenly decides they want a new experience.

Bob Dylan's 2016 Nobel Lecture in Literature: http://https://www.youtube.com/watch?v=6TlcPRlau2Q Recorded June 4, 2017, Los Angeles, California.

I wonder if Madison was home sick? She seemed to maintain close ties to her SFB friends while in England. I kind of think Robison was ready to return home after all that time abroad. I haven't seen Ana Sophia Scheller dance (except in video excerpts), and I'm curious how she appears in more traditional, classic "roles". Perhaps Tomasson thinks she would excel in the full lengths, the type of ballet that doesn't happen much at NYCB. A number of good mid-level dancers have been/will be trapped at the soloist level (if "trapped" is even the right term). I'm really interested in where these dancers end up - anyone going to Atlanta as a principal? My "feeling" is that Strongin will be promoted after/during the 2018 season.

You're definitely better off just picking one or two individual programs to see - the subscription doesn't make sense. This kind of presentation always makes me feel like I'm at a gala. And I generally prefer mixed rep programs, but when it's a visiting troupe performing 4 or more pieces, it can feel unfocused. Both Petipa/Ivanov and Ballets Russes works benefit from conscientious stagings. The Ballets Russes stagings should be close to the originals as the stagings were so much a part of the uniqueness of those ballets.

Point taken, Natalia. It wasn't actually my intention to insult your religion - but mine was an irreverent comment. What's interesting to me, is that the living, performing dancers under discussion don't always receive the same basic respect (I do not mean worship).

And I'm Mad King Ludwig - you should come to my palace, we're having a party. "My aunt warned me that under no circumstances should I ever accept an invitation to Kchessinskaya's palace, because it was not considered nice. Girls went there to pick up a protector or to be in vogue with the men." —Alexandra Danilova "Mathilda Kshessinskaya one night wore her own costume, disregarding the express wish of [director] Prince Volkonsky that she should put on that designed for the part. She was fined the next day. She took it ill and obtained an order from the Minister of the Court cancelling the fine. Prince Volkonsky immediately sent in his resignation. He was much and justly liked, and society resented the slight on one of its members. Hostile manifestations towards Mathilda took place in the theatre; she paid dearly for her short triumph. As an artist she was then at the best of her wonderful personality. Her virtuosity was not inferior to Legnau's, while her qualities as an actress were supreme." "Should anybody try to harm you, come straight to me. I will speak for you, she said to me later. She was as good as her word. Later, there arose an occasion for her to intervene on my behalf…" —Tamara Karsavina Kind of ironic that goody two shoes Karsavina spent lots of time with Kshessinskaya, but the younger Danilova, who was often getting herself into trouble with theatre staff, stayed away from Kshessinskaya's bad influence.

A recent short piece with some nice quotes: On the Rise: Natasha Sheehan http://www.dancemagazine.com/on-the-rise-natasha-sheehan-2314465750.html 'Sheehan confesses that she sometimes overintellectualizes her dancing. "Getting my head around the storyline or concept of the choreography without overthinking is my biggest artistic challenge," she says.'

Injuries to the dancers from overwork concerns many people, I think. I hope. SFB just doesn't have the numbers to go into a new works festival without some trepidation. I know Tomasson isn't blind to this situation - he's going to have to very carefully manage things throughout the season so that no one is overburdened (which is, imo, what was happening this last season because of injuries and dancers transitioning out/retiring). As for the new works, it's impossible to tell which pieces will be successful. Hopefully all the chosen choreographers will make the best possible use of their opportunity, It would be foolish not too. This new works festival feels very strategic to me. Tomasson needs to keep positioning SFB as a place where the future of ballet is being created - not just a well curated museum for classic ballets. And, like every other company, SFB is trying to figure out how to capture the imagination of the youth population. It shouldn't be an impossible job, given that most of the dancers are quite young themselves, and they love what they're doing.

Returning to the discussion about choreographic training at SFB - this has just appeared in a SFB subscribers email - Blake Johnston Profiled in the San Francisco Chronicle SF Ballet School Choreographic Trainee Blake Johnston was featured in the San Francisco Chronicle discussing her new work Filamentous, created for SF Ballet School's 2017 Student Showcase. And here's the linked article: SF Ballet School student takes turn as dance maker By Claudia Bauer http://www.sfchronicle.com/performance/article/SF-Ballet-School-student-takes-turn-as-dance-maker-11177051.php Choreographic Trainee Blake Johnston, is, wait for it - a young woman. ;) This of course begs the question(s): how does one become a choreographic trainee at SFB, and how many spots are there for interested parties? [The article does explain how this happened for Johnston, but it doesn't sound like a planned out program at this point.]

I like that she didn't roll up into a ball of misery during the season, while others danced - she went crazy with her own projects. The woman is a force of nature. I've figured out from a post by Dores André that the other SFB dancer at the Bolshoi was Carlo Di Lanno. Dores wrote: Dance (and not fall) at the Bolshoi raked stage ....CHECK✔️ Good job! ;)

For the record: A great little video of Lee Alex Meyer-Lorey saying goodbye to SFB and the SF audience: https://www.instagram.com/p/BT47XPvgxJM/?taken-by=leealex2031 "I couldn't have asked for a better ride, better friends or a better end. Thank you to each and every one of the incredible people I had the honor of sharing the stage with on the last day of our season, you made it an unforgettable day for me. My heart is so full and a tiny bit broken and I love you all to pieces the words don't do justice and and and I'll see you later…" Vanessa Zahorian posted the following thank you to her Facebook page: "So long San Francisco! It has been an amazing 20 years getting to know you. We will be back! Until next time. Thank you for the many memories, friends I met (life long and long lasting), supporters I met, fans, places we explored, places I performed, partners I danced with, husband I met, Ballets I danced, becoming the Ballerina I am, maturing, growing up, family visits and explorations, sports teams we supported (Giants and Warriors), sleepovers, Ballet Masters I met and were coached by, full length Ballets and modern ballets I danced and explored, introduction to the wonderful world of gyrotonics, pianists I met and worked with, pilates, yoga, bikram, first injury (7mos out), other Directors I worked w on amazing full length ballets, parties and dinners we went to, houses we explored, different apts we lived in, tours to different countries, best stage crew ever, best costume people ever, most magical opera house ever, warmest audience and stage to perform on, pr department at SFB, staff at SFB, teaching at various Ballet schools around the area, restaurants and bars, dance clubs, director (Helgi) who brought me to sf and promoted me quickly through the ranks. etc... I could go on and on. Thank you from the bottom of my heart! I will cherish all of the memories forever. I love you all! Xo On to our next exciting chapter and adventure of artistic directorship with Pennsylvania Ballet Academy!" https://www.facebook.com/vzahorian/

Kochetkova posts many, many great short video clips on her Instagram page - check 'em out: Châinés turns https://www.instagram.com/p/BUsnfqHBiHA/?taken-by=balletrusse Etudes rehearsal https://www.instagram.com/p/BUsERoXB-Hh/?taken-by=balletrusse Giselle at Mariinsky https://www.instagram.com/p/BTsmevPhBVm/?taken-by=balletrusse Rehearsal with Sebastian Kloborg https://www.instagram.com/p/BTOzykCh0K5/?taken-by=balletrusse

Mathilde Froustey has spent her injury rehabilitation period founding an artist space, called La Maison, in Oakland, California: "An artist-run initiative, venue and residency that provides a free space for artists of all practices to meet, collaborate, perform and exhibit." At the La Maison inauguration party, Froustey and Sarah Cecilia danced a short piece choreographed by former SFB soloist Dana Genshaft (now a teacher at the SFB school, teaching Contemporary and Conditioning). And she recently danced in a fashion show for designer Yuka Uehara: Tokyo Gamine Stages Chic Ballet Fashion Show at Pia the Store http://hauteliving.com/2017/05/tokyo-gamine-pia-trunk-show-spring-2017/636667/