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Kochetkova posted a photo captioned, "8pm Dancers at a Gathering after endless runs off Swan Lake", and De Sola is one of the tired dancers in the rehearsal room: https://www.instagram.com/p/BB9LawPEUbv/?taken-by=balletrusse So keep your fingers crossed that she will eventually be appearing on stage.

The Mariinsky Ballet's Swan Lake with Uliana Lopatkina as Odile/Odette is well produced Giselle by Royal Ballet with Natalia Osipova and Carlos Acosta For George Balanchine ballets, we do have the full length Jewels available on DVD - danced by the Paris Opera Ballet And Pacific Northwest Ballet has a production of Balanchine's A Midsummer Night's Dream I think the NYCB version is out-of-print. There is also a performance of Sleeping Beauty available that is danced by Paris Opera Ballet - many of the same dancers that were in Jewels participate. This is an expensive, sumptuous production.

Surplus army boots and pointe shoes - that's a dancer with 'character'. Here's hoping she gets a chance to run a company one day. It's nice to hear people putting in a good word for Vanessa Zahorian. She may be overlooked by the media, compared to some of her flashier counterparts, but she has been one of the most dependable artists in the company - always performing at a high level, and taking great care in the details of roles and choreography. I remember reading, a few years ago, something that surprised me: when asked who their favorite SFB dancers were, most of the young girls (all studying ballet in the Bay Area) said, "Sofiane!" and "Vanessa!". And I wondered then what they knew that I didn't (well, probably a lot). They did know something about what it took to actually try to dance ballet, in a technical and physical sense, while I had to look at things from an aesthetic point of view. I just assumed they would all be Kochetkova (or Tan) fans, primarily, since Masha is a much more public figure. But opinions seemed more informed than that.

I am surprised that both Zahorian and Chung are sitting SL out. But it occurs to me that this may indicate who is going to be dancing Swanilda the most.

That IS interesting. I have to guess that Froustey wasn't feeling confident enough - and she apparently has had a foot issue, so I can understand going with just two performances. But no Chung? And three performances with Sofiane?!!! Good for her - I think she has been coaching Froustey and Di Lanno, so it's interesting that she is now the one appearing with Do Lanno in Swan Lake. In the videos I've seen of Sylve showing her coaching/teaching, my impression was that she looked like a natural, and was a very commanding presence, just like on stage. When I first heard the surprise news that Dupont would become the next POB A.D., I had the thought, "What about Sylve as the next A.D. at SFB when Helgi finally retires?" She appreciates both classical and contemporary ballet equally. Just a thought...

I think you probably have the numbers dead on, Apollomuse. Stahl should be given the chance, imo. You may be right that André is just not there yet - unless, like Froustey, she has been preparing long in advance. Three shows of O/O is a lot of weight to carry though, so my guess is that Jennifer Stahl is being prepared as a sub in case of problems with any of the principals. “Swan Lake is very technically demanding, and it gets everything out of you too. Swan Lake is the hardest full-length I’ve done. Being my type of body, I have to work extra hard to make every single position extra long, extra large. So I get tired more than from any other ballet. And it gets me in shape. If I can do Swan Lake, I can do anything.” - Maria Kochetkova, Principal Dancer

The companies that post casts - way in advance - to sell tickets, often end up looking foolish. And SFB always plays it safe. I think we can expect Zahorian to appear as O/O, and I would think both Chung and Dores André can be expected to take on O/O. De Sola is, unfortunately, probably still in rehab from injury. I don't think Sofiane particularly cares for this kind of role anymore. And I don't think she suffers over it either - it will prolong her career to be more choosy. Same for Feijoo.

Yes, I was forgetting about Hightower, one of the "Five Moons" (along with Yvonne Chouteau, Moscelyne Larkin, Maria Tallchief and Marjorie Tallchief). My apologies to her. ;)

Well, obviously, it is now time to congratulate Aurélie Dupont on her appointment as Artistic Director of the Paris Opera Ballet. I believe that she is now the 3rd female A.D. of the POB. Bon courage et bonne chance!

'I also want the dancers in the corps to dance as much as possible,” he added, “and that’s what these Balanchine ballets give to you. What he created is simply the best 20th-century classical ballet that teaches you beautiful musicality, the art of partnering and gives you an ability to express who you are as a dancer.”' [From Paris Opera Ballet Opts for Silence Over Benjamin Millepied’s Resignation] Even for those persons not in love with Balanchine (for instance, seemingly many English balletomanes), it is difficult to argue with the truth in Millepied's points. And given that ballet is passed on from person to person using direct contact, having a former NYCB dancer as choreographer-in-chief, and Artistic Director, serves to pass on more of the Balanchine heritage to POB, in a very legitimate manner. Except of course when that A.D. discontinues the relationship after a short amount of time. Then the opportunity is lost.

From Benjamin Millepied Opens Up on Leaving Paris Opera Ballet (NY Times): 'Raphaëlle Delaunay, a mixed-race dancer who went to the Paris Opera Ballet School and danced with the company from 1992 to 1997, said that Mr. Millepied was right to raise the issue. “I have never wanted to add to the polemic about the lack of diversity in our institutions,” she wrote in an email, saying that she had been obliged to whiten her skin in certain roles, laughed at for having frizzy hair and been told she was paranoid when she objected. “I’m abandoning that stance today to do justice to the reforms led by Millepied.” She added: “Bravo! Of course it’s polemical; a polemic that many think is useless because the Opera has ‘welcomed’ diversity.” But to cite the few dancers who are of Vietnamese, Moroccan, Algerian or other ethnic heritage, she added, “is a bit like saying ‘I have a black friend’ against an accusation of racism.”' The rest of the article pretty much says what everyone supposed - "They need someone better suited to run this company".

I've seen no specifics, but it does seem that she is on the sidelines, as it were. The question is whether this is the same injury from last season, that is dragging on, or if there is a new issue. SFB, and most companies, are respectful of the dancer's personal issues, and don't make any public announcements regarding injuries. I know that she gave a ballet master class in San Jose at the end of January. I'm looking forward to seeing her smiling face again on the stage.

I totally agree that she had great things to say about, and great insight into, the Balanchine and Robbins choreography she was involved with. The Harss article was one of the best of that year. Nelly "Violette Verdy" Guillerm was the first female artistic director of the Paris Opera Ballet - it's interesting that there hasn't been an official acknowledgement of her death/contribution, so far, from the POB. Perhaps they are in too much of a kerfuffle over Millepied. ;)

From The Guardian: Benjamin Millepied: ballet’s black swan bows out in Paris 'Millepied seemed detached from the excited buzz around us. He felt suffocated, he told me, by the company’s complacency, and by the many restrictions placed upon him. “I can’t hire dancers, I merely head a jury of 10 people which selects them. I have no power over the company’s ballet school, and I have to ask permission to promote dancers. It’s very frustrating, and it’s very difficult to bring talented dancers up through the ranks.”' 'In discussions with the dancers, however, he was stunned to be informed that black and minority ethnicity performers should not appear in classical ballet, as it was an “occidental” art form. “You can imagine how it felt being told that by dancers,” he told me. “By young people who were supposed to be artists.”' I'm still just not getting how Millepied did not know about this situation in advance (and think through how he was going to be able to deal with things). Unless, and it is quite possible, that the POB staff that he interviewed with, assured him that they were open to new, 'exciting' changes, and talked up their own side of things. And that turned out to be not really the case. That happens often enough in the business world when courting new CEOs.

There's the proof that change happens, whether we work for it, or not. ;) Anything over 30 years of age becomes 'ancient history' for the youngest generation.

Another iconic performer, and personality, gone. Rest in peace Violette Verdy. EDIT: another person in the dance world that is acknowledging her death (so far, that is): Marie-Agnès Gillot - https://www.instagram.com/marieagnesgillot/

Other forum members have tried to show the diversity of the POB ranks, I'm not going to argue whether those examples are persuasive, or not. I just think the real issue is with the statement from Millepied - we get a lot of he said/she said from these media articles, but too much is left vague or unknown. If that comment came from the senior administrator or Ballet Master in Chief, there could be a problem (depending of course on your point of view). Some people may not realize that, officially, Millepied will be around until July 15, 2016. He is still overseeing this current season - and there may be more "fireworks" to come...

The ancestry of the dancers does not seem to be the issue here, it is that Millepied was "informed that black and minority ethnicity performers should not appear in classical ballet". The big question would be: who, exactly? Presumably someone with real clout - at least that is the implication. But who made the statement? I suppose this relates to the quote that Dirac found: 'Purists were also unhappy when he rechristened in the name of political correctness the original "dance of the little negroes" in the 19th century ballet La Bayadère "the dance of the children" and forbade the young dancers to black up their faces.' There are always going to be audience members who resist new developments, and it doesn't have to have anything to do with touchy issues like race.

As I recall, the reviews of Bayadère were not very favorable, so this statement isn't particularly shocking. And the discussions of how to approach Swan Lake, Sleeping Beauty, etc. into the current millennium have been constant. Millepied is just showing that he's attuned to these issues. Does he really have a fix? Well, he would have to demonstrate that before our eyes on some company, somewhere. And that obviously isn't going to happen now at POB. Personally, I find that, in interviews, Mr. M. makes many good points. But is he a successful diplomat? No, and he's not even trying to be. That seldom goes well. The statements from Lefèvre weren't shocking either - she's just reinforcing her own legacy (translation: Now people will appreciate how good I was at my job!). She didn't say anything that wasn't obvious. I had to laugh when I read this comment: "While it’s great to dance in the summer in Japan during the Paris Opera vacation, that isn’t enough to establish an international career" The POB étoiles do appear to use Tokyo guest performances, as a yearly ego-stroking - I saw this quip as a sly dig at Dupont, among others. Well now Dupont is basking in the limelight - everyone loves Aurelie - until she has to make difficult decisions. It's not going to be like dancing in Tokyo. Not at all.

Yes, if you've lived in SF and the Bay Area it is always fun to see shots of the city neighborhoods and coastline. Froustey is from the Vieux Boucau-les-Bains area of France, which is fairly similar looking to the Northern Cal coast. Once an ocean person, always an ocean person.

And that's my main issue with his decision - 1 year is not long enough to, as you say, be credible. Millepied is somewhat fortunate in being a choreographer, in that he can always use the excuse that "there isn't enough time for my art!" The choice of Dupont as the next director, is, if anything, equally dicey. The BBC article mentions that she is Ballet Mistress at POB, but I thought she had actually put that promotion on hold, in favor of guest appearances (such as the upcoming appearance with the Martha Graham Co.). How is she Ballet Mistress while traveling the world dancing for the fans? I LIKE Dupont as an artist, and what I know of her as a person, but she has her detractors in the POB management too.What was the thinking behind her election to director? And if it took a year to decide upon Millepied, why is it so easy to turn to Dupont? (me thinks a lot has been going on in the background for the last two years that we are not privy to...).

Right. Of course we're not likely to get all the details on this until someone writes a weighty tome on the subject, but we're really just learning, again, how difficult it is to run a large organization, connected to the national government no less, and try to enact structural changes, and changes to product - that takes a lot of time and energy even for the most charming and talented executive. Millepied plainly doesn't want to fight the good fight. It helps when your wife is worth millions - he can take off at need. ;) I'm starting to wonder if he didn't tell POB management up front, "we'll try it for a year and see if it gets anywhere, otherwise..."

Very bizarre, and the whole situation unfortunately reminds me of the Bolshoi and its collection of issues, which is not a place the POB really wants to be compared to, organizationally speaking. I don't see the point to Millepied 'up and quitting' when he's really just getting started (and he has managed to focus a lot of attention on the POB ina a short amount of time). Is there something generational at work here? "It's been a hard few months, and I don't like how people are talking to me, so - Boom! - I'm gone". For my generation, taking on this type of job is assumed to be a hard slog, but there are obvious benefits to trying to stick with things. Dupont is certainly well-liked by many at POB, but no one has had to deal with her in this type of position - nor does she have any experience in this type of management. Best of luck to her - I hope it doesn't make a mess of her home life/marriage.

But they cancelled the Square Dance coaching rehearsal! Better get that sorted out.

Available today, Feb. 2 online: Mathilde Froustey, Étoile Vagabonde http://www.lequipe.fr/explore-video/mathilde-froustey-etoile-vagabonde/ (Produced for French TV. I'm not sure how long this program will be available online...) It's a great little documentary, and includes interview shots of Helgi Tomasson, and a fun segment in the Mission District of San Francisco. And, as this segment is French-centric, we are treated to footage of Muriel Maffre, Sofiane Sylve and Pascal Molat coaching Froustey (dancing with Tiit Helimets and Carlo Di Lano).