pherank

Yeah - I look forward to hearing all about it! This seems like an odd time of year for a tour, but I guess MCB is on a different schedule from many other companies.

I can call myself a Wes Anderson fan, and I'm happy to see that many people enjoyed Budapest Hotel, even if it isn't their usual "cup of tea". I just can't bear Hollywood mainstream films these days.

I'm curious if any of the forum admins/members in the Vancouver/Seattle area will be attending? http://www.straight.com/arts/389606/miami-city-ballet-rekindles-magic-george-balanchine

Zahorian was indeed dancing well, as if to say "Don't forget about me!". Kristina Lind certainly has the right look for Serenade - her limbs are incredible. I wonder if Ms. Ishihara was in part coached by Tan? Who else knows the "princess" role inside and out? Or did she just rely on Possokhov's instructions?

Thanks for the write-up, Josette - I was wondering about the Tan/Karapetyan performance. I've heard more than once that Tan struggles with the Giselle role (and I think she has mentioned it herself). It's just not a character that she can easily relate to. Which brings up a point: I don't think Feijoo and Sylve have bothered to do the role in a long while (tell me if I'm wrong). So she probably could drop out of it if she really felt it wasn't working (especially with Chung now dancing the role too), but I suppose Tan doesn't give up easily. ;) I agree that Shannon Rugani is looking very good right now.

Giselle (Sunday Feb. 8 matinee) Giselle: Maria Kochetkova Albrecht: Vitor Luiz Hilarion: Pascal Molat Myrtha: Jennifer Stahl I'm not as much a fan of the old warhorse ballets as some - I should admit that - and wanted to see Froustey's take on this ballet, or nothing. But, I knew Masha was especially good with this type of role, and so I went (I had bought the season ticket months before). And Masha was in fact operating on a very high level - her mime acting was believable and nuanced, and her technical command of the steps within the Giselle choreography was astonishing that day. Her performance was "all of a piece", which is quite an accomplishment given the range of emotions that the lead dancer must pass through over the course of the ballet. Stahl danced well as Myrtha, and the audience was appreciative, and the Corps did very well as The Wilis - they received big applause (kudos to the audience for recognizing them so voiciferusly). Vitor Luiz was also dancing very well, though I wasn't as taken with his Albrecht, as I was with Kochetkova's Giselle. Pascal Molat was once again firing on all cylinders in his character role as Hilarion. I want to echo this review comment: "Many dancers play Hilarion as a brutish dolt whose greatest achievement will be dragging Giselle back to his cave. Pascal Molat presented a gentler, more intelligent character who is sincerely fond of Giselle and concerned for her well-being, though as heedless as Albrecht of unintended consequences." —Claudia Bauer http://dancetabs.com/2015/01/san-francisco-ballet-giselle-san-francisco-2/ I'm already sad that Molat is retiring, so soon after Damian Smith, too. He's still doing some of his best work, right now, so make an effort to see him this season.

I arrived in SF just in time for the big "Pineapple Express" storm. And that kind of mucked up some of my plans. But I did make it to Program 1, Serenade on Thursday, Feb. 5 - straight from the airport - leaving before the next ballet due to having slept little and not feeling well. I missed seeing Frances Chung in Lamabarena (a bummer), and I just didn't have a driving need to see Ishihara in RAkU (no offense to her). Serenade was fortunately anchored by Sofiane Sylve and I consider her the best Balanchine dancer at SFB. It was great to see Zahorian back, and she was lovely as the Russian Girl, looking well rehearsed that night. Helimets was rather less interesting in his role, and too tall to work well with his angel partner. The performance was good, though I found little things not to my liking. When Sofiane fell to the stage and then needed to release her bound hair, she struggled rather too long with it (and given that she's the only person on stage, it's a little too noticeable). I liked the 'new guy', Carlo Di Lanno - he looks promising, especially as a partner. Serenade Waltz Couple: Sofiane Sylve, Carlo Di Lanno Russian Girl: Vanessa Zahorian Angel: Kristina Lind Dark Angel: Tiit Helimets Quiggin mentioned that he thought Serenade wasn't quite 'gelling' - I think I would rate this Feb. 5 performance a "very good", but not great, not exceptional (which we always hope for). I still think the Corps doesn't have quite the right feel: too academic, not enough expansive, joyful dancing as I've seen with amateurs/students (who are just so darn happy to be dancing Serenade for an audience). After seeing the updated casting, I bought an orchestra seat for Program 1 on Saturday night (the 7th), which was mostly 1st casts. I was looking forward to the combination of Froustey and Kochetkova in Serenade on Saturday, but as it turned out, Kochetkova and Vitor Luiz dropped out to concentrate on Giselle (next day's matinee). And who should be the replacement for Masha? But Sofiane (yeah!). So I was happy enough. I personally really enjoy Froustey's dancing and manner, and she does well with Balanchine when you consider she has no in-depth training in that approach. This was a more exciting performance than the one on Thursday - most everything clicked this time. However, Sofiane once again struggled getting her hair undone - as much or more than the first time I saw her, so that was a visual glitch. But from then on the Elegy section was wonderful. Waltz Couple: Sofiane Sylve, Carlo Di Lanno Russian Girl: Mathilde Froustey Angel: Frances Chung Dark Angel: Luke Ingham* RAkU Yuan Yuan Tan, Carlos Quenedit Pascal Molat A rather visually confusing ballet that is probably too difficult in conception to really succeed. For the viewer, it's really important to not only have read the program notes, but to have an understanding of what Buhtoh dance is, before one sees the ballet. As for the performers, Tan and Molat were both tremendous. Between RAkU and the Little Mermaid, Tan has proven herself to be one of the most gifted 'actors' in the ballet world. She received a standing ovation from much of the audience (as she seems to each time she performs this ballet). I was struck by how difficult it was for her to leave her character behind at the bows. She was standing alone at the center of the stage and looking completely devastated, very much still in character, but as the other dancers came out to join in the bows, she gradually became her old self and was smiling and moving again as a classical ballerina normally does. Lamabarena Shannon Rugani Kimberly Braylock, Ellen Rose Hummel Joseph Walsh, Daniel Deivison-Oliveira, Wei Wang I was originally hoping to see either Chung or Feijoo dance the lead role, but Shannon Rugani was wonderfully enthusiastic, and ever smiling (much like Froustey tends to be), so she won me over. The ballet was a fun crowd-pleaser, but fantastically different from where we started: Serenade. Lamabarena doesn't try to be deep, but its communal, celebratory feel is mostly satisfying. The orchestra sounded great to me for both Serenade and RAkU (with SF Zen Center musicians). [Lamabarena uses pre-recorded music.]

I think you are very lucky, in any case. ;) I wish I could see Froustey's Giselle.

FYI: SFB posted some images of her preparing for the performance - she just looks dead serious, and completely focused within. http://instagram.com/sfballet/ She also posted a nice blog article - Being Giselle (Google Translate can be used to produce a fairly readable English version): http://mathildefroustey.me/2015/01/31/being-giselle/ And here with the family, together in SF: http://instagram.com/p/yofv-8HrWi/?modal=true

Thanks for the notice, Josette - it's about time they posted the castings. I will hopefully get to see Froustey as Russian Girl on Saturday. I seem to be missing her in everything else. Edit: Apparently Elizabeth Powell is now out with injury (she revealed this on her Instagram page). Ex-principal Damien Smith wrote back: "You know what? Injuries can be a blessing in disguise. You will learn and understand more about your body and gain strength. Probably not a single professional dancer who hasn't had their moment of injury. The smart ones comeback even stronger. You can do it." Bummer. I was expecting to see her with the corps in Serenade.

I saw the following Twitter report - "Standing ovation for @lapetitefrench_ (Frosutey) she was TOTALLY freaking amazing as Giselle tonite!!" Anyone see her 2015 Giselle debut performance? It looks like I'll be seeing Kochetkova instead, but I was interested in seeing Froustey in this role.

Thanks for the link, Mussel. Ouch! That's all I can think to say.

I like LHH myself, both the Radunsky and Ratmansky versions, but the Russians probably don't think it's suitable for North American audiences. RE: Macaulay's writing - the essential issue for me is not the manner of Macaulay's criticism, but the fact that he is one of the few dance writers being 'published'. If ballet seasons and tours (of the big companies) were covered in the same manner that professional football is covered in the U.S., there would be so many voices and opinions at work, it simply wouldn't matter what one writer from the NY Times was going on about. There would be competing views, at all times. But sadly, it's not that kind of situation. Not even close.

Wow, fabulous participation by balletalert members. ;) It's a big deal for them to get a good reaction from the 'native' audience for Robbins/Balanchine ballets.

Thanks for the Baryshnikov mention, everyone - that was fun to hear about. I'm curious: what has been the audience reaction to these ballets/performances? The New York audience is not necessarily "clap-happy" (as we sometimes see on the West Coast).

Good to hear that Kondaurova danced well in "In the Night". The Mariinsky management knows that she dances the "Western" ballets as well as anyone in the company. She seems to have some innate understanding of the neo-classical and modern aesthetics.

Nice! I hope there's a high-res version somewhere. Yes, makes me feel once again that I should have made the effort to go, but I'll be travelling to SF soon enough to catch Programs 1 and 2...

Thanks for the descriptions everyone - it's fun to read through these. What sort of costumes were used for the défilé? I imagine the dancers had to wear whatever they were going to be appearing in later in the program, but is that so?

It's really too bad to hear that Ms. K's performance came undone (at least for a while). When she's good, she's really lovely, strong and commanding. I'd like to echo what you say about her partner issues - the Mariinsky just doesn't seem to be able to find someone who really works well with her - either in physical terms, or chemistry.

Fascinating - the gala shows little resemblance to the upcoming season. There's a lot to be seen, so I wish I could be there.

Politics are unlovely, to be sure. I'm sure Mr. M. will again put his foot in his mouth - just give him time. That answers my second question. I would think this is worth going to if you are in the area.

Did he really? I thought he was treading lightly so far - not being too critical of anything. His L.A. Dance Project is all about contemporary dance from what I recall. It seemed like he was advocating a mix of reverence for the classics, and new works.

Well how great is that?! I actually feel thankful for having YouTube in my life today. ;)

'The rector of the ballet academy must be a lawyer' - that seems to imply that the Vaganova will be fighting in the courts for some time. ;) But I agree that the job description was simply re-written to describe Mr. Tsiskaridze as closely as possible.

A dig at capitalist societies and their need to put a price on everything? Perhaps, but me thinks the Russians just want to join the party, in their own way. I don't think you will find that his comments hold up under much scrutiny: it's mostly wishful thinking. But plainly in line with Putin's policies (naturally) - bring the money home to Mother Russia, and support the state system! This may be Tsiskaridze's notion for creating a 'nurturing' environment for a Russian-centric art, but I doubt seriously that this will lead to any great work. Too much politics, and more poor economics, but little art in this. Edit: I was just reading something about the Marat Daukayev School of Ballet, where Maria Kochetkova just performed (Nutcracker of course!) with the school. How ironic that the "half-trained" West is so often instructed by Russian ex-patriots who, for one reason or another, sought opportunity outside of Russia. A veritable army of artists brought up on the classics and yearning to do that and so much more - outside of Russia.