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I didn't realize that, SF_Herminator - he must have decided the change was just too great for him. It is certainly hard to leave friends, family and culture behind to be in a completely different place.

Thanks to Jack Reed for noticing that the archived video (from the LIVE preview) had been put up immediately on the Kennedy Center website: http://www.kennedy-center.org/explorer/videos/?id=M5627 I recommend taking a look if only for the segments of Balanchine's Episodes, which I don't think has been seen online before in any form. Suzanne Farrell Ballet performs sections from: Mozartiana Episodes Apollo Agon Pas de Dix More details can be found in this thread: http://balletalert.invisionzone.com/index.php?/topic/37928-suzanne-farrell-ballet-season-preview-webcast-23rd-october-2013/

It looks like the soloist Dmitry Zagrebin never made it over from Russia. Can anyone confirm what he is doing at present? His Facebook page mentions, "Stanislavsky and Nemirovich-Danchenko Musical Theatre".

Yes: "my name is Tanaquil Elizabeth and I was named after Tanaquil Elizabeth Le Clercq. She was my second cousin on my mother's side." Thanks for the list of heirs, Neryssa. A few of the names I recognize, but not all.

Good points all. I misread Helene’s comment as my starting point, and don’t want to sidetrack this more – just commenting on what I feel the critics were picking up about SFBallet’s choreographical choices and about San Francisco’s inwardness and general conservatism in the arts – “the San Francisco Paradox,” as architects here call it (when compared to our political progressivism). Anyway I eagerly look forward to the arrival of Mathilde Froustey (in Giselle with Domitro?)* and Simone Messmer next year. And to the Ratmansky Shostakovich trilogy, and – way way at the distant end of the season – Brahms-Schoenberg and Agon. And maybe a peek at Cinderella again, with an odd Thursday night cast. *Though it may be only for a year's sabbatical (via Judith Mackrell): http://www.dansesaveclaplume.com/pas-de-deux/interview-with-mathilde-froustey-the-new-principal-dancer-at-the-san-francisco-ballet/ http://www.theguardian.com/stage/2013/oct/24/should-ballet-companies-become-democratic-strikes Hi Quiggin, It sounds like the San Jose Ballet backers would very much like their company to be the Bay Area's ABT to SFB's NYCB - so there will be competition to come, I'm sure. From Southern Cal? Not so much. Froustey wisely asked for sabbatical from POB, in case things didn't work out in SF. And there aren't many organizations that allow for such a thing, so she had gained at least that much seniority. I hope it does work out for everyone, in San Francisco. ;) I'm looking forward to the 2014 season as well - it's starting to feel like more than just another season (in a good way). There's been a "sea change" in the last few years, and the company seems to have finally become truly important, and not just to people in the Bay Area, but to fans around the world. That is pretty interesting to witness.

Final enough to appear at a film festival. ;) But there can always be revisions as needed - I was just pointing out that Nancy Buirski sounded like she was open to include more if anything/anyone important came up. Exactly who controls the final cut on this documentary I don't know. Hollywood is full of sad stories in which director's films are ruined by the studio that has final cut say, but I doubt this project will have those issues.

I haven't seen this preliminary version of the documentary, but the impression I got from the Q&A session was that the film's producers might be open to adding interview footage if various people came out of the woodwork.

I know what you're saying here regarding SF's relative artistic isolation (but that isn't the fault of the city of San Francisco), but I would hesitate to say that if the arts supporters were more critical, then we would have better art. One thing doesn't equal the other. The bigger companies aren't bigger, or better, because they gets lots of critical feedback - and oh boy, they do. I generally like how SFB dances Balanchine (but agree that Divertimento is being done too politely) - I dare say he wouldn't weep in his grave. But the company is not a "Balanchine company" in the sense that NYCB still may be. I personally wouldn't mind the company being an even bigger propronent of Balanchine and Blanchine 'techniques', but I don't want to see new work disappear just to wedge in more Balanchine. That wouldn't be the right thing to do, by me. The season (and company) would have to grow to accommodate more. Yes, I generally agree, but, my favorite moments at SFB don't happen to have been in those ballets - hah! My favorite moments actually tend to be the bits of "interesting rough edges and odd brilliance" that you mention. I've seen such things from various people - and not just the ones you might expect to see something from.

This interview was a great find, Neryssa - thanks. I'm afraid I can't answer your question though, as I don't know enough about Le Clercq's actual heirs and surviving friends. But this very thread was begun by a relation of Tanny, so I know they are out there somewhere. ;)

I believe that's the woman cantdance identified as Valerie Tellmann in Agon. She's new to the Farrell company.That's Elizabeth Holochuk, a longtime soloist in the company, in the following movement. Thanks KFW - she was indeed in the Agon excerpt as well.

RE: Gottlieb - I can't decide if it's worth educating the man on SFB, or if it's all just water under the bridge...

I totally agree - I've watched the performance a number of times now. Which reminds me, who is the 'lead' woman in Episodes (the first section)? Is that Ogden?

I went looking about for reviews of Cinderella, but haven't seen anything yet. So thanks to Abatt for giving us a description. I did run into Robert Gottlieb's review of one of the mixed-rep programs, and he pretty much dismisses all the choreography as "less than convincing". He mostly praises the dancers, and their ability to work together as a company, but then he slipped in this line, "Kochetkova, from ABT, is a Natalia Osipova wanna-be, her allegro attack more irritating than exciting." And that, folks, is Maria in a nutshell. I had no idea she actually came from ABT. ;) I must have missed out on her "real" history.

Looks like Kennedy Center is using "JW Player" for at least the archived videos, but those people also offer hosting and streaming services: "JW Player Platform provides media management, a developer API, and high-volume hosting and streaming." Anyway, it's possible to set up a webcast with open source software (free) if you have the right tech geek working for you - the real issue is having a dedicated server to support streaming media, and so people often have to go with a service of some kind that specializes in hosting live streams.

Becasue of the costs of configuring and maintaining a webcast/streaming server, I imagine Kennedy Center is paying for a service of some kind, like the Livestream.com people. You can see their pricing structure on this page: http://new.livestream.com/plans And for anyone tech minded enough, The "How things Work" website explains the basics of "How Streaming Video and Audio Work". It's true that a ballet company would need access to a reputable webcasting expert who knows what's involved, and what software/hardware solutions to recommend for the particular job. It always helps to ask those that have been through the experience what worked and what didn't, and what the pitfalls are.

We know from yesterday's broadcast that Kennedy Center already has the basic equipment, camera people, software and a streaming server set up for their purposes. The only additional cost that I see would be the online ticket/access purchase, but since they do have online purchases for in-house performance tickets, I would think they just need to modify the existing purchase system to allow for purchase of online credits. Of course for those companies doing it for the first time, they would need to consider purchasing at least a couple HD quality video cameras (many companies have at least one to record themselves with for their own archives), and 2 operators. [The Kennedy Center broadcast used 2 camera positions that I noticed - a third one mounted above the stage would be a nicety.] They would need a computer to connect the cameras to. The streaming software cost can range from free to, say $1000 or more. Just depends. The computer that the cameras connect to needs to have an Internet connection with an upload speed that supports HD rates. And they would need a tech person who understands how the live streaming software works and can oversee things. There are of course companies that supply software as well as support to businesses that want to stream an event live over the Internet. Many people are standing by to take your money. ;)

This looks like a great set of programs. You all were very lucky to have seen these ballets - we do not get to see NYCB do this kind of program in the western U.S.A.

This experience makes me wonder (again): Why can't SF Ballet do live streaming broadcasts of their performances, that are accessed by people who pay in advance for an online "ticket" (and use name/pass access)? Or any company for that matter - why not do a live stream of the performance and charge for access? At say, $15 a ticket, they could get a few hundred people (I'm sure) to participate and make some money, and gain exposure.

I don''t think you have to feel bad about what you like. ;) I tend to favor the "4 T's" myself, but as I mentioned, I haven't seen all of Episodes, so I would love to give that one a try as well. Agon, imo, is a very solid piece of art, in which the visuals and the music are wonderfully, organically unified. But so is the Mona Lisa (organically unified), but that wouldn't be my favorite painting to stare at. And I'm pretty sure I couldn't come up with just one single item to top the list. The fun thing about this kind of "preview" program is the diversity of the items. I just wish it could have gone on for a full hour, or more.

I thought that was pretty clear in the film -- am I remembering a different movie? LOL. Yes I agree - the backstory for Jerry and even Lise is pretty well developed in the film. Perhaps Lise's story could have used more details, but she was a girl, growing up in Paris, so we don't require lots of important life events from her (those will come).

OK, well that was fun. I've never seen any of Episodes live before (and it's been near the top of my list of things to see), so I appreciate what was shown. And Pas de Dix I am unfamiliar with. I think they could have called this preview the "Magnacaballi Workout". She was a busy woman.

I believe the broadcast is about to begin. Try either this page: http://www.kennedy-center.org/programs/millennium/ Or this one: http://www.kennedy-center.org/explorer/artists/?entity_id=16871&source_type=B

Precisely my first thought! ;) Suzanne Farrell Ballet South Pacific. Or maybe the Edward Villella Grass Skirt Initiative. Yes, Christian would be welcome to set up a Radio Free Ballet station.

Point taken, Jayne. ;) California Ballet in San Diego is supposedly going to perform Serenade next year as well. I'll admit I tend to favor SFB and PNB due to my fear that I might see Balanchine performed badly - and that just makes me gnash my teeth. But a number of the companies you list are quite decent. Episodes/Walspurgisnacht/Western Symphony at Ballet Arizona is definitely worth thinking about, but I would have to come up with the extra money first...

Today's tweet from Masha Kochetkova: "So tired. Boom." Two nights of Cinderella and then you rest...