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I'm enjoying reading all the comments on the Friday evening performance. I have to think that Cojocaru has a great deal more experience, not only with Swan Lake, but with this version of Swan Lake. I'm pretty sure that the last time Kochetkova performed Swan Lake was in Tomasson's version, 3 years ago (?), which is fairly traditional, but there are going to be differences in the choreography throughout. So what you are getting is a dancer who is game, thrown into the fire, as it were. I've learned to like the fact that Kochetkova forces you take her on her own terms - mostly because of her obvious short stature. She knew the Bolshoi or the ENB were not looking to nurture a "short" dancer in principal roles. But, Helgi Tomasson told Chris Wheeldon, "Keep your eye out for a short dancer", and the rest is history (for San Francisco). And lest people think she's the only gem at SFB, there are a number of these 'unique' dancers (male and female) in the company. And now that Mathilde Froustey is apparently coming to SFB from POB, you get to see once again the interesting selections made for SFB. People who don't quite fit in at their home company, but just might have the ability to do big things in their own unique way, if allowed to do so. Is SFB getting 'the leftovers'? Possibly, but Tomasson is particular in his choice of 'leftovers', and they've all developed into interesting dance personalities under him. The ABT model is simply different from the SFB model. ABT performs a whole lot of story ballets which are star vehicles for their (hopefully) world-class performers. SFB is much more flexible in its repertoire (especially given its comparative budget size), and has managed to create a really well balanced team of principals. There is an organic quality to the team which is lovely to behold. I don't think ABT can match that quality. What you can hopefully see at an ABT performance is principals with a big WOW factor, and great costumes and sets. But there's none of the "team" feel to the company you get with NYCB and SFB (or PNB, MCB), in my opinion. Curtain call photo for those of us who couldn't be there: https://twitter.com/leenahassan/status/348303026844471296/photo/1

At 28 years of age, she is making the right move if she truly wants to dance principal roles: she must jump to a smaller company that is willing to give her a chance, and hopefully work with her to further develop her soloist potential. And Tomasson has shown good instincts regarding dancers - he knows who has special qualities, and is willing to work hard to learn new things, and leave their comfort zone. Who knows if she's been looking around at various companies, but I think she will feel sufficiently challenged at SFB.

SFB Artist Spotlight: Maria Kocketkova

There isn't as much video of Masha available onlline as we might like, but here's a few interesting ones... Maria Kochetkova performance from Seoul 2005 Ballet Competition, "Stranger" http://www.youtube.com/watch?v=I_MAC9WELIc Another excellent, inspiring interview with Masha at Anaheim Ballet http://www.youtube.com/watch?v=mmRpNwb0NZ0 Masha at 19 years of age performing Esmeralda solo http://www.youtube.com/watch?v=HcPOuO0Stio With Simkin in Le Corsaire Pas De Deux, Tokyo http://www.youtube.com/watch?v=J6hEkDjYqIY Maria Kochetkova and Gennadi Nedvigin in an excerpt from Yuri Possokhov's Diving into the Lilacs http://www.youtube.com/watch?v=t-hGrkGjP1Q

Though obviously not a public speaker, Baryshnikov says some lovely things in this address.

Thanks California, I found this very interesting too. Apparently he asked Bill Clinton and Rahm Emanuel for speech advice. ;) http://dailynorthwestern.com/2013/06/21/blogs/mikhail-baryshnikov-northwestern-commencement-2013/ [There's an article at the Chicago Tribune website on this subject, but I'm told that is a subscription only website] http://www.chicagotribune.com/news/columnists/ct-met-schmich-0621-20130621,0,5650922.column Aging dancer in a new role — NU commencement speaker Mary Schmich June 21, 2013

I personally love that SFB is getting a dancer from the POB school - Sofiane Sylve certainly has a French aesthetic within her dancing as well, but shows other influences (she's more 'international'). Froustey will be more 'pure' in her application, and I think that will be most interesting. Would be nice to have a Vaganova trained dancer as well (male or female) in the SFB soloist ranks. I'm open to Big Red coming over from the Mariinsky. ;) But that's just me. Her interest in contemporary ballets would be put to good use. Hopefully this means that Froustey is very interested in the SFB's particular repertory.

Footage of Mathilde Froustey in Serenade: http://www.youtube.com/watch?v=LwudwT8ZwvE And a more intimate, close-up filming of a rehearsal with Froutsey and Mathias Heymann http://www.youtube.com/watch?v=IPZmMziNwn0 And showing off her technique as Kitri (Don Q): http://www.youtube.com/watch?v=rSyg7-1ltXg

As soon as I heard that Froustey was leaving POB I had a sudden premonition that she would appear at SFB. And now I'm shocked to learn that is exactly what has happened. Many of us have been wondering about certain disappearances from the rosters - either there was budget trouble, or the comapny was making room for someone new. Will there be more suprises for SFB this summer?

Maria Kochetkova contemplating a future in Swan Lake ;) https://twitter.com/balletrusse/status/347177332827643904/photo/1 "First stage rehearsal yesterday" with Herman Cornejo

Here's Kondaurova's solo variation: http://www.youtube.com/watch?v=oPpwl0jGKX4

Always a pleasure to see that team. ;)

Hah! The Russians are very star oriented - and their DVDs tend to be star vehicles. We know Balanchine hated dealing with stars (of course he wanted choreography to be a focus of ballet, and not just the lead dancers). I do like the fact that the Russians film all these performances as part of their 'cultural patrimony'. But that will come to include the Balanchine works - works that never would have existed had he never left St. Petersburg/Leningrad and formed relationships with so many different people in the West...

Good point, Jayne. But it isn't simply the fact that we have "unions", but the way that US laws and regulations are written that has produced a tangle of self interests, and very little ballet media seems to get produced and distributed. The other issue is, of course, money - our regional companies rarely have media budgets that allow for this kind of recording and advertisement, wihle a state owned company such as the Bolshoi gets a great deal of backing (and meddling) from the powers that be. I won't be surprised if the Russians rush to fill the knowledge gap by recording many performances of Balanchine on DVD. They definitely want to re-establish themselves as the be-all and end-all of ballet. If you want to see how anything should be performed - watch the Russian DVDs!

LOL - Do I sound angry? I didn't really mean to go that far since much of the Jewels performance is definitely worth watching. I do think the Russians are getting better and better at much of Mr. B's choreography. But it doesn't make sense to wholeheartedly endorse their Jewels performances when Rubies really needs a lot of work. Kourlas can be snippy at times, no? But at least Kourlas isn't writing empty praise like this: "The Houston Ballet is known for its elaborate and beautiful productions. Every ticket purchased guarantees a performance filled with masterful dancing, brilliant choreography, remarkable sets, and music. Houston Ballet's much anticipated production of PETER PAN is no exception and nothing short of fantastic. Although many of us are familiar with the tale and have possibly seen it on film or stage, Houston Ballet makes it their own with whimsical choreography by Trey McIntyre and a Dance Company that keeps the audience on The Edge of their seats with every move…" Greatest thing since sliced bread!!!

I tend to favor the Mariinsky in terms of aesthetics, but having watched the video of the Bolshoi's recent version, I have to say that their Emeralds was impressive and Smirnova and Chuding in Diamonds were both great. I actually found them to be riveting. And I almost enjoyed Rubies this time. But the Russians are for some reason allowed to fudge many steps within Rubies to apparently make it more accessible to both the Russian audience and the Russian dancers. [The Stravinsky Capriccio is also rather soft and rounded sounded as performed by the Bolshoi orchestra, which is in itself depressing: normally playful and jarring, the music has lost its suprises and eccentricities.] I find it really fascinating that the Balanchine Trust will bend over backwards for the Russians, but there is no way that North American companies would be allowed to remake steps and arm movements (and I don't mean just a few) to make a Balanchine ballet more technically feasible and more palatable to an audience in the West. These ballets are something to aspire to, not something to be dumbed down. Why is it that the Jazz/Broadway/Vaudeville inflected steps are deemed 'inconsequential' enough that substitutions can be made? I do feel like these changes suck all the delight and suprise out of Rubies, one of Balanchine's most perfect ballets.

I have so many copies of great photos that I can't ever really choose a "favorite". And that would disrespect many photographers doing excellent work. Here is one I ran into recently that is a great pose, though as the notes say, this was caught mid-rehearsal. Farrell and Martins in their prime: http://www.kingdouglas.com/DANCEweb/Pages/Farrell%20Martins%20Fish.htm

A story I'm not up on. > My reference to the Eward Snowden "affair" currently in the news. Now back to Farrell: I think you've probably described her situation quite well, and I realize that gives a double meaning to Balanchine's remark, "Suzanne didn't resist." Farrell absorbed a great deal, seemingly.

The Mariinsky performs Jewels - Emeralds Jeanne Ayupova, Denis Firsov, Daria Sukhorukova, Dmitry Semionov, Jana Selina, Xenia Ostreykovskaya, Anton Korsakov. Rubies Irina Golub, Andrian Fadeyev, Sofia Gumerova. Diamonds Uliana Lopatkina, Igor Zelensky. http://www.youtube.com/watch?v=4ytYpPPaihk There is a video of The Bolshoi performing Jewels in 2012 that can be watched online. The cast for that performance: Emeralds Laktratov, Obraztsova, Tikhomirov Rubies Krysanova, Lopatin Diamonds Smirnova, Chudin

Apparently nowadays we can drop out of high school and join the CIA/NSA. But, that's another story...

That, would be fantastic! I'll keep looking about for the Bentley/Karinska book. Apparently our Central Library is spending the summer moving into new headquaerters, so no books in the Central can be checked out. Arrrrgh.

Hello Diane - hope you are well! I am wondering how your foray into the world of pantomime has been going - are you learning more from works of the present, or the past, such as Petipa era story ballets?

That's funny - did it depend on whose good side you were on? Balanchine, or Kirstein. ;) I've noticed that the original La Valse costumes had rather complicated looking jewelry pins on the bodice. It's almost like military insignia. Naturally those disappeared with time. In the famous photo of Dina Adams, featured on the cover of "Apollo's Angels", she has as many as five of these 'badges'. There's a photo of Verdy with a similar arrangement plus necklace.

That is a nice photo, RG. I can't remember seeing a photo of Karinska doing a fitting (though there may be a few in the Bentley book). Note that Farrell remembers Balanchine asking for a silver rose, and they got a gold one: hard to say what really happened. It would be fun to know what other costume special additions were created, and were they only for the principal ballerinas.

Funny you should ask, but I've been trying to hunt down a copy. The central library here in San Diego apparently has one copy, but it's not in the stacks and seems to be a special request. So I've got to go to some trouble to drive into the city, and I'm not certain if it can even be checked out. It's an expensive out-of-print book.