pherank

That "chandelier" looks like it came from Lamps Plus. The headpieces looks bigger.

Sigh. I'm often at odds with the costume designers and stage designers. There can be an amazing sense of taste (but this was admitedly not that bad).

Many thanks, pherank, for giving us your detailed impressions. sandik and I were ruing that time flew by so quickly, that by time we realized that this was the weekend you were in, we hadn't even asked if you'd like to meet up at intermission, and, it sounds that by the time we had this realization, you were already on your way to Victoria.

A nice thought, Helene, and it occured to me too to try to connect with forum members in Seattle, but I was 'unplugged' for the week (something I needed for my own sanity). I felt like the only traveler in the world who did not have either an iPad or an iPhone with me.

That "chandelier" looks like it came from Lamps Plus. The headpieces looks bigger.

Karel Cruz was injured before first weekend; Peter Boal said in a Q&A that Cruz called Boal to say he couldn't walk, but he could dance, but Boal declined the offer. (It was a groin injury.) It was a shame, because not only was he scheduled to dance "Agon" Pas de Deux with Lesley Rausch opening weekend, he was also to be Carla Korbes' partner in "Diamonds" first weekend and Laura Gilbreath's for one performance second weekend.

All of the "Diamonds" performances were led by Kaori Nakamura/Seth Orza or Carrie Imler/Batkhurel Bold, except for the "Diamonds" excerpts in "Encores" -- Third and Fourth movements, no Pas de Deux -- which were originally scheduled for Korbes/Orza, but danced by Imler/Orza.

According to Boal in the second weekend Q&A's, Korbes had a knee injury that wasn't major (in the long term) but took her out of all her performances second weekend. Maria Chapman, who was the understudy for her role in "Tide Harmonic" did all four weekend performances and danced the "Agon" Pas de Deux with Joshua Grant, who partnered Laura Gilbreath in the PdD first weekend. Boal said that none of the understudies/second cast got to work with Wheeldon in rehearsal: they were learning it behind the originators. He said that there was a possibility that Korbes wouldn't have been able to do first weekend Saturday matinee, and that there was a two-hour emergency rehearsal with Ballet Master Paul Gibson. Korbes did dance, but Boal said that compared to that, having until Thursday to rehearse the part was much easier.

There was an injury to one of the "Concerto Barocco" corps, and, as a result, they only did 2nd and 3rd movements of "Concerto Barocco." You might have been more frustrated if you had changed your plans to stay, only to have a partial performance of the ballet.

It sounds like a mess, doesn't it? But the company held together rather well in the performances that I saw, and Chapman, as I mentioned, really impressed me. I would look forward to seeing more of her, and finally, Korbes. There's obvious depth to the company and that bodes well for the future.

The quote indicates Ms. Kain is sensitive to taking away another principal woman's opportunity - who has paid her dues at NBC. Plus there is the issue of work visas - how many foreign artists does NBC already have on board? While this may not be important to balletomanes, it can be very important to politicians.

I'm not familiar with NBC's dancer union, but I think Karen Kain is treading lightly here. We'll see, it may be possible to hire her on a 1 year contract as a "guest artist", which is how many dancers get introduced to companies at the soloist or principal level. Alternatively, NBC may be able to develop an exchange program with the Bolshoi - where they send a dancer to Moscow for a year, in exchange for the services of Mrs. Lunkina. It would be a unique opportunity for a Canadian dancer to get some Bolshoi coaching.

I totally understand the need to look after the existing dancers, but this is a rare opportunity, and there seems little sense to just let it slip away with various predictable excuses. Where there's a WILL, there's a way - as you mention with the "guest artist" arrangements. Sounds like they would need to add some extra performances to their schedule to make it workable (so no existing principals lose their performance time).

Regarding the chandelier - I'd really love to see PNB do a full Jewels soon, and borrow some Chihuly chandeliers for the event. I'm sure they're too heavy, it would be a logistical nightmare, blah blah blah, but it would still be cool!

Little things like the chandelier can make a big difference to the atmosphere of the ballet - I'd love to seem them try for a 'grand' version of Jewels with 1st rate costumes/staging. But I also wish they would put Concerto Barocco and a couple other shorter/rarer Balanchine ballets on DVD. ;)

I'm late to the party, I see, regarding my journey to Seattle to see PNB, so I'll just dash off a few thoughts/impressions that still remain in my head. ;)

I couldn't help but notice that the PNB women all seem to be very petite, and seemingly very young - I know that doesn't actually apply to all the ballerinas, but it was my general impression of the company look. A number of the male dancers are quite short as well (while a few of the men appear unusually tall which makes for an odd contrast of heights on stage, in, for example, the Agon Pas de Quatre). Also there is a certain 'compactness' to the dancing style that was interesting to see, though I guess I prefer more 'amplification' from the principals (or I'm just used to seeing that). I'm guessing that is the Peter Boal aesthetic at work. [if I can think of a better way of expressing this I will edit my comment later]

Agon

Agon was well danced both Thursday and Friday nights, but Friday with Maria Chapman and Joshua Grant was particularly well executed and powerful. Chapman and Grant both seemed supremely confident in their roles and were simply magnetic. The orchestra, under Emil de Cou, played the Stravinsky score very well - right volume, tempo and textures (I was sitting in the Orchestra section both nights and obviously that didn't give me any idea of what the sound was like in the balcony sections).

Tide Harmonic (C. Wheeldon, World Premiere)

I remain somewhat confused by Wheeldon - I admit that I don't yet 'get' his aesthetic or the visual language he is (presumably) developing. I often feel he's wrestling with too many ideas and is simply unable to omit much of anything he creates. IMO he needs to have his 'Apollo' moment when he discovers how to pare things down to what appears most essential and inevitable - a truly organic whole. In this ballet I see things that are momentarily intriguing, but these are often followed by steps or sequences that are almost gimmicky in nature, or deliberate non sequiturs to poke fun at the proceedings, but the overarching motivation still alludes me (perhaps Tide Harmonic is simply an expression of the energy in water/nature). At its weakest points, the choreography strikes me as having no real relationship to the music. And the Joby Talbot music at times interested me more than the choreography, though I would hardly say it was deep stuff. Talbot's music kept reminding me of Voyage to the Bottom of the Sea (remember that old TV program?). Submarines and sea monsters. But the choreography didn't seem to have the same focus.

So anyway, THE COMPANY danced the piece with much energy and enthusiasm. I think the dancers really enjoyed performing this piece, and that does transmit itself to the audience (there were big ovations for the performance both nights that I was there). Having seen SFB dance a bunch of Wheeldon ballets, I can say that PNB was comparable. So good for them!

Diamonds

Thursday night the Pas couple was Imler and Bold. And they both met the technical demands, but neither appeared quite as regal, natural and grand as I imagine the roles demand. I know that's just my presumption, but it wasn't a treatment that thrilled me in any way (though Carrie Imler is so solid in her technical performance I feel bad that I couldn't just love it). Bold is not my idea of a 'danseur noble', but I absolutely credit him for working hard and being there for his partner 100%. But the elegance and the seeming ease of movements was not there for him - he looked to be working hard, and isn't the point to be disguising the work? But I've seen enough of Russian danseurs sleepwalking their way through story ballets that I have to appreciate Bold's efforts.

I was quite bummed to learn that Carla Korbes and Karel Cruz would not be dancing the Pas leads on Friday night due to Korbes' knee injury (which was mentioned at the pre-performance talk - but was Cruz also injured?). She was replaced by Kaori Nakamura (dancing with Seth Orza). I was impressed by Orza's partnering after not loving Bold's stylistics, but I still felt like I wasn't seeing an ideal Diamonds Pas couple. Nakamura and Orza were technically exacting but I was in no way transported by the Pas dancing to a Russian Imperial ballet world. The Corps, however, made me happy throughout.

Didn't love the tutus and headdress designs, and the chandelier hanging over the stage was a little on the feeble side, but, the PNB company moved through their paces like clockwork and that was actually a pleasure for me as I don't appreciate a bored or ragged-looking Corps de Ballet.

The Diamonds finale really demands a large stage setting, and I felt that things got a little cramped on the McCaw Hall stage; however, the company appeared to be so well rehearsed in Diamonds (and on that particular stage), that the Corp's performance was virtually problem free: they made it fit. I just want to see them perform Diamonds on a larger stage.

The orchestra, not surprisingly really, sounded a little underpowered in the performance of the Tchaikovsky 3rd Symphony, and there was some obvious overcompensation from the timpani/percussionists that I found obnoxious, but still, an excellent ballet orchestra IMO.

Sadly, I wasn't able to attend the end of season Encores performance because I had already booked that weekend to be in Victoria B.C. If only the Encores performance had been announced earlier! I've been wanting to see Concerto Barocco live for some time, but, not this year either. I'm going to be angry about this missed opportunity for some time.

Yet to dance is still her priority and, if as seems likely, a return to the Bolshoi proves impracticable, Lunkina would like to base herself in a company rather than piece together an international career as a freelance artist. “I’m not a ballerina who has to dance at any cost.”

Could that base be the National Ballet? It would certainly be a coup for the company to have Lunkina on the roster, but the prospect is dim.

“I don’t have the budget for an extra principal ballerina,” says Kain. And even if the money was there, Kain explains that with a limited number of performances, accommodating Lunkina would mean denying someone else stage time.

Kain remains sympathetic: “This is her time. It’s a sad situation for a dancer, not being able to practise your art when you’re top of your game.”

http://www.thestar.c...fundraiser.html

Isn't that what special donors are for? Kain needs to ask for the additional monies from the wealthy arts supporters, for, say, a 2 year 'trial' period.

I think it would have been much easier to do in a series of short takes, rather than one long one, but the didn't make that decision. The "behind the scenes" view reminded me of a complex military campaign.

Not such a crazy idea, given that this is the WWII era: American know-how at work!

But I think the filming actually occured before the attack on Pearl Harbor - though war was in the air, and well underway in Europe and Asia.

The documentary footage is fascinating -- I hadn't realized how much of that number was filmed in real time. I love her tap style!

You can see why they bothered to record the techniques used - amazing stuff. I have to wonder if it wouldn't have been easier to do in pieces rather than in one continuous performance.

I'm not sure if this has been linked to before, but this sequence from That's Entertainment III is "fascinating" not only for the tremendous dancing, but also for the camera and stage choreography (you will see what I mean). A split-screen view of Eleanore Powell in Fascinating Rhythm:

http://www.dailymotion.com/video/x24qw4_eleanor-powell-exclusive-behind-the_music

I've got a ticket to that one -- but Maria Kochetkova, whom I love but never get to see, is her replacement, so what can I say except best wishes to Alina and Johan no matter what.

I had a ticket to that Swan Lake too and am disappointed, but I've never seen Maria Kochetkova live so I'm excited for that opportunity. I just hope that I have other chances to see Cojocaru again. She is one of the greats.

I presume you both have heard that SF Ballet is traveling to NY Koch Theatre later this year? October 16-27, 2013. Kochetkova should be in a number of those ballets. ;)

http://www.sfballetb...witterclickthru

One more Victoria suggestion, the James Bay Tearoom. I don't know where you're staying, but it's an easy walk from the Inner Harbor and all the hotels down by Parliament. We often eat breakfast there, and don't need anything else until dinner.

Excellent! Thanks Sandik, that looks like a good choice for breakfast.

I like. I'd forgotten about this film actually. One of RD's better efforts.

You can eat well in Viictoria on a budget. If you like fish and chips and/or fish tacos and don't mind waiting outside on line, go to Red Fish Blue Fish. The fish is amazing. The cod's as good as most haddock.

I would also look up the site for the TV show "You Gotta Eat Here" for suggestions on where the locals eat.

You can take a city bus to and from Buchart Gardens, and they have afternoon tea. The Fairmont afternoon tea is overpriced and the room is huge and loud; it's fine corporate tea. There's another place that's a bit of a walk from downtown -- I'm not sure about public transport or the route -- that might be worth the cab or the walk. I'll try to remember the name and come back to post it.

It's the White Heather Tea Room. Check for current hours and reservation info.

Both Red Fish Blue Fish and White Heather Tea Room have their appeal - I do like fish, and I want to have some decent fresh fish while I'm in "fish central".

The Met Market is expensive - but Safeway is just 2 blocks away from you and much, much more affordable. You'll have partial sun next weekend, and full Sun on Sunday, which should help. Be prepared for the VAT in Canada. When crossing the border in Blaine there is a sign that says "Welcome to Super Natural British Columbia". My friends used to joke the the real message is "Welcome to Super Taxable British Columbia"

Yes I fully expect my 2 days in B.C. to be pricey, but that's to be expected. As you say, it looks like I will luck out with the weather at least.

Hopefully there will be no problems and everything goes swimmingly. And I'll add my impressions of the performance to the group...

Thanks to everyone for the suggestions. I don't know how adventurous I can be this trip, as my funds are limited, and I'll be spending a couple of days in Victoria B.C. where I'll have to eat restaurant food the entire time. I'll have use of a fridge and microwave at the hotel in Seattle, so Metropolitan Market may be my good friend. ;)

Tanny Le Clercq and the Ballet Cookbook - recipes currently being tested by Ryan Wenzel and friends:

http://rpwenzel.com/...quil-le-clercq/

And, there's video!

Maria Tallchief talking about Le Clercq in the Balanchine documentary:

The facebook page for the film Tanaquil Le Clercq: Afternoon of a Faun just posted: "We're delighted to announce that our film is officially part of the acclaimed American Masters | PBS series. We will keep you posted on its upcoming air date as well as festival screenings and other events"

That IS good news, and I'll wager it has something to do with Ric Burns being onboard - the Burns brothers know all the powers that be, and how to get projects made.

If you like Thai food, you're in luck: there are at least four really good Thai places between a two- and a ten-block walk. There's also vegetarian Chinese food that's quite good and a wonderful Vietnamese pho+ restuarant also about 10 blocks away, and for an extra four blocks, you can have wonderful crepes at Citizen. There's a pricey but excellent sushi restaurant called Shiki about two or three blocks away. One Queen Anne Avenue a couple of blocks away there's a solid Greek restaurant that makes a fantastic spicy cheese appetizer next to a good Indian restaurant where we just ate tonight, which I think is called Roti across from Uptown, a great place to get coffee.

I loved the food at Petit Toulouse -- it is small plates -- but weekend brunch tends to be reserved out months in advance. Your PNB ticket envelope should have a 20% off voucher on the back flap for Ten Mercer, if you want to splurge before or after the performance: they server food seven days a week from 4:30pm-10:30. Doug Fullington gives a pre-performance lecture which starts an hour before the performance, and if you can catch one, you won't be disappointed. There's also a Q&A after each performance with at least one dancer, and then tend to run about 40-50 minutes after the performance ends, so you'd have time to get a drink and at least a snack at Ten Mercer before or after one of these. This is the grown-up restaurant in the area, and it's very close to the hotel.

Next weekend is the closing weekend of the Seattle International Film Festival, and three of the screens are a few blocks away from the hotel. Restaurants closer to Queen Anne Avenue tend to be fuller during the Festival than those down Roy closer to McCaw Hall, but there are so many of them, and many serious movie goers rarely have time for a slice of pizza between their 73rd and 74th movie.

And thanks to you, Helene, for the restaurant suggestions. I was already thinking about trying Shiki, and possibly Ten Mercer (especially if I go to the pre-performance talk). I'll just have to play things by ear though.

FYI if you're staying at the MarQueen, you are right next door to a bus stop for the RapidRide bus. It costs $2.25 - 2.50 each ride, and takes you directly downtown with fewer stops than regular buses. The line that goes from downtown Seattle through Queen Anne and on to Ballard is called the "D" line. During the day it runs every 10-20 minutes. Save a little money and use it on a nice restaurant.

Most of the restaurants are pretty good in Lower Queen Anne, but there are a couple to avoid. I'll make a list for you tomorrow when I have a little more time.

Thank you, Jayne - I'll definitely take your advice regarding the RapidRide bus.

On the last page of Jacques d'Amboise's book he mentions Le Clercq one last time:

I don’t know if anyone reading these memoirs will be disappointed that there was no revelation of drugs and childhood abuse. I’ve always been happy. In Staten Island, I escaped untouched by the man in the shadows of the barn, I survived the streetcar, never was sued by the city of Hamburg, and didn’t get polio when poor Tanny did. I hugged her that night in Cologne in 1956, and flew home to my bed in New York; she flew to Copenhagen, to recline in an iron lung. Dear Tanny, bravery and humor sat with you in your wheelchair for almost fifty years. Fate could have had me sitting in its mate, but I can still walk. The Cuban missile crisis did not escalate into war, so I never had to do pliés in a Siberian gulag; and Carrie and I weren’t at the Bishops’ the night of the slaughter.

Looking at the dates, I wonder how this impacts or if it will impact the Stern Grove performance. They are scheduled to perform on Sunday 7/28. The festival in Paris is 7/8-7/26. Guess we'll have to wait to see the actual performance dates for Paris.

I think you've misread the date: SFB is going to Paris next year, 2014. So it's likely this year's Stern Grove performance won't be suffering from jet lag!

Thanks for pointing out it's next year - I only saw the July part.

Maybe I should start planning that trip to Paris....

Yes indeed - now I can start dreaming about a trip to Paris!

Maybe, just maybe.

I've read it and thought it quite worthwhile although I wonder if d'Amboise exaggerates the tone and manner of Le Clercq. She is depicted as rather cranky during Balanchine's illness and death but it is understandable. How did she bequeath the rights to Balanchine's ballets - anybody? I've read somewhere that she had several heirs. And what is happening with the Nancy Buirski & Ric Burns' documentary about her? IMDB says it is still in preproduction. Wow, it could be another year before it is released.

Different people react differently to intense sutuations, and Le Clercq was exasperated and furious over Balanchine's protracted, awful illness and death (as depicted by d'Amboise). I have to think that she still felt bound to Balanchine's fate. She barely survived her own polio onset, and was spending every moment of every day crippled, in a wheelchair. Balanchine's demise must have struck her as too unfair - in a sense she was still living through him as he continued to create for the ballet, and she had to struggle to relearn how to do everything for herself, or manipulate others to help her with those things she simply couldn't do. Jacques d'Amboise relates how she orders him about when she leaves the burial ceremony, but the important thing to notice is that Le Clercq often calls upon d'Amboise for help, and they are often together at events (literally side-by-side), not because he was her flunky, or a stooge, but because they were 'family', and had been so for years.

Hope they are as warmly received as MCB a few years ago. They deserve it.

Hear, Hear! With amateur video of some of the performances leaking to YouTube, please. ;)

Betty Cage gave the rights to "Symphony in C" to John Taras, surely as a lifetime trust, because the rights reverted after his death. Francia Russell said in a Q&A that Taras insisted that a single version of the ballet be used -- not the last one NYCB did during Balanchine's lifetime -- but that after he died, the ballet was no longer restricted to that version.

Thanks for the additional information, Helene!

I wanted to mention that the Jacques d'Amboise autobiography, I Was A Dancer, contains details of the final days of Balanchine, and the funeral and reception, and Tanny figures into all of this, but there's a lot of text, and it is very emotional reading. (d'Amboise also works into the narrative the deaths of other acquaintances, and he clearly relates these various occurances together in his mind.) So it is a harrowing segment of the book. Not surprisingly, Le Clercq isn't at her best at the graveside. My advice is to READ THE BOOK, as it is definitely worthwhile for all the 'insider' information on life at NYCB during its golden era.