pherank

One of the many quarantine videos dancers are making during the Covid-19 shutdowns - I like Masha's comment:

'“I was asked to sign, but declined, because the letter spoke to internal matters of the theater of which I have no direct experience or knowledge, and I do not agree with the coercive tactics,” Mr. Forsythe said in an email. “We’re all sad for Yorgos,” Mr. Millepied said in a telephone interview, but he said he had never put his name to the letter. “I don’t know enough to,” he said. Didier Deschamps, the director of France’s National Theater of Dance in Paris, said in a telephone interview that he had wanted to show his support for Mr. Loukos, but had asked for the threat of withdrawing work to be removed. Brigitte Lefèvre, the director of the Festival of Dance in Cannes, France also said through a spokeswoman that she had not signed the letter.' It does seem that the instigators behind the letter were pushing ahead with their agenda regardless of who stood in their way (or didn't just go along with the scheme). What could go wrong?

Thanks for the report, Josette. I'm in the camp that feels that Cinderella and the Prince are the most one-dimensional roles in the folk story. And there aren't that many versions of the story that improve upon this situation. Neither character has any interesting quirks to identify with - they're just nice people. But nice people aren't a blast to watch. 😉 I haven't seen Kuranaga's version, but it sounds like she's doing as much as she can to develop Cinderella's personality so the audience can give a darn. De Sola may not be a natural actor, so it will take her some time to develop in that manner, but Chung has struggled with the Cinderella role as well, since adding subtle dimensionality to the character takes real acting chops, or at least very good instincts.

I still remember Maria Kochetkova's Instagram post regarding the Ballet State Theatre in Tbilisi: https://www.instagram.com/p/But_sCtF70H/ Money is a big issue for them, so I imagine acquisition of new works is difficult.

I think Yuri's last piece was ... two united in a single soul ... (the Narcissus ballet). Before that was Optimistic Tragedy. I hope Angelo Greco is going to be in shape to dance Puck (I'm guessing). The casting choices will be interesting to see.

I just wish we would get to see a few of Yuri's outside projects here in SF. Here's an update from Madison Keesler regarding her recent absence from the stage:

Great report, Phrenchphry11. It's not a good sign that Greco didn't appear, but hopefully it was something minor. He's dancing constantly which is risky, but I think he insists on it. But since SFB is down 2 male principals someone is going to get overworked until that situation changes.

Here's some great news - Aaron Robison went to the UK's National Dance Awards as the representative from SFB to accept the Stef Stefanou Award for Outstanding Company (SFB) and Best Classical Choreography Award (for Alexei Ratmansky - Shostokovich Trilogy): https://www.instagram.com/p/B8wbMPXF4cr/ It's difficult to find current and accurate online information about the UK National Dance Awards - the awards cover performances in the UK between 1 September 2018 and 31 August 2019. http://criticscircle.org.uk/the-20th-national-dance-awards-nda20-announcement-of-nominations/

Innovative ballet. Immersive installations. An epic dance party. Sensorium 2020 at San Francisco Ballet transforms the War Memorial Opera House into a total sensory experience. Enter the front doors to see the space reimagined through visual art. Purchase a drink and a snack at one of the many bars located throughout the building. Be inspired by San Francisco Ballet’s world-class dancers. And then dance the night away with those very dancers and some of San Francisco’s favorite DJs. TUESDAY, FEBRUARY 25 7 PM: Doors open Interactive pop-up installations. Food and drink for purchase. 8 PM: SF Ballet Performance 9 PM: After Party PROGRAM Learn all about Edwaard Liang’s visually stunning The Infinite Ocean and Mark Morris’ clever, tongue-in-cheek Sandpaper Ballet. https://www.sfballet.org/productions/sensorium/

Return of the SFB Fashion Show: SF Ballet Auxiliary’s Fashion Show WEDNESDAY, March 18, 2020, 11 AM San Francisco The San Francisco Ballet Auxiliary and Sam Malouf Authentic Luxury Present the 2020 Fashion Show Featuring Maison Rabih Kayrouz After last year’s triumphant return, the San Francisco Ballet Auxiliary Fashion Show is back. We are pleased to announce that Paris-based Haute Couture designer Maison Rabih Kayrouz will be the featured designer at this year’s event. Saint Joseph’s Arts Society will serve as a fitting venue for the designer known for architectural cuts and exacting construction. The event will include a seated lunch followed by a runway show featuring the Haute Couture Fall 2020 Collection with tickets ranging from $500 to $5,000. Guests who purchase VIP tickets for $5,000 will join Rabih Kayrouz for an intimate dinner the night before the show and will enjoy premiere seating at the runway show. Grand Benefactor tickets at $1,000 include a cocktail reception with VIPs and the designers the night before the show. Patron tickets are $500. San Francisco Ballet Auxiliary Fashion Show Chair: Rhonda Mahendroo The event will benefit a wide range of San Francisco Ballet initiatives, including new works, scholarships for San Francisco Ballet School students, and community outreach programs. For more information and to purchase tickets, please contact Meg Sullivan at msullivan@sfballet.org or 415-865-6625. https://www.sfballet.org/support-us/special-events/fashion-show/

Thanks so much for the detailed reports, sf_herminator. Lots of great information there! I want to mention that forum member Terez posted a review of Program 3 on Bachtrak.com for anyone interested in reading more on this subject...

Hard work needs to be rewarded. It bothers me as well when the clapping is perfunctory. I can't relate to the people who say they find the mixed-rep programs boring, and mainly attend endless numbers of Giselle/Swan Lake/Sleeping Beauty performances. I do wonder if the art of 'dance' is lost on these folks. They really love something, but is it actually dance?

Thanks for posting your thoughts on Program 3, Quiggin. I like your description of the McIntyre as "an odd mixture of American plain-spokeness and European expressionism". That may work for most of his projects. Etudes is an example of a ballet that somehow manages to be greater than the sum of the parts. And so it hasn't gone away.

Anyone else read this announcement at Dance Magazine? This Year's Varna International Ballet Competition Just Got Postponed (indefinitely) [posted February 11, 2020] https://www.dancemagazine.com/varna-ibc-2645108024.html "Organizers told Reuters that they haven't received sufficient sponsorship or donations to produce the event this year. According to the competition's website, less than 30 percent of Varna IBC's operating costs are state subsidized."

Kuranaga is proving to be a great boon to the company. I just hope she doesn't burn herself out: she and Greco (like Kochetkova before them) tend to dance constantly with few periods of rest and relaxation. I suppose they don't know what to do with themselves if they're not dancing.

Thanks sf_herminator - I hope you finally get to see Mukhamedov and Kozlov. So you've never read Anna Karenina? Now you've got something to do this summer. 😉

I guess they had 2nd thoughts about posting anything that could be construed as "negative" (disconcerting, confusing, whatever). Don't mention problems - maintain a facade of good-natured competence!

SFB will be going to Toronto, opening the NBofC's 20/21 season: https://www.sfballet.org/discover/press-center/press-releases/release/san-francisco-ballet-announces-debut-tour-to-toronto/ Program NOVEMBER 11 – 15, 2020 Justin Peck’s Rodeo: Four Dance Episodes Christopher Wheeldon’s Bound To Alexei Ratmansky’s The Seasons

Toi, toi, toi, Terez. California, where on the website are you seeing this? It's not on the scrolling banner, and seems to be well buried.

Noooooooo! That's a bummer. And right at the beginning of the evening. Electric grids can seem oddly organized - lights can go out on one side of a street and not the other, and skip particular blocks. There's probably no emergency generator big enough to keep the entire opera house up and running.

ABC7 Interview with Benjamin Freemantle: https://www.instagram.com/p/B8cYJCdA1fh/

Mukhamedov will be in the Sandpaper Ballet. ;)

I'm all for it. I would just prefer that they try a practice clothes version - not that I personally disliked the original costumes, but to minimize the Orientalist aspects of the production and concentrate on the choreography and music. The current NYCB artistic directors seem interested in bringing back many lesser known works, so it could happen...

Tue, Feb 18 at 7:30 pm THE INFINITE OCEAN Composer: Oliver Davis Choreographer: Edwaard Liang Conductor: Martin West Violin: Cordula Merks Sofiane Sylve, Tiit Helimets Yuan Yuan Tan, Carlo Di Lanno INTERMISSION THE BIG HUNGER WORLD PREMIERE Composer: Sergei Prokofiev Choreographer: Trey McIntyre Conductor: Martin West Pianist: Yekwon Sunwoo Dores André, Benjamin Freemantle Jennifer Stahl, Luke Ingham Esteban Hernandez, Wei Wang INTERMISSION ETUDES Composer: Knudåge Riisager, after Carl Czerny Choreographer: Harald Lander Conductor: Martin West Misa Kuranaga Esteban Hernandez, Max Cauthorn Cavan Conley Wed, Feb 19 at 7:30 pm THE INFINITE OCEAN Composer: Oliver Davis Choreographer: Edwaard Liang Conductor: Ming Luke Violin: Cordula Merks Dores André, Luke Ingham Wona Park, Steven Morse INTERMISSION THE BIG HUNGER WORLD PREMIERE Composer: Sergei Prokofiev Choreographer: Trey McIntyre Conductor: Martin West Pianist: Yekwon Sunwoo Sasha De Sola, Max Cauthorn Sasha Mukhamedov, Steven Morse Cavan Conley, Lonnie Weeks INTERMISSION ETUDES Composer: Knudåge Riisager, after Carl Czerny Choreographer: Harald Lander Conductor: Martin West Mathilde Froustey Benjamin Freemantle, Wei Wang Tiit Helimets

Betsy Erickson, Ballet Master, on Christopher Wheeldon’s Cinderella Host Andi Yannone interviews Ballet Master Betsy Erickson and discusses how Cinderella is rehearsed and put together. In particular, they discuss the challenges of a trans-continental co-production during the initial creative process. https://sfballet.blog/2020/betsy-erickson-ballet-master-on-christopher-wheeldons-cinderella/ I also recommend Rachel Howard's review of SFB's Cinderella in the latest Fjord Review (online).