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At least you have SFB's non appearance on World Ballet Day to look forward to!

Yuan Yuan Tan begins her 25th year with SFB: https://datebook.sfchronicle.com/dance/yuan-yuan-tan-goes-on-and-on-extending-her-ballet-record-for-longevity 'Tan will dance the lead role of Tatiana in Balanchine’s “A Midsummer Night’s Dream,” which has not been performed by the company since 1986. She will also do “Diamonds” from Balanchine’s three-ballet suite “Jewels.” Her performance in the matinee on April 19, will be followed by a 25th anniversary dinner in her honor at the Palace Hotel. The public is invited.' As I mentioned previously about Sofiane Sylve, we are running out of chances to see these great dancers (both of whom still dance on a remarkably high level). Make the effort this season!

Rachel Howard just revealed this bit of information about Marsten's work: "Sarah Van Patten and Joseph Walsh are likely to steal the night as a surprisingly sympathetic Mrs. Robinson and her young prey." So for all the SVP fans waiting to see her return to a lead role - see the opening cast (fingers crossed).

Yes, please update the Places to Stay thread with any new information that you have. I will be staying at a different hotel (for me) this spring so will have something to say about that. The prices are generally outrageous these days, no matter where you stay.

Today's e-mail from SFB: Last chance to save your spot at Ballet Basics and get the ultimate glimpse into life behind the curtain at San Francisco Ballet. Start at the barre in our studios with SF Ballet Corps de Ballet dancer Ludmila Bizalion, find out where ballet has been (and where it's going), meet new Corps de Ballet dancer Bianca Teixeira, and pay a special visit to the SF Ballet Costume Shop. You'll leave equipped with all the tools to enjoy our performances to the fullest. It's all happening this Sunday, January 12 from 2-5 pm. Tickets are $50 each ($45 if you're an SF Ballet subscriber or donor). https://www.sfballet.org/productions/ballet-basics/

The things that catch my eye: I'd like to hear about Jennifer Stahl, Elizabeth Powell and Tiit Helimets in the Caniparoli premiere. I don't think I've seen Helimets dance with Stahl before, and certainly never with Powell. Definitely would like to hear about the Danielle Rowe piece. André and Walsh should be high energy. Sylve dancing Swan Lake roles is unusual these days. a farewell to the classics? YYT and Vitor Luiz in his farewell dance will be emotional. OK, the Mukhamedov and Helimets pairing sounds interesting too.

Not sure why, but Kochetkova will be performing in Derek Deane's Swan Lake at Lincoln Center in New York with Shanghai Ballet on January 18, 1pm. And possibly Sunday, January 19th at 1pm. https://www.instagram.com/p/B7BllMIBemA/

To be "fair and balanced": detractors have described Anima Animus as 'cold and calculating', so not everyone loves the ballet (naturally). The writer Rachel Howard put it this way, "Anima/Animus dazzlingly danced but, alas, emotionally monotonous". On the definite plus side: Sofiane Sylve isn't known to dance poorly in a role that has been created on her (or any other role that I can think of). She's fully committed if she's able to dance. Btw, I first remember seeing the title printed as Anima/Animus, and then Anima-Animus, and now it seems to have changed to simply, Anima Animus. EDIT: I think we forgot to say anything about Marsten. 😉 Her Snowblind ballet from the Unbound Festival was also one of the more successful pieces. Marsten is a dramatist - I think her works tend to be heavy on mood, visual atmosphere and visceral feelings (as expressed through dance). Snowblind wasn't perfect for me, it could be confusing and overwrought at times, but it manged to be interesting. Marsten's new piece should contrast pretty well with Anima Animus and 7 for 8.

This issue came up previously, so I wanted to mention that currently, when an SFB Instagram post states, "Link in bio for details", clicking the link at the top of the SFB Instagram page [ linkin.bio/sfballet ] will take you to an intermediary page with thumbnail images that match the images from the Instagram home page. Clicking on the post's corresponding thumbnail image will send you to the correct SFB website page for that particular posting. That's how SFB is handling the fact that Instagram won't allow outside links in posts (or a list of links at the top of the page). I hope that makes sense.

SFB Instagram posting: "This just in: We’re thrilled to announce a multifaceted partnership with San Francisco Conservatory of Music that will provide year-round housing for SF Ballet School students in @sfconservmusic’s brand-new Bowes Center as well as cross-disciplinary study for music and dance students, and new collaborations in choreography and composition." https://www.instagram.com/p/B6_hln0DQNB/ Press Release: https://www.sfballet.org/discover/press-center/press-releases/release/san-francisco-ballet-school-partners-with-the-san-francisco-conservatory-of-music-introducing-new-sf-ballet-school-student-residence-at-193-million-bowes-center/ "Beginning in August 2020, the partnership marks an unprecedented model of collaboration among arts training institutions in the nation, offering a holistic, multidisciplinary approach to education for students of both schools. Health and wellness programs, movement classes for Conservatory students, music classes for SFB School students, and new collaborations in choreography and composition are among the highlights of the partnership. The residence, which houses up to 52 students, provides enhanced safety and convenience to SF Ballet School’s studios and the War Memorial Opera House; access to new performance and rehearsal spaces; a dining facility; and an overall improved quality of life for SFB School students, including those in the intermediate levels."

Anima Animus was one of the more successful ballets at the Unbound Festival, but it's so hard to predict anyone else's like and dislikes. ;)

Sofiane is, I believe, 43 years old now, so we're running out of chances to see her. I think an opening cast of Sofiane Sylve, Frances Chung (dancing what was originally a Maria Kochektkova role), Joseph Walsh, Luke Ingham and Wei Wang is likely. But other dancers are learning these roles for the 2020 performances. There's no way to guarantee which nights she will appear in Anima Animus, but the opening cast is still a good bet. (Knock on wood). If you're traveling from a distance to see SFB, I recommend visiting at the crossover of Programs 5 & 6. As Quiggin mentioned, Program 6 has Ratmansky's The Seasons, a co-production with ABT - the reviews were quite good for this ballet (I think it was the costumes that people didn't like much). Program 5 [Opening Night] Tuesday, March 24, 2020 7:30 PM Program 5 Wednesday, March 25, 2020 7:30 PM Program 6 [Opening Night] Thursday, March 26, 2020 7:30 PM I went looking for past forum comments about Anima Animus, and here's what I've found so far: "Is there another thread that mentions when/why David Dawson's amazing Animus Anima got replaced by Justin Peck's Hurry Up, We're Dreaming? It was only last week that I realized Dawson's ballet doesn't show up anywhere at all this season, and as it was my favorite from the Unbound Festival, I'm gritting my teeth in disappointment..." —Terez "Terez, I’m totally in sympathy with you re the Dawson being displaced; it was my favorite too. In fact, I bought a ticket to see a second performance of Program 2 just to see the Dawson and Divertimento 15 again." —PeggyR "I was also disappointed in the change to Hurry Up, We're Dreaming? from Dawson's beautiful Animus Anima, as I am going to this Thursday and Friday performances. Animus Anima takes requires a technique with tremendous control and serenity." —Josette https://balletalert.invisionzone.com/topic/44487-sfb-2019-program-2/?tab=comments#comment-411838 "Dawson Anima Animus: A- A high energy, dynamic piece that had the misfortune of coming after the emotional Wheeldon piece. Maybe it would have gotten a full 'A' if scheduled differently, though I still felt that there were some instances where men had to wander about the stage to get into position for something while dancing was going on around them. Others might disagree. The costumes bothered me for some reason. The men's shirts and the women's leotards were backless except for a vertical strip that ran up their spines, which just made me feel uncomfortable - I can't explain why." -YouOverThere https://balletalert.invisionzone.com/topic/43555-sf-ballet-2018-tours/?tab=comments#comment-408876

Cathy Marsten's upcoming ballet, Mrs. Robinson, will be based upon film, The Graduate: http://www.playbill.com/article/mrs-robinson-based-on-the-graduate-will-premiere-at-san-francisco-ballet "Cathy Marston’s second creation for the company, re-told from the perspective of the title character, will debut March 24" And the SFB Blog now has an article on the ballet: https://sfballet.blog/2020/reconsidering-mrs-robinson/

Misa Kuranaga was recently filmed by a Japanese TV documentary crew - here she is in rehearsal with Angelo Greco, and Helgi Tomasson: https://www.instagram.com/p/B639MfCntSu/ Some Nutcracker GPD footage: https://www.instagram.com/p/B6rCa4LnmeJ/

https://sfballet.blog/2019/spellbound-world-premieres/ Spellbound's complete programming: Men’s Regiment from Stars & Stripes Composer: John Philip Sousa, arranged by Hershy Kay Choreographer: George Balanchine Myles Thatcher World Premiere Composer: TBA Choreographer: Myles Thatcher “Jockey Dance” from From Siberia To Moscow Composer: Carl Christian Møller Choreographer: August Bournonville Val Caniparoli World Premiere Composer: Ludovico Einaudi Choreographer: Val Caniparoli Grand Pas Classique Composer: D. F. E. Auber Choreography: Victor Gsovsky Balcony Pas de Deux from Romeo & Juliet Composer: Sergei Prokofiev Choreographer: Helgi Tomasson Pas de Deux from Hurry Up, We’re Dreaming Composers: Anthony Gonzalez, Yann Gonzalez, and Justin Meldal-Johnsen Choreographer: Justin Peck For Pixie Composer: TBA Choreographer: Danielle Rowe Pas de Deux from Swan Lake Composer: Peter Ilyich Tchaikovsky Choreographer: David Dawson Pas de Deux from Bells Composer: Sergei Rachmaninoff Choreographer: Yuri Possokhov Pas de Deux from Le Corsaire Composer: Riccardo Drigo Choreography: after Marius Petipa Finale from Diamonds Composer: Peter Ilyich Tchaikovsky Choreographer: George Balanchine

I'm guessing that the scheduling just worked out to have a farewell performance. He wouldn't need a regular contract for that. But presumably he had to tell Tomasson way back in the early summer(?) what was in the works, so his contract would not be renewed for the coming year.

Nabokov is talking about a condition known as synesthesia in the passage above, so there's not really a "better" to this. He just describing his own personal associations (and his mother's). There are quick references to synesthesia experience in many of Nabokov's books, but only in the autobiography does he go into real detail about what it was like for him. Rimbaud is one of a number of poets who likely "suffered" from Synesthesia. Or maybe it was just the Absinthe. Much of his poetry feels synesthetic to me (or psychedelic, depending on your perspective). Here's an interview with Sue Lyon from back in the day (she's 16 years of age here): https://www.youtube.com/watch?v=_bHz-N6bJ3I There's also one from later in her life for French TV (Lyon speaks in English): https://www.youtube.com/watch?v=UuyzSX4WpW0

This kind of relates to the last few posts (uncensored!), but mostly it's a nice compendium - Mathilde Froustey posted a visual record of the main roles she has danced while at POB and SFB:

The new job must begin in January, so that's the way it goes. I wish Vitor good fortune in his new endeavor.

As if reading your thoughts - posted yesterday by SFB: https://sfballet.blog/2019/vitor-luiz/

Willam Christensen’s 1944 Nutcracker https://sfballet.blog/2019/willam-christensens-1944-nutcracker/ Related: America's First Snow Queen https://sfballet.blog/2019/americas-first-snow-queen/ Nutcracker Close Up https://sfballet.blog/2019/nutcracker-close-up/

Lolita isn't one of my favorite books, in theme or style, but not all of them can be. ;) However, his autobiography Speak, Memory is in my top 10 list of autobiographies (in any language). The first edition was published in English, and has many, many examples of excellent written English: [This section is a particular favorite of the poetry community] 'On top of all this I present a fine case of colored hearing. Perhaps “hearing” is not quite accurate, since the color sensations seem to be produced by the very act of my orally forming a given letter while I imagine its outline. The long a of the English alphabet (and it is this alphabet I have in mind farther on unless otherwise stated) has for me the tint of weathered wood, but the French a evokes polished ebony. This black group also includes hard g (vulcanized rubber) and r (a sooty rag being ripped). Oatmeal n, noodle-limp l, and the ivory-backed hand mirror of o take care of the whites. I am puzzled by my French on which I see as the brimming tension-surface of alcohol in a small glass. Passing on to the blue group, there is steely x, thundercloud z, and huckleberry k. Since a subtle interaction exists between sound and shape, I see q as browner than k, while s is not the light blue of c, but a curious mixture of azure and mother-of-pearl. Adjacent tints do not merge, and dipthongs do not have special colors unless represented by a single character in some other language (thus the fluffy-gray, three-stemmed Russian letter that stands for sh, a letter as old as the rushes of the Nile, influences its English representation). I hasten to complete this list before I am interrupted. In the green group, there are alder-leaf f, the unripe apple of p, and pistachio t. Dull green, combined somehow with violet, is the best I can do for w. The yellows comprise various e’s and i’s, creamy d, bright-golden y, and u, whose alphabetical value I can express only by “brassy with an olive sheen.” In the brown group, there are the rich rubbery tone of soft g, paler j, and the drab shoelace of h. Finally, among the reds, b has the tone called burnt sienna by painters, m is a fold of pink flannel, and today I have at last perfectly matched v with “Rose Quartz” in Maerz and Paul’s Dictionary of Color. The word for rainbow, a primary, but decidedly muddy, rainbow is in my private language the hardly pronounceable: kzspygv. The first author to discuss audition coloreé was, as far as I know, an albino physician in 1812, in Erlangen. The confessions of a synesthete must sound tedious and pretentious to those who are protected from such leakings and drafts by more solid walls than mine are. To my mother, though, this all seemed quite normal. The matter came up, one day in my seventh year, as I was using a head of old alphabet blocks to build a tower. I casually remarked to her that the colors were all wrong. We discovered that some of her letters had the same tint as mine, and that, besides, she was optically affected by musical notes. These evoked no chromatisms in me whatsoever. Music, I regret to say, affects me merely as an arbitrary succession of more ore less irritating sounds. Under certain circumstances I can stand the spasms of a rich violin, but the concern piano and wind instruments bore me in small doses and flay me in large ones...' "…I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. Let visitors trip. And the highest enjoyment of timelessness―in a landscape selected at random―is when I stand among rare butterflies and their food plants. This is ecstasy, and behind the ecstasy is something else, which is hard to explain. It is like a momentary vacuum into which rushes all that I love. A sense of oneness with sun and stone. A thrill of gratitude to whom it may concern―to the contrapuntal genius of human fate or to tender ghosts humoring a lucky mortal." "…I do not doubt that among those slightly convex chips of majolica ware found by our child there was one whose border of scrollwork fitted exactly, and continued, the pattern of a fragment I had found in 1903 on the same shore, and that the two tallied with a third my mother had found on that Mentone beach in 1882, and with a fourth piece of the same pottery that had been found by her mother a hundred years ago—and so on, until this assortment of parts, if all had been preserved, might have been put together to make the complete, the absolutely complete, bowl, broken by some Italian child, God knows where and when, and now mended by these rivets of bronze." - Vladimir Nabokov, Speak, Memory

We all appreciate the post-performance write-ups! Good of you to mention Ulrich - he always gave a darn, and expressed himself well, and that's what came through for me. There is a thread about his passing here: https://balletalert.invisionzone.com/topic/44928-allan-ulrich-has-died/?tab=comments#comment-417529 Thanks for the mentions of Frantziskonis, Powell and Sheehan - I like to follow their progress. I'm pretty sure Powell has danced Arabian before in the past couple of years (as well as the other Nutcracker divertissement roles for women, and the Act 1 Ballerina Doll). Your question makes me wish there was an online database of the roles danced by SFB members. It just occurred to me the other day - Ulrik Birkkjaer must be nursing an injury, or did he dance in the first half of the Nutcracker run? I don't remember seeing his name in the castings.

Indeed. I should have written, "most people find the implications troubling still". Just imagine if Kubrick was able to further explore the erotic nature of Lolita and Humbert's relationship, as he intended.

Well I don't doubt what Braylock-Olivier is writing, but I think this policy must only be affecting Nutcracker costumes (or certain costumes). I don't recall seeing censored photos like this before. Even so, it's a policy that interferes with SFB's visual presentation to the world. Images of censored costumes are neither positive nor professional looking. And insisting that there can't be any informal (unofficial) photos of the dancers wearing their costumes is obnoxious. Reminds me of the Balanchine Trust's old policy of yanking any video footage of Balanchine ballets from the Internet. (Great way to make an impression and educate young people about the beauty and "importance" of your repertoire!) Note: Braylock-Olivier does have a photo of herself in the Sugar Plum Fairy costume online, and I've seen photos of various dancers in their Snow Queen costumes.