its the mom

And the Dancers' Panel Discussion with Laura Young, Devon Carney, Jennifer Gelfand, Sandra Jennings and Kathleen Breen Combes:

I am not sure of the rules about sharing videos, so I hope I am not doing something illegal. Here is the 50th Anniversary Artistic Director Discussion. I have not had the chance to listen to it yet.

I will not comment on the performances, as that would be a conflict of interest. However, it was wonderful to be in the audience for all four of the shows this weekend. Every performance was nearly sold out. Saturday night was a special treat, as it was the 50th Anniversary Alumni Performance. Present in the audience were Bruce Marks, Anne-Marie Holmes, Violette Verdy, along with numerous alumni. There was a pre-curtain discussion with the aforementioned directors and Mikko Nissinen. I was unable to attend, but Mr. Nissinen advised me it will be on their website.

SPECTACULAR SEASON INCLUDES THREE WORLD PREMIERES, TWO COMPANY PREMIERES, CONTEMPORARY VISION, NEO-CLASSICAL MASTERPEICES AND MAGICAL CLASSICS Boston, ma - Boston Ballet Artistic Director Mikko Nissinen today announced the programming for the 2014-2015 season at the Boston Opera House. Boston Ballet's 51stseason kicks off with the world premiere of Mikko Nissinen's Swan Lake, featuring glorious new sets and costumes by award winning designer Robert Perdziola. The season continues with the beloved new production of Nissinen's The Nutcracker and Val Caniparoli's romantic drama Lady of the Camellias. The spring season heats up with a burst of contemporary and neo-classical choreography from masters such as William Forsythe, Jerome Robbins, Helen Pickett, and Wayne McGregor, including the Company premieres of George Balanchine'sEpisodes and Hans van Manen's Black Cake. Adding to the excitement, Boston Ballet will present world premieres by Resident Choreographer Jorma Elo and Principal Dancer Jeffrey Cirio. "Next season has shaped up to be very exciting," said Nissinen. "The new production ofSwan Lake will be deeply rooted in tradition with the clean yet luxurious beauty we have come to expect from Perdziola's designs. After we steal your heart with The Nutcrackerand Lady of the Camellias, get ready for a jolt of energy from our three spring repertory programs. I cannot imagine a better way to showcase the strength of our diverse company than with this season's programming. The future of Boston Ballet starts now." The world premiere of Nissinen's Swan Lake will launch the season in splendor October 30 - November 9. Perdziola and Nissinen join forces again following the 2012 launch of Boston Ballet's new version of The Nutcracker. A wonderful blend of history, classicism and luscious detail this fresh new production of Swan Lake will feature a never before seen haunting prologue. This world famous classic is set to P.I. Tchaikovsky's beloved score, and features Nissinen's choreography based on the original version by Marius Petipa and Lev Ivanov. The season continues with Boston's favorite holiday tradition The Nutcracker, on stageNovember 28 - December 31. Boston Ballet then presents Val Caniparoli's Lady of the Camellias from February 26 - March 8. This heartbreaking ballet is based on the 19thCentury French novel by Alexandre Dumas that later inspired the opera La Traviata and Hollywood blockbuster Moulin Rouge. The ballet follows the tragic tale of love between a courtesan and impoverished artist set to music by Frédéric Chopin. The 2015 spring season continues with Perception, a series of thrilling programs designed to awaken the senses. Shades of Sound, on stage from March 19-29, is comprised of three riveting works that feature magnificent musicality and exhilarating choreography. Wayne McGregor's mesmerizing Chroma returns, along with the Company premieres of George Balanchine's Episodes and Hans van Manen's deliciously comic Black Cake.Edge of Vision, which runs from April 30 - May 10, is a beautiful trio of contemporary dance and includes a world premiere by acclaimed Resident Choreographer Jorma Elo and Helen Pickett's visual feast Eventide recently re-worked for the Vienna State Opera. An exciting third ballet is soon to be announced. The 2014-2015 season culminates with Thrill of Contact on stage from May 14 - May 24. This power packed program of precision and impressive athleticism includes George Balanchine's Theme and Variations, Jerome Robbins' The Concert, William Forsythe's The Vertiginous Thrill of Exactitude, and a world premiere by Principal Dancer Jeffrey Cirio. All 2014-2015 performances take place at The Boston Opera House: Swan Lake October 30 - November 9, 2014 Music by P.I. Tchaikovsky The Nutcracker November 28 - December 31, 2014 Music by P.I. Tchaikovsky Lady of the Camellias February 26 - March 8, 2015 Music by Frédéric Chopin Shades of Sound March 19 - 29, 2015 Music by Joby Talbot, Anton von Webern and P.I. Tchaikovsky Edge of Vision April 30 - May 10, 2015 Music by Jan Garbarek, Philip Glass, Ravi Shankar, J.S. Bach Thrill of Contact May 14 - 24, 2015 Music by P.I. Tchaikovsky, Frédéric Chopin, and Franz Schubert For more information, visit www.bostonballet.org or call 617-695-6955.

Tonight is the second installment of the BB @ home shows. The first, back in the fall, showcased choreography by Dusty Button. This one will showcase work by Jeffrey Cirio. The third will be an evening dedicated to long-time company member, Yury Yanowsky. http://artery.wbur.org/2014/01/30/cirio-boston-ballet

http://www.theguardian.com/stage/2013/nov/08/2014-national-dance-awards-shortlist Best male dancer Dane Hurst (Rambert) Vadim Muntagirov (English National Ballet) Sergei Polunin (Moscow Stanislavsky Ballet and guest artist, Royal Ballet) Edward Watson (Royal Ballet) Best female dancer Maria Kochetkova (San Francisco Ballet) Natalia Osipova (Mikhailovsky Ballet and guest artist, Royal Ballet and Bolshoi Ballet) Olga Smirnova (Bolshoi Ballet) Eva Yerbabuena (Ballet Flamenco Eva Yerbabuena) Outstanding company Boston Ballet Mikhailovsky Ballet Rosas San Francisco Ballet Best classical choreography Mark Morris (Beaux for San Francisco Ballet) David Nixon (The Great Gatsby for Northern Ballet) Alexei Ratmansky (24 Preludes for Royal Ballet) Christopher Wheeldon (Aeternum for Royal Ballet) Outstanding female performance classical Nancy Osbaldeston (for the ballerina in Petrushka for English National Ballet) Cira Robinson (in War Letters for Ballet Black) Akane Takada (for Olga in Onegin for Royal Ballet) Yuan Yuan Tan (in RAkU for San Francisco Ballet) Outstanding male performance classical Jeffrey Cirio (in Plan to B for Boston Ballet) Israel Galvan (for flamenco performances at Sadler's Wells) Nicolas Le Riche (in Le Jeune Homme et la Mort for English National Ballet) Brian Maloney (for Bratfisch in Mayerling for Royal Ballet)

Boston is slated to do Etudes again this spring. A question - I had never seen it done live until Boston did it several years ago. In the version I saw from Royal Danish, the sylph and the ballerina girl were dance by separate individuals. In the version in Boston (which Lund and Landers set), the sylph and ballerina girl were the same dancer. Does anyone know which was the original? I must admit I liked it better when danced by separate individuals.

Several other dancers have responded to support the tragedy in the Philippines. Lia and Jeffrey Cirio (Filipino-Americans) of Boston Ballet have created a t-shirt, with all proceeds to support Convoy of Hope for the Philippines. Here is the facebook page: https://www.facebook.com/mahalforthePhilippines?notif_t=page_new_likes In addition, Adrienne Canterna is hosting an evening of dance in Glen Burnie, MD on Monday, November 25. https://www.facebook.com/photo.php?fbid=771637349520116&set=p.771637349520116&type=1&theater

I know that La Bayadere has been the subject of racism. I do, however, believe that it is a reflection of the time in which it was created. It's a fantasy. It's not meant to represent in actuality the culture of India. Maybe it was when it was written. I know the historians on this site could weigh in. The story in no way glorifies the lifestyle, nor is it "believable" in terms of being real life. It is a sad story of love and broken hearts. It's the one ballet, no matter how many times I see it, I cry when Nikiya does her death dance. I hope you will keep an open mind and enjoy it. I think we could find racism in many of the older story ballets. More concerning to me is the racism that exists within companies - minorities not being cast in certain roles because of their skin color.

Swanhilda8- Thanks for your review. I was unable to be at the gala due to emergency surgery, so it is wonderful to "see" the performance from everyone's eyes. I just wanted to assure you that La Bayadere is a beautiful program. Le Clerc does a lovely job of staging this ballet. I am not sure the wording they used to describe it, but I think it is more mysterious than erotic. Of course, there is the requisite opium scene, and I wouldn't recommend it for very young children. With the long shades scene, I think most youngsters could become bored. However, the ballet will usually give an age range so that parents can make the decision whether or not to take their children. I don't think it's feasible to just do ballets that serve families well. And, certainly, the dancers would hate it.

At least in the case of Boston Ballet's AGMA contract, there is no remuneration for attending donor functions (except if required to dance). I would imagine other AGMA member contracts would be similar. "ARTIST REPRESENTATIVE ACTIVITY – Any non-dance activity in which Artist’s presence is voluntarily requested to further the fundraising, marketing or educational mission of the company, inclusive of, but not limited to, press interviews, donor cultivation socials and the annual fundraising ball. Such activity, not to be unreasonably scheduled, is voluntary and therefore non-compensable unless Artist is plying his / her trade (e.g. dancing), in which case such time shall be compensated at the applicable rate (see exception below, subparagraph O – Free Day)."

The excerpts from Rooster will be the best of whole piece - Paint it Black and the Finale. Don Q excerpt will be the Grand Pas and for La Bayadere, it will be the Golden Idol. Plan to B is one of Boston's signature pieces, so it's appropriate to open the 50th Anniversary. I am disappointed they are doing Serenade (although it will be beautiful outside) and Symphony in Three Movements once again. We have seen those a lot over the past few years. But, since they are preparing for La Bayadere in the fall and Ashton's Cinderella in the spring, I guess it makes sense to have some programming the dancers are familiar with. They are also doing a new Plotnikov piece, which I am anxious to see.

As you say, it's a hierarchical system. Do you actually think the sponsored dancers are going to publicly say anything negative? It's divisive enough and dependent enough upon the whims of directors, choreographers, (and let's not forget critics) etc., without placing upon dancers yet another way to feel like objects at auction or in constant competition with one another. And please help us if those donors would actually have artistic input or somehow sway casting. Disaster. But, you know, money talks. Wasn't there a story going around about the Bolshoi and "favors" given to donors?

Sorry, I hate the idea of it. It's one more way for a dancer to be nothing more than an object, once again. Think about it. "Sit with us at the gala, go to dinner with us, can you talk to this person, would you consider doing a special performance, etc." In addition, it's humiliating for the other dancers in the company who don't necessarily get a sponsor. Not because they are not top-notch. Think about the other SF principal and soloist dancers. Domitro, Zahorian, etc. - they don't deserve to be sponsored?

The money from sponsorship, as I understand it (from having a ds who has been sponsored in the past), is for the company to cover costs. The dancer sees none of that money directly. Classes and coaching on their time off? At least in the US, that's up to the individual dancer.

Opening night photos: https://www.facebook.com/media/set/?set=a.10151750972020935.1073741831.31837010934&type=1

The Moscow Mule is a cocktail. I don't think there is any big story to it. I asked my son and he said that Maria said she likes cheesecake. They couldn't just name it Maria's cheesecake, so they tied it in with the cocktail. He said that one of the donors also had a mini wedding cake made for Tiler Peck and Robbie Fairchild.

The story behind the cheesecake - apparently the Larkspur (or perhaps it was the festival) contacted a few of the dancers ahead of time to find out their favorite desserts. They created desserts for them. I asked my son, who was there, about it. He didn't know the whole story, but this was the gist of it. Lil Buck is a vegan and they created some sort of vegan chocolate dessert for him.

This was my favorite shot of the rehearsal: https://www.facebook.com/photo.php?fbid=10151745550085935&set=a.134174125934.142972.31837010934&type=1&theater

Thank you, Natalia. I was not sure. I know that Jackson has brought their cut-off age down to 26 (I believe), and that's probably why I was confused. I think Brooklyn is around 27/28.

I was wondering what the age cut-off is in the Seniors. Brooklyn should be approaching the cut-off in most competitions, shouldn't he?

As an avid Boston Ballet goer, can I just say that James Whiteside was a principal dancer for many reasons, but one was his outstanding versatility. This is a virtue that is much needed at a company like Boston Ballet, where they dance not only classics, but a good amount of neo-classical and very contemporary work. James was always chosen by Balanchine repetiteurs and contemporary choreographers. (In my opinion, for whatever it's worth, he could be a principal dancer across the street because he looks great in Balanchine's works.) So, he would definitely be a go-to person in those areas. But, he has also performed in all of the classics. In addition, while not as exciting as Simkin or Vasiliev, he is an outstanding partner and became a favorite partner to all of the principal and soloist women in the company. He is a hard worker and does whatever is asked without being a "diva." He is devoted to whatever he is doing. Also, because he is a friend to my dancing children and I have an inside "track," let me say that this season he has done whatever Kevin has asked of him. So, he may not be as exciting as some of the others, he may not have the lines you want him to have, but he is a very strong and dependable addition to the company. New York is lucky to have him.

Yes, they are. There were a number of dancers who decided not to dance in Bella.

Yes, Dale. Excited for the tour. Will be going to London to see them. Not sure about the Polyphonia choice. Although they dance it well, it is already done enough there. As for the choice of Bella Figura, I would choose one of the other Kylian pieces that they just did. Nonetheless, hoping for a successful tour.

The first cast couples in Symphony will all be good. I believe that those couples will Arrais/Kuranaga, Kozashvili/L.Cirio, Breen-Combes/J.Cirio, and I am not sure who will be the last couple. I think that all of them are in Chroma, probably just re-arranged as couples. These are all principal dancers, and probably the most active in the company. Kuranaga did a year at SAB, and the Cirios are from CPYB (along with Breen-Combes, who did a year there), so they are often used in Balanchine's work. Standouts in the Kylian program were up and coming demi-soloist, Bradley Schlagheck, and corps member, Paul Craig (just back from an injury). Also back from maternity leave is soloist Rie Ichikawa, who always delivers. Corps member, Emily Mistretta, was also featured and did well in the Kylian program. I am not sure where she lands in the Balanchine/Chroma program. One of my other favorites is Altan Dugaraa, especially in contemporary work. There are a few newer members of the company who are being pushed forward, and it remains to be seen if they have what it takes to deliver across the board - in classical, neo-classical and then the contemporary work required at Boston.