Alexandra

[Paul Vasterling, Artistic Director] October 4 and 5 Robert Joffrey's Pas des Deesses Salvatore Aiello's Afternoon of a Faun Dracula [Vasterling] December 13- December 22 The Nutcracker _ Nashville Ballet is pleased to announce that Ballerina Veronica Lynn will join her father, Kenneth Schermerhorn, music director of The Nashville Symphony, for three performances of Nutcracker: opening night, December 13; matinees Saturday and Sunday, December 14 & 15 February 7-9 RITES AND PASSAGES "Awaiting Redemption" [Paul Vasterling] "Giselle" April 25-27 Robin Hood [Vasterling]

[Marcello Angelini, Artistic Director] September 27-29 Lady of the Camelias Choreography Val Caniparoli Music, Frederick Chopin November 8-10 Legends in the Fall The Leaves are Fading [Dvorak-Tudor] Duende [Debussy-Nacho Duato] Prawn Watching [Michael Nyman-Val Caniparoli] December 13-22 The Nutcracker Moscelyn Larkin and Roman Jasinski, after Lev Ivanov, Music, Tchaikovsky A Nutty Nutcracker, one time only, December 19 February 14-16 Swan Lake Choreography Marius Petipa, Lev Ivanov, Marcello Angelini; Music, Tchaikovsky April 4-6 A Festival of Creations Three world premieres tba

[William Whitener, Artistic Director] Oct. 10-13, 2002 Bournonville Divertissements, staged by Flemming Halby Flower Festival in Genzano as well as the pas de six (dance for six) and tarantella excerpts from the ballet Napoli. Afternoon of a Faun (Robbins, Debussy) Jardi Tancat (Nacho Duato, Spanish folk songs) Each and Every - William Whitener’s set to Francis Poulenc’s Music Concerto in D Minor for Two Pianos December 6-29, 2002 The Nutcracker Choreography by Todd Bolender Music by Peter I. Tchaikovsky February 20-23, 2003 Winter Season of Treasures - Yesterday’s and Tomorrow’s Chopin Piano Pieces [Chopin/Todd Bolender] Duets [Merce Cunningham] A World Premiere by Artistic Director William Whitener, featuring the full company and as yet untitled Spring Mix April 10-13, 2003 World Premiere - Untitled by Paula Weber Handel Trio The Still Point [Debussy-Bolender] Cakewalk [Gottschalk-Boris]

[Wes Chapman, Artistic Director] September 21-29 Something Old, Something New Raymonda Romeo and Juliet Souvenançe World Premiere - A contemporary work to be announced. October 25-27 The Legend of Sleepy Hollow [Alan Hineline] December 14 The Nutty Nutcracker December 6-15 The Balanchine® Nutcracker February 14-16 Madeline and the Red Shoes April 25-27 Swan Lake

[James Canfield, Artistic Director] James Canfield Signatures October 12 - 19 Equinoxe Trois Gnossiennes, Drifted in a Deeper Land, cq (charmed quark) The Nutcracker December 12 - 26. The Nut Has Finally Cracked December 18, 27 & 28, 2002 Moms and Dads, leave the kids at home and escape the hustle and bustle of the holiday season with OBT’s hilarious spoof, The Nut Has Finally Cracked. Imagine The Nutcracker if it were Peter’s dream and Marie’s nightmare — where the party scene goes awry, the Rat King rules and super heroes abound. OBT aficionados will recognize references to other Canfield ballets and the cast includes surprise cameo appearances by well-known Portland celebrities. Giselle March 8-15, 2003 American Choreographers Showcase Programs A & B May 27-June 8, 2003 Program A Peter Martins’ Calcium Light Night David Parsons’ The Envelope Trey McIntyre’s romantic Like a Samba Trey McIntyre's Speak. Program B Paul Vasterling’s Seasons Trey McIntyre'sl Aliss in Wonderland.

[simon Dow, Artistic Director] September 26-29, 2002 Cinderella Choreography by Jean Paul Commelin Music by Sergei Prokofiev, Sets and Costumes by Peter Cazalet December 13-29, 2002 The Nutcracker Choreography by Lisa de Ribere, Additional Choreography by Simon Dow, Sets & Costumes by Zack Brown, Music by Tchaikovsky. February 6-9, 2003 Reflections Miroirs, Choreography by Mark Godden, Music by Maurice Ravel. MAP, Choreography by Alonzo King, Music by Arvo Part. In the Shadows of Sinai, Choreography by Diego Carrasco, Music by Franz Schubert. Beyond Invisible, Choreography by Lee-Wei Chao, Music from various folksong traditions. March 20-23 Apollo [stravinsky-Balanchine] La Bayadere [Minkus-Petipa]( May 8-11, 2002 Scheherazade, Choreography by Kathryn Posin, Costumes by Judanna Lynn, Music by Nikolai Rimsky-Korsakov. Paquita Variations, choreography by Petipa and music by Minkus. .

[Karen Brown, Artistic Director] September 13-15 A Night in Tunisia, World Premiere, choreography: Charles Anderson, music: Dizzy Gillespie; arrangement / performed by: Turtle Island String Quartet Jinx, Choreography: Lew Christensen; Music: Benjamin Britten, performed by: Oakland East Bay Symphony; conductor: Chris Christensen _Bamboo, Choreography: Michael Lowe; Music / Performed by: Melody of China October 11-13 Opus 45, American Premiere, Choreography: Gloria Contreras Music: Alban Berg , Performed by: Julie Steinberg _Butterfly, Oakland Ballet Premiere, Choreography: Rael Lamb, Music: Morton Subotnick _ Three Virgins and a Devil, Oakland Ballet Premiere, Choreography: Agnes de Mille, Music: Ottorino Respighi, Performed by: Oakland East Bay Symphony Untitled, World Premiere, Choreography: Dwight Rhoden, Music: Antonio Carlos Scott _ November 8-10 Mustt, Oakland Ballet Premiere, Choreography: Mario Alonzo, Music: Nusrat Fateh Ali Khan _ Four Norwegian Moods, Oakland Ballet Premiere, Choreography: Lew Christensen, Music: Igor Stravinsky Danzon num 2, American Premiere, Choreography: Gloria Contreras, Music: Arturo Márquez, Arrangement by: Enrique Dimeque Begegnung pas de deux, World Premiere, Choreography: Robert Henry Johnson, Music: National Radio & Television Chorus of Bulgaria, Performed by: Kitka _Like a Samba, Choreography: Trey McIntyre, Music: Astrud Gilberto

[Robert Weiss, Artistic Director] Carmen [bizet-Weiss] September 26 — October 13, 2002 A.J. Fletcher Opera Theater Stravinsky’s Clowns November 7 — 10, 2002 Raleigh Memorial Auditorium Petruschka, Pulcinella, and Jeu de Cartes, three of Igor Stavinsky’s most powerful scores, will be interpreted a new ballet by Robert Weiss with North Carolina Symphony. Premieres February 13 — March 2, 2003 A.J. Fletcher Opera Theater Ballets will include new works by: Christopher Wheeldon; Donald Mahler; Damian Woetzel; Tyler Walters; Timour Bourtasenkov; and Robert Weiss. Messiah [Handel-Weiss] April 3 — 20, 2003 A.J. Fletcher Opera Theater The Fairy Tales of Hans Christian Andersen choreographed by Lynne Taylor-Corbett and Robert Weiss May 29 — June 1, 2003 Raleigh Memorial Auditorium

October 31 - November 3, 2002 Ramblin’ Suite, World Premiere Choreography by Diane Coburn-Bruning Music performed live by The Red Clay Ramblers Carmen, Choreography by Septime Webre, Music by Georges Bizet November 30 - December 29, 2002 The Nutcracker Choreography by John McFall, Music by Peter Ilich Tchaikovsky December 27, 2002 The Nutty Nutcracker Choreography by John McFall Unchoreographed by the Atlanta Ballet Dancers, Music by Tchaikovsky and some other people. Rated PG-13 Where else would you see Go-Go Dancers, Batman and Robin, the Crocodile, Tinkerbell, Dracula, a mummy, random skiers, rappers, sharks, and old men racing in walkers? Only Atlanta Ballet’s The Nutty Nutcracker can bring all the high finks together in one wild evening. Last year’s premiere performance was such fun (and a success) that we have brought it back. And we’re not quite sure what you’re going to see this year. But it is guaranteed to make you laugh out loud. Nutcracker will never be the same. March 27 - 30, 2003 Hamlet Choreography by Stephen Mills. Music by Philip Glass April 24-27,2003 Requiem Choreography by John McFall, Music by Wolfgang Amadeus Mozart WORLD PREMIERE! Choreography by Christian Holder, Music performed live by the New Birth Missionary, Baptist Church Choir and the Atlanta Ballet Orchestra

October 16-20, 2002 The Taming of the Shrew (Cranko, Kurt-Heinz Stolze, after Domenico Scarlatti) November 29 - December 29, 2002 The Nutcracker February 26-March 2 The Diaghilev Dynasty Les Noces (Nijinska-Stravinsky) Parade (Massine-Satie) Le Sacre du Printemps (Nijinsky - Stravinsky) April 23-27 Encore Arpino! An evening of works by the company’s Artistic Director, Gerald Arpino Italian Suite (music: Ermanno Wolf-Ferrari) World Premiere (music: to be announced) L’Air d’esprit (music: Adolphe Adam) Light Rain (music: Douglas Adams & Russ Gauthier (at the Sunday matinee only)

[Terence S. Orr, Artistic Director] October 31 -November 3, 2002 Indigo in Motion ....on the spot, Choreography: Kevin O’Day, Music: The Ray Brown Trio More Than A Song, Choreography: Lynn Taylor-Corbett, Music: Jay Ashby, Mike Tomaro and Dr. John Wilson Vocalist: Vivian Reed StrayLifeLushHorn, Choreo-graphy: Dwight Rhoden, music: Billy Strayhorn, as arranged by Dr. John Wilson Music Producers: Manchester Craftsmen’s Guild December 7-December 29, 2002 The Nutcracker (world premiere), Choreography: Terrence S. Orr, Music: Peter Ilyich Tchaikovsky February 13 - February 16, 2003 Don Quixote Choreography: Marius Petpa and Alexander Grosky Staged and directed by: Terrence S. Orr Music: Ludwig Minkus April 10 - April 13, 2003 Four Last Songs Choreography: Ben Stevenson, Music : Richard Strauss Divertimento No. 15, Choreography : George Balanchine, Music: Wolfgang Amadeus Mozart 7th Heaven, Choreography: Dwight Rhoden, Music: Ludwig Van Beethoven and Johann Sebastian Bach May 8 - May 11, 2003 Cleopatra Choreography: Ben Stevenson, Music: Nicolai Rimsky-Korsakov as arranged by John Lanchbery

Ballet San Jose Silicon Valley Dennis Nahat, Artistic Director October 17-20 Polovtsian Dances [borodin-Dennis Nahat]The 2002–03 Season Starlight [Glazunov-Dennis Nahat] Raymonda In Studio D (music by Peter Wright) December 11-23, 2002 (San Jose Center for the Performing Arts) The Nutcracker. Dennis Nahat’s WEST COAST PREMIERE February 13-16, 2003 (San Jose Center for the Performing Arts) Miraculus Mandarin [bartok/Flemming Flindt Rodeo [Copland-DeMille] Summerscape [shostakovich-Nahat] April 3-6, 2003 (San Jose Center for the Performing Arts) The Tempest [Michael Smuin] May 1-4, 2003 (San Jose Center for the Performing Arts) “A Tribute to Donald McKayle” District Storyville set to the original music of Dorothea Freitag and the jazz of Sidney Bechet, Duke Ellington, Jelly Roll Morton, and others. Company Premiere of Death and Eros, set to a new age score by Jon Magnussen House of Tears, set to the Nuevo Tango rhythms of “Concerto for Bandonéon” by Astor Piazzolla.

Cincinnati Ballet [Victoria Morgan, Artistic Director] October 18, 2002 excerpts from Devils Holiday (1939) by choreographer Frederick Ashton with music by composer Niccolo Paganini, Saint Francis (1938) by choreographer Leonide Massine with music by composer Paul Hindemith, Gaite Parisienne - also by Massine and set to the music of Jacques Offenbach. La Sonnambula [balanchine] Julia Adams [world premiere] November 15-17 Sleeping Beauty [staged by Kirk Peterson] February 14-16 A Midsummer Night’s Dream [Mendelsson-Victoria Morgan] Come Together Festival March 7- 8, 2003 Trey McIntyre's Blue Until June George Balanchine’s Concerto Barocco world-premiere by Dwight Rhoden April 4-6 Carmina Burana [John Butler] Serenade [balanchine] One additional work during the final season performance weekend is still to be announced.

Ballet Arizona [ib Andersen, Artistic Director] October 4-6 Divertimento No. 15 (Mozart-Balanchine) New Andersen Ballet Company B (Paul Taylor-the Andrews Sisters) December 11-27 Nutcracker (Tchaikovsky-Andersen) February 14-16 Romeo and Juliet (Prokofiev-Andersen; world premiere) April 18-20 Prodigal Son (Balanchine-Prokofiev) Aurora’s Wedding (Tchaikovsky-Petipa) ----------------------------

I. Manon (September 5, 7, 13, 14 at 7:30; September 8, 15 at 2:00 p.m.) Music by Jules Massenet (1842 - 1912) Orchestrated and arranged by Leighton Lucas,with the collaboration of Hilda Gaunt. Choreography by Sir Kenneth MacMillan.Staged by Monica Parker and Patricia Ruanne; Designs by Peter Farmer; Lighting by Christina Giannelli II. FALL REPERTORY PROGRAM At 7:30 pm September 19, 21, 27, 28, 2002; at 2:00 pm on September 22, 28, 29, 2002 Madame Butterfly (Houston Ballet Premiere); Music by Giacomo Puccini, adapted by John Lanchbery; Choreography by Stanton Welch; Designs by Peter Farmer Five Poems. Music by Richard Wagner, Choreography by Ben Stevenson; Designs by Jane Seymour One of the world’s great love stories comes to the ballet ” The Nutcracker. Music by Peter I. Tchaikovsky Choreography by Ben Stevenson Designs by Desmond Heeley, Lighting by Duane Schuler November 29 — December 29, 2002 At 7:30 pm on November 29, 30 and December 6, 7, 13, 14, 15, 17, 18, 19, 20, 21, 22, 23, 26, 27, 28 At 2:00 pm on November 30 and December 1, 7, 8, 14, 15, 20, 21, 22, 23, 24, 27, 28, 29 III. WINTER REPERTORY PROGRAM At 7:30 pm on February 27, March 1, 7, 8, 2003 At 2:00 pm on March 2, 9, 2003 The Four Temperaments. Music by Paul Hindemith, Choreography by George Balanchine Company B. Songs sung by The Andrews Sisters, Choreography by Paul Taylor, Costumes by Santo Loquasto, Lighting by Jennifer Tipton WORLD PREMIERE BY BEN STEVENSON IV. Cinderella. At 7:30 pm on March 13, 15, 21, 22, 2003 At 2:00 pm on March 16, 22, 23, 2003 Music by Serge Prokofiev, Choreo-graphy by Ben Stevenson, Designs by David Walker, Lighting by Tony Tucci HOUSTON BALLET ACADEMY SPRING PERFORMANCE At 7:00 pm on Friday, April 25, 2003 V. SPRING REPERTORY PROGRAM At 7:30 pm on May 22, 24, 30, 31, 2003 At 2:00 pm on May 25, June 1, 2003 WORLD PREMIERE BY PAUL TAYLOR Etudes. Music by Knudage Riisager, after themes of Karl Czerny, Choreography by Harald Lander, Scenery by William Banks. Costumes Ghost Dances; South American Folk Songs recorded by Inti-Illimani, Choreography by Christopher Bruce, Set design by Christopher Bruce, Costume design by Belinda Scarlett, Lighting design by Nick Chelton VI. Alice in Wonderland. At 7:30 pm on June 5, 7, 13, 14, 2003 At 2:00 pm on June 8, 14, 15, 2003 Music by Joseph Horovitz, Choreography by Ben Stevenson, Designs by Nadine Baylis

Program 1, which opens February 4, includes the return of George Balanchine’s Ballo Della Regina, Helgi Tomasson’s Chi-Lin, and James Kudelka’s Dreams of Harmony. Program 2 opens February 6 and includes two works, the encore of Jerome Robbins’ Dances at a Gathering and the San Francisco Ballet premiere of Sir Kenneth MacMillan’s Elite Syncopations, set to the ragtime music of Scott Joplin and others. Program 3 opens February 13 with the revival of George Balanchine’s Allegro Brillante, an encore presentation of Yuri Possokhov’s Damned, and the San Francisco Ballet premiere of Christopher Wheeldon’s Polyphonia. Possokhov’s Damned had its world premiere last season. Program 4, which runs for eleven consecutive performances and opens March 14, is the SFB premiere of the full-length ballet Don Quixote, with new staging by Helgi Tomasson and Principal Dancer Yuri Possokhov. Program 5 opens April 1 and marks the return of The Waltz Project, by Peter Martins (ballet master in chief for New York City Ballet), Helgi Tomasson’s Nanna’s Lied, and Val Caniparoli’s Connotations. Program 6 opens on April 3 and features George Balanchine’s full-evening ballet in three parts, Jewels, staged by Ballet Mistress Elyse Borne, features costume designs by Karinska, original “Rubies” lighting design by Ronald Bates, with “Emeralds” and “Diamonds” lighting by Perry Silvey, and additional décor for “Emeralds” and “Diamonds” by Susan Tuohy. Program 7 opens April 29 with the return of Christopher Wheeldon’s Continuum, Lew Christensen’s Jinx and the San Francisco Ballet premiere of Paquita, staged by Natalia Makarova. Program 8 opens on May 1 and rounds out the season with three world premieres by choreographers Julia Adam, Alexei Ratmansky and Stanton Welch.

The poll can have only 6 choices, so that may be part of the reason Vote "Other" and then write your vote in on this thread, if you have another favorite. Thanks for posting the poll!

Now there's an interesting quesiton. If a ballet gets picked up by 5 or 6 companies does it, ipso facto, become an international standard? I'm thinking of Stevenson's "Cinderella" which has been staged by more companies than any other version (last press release I read it was 25). But there is an argument could be, and has often been, raised that this is because it's comparatively simple (compared to the Ashton or the Kirov versions). An aside, of course, but I thought it worth raising I think there are a lot of Alice ballets danced by small companies around the country in the spring -- and Tetley did one, too, for NBoC, I think.

We got Loscavio's debut at the Kennedy Center and she was wonderful. I agree with Mary -- I remember the freshness. And just seeing someone so young get through that role! Maffre was WONDERFUL as the [girl in] Green.

It depends on the guy Welcome, Iceland. I hope you'll check out our Men's Forum and an Adult Ballet Students forum, both in the Special Groups section.

Citibob, my remarks about changing ballets were made IN GENERAL. I'm sorry, I thought that was clear. No, I haven't seen Mateo's work and therefore cannot comment on it. It's great to have an inside view, but I also hope some audience members will also respond to Susan's query. (And we don't have anyone from Boston Ballet here, as far as I know, who can give that backstage view of Nissinen's comments.) I jumped in on this first because it was Thanksgiving and a slow posting day -- I hope others won't be discouraged from posting. Susan, did you think Nissinen was being condescending to the audience or the dancers, or both?

It's definitely a different approach, but I didn't think Nissinen sounded condescending, but rather demanding, of the "ballet is good only when it is great" school. (I must say I don't care for the sports analogy, but I think that he's probably just trying to "relate" to the general reader.) While Mr. Mateo has a right to discard anything he wants, of course, I'm always mistrustful of people who think they know what no longer "stimulates" -- or amuses, entertains, whatever -- today's audience. On what is this based? They don't take a poll. They just take what they don't understand and chuck it, rather than trying to understand it, and inspire the dancers and coach them so that they understand it and make it work for the audience. I think each approach will attract different dancers and different audiences -- which is fine.

How about anybody under 35? A new rule.

Who was there? What did you think?

Hi, Estelle! OSHA is a government agency, the Occupational Health and Safety Administration, that goes into offices and factories and fines the owners if there are fire hazards, or the equipment isn't working, or there's anything going on that could be dangerous for the workers. The reaction of the Edinburgh audience is interesting -- it could be that it wasn't a good performance, but it could be, too, that some people find the ballet boring because it's "just dancing," and I think you have to really, really like classical ballet to like it. Otherwise, it's just, "Oh, god, how many more of these are there? 7 to go?" I reread the interview Robbins did with Edwin Denby about "Dances" (It's in the Balanchine-Francis Mason book of the ballets) and he mentioned, referring to its very early days, that the dancers would read that this or that movement "meant" something, or evoked a particular image, and that became part of the ballet -- he didn't want that. So maybe, after 30 years, there are so many layers that have gotten ironed in, like oil stains, that the spontaneity is gone. Ari, I haven''t seen "Dances" done by NYCB nearly as much as you have, but I have some of the same memories, and I was surprised to see Yuan Yuan Tan in the Patty McBride role, too. I was generally disappointed in the women. I liked Julie Diana, but I didn't think she was up to the level of the men. I thought Feijoo was too quirky for the Verdy role. Paul, thank you for the info on casting in San Francisco. We are getting slightly different casts -- but Maffre is down for Green, and I am going. There have been several injuries. Kristin Long was pulled last night from Prism (replaced in the first movement by Zahorian), and Vilanoba injured his calf again (it must be D.C.) and was replaced by Damian Smith in Prism and Zachary Hench in Serenade. No one else went? Come on, guys. What did you think?