Helene

Welcome back, Mme. Hermine!

Casting is up for the final week, Monday-Wednesday December 26-28: https://www.pnb.org/Nutcracker/ Miles Pertl makes his debut as Cavalier, partnering Laura Tisserand on 27 December at 12:30, and then again on 28 December at 5:30pm. Carrie Imler has an extra performance of Dewdrop on 27 December at 5:30pm. There's also some shuffling on this week's casting, which I've noted on the spreadsheet, which can be downloaded from this link: Nutcracker Casting 2016 12-19.xlsx Some videos about the students in the Nutcracker: On Being Clara The Hidden Hero of The Nutcracker

This is the link to the second part of Melissa Klapper's two-part podcast on the history of college dance departments: http://www.premierdancenetwork.com/pirouettes-from-the-past-chapter-eight-college-dance-departments-part-two/

While I understand the frustration, dancers get to control their social media message, and we are privileged and lucky to get what we do. Mearns' withdrawals from Nutcracker performances have been documented in this thread, including a performance from last week, where Tiler Peck substituted for her and danced with Amar Ramasar with no rehearsal.

I'll start. Best of 2016: There aren’t enough superlatives to describe Doug Fullington’s abridged collaborative reconstruction of “Le Corsaire,” danced in March by students from the PNBS, including professional division students. All of the students were 110% dedicated to making these performances detailed and vivid. Patricia Barker snagged leads Dillon Perry and Levi Teachout for Grand Rapids Ballet -- smart woman! Isaac Bates-Vineuza was terrific in the character role Lanquedem, and was a star in the “Next Step” program, especially in a stylist piece by Miles Pertl (“Present Company” to music by Laurie Anderson), and in Wheeldon’s “Scenes de Ballet” for the graduation show. Alejandro Cerrudo was very smart to recruit this multi-talented and versatile dancer for Hubbard Street Dance. James Moore owned the Spring 2016 as Romeo in Maillot’s “Romeo et Juliette,” in Tharp’s Cerrudo’s “Little Mortal Jump”, as the shy sailor in Robbins’ “Fancy Free,” and as the Father in “Waiting for the Station,” knocking it out of the park in each. Justin Peck’s “Year of the Rabbit” showed what all the fuss is about, the dancers seemed to be having a ball, and it left me wanting more Peck. I got a taste of that at the NYCB opener, in which he featured Sara Mearns. Jessika Anspach’s retirement performance featured the "Preghiera" section of George Balanchines' “Mozartiana.” PNB hasn’t performed the ballet in a few decades, but Peter Boal staged this section for her for the season-ending Encores program, and it was a great gift to her and the audience. For someone for whom faith is so important — Anspach has been public about hers — the supplication and reverence she physicalized transcended steps and gesture and was very moving. Kylee Kitchens also retired in June 2016 and chose “After the Rain” Pas de Deux, which was especially meaningful to her, as she was able to perform the opener at Vail. Seth Orza was a sensitive partner, and the work was a great reminder of her beautiful feet: in ballet slippers, you might have sworn she was on point, her feet were so beautifully pointed and articulated. Carrie Imler is back, jumping into the deep end with First Movement of Symphony in C in the opening and closing performances of the first rep; she was as authoritative as ever. Benjamin Griffiths’ promotion to Principal Dancer was recognition for his plush, never-forced, exemplary dancing, from tendu to the fanciest jumps and turns. The PNB orchestra’s renditions of everything, and their extraordinarily high standard of playing was featured in the new orchestration for Tharp’s "Brief Fling," after the score was researched, mined, and put back together by Emil de Cou. With the music as a full partner, and the Colombier an equal partner with the Grainger, watching the ballet was a very different and heightened experience. Michael Jinsoo Lim’s gorgeous violin solo-playing in "Stravinsky Violin Concerto" and the Act I transition scene in "The Nutcracker," deserves many bravos. Alan Dameron's playing, especially the Toussaint in "Waiting at the Station," and his rendition of Beethoven's "Appassionata", was sublime. Nutcracker 2016: Imler as SPF: exquisite dancing with her unmatched dramatic authority. This is not simply a dancing role, and there is no question whose kingdom this is when she is cast. Two Drosselmeiers that could not have been more different: Ryan Cardea’s enchanting, beautifully detailed portrayal is the first I’ve seen since Francisco Moncion’s — my gold standard — with that depth of underlying warmth. Otto Neubert's presence and authority was a perfect match for Imler’s. As he exuded a mix of underlying energy and casual elegance, he could have been mistaken for one of those Founding Father dudes. Elizabeth Murphy was a knockout as Coffee, both gentle and potent. The little tings of her hand cymbals, with just a touch of ritenuto, were the grace notes to her phrasing and rose to the top of the theater like the scent of jasmine. Ezra Thomson, both as Toy Soldier and Candy Cane, used needle-like emphases in his phrasing that were surprising, but at the same time looked inevitable. If he were a Flamenco dancer, the theater would have been filled with “ole”s. In year two, with many dancers reprising their roles, and so many of them having performed the Balanchine version before as professionals and students, they are still giving beautifully thoughtful and nuanced performances, and the orchestra is holding up fine, going into the doubleheader week. If there is any Nutcracker fatigue, they are not showing it. I’m going to pretend that Miami City Ballet visited Vancouver again in 2016. That’s my story, and I’m sticking to it. Worst of 2016: The news that Carrie Imler is retiring. However, I insist on a full course of denial. That “Le Corsaire” was an abridged version. We wuzrobbed! Rest in peace, Violette Verdy, Yvonne Choteau, Yvette Chauvire, Anna Lærkesen, Judith Cruickshank, and a long-time member of the Ballet Alert! and Ballet Talk for Dancers family, Giannina Mooney.

Awwwww

From "The New Yorker": A Great Ballerina's Explosive Movie Performance

Tweeted by Richard Heideman, Dutch National Ballet's Press Manager: Congratulations to them both

Here's the press release -- note: Non-subscription Saturday matinee performance on 11 February Lucien Postlewaite guesting on Saturday evening, 4 February: PACIFIC NORTHWEST BALLET PRESENTS A Cinderella story from the creators of Roméo et Juliette February 3 – 12, 2017 Marion Oliver McCaw Hall 321 Mercer Street, Seattle Center Seattle, WA 98109 Eight performances only! February 3, 4, 9, 10 and 11 at 7:30 pm February 4 and 11 at 2:00 pm February 12 at 1:00 pm SEATTLE, WA – For the third program of its 2016-2017 season, Pacific Northwest Ballet is honored to be the first US company to perform Jean-Christophe Maillot’s Cendrillon, a Cinderella story from the creators of Roméo et Juliette. From the fertile mind of Les Ballets de Monte-Carlo’s Jean-Christophe Maillot, Cendrillon strips the classic fairy tale ofCinderella of its sugar-coating and explores the untold story of Cinderella’s mother, a vision of lost happiness, who returns from the dead in the form of a fairy godmother. It is a poignant meditation on love and loss, in which the departed shape the future of those left behind. It is also a funny, incisive take on a society crammed full of artifice. The production has been designed by the same scenic, costume and lighting artists who fashioned Maillot’s Roméo et Juliette (scenic design by Ernest Pignon-Ernest; costume design by Jerome Kaplan; and lighting by Dominique Drillot), and features Sergei Prokofiev’s stirring score performed live by the PNB Orchestra. [Parental advisory: Non-traditional themes.] Cendrillon runs for eight performances only, February 3 through 12, 2017 at Seattle Center’s Marion Oliver McCaw Hall. Tickets start at $30. For more information, contact the PNB Box Office at 206.441.2424, in person at 301 Mercer Street, or online at PNB.org. “Audiences will love the opportunity to see a second work by Jean-Christophe Maillot and the dream team of designers who gave us Roméo et Juliette,” said PNB Artistic Director Peter Boal. “Maillot has a gift for taking the familiar and the expected and creating something unexpected. Cendrillon takes a favorite fairy tale and gives it a whole new spin: We see the story through a different lens, shedding light on Cinderella's father and his relationship to her mother. Add the brilliance of Jerome Kaplan's arresting costume designs and the unmistakable stamp of the creative artists behind Roméo, and you have a truly refreshing remake of the classic story.” Guest artist Lucien Postlewaite will return to Seattle to join the Company for one performance of Cendrillon, Saturday, February 4 at 7:30 pm. Mr. Postlewaite trained on scholarship at the School of American Ballet and Pacific Northwest Ballet School. He joined PNB as an apprentice in 2003, was promoted to corps de ballet in 2004, soloist in 2007, and principal in 2008, the same year that he was a recipient of a Princess Grace Award. In 2012, Mr. Postlewaite joined Les Ballets de Monte-Carlo. ABOUT THE PRODUCTION Cendrillon (PNB Premiere) Music: Sergei Prokofiev (Op. 87, 1940-1944; with an excerpt from Lieutenant Kijé, 1933-1934) Choreography: Jean-Chistophe Maillot Staging: Bernice Coppieters, Bruno Roque, and Asier Uriaguereca Scenic Design: Ernest Pignon-Ernest Costume Design: Jerome Kaplan Lighting Design: Dominique Drillot Running Time: Two hours and ten minutes, including one intermission Original Production Premiere: April 3, 1999; Les Ballets de Monte-Carlo ABOUT THE CHOREOGRAPHER Jean-Christophe Maillot studied dance and piano at the Conservatoire National de Région de Tours. He won the Prix de Lausanne in 1977 and went on to dance principal roles as a soloist at the Hamburg Ballet for five years. An accident brought his dancing career to an abrupt end. In 1983, he was appointed choreographer and director of the Ballet du Grand Théâtre de Tours, which later became a National Centre of Choreography. He became Les Ballets de Monte-Carlo’s Artistic Advisor for the 1992-1993 season and was appointed Director-Choreographer by H.R.H. the Princess of Hanover in September 1993. His arrival set the company on a new path that quickly developed the level of maturity and excellence for which this company is renowned. He has created more than 35 ballets for the company, some of which have forged the reputation of Les Ballets de Monte-Carlo across the world. Several of these works are now included in the repertoires of major international ballet companies. Maillot is known for his spirit of openness and his commitment to inviting choreographers with a different style to create for the company. In 2000 he created the Monaco Dance Forum, an international showcase for dance. In 2009, he developed the content and coordinated the Centenary of the Ballets Russes in Monaco, which featured over 50 companies and choreographers. In 2011, H.R.H. the Princess of Hanover appointed Maillot head of Les Ballets de Monte-Carlo, a new organization uniting the Ballets de Monte Carlo Company, the Monaco Dance Forum and the Princess Grace Academy under a single organization. In 2015, Maillot won three Golden Mask awards for La Mégère Apprivoisée.

Congratulations to him

Sharp eyes, seattle_dancer: Debut "*"'s have been added to Elle Macy's debut as Sugar Plum Fairy tonight and Price Suddarth's debut as Cavalier at the Saturday matinee: https://www.pnb.org/Nutcracker/ Also some changes: Elizabeth Murphy is replaced by Emma Love Suddarth (Coffee, Sat mat) and Leah Merchant (SPF. Sun mat) this weekend, but is currently scheduled for next week (Week 5) as Coffee. Joshua Grant replaces Jerome Tisserand as Cavalier, to partner Merchant (Sun mat) Benjamin Griffiths is replaced as Candy Cane by Kyle Davis (Sat mat) and Ryan Cardea (Sun eve), but is currently schedule for Candy Cane and Cavalier next week. Week 5 casting is up at the link above, and here is the link to the downloadable casting worksheet (with prior weeks shaded in gray and not checked against the website for casting changes). Nutcracker Casting 2016 12-13.xlsx

Here is the press release: BALLET WEST ANNOUNCES ADAM SKLUTE TO RENEW HIS CONTRACT AS ARTISTIC DIRECTOR On the Cusp of his 10th Anniversary, the Board of Directors Endorse Sklute’s Vision for the Future SALT LAKE CITY, UT – December 13, 2016 – After 10 years of remarkable artistic and financial growth and increased international notoriety for Ballet West, the Board of Directors announced today they will renew Adam Sklute’s contract as exciting plans for the future of the organization unfold. Sklute is the fifth Artistic Director for Ballet West, and his tenure has ushered in a veritable renaissance for the Company, marked by expanded and ambitious repertoire; elevated visibility both locally and internationally; unprecedented growth of the Ballet West Academy and an ongoing positive financial outlook. In 10 years, Sklute has presented over 55 World and Utah Premieres, taken the Company on multiple tours, including to New York’s City Center and Joyce Theaters, repeated visits to Washington D.C.’s Kennedy Center, Chicago, Dallas, Victoria BC, and, most recently, Cuba. Sklute also brought the Company international notoriety with BBC Worldwide Production’s two season television docu-drama Breaking Pointe, which continues to be syndicated around the world. “Ten years ago, I stepped out of the airport in Utah for the first time and fell in love with the mountains, Salt Lake City, our unique and diverse community, and the overall love and respect it has for the arts.” said Sklute. “I found a ballet company of great history and vast potential, and have been inspired ever since to make Ballet West the very best it can be." Sklute adds, "the more we achieve, the more goals I find possible.” In August, Sklute took on the dual interim title of CEO and Executive Director, and with the launch of an international search for a new Executive Director this January, he will again return exclusively to the role of Artistic Director. “My time as CEO and Artistic Director has allowed the Board and me to reflect on our phenomenal growth and our future. Together, we have had several months to assess our standing and methodically look at strategies for advancing our products.” “Under Sklute’s leadership, Ballet West has grown as a beacon of creativity and excellence, developing captivating artistry that has built loyal audiences,” said Brian Powell, Chairman of the Board of Directors. “As the demand for world renowned ballet increases and our patrons evolve, the Board and I are confident that Adam’s savvy as a creative and business leader will help drive Ballet West to even greater heights.” Sklute said that moving into the future, he has a number of very specific new initiatives and projects which he is excited to execute. Of most significance is the premiere of next December’s new sets and costumes for Mr. C’s The Nutcracker, a two-year, multi-million-dollar production made possible thanks to the generosity of the George S. and Dolores Doré Eccles Foundation. Additionally, Sklute is exploring the creation of new sets and costumes for both Cinderella and Swan Lake, a newly conceived production of Carmina Burana, and several large scale international touring initiatives. He is also laying the groundwork for a capitol campaign to build dormitories for the Ballet West Academy, and formal partnerships with local high schools to help with the increased enrollment of students from around the world. “According to the P.L. Travers story, Mary Poppins always knew when her work was done and when it was time to move on.” Says Sklute, “I will be at Ballet West until my work is done. I know it’s not done yet.”

Welcome to Ballet Alert! Katie! Just in time, if you have a good internet connection for streaming, medici.tv is now hosting a free stream of Paris Opera Ballet in Rudolf Nureyev's production of "Swan Lake," which he created for the company in 1984 when he was Artistic Director of the company: http://www.medici.tv/#!/swan-lake-tchaikovsky-nureyev-opera-de-paris It was from a live video recorded last week. Edited to add: medici.tv may make you create an account (without payment info) and be logged in to watch free streams. (Warning: you may get sucked into their catalog!)

For me it's always been when the small chandeliers rise and dim at the Metropolitan Opera House. That never fails to give me chills, and I'm so glad they're back in time for the 50th anniversary at Lincoln Center, after having been removed for tender, loving care.

I've loved RDB the few times I've been able to see them, and I'm loving hearing about their performances from you

Welcome to Ballet Alert! chicagoballetomane. You've been upgraded to "New Member" and can post your review. We'd love to hear about the Joffrey's new Nutcracker

I like that there's no dancing to the Forest Music.

In Catalunia traditionally the presents are stashed in a log, but under the tree is a Nativity scene. In the December outdoor Christmas markets, there are entire booths dedicated each to buildings, little wooden vegetables and fruits to make gardens, animals, accessories, people, mangers, trees and foliage, and, always, booths with caganers, who are witnesses to the birth scene from afar. It was fun to see parents bring their children to the markets to make their yearly choice of something to add to the family's Nativity scene.

PNB is having a snow day sale until midnight tonight (PST), Friday, December 9. 20% off and no handling charges. The promo code is "Snow Day," and it can be entered into the website or spoken to the box office over the phone.

There are posts that have been removed, as they are political without substantiation.

All dancer news must have official sources listed, with links or publications.

Ib Andersen did a wonderful ballet to Shostakovich's "Preludes & Fugues," and even had live music for one of the performances I saw, and, of course, Petrouchka is ballet music.

This is the press release: Pacific Northwest Ballet Principal Dancers Carrie Imler and Batkhurel Bold Announce Retirements Their two decades of dance will be honored at Season Encore Performance, June 11, 2017. SEATTLE, WA — Pacific Northwest Ballet Artistic Director Peter Boal, with principal dancers Carrie Imler and Batkhurel Bold, has announced that Ms. Imler and Mr. Bold will retire at the end of the 2016/2017 season. Their acclaimed careers will be celebrated at PNB’s Season Encore Performance on Sunday, June 11, 2017. (Tickets go on sale to the public in March 2017.) “Both Carrie and Bold have been such central parts of PNB, it’s hard to imagine the Company after their retirements,” said Mr. Boal in his announcement. “Tens of thousands of us have applauded their work and a smaller number has treasured every moment working alongside these two over the past two decades. Their contributions to the Company are beyond measure and they will be missed.” Carrie Imler is from Carlisle, Pennsylvania. She trained on scholarship at Central Pennsylvania Youth Ballet and Pacific Northwest Ballet School and attended summer courses at the School of American Ballet. She joined Pacific Northwest Ballet as an apprentice in 1995 and was promoted to corps de ballet in 1996, soloist in 2000, and principal in 2002. In announcing her retirement, Ms. Imler said, “As a little girl I remember turning to my mother, after watching PNB at the Kennedy Center, and telling her that I was going to dance in Seattle when I grew up. For the past 22 years, I have had the distinct pleasure and honor of dancing for Seattle audiences. From Balanchine to Forsythe and Quijada to Gaines, I have had a career beyond anything that little girl could have ever imagined. [PNB Founding Artistic Directors] Kent Stowell and Francia Russell hired an eager ballerina, nurturing and refining me. Peter has opened my eyes to several new choreographers and ballets. Without each of them, I would not have had such an incredible and unbelievably satisfying career.” “To describe Carrie Imler’s dancing requires a long list of superlatives,” said Mr. Boal. “Carrie is an absolute master of technique and musicality. She is a dancer’s dancer, understanding choreography and musicality innately. Add to this an impeccable work ethic and you have a remarkable ballerina. There is no challenge Carrie can’t meet and for this reason, she has fascinated choreographers like William Forsythe, Alexei Ratmansky, and Twyla Tharp. Equally at home in the contemporary and classical, Carrie has danced in over 100 leading roles with PNB over the past 22 years. That’s a lot of fouettes! As Carrie steps gracefully from the stage at the conclusion of this season, we thank her for leaving us with so many treasured memories and a profound legacy.” Batkhurel Bold is from Ulan Bator, Mongolia. He trained at the Perm Choreographic Academy in Russia. He joined Pacific Northwest Ballet as a member of the corps de ballet in 1996 and was promoted to soloist in 1999 and principal in 2004. “Early on, Bold earned the nickname ‘Air Bold’ because of his gravity defying leaps, and the name still fits,” said Mr. Boal. “A technical powerhouse, a consummate partner, a dramatic stage presence, Bold has been a true mainstay of this Company. Though he’s played every leading male role in the book and excelled in each, I won’t forget his dramatic performances in Nacho Duato’s Rassemblement. Here we saw the tenderness that is such an integral part of this man. Offstage and on, Bold cares deeply for those around him; from his current partner to the newest member of the Company, he’s a prince to all.” In a statement, Mr. Bold added, “Dreams do come true. Thanks to the amazing generosity of Kent Stowell, Francia Russell, Peter Boal and every single person both past and present at Pacific Northwest Ballet. I am truly blessed, humbled and forever grateful.” TICKET INFORMATION Ms. Imler and Mr. Bold are scheduled to dance in several more performances, including George Balanchine’s The Nutcracker®, before the end of PNB’s 2016/2017 season. Ms. Imler is currently cast as Sugar Plum Fairy on December 11 (5:30) and 20 (7:30), and Dewdrop on December 21 (7:30), and Mr. Bold is scheduled to dance as Cavalier on December 22 (7:30). The Nutcracker runs now through December 28. For up-to-date casting information, check performance details on PNB.org/Nutcracker. PNB’s Season Encore Performance will be presented one night only, Sunday, June 11 at 6:30 pm. The performance will include a special tribute to Carrie Imler and Batkhurel Bold. Tickets to the Season Encore Performance will go on sale to subscribers in early 2017, and the general public in March 2017. Tickets may be purchased by calling the PNB Box Office at 206.441.2424, in person at 301 Mercer Street, or online at PNB.org. Programming and casting are subject to change. For further information, please visit PNB.org. ADDITIONAL ARTIST BIO INFORMATION Carrie Imler has danced leading roles in George Balanchine’s Apollo, Ballet Imperial, Brahms-Schoenberg Quartet, Chaconne, Concerto Barocco, Coppélia, Diamonds, Divertimento No. 15, The Four Temperaments, A Midsummer Night’s Dream (Titania, Hippolyta), The Nutcracker®, Rubies, Serenade, Square Dance, Stars and Stripes, Symphony in C, Symphony in Three Movements, Tchaikovsky Pas de Deux, Theme and Variations, Stravinsky Violin Concerto, La Valse, Western Symphony, and Who Cares?; Peter Boal’s Giselle (Myrtha); Val Caniparoli’s The Bridge, Lambarena, The Seasons, and Torque; Alejandro Cerrudo’s Memory Glow; David Dawson’s A Million Kisses to My Skin; Ulysses Dove’s Red Angels and Vespers; Nacho Duato’s Jardí Tancat and Rassemblement; William Forsythe’s In the middle, somewhat elevated, New Suite, One Flat Thing, reproduced and The Vertiginous Thrill of Exactitude; Ronald Hynd’s The Merry Widow (Hanna) and The Sleeping Beauty (Aurora, Lilac Fairy, Gold and Silver pas de trois); Jiri Kylian’s Forgotten Land, Petite Mort, and Sechs Tänze (Six Dances); Jean-Christophe Maillot’s Roméo et Juliette (Lady Capulet, Nurse); Peter Martins’ Fearful Symmetries; Mark Morris’ A Garden and Pacific; Kevin O’Day’s Aract; Kirk Peterson’s Amazed in Burning Dreams; Marius Petipa’s Le Corsaire Pas de Trois, Don Quixote (Kitri), and Paquita; Crystal Pite’s Emergence; Victor Quijada’s Suspension of Disbelief; Alexei Ratmanksy’s Concerto DSCH and Don Quixote (Kitri, Mercedes); Jerome Robbins’ The Concert, Dances at a Gathering, and In the Night; Kent Stowell’s Carmen, Carmina Burana, Cinderella (Cinderella, Fairy Godmother), Coppélia (Dance of the Hours, Dawn, Discord and War), Delicate Balance, Dumbarton Oaks, Firebird, Hail to the Conquering Hero, Kammergarten Tänze, Nutcracker (Clara, Flora), Poème St. Saëns, Quaternary, Silver Lining, Swan Lake(Odette/Odile, Queen Mother), and The Tragedy of Romeo and Juliet (Juliet, Lady Capulet); Richard Tanner’s Ancient Airs and Dances; Lynne Taylor-Corbett’s Mercury; Paul Taylor’s Roses; Glen Tetley’s Voluntaries; Twyla Tharp’s In the Upper Room, Nine Sinatra Songs, and Waterbaby Bagatelles; Rudi van Dantzig’s Ginastera; and Christopher Wheeldon’s Variations Sérieuses (Ballerina). Ms. Imler has originated leading roles in Andrew Bartee’s arms that work, Kiyon Gaines’ M-Pulse and Sum Stravinsky, Nicolo Fonte’s Almost Tango, Morris’ Kammermusik No. 3, Quijada’s Mating Theory, Christopher Stowell’s Zaïs, Susan Stroman’s TAKE FIVE…More or Less, Tharp’s Opus 111 and Waiting at the Station, and Olivier Wevers’ Shindig. Ms. Imler danced in the BBC’s 1999 film version of PNB’s production of George Balanchine’s A Midsummer Night’s Dream, filmed at Sadler’s Wells Theatre, London. She was also featured in Children with a Dream, a PBS documentary about Central Pennsylvania Youth Ballet. Batkhurel Bold has danced leading roles in George Balanchine’s Agon, Apollo, Ballet Imperial, Brahms-Schoenberg Quartet, Concerto Barocco, Coppélia (Discord and War), Diamonds, The Four Temperaments, A Midsummer Night’s Dream (Titania’s Cavalier, Theseus, Divertissement pas de deux), The Nutcracker®, Serenade, Stars and Stripes, Symphony in C, Symphony in Three Movements, Tchaikovsky Pas de Deux, Theme and Variations, and La Valse; Peter Boal’s Giselle (Albrecht, Hilarion); Val Caniparoli’s Lambarena and The Seasons; Donald Byrd’s Subtext Rage; Ulysses Dove’s Dancing on the Front Porch of Heaven, Red Angels, and Serious Pleasures; David Dawson’s A Million Kisses to my Skin; Nacho Duato’s Jardí Tancat and Rassemblement; Nicolo Fonte’s Almost Tango; William Forsythe’s Artifact II, In the middle, somewhat elevated, and One Flat Thing, reproduced; Ronald Hynd’s The Merry Widow and The Sleeping Beauty (Prince Florimund); Jiri Kylian’s Forgotten Land and Petite Mort; Edwaard Liang’s Für Alina; José Limón’s The Moor’s Pavane; Jean-Christophe Maillot’s Roméo et Juliette (Tybalt); Peter Martins’ Fearful Symmetries; Mark Morris’ Pacific; David Parsons’ Caught; Toni Pimble’s Two’s Company; Marius Petipa’s Don Quixote and Paquita; Crystal Pite’s Emergence; Alexei Ratmansky’s Concerto DSCH and Don Quixote(Basilio, Espada); Jerome Robbins’ Dances at a Gathering, Glass Pieces, In the Night, and West Side Story Suite (Bernardo); Kent Stowell’s Carmen, Carmina Burana, Cinderella (Prince), Dumbarton Oaks, Duo Fantasy, Firebird, Kammergarten Tänze, Nutcracker (Prince), Orpheus Portrait, Quaternary, The Tragedy of Romeo and Juliet (Tybalt), Silver Lining, Swan Lake (Prince Siegfried), and Zirkus Weill; Price Suddarth’s Signature; Glen Tetley’s The Rite of Spring and Voluntaries; Twyla Tharp’s In the Upper Room, Nine Sinatra Songs, and Waterbaby Bagatelles; and Christopher Wheeldon’s After the Rain pas de deux and Polyphonia. Mr. Bold has originated leading roles in Kiyon Gaines’ Interrupted Pri’si’zhen and Sum Stravinsky; Benjamin Millepied’s 3 Movements; Twyla Tharp’s Opus 111; Olivier Wevers’ Shindig; Christopher Wheeldon’s Tide Harmonic. Mr. Bold performed the role of Theseus in the BBC’s 1999 film version of PNB’s production of George Balanchine’s A Midsummer Night’s Dream, filmed at Sadler’s Wells Theatre, London. In 2007, Mr. Bold performed in the worldwide company debut performance of Morphoses/The Wheeldon Company. He also has performed as a guest artist on the Vail International Dance Festival’s “International Evenings of Dance” galas. # # # Programming subject to change. For further information, please visit: PNB.org.

I just received an email from PNB: There is death in my soul.