Helene

An interview with Kent Stowell on PNB's blog: http://blog.pnb.org/2015/05/kent-stowell-on-the-pnb-orchestra-carmina-burana-and-more/

Either in her memoir or in her "Striking a Balance" interview Lynn Seymour said she was weak technically when she joined the touring company, where almost all young dancers from the school performed at the time; the exceptions like Sibley, who went directly into the company, were rare. This was a trial by fire, doing lead roles while on tour. I believe it was Christopher Gable who described how she made lemonade out of lemons: unable to keep the balances well in the Rose Adagio, she turned it into a theatrical moment: "Oh, I like you. But oh, I like you better!" to explain the precipitous grab of the next suitor's hand. By the end of the experience she was stronger technically and knew how to work in a professional vs. school setting. Female dancers, especially the ones in companies with extended seasons, more typically describe the transition from corps to soloist as a much harder one, unless they are one of the few that are being fast-tracked and go from dancing hard in the corps and soloists roles to dancing hard in soloist and principal roles (In smaller companies that perform one or two weekends in each rep, the male corps is typically not so regularly challenged.) Going from school to corps is a big shift, but the female corps members are often quite busy. When they move to soloist and aren't in two of three ballets a performance, but are waiting for, if they are lucky, a handful of roles in a performance week, that is when it is harder to maintain technique through company class and a limited rehearsal schedule. Principals who aren't rehearsing and performing frequently are in a similar boat, with the added challenges of having few opportunities to pace and develop interpretation. Also, many dancers in podcasts and Q&A's have remarked that it's more fun to work on what they're good at than what they're weaker at. They have years of muscle memory that might be blocking further development -- dancers often remark that coming back from injury is an opportunity to learn things correctly, since they're starting from dancer scratch -- or being typecast and told that they can't do something or they're not right for this and that. For example, Carla Korbes spoke about how she was classified as someone who couldn't jump, and she internalized this until relatively recently. Hee Seo is being given a rare opportunity at ABT to do a lot in a short period of time. It may get her over a technical/pacing hump that the typical hurry-up-and-wait approach does not.

This is a discussion board, and people write about what they want to write about aspects of the performance and production. As they should.

What beautiful costumes in the video!

We received an interesting query today, I have found on internet your interesting site and forum. As Spanish writer, musician and teacher I am working for a long time in a research about the Diaghilev's Ballet Russe in Spain and as a part of it about the italian dancer Enrico Mascagno, who together his wife Rosa (or Rosetta) were enrolled by Diaghilev between 1917 and 1920, after then, they returned to Italy to work for the La Scala ballet company (together with Cia Fornarolli, Vicenzo Celli, the last Enrico Cecchetti under the choreographer Giovanni Pratesi). I would like to know, if you can help me where could I find any information about these dancers (or their descendants). Thank you very much for any help on this matter. Best wishes. Antonio Hernandez. If anyone has any information on the Mascagnos, it would be of great interest to us as well as Mr. Hernandez. If anyone wants to contact Mr. Hernandez directly, please PM me or send an email to "Contact Us" at the top of the site, and I'll arrange it.

San Francisco Ballet has not been a great place for moving up the ranks: most the Principals were hired as Principals from the outside and a couple were hired as Soloists and were promoted to Principal. I did the numbers: ABT has a stronger record of promoting internally, and that's not a particularly high bar. If you look at the roster of PNB, all but Korbes and Seth Orza among the Principals and all of the Soloists started as PNB apprentices or corps and worked their way up the rank(s). Three of the eight soloists were PD's -- the others may have done the PNBS summer program -- as were five of 13 Principals and most of the corps. Frantziskonis was clearly on the fast track at PNB: while she has done many corps roles, she has also done demi and Principal roles in her short time at PNB. Hopefully Helgi Tomasson will recognize her talent in every way.

He liked in in California, and without sweeping changes between California and NYC, it's hard to imagine he would have reason to have changed his mind since March.

I looked again yesterday more closely: the dots in the flowers skirt tulle are gold, not white, and the "crystals" on the snow costumes are made of sequins.

There are more costumes, headpieces, and drawings in the McCaw Hall lobby. The Flowers costume has a rosy saturated pink bodice and from the waist there are three tiers of petals with the color grading to orange. The longish tulle is a light orange with white dots. The headpiece is a in smallish triangular pattern. Ian Falconer's drawing was of a floppy tutu, but the actual costume looks like a Romantic dress, maybe a little shorter. We're not sure if the two lead flowers' costumes will be differentiated. The snow costumes are the same length, in a lovely ice blue. There are soft shard layers over the skirt with several inches of white "crystals" on each layer and taller crowns for headpieces. The homage to the Sendak designs is that the Arabian will be dressed as a peacock, with a gorgeous blue and green jeweled peacock head that is on display. The drawings showed that she will have a peacock-like "tail" skirt. There were two small crows that we think might be for Marie and the Nephew/Prince, a stunning green crown -- maybe the Sugar Plum Fairy's? -- and a couple more lovely crowns. I hope they can add more as they become available.

Peter Boal announced in last night's Q&A that PNB corps member Jahna Franztiskonis has accepted a contract with San Francisco Ballet. This is a cryfest for us in Seattle, but San Francisco's great fortune. At the live-streamed lec-demo William Forsythe gave in March, while coaching her Forsythe jokingly -- maybe only half-jokingly -- invited her to Frankfurt. (Now returning to my dark place.)

If anyone has official news -- other company roster, public-facing social media, mainstream press article -- please let us know.

Maria Chapman was the guest at the Q&A tonight. She spoke about being a mom to daughter Eleanor, and how the day was balanced between diapers and fun things and getting to dance this wonderful part ("Cour d'Amour" in "Carmina Burana") she's been doing for many years, with the chorus, orchestra, and singers. Her daughter is walking (at 10 months) and got excited to see people dancing and wanted to join in. Chapman likes having other moms in the company, and her daughter, Kylee Kitchens' son, and Rachel Foster's daughter were born seven weeks apart (in that order) and they are playing together. She and Boal mentioned that there are some pregnancies in the Development Department, and Chapman remarked that it would be a good job for someone to start a PNB daycare. Her return was delayed because of a separated stomach muscle that took longer to heal than she had hoped. Chapman was very happy to be back. It was bittersweet, though, because it is the last program that she shared with Carla Korbes. They'd been dressing roommates for nearly a decade. When asked about the Second Stage program, which she has been part of since its inception (in 1999), she said that Kiyon Gaines just graduated with a degree in arts management at the top of his class. Until this year he took most of his classes through the special program where classes were held at PNB for the dancers, but due to his injury, he went to school full-time, in addition to the work he does managing the "Next Step" program, rehabbing his injury, and coming back for this rep, in which he looked very strong. Congratulations to him PNB is touring to City Center next season with two programs: the first is an all-Balanchine program of "Square Dance," "Prodigal Son," and "Stravinsky Violin Concerto," and the second is "Vertiginous Thrill of Exactitude," "Emergence," and a ballet he didn't name because he's still working on permissions. As mentioned in a couple of other threads, Peter Boal said that Jahna Frantziskonis is joining San Francisco Ballet, Eric Hipolito Jr. is joining Ballet Arizona, and Raphael Bouchard is "returning to his native Montreal to dance." No confirmation yet on where Charles McCall is going. In addition to Noelani Pantistico's return, Boal said that the new hires are going into the corps -- no names yet -- and there will be one apprentice. Also, in the program notes, Boal wrote that Ballet West is hiring four Professional Division students. (No mention of rank.)

At tonight's Q&A, Peter Boal said that Jahna Frantziskonis is joining San Francisco Ballet. I still haven't gotten over Jean Ratelle playing for the Boston Bruins, so I don't expect to get over this. Eric Hipolito Jr. is joining Ballet Arizona. He will do brilliantly in BA's rep. Raphael Bouchard is "returning to his native Montreal to dance." (No company named). Boal said he was unsure about where Charles McCall is going.

At a Q&A tonight, Peter Boal said, Gaines: retiring and joining PNB faculty and running the "Next Step" choreography program. Reid: retiring and moving east to get married. Frantziskonis: joining San Francisco Ballet Hipolito Jr: joining Ballet Arizona Bouchard: returning to his native Montreal to dance (no company named) McCall: Boal was unsure

Maria Chapman is baaaaaaaaaaaack!!!!!! Can't wait to see her in the Ratmansky.

Bumping again. First, I'd like to thank the people who have already donated generously and the people who support us year round by using the amazon box to make purchases. We're about at the two-thirds mark and hope to reach our goal soon to be able to put the fundraiser to sleep for another year.

From the press release: SEATTLE, WA – The curtain comes down on Pacific Northwest Ballet’s 42nd season with its annual Season Encore Performance, a crowd-pleasing reprise of some of PNB’s greatest hits. An evening of thrilling selections and inspired performances, the program will feature PNB’s entire Company, along with the mighty PNB Orchestra (now celebrating its 25th Anniversary) under the baton of Music Director/Principal Conductor Emil de Cou. The evening also celebrates the extraordinary careers of PNB’s departing dancers with George Balanchine’s Serenade and selections from his Jewels, the local premiere of a work by former PNB Company member Andrew Bartee, a sneak preview of Jessica Lang’s The Calling (to be presented as part of PNB’s 2015-2016 season) and others. The Season Encore Performance will be presented one night only, Sunday, June 7 at 6:30 pm at McCaw Hall, 321 Mercer Street at Seattle Center. To watch the live broadcast of this event, visit PNB.org/Live on Sunday, June 7 at 6:30 pm (Pacific). Tickets to attend in person ($35 - $200) are available through the PNB Box Office: 206.441.2424, online at PNB.org, or in person at 301 Mercer Street at Seattle Center. “The Encore Performance has become not only a favorite of mine but also of our audiences,” said PNB Artistic Director Peter Boal, when announcing the line-up for the one-night-only event. “The evening brims with excitement and emotion as we bid farewell to favorite artists and revisit cherished repertoire. With two PNB premieres, several retirements, the return of George Balanchine’s Serenade, and Carla Körbes’ final onstage moments, there won’t be a dry eye in the house.” In addition to the previously announced departures of principal dancer Carla Körbes and corps de ballet dancer Brittany Reid, the Season Encore performance will be the audience’s chance to offer a fond farewell to soloist Kiyon Gaines, who will be leaving the Company and joining the PNB School as a faculty member. “Kiyon has been such a vital part of PNB for the last 14 years,” said Mr. Boal. “When I first met Kiyon, he was an eager teenager bouncing around the studio and nodding in agreement to every word I said. His infectious energy filled the room. What a pleasure it has been to watch him develop over the years, not only as a dancer, but as a choreographer and a person. Though Kiyon takes the stage for the last time as a member of this Company, we’re so grateful that he will join the Pacific Northwest Ballet School as a faculty member and continue to be a part of the institution.” Other company members leaving PNB at the end of the season are corps de ballet dancers Raphael Bouchard, Jahna Frantziskonis, Eric Hipolito Jr., and Charles McCall.

From the PNB website: RassemblementMusic: Toto Bissainthe (various, from the recording Chante, 1977) Choreography: Nacho Duato Staging: Hilde Koch Scenic Design: Walter Nobbe Costume Design: Nacho Duato Lighting Design: Nicolas Fischtel Duration: 27 minutes Premiere: February 27, 1990; Cullberg Ballet (Örebro, Sweden) PNB Premiere: April 7, 1998 Nacho Duato choreographed Rassemblement (which means “gathering”) in 1990 for the Cullberg Ballet in Sweden. The work is inspired by and set to the songs of Haitian artist Toto Bissainthe, who offered this commentary on the music and the dance: "These songs are mostly slaves’ songs from the Voodoo cult. They express the daily life of the slaves, their longing for Africa, not as a geographical reality, but as a mythical land of freedom. They express their resistance and their refusal: resistance against the colonial, refusal of his politics, his religion, his culture and his language. “During the history of Haiti, the face of the master has often changed. Capitalism, developing in Haiti, has transformed the sense of Voodoo. The ethnographer came first, and then the tourist for whom folklore was produced with revived exotic excitement. Voodoo, which for the poor and exploited peasants had been a celebration of the African roots of their daily more unbearable way of life, became a ‘religion,’ one of the tools of power. “The birth of Voodoo in a land of exile, the first common language among slaves of different ethnic backgrounds, was a vital creative moment, a cultural unification which was to transform the world: an opening for the confined. That is the moment we sing about. Using the traditional music of Haiti, we meet with other musical forms to open a way towards a contemporary music that knows no frontiers. “…Rassemblement is a creation which gradually, through the liberating powers of music and dance, proves to be an impressive, thrilling, and audience-affecting human rights appeal.” Notes compiled by Jeanie Thomas; edited by Doug Fullington, 2009. http://www.pnb.org/Season/14-15/DirectorsChoice/#Details

One day is rough, but it's not the worst that dancers who've been grabbed at dinnertime to learn a role for that evening's performance have described. End of the season is a tough time, injury wise. When Peter Gelb makes an announcement saying that Divo X has graciously consented to sing despite being ill or Diva Y took the red-eye after performing in London the night before and asks the audience to take that into consideration, that is a request, and each audience member decides for him- or herself whether to grant that request. The same is true for a last-minute substitution in ballet: it's up to the viewer, whose ticket cost the same, whose babysitter cost the same, and whose time investment doesn't change, to decide whether to cut a dancer slack either while watching or in retrospect, depending on when the viewer learns of what can be a mitigating circumstance. The performance itself, however, doesn't change: what was onstage was onstage, sometimes for better, and sometimes for worse. What the performance most often does not indicate is how the dancer will perform the role in the future, when he or she has time to absorb it, whether that is two days or two months later.

According to the press release for the live stream of the "Encores" program, Eric Hipolito Jr. is also leaving PNB .

On Sunday, June 7 at 6:30pm Pacific Time/9:30pm Eastern Time PNB is live streaming the season-ending "Encores" program, which will be Carla Korbes' last appearance as a company member. It is a one-time-only program created to honor Korbes and the other dancers who are leaving at the end of this season, Brittany Reid, Kiyon Gaines, Jahna Frantziskonis, Raphael Bouchard, Charles McCall, and Eric Hipolito Jr. Korbes' artist profile video is on this page: http://www.pnb.org/Season/14-15/Encore/#Casting Current casting is as follows: Dirty Goods Seattle Premiere (Andrew Bartee) Chelsea Adomaitis Leta Biasucci Lindsi Dec Elle Macy Raphael Bouchard Ezra Thomson The Calling PNB Premiere (Jessica Lang) Carla Korbes The Vertiginous Thrill of Exactitude (Wlliam Forsythe) Chelsea Adomaitis Jahna Frantziskonis Rachel Foster Raphael Bouchard Price Suddarth Rassemblement pas de deux (George Balanchine) Elizabeth Murphy Kiyon Gaines Emeralds pas de trois (George Balanchine) Margaret Mullin Amanda Clark Eric Hipolito Jr. Emeralds pas de deux (George Balanchine) Laura Tisserand Charles McCall Rubies pas de deux (George Balanchine) Jahna Frantziskonis Benjamin Griffiths Diamonds pas de deux (George Balanchine) Carla Körbes Karel Cruz Serenade (George Balanchine) Carla Körbes Karel Cruz Lesley Rausch Carrie Imler Batkhurel Bold Here is the link to the live stream page: http://pnb.org/live/

Mr. Martins' competence has been questioned both here and, famously, by leading critics. His is still is the voice that counts when it comes to casting, at minimum, works in the rep and his own ballets, and he sets the bar for the company. We are not a fan site. Our purpose is to discuss ballet, and that includes criticism. Not everyone will see eye-to-eye, and the internet can be an uncomfortable place for fans, friends, and family.

Steven McRae tweeted: There's a photo of the two of them.

That Kowroski is pregnant is official news. There is no official news that I've seen that she was injured.

Loch has gotten lots this year and has been stellar. He was as much of a revelation in the Conrad Ludlow role in "Emeralds" partnering Margaret Mullin as he was in the Forsythe "New Suite", and he was equally impressive in the Act I Pas de Trois solos and the Act III Czardas in the April "Swan Lake" run. He shows remarkable stylistic versatility for someone so young.