Helene

It's not a paradox at all: it's standard operating procedure for AD's. In what major or minor company have major talents not suffered or been undervalued because of the preferences of the AD and/or company politics, even if some great talents are prominent? Balanchine, for example, pushed aside Danilova, Tallchief, and Hayden. He seemed blind to everyone but Farrell before she left the Company.

Many thanks for the news!

I've moved te discussion on press reviews of SFB to its own thread in the "Writings on Ballet" forum, located here: http://balletalert.invisionzone.com/index.php?/topic/39092-the-press-on-san-francisco-ballet-in-paris/

I dislike the melancholy solo bit. I dislike amping the von Rothbart role for any reason, although I understand how it can be used to amp the evil part of the equation without going into silly territory. I dislike the Jester. I also think the story doesn't require tinkering, but it is so much better with the mime, especially the mime where Odette explains that the lake was made from her mother's tears, and that is like trying to rack down a unicorn.

Upping von Rothbart's character doesn't have to mean making him the Dark Side of Siegfried. Siegfried has to make a choice under pressure -- his mother is demanding in public that he choose a bride, and he doesn't see a way out -- and von Rothbart knows that he has to keep Siegfried with Odile, to keep his gut from chiming in with any misgivings and to keep his hope up. He's enchanted in several ways, and it's more like Greek tragedy with a little bit of Arthurian magic than choosing being good vs. evil.

White vs. black swan wasn't an original styling and was injected later. Black Swan is a different kind of evil: going along with her family, even if she relishes it. She's not the mastermind, though, and she's not the one who captured Odette's mother and forced her daughter into slavery.

Aside from re-thinks that make it a Mommy Issue, in theory, the attempts to bring Von Rothbart to the fore are meant to bring the struggle of good vs. evil to the fore. Not that they always work and that they aren't meant to add another male principal into it at the same time... Because adding a Jester is not enough. At least Kent Stowell gives the Jester a character as someone who tries to protect and guide Siegfried -- he's shooed off and doesn't get to see what happened at the lake, so he advises with imperfect information -- and he's not just the guy who does the flashy jumps and spins.

Part two of the press release: SPECIAL EVENTS JEWELS COACHING SERIES (Studio Presentations) Diamonds, featuring Jacques d’Amboise: Wednesday, August 20, 5:30 pm Emeralds, featuring Violette Verdy and Mimi Paul: Thursday, September 11, 5:30 pm Rubies, featuring Edward Villella: Monday, September 22, 5:30 pm PNB Artistic Director Peter Boal has invited the original interpreters of George Balanchine’s Jewels to coach PNB dancers for the Company’s revival of the 1967 masterpiece. Join these esteemed artists in the studio for a series of coaching sessions on the iconic roles Balanchine made for them. FRIDAY PREVIEWS Friday, September 19, 6:00pm The Phelps Center, 301 Mercer Street, Seattle Join us for an hour-long preview led by Artistic Director Peter Boal and PNB artistic staff, featuring PNB dancers rehearsing excerpts from Jewels™.PNB’s popular Friday Previews offer an up-close view of the Company preparing to put dance on stage. Tickets are $12 each and may be purchased through the PNB Box Office. (These events usually sell out.) Friday Previews are sponsored by U.S. Bank. BALLET PREVIEW — FREE Tuesday, September 23, 12:00 noon Central Seattle Public Library, 1000 Fourth Avenue, Seattle Join PNB for a free lunch-hour preview lecture at the Central Seattle Public Library. Education Programs Manager Doug Fullington will offer insights about Jewels, complete with video excerpts. FREE of charge. PNB LECTURE SERIES & DRESS REHEARSAL Thursday, September 25, 2014 6:00 pm Lecture, Nesholm Family Lecture Hall at McCaw Hall 7:00 pm Dress Rehearsal, McCaw Hall Join Artistic Director Peter Boal and special guest Edward Villella during the hour preceding the dress rehearsal to discuss PNB’s production ofJewels. Attend the lecture only or stay for the dress rehearsal. Tickets ($12 lecture; $30 lecture and dress rehearsal) may be purchased through the PNB Box Office. FIRST LOOK, PNB’s Opening Gala Friday, September 26, 4:30 pm McCaw Hall Join PNB for the opening performance of its 2014-15 season with George Balanchine’s Jewels™, featuring Emeralds, Rubies and Diamonds. Walk the emerald carpet at an exclusive cocktail party before being whisked backstage for an elegant black tie dinner. After the opening performance of Jewels, the party continues with a Rubies-inspired onstage after-party with music, entertainment, dancing, drinks, and desserts. Pre-performance dinner starts at $350 per guest (includes onstage after-party and valet parking). First Look after-party tickets start at $45 (performance tickets sold separately). HSBC is the Title Sponsor of First Look. Additional sponsors include The Boeing Company, Lane Powell, PJ Hummel & Co., and Seattle Met. To purchase tickets, contact Special Events at 206.441.2429 or events@PNB.org. Pre-Performance Lectures Join Education Programs Manager Doug Fullington for a 30-minute introduction to each performance, including discussions of choreography, music, history, design and the process of bringing Jewels to the stage. One hour before performances. FREE for ticketholders. Post-Performance Q&A Skip the post-show traffic and enjoy a Q&A with PNB Artistic Director Peter Boal and Company dancers, immediately following each performance in the Nesholm Family Lecture Hall at McCaw Hall. FREE for ticketholders.

Here's the press release: “Simple and complex, thought-provoking and crowd-pleasing, deeply traditional and utterly modern, [an] affirmation of Balanchine’s genius.” – New York Times SEATTLE, WA- Pacific Northwest Ballet raises the velvet curtain on its 2014-2015 season with George Balanchine’s Jewels ™. Costumed in emerald green, ruby red and luminous white, the trio of gems in Jewels pays tribute to golden ages of music and dance.Evoking the birthplace of Romantic ballet, Emeralds’ graceful clouds of tulle whisper French courtesy, fashion, and fragrance. A sassy, jazzy collaboration with composer Igor Stravinsky, Rubies mirrors the carefree spontaneity of America, Balanchine’s beloved adopted country. The splendor of Diamonds recalls the great choreographer’s heritage, so that “if the entre Imperial Russian inheritance of ballet were lost, Diamonds would still tell us of its essence” (Mary Clarke and Clement Crisp). Jewels runs from September 26 through October 5 at Seattle Center’s Marion Oliver McCaw Hall. Tickets and more information are available through the PNB Box Office, 301 Mercer Street at Seattle Center, 206.441.2424, or online at PNB.org. ABOUT THE PERFORMANCE Music:Gabriel Fauré, Igor Stravinsky, and Peter Ilyich Tchaikovsky Choreography: George Balanchine © The George Balanchine Trust Staging: Elyse Borne Costume Design: Karinska Lighting Design: Mark Stanley Premiere: April 13, 1967; New York City Ballet PNB Premiere: June 1, 2006 (Rubies premiere: February 3, 1988) Emeraldsis a romantic evocation of France, the birthplace of classical ballet. It is also Balanchine’s comment of the French school of dancing and its rich heritage. With a score by Gabriel Fauré and dancers dressed in Romantic-length tutus, Emeralds can also be a window on the nostalgia inherent in much late 19th-century art, with its idealized view of the Middle Ages, chivalry, and courtly love. Balanchine considered Emeralds “an evocation of France – the France of elegance, comfort, dress and perfume.” Rubiesis considered the American jewel, with its Jazz Age score by Igor Stravinsky, stylized flapper costumes by Karinska, and Balanchine’s choreography in his sophisticated mode. A saucy leading couple plays and competes as equals, and a second, siren-like ballerina takes on the men of the corps de ballet, requiring all four of them to partner her at once. Diamonds is Balanchine’s homage to his native St. Petersburg. Echoes of Petipa’s Swan Lake and Raymonda abound, and the centerpiece of the ballet is an intimate pas de deux, potent in its chivalrous reserve, for the ballerina and her cavalier. At its end, the entire cast joins the principal couple for a gloriously spirited polonaise. PNB’s production of George Balanchine’s Jewels™ was made possible by Bob & Cynthia Benson and Peter & Peggy Horvitz. Media support for Jewels is provided by The Seattle Times and KOMO 4. Pacific Northwest Ballet’s 2014-2015 Season is proudly sponsored by ArtsFund and Microsoft Corporation.

Single tickets for the entire PNB season are on sale now. Subscribers still get free processing through 31 July with the subscriber promo code for 2015, which was sent out in email last week. Please note: all Saturday matinees for "Don Quixote" and "Swan Lake" (subscription and non-subscription) begin at 1pm. Non-subscription performances, where there is great seat selection, are: Don Quixote (second weekend): Saturday, February 7, 1pm matinee Sunday, February 8, 7pm (note earlier-than-usual start) Swan Lake (second weekend) Saturday, April 18, 1pm matineeAlso, Bruce Wells' superb "Snow White," danced by the PNB School, which runs two weekends in March, is also on sale: Sunday, March 15 at 12:30pm and 3:30pm Friday, March 20 at 10:30am (Student Matinee) Saturday, March 21 at 3:30pm Sunday, March 22 at 4:30pm (no "Buy" link on the website) Special Presentations: There are three "Jewels" presentations: for those wanting to see all three, there is a package deal that is only available from the box office over the phone (206.441.2424). The price is the cost of two tickets instead of three ($40 for subscribers, $50 for non-subscribers). Tickets to individual Special Presentations are also available on sale through the PNB website: http://www.pnb.org/Community/Audience/Presentations.aspx Wednesday, August 20 @ 5:30-7:00 PM (Studio C, Phelps Center): Jewels Coaching Series- Diamonds, featuring Jacques d’Amboise Thursday, August 21, 2014; 6:00-7:00 pm (Studio C, Phelps Center): Wolf Trap Preview (piece by Andrew Bartee) Thursday, September 11 @ 5:30-7:00 PM (Studio C, Phelps Center): Jewels Coaching Series-Emeralds, featuring Violette Verdy and Mimi Paul Monday, September 22 @ 5:30-7:00 PM (Studio C, Phelps Center): Jewels Coaching Series-Rubies, featuring Edward Villella Tuesday, September 30 @ 5:30-7:00 pm (Studio C, Phelps Center): New York Tour Preview (selections from "Tide Harmonic," "Memory Glow," Justin Peck's new work) Saturday, January 24 @ 3:00-4:30 pm (Board Room, Phelps Center): Being Don Quixote: A Conversation with Tom Skerritt Wednesday, March 11 @ 6:30-8:00 pm (McCaw Hall): William Forsythe Onstage (lec-demo) Tickets for Friday Previews can be purchased here: http://www.pnb.org/Community/Audience/FridayPreviews.aspx September 19: Jewels January 23: Don Quixote March 6: The Vertiginous Thrill of Forsythe May 15: Carmina Burana Tickets for the Lecture Series (one hour before dress rehearsal) can be purchased here: http://www.pnb.org/Community/Audience/Lectures.aspx September 25: Edward Villella November 6: Justin Peck January 29: Don Quixote panel discussion March 12: William Forsythe April 9: Swan Lake panel discussion May 28: Alexei Ratmansky Free events are: Pre-performance lectures before each performance (Nesholm Family Lecture Hall, McCaw Hall) Post-performance Q&A's after each performance except after "Nutcracker," "Don Quixote," and "Swan Lake" (Nesholm Family Lecture Hall, McCaw Hall) Previews by Doug Fullington at the Seattle Central Public Library (Microsoft Auditorium), 12-1pm September 23: Jewels January 27: Don Quixote March 10: The Vertiginous Thrill of Forsythe April 7: Swan Lake May 26: Carmina Burana

If you read us long enough, you'll see that we rarely agree on anything here. Some people will love and others will hate the same dancer, ballet, and/or production. I've only seen Zakharova live once, as Nikiya in California, and I thought she was a very warm and feminine Nikiya. I was surprised to hear her described as cold, so maybe I'm blind, too In general, Zakharova's extensions that can go past 180 degrees are what many have disliked in the past. She didn't have as many in "La Bayadere" as I expected when I read about her, but it was frustrating, because everything else was lovely, and she didn't need them. We've seen it in person in different theaters and on film, so it happens at least sometimes. (I wonder if it's less obvious on a raked stage.) Saratoga Springs is an outdoor stage, and I'd expect there to be more dirt, since there is wind and no walls. (There's a roof.) California wrote, "That stage meets Balanchine's demanding standards for "spring," and the NYCB rehearsal studios (which I assume Bolshoi is using) are over in the new Rose building, which also has great floors for NYCB." I can't imagine that it's a permanent floor, because the stage is used for concerts of all kinds, and they wouldn't want additional holes in it. If it is assembled on top of the base floor, does anyone know if it belongs to NYCB or the theater, and whether it is put down for all visiting companies? In Frank Ohman's book he wrote about that he created a floor for a company or school using Balanchine's specifications. I'm surprised that the Bolshoi doesn't travel with it's own sprung floor, because these floors can be shipped in pieces and assembled at each theater, and they can be made outside a factory. When the Bolshoi visited Seattle, the theater manager gave a speech thanking the Bolshoi stagehands for their expertise, and I'm sure the carpentry crew at the Bolshoi Theatre could make one for the company. Thank you for the recommendation! I can only speak for myself, but my two favorite versions of "Swan Lake" are the David Blair version which ABT used to do, and Kent Stowell's version for Pacific Northwest Ballet. If you ever read what New Yorkers think of Kevin McKenzie's current version for ABT, the criticisms sound as harsh as the criticisms of Grigorovich's version. The only thing I didn't like about Blair's version was that the mime was cut. Kent Stowell's version is current, and Pacific Northwest Ballet will perform it again this season. It has all of the familiar "After Petipa" parts, but what I love about is that Stowell has created a fourth act that balances out Act II.

Sofiane Sylve did not study at the Paris Opera Ballet School, nor did she dance with POB School. She trained in Not Paris Nice and made her career in Germany, the Netherlands, and NYCB before joining SFB, while Froustey left POB and was trained by the School, and her departure from POB is new and still stings, like Korbes' from NYCB. It would be like the NY press being all over Alexandra Ansanelli returning to NYC with the Royal Ballet, while ignoring Not NYC Sarah Lamb.

Yes, there are ballerinas with American companies that wear Gaynor Mindens, and, no, I've never seen coal-black feet on them. I didn't on Shipulina, either, whether she danced Medora -- lots of dancing in that one -- or Gamzatti. Principal Dancers wear out their shoes a lot faster than corps members. In "Swan Lake, they stand there for minutes on end during the White Swan Pas de Deux and spend a lot of time walking around in various patterns. They wouldn't have to change their shoes that often, and the advantage of old shoes for swans is that they aren't as loud.

On the other hand, it's a public presentation, and I wouldn't be surprised to see Verdy back with Korbes. Just a guess. Here's a link to sandik's thoughts on the 2009 performance she saw, including information about Mimi Paul's coaching section: http://balletalert.invisionzone.com/index.php?/topic/28751-jewels-129-27/?p=241666 Also, kfw quoted part of a blog post by Peter Boal on Verdy's coaching; unfortunately, the domain was abandoned, and we only have the quote left: http://balletalert.invisionzone.com/index.php?/topic/28751-jewels-129-27/?p=242982 Doug Fullington posted about the stagers who came in 2006, when PNB first produced "Jewels:" http://balletalert.invisionzone.com/index.php?/topic/22427-jewels-podcast-casting-and-reviews/?p=182833 I posted a description of the Q&A in which Jonathan Porretta discussed how he learned the Villella role in "Rubies" and Peter Boal talked about Elyse Borne's work on the staging (scroll to "A few notes from the Q&A:"): http://balletalert.invisionzone.com/index.php?/topic/22427-jewels-podcast-casting-and-reviews/page-2?hl=jewels For the last PNB "Jewels" we only have a (now dead) link to the cast lists, but from the programs I have and the reviews on the 2009 Jewels thread, first, it was such a jolt to see how many dancers are no longer with the company -- Nadeau and Vinson in the Verdy role, Wevers in the Ludlow role, and Lallone and Stanton in the Paul and Moncion roles in "Emeralds;" Lowenberg, Vinson, Spell, Eames, and Thomas in the Pas de Trois -- along with about-to-be or by-then new mothers Kitchens and Foster -- Thomas, Eames, and Weese in the McBride role, Wevers amd Postlewaite in the Villella role, Lallone as Tall Girl, and Kerollis, Pacitti, Spell, Bartee, and Sar as the male corps in "Rubies;" Vinson, Milov, and Nakamura in "Diamonds", and corps members Brunson, Duge, Relic, Reshef, Stallman, Pankevitch, and Rollofson in other corps roles. Nakamura did the McBride role in 2006 and 2007, and Pantastico did the McBride role in 2007. The dancers who are still in the company and not on maternity leave (with the role in parentheses) are: Emeralds: Carla Korbes (Verdy), Karel Cruz (Moncion), Sarah Orza/Jerome Tisserand (Paul/Moncion couple), (fingers crossed) Maria Chapman (Paul), and Pas de Trois dancers Seth Orza, Sarah Orza, and Benjamin Griffiths. Rubies: Laura Gilbreath, Lindsi Dec, and Carrie Imler (Tall Girl), Jonathan Porretta (Villella), Eric Hipolito Jr. and Kiyon Gaines in the male corps Diamonds: Carla Korbes, Laura Gilbreath, and Carrie Imler (Farrell) and Batkhurel Bold and Seth Orza (d'Amboise)

She did say she's looking at Europe and would like to dance in classical rep. Here's the link to the Show Notes page for Morgan's interview: http://nblo.gs/YzFJe

I think a number of the dancers in the Russian companies have said they wear Gaynor Mindens, which last longer. I would think the longer a dancer wears a shoe, the dirtier the shoe will get. It's not such an issue for the Odettes and Auroras who wear Freeds, and up to three different pairs in a performance.

I would argue against the need for "modernized" bodies in the Classical and Romantic rep, but that's another story. The main issue is a misunderstanding of what Guillem brought to the table. It's not just about elongated bodies with long limbs and extreme extensions, which are inappropriate in the classical rep and distort the harmony, architecture, and purpose, because I've seen that from Lopatkina as Lilac Fairy (live) and Letestu (on DVD): it's about the distortions of core and alignment to get those positions, the technical weaknesses in the feet and turnout, and the loss of strength, which neither Lopatkina nor Letestu do, but many others I've seen do. Because the standards of the school are so high, I think that it's just a matter of waiting until Tsiskaridze is made AD of the Mariinsky, and not "Acting" anything. He could make a big impression by accepting the title of "Ballet Master."

The "monkey with the dart board would be better" argument has been made against Martins and McKenzie with equal enthusiasm, as it was rendered against the revolving door AD's of Royal Danish Ballet -- although Martins has never been accused of holding back young talent in general casting-wise, as that's not part of NYCB culture -- and casting favorites or perceived favorites in roles out-of-proportion to their talent is a familiar cry against just about every AD. Russian ballet is still in the precarious position of trying to extend its rep and range while maintaining its old virtues and trying to navigate the tipping point where growth turns it into something else. Punctuated equilibrium was Vaganova's reality, as the ballets changed and she adjusted her pedagogy to respond, but people invoke her as if she were part of an unchanging orthodoxy. POB has almost formalized a schism in rep and the dancers who specialize in their two main categories, which was their response to the same problem. The Bolshoi and Mariinsky tend to force what they consider a modernized dancer, too often physique-specific, on the classical rep. That's a common post-Guillem misunderstanding, but the Russian companies more than any others are dependent on touring income, especially during theater renos, and the Mariinsky AD's in particular, seem to have a perverse sense of what the "West" -- as if that's one thing -- wants to see. There are a wide range of opinions on the most controversial dancers -- Guillem, Zakharova, Somova, Smirnova, Skorik, Obraztsova, von Aroldingen, Kistler, Ringer, Part, Watts, Borree, etc.-- from eminent, well-respected critics, venerable coaches, and ballet professionals, as well as on dancers they feel are being held back, miscast, etc. I don't assume that every critic who cries "wuzrobbed!" is paid off or personally connected to a dancer and/or a dancer's supporters or is somehow corrupt. I assume they are opinions. In North America, audiences in general see a lot of young dancers who would be considered unfinished in Europe in roles that are a stretch for them, and our expectations can be very different. Many of us find it exciting to see performers at the edge of their abilities, even when the performances aren't completely successful, and are interested in seeing a dancer grow in a role or style over time. Others of us want more polished and detailed performances and for the growth to be almost exclusively at the high end of the range.

Le Riche gave an interview to "Kommersant," and Ismene Brown wrote an introduction/commentary and translated the article for her blog: http://www.ismeneb.com/Blog/Entries/2014/7/19_Le_Riches_thoughtful_parting_shots.html It's a very interesting read.

Welcome to Ballet Alert!, Emily! It's great that you're involved with the Ballet in Cleveland project; we've been hearing about it because of Bouder's involvement, and I hope you'll share your impressions here.

Kathryn Morgan gave an interview to Kimberly Falker for the Balancing Pointe podcast series. The direct link to the interview is here: http://hwcdn.libsyn.com/p/5/f/5/5f5fb978e202fd4c/Kathryn_Morgan.mp3?c_id=7400273&expiration=1405730489&hwt=c6af410d4f07b38731dfa956c3e2c545 She speaks about her training, schooling, summer programs, time at NYCB, her illness, her recovery, and her plans. At the end of the podcast Falker says that photos and links to Morgan's social media will be on the Show Notes page of the Balanching Pointe website.

Two offers for subscribers: 1. Order single tickets for the 2014-15 season (20% off) and "Nutcracker" (15% off) using the subscriber promo code for 2015 before they go on sale to the general public next Monday, 21 July, and 2. Using the same code, no fees through 30 31 July* on single ticket orders. Usually, the per-order fee is $8. *clarified on Facebook: https://www.facebook.com/PNBallet/photos/np.245045581.688777437/10152357925133952/?type=1&notif_t=notify_me

Fantastic news!

Here is Molat on the SFB blog site: Back in France

That's my favorite part of the ballet... I would always have a soft spot for NYCB's Judith Fugate for the same reason, even if she hadn't dance another step.