Helene

Out here, we have to wish for any Ashton.

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This is what I copied from the electronic program: many thanks Andre! Romeo and Juliet Choreography Alexei Ratmansky Music Sergei Prokofiev *By arrangement with G. Schirmer, Inc. publisher and copyright owner. Set, Costume and Properties Design Richard Hudson Lighting Design Jennifer Tipton Repetiteurs Magdalena Popa Peter Ottmann Mandy-Jayne Richardson Lorna Geddes World premiere The National Ballet of Canada, Four Seasons Centre for the Performing Arts, Toronto, November 16, 2011 Juliet Elena Lobsanova (July 10) Sonia Rodriguez (July 11, 13) Chelsy Meiss (July 12mat) Greta Hodgkinson (July 12 eve) Romeo Guillaume Côté (July 10, 12 eve) Naoya Ebe (July 11, 13) McGee Maddox (July 12mat) Mercutio Piotr Stanczyk (July 10, 12 eve) Skylar Campbell (July 11, 13) Keiichi Hirano (July 12mat) Tybalt McGee Maddox (July 10, 12 eve) Etienne Lavigne (July 11, 13) Jonathan Renna (July 12mat) Nurse Lorna Geddes (July 10, 12) Rebekah Rimsay (July 11, 13) Friar Lawrence Peter Ottmann (July 10, 12) Kevin D. Bowles+ (July 11, 13) Lord Capulet Etienne Lavigne (July 10, 12 eve) Jonathan Renna (July 11, 13) KevinD. Bowles+ (July 12 mat) Paris Patrick Lavoie (July 10, 11, 12 eve, 13) Giorgio Galli (July 12mat) Benvolio Robert Stephen (July 10, 12 eve) Dylan Tedaldi (July 11, 13) Christopher Stalzer (July 12mat) Lady Capulet Stephanie Hutchison (July 10, 12) Alejandra Perez-Gomez (July 11, 13) Duke of Verona Jonathan Renna (July 10, 12 eve) Peter Ottmann (July 11, 13) James Leja (July 12mat) Lord Montague Kevin D. Bowles+ (July 10, 12 eve) James Leja (July 11, 13) Patrick Lavoie (July 12mat) Lady Montague Juri Hiraoka (July 10, 12 eve) Nadine Drouin+ (July 11, 12mat, 13) Prostitutes Rebekah Rimsay or Tanya Howard or Rui Huang, Alejandra Perez-Gomez or Stephanie Hutchison or Tiffany Mosher Juliet’s Friends Jordana Daumec, Tanya Howard or Selene Guerrero-Trujillo, Tina Pereira or ChelsyM eiss, Jenna Savella or Tiffany Mosher Nobles and Citizens of Verona Artists of the Ballet+ Running Time Act I 50 minutes Intermission 20 minutes Act II 30 minutes Intermission 20 minutes Act III 40 minutes The performance will run approximately 2 hours and 40 minutes +Additional dancers Kevin D. Bowles, Krista Dowson and Nadine Drouin appear courtesy of Canadian Actors Equity Association

The Ashton vs. Balanchine takes on "A Midsummer Night's Dream" is an old, old argument. For me it hinges on central Pas de Deux, for Ashton between Oberon and Titania in the single act and for Balanchine between Titania and Bottom in Act I and the dancers in the Divertissement in Act II. Ashton's PDD is beautiful and sublime and everything else Macaulay describes physically, but I don't buy it from those characters, and think there's more psychological truth to the enchanted Titania/Bottom pairing. But his is hardly a heretical view, especially with ABT in town to counter the Balanchine juggernaut, to prefer the Ashton. There's no reason to feel bad for PNB or its hometown audience. Peter Boal knows what NY critics like, and he knows that, for the most part, what he wants audiences to see/what he likes is something different. He knows that it's one thing to present under Peter Boal & Co. and another under PNB. (If he didn't, bringing "Jardi Tancat" to Ballet Across America would have been a wake-up call.) He's said that he wants to expand the Seattle audience's notion of ballet. Boal had his own experiment with European dance when he left NYCB to go to Ballet du Nord. He fell for Maillot's work because he sought out performances of more than the usual suspects. He likes a type of dance that generally gets slayed by NY critics. I don't remember that many times the NY audience has embraced it regardless of critical response, except for the huge ovations NDT got in the '80's tours to the Met. It's unlikely that Macaulay would travel to Seattle to see the Forsythe program -- I don't think he'd travel across the country to see something he dislikes so strongly. I'm looking forward to it because it takes works from 1987 ("in the middle"), 1998 ("Vertiginous"), and the almost new "New Suite." I'm interested in comparing the works, especially since the only Forsythe I've seen that isn't to Thom Willems music is "Vertiginous" from the last Mariinsky tour to City Center. I don't think his response to the Schubert was particularly musical or that the structure of the music was especially conducive to the movement, but I loved the tutus, and Tereshkina was in it, and the music is why I really want to see "New Suite." The composers of "New Suite" were listed as Georg Friedrich Haendel, Luciano Berio, Gavin Bryars, Thom Willems, Johann Sebastian Bach on the Festival d'automne a Paris website and on the Berlin Semperoper website the music "consists of 'Haendel,' "Bach,' 'Berio,' 'Slingerland Pas de deux,' and 'New Sleep.'" I've never seen a work of his to smaller pieces by many composers. The PNB website lists only Handel and Berio, which I hope is either a placeholder or incomplete. One the one hand, I'm not sure how coherently the music will tie together, but, on the other hand, it's not like taking on the structure of a symphony.

I couldn't believe it when they moved from NYST to the Met.

SFB just posted this blog entry, with photos of Frances Chung (December 2013), Sarah Van Patten (May 2014), Rebecca Rhodes (June 2014), and Kristina Lind (June) from their weddings, and a photo of Jennifer Stalh with the caption "August 2014." http://www.sfballetblog.org/2014/07/beautiful-brides-san-francisco-ballet/ Congratulations to them all!

It is such a privilege to see him live. I missed his "Winterreise" due to my own stupidity: I showed up at the hall with wonderful acoustics only to figure out from the lack of people near the theater (it was a fogged-in night) that he was performing in a smaller, acoustically challenged (for music) hall too far to get to in time. He's recorded the cycle recently, and although it's never the same as hearing a singer live, the recording is available on CD and through iTunes.

http://ottawacitizen.com/news/local-news/chris-hadfield-joins-order-of-canada (Scroll) Baritone Gerald Finley has been awarded the Order of Canada: Gerald Finley, O.C., Mark Cross, Crowborough, U.K. and Montréal. For his achievements as an internationally renowned opera singer and cultural ambassador for our nation. So has Rick Mercer: Richard Vincent Mercer, O.C., Toronto. For his ability to inspire and challenge Canadians through humour, and for his leadership in support of charitable causes. Companions of the Order of Canada from the arts: David Cronenberg, C.C., O.Ont., Toronto. For his unflagging contributions to Canadian film as a cinematic icon who has cemented his place within the world’s top echelon of filmmakers. Members of the Order of Canada from the arts: James. W. Borcoman, C.M., Ottawa. For his pioneering contributions to the art of photography and for his promotion of contemporary Canadian photographers. Earlaine Collins, C.M., Toronto. For her efforts as a volunteer and philanthropist who supports cultural institutions and emerging artists. Eleanor Collins, C.M., Surrey, B.C. For her pioneering achievements as a jazz vocalist, and for breaking down barriers and fostering race relations in the mid-20th century. Victor Davies, C.M., Toronto. For broadening the appeal of contemporary Canadian music and for supporting the legal rights of Canada’s composers. Denise Desautels, C.M., Montréal. For her contributions to Quebec literature and to the development of literary life as a poet. François Dompierre, C.M., Sutton, Que. For his contributions to music as a composer who is known in particular for his film compositions. Jean Giguère, C.M., Winnipeg. For her voluntary service in promoting the arts and Canadian culture. Antony Holland, C.M., Gabriola Island, B.C. For his achievements as an actor and teacher, notably for founding Langara College’s Studio 58 to cultivate the next generation of Canadian performers. Guy Gavriel Kay, C.M., Toronto. For his contributions to the field of speculative fiction as an internationally celebrated author. Jack Long, C.M., Toronto. For his engagement as a pioneer in Canada’s music retail industry who is committed to musicians, customers and employees across the country. Carol Martin, C.M., Thomasburg, Ont. For her contributions to the development of the Canadian independent publishing industry, notably as a founding member of the Association of Canadian Publishers. James Armstrong Munro, C.M., Victoria. For his vital championship of countless Canadian writers and for his sustained community engagement as an independent bookseller. Alexander Peter Pauk, C.M., Toronto. For his contributions to the development of contemporary Canadian orchestral music and for his promotion of Canada’s composers. Denise Robert, C.M., Montréal. For her role in asserting and helping to develop Quebec cinema as one of the most respected producers in Canada. Karl Siegler, C.M., Powell River, B.C. For his tireless promotion of Canada’s small publishing houses and for his efforts to safeguard their interests and welfare. René Simard, C.M., Lorraine, Que. For his contributions to the development of Quebec culture as a performer, host and director. Alan Robert Twigg, C.M., Vancouver, B.C. For his countless contributions to the promotion of British Columbian literature and publishing. Fawn Wilson White, C.M., Rome, Italy and Saint John, N.B. For her contributions to promoting Canadian arts and culture, notably by creating performance and exhibition opportunities for Canadian artists abroad. to them all and Happy Canada Day!

A great photo from backstage, tweeted by Marcelo Gomes, with Gomes and Simkin: http://instagram.com/p/p6ukwhiubB/

As always, highly educated guesses are fine, as long as their inspiration isn't unofficial news. PNB's Doug Fullington and musicologist Marian Smith, who were instrumental in staging PNB's "Giselle," are assisting Ratmansky on the Bavarian State Opera "Paquita": http://www.bayerische.staatsoper.de/922-ZG9tPWRvbTImZmxhZz0xJmlkPTMzODQmbD1lbiZ0ZXJtaW49MTQ3NTE-~spielplan~ballett~veranstaltungen~vorstellung.html Costumes are by Jerome Kaplan, which means gorgeous. No mention I can see on the Bayerisches Staatsballett site that it is a co-production, in German or English versions. When I asked about the possibility of this being done in Seattle, the answer was that it was far too expensive. Of course, "expensive" for PNB is probably the cleaning supplies budget for ABT.

It's a wish list. A spectacular wish list. (I've changed the title.)

I would guess they'll eventually post casting to this page on their website: http://national.ballet.ca/performances/On_Tour/Los_Angeles,_California/#AbouttheBallet-tab

People have been reviewing and discussing the ballets in the performance threads. I'm really behind myself. Maybe people are taking a breath after the weeks of full-lengths. I hope people are going to see this mixed bill and will report back.

It's a great production.

I wish they'd give Viktoria Part evening performances so that people who have to work for a living not as critics have the privilege of seeing her.

From Ismene Brown's blog, an update: http://www.ismeneb.com/Blog/Entries/2014/6/29_Filin_out_of_hospital.html From Laura Cappelle: https://twitter.com/bellafigural/status/483305210354610176 I've landed in the hospital in anaphylactic shock. It was acute and life-threatening, but I was out of the hospital within a couple of hours, a few shots of adrenalin later. In Filin's case, given how much medical treatment he's sustained over the last 18 months, and the number of medications he's been on, it makes sense that they'd observe him for a while as a precaution.

Daniil Simkin tweeted this lovely photo of Isabella Boylston before her first entrance in "Giselle" last night: Photo: Isabella Boylston (@isabellab13) during her debut of “Giselle,” right before she enters the stage through... http://fb.me/3DtRfv0OJ

It's not on the competition website yet, but YAGP posted the winners list to its Facebook page, and many thanks to them!: GRAND PRIX KANSTANTIN GERONIK (M) (BELLARUS) LIUDMILA KHITROVA(F) (BELLARUS) GOLD SENIORS TAKATOSHI MACHIYAMA(M) (JAPAN) EUN HYE KAAN (F) (SOUTHKOREA) SILVER SENIORS ILHAN DURGUT(M) (TURKEY) DEANNA PEARSON (F) (USA) BRONZE SENIORS JOO HOO LEE (M) (SOUTHKOREA) BUSRA AY (F) (TURKEY) GOLD JUNIORS JULIAN MACKAY(M) (USA) OLESIA SHAYTANOVA (F) (UKRAINE) SILVER JUNIORS MUKHTAR JUMANIYAZOV (M) (KAZAKHISTAN) YANA SHTANHEI (F) (UKRAINE) BRONZE JUNIORS DIOGO DE OLIVEIRA (M) (PORTUGAL) DINA LEVIN (F) (AUSTRIA) A photo of Junior Gold medalist Julian MacKay, Senior Bronze medalist Busra Ay, and 2008 winner Burak Ovic https://www.facebook.com/julian.mackay.3/posts/833157470027825 Info about the contest itself: Rep list Jury Round requirements Link to .pdf of the contestants by category JUNIOR GIRLS Alina ALBAYEVA Hatice Cagla ERTURK Dina LEVIN Sofia MATIUSENSCAEA Aitolkyn NURAKHMETOVA Yana SAVITSKAYA Oleysia SHAYTANOVA Yana SHTANHEI Oben YILDIRIM JUNIOR BOYS Mukhtar JUMANIYAZOV Julian MACKAY Diego de OLIVEIRE Ekincan YILMAZ Marlen ZHUMABAYEV SENIOR GIRLS Yurika AOKI Busra AY Yuliya BRAUER Elena CHIRITA Eun Hye KAAN Liudmila KHITROVA Kozue MIKAMI Beatrice PARMA Deanna PEARSON Deborah ROSNER Mizuka SUZUKI SENIOR BOYS Kamill Ariston CHUDOBA Ilhan DURGUT Randol Batencot FIGUEREDO Kanstantin GERONIK Joo Ho LEE Takatoshi MACHIYAMA Flemming PUTHENPURAYIL Ivan TARANKANOV Constantin TCACI Kento TERASHITA Tevfik Bayram VATANSEVER

Congratulations to all of the the medalists

Those are beautiful photos -- thanks for posting and welcome to Ballet Alert! moisesferber!

We've debated the question of sponsorship, in the case of ABT official sponsorship, before, including whether having one influences management's decisions. In fact it is the business of donors and ticket buyers as to whether money behind dancers determines who the audience sees in what or doesn't see. It may matter to some and not to others, and to those it matters, how they let their patronage do the talking (and walking), but there's a chicken-and-egg problem: does opportunity beget sponsors or do sponsors beget opportunity? The samples aren't large enough. Would an outside sponsor's money be any more "distasteful" or insidious than the entrenched nepotism in ballet? You don't have to go back to Kschessinskaya or to more recent "friends of the right general" spouses-of-AD's to talk about sponsorship in high places: Joy Womack said she was told to get a sponsor if she wanted to be cast. Stella Abrera is a grown-up. She's been at ABT since 1996. She's stayed for whatever trade-offs she made. Perhaps (if there are no other personal concerns keeping her in NYC), with her husband retiring this week, they can pick up and move somewhere where she'll get more opportunities and will be appreciated. Or not, if she prefers to stay at ABT.

For a moment there, I thought I was in the Bolshoi forum.