Helene

Chances are, we'll learn the reason via (official) social media, even if after the fact.

To answer the original question, no, not in the slightest. Since the topic was raised in a thread in the NYCB forum about Tyler Angle, if I were a ballerina, I would be thanking my lucky stars if he were my partner.

I think that both things can be true: he may not be as good as he thinks he is, and the reason he hasn't had the career he wants isn't because of that.

You're welcome to discuss your take on an issue here, but not to discuss each other.

From the press release: LOVE & LOSS Pacific Northwest Ballet triple-bill shines its spotlight on works premiered through the auspices of PNB’s New Works Initiative. Seven Performances Only: November 3 – 12, 2023 Friday, November 3 at 7:30 PM Saturday, November 4 at 2:00 and 7:30 PM Thursday – Saturday, November 9 – 11 at 7:30 PM Sunday, November 12 at 1:00 PM Marion Oliver McCaw Hall 321 Mercer Street at Seattle Center Seattle, Washington 98109 Streaming Digitally November 16 – 20 SEATTLE, WA – Pacific Northwest Ballet continues its 2023-24 Season with a trio of works that all sprang to life as a result of PNB’s New Works Initiative. Donald Byrd’s haunting Love and Loss premiered in 2019, and Wartime Elegy, Alexei Ratmansky’s tribute to his beloved homeland of Ukraine, followed in 2022. Rounding out the program is the world premiere of a new work by inventive Australian choreographer (and newly-appointed artistic director of Oregon Ballet Theatre) Danielle Rowe. LOVE & LOSS plays seven performances only, November 3 through 12 at Seattle Center’s Marion Oliver McCaw Hall. Tickets start at just $38. The program will also stream digitally November 16 - 20. Digital access is available by subscription. For tickets and additional information, contact the PNB Box Office at 206.441.2424, in person at 301 Mercer Street, or online 24/7 at PNB.org. About the New Works Initiative: Since its launch in 2005, PNB’s New Works Initiative has facilitated the creation and premiere of nearly 150 dance works, helping to define the artistic vision of the company. Choreographers whose work has been made possible through the Initiative include Donald Byrd, Alejandro Cerrudo, Jessica Lang, Edwaard Liang, Justin Peck, Crystal Pite, Alexei Ratmansky, Christopher Wheeldon, Twyla Tharp, and others. Additionally, PNB’s robust digital work has created an opportunity to feature choreographers within the company, like Kyle Davis, Amanda Morgan, Miles Pertl, Price Suddarth, Leah Terada, and Dylan Wald. The New Works Initiative covers costs ranging from choreographers to designers, composers, and other related expenses. For more information, visit PNB.org/NewWorks. The LOVE & LOSS program line-up includes (follow hyperlinks for additional notes): Love and Loss Music: Emmanuel Witzthum, Songs of Love and Loss, 2018 Choreography: Donald Byrd Scenic and Lighting Design: Randall G. Chiarelli Costume Design: Doris Black Assistants to the Choreographer: Nia-Amina Minor, Emily Pihlaja, Andrew Pontius, Fausto Rivera Running Time: 36 minutes Premiere: November 8, 2019, Pacific Northwest Ballet PNB’s 2023 performances of Love and Loss are supported by Glenn Kawasaki. The 2019 world premiere of Donald Byrd’s Love and Loss was principally supported by Marcella McCaffray and Glenn Kawasaki. Wartime Elegy Music: Valentin Silvestrov (Four Postludes for Piano and String Orchestra); Ukrainian Village Music, “Pidkamecka Kolomyjka” and “Nina Polka” Choreography: Alexei Ratmansky Scenic Design: Wendall K. Harrington Costume Design: Moritz Jung Art: Matvi Vaisberg & Maria Prymachenko Lighting Design: Reed Nakayama Running Time: 21 minutes Premiere: September 23, 2022, Pacific Northwest Ballet PNB’s 2023 performances of Wartime Elegy are supported by Peter & Peggy Horvitz, Maximilian & Maria Schmeiser, and Leslie Yamada. The 2022 world premiere of Alexei Ratmansky's Wartime Elegy was principally supported by Peter & Peggy Horvitz, with additional support from Leslie Yamada and Aya Stark Hamilton. WORLD PREMIERE (Title TBA) Music: Shannon Rugani Choreography: Danielle Rowe Lighting Design: Reed Nakayama Costume Design: Emma Kingsbury The 2023 world premiere of Danielle Rowe's new work is generously supported by Leslie Yamada, Bob Benson, T.R. Ko, Lyndall Boal, Braiden Rex-Johnson & Spencer Johnson, and Barbara Lewis. SPECIAL EVENTS PNB CONVERSATIONS & DRESS REHEARSAL Thursday, November 2, 5:30 pm Nesholm Family Lecture Hall at McCaw Hall Join PNB Artistic Director Peter Boal, in conversation with Dani Rowe. PNB Conversations offer in-depth interviews with artists involved in putting our repertory on stage. Attend the Conversations event only or stay for the dress rehearsal of PETITE MORT. Tickets (suggested donation of $25) are available through the PNB Box Office. BALLET TALK Nesholm Family Lecture Hall at McCaw Hall Join dance historian Doug Fullington for a 30-minute introduction to each performance, including discussions of choreography, music, history, design, and the process of bringing ballet to the stage. One hour before performances. FREE for ticketholders. MEET THE ARTIST Nesholm Family Lecture Hall at McCaw Hall Skip the post-show traffic and enjoy a Q&A with Artistic Director Peter Boal and PNB dancers, immediately following each performance. FREE for ticketholders. TICKET INFORMATIOIN Tickets to PNB’s live and/or digital performances may be purchased through the PNB Box Office: · Phone - 206.441.2424 · In Person - 301 Mercer Street at Seattle Center · Online 24/7 - PNB.org Subject to availability, tickets are also available 90 minutes prior to each performance at McCaw Hall. In-person ticket sales at the McCaw Hall Box Office are subject to day-of-show increases. Advance tickets through the PNB Box Office are strongly suggested for best prices and greatest availability. Tickets for the live performances of LOVE & LOSS are $38 - $210. Groups of ten or more may enjoy discounts up to 20% off regular prices: Contact Group Sales Manager Julie Jamieson at 206.441.2416 or JulieJ@PNB.org for ticketing assistance. (Group discounts are not valid on lowest-priced tickets and may not be combined with other offers.) PNB’s digital presentation of LOVE & LOSS (November 16 – 20) is available by subscription only, $250. For information about special ticket offers including group discounts, The Pointe, Pay-What-You-Can, rush tickets, Beer and Ballet night, TeenTix, and more, visit PNB.org/offers. Caveat Emptor: Like many performing arts, PNB struggles with ticket resellers. At their most mundane, third-party sites snap up less expensive tickets and sell them for a profit. At their most dastardly, they sometimes sell invalid tickets. To enjoy the ballet at the best prices available, always purchase tickets directly from PNB. Suspected ticket scams should be reported to the Better Business Bureau. Health, Safety, and Accessibility: At this time, masks are encouraged but not required as part of the PNB audience experience. For details and info regarding PNB’s current health and safety policies, visit PNB.org/Health. For information on McCaw Hall accessibility, visit PNB.org/Accessibility. The show must go on: Pacific Northwest Ballet is committed to honoring its performance calendar. Performances will not be cancelled for weather, traffic, or acts of Congress. In the unlikely event that the status of a performance does change, an announcement will be posted on PNB.org. PNB’s performances of LOVE & LOSS are made possible through the support of production sponsors Peter Horvitz, Glenn Kawasaki, Maximilian & Maria Schmeiser, and Leslie Yamada. Pacific Northwest Ballet’s 2023-2024 season is proudly sponsored by ArtsFund, Microsoft, and The Shubert Foundation. PNB’s digital season is made possible by Katherine Graubard and William Calvin. PNB media sponsorship provided by The Seattle Times.

For those who have digital season subscriptions (and in-person subscribers who chose the digital add-on), you should have received your link yesterday. The digital performance is viewable until Monday, October 9 at 11:59pm PDT.

Thank you for the share! Discussion of her critique of the non-costume aspects can take place in the Writings on Ballet forum: https://balletalert.invisionzone.com/forum/25-writings-on-ballet/ I'd need to see them move and in context before finalizing my opinion. They strike me as an attempt to indicate Fred and Ginger, but a lot of the choreography does not.

Odds are, if you start a sentence with "I heard," what comes next is a violation of our "official news" policy. The exceptions are when "I heard" is followed by "at [name of public-facing event]" or "on [name of official podcast] or [mainstream media stream/radio/TV station]".

In their early Family Matinees, NYCB had a Faux Company Class segment, shorthand for what the parts of the class were. But it was clearly a performance of a class, not the real thing. Were it World Ballet Day, class would have been broadcast across the world for many participating companies, even some of the guest companies.

My emphasis would be quite different: "An investigation commissioned by the organization did not corroborate [note: my emphasis] the various allegations made against Martins by current and former dancers to the New York Times and the Washington Post in 2017." The commission wnet to a law firm that, according to its website, analyzes potential liability for employers.

I'm not sure Melissa Hayden, for whom Liberty Bell was created, would ever have been called a soubrette :). Hayden did tell that story in the "Dancing for Mr. B" documentary: Kurt Frohman published an excerpt where Kent and Hayden spoke about Stars and Stripes (and Kent about The Unanswered Question, too) to his Instagram earlier this week.

Casting for second weekend is up (scroll): https://www.pnb.org/season/petite-mort/ Link to the downloadable Excel sheet: Petite Mort 2023 09 26.xlsx

It was. The company had performed Rubies as a stand-alone under Russell and Stowell. I think I saw PNB perform it one summer at Chateau Ste Michelle. The dancers are Louise Nadeau (Verdy role), one of Peter Boal’s friends at SAB, and Christophe Marachal Maraval* Noelani Pantastico (Paul role) and Jeffrey Stanton, and Benjamin Griffiths, Rachel Foster (dark hair), and Jodie Thomas (light hair) in the pas de trios. (Foster Thomas** later danced with Royal Danish Ballet.) Edited to fix errors noted by sandik below *I didn't notice the spellcheck correction and **dumb mistake

My reading is different. I think that most people can tell the difference between someone who is critical and/or for whom they are not someone else's cup of tea (as she posted), because that's the life of every great dancer, versus people whose words are hateful. My interpretation is that she was saying something similar to what Coco Gauff said, "To those who thought were putting water in my fire, you really added gas to it." In my opinion, good for both of them.

Unlike almost every dancer I've heard speak about it -- they love Petite Mort, and even before it came into the company's rep, Lindsi Dec and Karel Cruz raved about it from a video they saw and it was on their dream list -- it's not among my favorites or even favorite Kylian works, but one thing I really appreciate about it is the chance to see partnerships that don't happen in more hierarchical works and height-based partnerships in roles that require lots of overhead lifts. Everyone in this afternoon's performances of all three works was stellar. While not all were strictly ensemble works, a large part of the company danced, and there was a unity in each work and across all three pieces. Another thing I love in general is when a younger member of the company shines especially bright when everyone around them is at the top of their game, and, for me, this afternoon, that was Noah Marzall in Petite Mort. I couldn't stop watching him in the opening men's dance, and if I weren't terrified of heights, I would have leaned over the side of the box when he was briefly in a corner I couldn't see from my seat. Watching Elle Macy and Miles Pertl dance together makes me hope that if we ever see Pictures at an Exhibition again, that they get to do the central pas de deux. The women are front and center in the pas de deux, and all six -- Sarah-Gabrielle Ryan, Leta Biasucci, Lily Wills, Yuki Takahashi, Elle Macy, and Leah Terada -- danced with striking dynamism,and astonishing articulation, which doesn't always happen together; many bravas to them. I've long preferred Sechs Tanze: it's as if Kylian was injected with a dose of Mark Morris ala the boys' dance in L'Allegro: while the undertones of what looked like a last gasp social farce were never absent, the comedy was done straight, if zannily, and that makes it impactful. The cast of fourteen hit it out of the park. I'm so glad Cacti came back, because it's so goofy and self-deprecating, and the music is a real treat. (Doug Fullington conducted it; Emil de Cou conducted for the two Kylian works.) The dancers were all over it! I want to see it again next weekend with more dancers, and I'll make plans when the casting is up for second weekend.

That's exactly what I mean: if I had know this was available at the time, I would have subscribed to a full in-person SFB subscription and only watched the videos. I did that for several other arts organizations when they offered this kind of conditional streaming. All of the ones I subscribed to only sent you a link to the taped performance if your in-person ticket wasn't scanned. And after they stopped offering the option, I stopped subscribing. Edited to add: One company allowed you to tell them ahead of time that you weren't showing up, so that they could resell the ticket if they could. Apart from that company, I wouldn't have subscribed if there weren't lots of tickets available and the likelihood of depriving someone of a seat was minuscule. According to this page, Seattle Opera is still doing it: https://www.seattleopera.org/performances-events/streaming-faq/ I'm glad they are, and I'm glad San Francisco Opera is selling stand-alone live streams to the third performance of rep, with 48 hours on demand starting 10am PT the day after. The first three performances of each rep offers Operavision in the Balcony, and I can't help but think they figured out a way to stream and monetize what they're doing already. Operavision is my idea of heaven, since I'd choose Balcony anyway.

What I meant was that had I known they had made them available in the past, I would have subscribed then to see the videos. Just like I did for several arts organizations. I stopped subscribing when they stopped sending links to videos if your ticket wasn't scanned, although for one, I had hoped to be able to travel to see one performance in person.

That's an iconic program!

I didn't know the ballet didn't do that, or I would have subscribed and then watched the digital performances. The opera launched their live streaming service last year, after offering the public television videos for free during the first year of the pandemic and as on demand from the vault if you donated a certain amount. (I remember $75, but it was less than $100.)

The PNB Nutcracker digital stream was more expensive than the standard rep stream. I used to get it as a stand-alone.

The Pacific Northwest Ballet regular rep streams are available the Thursday after the rep ends through the following Monday night 11:59pm Pacific Time: Petite Mort -- October 5-9 Love and Loss -- Nov 16-20 Swan Lake -- Feb 15-19 One Thousand Pieces -- Mar 28-Apr 1 The Seasons Canon -- Apr 25-29 Coppelia -- Jun 13-17 Last year's Nutcracker streaming period was longer, from December 19-27. The recording has been of the Opening Night performance all of last year.

San Francisco Opera streams the third performance of each rep -- and last year, two anniversary galas -- and then for the non-gala events, allows unlimited views for 48 hours starting 10am PT the next day. For the last two seasons, they've cost $27.50 each, all inclusive, although it may be taxable for California residents. They opened their digital season last night with Il Trovatore. I wonder if this is the or one of the Operavision performances, where they already "broadcast" to screens on both sides of the Balcony (top level), where you get the closeups and subtitles on the screen if you look, but get to hear the sound from the top of the house, the best of both worlds for me. (Plus, you can always watch the stage instead.)

It seems odd to me that they wouldn't announce it, and certainly not to have any messaging I can find on the site, so that patrons don't question their sanity and have to call.

It was in the press release that they'd be sold at $35 each. There were no restrictions listed indicating that they were limited to subscribers. Full subscribers could get the digital add on for, if I remember correctly, $30 for the season. I'm getting an error trying to access the August press release about the rep from the PNB site, but I have the original in my Inbox, which in the "Ticket Information" section, "Tickets for PNB's digital-only presentation of PETITE MORT (October 5--9) are $35." It's not part of my original post, because I wanted to separate it from the main post, and because the site combines post by the same member if they're posted within a few minutes of each other, I was waiting to add it later, and forgot. The season's digital price is higher than $35/rep, even if the Nutcracker is included (49?), which I didn't pay attention to before. There was no subsequent press release that announced any change. Even if this is not their intention, it's an effective way of sticking a fork in the digital program.

Tonight, September 20, at 7:30pm (PT) San Francisco Opera opens its 2023-24 paid streaming season with Il Trovatore. Like most of their streams, it will be available on-demand for 48 hours starting at 10am PT the day after the livestream. (Some performances have been livestreamed only). The cost is $27.50 US/opera. There aren't additional fees, and there is not cart function, so they need to be purchased one at a time. More details, including technical details, are here: https://www.sfopera.com/digital/Livestream/ Il Trovatore (Giuseppe Verdi)-Wednesday, September 20 (7:30pm PDT) Leonora-Angel Blue Azucena-Ekaterina Semenchuk Manrico-Arturo Chacon-Cruz Count di Luna-George Petean Ferrando-Robert Pomakov Run Sun Kim, conductor Sir David McVicar, production The (R)evolution of Steve Jobs (Mason Bates and Mark Campbell)—Wednesday, September 27 (7:30pm PDT) Steve Jobs-John Moore Laurene Powell Jobs-Sasha Cooke Steve Wozniak-Bille Bruley Kobun Chino Otogawa-Wei Wu Paul Jobs-Joseph Latttanzi Christen Brennan-Olivia Smith Michael Christie, conductor Kevin Newbury, director Lohengrin (Richard Wagner) --Saturday, October 21 (7:30pm PDT) Lohengrin-Simon O’Neill Elsa von Brabant-Julie Adams King Heinrich-Kristinn Signundsson Friedrich von Telramund-Brian Mulligan Ortrud-Judit Kutasi The King’s Herald-Thomas Lehman Run Sun Kim, conductor David Alden, director Omar (Rhiannon Giddens and Michael Abels) — Saturday, November 11 (7:30pm PST) Omar-Jamez McCorkle Julie-Brittany Renee Fatima, Omar’s Mother-Taylor Raven Johnson/Owen-Daniel Okulitch Abdul, Omar’s Brother/Abe-Norman Garrett Eliza-Laura Krumm Katie Ellen/Caller-Rehanna Thelwell Auctioneer/Taylor-Barry Banks John Kennedy, conductor Kaneza Schall-Director The Elixir of Love (Gaetano Donizetti) — Sunday, November 26 (2pm PST) Nemorino-Pene Pati Adina-Slavka Zaecnikova Dulcamara-Renato Girolami Sergeant Belcore-David Biz Ramon Tear, conductor Daniel Slater, director The Magic Flute (Wolfgang Amadeus Mozart) — Tuesday, June 4 (7:30pm PDT) Tamino-Amitai Pati Pamina-Ghristina Gnash Papageno-Lauri Vasar Sarastro-Kwangchul Youn Queen of the Night-Anna Siminska Monostatos-Zhengyi Bai Run Sun Kim, conductor Barrie Kosky/Suzanne Andrade, production Innocence (Kaija Saariaho, Sofi Oksanen, and Aleksi Barrier) — Wednesday, June 12 (7:30p PDT) Waitress-Ruzandra Donose Mother-in-Law-Claire de Sevigne Father-in-Law-Rod Gilfry Groom-Miles Mykkanen Priest-Krtistinn Signmundsson Teacher-Lucy Shelton Markets-Vilma Jaa Lilly-Beate Mordal Jeronimo-Camilo Delgado Diaz Clement Mao-Takacs, conductor Simon Stone, production Partenope (George Frideric Handel) — Sunday, June 23 (2pm PDT) Partenope-Julie Fuchs Rosmira-Daniela Mack Alsace-Carlo Vistoli Armindo-Nicholas Tamagna Emilio-Alek Shrader Ormonte-Hadleigh Adams Christoper Moulds, conductor Christopher Alden, director