Helene

[continued] OBT Interim Artistic Director Anne Mueller says of Iino, “Yuka’s arrival at OBT marked a new era for the company. She was one of several exemplary dancers brought to the company by Christopher Stowell in his first year as Artistic Director. From the first program she performed, she set the tone for what great dancing in this era would mean:  adventurous, musical, and virtuosic. I have had the immense pleasure of working with Yuka in a variety of capacities and gain respect and admiration for her with each new endeavor we’ve encountered together. Yuka always infuses her dancing with a generosity of spirit and vulnerability that makes each performance not only technically impressive, but artistically meaningful.” Christopher Stowell says of “Yuka auditioned for me with her Gold-Medal-winning Black Swan Variation, making it instantly clear that here was a major talent in the classical repertoire—security, sensitivity, virtuosity, characterization—all in two minutes; also very clearly thought out from both a technical and interpretive standpoint. Knowing that the 19th century classics were going to become a major feature of OBT’s repertoire, I saw that in Yuka I had found a major addition to OBT’s roster. “What I didn’t expect to find was that she had an equally natural instinct for the work of choreographers she hadn’t had a lot of experience with in Japan. The first thing she did with us was the leading role in Rubies. It was miraculous to see that she was as free and instinctive in the work of Balanchine and Stravinsky as she had been with Petipa and Tchaikovsky, and that she would play a significant role at OBT. “Her focus and drive never diminish the sweet and supportive nature she brings to the studio. It has been a pleasure working with her this past decade.” Reflecting on her decision to retire and her future plans, Iino said, “I was 6 years old when I decided that I wanted to become a professional ballerina. I moved away from my family when I was 12 to live in a dormitory to focus on ballet 24/7. I couldn't have asked for more than dancing as a principal dancer with Oregon Ballet Theatre. So much has happened in the past nine and a half years and I am proud to say I have tried my best in every moment. I am so thankful for everything that has happened in my life, and the way I am dancing right now is how I would like to be remembered as a dancer. I've always wanted to finish when I feel at my best and I realize now is that time. “Teaching at the School of OBT summer intensive this past summer, I had a different feeling inside of me than I have ever had. I've always enjoyed teaching, but this summer I realized that this is what I would like to do in the next chapter of my life. I want to help young dancers who dream of becoming a professional dancer. I want to support them in pursuing even more than what I have accomplished."

OBT sent a press release announcing Yuka Iino's retirement on 23 February 7:30pm as Odette/Odile in Christopher Stowell's production of "Swan Lake." January 30, 2013 – Portland, OR. The long awaited February 16 – 23 return of Oregon Ballet Theatre’s celebrated Swan Lake will carry particular significance as the run will include the retirement performances of OBT Principal Dancer Yuka Iino. Choreographed by former Artistic Director Christopher Stowell, OBT’s Swan Lake garnered splendid reviews and sold-out houses at its premiere in 2006 and again in 2008. It brings to life the archetypal story of good versus evil, the power of love and the fate of innocence. With Tchaikovsky’s magnificent melodies and its kaleidoscopic flock of moonlit dancers all in white, Swan Lake embodies the best of 19th century story ballets. Stowell’s Swan Lake is notable for filling every phrase of the Act I score with sparkling dancing, showcasing dancers at all levels of the company. His interpretation of Act IV carries heart-wrenching dramatic power. The technical and dramatic challenges of the dual role of Odette, the White Swan, and Odile, the Black Swan, are among the most demanding in ballet. Principal Dancers Yuka Iino and Alison Roper will build upon their highly acclaimed interpretations from 2006 and 2008, while Principal Dancers Haiyan Wu and Xuan Cheng are preparing for the roles as well. Principal Dancers Chauncey Parsons, Yang Zou and Brett Bauer, and Soloist Brian Simcoe will portray Prince Siegfried. Yuka Iino will conclude her nine-year dancing career with OBT at the final performance of Swan Lake on February 23rd. Iino joined OBT in 2003, and was named a principal when OBT instituted an artist ranking system in 2007. She will teach and may continue to perform as a guest artist. A native of Japan, Iino joined OBT from Reiko Yamamoto Ballet Company where she was promoted to principal dancer in 1996. She is a graduate of the Reiko Yamamoto Ballet School and a recipient of both the 1998 Varna International Ballet Competition Gold Medal (Junior Division), and the 1995 Asian Pacific Ballet Competition Bronze Medal. Iino has had ballets created on her at OBT by Christopher Stowell, Kent Stowell, Yuri Possokhov and Nicolo Fonte; and she danced featured roles in works by Julia Adam, George Balanchine, Jerome Robbins, and William Forsythe. She has received particular acclaim for her dramatic interpretation and the high technical standard of her Odette/Odile in Swan Lake. Iino will dance opening night, Saturday, February 16th at 7:30 pm. Her farewell performance will be Saturday, February 23rd, at 7:30 pm, both in Portland’s Keller Auditorium. Oregon Ballet Theatre and the Children’s Trust Fund of Oregon will make a partnered appeal at each performance of Swan Lake, toward their mutual goal of protecting and nurturing childhood in our region through OBT’s children’s outreach programs and CTFO’s family support services. All performances of Swan Lake take place at Keller Auditorium, SW Third and Clay. Evenings: February 16, 22 and 23 at 7:30 pm. / Matinees: February 17 and 22 at 2:00 pm. TICKET PRICES Tickets start at $28.00 Visit www.obt.org or dial 503.2.BALLET for tickets. A “Pay Your Age” discount is offered for all patrons under 35 years old.

Many dancers would die to get endorsements, which generally go to Principal dancers. (Most of them are print ads.) Dancers do photo shoots and interviews for "Pointe" and "Dance Magazine" as well as company sponsored ads and brochures. Lourdes Lopez, Antonia Franceschi, and Carole Divet did a spread on Fortuny dresses, I think for "Elle." There are Principal dancers all over the world that are profilic Twitters and Facebook posters. Dancers who can make a buck to support their dance income by modelling often do. Tilt Helimuts just did an art project with fellow dancers. I don't think it takes away from their coaching or studio time to the detriment of their careers, and there are constant laments about the lack of coaching provided at ABT. Based on the limited exposure I've had to her performances, where she would be compared to others of her rank, I think she is a good dancer, but she hasn't struck me as a Principal Dancer or as a Nikiya, Odette, or Giselle, as I've never been overwhelmed, and there has always been at least one other Soloist or corps member with whom I've been more impressed. It has nothing to do with technique, but more to do with movement quality, musicality, and phrasing.

Absolutely, even when it shook the traditional hierarchy. It's amazing that decades after Hilaire and Legris were promoted by Nureyev, they ended up competitng for the same top job.

The announcement states that one book with be a memoir.

Nanarina said it better than I could.

If you do this at home before you get there, it will be easier. Go to the Internet/Safari on your iPhone and search for Ballet Alert! or type in the site URL. To use the mobile version, Click the box in the upper right. Click the "Sign In" button. Sign in. The default is "Keep me signed in," but I don't know what makes a phone clear its cookies and not keep the info. Scroll to "American Ballet Companies", and select. Do the same for the PNB sub-forum and thread. Scroll to the bottom and click "Reply." To use the "full" version, go to BA! Scroll to the bottom and click "Full version." Proceed as usual, starting with "Sign In" if needed, ie, the "Reply" button doesn't show. You can bookmark the BA! Site on your iPhone: http://support.apple.com/kb/ta38614

If someone is attacked, there are places investigators look: for personal connections and motives, for financial connections, to known critics or enemies, for prior acts against the target, for people who had something to gain from the attack, for the mode of attack among them. For example: Fidel Castro was a main suspect in the Kennedy assassination. The Soviet government was another. (Obviously not personally, but suspect as the instigator.) Police investigate to eliminate suspects as much as to get an indictment. It's due diligence to go down a list of critics, and most are eliminated. Had Tsiskaridze been a professional critic, it's unlikely that he'd be considered for more than a cursary glance, just as when an athlete is assaulted, sports writers who've excoriated his performance aren't considered likely suspects. If a known critic had already tried to depose someone through behind-the-scenes means and had something to gain by the attack, that would check off more than a few boxes. That a known critic is famous as well as self-promoting will get attention, part of the double-edged sword of fame. The people who shook his hand and said, "Thank you for saying what I think" are unlikely to be suspects, or for long, if they don't have other reasons to be suspected, but, investigators trying to be sure they've considered all possibilities try to broaden the list and put together connections that wouldn't be obvious without knowing who might have motive.

This is a great point. People tend to be drawn to like minds, even when those minds are appalled by the people who agree with them. Headliners tend to be included in headlines. Example after the 2002 Olympic Ladies figure skating competition: "American beats Michelle Kwan."

Victoria Farr Brown just published this great interview with Lucien Postlewaite on the Whim W'him website: http://www.whimwhim.org/blog/the-seattle-romeo-lucien-postlewaite/ The photos are lovely.

I'd guessed that the two of you will be there on Friday. I can't believe it's almost February...

Oh my gosh, yes, the last time I can remember that ballet remained in the press for this long in North America was when Baryshnikov defected. (I don't include the movie "Black Swan.") With the Internet, it's gone as close to viral as it gets for dance, and I can't believe how many people have watched at least part of Filin's video interview. Almost everyone non-ballet person I've spoken to since the attack has asked me if I'd heard about it, and many have been full of questions.

Posted by PNB to its Facebook page today, Rumor alert - we just heard Peter Boal has a big announcement to making opening night of Roméo et Juliette. Any guesses what it might be?! Tweeted by PNB: Status update on opening night news: our PR-guy was instructed to invite MORE press people to report on the announcement. I don't like surprises and refuse to "Like" unless I know what I'm liking. sandik and Sandy McKean: please report ASAP on what happens Friday night

Ballet Arizona linked to this new TV promo for "TRIO" from its Facebook Page:

Welcome, Boomer 123 -- you'll get a lot of commentary about NY companies and tours to NYC, but I hope you won't pass up hearing about companies in the UK, Europe, and the rest of North America. There are small bunches of us in places like Seattle and the Miami area, and we're pretty vocal.

Welcome to Ballet Alert!, Pamela. I hope someone here will be able to find out about your Aunt Joan here.

Although I don't think Tsiskaridze is behind the attack, it's not unheard of for the most likely suspect to do something, using the logic that no one would believe he or she would risk doing it.

It would have been interesting to see what Balanchine would have done with Paris Opera Ballet had his health been better and had he not been forced to cede to Serge Lifar. Balanchine had companies made around him, but even in groups for whom he made major works, like Ballet Caravan and the post-Diaghilev Ballets Russes, his work wasn't the majority of what was performed. His dominance at Ballet Society and NYCB was to be expected, since the company was built around him. Paris Opera Ballet is a different kettle of fish. Nureyev dominated the classics, which Millepied has shown little interest in doing. Presenting works in two major venues for a very long season, sometimes concurrently, is a huge task. Millepied isn't unusually prolific, and although he may prove to be a commanding leader, there's nothing in any of his biography to suggest the type of dominance and lack of shame that Nureyev had, and he certainly doesn't come with the Russian pedigree that Nureyev was able to flaunt, even when he was adding solos for himself and questionable passages to the classics. The reason why Nureyev managed for so long was that enough dancers believed in him and supported him, and even when they hated him they appreciated how he pushed them. I'm not aware of any who wouldn't have conceded that he breathed new life into the company and raised the standards. I don't think it would be possible for Millipied, even if he had the inclination to do so, to have his own work dominate. He'll have the adminstrative duties and politicing for which Lefebre seemed to be both a natural and a master, casting, personnel, sets, costumes, rep planning in a company with hundreds of dancers, choreographers and stagers to manage, etc. He's neither a company insider with intricated knowledge of the alliances and unspoken rules, nor has he direct experience with the type of bureacracy he'll encounter, nor has he had administrative experience, also like Lefebre did. Lefebre didn't need time to choreograph and the mental space to be creative. If he doesn't gain the respect of the dancers for his ability to run the company, I suspect they won't co-operate. I'm hoping, though, as a former dancer, that he can rationalize some of the casting decisions, with better distribution, and like anyone new coming in, he'll have a fresh eye. In this kind of environment, it is difficult to create change. It's not like at the Royal Ballet, a pretty young company in the scheme of things, started by a woman with a singular vision, where one great choreographer was replaced by another -- much loved by many -- and a loss of the great company style and schooling only after a few decades. Paris Opera Ballet may have had its lulls, but from reading the histories, it seems to me that it's a company of dancers and a strict and ongoing schooling, rather than choreographers or repertory. It's centuries old. There is no shortage of dance student and dancers or the need to import them: no need to follow the ABT model, which the Royal Ballet does. It's been run by an administrator for almost two decades, not by an inspiring artist, and the same institutional robustness that makes change difficult is an obstacle to destruction as well as an obstacle to progress, especially for someone who has to learn the ropes and hasn't established well-placed allies. It's not that I think the appointment is brilliant -- I still suspect that it was done at least in part to avoid creating a schism by choosing between Hilaire and Legris -- but I don't think it's disastrous.

There are very good reasons besides sensationalism for making Tsiskaridze a headliner: besides his performing career, he is a TV personality, and he is also the most well-known outspoken critic of the current (and recent past) administrations, who was outed recently for manipulating other well-known artists to sign what was to be a secret petition to oust the current administration. It's pretty basic to review those who have shown a proclivity to act against someone who's been attacked, especially when their attacks are public, if only to eliminate them as suspects and remove them as a distraction from the investigation and counter any suggestion of a cover-up. One thing reports have made clear is that there has been infighting for a number of years and no small number of enemies of the administrations past Grigorovich. Much of what the majority of posters on this board have been reading has been reports from the British mainstream press or the New York Times, much written by respected dance critics, and some of us have followed the news on Al Jazeera.

A discussion of Macaulay's review of Miami City Ballet can be found here:

For what position? I haven't heard of a major US company that is looking for a new head in a city that would tempt him or his wife. He was recruited for the position, and he is French, after all. POB is a machine and an institution. I don't see how he will damage its reputation, as he hasn't convinced the government to take a small classical company and turn it into a vehicle for his own modern dance, like Duato did in Spain, and the school will continue to produce dancers in the company style. Millelied's connections in the dance world don't point to anythink terribly radical.

Congratulations to them

I think there's a difference between an injury with a potential comeback to the stage and disfigurement and the threat of blindness.

Other big news in this run of "Roméo et Juliette" is that PNB has built its own set and costumes instead of borrowing them. In today's "Seattle Times" there's an article about designer Jerome Kaplan and the inspiration for the designs, as well as a slide show of fittings: http://seattletimes.com/html/thearts/2020199047_previewromeoxml.html

Imler is dancing the Nurse in the Saturday evening performance. In this production, Nurse is a bigger role than usual, and Friar Laurence is huge, because he's the frame of the story: his madness and guilt about having engineered the pairing. It's a shame you won't get to see her dance Balanchine.