Helene

The difference of $150,000 to small- to-midsize companies can mean the difference between being able to present certain rep, to promote dancers, or to increase/maintain the size of the company. I can see why there's a question about the urgency of such a gift for a company of the size and budget of NYCB.

Did he drink while reading? ;)

Not all of Balanchine's work was understood on first viewing during his lifetime, and even his masterworks were changed along the way, for better or worse. Ratmansky's works are dense, often need more rehearsal than they get, and aren't in their final shape when they first get to the stage. They need time to settle on the dancers' bodies, and, unlike Balanchine's work, aren't always created with one specific dancer in mind (In that sense, he's more like Robbins.) I wouldn't see his work without that in mind, but, I agree, most people would expect a more finished product and aren't interested in the living organism aspect. The upside of mixed bills is that they often have at least one thing to see twice, and I've seen many works a second, or third, or fourth time that I wouldn't have bothered to see on their own. Sometimes I change my mind (in both directions), sometimes I don't, and, once in a while I skip it altogether, and if it's the middle work, I'll sit in the lobby and read a book. If a work is so aesthetically displeasing to be offensive, I would never suggest repeat viewings, but one person's "Never again" is another's "What sets?", is another's "I really liked the sets," as we've seen in this and many other threads.

I was very happy to see that Osiel Gounod, Viengsay Valdes' partner in "Don Quixote" when National Ballet of Cuba visited Vancouver earlier in the year, had the same plush quality. For me, that will never go out of style Wasn't it amazing that the turns looked equal to each side, with the same ballon and ease?

Kristen, what a wonderful description of a once-in-a-lifetime experience!

I'd pick corps with the Bolshoi.

Wow, wow, wow: they are incredible together. I love the plush quality that he has and that is prized in Cuba. I couldn't believe the ease with which he performed double tours in both directions in the solo. Sigh.

Here are the direct links: Solo: http://www.youtube.com/watch?v=tPjXGS3wuKw&feature=relmfu Finale: http://www.youtube.com/watch?v=gY0i7VuA7Po&feature=relmfu End of finale: http://www.youtube.com/watch?v=_lc70gIvBiM&list=UU3AeENIDGjsYCb9flc0jQ8g&index=8&feature=plcp Her posture is so plumb: her core looks rock solid.

If there's a block on your ability to post a new message, please let me know, because only new threads in the "Links" should be restricted to logged-in, active members. However, in-depth analysis of videos is not part of our mission, which is to discuss classical ballet. In fact, the "Dancers" forum was created to discuss career retrospectives, not to hash out the merits/demerits of active dancers, although we've allowed threads that are mostly news about active dancers. YouTube (or the hosting video forum) is the proper place to make these points and have these discussions. I'm closing this thread.

[Admin Beanie On] We've had to remove statements that discuss other posters and have unofficial news. I explain the difference between official and unofficial news here. As for the rest, discuss posts, not posters. Somova and Skorik are contentious topics. This is a thread about Somova. If you want to discuss Skorik in depth, please start a thread about her. We're also not a fan board. I'm not taking the beanie off until I see this happening.

I have no idea about advancement, but in my head I kept re-casting Allison in neoclassical ballets as I watched her. I watched the handful of videos of Beckanne Sisk available on YouTube, and after watching the YAGP videos, I came away as depressed as watching the contemporary "beasts" on "So You Think You Can Dance," where kicking an ear with the side of the leg passes for style and choreography, but apart from some silly extensions in the "Esmeralda" solo in the Beijing audition, I think she was quite lovely in it and the "Sleeping Beauty" variation that followed, and especially in the "Nutcracker" pas de deux, danced no later than 2009, when she was 16 (or possible just-turned-17), at the Rock School. I was also impressed with her partner, Miguel Montoya. http://www.youtube.com/watch?v=m0XwLYY3GQ8 What's depressing is that without "Breaking Pointe," no matter how beautifully Sisk dances at Ballet West, even if she were to become a Principal and dance the lead in every ballet every opening night plus her partner's role as well, she'd be a "Yawn, yeah, she dances somewhere out there in the sticks" ballerina. There is so much extraordinary dancing and alchemy that happens out of the sight lines of much of the ballet world. If the result is a show with the focus and intelligence of the average show targeted at teenage girls and has a bunch of footage I'm not so sure they'd want their children or grandchildren to see, at least the dancers may get some recognition.

I'm not sure where requests should be sent, but sending along a self-addressed package with return postage seems like the right thing to do. This may differ from dancer to dancer. Writing to the fan mail address or sending a message on Facebook (if they have fan pages) might be the best way to get specific instructions.

I saw the Friday evening and Saturday matinee performances, but I wasn't able to stay for Sunday. Ballet Arizona posted this photo to its Facebook page, and it looks like Sunday's cast. I see flowers and people in street clothes, but I don't recognize the dancer holding the bouquet. At season end, there are usually presentations and extra bows for dancers leaving the company: were there any this year? Also, the company announced that Jessica Phillips, who rocked the "Five Pieces" section of "Episodes" with Shea Johnson, and Sarah Chisholm were promoted to Corps de Ballet. to them both!

Thank you so much, Zachary! I'm glad you had a wonderful time -- it's always serendipity when schedule and casting = favorite dancers. I had classes Wednesday night and last night, and will try to see it this weekend. That's a lot of dancing for Bondareva in this run!

I haven't seen the NZ Ballet show, but CBC aired a one-hour (i.e. 43-minute) show called "Romeos and Juliets" about the creating and casting of Alexei Ratmansky's "Romeo and Juliet" for National Ballet of Canada. (I'd forgotten I'd taped it.) Although the marketing was as silly as the previews for "Breaking Pointe", the product was fascinating, with a lot of insight into the process and the dancers' thinking. I'm sure it helped a great deal that Ratmansky agreed to take part and there wasn't an X-minute limit on the work itself like there would be with "Emeralds", for example, but it's really the adult tone that sets it apart.

It's been repeating on Monday nights, so you may be able to catch it next week.

I think McKenzie is projecting his experience onto the dancers who are consistently doing major roles without the title and the pay. It's a different kettle of fish to have those things like he did, and to wonder why the AD brought in guests ("What's wrong with me?"). I don't underestimate the stress of this: for example, the photo of Gomes and Osipova in "Firebird" appears in all of the reviews, while Marina Harss, for one, compares Boylston's Firebird favorably to Osipova's, and the dancers on "Breaking Pointe" explain that they want opening night because the critics are there, but it's nothing like the experience of dancers in big companies who do the major roles day-after-day (and not because the company has 30-50 dancers), and excel at it, but are supposed to live on internal rewards only, without the external recognition. They are the ones who I'd expect to ask, "What's wrong with me?", since, despite their best efforts, they are called Soloist and paid lower wages. To feel useful is different from feeling appreciated, especially when the AD is holding back the title.

Critic Marina Harss made a similar observation, which, like her, I find true of every Ratmansky I've seen: "Sometimes the second time is the charm." There's always so much going on, and from what I've seen, he deliberately blurs the focus from the main characters, leaving it up to the audience to decide where to look. That's not a notably comfortable place.

Ronald was not shown last night. Had he been cast, it would have been a major story, since every male role in those ballets is a major one. On the other hand, two complete casts of those three ballets is 20 men, and it's not a huge company . I agree that Kunikova was the jewel of last night's show. In this case, the cream really rose to the top. Allison's struggles with the style were realistic, and, paradoxically, It was the first time her talent was evident. I haven't seen the YAGP clips, but from the class clips I wouldn't have guessed "competition dancer" for Beckanne. What I saw was a dancer who "got" the style of "Paquita" as well as any American-trained dancer I've seen, at least in rehearsal. (In performance, dancers can lose the ease.) I was wondering where they were hiding the gay dancers, but it turns out the company has one. Of all places with top companies I'd think SLC would be the loneliest and most isolated to be the only gay dancer. I know there is a gay community there, but it's tiny compared to NYC, San Francisco, Boston, Miami, Houston, Philadelphia, Phoenix, Kansas City, etc.

Thank you for the info, Anne. I'm going to have to fly to Denmark with a shopping list...

Apart from both being intelligent, verbal, articulate, and retired dances, if nothing else, I don't think that comparison is very fair to Damien Woetzel. The critics seems to think that it's based very much on Lorelai Gilmore.

Dance Books has published "Ninette de Valois: Adventurous Traditionalist." Here is the description from the announcement:

Ade was a beautiful dancer, and I was sad when he retired. I hope this new move is a great one for him and his family and that he sends some of his students westward.

As soon as those returns diminish, though, you replace them with someone else, and there are any number of dancers happy to take on their roles. In most businesses, the training and learning curve costs are too high. One number that was mentioned in a project management class I took was that it costs one year's salary to train a knowledge worker to replace another.

We just received the following press release: Pacific Northwest Ballet School’s Nicholas Ade hired as School Principal for Central Pennsylvania Youth Ballet SEATTLE, WA — Pacific Northwest Ballet School director Peter Boal announced today that PNB’s Eastside School principal, Nicholas Ade, has accepted the newly-created position of School Principal for Central Pennsylvania Youth Ballet (CPYB). Mr. Ade, who formerly danced in the PNB corps de ballet, will assume his position with CPYB in September, 2012. “Nick has been an integral part of Pacific Northwest Ballet for the past 16 years as a dancer, teacher, School Principal and so much more,” said Mr. Boal in his announcement. “We are all proud of him as he takes this next step in his career to join the incredible team of individuals with Central Pennsylvania Youth Ballet. He brings with him a gift for thoughtful instruction, an exemplary work ethic and an unwavering quest to achieve what is best for a School and its students. Congratulations to CPYB on this wonderful appointment. We wish you and Nick all the best.” Nicholas Adejoined PNB as a company member in 1996. He trained at San Francisco Ballet and the University of North Carolina School of the Arts, and attended summer courses at School of American Ballet, Houston Ballet School and Boston Ballet School. He began teaching in the School in 2005, teaching Men’s Division and Open Program classes, and was promoted to Principal of the Francia Russell Center, PNB’s Eastside school in Bellevue, Washington, the following year. Mr. Ade is from Los Angeles, California. Established in 1955 by Founding Artistic Director Marcia Dale Weary, Central Pennsylvania Youth Ballet is a nationally and internationally recognized school of classical ballet headquartered in the vibrant historical community of Carlisle, Pa. Several PNB dancers have trained at CPYB, including current company members Carrie Imler, Leta Biasucci and Carli Samuelson, and former company members Noelani Pantastico (now with Les Ballets de Monte Carlo) and Kara Zimmerman (now with the Joffrey Ballet). Mr. Ade is currently supervising the choreographers in PNB’s upcoming NEXT STEP showcase (June 16) and will continue to teach at PNB School through the Summer Course (July 9 – August 10). “While I am overwhelmingly excited about this new chapter for my family and my career, I will never close the door on the relationships I have formed during my 16 years here at Pacific Northwest Ballet,” said Mr. Ade. “I leave PNB with only the best memories and experiences, of cherished performances onstage and rewarding work with students in the studios. Having taught at Central Pennsylvania Youth Ballet for many years, I know that this is a place where I will feel at home both artistically and philosophically. CPYB shares the same intense desire for excellence that I have come to appreciate at PNB, and I look forward to the prospect of contributing to a new group of students and guiding them to their individual successes. I am so grateful for every opportunity that PNB, Peter Boal, Francia Russell and Kent Stowell have ever given me as a dancer and Principal, and I am equally grateful to CPYB and Marcia Dale Weary for allowing me to continue my growth as a contributor to this beautiful art form.” “As sad as we are to see him go, this is a wonderful new chapter in Nick’s career,” said Denise Bolstad, PNB School’s administrative director. “Nick’s leadership and insight will be dearly missed around our studios, but this is a good time for him to take this next big step in his career and we are thrilled that he will be bringing his talents to such a great ballet school as CPYB.” ABOUT NICHOLAS ADE Nicholas Ade is from Los Angeles, Ca. He trained at San Francisco Ballet School and The University of North Carolina School of the Arts. He danced with Pacific Northwest Ballet from 1996-2006 under Francia Russell, Kent Stowell and Peter Boal. While with PNB, Ade performed leading roles in George Balanchine's The Four Temperaments and A Midsummer Night's Dream; Ronald Hynd's The Merry Widow; and Kent Stowell's The Tragedy of Romeo and Juliet. He has also been featured in Balanchine's La Valse, Prodigal Son, Symphony in C, Symphony in Three Movements, and Who Cares?; and Peter Martins' Fearful Symmetries. He originated featured roles in Val Caniparoli's Torque and Nicolo Fonte's Almost Tango and Within/Without. Since 2006, Ade has been principal of the Pacific Northwest Ballet School’s Francia Russell Center under Artistic Director Peter Boal. Ade also teaches at Central Pennsylvania Youth Ballet and serves as permanent guest faculty at Ballet Academy East in New York City under Darla Hoover and Julia Dubno. He has also taught throughout Europe and North America, including the Iliev Foundation in Bulgaria. Ade has also taught at Tri-Cities Academy of Ballet, Utah Regional Ballet, and the University of North Carolina School of the Arts. He also has been on faculty at several national and regional festivals for Regional Dance America (RDA). Ade’s relationship with RDA has also extended into adjudicating in 2010; as well as serving as host to the Craft of Choreography Conference (CCC) and Summer Intensive from 2007-2009 and has been on the faculty of the CCC from 2004 through 2009. He has served as host of PNB's Eyes on Dance and Discover Dance outreach performances and has been Project Coordinator for PNB's NEXT STEP choreographers' showcase since 2005. ABOUT CENTRAL PENNSYLVANIA YOUTH BALLET

 Since 1955, Central Pennsylvania Youth Ballet (CPYB) has grown from a small, local dance studio into a sprawling 10-studio facility with studios in Carlisle and Lemoyne. More than 20,000 students have passed through the esteemed institution. Currently more than 70 alumni occupy positions in highly regarded ballet companies such as American Ballet Theatre, Boston Ballet, New York City Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, and San Francisco, to name only a few. Under the guidance of Founding Artistic Director Marcia Dale Weary, CPYB provides exceptional dance training for beginning to pre-professional dancers and enhances the cultural climate of the Central Pennsylvania region through ballet performances. In addition to the Primary and Pre-Professional ballet programs, CPYB’s Preschool Division offers Mommy & Me, Creative Movement, Pre-Ballet, and Pre-Tap for children ages 2 to 6. The Open Program offers training for adult students age 13 and up in various dance disciplines such as Hip Hop, Pilates, ballet and tap. Ms. Weary began producing full-length ballets in the 1960s at the local Carlisle high school auditorium with a handful of loyal dance enthusiasts. Today more than 12,000 patrons annually enjoy CPYB’s performances. As the Resident Ballet Company of Whitaker Center for Science and the Arts in Harrisburg, CPYB's season includes both classical and contemporary performances in the fall, winter, spring, and in June. CPYB is honored as the only pre-professional company in the country licensed to perform George Balanchine’s The Nutcracker™. Unrivaled among ballet schools not affiliated with a major professional company, CPYB continually produces dancers for the top companies in the world. Others have continued on in dance-related fields such as ballet teaching and arts administration. Joseph Carman, dance critic for The New York Times, wrote, “London, Paris, St. Petersburg, and New York are well known for their first-rate ballet academies, training many of the best dancers in the classical form. Add to that list Carlisle, PA, a town with fewer than 20,000 people and a modest economy driven by state government jobs and the defense industry….Marcia Dale Weary and her Central Pennsylvania Youth Ballet have produced dancers well known in the ballet world.” CPYB was featured on the cover of Dance Teacher Magazine. In the article, titled Marcia’s Magic, Kristin Lewis wrote, “She produces students who have the whole package—attention to detail, early technical development and a broad socialization into the arts. It seems a given that companies nationwide will continue to be stocked with her dancers for many years to come.” To learn more about Central Pennsylvania Youth Ballet, visit cpyb.org.