Helene

Here is the obituary from The New York Times: http://www.nytimes.c...dies-at-98.html There were some ballets, like "A Midsummer Night's Dream", where the NYCB orchestra soared under his conducting. Rest in peace, Maestro.

Marian Smith, who wrote Ballet and Opera in the Age of "Giselle", and who, with Doug Fullington and Peter Boal, was responsible for the great PNB production of "Giselle" last spring, has edited and contributed to a new book on "La Sylphide", published by dancebooks.co.uk: Here's the announcement:

I hope KCTS picks this up in the Seattle/lower BC areas. I haven't seen a notice that the film has been shown up here in theaters.

Having a notebook helps. One thing I did forget was that Postlewaite commented on how small the costume for Apollo was getting. Boal said that the PNB costume was like a tablecloth. (I always thought it looked like a baby sling.). He had Larae Hascall alter it, and by the end, Postlewaite decribed it as "floss." Edited to add: I hate phone spell check!

According to this article in Seattle Weekly, Kari Brunson and her SO, Brendin Myett, have opened up an "urban juicery", Sundays from 11am-3pm at Seattle Community College on Capitol Hill, "will also be making appearances at the Queen Anne Farmers Market." That and the veggie tamales (not Brunson's and Myett's) sound like a very good reason to go.

If anyone else was there and heard something I missed or heard it a different way, please let me know. I was writing furiously, and I hope I understood them right. (The comments in parentheses are mine.)

Some notes from Saturday's Q&A: William Lin-Yee was the guest after the matinee. He had performed the Monk in the "In Taberna" section of "Carmina Burana," and Boal said that Kent Stowell really liked him in the role and wanted him to dance it. (He was really fine in it: he approaches roles like a smaller, faster dancer, but his movement can be very plush, and he gave the role pathos.) The session was on the short side: it was a gorgeous day and a non-subscription audience, which might have been unaware of it or didn't know what to expect. When asked when he knew he wanted to dance, he said it was at 12, but that he started at 7. His mom took him and his younger brother to the studio when she was taking an adult ballet class, and she told him after class that she was having trouble with the brise. He demonstrated the step for her, having absorbed it by watching the class. She then put him in class. He was asked by, I think, the same man who sits up front and asks everyone this question: "What are your favorite roles and what are you looking forward to performing next season?" He said that every opportunity is a good one, and that he enjoys dancing in general. He mentioned "One Flat Thing Reproduced", but he also likes classical ballets. Boal then praised him for "Sechs Tanze". He said he doesn't consider himself "princely" and looks forward to von Rothbart next season. He likes to play the bad guys and is hoping to learn Tybalt. When asked about staging, he said no, but that if he were to choreograph, he'd want to think about it a lot before he did it. Boal then talked about the opportunities company members have to choreograph for the Professional Division students and how there are usually more volunteers than the program can use. (Next season, a number of company members who started in the workshop, now called "Next Step", will have premieres in the new works program for PNB.) Boal spoke about staging "Apollo" in general, and he said while he knew his former role inside and out, he went to video for specifics about the muses. He said it much harder to stage what he hasn't danced. Boal was asked about how NYCB dancers have come to PNB. He said that all approached him, and that he doesn't believe in approaching a dancer under contract. He said that contracts are offered yearly on 1 March, that dancers respond by 31 March so that he knows the roster on 1 April, but that he rarely doesn't offer a contract to an existing company member. Lin-Yee said he danced with two of Orza's brothers, including a twin, at San Francisco Ballet School, but met Seth Orza at SAB. Boal was also asked about how ballet companies rank in the US. He said that the top three are usually considered to be ABT, NYCB, and San Francisco Ballet, with six companies, PNB among them, claiming to be fourth. (I know it's safe to consider ABT in the bunch, but having seen ABT recently, I wouldn't count it among the top three. I also wouldn't be heartbroken if Marcelo Gomes had an urge to join PNB.) Saturday night was Lucien Postlewaite, who had danced "Apollo". He had all of "Carmina" to relax and get ready, and he wore his very spiffy gold sneakers. I was writing very quickly, and there are a few things where I don't remember who said what, but this is what I could get down, since it was more a conversation than the usual Q&A format: Boal on Postlewaite's "Apollo": he made really good choices. Postlewaite talked about the huge difference between working with orchestra, and as great as the rehearsal accompanist were with the piano scores, it was a totally different experience. Boal said that often the strings, which the piano can't replicate, give Apollo the clues about what he is feeling in the moment. About leaving: Postlewaite said it was bittersweet. He's realize the impact the company has had on him. He grew up at PNB, and considers Seattle home. He tried to meet everyone in the company, from dancers to marketing people, etc. His parents were Montessori teachers and taught him to find his own way, always suggesting alternatives, and his mother used to speak French to him when he was small, until he became embarrassed in the playground. He hopes by living in Monte Carlo he'll pick it up quickly, and he's asked his husband (Olivier Wevers) to speak French to him as preparation. The company uses English as a working language; Noelani Pantastico told him that she expected to be fluent in a few months, but that using English in the studio has made that difficult. He said he wants to find out who he is and re-invent himself: he said he's been at PNB since 19, and he's known a certain way here, with the trappings of growing up in front of everyone. He looks forward to touring, to have an opportunity to see the world, dance on many stages and see many artists. He's been told that touring gets old in two-three years, but he wants to experience it for himself, and that he can't be told: he always has to learn for himself. Boal was asked if it was a big problem when people come from the outside and steal our dancers. Boal laughed and jokingly said "Yes", but he asked whether he was supposed to keep him in a closet so he doesn't meet anyone. Boal said he felt the same way about Maillot, but that he "wouldn't fit into the unitard." He said it was a blessing and a curse to have so many outside stagers, and that dancers can get a taste and want more. Postlewaite said that he will miss the variety, and that it was very hard to leave the rep, which Boal said most dancers cite when contacting him, but that he's also looking forward to focusing on the work of one choreographer, who is working and creating in the studio. When asked how it would affect his marriage, he said that it was already a big change this season when Wevers stopped dancing with PNB and focused on Whim W'him, with them seeing each other less, and that they both would spend the next year focusing on their careers. Wevers will be based in Seattle, with Postlewaite returning home often, and Wevers meeting him on tour in places like Argentina, Israel, because he's able to work remotely when he's not in the studio. He said Wevers encouraged him and is totally supporting him in this decision. Asked what roles he would do in Monte Carlo, Postlewaite said he knew Romeo and the Prince in "Cinderella", but not much more. Maillot is very protective of his dancers and loyal to them, and isn't going to give everything to him as the new guy. He said he wasn't starting at the top in his new company. He wasn't sure if Maillot would cast him with Pantastico in "Romeo et Juliette" or mix it up. He said he was going in with an open heart and mind. Boal said he was hoping to get Pantastico and Postlewaite to guest in PNB's "Romeo et Juliette" next season (and that Maillot knows this). The work will be presented the first two weekends in February in Seattle and then tours to NYC, and there's always the possibility that New Yorkers may be able to see them at City Center. (Carla Korbes, who was injured during the first run, but danced the last time it was performed, was also partnered with Postlewaite.) He also said that Monte Carlo should present "Apollo" and "Prodigal Son" -- the role that put Postlewaite on the map -- since the works were made for that theater, (and it would be great if there could be a bit of an exchange program with PNB and Monte Carlo). Postlewaite said he'd miss having an audience with recognizable faces. Either he or Boal talked about the small Monegasque audience, with much of the audience made up of tourists (just like in the Diaghilev and Rene Blum days). Postlewaite said that it was funded by the Princess, so interaction with donors isn't in the cards. Here he likes to go to the donor lounge and interact with donors and audience members in Q&As. Postlewaite was asked what he learned from "Apollo". He said a lot of things in his career led up to it. He said roles like Basilio had a lot of arrogance, and that if he had done the role earlier, he would have been more boyish and natural, but that what he really liked about Apollo was the humility of the role and commanding the stage. He was asked about what he did to prepare. He mentioned company class and lifting women, who "aren't as light as they look -- they are human", as a way of staying in shape. He said he eats Odwalla protein shakes and a Cliff bar to get the day started. On performance days he eats a big lunch and then naps, and does 20 push ups before going on stage to get his vascular system going. On rehearsal days, he said they "have to keep [food] coming." He then said that he didn't think he could get Odwalla (true) or Cliff bars (sounds like something his visitors will have to pack for him) in Monte Carlo, which may have been what prompted Boal to say, "Luckily, it sounds like he'll be miserable there", and Postlewaite saying that he may call Boal in January saying it was the biggest mistake of his life. (I hope not, as much as I will miss him, because the more he can experience and absorb on this adventure, the more enriched his dancing, already in the Milky Way, and his life will be.) He said several times that he knows a dancing career is short, and that he wants to tackle ad soak up as much as possible. He also said that he wished this would stop, and that one day he could just be. He and Boal discussed the final one-time Encore program on the last night of the season, and they wanted to do "Apollo", which Boal said he presented largely for Postlewaite, and "Prodigal Son" -- he'll perform the Pas de Deux -- which "kickstarted" his career when he was 19. He said he hadn't started to rehearse it yet. (I was too much of a wuss to ask who his Siren would be; I've only seen him with Ariana Lallone, in 2004 and 2007.) Postlewaite's final words were, "Thank you. I've been impacted by all of you", and it was important for his audience to know how much. In what is potentially good news, Boal said that they were getting closer to a DVD, and even though there were four unions, he thought it could be worked out as a possible new revenue stream. He's looking at a full length and a mixed rep, and he mentioned "Carmina Burana" as a possibility.

Short notice, but for people in the UK with Sky Arts 2 HD access, set your PVRs/VCRs/DVRs: Dutch National Ballet's "Don Quichot" will be televised: http://skyarts.sky.com/don-quichot

Men are still at a premium, especially tall ones who can partner, but she is proving to be the best gift that came with Seth Orza.

Good to know, mussel!

If there's any way you can, get to PNB this afternoon and see Seth Orza's Apollo with a splendid cast of muses. Lucien Postlewaite also dances Cour d'Amours this afternoon. Also get a ticket for everyone you know for Season's Encore, where Postlewaite will dance his Apollo. Both of them were spectacular, among the best short-version Apollos I've seen. There wasn't a lot if Balanchine this season, but we've seen some definitive performances.

If there's anyway you can, get to PNB this afternoon and see Seth Orza's Apollo with a splendid cast of muses. Lucien Postlewaite also dances Course d'Amours this afternoon. Also get a ticket for everyone you know for Season's Encore, where Postlewaite will dance his Apollo. Both of them were spectacular, among the best short-version Apollos I've seen. There wasn't a lot if Balanchine this season, but we've seen some definitive performances. performances.

Thank you, Pamela! In the end, I may just have to travel to Scandinavia

Here's the official season notice: Pacific Northwest Ballet Announces 40th Anniversary Line-Up PNB Box Office Opens for 2012-2013 ticket sales on Monday, July 23 Special One-Week Offer: NO SERVICE FEES July 23 – 29! (Nutcracker tickets on sale May 1) September 2012 – June 2013 Marion Oliver McCaw Hall 321 Mercer Street, Seattle Center Seattle, Washington 40th Season to feature six world premieres including works by Mark Morris and Christopher Wheeldon; Other highlights include the return of audience-favorites Cinderella, Roméo et Juliette and Swan Lake. (And Nutcracker, too!) SEATTLE, WA – Artistic Director Peter Boal has announced the confirmed line-up for Pacific Northwest Ballet’s 40th Anniversary Season, running from September 2012 through June, 2013. PNB opens its box office for 2012-2013 ticket sales on Monday, July 23. To celebrate, PNB is offering a special one-week money-saving deal: Pay no service fees on tickets purchased between July 23 and 29. (Or, don’t wait, and save even more by purchasing a season subscription now!) “Pacific Northwest Ballet is a jewel in the crown of American ballet and a rightful source of Northwest pride,” said Mr. Boal in his announcement. “We’re celebrating this 40th Anniversary milestone by honoring our past and leaping forward with six new works by choreographers ranging from promising fledglings to the best in the business. “We’ll recognize Founding Artistic Director Kent Stowell’s unparalleled contribution to our organization (that is, unparalleled except, of course, by Founding Artistic Director Francia Russell) by kicking off our anniversary season with the return of his glorious Cinderella. Opening night will feature an added treat: A one-night-only performance of Stravinsky’s charming Circus Polka, choreographed by Jerome Robbins, with a special guest Ringmaster, former PNB principal dancer Patricia Barker. “November brings four world premieres by Andrew Bartee, Kiyon Gaines, Margaret Mullin, and – the piece de resistance – the inimitable Mark Morris. “Jean-Christophe Maillot’s intoxicating Roméo et Juliette returns in February after a four-year absence, followed by a program of modern masterpieces by George Balanchine (Concerto Barocco), Ulysses Dove (Dancing on the Front Porch of Heaven) and Twyla Tharp (In the Upper Room), along with a world premiere by PNB Ballet Master Paul Gibson. “Kent Stowell’s magnificent Swan Lake makes a welcome return to the stage in April, followed by a world premiere by Christopher Wheeldon, and Francia Russell’s crystalline staging of Balanchine’s seminal Agon. And we’ll close out the Ruby Anniversary with another Balanchine jewel, Diamonds. I hope you’ll join us for this stellar celebration season.” Subscriptions and single tickets may be purchased through the PNB Box Office, either by phone (206.441.2424), online (pnb.org) or in person at 301 Mercer Street. Subscriptions may be purchased now, and single tickets go on sale July 23. Discounted subscription rates are available for seniors, students, and children. All programming and dates are subject to change. For more information, visit pnb.org. 2012-2013 SEASON LINE-UP Rep 1 – CINDERELLA September 21 – 30, 2012 Music: Sergei Prokofiev Choreography: Kent Stowell Scenic Design: Tony Straiges Costume Design: Martin Pakledinaz Lighting Design: Randal G. Chiarelli Circus Polka (Opening Night only) Music: Igor Stravinskly Choreography: Jerome Robbins Staging: Judith Fugate CELEBRATE SEATTLE Sunday, September 30, 2012 (Not part of PNB’s subscription season. Call the PNB Box Office for details.) A special multi-media celebration of PNB’s 40th Anniversary and Seattle Center’s 50th Anniversary, featuring the PNB Orchestra and special guests. Rep 2 – ALL PREMIERE November 2 – 11, 2012 World Premiere Music: Barrett Anspach Choreography: Andrew Bartee Costume Design: Mark Zappone Lighting Design: Randall G. Chiarelli World Premiere Music: Dan Coleman Choreography: Margaret Mullin Costume Design: Alexis Mondragon Lighting Design: Randall G. Chiarelli World Premiere Music: Paul Hindemith Choreography: Mark Morris Costume Design: Mark Zappone Lighting Design: Michael Chybowski World Premiere Music: Igor Stravinsky Choreography: Kiyon Gaines Costume Design: Pauline Smith Lighting Design: Randall G. Chiarelli Stowell & Sendak NUTCRACKER December 7 – 29, 2012 (Not part of PNB’s subscription season. Tickets go on sale May 1.) Music: Peter Ilyich Tchaikovsky Choreography: Kent Stowell Scenic & Costume Design: Maurice Sendak Lighting Design: Randall G. Chiarelli “There’s no surer cure for holiday humbugs than Pacific Northwest Ballet’s Nutcracker.” — The Seattle Times Nothing fills hearts with joyful magic quite like Pacific Northwest Ballet’s famous Stowell & Sendak Nutcracker at McCaw Hall. Praised by The New York Times as “original and exciting,” this marvelously imagined production, created by PNB Founding Artistic Director Kent Stowell and author/illustrator Maurice Sendak (Where the Wild Things Are), features over 200 roles danced by PNB’s professional dancers and students, gigantic moving sets, a snowfall every performance, and—the magical sound of the season—Tchaikovsky’s beloved score performed by the mighty PNB Orchestra. “From the absolute charm of seeing all the adorable kids in velvet dresses and shiny shoes to the mouth dropping awe of the truly magnificent set, we were as swept away as the 8-year-olds. Nutcracker is all the good parts of Christmas…It's a great holiday date for couples, obviously a delight and treat for children and a wholly elegant way to deck the halls. It's never too late to start a tradition and we seriously suggest you go.”— Seattlest.com Rep 3 – ROMéO ET JULIETTE February 1 – 10, 2013 Music: Sergei Prokofiev Choreography: Jean-Christophe Maillot Staging: Bernice Coppieters, Giovanna Lorenzoni, Gaby Baars Scenic Design: Ernest Pignon-Ernest Costume Design: Jérôme Kaplan Lighting Design: Dominique Drillot Rep 4 – MODERN MASTERPIECES March 15 – 24, 2013 Concerto Barocco Music: Johann Sebastian Bach Choreography: George Balanchine The George Balanchine Trust Staging: Francia Russell Lighting Design: Randall G. Chiarelli Dancing on the Front Porch of Heaven Music: Arvo Pärt Choreography: Ulysses Dove Staging: Eva Safstrom Scenic and Costume Design: Jorge Gallardo Original Lighting Design: Björn Nilsson In the Upper Room Music: Philip Glass Choreography: Twyla Tharp Staging: Stacy Caddell Scenic Design: Santo Loquasto Costume Design: Norma Kamali Lighting Design: Jennifer Tipton World Premiere Choreography: Paul Gibson HANSEL & GRETEL March 17 – 23, 2013 (Part of PNB’s “Family Matinees” subscription package. Call the PNB Box Office for details. Tickets to this event go on sale in early 2013.) Music: Oscar Nedbal Choreography: Bruce Wells Scenic Design: Edith Whitsett Costume Design: Pacific Northwest Ballet Costume Shop Lighting Design: Randall G. Chiarelli This narrated, hour-long performance is danced by students of Pacific Northwest Ballet School, and is the perfect opportunity to introduce young children to the magic of live performance. Rep 5 – SWAN LAKE April 12 – 21, 2013 Music: Peter Ilyich Tchaikovsky Choreography: Kent Stowell Staging: Francia Russell (after Marius Petipa and Lev Ivanov) Scenic Design: Ming Cho Lee Costume Design: Paul Tazewell Lighting Design: Randall G. Chiarelli REP 6 – DIRECTOR’S CHOICE May 31 – June 9, 2013 Agon Music: Igor Stravinsky Choreography: George Balanchine The George Balanchine Trust Staging: Francia Russell Lighting Design: Randall G. Chiarelli World Premiere Choreography: Christopher Wheeldon Diamonds Music: Peter Ilyich Tchaikovsky Choreography: George Balanchine The George Balanchine Trust Staging: Elyse Borne Costume Design: Karinska Lighting Design: Mark Stanley SEASON ENCORE PERFORMANCE June 9, 2013 (Not part of PNB’s subscription season. Tickets to this event go on sale in 2013.) Pacific Northwest Ballet wraps up its 40th Anniversary season with the annual Season Encore Performance, a crowd-pleasing evening of some of the year’s greatest hits. NEXT STEP June 14, 2013 (Not part of PNB’s subscription season. Tickets to this event go on sale in 2013.) 32nd Annual PNB School Performance June 15, 2013 Featuring Twyla Tharp’s Sweet Fields (Not part of PNB’s subscription season. Tickets to this event go on sale in 2013.) PNB ON TOUR (Tour tickets not available through the PNB Box Office.) July 6-8, 2012 Spoleto Festival of Two Worlds (July 1-10, 2012) Spoleto, Italy September 9-10, 2012 Guggenheim Museum Works & Process New York, New York October 11-14, 2012 Nevada Ballet Theatre Las Vegas, Nevada February 14-17, 2013 City Center Theatre New York, New York February 22-23 Royal Theatre Victoria, British Columbia TICKET INFORMATION Tickets go on sale Monday, July 23. Pay no service fees on tickets purchased July 23 – 29. Money-saving season subscriptions are available now. Tickets may be purchase through the PNB Box Office: · Phone: 206.441.2424 (Mon.-Fri. 10am–5pm) · In Person: 301 Mercer Street, Seattle (Mon.-Fri. 10am–5pm) · Online: pnb.org (24 hours a day, seven days a week) Tickets are also available 90 minutes prior to each performance at McCaw Hall, located at 321 Mercer Street, subject to availability.

I can't figure out a way to change the country. I was asked to choose a country from Sweden, Norway, Denmark, and I assume Finland. "Sverige" is no editable in the country field on the registration form. I can't figure out how it's possible to ship out of Scandinavia.

Many thanks, sandik! PNB just announced on Facebook that there is a 50% discount on tickets to this Saturday matinee performance of "Apollo" and "Carmina Burana" in celebration of the NEXT 50 kickoff at Seattle Center. (That's 21 April, 2pm). It's a non-subscription performance, which usually means there are more great seats from which to choose. https://www.pnb.org/...tm_medium=email Seth Orza makes his debut as Apollo and Leah O'Connor as Calliope in this performance. Some casting changes due to Jonathan Porretta's injury: Tonight (Thursday): James Moore dances In Taberna Saturday Matinee: James Moore dances In Taberna; Leta Biasucci and Benjamin Griffiths lead Primo Vere Sunday Matinee: James Moore leads Primo Vere with Kaori Nakamura

It might have an appropriate niche with the current number of productions and the same repertory and size of budget. There seems to be a bias for it to return to a model that didn't work.

Pacific Northwest Ballet is more of a finishing school than SAB, in that a lot of the PD students come to Seattle at 15-17 for a few years training -- not including any PNB summer training they've had -- instead of 13-14 like at SAB, staying for 4-5 years. However, I see a huge amount of talent coming out of that program, Just watching Bruce Wells' "Snow White" last month featured a handful of dancers that should be able to have promising careers, and I think that was just one cast. Of the Principal dancers at PNB, six of 11 rose through the ranks of apprentice/corps to Principal, and two of the others, Bold and Cruz, were hired from companies/programs into the corps and rose through it. It took Russell many years to build a school and for Russell and Stowell to build a company to attract students with such talent to the school and company, instead of hiring Principals (or Soloists, often promoted to Principal the next year) from the outside. (As late as the late '90's/early 2000's, almost all of the Principals and Soloists were hired from the outside, but the apprentices that were coming out of the school from that time have become the Principals and Soloists of today.) Among the Soloists, about half came from other companies after to join the corps, with the balance from the school, and all have been promoted from within. (I do miss the stream of dancers who came from San Francisco Ballet, though. They were like cousins.) San Francisco still hires from the outside, but, given the core rep -- on the whole, even the full-lengths are coherent -- Helgi Tomasson has chosen dancers who complement each other and don't look like well-paid mercenaries. Between SAB, CPYB, PNBS and schools at Miami City Ballet, San Francisco Ballet, Boston Ballet, and Houston Ballet, just to name a few, I don't think it's a lack of talent that is ABT's problem, especially when ABT is considered one of the top two or three companies in prestige, and they have strong contracts and full seasons, and it should be considered a good job to have, not a career killer. ABT, with the exception of the Baryshnikov years, is a place where talent is where talent, with the bet on Stars, primarily has been bought ready-made, rather than nurtured, or, even, forget about nurturing: how about recognized in the first place? At PNB, one example, Lucien Postlewaite screamed talent from the get-go. If he had joined ABT, he probably would have been carrying baskets of grapes for years.

Early stage experience not only includes performing, but observing how the theater works: including all of the social intricacies, how to change costume and put on make-up -- Merrill Ashley wrote in her book that she was asked to be in the corps, had no idea how to put on makeup, and had to get help from someone else in the corps -- what all of the backstage people do, how to behave, and how to focus in the midst of lots of activity. Petipa ballets are hierarchical, and they include the youngest trained child to the oldest character dancer. Virtuosic male variations were added for younger dancers in the big pas de deux, so that older princes, like Pavel Gerdt, could partner. They were very long in their originals -- their audience was in no rush -- and there was a sense of pagentry. In the last century, they've been modernized and stripped down, and they often lose their balance and proportion. In some productions the kids look like filler, because the context is lost, but the original audience understood how they belonged. The only reason Balanchine was in the Imperial Ballet School in the first place was that his mother was determined to get her children accepted to an Imperial School regardless of subject, since they would be guaranteed -- or so she, like most Russians, thought at the time -- a paid education (which happened) and then lifetime employment with the Tsar (which did not). It was only because he couldn't get a spot in the naval school that his mother sent him, along with his sister, to apply for the ballet school. For him ballet was a drudge of classroom exercises -- there were no tickets for kids in the school back then -- until he became a student performer, and then his interest bloomed.

Here's the Press Release: Season Encore Performance Performance to include works by Balanchine, Wheeldon, Maillot, and more! Featuring the mighty PNB Orchestra. ONE NIGHT ONLY! Sunday, June 10, 2012 – 6:30 pm Marion Oliver McCaw Hall 321 Mercer Street, Seattle Center Seattle, WA 98109 SEATTLE, WA – The curtain will come down on Pacific Northwest Ballet’s highly-praised 39th season with the annual Season Encore Performance, a crowd-pleasing reprise of some of PNB’s greatest hits. A thrilling evening of rousing repertory selections and awe-inspiring performances, the program will feature PNB’s entire Company, along with the PNB Orchestra under the baton of Music Director Emil de Cou. Departing principal dancer Lucien Postlewaite’s remarkable career with PNB will be celebrated with selections ranging from George Balanchine’s Prodigal Son to Jean-Christophe Maillot’s Roméo et Juliette.The Season Encore Performance will also be the audience’s chance to offer a fond farewell to departing corps de ballet dancer Abby Relic. The Season Encore Performance will be presented one night only, Sunday, June 10 at 6:30 pm at McCaw Hall, 321 Mercer Street. Tickets go on sale to the general public on Monday, April 23 and may be purchased exclusively through the PNB Box Office (206.441.2424, online at pnb.org, or in person at 301 Mercer Street at Seattle Center.) “PNB's season encore performances are not to be missed,” said Artistic Director Peter Boal. “A one-night-only retrospective of the highlights and memories of the past season, plus the opportunity to salute departing dancers Abby Relic and Lucien Postlewaite, make this one of the most memorable performances of the year. Expect ovations, tears, great dancing and a few surprises as part of this unique celebration.” The line-up for the 2011-2012 Season Encore Performance includes: Divertimento from “Le Baiser de la Fée (excerpt) Music: Igor Stravinsky Choreography: George Balanchine The George Balanchine Trust Swan Lake (Black Swan pas de deux) Music: Peter Ilyich Tchaikovsky Choreography: Kent Stowell (after Marius Petipa) After the Rain pas de deux Music: Arvo Pärt Choreography: Christopher Wheeldon Prodigal Son (pas de deux) Music: Sergei Prokofiev Choreography: George Balanchine The George Balanchine Trust Carousel (A Dance) Music: Richard Rodgers Choreography: Christopher Wheeldon Apollo Music: Igor Stravinsky Choreography: George Balanchine The George Balanchine Trust A Million Kisses to my Skin (excerpt) Music: Johann Sebastian Bach Choreography: David Dawson Roméo et Juliette (balcony pas de deux) Music: Sergei Prokofiev Choreography: Jean-Christophe Maillot Coppélia (finale) Music: Léo Delibes Choreography: Alexandra Danilova and George Balanchine The George Balanchine Trust TICKET INFORMATION: Pacific Northwest Ballet’s Season Encore Performance will be performed one night only, Sunday, June 10 at 6:30 pm atMarion Oliver McCaw Hall, 321 Mercer Street at Seattle Center. Tickets are currently on sale for PNB subscribers only; tickets go on sale to the general public on April 23. Tickets range in price from $30 to $175 (with discounts available for PNB subscribers) and may be purchased through the PNB Box Office: · By calling 206.441.2424 (Mon.-Fri. 9am–6pm; Sat. 10am–5pm) · In person at 301 Mercer Street, Seattle (Mon.-Fri. 10am–6pm; Sat. 10am–5pm) · Online 24/7 at our website, pnb.org · 90 minutes prior to the performance at the McCaw Hall box office. (Subject to availability.) · Group discounts are available by contacting Julie Jamieson 206.441.2416 or juliej@pnb.org.) Please Note: No student/senior rush tickets or Teen Tix discounts are available for this special performance.

WXQR reported today that NYCO has announced it's 2012-13 season, which they will perform at City Center and BAM, where they have three year contracts at each venue. The operas are: Powder Her Face (Thomas Ades) The Turn of the Screw (Benjamin Britten) Moses in Egypt (Giacomo Rossini) La Perichole (Jacques Offenbach) George Steel and Charles Wall announced that the budget was balanced for this season, and "they were looking at a fully sold-out season for all performances (one, Telemann’s Orpheus, opens next month)."

When I went to the box office last weekend, tickets were not on sale yet, but on Saturday, when I went to buy tickets to this coming weekends' "Apollo"s, I asked again, and they were on sale in person, even before I identified myself as a subscriber (but I may have looked familiar to the box office person). (I asked last weekend because the Seattle Times article about Postlewaite leaving said to get tickets asap.)

Off the top of my head, the full-lengths I remember from 1994 on are: The Nutcracker Cinderella The Tragedy of Romeo and Juliet Swan Lake The Sleeping Beauty Coppelia Don Quixote The Merry Widow Silver Lining sandik mentioned the Tetley Alice in 1992. Even if there were more, that still wouldn't be much more than one every three seasons on average over 27 years.

They also tend to have kids in them, which means relatives and friends of the relatives and the kids buying tickets.

That's a great visual!