Globetrotter

Looking at the six Odette/Odile's, it will be tough to choose who to see. I remember Sarah Van Patten's Juliet some years back, so I'm interested to see what she will do. I've always liked Vanessa's dancing so this will be a nice opportunity to see her acting. And then there's Lorena, Tina, and Yuan Yuan - all three pros at everything they do, but each unique. Maybe there's some TARP money for balletgoers?

Swan Lake Opening Night Saturday, February 21, 2009, 8pm SWAN LAKE Composer: Peter Ilyich Tchaikovsky Choreographer: Helgi Tomasson Odette/Odile: Yuan Yuan Tan* Prince Siegfried: Tiit Helimets* Von Rothbart: Damian Smith* Swan Lake Matinee Sunday, February 22, 2009, 2pm SWAN LAKE Composer: Peter Ilyich Tchaikovsky Choreographer: Helgi Tomasson Odette/Odile: Lorena Feijoo* Prince Siegfried: Pierre-Francois Vilanoba* Von Rothbart: Anthony Spaulding* Swan Lake Evening Tuesday, February 24, 2009, 8pm SWAN LAKE Composer: Peter Ilyich Tchaikovsky Choreographer: Helgi Tomasson Odette/Odile: Tina LeBlanc* Prince Siegfried: Joan Boada* Von Rothbart: Anthony Spaulding Swan Lake Evening Wednesday, February 25, 2009, 7:30pm SWAN LAKE Composer: Peter Ilyich Tchaikovsky Choreographer: Helgi Tomasson Odette/Odile: Lorena Feijoo Prince Siegfried: Pierre-Francois Vilanoba Von Rothbart: Anthony Spaulding Swan Lake Evening Thursday, February 26, 2009, 8pm SWAN LAKE Composer: Peter Ilyich Tchaikovsky Choreographer: Helgi Tomasson Odette/Odile: Sarah Van Patten* Prince Siegfried: Ivan Popov* Von Rothbart: Damian Smith Swan Lake Evening Friday, February 27, 2009, 8pm SWAN LAKE Composer: Peter Ilyich Tchaikovsky Choreographer: Helgi Tomasson Odette/Odile: Vanessa Zahorian* Prince Siegfried: Ruben Martin* Von Rothbart: Damian Smith Swan Lake Matinee Saturday, February 28, 2009, 2pm SWAN LAKE Composer: Peter Ilyich Tchaikovsky Choreographer: Helgi Tomasson Odette/Odile: Tina LeBlanc Prince Siegfried: Joan Boada Von Rothbart: Anthony Spaulding Swan Lake Evening Saturday, February 28, 2009, 8pm SWAN LAKE Composer: Peter Ilyich Tchaikovsky Choreographer: Helgi Tomasson Odette/Odile: Maria Kochetkova* Prince Siegfried: Davit Karapetyan* Von Rothbart: Damian Smith Swan Lake Matinee Sunday, March 01, 2009, 2pm SWAN LAKE Composer: Peter Ilyich Tchaikovsky Choreographer: Helgi Tomasson Odette/Odile: Yuan Yuan Tan Prince Siegfried: Tiit Helimets Von Rothbart: Damian Smith

Exactly. I told my friend that Concerto Grosso looked like the last 10 minutes of Willie Berman's class at Steps.

I was able to see the Saturday evening performance. I'd seen the new works during the spring in San Francisco so I knew what to expect. The dancing was great as always. Helgi's choreography (5th season and Concerto Grosso) are good pieces for showing off his company, which they certainly did. I'm still not sure what to think about Joyride. It isn't very joyous - even some karate-style kicks here and there. But the choreography seems to match the John Adams muscular music, which also straightarms the listeners into their seats on occasion. I enjoy the architecture of choreography more than the story-telling, so I usually like Mark Morris' work. After seeing Sarah Van Patten and Tiit Helimits do Diamonds in the spring, I was looking forward to see them do Sanguinic. I thought they were terrific, and the 4Ts was the highlight of the evening for me. Sofiane Sylvie was great - and with amazing presence. She grabbed my attention the whole time she was on stage. My biggest surprise of the evening was the performance of the orchestra. I don't know who they are (or perhaps they are contracted for this run only?) but they were together, in tune, and musical. I wasn't expecting to hear much for the 4Ts - it's a tough piece - but they gave a first-rate performance. I'm glad Martin West, San Francisco Ballet music director was conducting so he could push his home team a little harder. I'm sorry I won't get to see the other programs in New York. I was hoping to see New Yorker's reactions to the new Jorma Elo piece. It was much more controversial than the Wheeldon or Morris pieces at its premiere in San Francisco - it almost caused fistfights in Jardiniere afterwards.

I was at that performance (standing room) and that was the dancers were saying on the way out. Also, his partner in Double Evil, Sarah Van Patten, kissed him on stage while the flowers were flying - the first time I ever saw that!

Here's an odd request. It seems I will be traveling to China over the next year or so. I spent many years traveling around the US and Europe (hence my 'handle') and was able to see some great ballet. Now I'm at a loss. Does anyone know of opportunities for me to see good ballet in China? I spend time in and around Shanghai and Hong Kong. Help!

I saw Saturday evening's performance and continue to be impressed by this company. Filling station was well danced and well acted by everyone. As other reviewers have said, Katita Waldo was a riot as the drunken woman. I was also amazed that Val Caniparoli can still move so well. I though Val stopped performing (other than adult Nutcracker parts) long ago. He partnered Katita through their drunken pas de deux perfectly. I'd seen 7 for 8 before and with Yuan Yuan in the same role. I know she does this sort of choreography well - unfurling her arms and legs and wrapping herself around her partner - but I like her better when she's really moving. I think I'd have liked to see her in Diamonds, even though Mr. Macaulay of the NY Times wasn't very impressed. I especially liked 4th movement when Nicholas Blanc and Gennadi Nedvigin danced together. It reminded me of two violinists playing in perfect unison - feeling and hearing and seeing what each other will do and matching it perfectly. They performed about 45 seconds of fantastic dancing that I don't see very often. That alone would have been worth the trip for me. I've seen Diamonds here and there since my teenage introduction to ballet at Saratoga, but nothing has had the same impact on me. This came VERY close. My only complaint was the set and the lighting. Both seemed muted and flat. At Saratoga, I remember being dazzled by the diamonds reflecting brilliant white, red and green light hanging over a deep blue background scattered with bright white crystals. The curtain opened on Saturday on a duller version - fewer diamonds, a grayer background all flatly lit. Maybe I'm remembering something better than it actually was, but I don't think so. That said, the dancing was excellent. The corps dancing in the first movement took a little time to take off - out of place arms here and there & fuzzy lines. But it sharpened up and stayed that way for the rest of the ballet. Sarah Van Patten and Tiit Helimets were the finest I've seen do this. Given the reviews of last week, I was expecting to see good dancing but what I saw was much more than that. Now I know what Leigh Witchel was talking about. This was an artistic performance that went way beyond the steps. I'm afraid I can't explain why I feel this way. I don't know what they did in terms of steps or partnering. But the result was a feeling that we (the audience) were voyeurs - being allowed to watch something very personal and very special that maybe we shouldn't be seeing. I feel enriched by the experience. The magic lasted until the finale when Ms Van Patten looked to run out of steam a little, but still did a fine job with the more technical parts. Tiit Helimets, again, partnered her through this expertly. I was also surprised by Mr. Helimets technical abilities during his variations. I always though of him as a good partner, but he showed he's got some very good technical chops, too. All in all, a great night at the ballet and, as it was for Mr. Witchel, well worth my 6 hours in economy plus. Zerbinetta - I looked for Luke Willis, but he wasn't listed on this program. So nothing to report.

As luck would have it, I'm flying to SFO this weekend and will be there in time to see Ms. Van Patten on Saturday night. It looks like standing room for me, but the reviewers suggest it will be worth it. As a teenager, I saw NYCB do Jewels in the 1960s at Saratoga. It was one of the reasons I've followed ballet to this day.

I have to put my two cents in for the Martin brothers, Ruben (at SFB) and Moises (in Amsterdam). The joke in the audience when Moises Martin and Sarah Van Patten did Robbins' Afternoon of a Faun a few years ago, was that it looked like a moving Abercrombie and Fitch photo. They really didn't have to move!

This is a question for our Danish members: Who is the youngest member of The Royal Danish Ballet? I've heard that it is Sarah Van Patten, the 15 year old America who joined in 2000 as a corps member. But in a company with 200 years of history, has there been a younger dancer? I believe there have been many US dancers as young - Gelsey Kirkland comes to mind. But who is the youngest? Who has a good memory out there?

Here's a little stream of consiousness... I grew up in Saratoga in the 50's and 60's and spent a lot of time at SPAC. Although it was always a NYS institution, it seemed to be actually conceived of and directed by a few wealthy individuals, (Vanderbilts, Whitneys) who were friends of Nelson Rockefeller. This is not bad. Without Governor Rockefeller we probably wouldn't have Lincoln Center, either. These people had the rare combination of vision, power, money and artistic sensibility to create something like SPAC (sounds a bit like Lincoln Kirstein, too). I think we lack these leaders today. And SPAC was only part of what Saratoga created in the early 1960s. The flat track was a major other part. We had horses and ballet in Saratoga (and the Philadelphia Orchestra, too) so the entire summer in Saratoga had a very different feel the first year SPAC opened and for years after. Lots of my friends' parents would rent their houses for a month to the 'horse people' and move to their cottages in the Adirondacks. Not so many horse people rent houses these days, and the NYCB season is down to less than three weeks. I think the new and exciting feel is gone and SPAC has grown plain. I remember seeing Balanchine's Jewels at SPAC as my first ballet, and thought all ballet looked like that. Needless to say, I kept coming back. As far as finding a new audience, I quickly found out that the ballet was an effective place to take a first date. My high school buddies realized the same thing, so the ballet had an instant audience of teenagers on the lawn, some of whom were even paying attention to the stage. So SPAC's troubles are NYCB's troubles, too. We might not have the leaders, nor the special synergy between sports and arts, but I'll remember my first evening at the Ballet, when the curtains opened at each new Act - the stage unbelievably Green, then blazing Red, then dazzelingly White - filled with these wonderful creatures....

I was able to see Giselle on May18 and thought the entire company was terrific. Lorna Feijoo was Giselle and was brilliant. Her dancing was accurate and emotional and her acting dramatic. She was partnered by Yuri Yanowsky. I'd never seem him before and am very impressed. Special mention goes to Romi Beppu and Reyneris Reyes who danced the Peasant Pas de Deux and stole the first act. It was one of those moments where you can't wait for the next variation to see what they will do. I usually endure the first act of Giselle to get to the second act, but I really enjoyed this one. Even Pavel Gurevich's Hilarion was more than a wooden bad guy. His mime was both emotional and intelligible and helped hold the storyline together. Last but not least, the Orchestra was very good. I've heard SF Ballet's and NYC Ballet's orchestras this year and I'd have to say Boston's was better. It sounds strange to say, but they played in tune and followed the conductor who followed the dancers. Too many orchestras (maybe it's the conductors) seem to plod along like there's no ballet on the stage behind them. I really felt that the orchestra was at the service of the ballet that night. Bravo to conductor Jonathan McPhee. Oh, the house was almost full too. That's great news for ballet in Boston!

I think you might have seen her do "In the middle, somewhat elevated..." by William Forsythe. She was spectacular. [snip!]

I agree with Leigh. I wondered what would happen when SF Ballet lost Balanchine dancers Gloria Govrin (SF Ballet School co-director) and Sandy Jennings (Ballet Mistress) at the same time. There seems to be a definite swerve in style away from Balanchine and towards POB and The Royal. I miss the crackle of a well-staged and well-performed Balanchine ballet. Where does one go these days to find it?

I was grazing the SF Ballet website and logged into the pictures of the company artists. Either the website is screwed up or two of the dancers have been promoted. Rachel Viselli and Sarah Van Patten are listed as Principles, but there is nothing in the new & press section regarding this. Anybody know anything?

Here's more casting from San Francisco's website: PROGRAM 5 Opening Night 3/15/2007,8 PM PACIFIC Piano: Roy Bogas Violin: Roy Malan Cello: David Kadarauch Nicolas Blanc*, Tina LeBlanc Ruben Martin*, James Sofranko*, Steven Norman Muriel Maffre, Courtney Elizabeth*, Brooke Taylor Moore*, Maureen Choi* -Pause- CAROUSEL (A DANCE) Conductor: Martin West Sarah Van Patten*, Pierre-François Vilanoba* INTERMISSION THE FIFTH SEASON Conductor: Martin West Yuan Yuan Tan, Tiit Helimets Lorena Feijoo, Davit Karapetyan Sarah Van Patten, Pierre-François Vilanoba INTERMISSION FANCY FREE Conductor: Martin West Pascal Molat*, Garrett Anderson*, Gonzalo Garcia* Vanessa Zahorian* Erin McNulty*, Elana Altman* PROGRAM 4 Evening 3/16/2007,8 PM SPRING ROUNDS Conductor: Martin West Katita Waldo, Garrett Anderson INTERMISSION CHI-LIN Conductor: Martin West Violin: Roy Malan Piccolo: Julie Mackenzie Dragon: Davit Karapetyan Tortoise: Tiit Helimets Phoenix: Jaime Garcia Castilla* Chi-Lin: Yuan Yuan Tan INTERMISSION EDEN/EDEN Conductor: Gary Sheldon Muriel Maffre, Gonzalo Garcia Pascal Molat, Dana Genshaft Rory Hohenstein, Katita Waldo Jaime Garcia Castilla, Hayley Farr, Moises Martin PROGRAM 5 Matinee 3/17/2007,2 PM PACIFIC Piano: Roy Bogas Violin: Roy Malan Cello: David Kadarauch Gennadi Nedvigin, Frances Chung* Garrett Anderson*, James Sofranko, Steven Norman Muriel Maffre, Courtney Elizabeth, Brooke Taylor Moore, Maureen Choi -Pause- CAROUSEL (A DANCE) Conductor: Martin West Dores Andre*, Joan Boada* INTERMISSION THE FIFTH SEASON Conductor: Martin West Nutnaree Pipit-Suksun, Pierre-François Vilanoba Lorena Feijoo, Davit Karapetyan Rachel Viselli, Ruben Martin INTERMISSION FANCY FREE Conductor: Martin West Benjamin Stewart*, Rory Hohenstein*, Ruben Martin* Sarah Van Patten* Courtney Elizabeth*, Mariellen Olson* PROGRAM 5 Evening 3/17/2007,8 PM PACIFIC Piano: Roy Bogas Violin: Roy Malan Cello: David Kadarauch Nicolas Blanc, Tina LeBlanc Garrett Anderson, James Sofranko, Steven Norman Muriel Maffre, Courtney Elizabeth, Brooke Taylor Moore, Maureen Choi -Pause- CAROUSEL (A DANCE) Conductor: Martin West Dana Genshaft*, Ruben Martin* INTERMISSION THE FIFTH SEASON Conductor: Martin West Yuan Yuan Tan, Tiit Helimets Katita Waldo, Gonzalo Garcia Sarah Van Patten, Pierre-François Vilanoba INTERMISSION FANCY FREE Conductor: Martin West Pascal Molat, Garrett Anderson, Gonzalo Garcia Vanessa Zahorian Erin McNulty, Elana Altman PROGRAM 4 Matinee 3/18/2007,2 PM SPRING ROUNDS Conductor: Martin West Katita Waldo, Garrett Anderson INTERMISSION CHI-LIN Conductor: Martin West Violin: Roy Malan Piccolo: Julie Mackenzie Dragon: Davit Karapetyan Tortoise: Pierre-François Vilanoba Phoenix: Nicolas Blanc* Chi-Lin: Nutnaree Pipit-Suksun* INTERMISSION EDEN/EDEN Conductor: Gary Sheldon Yuan Yuan Tan*, Tiit Helimets* Pascal Molat, Dana Genshaft Rory Hohenstein, Katita Waldo Jaime Garcia Castilla, Hayley Farr, Moises Martin

I was passing through San Francisco and had one night to see their Sleeping Beauty - Thursday March 1st. I don't think I picked the right night. It might have been the audience or the cast or the interaction of the two, but it was a flat performance and generally boring evening. I thought Davit Karapetyen (sp?) was great, but the rest of the cast seemed off. And Molly Smolen fell hard and awkwardly - I'm worried she might have injured herself. I read Balletnut's observation about the orchestra being off - maybe that was early in the run, but they sounded good on Thursday. I especially liked the solo cello - rubato and expressive but still stable enough for dancing - a difficult balance well-achieved. Did anyone else see this show? Maybe it was jetlag getting the better of me.

I agree. San Francisco has only been dancing Dybbuk for two years and I think the second year was much better than the first. NYCB would do well to keep it in the Rep. I think there's a lot in the ballet and it takes some time to discover it all as a performer and as an audience. I'd love to see NYCB do it again next year.

I'll have to agree with its the mom about Boston Ballet's Midsummer Night's Dream. I'd never seen it before, so had no incoming bias about the ballet. And I hadn''t seen Boston Ballet yet this season, so didn't know what to expect there either. That said, I enjoyed my Saturday evening very much. First off, I was impressed by the size of the audience - a few scattered single seats in the Orchestra and fairly full balconies - not a full house, but a very promising turnout on a cold February night (I'd say Mikko is doing a better job with the ballet than Danny Ainge is doing with the Celtics). I saw Lorna Feijoo as Titania and she was great. Not as dramatic on the stage as her sister, but every bit the dancer - and I though even stronger. Kathleen Breen Combes, Tai Jimenez, Pavel Guerevich and Yury Yanowsky were the lovers. The dancing was good but their acting was very good. It reminded me of the level of mime more typically seen in Europe. Gabor Kapin did an excellent job as Bottom - his acting while wearing a donky's head was inspired. The biggest delight of the evening was Joel Prouty as puck. His performance reminded me of Jim Sofranko (of San Francisco Ballet). Both have tons of technique they to use to benefit the choreography rather than show off. Larissa Ponomarenko and Roman Rykine were excellent in the Act II Pas de Deux. With all of the showmanship of Act I it was refreshing to see Act II start with 10 minutes of fabulous classical ballet. It felt to me as though Mr Balanchine had inserted the classical Pas into a comic ballet the way a choreographer might insert comic relief into a serious ballet. I need to mention the children, who are an important part of the ballet. I thought children in a ballet means the type of marching and mugging I see in most Nutcrackers, but these kids really danced! And they were VERY good. If these kids stay with Boston Ballet, we'll be seeing something special in about 5 years.

First off, the overal program looked like a great ticket: Serenade, Dybbuk and Violin Concerto. I was in NY on business so bought an Orchestra seat. That program had something for eveyone and I really wanted to see NYCB do Dybbuk. I've always been a sucker for Serenade (As Balanchine said, "If you don't like the ballet, [which I do] then close your eyes and listen to the music.") and the orchestra sounded very good. I though some tempi might be too slow for dancing (especially in the waltz), but overall the music was lush and powerful. The corps was too ragged for my taste (maybe its the musician in me) but the soloists were good. Wendy Whalen can still get it done, although it's probably time for a younger, more flexible dancer to take the lead. Ashley Bouder was great to see (a first for me). Her technique perfect, her dancing flowed and her balances impressive. I thought the man (Charles Askegard) showed very good partnering (smooth lifts and invisible partnering) but his solo dancing seemed stiff. I enjoyed myself - myabe the dancing got a bit messy here and there, but the intent came through clearly. I saw Yuan Yuan and Sarah Van Patten do Dybbuk in San Francisco. Dybbuk was better in San Francisco, I think. First off, the male corps, which is so important to the ballet, was better in San Francisco. I think the San Fransicso male corps' technique was generally better - steps were landed without wobbles; turns were cleaner, movements more in unison, more energy, finishing every step. I guess that 's no surprise, given that San Fran is known for its men. Jennifer Ringer danced the female lead very well, but I still think I saw more from Yuan Yuan and Sarah. The technical requirements of the role are not that demanding, but it needs someone who can act and take up big space on the stage like a Juliet, Giselle or Aurora. Both San Fran dancers did more with this part than did Ms Ringer. The orchestera was again great. They seemed very well-rehearsed for such as disjointed sounding, difficult piece of music. Unfortunately, a lot of the New York audience left after Dybbuk, and never got to see Violin Concerto. How sad. The two lead couples: Yvonne Bouree, Maria Koworski, Nicholai Hubbe and Sebastien Marcovici tore it up as did the solo violinist, Kurt Nikkanen. This ended up being the performance of the evening. I wandered out into the 10 degree night warmed from their efforts.

I wandered into a Firebird rehearsal last week (invited by a subscriber) and saw Lily Rogers as Firebird and Sarah Van Patten as Princess. You might have an entirely different perspective of the ballet if you were to see these two. Lily has streaks of unbelievable brillance (but needs to piece them together). Sarah continues to provide deep, emotional dancing. Lilly and Sarah provide the dramatic outer edges of a pallet within which the rest of the Firebird is danced.

I was able to see SF Ballet last week and saw Program 1, second cast, last Wednesday (I'm in NY and looking forward to this Wednesday when I see Serenade, Dyybuk and Symphony in C). Divertimento #15 was touch and go. Lorena Fejoo - who I have never though of as a 'Balanchine' dancer - did a fine job. Lots of sparkle and energy. Elena Altman and Sarah Van Patten were both wonderful - Elena taking up space in glorious chunks and Sarah continuing to impress with her musicality and legato. (Ms Van Patten, by the way, can no longer be called a 'big girl.' However she did it, she chiseled a dramatic new instrument from her girlish body. Good things are sure to happen for her soon.) I found Molly an intelligent and articulate dancer let down by her heavy look. She is so close to being a really good dancer. I hope I see her do what she is surely capable of. On the other hand, Nutnaree was not good. She has legs and feet but not much more. I wonder what others see in her. Poor Mr. Vilanoba had to clean and jerk her for each lift in addition to his yeoman's efforts to keep her upright during their partnering. If I remember my choreography correctly, she did a unique version of the solo – either revised by her on stage or for her by Ms Bourne (who set the ballet). Either way, I don’t think we saw too much Balanchine from her that evening. IMHO, she has unbelievable facility and a great smile, but is a few years away from dancing, the breathless San Francisco critics notwithstanding. I had a great time during Aunis. Good, toe-tapping music and enthusiastic, athletic, well-crafted dancing. Aunis may not go down as a milestone in dance history, but it will certainly serve as an excellent example of populist dancing for the theater. When we hope for a wider audience for dance, Aunis is one answer we should consider. I thought Mr. Sofranko (despite his failing suspenders) was tremendous: energy, technique and acting. He is another dancer to whom good things are sure to happen. I missed Artifact Suite last year and I am sorry I did. After so many nights at the ballet of 'neo-classical' or modern or whatever ballets, I was rocked out of my seat. William Forsythe continues to make ballets that challenge contemporary choreographers. With the choreography of Forsythe, do I need to see another Blue Rose or 7 for 8? I’m reminded of the words of Charles Ives about music at the turn of the century. He worried about the French “Sound Bath” that lulled us into musical compliance. In response, he made music that required one to ‘stand up like a man’ (his words). We should support choreographers like Forsythe who make us stand up and pay attention. Art , and Dance, is not supposed to be comfortable.

It is odd you should find Balanchine so diarrhetic, especially from a company headed by one of his more favorite dancers. You seem to suggest the fault is Balanchine's and not the dancers. Or are you suggesting the fault lies somewhere else? I've seen a dramatic swerve in the company from Balanchine (e.g., Glovia Govrin & Sandy Jennings leaving) to a more Classical focus over the last few years. I didn't see the Gala but given the new emphasis, it's no wonder that a Balanchine Ballet was wanting.

Paul, thanks for the review. I guess I should start to cast a wider net. I get to see dance in New York and London frequently (every few months), and used to see the SFB all the time. But my California business has trailed off, so I'm using the net to keep up.

Not being from the San Fancisco area, I use this forum to get news about the company. I've noticed that the activity on this site has fallen off dramatically in the last few months: no comments on Stern Grove and none on Nutcracker except for casting. Is everything all right with the SFB? Where have all the forum members gone?