PeggyR

1 hour ago, PeggyTulle said:

<snip. Several corps members stepped into soloist roles this season and killed it. I'm bummed none of them were promoted (e.g.Thamires Chuvas or Ludmila Bizalion) or a BIPOC dancer wasn't hired. 

Completely agree about Chuvas and Bizalion; both are ready to step up.

On the plus side, I’m glad to see Jasmine Jimison is still on the roster, since she’s still listed on Boston Ballet as a second soloist.

Believe it or not, I happened to wake up about 1 am this morning, and decided to take a chance and check if the casting had been updated.  Very excited about the Park/Wang/Remez cast, and I think I managed to get the last available ticket for May 1.  I’ve seen Park and Wang together before, and they seem to be a good pairing; Remez was very impressive as the Poet in The Little Mermaid, so I’m looking forward to an interesting Rothbart.  (I’ve always thought we American ballet lovers don’t really appreciate good character dancers the way the Russians do; Daniel Deivison-Oliveira is another one I’ll go out of my way to see in character roles.)

Wish I could see all casts; my season ticket is for May 7, so looking forward to catching at least one other pairing (and to comments here about the rest).

It’s good to see completely sold-out performances, even the upper side balcony.  So far as I know, standing room still isn’t being sold (it wasn’t for Nutcracker).

I am SO glad Chung is finally dancing O/O, and opening night, too!  Based on her exquisite Giselle a few years ago, and her technical strength, she should be wonderful.

17 hours ago, pherank said:

And now Benjamin Freemantle: https://www.instagram.com/p/CcYhWIGv6EQ/

Freemantle is a real loss:  not only a very fine dancer, but an excellent actor.  His Sea Witch in The Little Mermaid made my skin crawl.

I haven’t been able to get to many performances this year, but next year, it’s going to take some effort to get used to all these (and likely future) departures.

March 5 matinee cancelled.  Apparently a sprinkler broke and sprinkled water on the stage.   So far, tonight is good to go but that could change.  

I’m going to both March 5 performances.  Very much looking forward to seeing Kuranaga/Greco.   During the last run, I saw the Park/Walsh pairing (debuts for both), and they were terrific, especially considering that, at that time, they only had a couple of weeks rehearsal together.

I saw Froustey at the Feb 5 matinee performance, and she was lovely as always.

How comforting it was to go back to the ballet after all this time; aside from the miserable N95 masks we had to keep on (I now have  permanent dents on my face), it’s beginning to feel like life might be cautiously returning to ‘normal’, whatever that was.

Program 2 wasn’t particularly inspiring, but the dancers looked great.  

February 5, 2 pm

Caprice:  Froustey/Wang; Van Patten/Helimets

Pretty, pastel, and rather tedious; excellent performances by all.  Wang looks like he’s muscled up a bit; his partnering was fine but still doesn’t have the  effortless quality Helimets has.

In the Night:  Powell/Walsh; De Sola/Thatcher; Andre/Morse

It was good to see newly promoted Powell and Thatcher in prominent roles, and they both did well.  De Sola danced impeccably, as always.  Dores Andre is ideal for the tempestuous third couple:  she reminds me of Lorena Feijoo:  all that take-no-prisoners passion and intensity, although still on a very small scale compared to Lorena.  Andre was a fascinating Juliet back in the Before Times, and she’s one that I’ll go out of my way to see in just about anything.

Blake Works I:  Andre/Park/Rowe/DeVivo/Wang/Walsh/Powell/Stahl/De Sola/Robison/Hernandez/Cauthorn/Erni among others

Aside from a desire just to go to see a ballet, any ballet, this was the real reason I wanted to see this program.  I love William Forsythe (I hope Rojo brings more of his works to the Company), and I almost loved this one - the way he moves groups around the stage, the solos and duets that never seem repetitive (unlike Caprice), the way he takes classical ballet and turns it slightly askew - it was all there.  For me, the downfall was the music.  I like electronic music, which fits Forsythe’s style perfectly, but this included a rather nasal singer (the Blake of the title) whose lyrics may have been telling us the meaning of life, but which were largely incomprehensible.  I’m not sure that sentence makes any sense, but anyway, I hated the music, loved the choreography.  I’d happily see this one again, but with earmuffs.

15 hours ago, California said:

San Francisco Ballet is upgrading its requirements: booster for all who are eligible and KN95 or N95 masks. And if you don't have one, they'll give you one. 

This just went out to ticket-holders:

We look forward to welcoming you back to the War Memorial Opera House (and its new seats!) this season. If you have had your booster shot, you don't need to review the rest of this note. Simply make your way to the Opera House for your performance, and we will provide you with a free KN95 mask at the door if you're not already wearing one. If you have not received your booster shot, please read this email carefully to ensure that you are allowed to enter the venue to enjoy the performance. UPDATED BOOSTER REQUIREMENT Beginning February 1, 2022, we will require up-to-date vaccination, including booster shot when eligible, for all attendees ages 12 and up. Ages 12 and older: You must be fully vaccinated and, if eligible, have received a booster shot at least seven (7) days prior to the performance you are attending. You are eligible for a booster shot five (5) months after a full course of the two-dose Pfizer or Moderna vaccine or two (2) months after the Johnson & Johnson vaccine. You will be denied entry if you are eligible for a booster but did not receive it. For more details on up-to-date vaccination status and COVID policies for children under 12, visit sfballet.org/safety. UPDATED MASK POLICY Based on health and safety recommendations from the City and County of San Francisco and due to the transmissibility of the Omicron variant, effective immediately, SF Ballet requires all patrons to wear a N95, KN95, or KF94 face mask to enter the venue. We will supply a free KN95 or equivalent mask upon entry if you do not have one. You will be denied entry if you do not wear a N95, KN95, or KF94 face mask. Masks are required indoors, regardless of age. Masks must be well-fitted and cover the nose, mouth, and chin. Studies have shown that N95, KN95, and KF94 masks are the most effective at protecting against COVID-19 transmission. Masks must be worn at all times, except when actively eating or drinking in the lobbies and designated areas. Food and drinks are not allowed in the auditorium to ensure masks are worn during the performance. Due to SFDPH's frequently updated health and safety mandates, we strongly recommend that you visit sfballet.org/safety close to your performance for the latest on SF Ballet's COVID policies.

SAFETY UPDATES

I certainly hope the Opera House has a good supply of N95s on hand for distribution.   After two unsuccessful attempts to find them at Home Depot, I finally managed to snag one of two remaining boxes.  Also have some on order from Amazon, but they won’t be here for another three-four weeks.  I hope others have an easier time of it.

16 minutes ago, canbelto said:

Helgi Tomasson himself cleaned house in a rather harsh way when he took over SFB. So did Angel Corella at Philly/PA Ballet. 

Even at NYCB where both Jon and Wendy had deep ties and connections to the company, there's been more departures than normal.

I do think there’s a difference between ‘cleaning house’ - as in not renewing contracts for dancers who don’t fit the new director’s vision for a company - and making life so miserable for remaining dancers that they leave voluntarily to preserve their physical and mental well being.  The first is distressing but understandable; the second is simply unacceptable.

47 minutes ago, PeggyTulle said:

https://www.dancemagazine.com/tamara-rojo-isaac-hernandez/

http://www.balletposition.com/blog/the-two-faces-of-english-national-ballet

And if you have a UK Times subscription/access: https://www.thetimes.co.uk/article/english-national-ballet-director-tamara-rojo-hits-back-over-romance-with-isaac-hernandez-dnx6j3960

The articles are certainly disturbing, but they date back four years.  I wonder what the likelihood is that the personalities involved have changed much in that time.  I would think slim to none, but I really want to be hopeful.  I’m especially looking forward to what she will add to the repertory.

5 minutes ago, Mashinka said:

Indeed, you have every right to be worried.  I predict a mass exodus too - sackings disguised as resignations.

This is not making me optimistic.  I’m not only worried about SFB losing any of its dancers, but if anyone does leave, voluntarily or not, will they be able to find comparable positions in this uncertain climate that surrounds just about everything due to Covid.

On the plus side, I hope she brings some Akram Khan to the Company.

Like everything these days, I guess we’ll just have to wait and see how this plays out.

I just posted over on the SFBallet forum that the Opening Night Gala, scheduled for January 27, has been postponed until March 24.  Better than being cancelled altogether.  Nothing about changes to the regular season, which starts in February, so keeping fingers crossed that all will be well.

Just received this email.  No mention of changes to the regular season, so keeping my fingers crossed.  Given the complexities of putting on a Gala, it makes sense to make the change now.  I have a ticket, but I was considering skipping it myself, so I'm glad they've made this decision; with luck, those of us who are ‘at risk’ might still be able to attend the Gala.

Your current Gala performance-only tickets will entitle you (and your guests, if applicable) admission to the rescheduled Gala performance on Thursday, March 24, 2022. If you wish to exchange your Gala tickets for a different performance during the 2022 Season or request a refund, please contact Ticket Services at 415-865-2000 or tickets@sfballet.org(deadline February 1, 2022). If we do not hear from you by February 1 regarding your additional Gala performance-only tickets, we will assume you would like to keep them for the rescheduled event date of Thursday, March 24, 2022.
 

For those who attend ballet using standing room, something to keep in mind.  I just checked with San Francisco Ballet ticket services, and they will NOT be selling standing room tickets for any Nutcracker performances.  Decisions about the 2022 season will be made at a later date, and may change according to circumstances during the season.  Likely other companies are taking similar steps, so be sure to check first.

Oh my, I haven’t laughed that much in the past year and a half.  My favorite was the Bolshoi bow, which lasted longer than the ballet.  And based on his Odette bow, he’d be a gorgeous white swan.  Thanks so much for posting; this one gets a bookmark.

30 minutes ago, pherank said:

I'm beyond caring about Swan Lake these days, but I think Fogo and MacKay will likely head up the SL casts.  https://www.instagram.com/p/COa4u68pEWA/

At the virtual Gala they danced the PdD from Don Q, so maybe that’s on their schedule too.  I remember thinking that she didn’t look entirely comfortable in that kind of bravura piece (maybe just nerves, of course), but that she had beautiful arms and upper body, and I could easily picture her as Odette.

32 minutes ago, pherank said:

If the SFB A.D. only programed and didn't ever choreograph, there would be five open positions (in 2022) to fill with any sort of ballet. Having an A.D. who does create ballets, SFB gets 'personalized' content created over time, but they also lose diversity of programming. It's a bit of a conundrum. NYCB deals with the same thing having Justin Peck around. I'm not thinking that one or the other situation is better, but I like to see a real range of choreographers and approaches to ballet.

I don’t disagree with this, but on the other hand, given what Tomasson has done to raise SFB to the ranks of nationally and internationally recognized companies, I’m willing to give him one last shot at showing off his work if he wants to.

33 minutes ago, Phrenchphry11 said:

It seems like no Danielle Rowe work this season?  I was really looking forward to seeing more from her.

Me too, even though I wasn’t crazy about Wooden Dimes.  I thought she and Myles Thatcher were both going to convert their filmed ballets for the stage, but that’s probably a pretty big undertaking, so maybe next season.  

Given the circumstances, it's understandable that the first season after lockdown might be curtailed and something less than thrilling.  However, what does thrill me are Symphony in C, La Sylphide, and Blake Works I.  I love Forsythe, although based on comments I've heard after performances at SFB of some of his other work, he's not always popular with some members of the audience.  

Also happy with Don Q:  it’s a lot of fun, and gives opportunities for soloists and promising corp members to show their stuff.  

As for yes-Virginia-another-Swan Lake, I hope dancers like Andre and Chung (among others, of course) will get their chances at O/O.  Chung showed her exquisitely lyrical side in Giselle, and she's got the technique and then some for both Os.  Andre is one of those dancers who always surprises me; I tend to think of her as more suited to contemporary ballets that let her show her strong-woman side.  But she danced a beautifully delicate Princess Florine, and I'm betting she would be a lovely Odette, although an Andre Odile would probably eat Siegfried alive.

Anyway, just getting back to live ballet in 2022 will be thrills enough for me.

Here are the specific programs; to see exact performance dates, click ‘Learn More’ for each program.  Note only seven programs again this season instead of the usual, pre-lockdown eight.

Isn’t the order of Program 4 a little odd?  Even though the Ratmansky is an SFB premiere, which makes it something of an event, it just seems like the full length La Sylphide would be last on the program.

(Sorry, don't know why this insists on double spacing every carriage return.)

Program 1

February 1 – 12

Symphony in C; Trio; Mrs. Robinson

 Program 2

Feb 3 - 13

Caprice; In the Night; Blake Works I

Don Quixote

Feb 26 – Mar 6

 Program 4

Mar 15 – 20

La Sylphide; The Seasons

 Program 5

Apr 2 – 16

The Fifth Season; Harmony; Magrittomania

 Program 6

April 6 - 15

Prism; Wheeldon and Rhoden World Premieres

 Swan Lake

April 29 – May 8

On 4/23/2021 at 9:44 PM, Josette said:

I've seen her as Odette-Odile, so I understand what you mean, PeggyR.  It is curious how she can deliver a devastatingly emotional portrayal in The Little Mermaid and RAkU but then is cold in other works.  I was disappointed in her Giselle; though it was danced beautifully from a technical standpoint, there was nothing human projected. I still want to see her Odette again because of her purity. 

[We're talking about Yuan Yuan Tan here.  ]  Agree, especially about her Giselle.  On the other hand, I have never seen any dancer who could convey that quality of being absolutely weightless in Act 2 so well.  I think Helimets was her partner when I saw it and he's a superb partner, which helps a lot.  Did you see her in Onegin?  I was expecting the usual chilly beauty, but she left me in shreds.  Just a stunningly emotional and beautiful performance - completely unexpected.  And that's my problem with Sasha De Sola:  she's a beautiful dancer in every way, except that she rarely surprises me:  I know exactly what I'm going to see.  Having said that, I liked her sassiness in ColorForms.

I liked Mukhamedov too - definitely looking forward to O/O, Myrtha and Lilac Fairy - although I found her broken wrists and prominent index finger a little distracting (both were absolute no nos when I was studying ballet).

4 minutes ago, Josette said:

Wow, this is great!  And Taras Domitro as well!

 

I saw this cast, and Domitro is the real attraction here.  Tan, needless to say, is gorgeous, but I wasn't moved by either of her Os.  Despite the beauty of her dancing, i don't really think this is an ideal role for her.

It's really a shame a new performance couldn't be filmed so we could get a look at some of the newer dancers, but, of course, I understand the reason why they weren't able to do it.

3 hours ago, pherank said:

I've been wondering what the company has been working on at this time. But what is Blake Works intended for?

Maybe for 2022 season (which I fervently hope will be in the theater, at least part of it).  Since they likely don’t need to rehearse multiple casts for this season, it seems like a good bet they would be working on next year’s ballets.  New seasons are usually announced in April, although with the uncertainty around pretty much everything these days, we might have to be patient.  But I really hope we’ll see the Forsythe, who’s one of my favorites.

1 hour ago, PeggyTulle said:

Really enjoyed Colorforms as part of Program 2, so much so I've re-watched it several times. The visual richness, quick and playful editing, and camaraderie that I think many of us are missing these days... Myles Thatcher hit it out of the park with this one. I'm curious how it'll translate to the stage in the future. 

My thoughts exactly!  Plus, it was wonderful to see something so filled with color (no black costumes, which, I suppose, are meant to be sophisticated and/or edgy, but sometimes just look boring), and enough light to see what was going on, even when dimly lit.  

Agree that Thatcher fulfilled expectations, although I suspect the director gets some of the credit too.  It would be interesting to know how a choreographer and film director collaborate.  I'd love to have the them interviewed together and hear how it worked.

It occurs to me that ballets made specifically to be filmed might be a new 'thing', even after in-person venues open up.  I'd happily pay to purchase a digital download of this one.  

Last week I wrote to SFB and (politely) complained that only large donors were allowed to view the Gala. They responded: “As a Premium Plus Digital Package holder, you will have access to a special bonus program featuring many of the performances [emphasis added] featured on the evening of our virtual benefit.  You will have access beginning January 25^th for 1 week.”  So, it looks like more than ‘a couple of items’ - at least I hope so.  

 I appreciate that we get this as part of our subscriptions, but it seems like a missed opportunity to raise more funds.  Many of us are happy to pay $100+ just to attend the Gala performance without any of the big-donor perks.  I’d certainly be willing to pay to attend digitally (yes, I’ve made a donation in lieu).  On the other hand, at least I don't have to hobble to the Opera House in heels.

 It’s also curious how something digital is ‘sold out’.  I know some platforms have limitations on how many can log in, so maybe that’s the reason, but it still seems a little odd. 

Anyway, I’m more than happy to have regular performances ballet back in my life.

Very glad to hear there will be some kind of season, even if it’s not live.  However, maybe I’ve missed something (my head is spinning right now with everything else going on in the world), but leaving out the possibility of previously filmed performances, are they saying that one performance of each program will be filmed and available digitally for the specific period of time?  That means only one cast per program, which would require fewer dancers than a live season that would normally have at least two or three casts per ballet.  If so, what a terrible impact for dancers waiting to debut new roles.  Plus, needing so many fewer dancers, can the company keep them all employed?

1 hour ago, California said:

Boston Ballet is going to try a six-performance virtual season ... So that's PNB, Louisville, Boston -- are there others planning to try this?

Several weeks ago, San Francisco Ballet sent out a questionnaire.  Among other things, they asked if we would be willing to pay to watch professionally produced on line programs.  I can't remember details now, but that sounds to me like they are considering it.  The problem is that, no matter how undesirable it is to watch videos rather than live performances, I'm not about to pass up a chance to see companies that I would never otherwise be able to attend in person, and I can see my Social Security check rapidly withering away to nothing if I buy subscriptions to all these companies.  [sigh]