PeggyR

Casts for opening night only, so far... PRINCIPAL CASTING FOR SF BALLET PROGRAM 2 In the event of injury or illness, casting is subject to change To purchase tickets, visit: https://www.sfballet.org/tickets/production/overview/program-2-2014 TUESDAY, FEBRUARY 18, 2014—OPENING NIGHT FROM FOREIGN LANDS Choreographer: Alexei Ratmansky Composer: Moritz Moszkowski Conductor: Martin West Russian: Sasha De Sola, Davit Karapetyan Maria Kochetkova, Gennadi Nedvigin Italian: Pascal Molat, Sarah Van Patten, Rebecca Rhodes, Dores Andre German: Sofiane Sylve, Anthony Spaulding, Luke Ingham, Myles Thatcher Spanish: Maria Kochetkova, Pascal Molat Sarah Van Patten, Gennadi Nedvigin Polish: Sofiane Sylve, Sasha De Sola, Dores Andre, Rebecca Rhodes Davit Karapetyan, Anthony Spaulding, Luke Ingham, Myles Thatcher INTERMISSION World Premiere TEARS Choreographer: Val Caniparoli Composer: Steve Reich Conductor: Martin West Couple 1: Lorena Feijoo*, Vitor Luiz* Couple 2: Sasha De Sola*, Tiit Helimets* Couple 3: Ellen Rose Hummel*, Daniel Deivison-Oliveira* INTERMISSION BORDERLANDS Composers: Joel Cadbury and Paul Stoney Choreographer: Wayne McGregor [added: no conductor listed] Maria Kochetkova, Jaime Garcia Castilla Sarah Van Patten, Pascal Molat Frances Chung, James Sofranko* Sofiane Sylve, Anthony Spaulding Koto Ishihara, Henry Sidford* Elizabeth Powell, Francisco Mungamba

On the SFB website: Five minutes with Mathilde Froustey.

Choreography by Tom Schilling A clear demonstration of how something silly can be turned into something entertaining by a couple of masters.

Like the Nutcracker, Giselle is a good place to see corps de ballet dancers in solo roles. Over four performances this past week, three dancers stood out. Julia Rowe as the first soloist in the pas de cinq, and as one of the two Wilis: Technical assurance coupled with a beautiful softness and flow. Hard to explain, but it’s strangely calming to see variations danced this well. At the end, you kind of settle back in your seat and think, ‘Ah yes, that’s just how it should be done.’ Very appealing. Among the men, Wei Wang and Esteban Hernandez in the pas de cinq threw off some glorious pyrotechnics coupled with beautiful lines and excellent batterie.

Former San Francisco Ballet corp de ballet member Madison Keesler has been nominated as a finalist in English National Ballet’s Emerging Dancer competition.

In Act 1 of San Francisco Ballets production of Giselle, Bathilde enters leading two Russian wolf hounds. On Saturday evening and Sunday afternoon, they behaved perfectly: walked calmly across the stage, quietly walked off. No problem. And then we have Tuesday. Country matters being in the air, the gentleman hound found himself unable to resist the beauteous lady hound. The ballet came to a dead stop while the hounds, undeterred in their amorous pursuits, were dragged (and I mean actually dragged) off the stage and the audience attempted to recover itself. I havent laughed so much since the last time I watched a Marx Brothers marathon. Update: Just back from the Saturday matinee - we're down to one Russian wolf hound. Maybe they got a divorce.

There was certainly no negative effect to his dancing on opening night; he was wonderful. I'd expect professionals to be able to deal with these things while they're on stage.

On my way home from the San Francisco Ballet Froustey/Messmer Giselle. More to say on the SFB forum later, but after seeing Messmer's Myrtha, I have to ask, has New York taken leave of what I can only assume are its limited senses? You let a dancer as good as Messmer get away? Are you collectively nuts or what?

Froustey performed the Grand Pas Classique at the 2014 SFB Gala. Here she is in the same ballet from 2004 Varna, with Josua Hoffalt. She must be about 18 here. (Beware of the Big Head that blocks some of Hoffalt's excellent batterie.)

Major casting changes for Giselle. Check the blog link above to see updates.

I'm going to the 1/26 performance. Based on the videos (and Allan Ulrich's comment about being 'driven slightly mad' by her individual phrasing), I'm guessing she won't be less than interesting.

When I saw her in the Nutcracker gpdd, the first two roles that came to mind for her were Myrtha and Lilac Fairy. I can't wait to see her.

Can't do alink from my iPad, but check the SFB blog for casting. Edited to add link to the blog. I've got tickets for 1/25 and both performances on 2/1, but I'm going to try to trade 2/1 at 8 for 1/29 (Froustey/helimets/Messmer), which means giving up Van Patten's performance...argghh, decisions, decisions. Casting from January 25 February 2, 2014 *Denotes premiere in role +premiere in Tomassons production In the event of injury or illness, casting is subject to change SATURDAY, JANUARY 258:00 PMOPENING NIGHT GISELLE Choreographer: Helgi Tomasson Conductor: Martin West Giselle: Yuan Yuan Tan Albrecht: Davit Karapetyan Hilarion: Ruben Martin Cintas Myrtha: Sofiane Sylve SUNDAY, JANUARY 26 2:00PM GISELLE Choreographer: Helgi Tomasson Conductor: Martin West Giselle: Mathilde Froustey+ Albrecht: Tiit Helimets Hilarion: Pascal Molat Myrtha: Simone Messmer+ TUESDAY, JANUARY 28 8:00PM GISELLE Choreographer: Helgi Tomasson Conductor: Martin West Giselle: Sarah Van Patten Albrecht: Luke Ingham+ Hilarion: Alexander Reneff-Olson* Myrtha: Sofiane Sylve WEDNESDAY, JANUARY 29 7:30PM GISELLE Choreographer: Helgi Tomasson Conductor: Martin West Giselle: Mathilde Froustey Albrecht: Tiit Helimets Hilarion: Pascal Molat Myrtha: Simone Messmer Changed to (20 Jan): Giselle: Lorena Feijoo Albrecht: Vitor Luiz Hilarion:Ruben Martin Cintas Myrtha: Simone Messmer THURSDAY, JANUARY 30 8:00PM GISELLE Choreographer: Helgi Tomasson Conductor: Ming Luke Giselle: Lorena Feijoo Albrecht: Vitor Luiz Hilarion: Rubin Martin Cintas Myrtha: Jennifer Stahl* Changed to (20 Jan): Giselle: Maria Kochetkova Albrecht: Joan Boada Hilarion: Pascal Molat Myrtha: Frances Chung FRIDAY, JANUARY 31 8:00PM GISELLE Choreographer: Helgi Tomasson Conductor: Ming Luke Giselle: Maria Kochetkova Albrecht: Joan Boada Hilarion: Pascal Molat Myrtha: Frances Chung Changed to (20 Jan): Giselle: Mathilde Froustey Albrecht: Tiit Helimets Hilarion: Pascal Molat Myrtha: Simone Messmer SATURDAY, FEBRUARY 1 2:00PM GISELLE Choreographer: Helgi Tomasson Conductor: Martin West Giselle: Yuan Yuan Tan Albrecht: Davit Karapetyan Hilarion: Ruben Martin Cintas Myrtha: Simone Messmer changed to (Jan 20): Jennifer Stahl* SATURDAY, FEBRUARY 1 8:00PM GISELLE Choreographer: Helgi Tomasson Conductor: Martin West Giselle: Vanessa Zahorian changed to (20 Jan) Maria Kochetkova Albrecht: Taras Domitro Hilarion: James Sofranko* Myrtha: Sofiane Sylve SUNDAY, FEBRUARY 2 2:00PM GISELLE Choreographer: Helgi Tomasson Conductor: Ming Luke Giselle: Maria Kochetkova Albrecht: Joan Boada Hilarion: Pascal Molat Myrtha: Frances Chung Changed to (20 Jan): Giselle: Sarah Van Patten Albrecht: Luke Ingham Hilarion: Pascal Molat Myrtha: Frances Chung

Ah, thanks for pointing that out ;). Not a football fan myself, but I dread going to work today. It's hard to see grown men and women cry.

Don't they use that to indicate a guest artist? Maybe somebody just forgot to add it to the footnote.

Program and casts for the January 22, 2014 Opening Night Gala. Pas de cinq from Act I of GISELLE Composer: Adolphe Adam, with additional music, orchestrations and arrangements by Friedrich Burgmuller, Ludwig Minkus and Emil de Cou Choreography: Helgi Tomasson Conductor: Martin West Clara Blanco, Sasha De Sola, Julia Rowe Daniel Deivison-Oliveira, Hansuke Yamamoto TALK TO HER (HABLE CON ELLA) Composer: Alberto Iglesias Choreography: Yuri Possokhov Conductor: Martin West Vitor Luiz, Lorena Feijoo LES LUTINS U.S. Premiere Composer: Antonio Bazzini, Henri Wieniawski Choreography: Johan Kobborg Conductor: Martin West Dores Andre*, Gennadi Nedvigin*, Joan Boada* “The Man I Love” from WHO CARES? Music and Lyrics: George and Ira Gershwin Choreography: George Balanchine Conductor: Martin West Simone Messmer, Ruben Martin Cintas Pas de deux from CONCERTO SF Ballet Premiere Composer: Dmitry Shostakovich Choreography: Sir Kenneth MacMillan Conductor: Martin West Solo piano: Roy Bogas Sarah Van Patten*, Tiit Helimets* Solo from LAMBARENA Composer: Johann Sebastian Bach with traditional African music (as arranged by Pierre Akendengue and Hughes de Courson) Choreography: Val Caniparoli Conductor: Martin West Frances Chung* DIANA AND ACTEON pas de deux SF Ballet Premiere Composer: Cesare Pugni, arranged by John Lanchbery Choreography: after Agrippina Vaganova Conductor: Martin West Vanessa Zahorian, Taras Domitro* GRAND PAS CLASSIQUE Composer: Francois Auber Choreography: Victor Gsovsky Conductor: Martin West Mathilde Froustey, Davit Karapetyan* Bedroom pas de deux from Act I of MANON SF Ballet Premiere Composer: Jules Massenet, arranged by Leighton Lucas with the collaboration of Hilda Gaunt Choreography: Sir Kenneth MacMillan Conductor: Martin West Maria Kochetkova* and Guest Artist Johan Kobborg^ VARIATIONS FOR TWO COUPLES U.S. Premiere Composers: Benjamin Britten, Einojuhani Rautavaara, Stefan Kovács Tickmayer, Aster Piazzolla Choreography: Hans van Manen Conductor: Martin West Sofiane Sylve*, Sarah Van Patten* Luke Ingham*, Anthony Spaulding* FINDING LIGHT U.S. Premiere Composer: Antonio Vivaldi Choreography: Edwaard Liang Yuan Yuan Tan, Damian Smith 4th Movement from BRAHMS-SCHOENBERG QUARTET Composer: Johannes Brahms Choreography: George Balanchine Conductor: Martin West Sofiane Sylve, Luke Ingham* *premiere in ballet

Two videos of Froustey in the Giselle Act II pdd. Rehearsal with Manuel Legris (now there's somebody I'd love to have seen on stage). And from 2004, Vienna with Josua Hoffalt (another one I'd like to see). Has she ever performed Giselle at the POB? It's not listed as one of her roles on the SFB bio; it''l be interesting to see if she performs it this season. For some reason, she just strikes me as more of an Act 1 Giselle.

-Standing room can only be purchased the day of the performance. -Box office opens at 10 am. -Standees are not admitted in order of ticket purchase. You line up outside the door, which opens an hour before the performance. You are let in in the order you line up, which means getting there early on a popular night if you want a decent spot (opening night Giselle would probably be popular, especially as it's nearly sold out). -The standee areas are back of the Orchestra (which is pretty good, especially since you don't have to worry about heads obscuring your view), and the balcony, which is pretty bad. It's been my experience that a lot of people stay down in the Orchestra area, even if it means standing 2 or 3 deep. As of a few years ago, the ushers didn't seem to care. But it's best just to get there early so you are at the front of the line. -The standing room price is about $20 - $25.

Casts are usually announced a week ahead of the performance, so it's not totally last minute. Also, not all returns are last minute. I return tickets I don't want as soon as possible, so even during that week after casts are announced, you might find something. Also, there are almost always tickets up in the back, side balcony; horrible seats, but at least you would be there and you might get a last minute return. If all else fails, I always suggest standing room. It's the only way I like watching from the orchestra, because you are guaranteed no heads blocking the view.

Have to agree; Froustey's charm doesn't look like the kind that gets turned off the minute she leaves the stage. Very appealing. Really agree with that. Sylve can be variable, but when she's on her game, she's unique. I'm guessing Froustey is going to be very individual too.

Froustey posted this video via Twitter: her performance in SFB's Nutcracker Grand Pas de deux. Her Prince is Davit Karapetyan. Unfortunately, his solo is cut, but you do get to see him a bit during the coda. She is just wonderful.

Congratulations to Mr. Hernandez; he’s a very special dancer and much missed here in San Francisco.

Apropos of nothing much except end-of-year, post-Nutcracker silliness, Maria Kochetkova tweeted this. (Giving up. Tried embedding Twitter from MK. Tried for solid hour. Admitting defeat. Does anybody over 30 understand Twitter? Here's cut and paste. Follow link. Happy Holidays. Need glass of wine. Big glass of wine. )

It certainly grew last night.

The last few years I’ve avoided the Nutcracker and had intended to do the same this year. But the opportunity to see both Simone Messmer and Mathilde Froustey in the same program was too good to pass up on Saturday night. In the Grand pas de deux, Messmer’s petit allegro in the Sugar Plum variation seemed a little fuzzy, but in the adagio she was truly lovely - big, expansive movements, although she may have been a bit majestic for someone who, supposedly, was a 12-year old girl 30 seconds before. And now for Froustey. The Sugar Plum Fairy in this production is kind of a thankless role: she doesn’t even get to dance her own variation, and the rest of her choreography is pretty bland. Froustey’s jumps are nothing special: serviceable, but without a big, arching jete; basically just up and straight down. While she doesn’t ‘dance big’, Froustey’s attack, glittering batterie, beautifully centered turns, and rock-solid balances overrode those minor cavils and took everything up several notches. But two things really stood out for me: her gorgeous arms and her musicality. She has that ability, like Fonteyn did, to send ripples along her arms without actually seeming to do anything - no flapping, no waiving, just the barest hint of movement, so subtle you wonder if you’ve actually seen it. And I like the way she plays with the tempo without distorting it: a hesitation here, an acceleration there; just enough to accent a move or create some tension. I can see a lot of standing room in my future next season; Froustey is a dancer I don’t want to miss while the opportunity lasts.