PeggyR

For me, there are several things 'adult' can imply. One is the ability to share. My first thought when I originally read the article (and before Bart's post appeared) was that this company enjoys dancing for the audience as much as for themselves, which is interesting in light of your comment "And sometimes my own local company, Miami, seems to be engaging in the spirit of "hey, kids, let's put on a show"...". Adults can share. Adolescents are in it to have their own fun; if the audience does too, fine, but that isn't really the point. I think too that 'adult' can suggest confidence -- not typically teenage know-it-all, over-confidence, but the mature confidence of a company or dancer comfortable in the technical challenges, now willing to explore, willing to look for something inside the choreography or inside him/herself. An example is Yuan Yuan Tan as the Waltz dancer in Saturday afternoon's Serenade. This exquisite but sometimes remote dancer found something in Balanchine (and in herself) that broke my heart. I wish she'd do that more often. The other side of adult confidence, though, can be lack of spontaneity. Macalay also says: "...the company is too discreet." I can't disagree with that; there are times when I wish more dancers would use more attack, take more chances -- Van Patten will do it sometimes; Feijoo does it, but then with her technical strength, she's hardly taking chances. The occasional flashes of 'go-for-broke' dancing (Pascal Molat spinning offstage doing speed-of-light chainés, Tina LeBlanc's bounding jetés, each bigger than the last, none seeming to touch ground) leave me wanting more of that kind of dancing, even at the expense of a little technical finish now and then.

Saturday 2/13 matinee: All Balanchine Got lucky: three masterpieces and many of my favorite dancers. Serenade -- Kristin Long, quick and precise in the Russian theme. Pierre-François Vilanoba and a gossamer Yuan Yuan Tan in the Waltz (I've decided Tan should never wear pancake tutus -- they cut her in half; she needs a long, romantic tutu or contemporary skirt, something that doesn't impede that extraordinary head-to-toe rippling quality of her movement). Elana Altman's Dark Angel (with Vitor Luiz) made a wonderfully earthy contrast to Tan's ethereal Waltz dancer. And there was something in Tan I haven't really seen before: genuine emotion. And there was something else I haven't seen before: possibly the most unflattering men's costumes ever seen on any stage, anywhere, any time. Stravinsky Violin Concerto -- Well performed by all: Altman/Tiit Helimets (Aria I) brought out a lot of deadpan humor I hadn't noticed when this was performed last year; and Vanessa Zahoria/Davit Karapetyan were fine in the Aria II, although I didn't think Karapetyan looked as comfortable here as, say in Swan Lake. Theme and Variations -- Bringing the afternoon to a rousing close, Maria Kochetkova blazed through some beautiful petite allegro (Aurora, please!!). Taras Domitro showed off his wonderfully controlled dancing, although, mysteriously, he didn't show up for the final curtain call. Too bad; he deserved the cheers. And a word for the corps de ballet: despite a ragged line here and there, on the whole they looked great, especially the men in SVC. And while we're on the subject, WHEN is Elana Altman going to be promoted to principal, where she belongs??????

All Balanchine: here are the casts for the first three performances; that 2/13 evening Serenade cast has me drooling... Program 3 Opening Night
Thursday, February 11, 2010, 8pm
 SERENADE Choreographer: George Balanchine Conductor: David LaMarche Waltz Couple: Sarah Van Patten*, Tiit Helimets* Russian Girl: Lorena Feijoo Angel: Sofiane Sylve Dark Angel: Brett Bauer* INTERMISSION STRAVINSKY VIOLIN CONCERTO Choreographer: George Balanchine Conductor: Martin West Violin: Franklyn D’Antonio Aria I: Sofiane Sylve, Pierre-François Vilanoba Aria II: Yuan Yuan Tan, Damian Smith INTERMISSION THEME AND VARIATIONS Choreographer: George Balanchine Conductor: David LaMarche Vanessa Zahorian, Davit Karapetyan# Program 3 Matinee
Saturday, February 13, 2010, 2pm
 SERENADE Choreographer: George Balanchine Conductor: David LaMarche Waltz Couple: Yuan Yuan Tan, Damian Smith Russian Girl: Kristin Long Angel: Katita Waldo Dark Angel: Vitor Luiz INTERMISSION STRAVINSKY VIOLIN CONCERTO Choreographer: George Balanchine Conductor: Martin West Violin: Franklyn D’Antonio Aria I: Elana Altman, Tiit Helimets Aria II: Vanessa Zahorian, Davit Karapetyan INTERMISSION THEME AND VARIATIONS Choreographer: George Balanchine Conductor: David LaMarche Maria Kochetkova*, Taras Domitro Program 3 Evening
Saturday, February 13, 2010, 8pm
 SERENADE Choreographer: George Balanchine Conductor: David LaMarche Waltz Couple: Maria Kochetkova*, Joan Boada* Russian Girl: Frances Chung* Angel: Elana Altman* Dark Angel: Anthony Spaulding* INTERMISSION STRAVINSKY VIOLIN CONCERTO Choreographer: George Balanchine Conductor: Martin West Violin: Franklyn D’Antonio Aria I: Sofiane Sylve, Pierre-François Vilanoba Aria II: Yuan Yuan Tan, Damian Smith INTERMISSION THEME AND VARIATIONS Conductor: David LaMarche Lorena Feijoo, Vitor Luiz

But if the balances are not there, shouldn't it look as if the ballerina chooses not to do them, not that she can't? And I particularly dislike the way Somova keeps her head turned away from the cavaliers, which just contributes to the coldness of the interpretation in both videos. I realize ballerinas have to spot to keep their balance, but Gregory at least appears to be looking at each of the partners, which has a lot to do with the warmth of her superb performance.

rg: Thank you so much for the clarification. Peggy

San Francisco Ballet is performing Balanchine's Serenade as part of the 2010 season's Program 3. The company website is starting to post casts, and I'm a little confused about the following: Waltz couple [male and female] Russian Girl [female] Angel [female] Dark Angel [male] I've never seen the entire ballet, but I always thought the Dark Angel was a female role, and don't remember ever hearing just plain 'Angel' mentioned. Can someone enlighten me? Thanks!

Not that I want to sound shallow or anything, but I purchased my CD version of Don Carlos solely because it had a drop-dead gorgeous photo of him on the front. Back to Carmen, it looks like Gheorghiu is out altogether:

Hi jeff-sh: Well, yes they do have returns, but I don't think I'd advise flying all the way from Shanghai on the off-chance . Anyway, speaking for myself, the War Memorial Opera House is not very good for dance viewing and I don't like the orchestra at all. The Grand Tier is usually considered to be the best seats, although anything too far to the side will partially cut off the side of the stage (only a bit and not that much happens there, but it drives me nuts anyway). Here's a thought: if you really want orchestra and can't get a seat, think about standing room, which is at the back of the orchestra; if you get there early enough, at least you can get a spot in the center. You have to buy standing room on the day of the performance, so if you're in town anyway, it might be an alternative if you can't get a seat you want. Since I can't afford to splash out of GT seats, I usually go for Dress Circle (although with the same warning about the sides); reasonably close despite the (too-big-for-dance) size of the house. DEFINITELY stay away from the balcony: if you're going to sit that far away, you might as well stay in Shanghai and use binoculars to watch from there! Maybe others have opinions about good seats? One way or the other, here's hoping you can make it. And by the way, here's a little Company B appetizer for everyone: http://www.youtube.com/watch?v=-wiVkdVPGoY

Hi Carson: Unfortunately, I can't help you with Kondaurova's birthdate; however, here's a YouTube of her extraordinary Nutcracker 'Arabian' (can't say she makes me like snakes any better, though ). http://www.youtube.com/watch?v=1CJesyJDWNY

Casts are starting to show up for Program 2, which includes Christopher Wheeldon's world premiere, 'Ghosts'. And both James Sofranko and Gennadi Nedvigin in Boogie Woogie Bugle Boy; that should be an interesting contrast in styles. Program 2 Opening Night Tuesday, February 09, 2010, 8pm OPUS 19/THE DREAMER Choreographer: Jerome Robbins Conductor: Martin West Violin: Franklyn D’Antonio Maria Kochetkova*, Taras Domitro* INTERMISSION World Premiere GHOSTS Choreographer: Christopher Wheeldon Conductor: Martin West Yuan Yuan Tan*, Damian Smith* Sofiane Sylve*, Tiit Helimets*, Brett Bauer* INTERMISSION COMPANY B Choreographer: Paul Taylor Music: Tape Pennsylvania Polka: Margaret Karl*, Matthew Stewart* Tico, Tico: Pascal Molat Oh Johnny, Oh Jonny, Oh!: Brett Bauer I Can Dream, Can’t I?: Sarah Van Patten Joseph! Joseph!: Daniel Deivison-Oliveira* Boogie Woogie Bugle Boy (of Company B): Gennadi Nedvigin Rum and Coca-Cola: Lorena Feijoo There Will Never Be Another You: Katita Waldo, Quinn Wharton* Program 2 Evening Wednesday, February 10, 2010, 7:30pm OPUS 19/THE DREAMER Choreographer: Jerome Robbins Conductor: Martin West Violin: Franklyn D’Antonio Sarah Van Patten*, Pascal Molat* INTERMISSION GHOSTS Choreographer: Christopher Wheeldon Conductor: Martin West Maria Kochetkova*, Vitor Luiz* Sofiane Sylve, Tiit Helimets, Brett Bauer INTERMISSION COMPANY B Choreographer: Paul Taylor Music: Tape Pennsylvania Polka: Margaret Karl, Matthew Stewart Tico, Tico: Garen Scribner* Oh Johnny, Oh Jonny, Oh!: Brett Bauer I Can Dream, Can’t I?: Elana Altman* Joseph! Joseph!: Daniel Deivison-Oliveira Boogie Woogie Bugle Boy (of Company B): James Sofranko Rum and Coca-Cola: Lorena Feijoo There Will Never Be Another You: Katita Waldo, Quinn Wharton * Denotes premiere in role. ^ Denotes guest artist. Casting subject to change.

Currently about halfway through the Ashton biography. And for a change of pace starting my third trip through Paul Scott's Raj Quartet.

Some final thoughts on Swan Lake -- The prologue: Sarah Van Patten makes it (almost) watchable: where the other ballerinas 'dance' their fear of von Rothbart, SVP flails and thrashes -- no ballet here, just sheer terror and scarily effective -- prologue still useless, though. Van Patten's SL in general: for some reason, I've never thought of her as a 'classical' dancer in the way that Kochetkova is -- SVP seems very contemporary -- yet she gives a beautiful, seamless, technically strong, and very individual performance as Odette -- for me by far the best dramatically of those I've seen over the last two seasons (unfortunately, missed Vanessa Zahorian but saw all the others). In contrast to Van Patten's Odette, I think her Odile is less successful, a little grim -- she never smiled although there were a few smirks -- this Odile is there on business and Siegfried is her latest buyout -- but that doesn't exactly fit the scenario, since it's hardly a hostile takeover. Yuan Yuan Tan: I love so much about her dancing and I want to love her Odette, but it's like viewing one of those all white paintings -- you keep looking for an embedded dust mote to give it some depth -- by contrast, her Odile is wicked, seductive, gorgeous. National dances in Act III: mostly tedious and boring -- in Spanish, only Elana Altman (plush and womanly -- and btw, where is she this season???) and Lily Rogers (sharp and edgy) manage to give this any nuances -- others were just red blobs; Polish is hopeless -- tilt head back, hand behind neck, click heels twice, repeat sequence 372 times -- aaarrrrgh; Neapolitan is cute -- cute, cute ,cute -- I loathe cute; Russian is actually pretty good -- lovely costumes, reasonably interesting choreography -- too little, too late -- by then I'm too busy plotting ways to do away with the Neapolitans to enjoy the Russians. He danced the pas de trois (which I've learned to spell since my original review) on Saturday evening. First time I've seen him in a classical role and he was terrific -- not really a danseur physique, but certainly the bearing and technical prowess -- wish I'd seen his Siegfried.

January 23, opening night, Swan Lake -- good news and bad news, bad news first. This was not the overall polished performance a company that aspires to international stature should be putting on. Without naming names: first act pas de tois, at least two, maybe three bobbles from dancers who don't do bobbles; Act II, a swan lost her balance to the point I really thought she was going to take a header (she didn't); Act II again, swan arms every which way at times; Act II yet again -- pdd violin solo -- don't know whose music was being played but it surely didn't sound like anything Tchaikovsky ever wrote -- John Cage, maybe???; Act II yet again, again -- the two swans -- both good dancers but very small scale performances (IMHO, nobody but Elana Altman should be allowed to dance the two swans, and she should dance both at the same time); Act (oh, take a guess) -- little cygnets on track to redeem the honor of the corps de ballet -- just before the end, really looked like they got seriously out of sync (maybe I'm wrong, but I don't think so) - they recovered quickly, but it's really a shame -- they were superb up to that point. Now for the good news, and its name is Maria Kochetkova. She doesn't have a naturally beautiful line, she doesn't exude drama like Lorena Feijoo, but Kochetkova knows how to deploy her considerable resources. She uses her small physique to make Odette into a wounded sparrow -- folded inward, velvety, soft, all curves, no edges. The big surprise is her truly gleeful Odile -- just your basic fun-loving girl who gets a genuine charge out of ruining Siegfried's life -- you can't help wondering who's next? And the biggest surprise is that you'd swear this Odile was a couple of inches taller than Odette -- everything that was folded in and soft now radiates outward from the center, sharper turns, higher extensions, even her hands are held differently -- fingers splayed, wrists broken -- squares and rectangles. And the fouettés -- if my count is correct, she started with 10 doubles, switched to single/double/single/double, etc. Lest Kochetkova sounds inhumanly perfect, the fouettés were not technically all that great -- they travelled a bit and weren't particularly beautiful or well placed, but they sent the audience into mild hysteria (fouettés do that). More good news: Davit Karapetyan. His Siegfried isn't a spoiled youth who falls in love with the latest passing swan -- he's a grown man who realizes, too late, that he's been had. And those gorgeously controlled pirouettes and beautifully placed jumps -- I don't think he had a bad moment in the whole performance. He and Kochetkova look wonderful together, despite the fact that he's about a foot taller than she is -- her dancing is so big that she can work with a tall partner, and he's attentive and unobtrusive -- really shows off his ballerina to best advantage without horning in on her moments. He's a gentlemen, and those are in short supply. Even more good news: New principal Vitor Luiz danced the first act pas de tois and it's possible that he's a real find. His jumps aren't terribly high, but they're light and well placed; excellent pirouettes; good stage presence and he danced with real attack. Someone to look forward to seeing again. And even more good news: another interesting bad guy. Last year I saw SL four times, all with Anthony Spaulding's sexily sinister Rothbart. Tonight, Damien Smith took on the role, and played it like a demented cross between Johnny Depp's Willy Wonka and Sweeney Todd (Smith actually looked like Depp's Todd; and was that a new costume? It looked very different from what I remember from last year.). The good far outweighed the bad, but somebody needs to clean up the details. Next Saturday, Van Patten and Tan.

Finally, the scheduled casts for the full run of Swan Lake. Leaving in a few minutes to see Kochetkova tonight, and have tickets for next Saturday, both matinee and evening -- looking forward to both Van Patten and Tan. Swan Lake (Program 1) Opening Night Saturday, January 23, 2010, 8:00 PM Odette/Odile: Maria Kochetkova Prince Siegfried: Davit Karapetyan Von Rothbart: Damian Smith Sunday, January 24, 2010, 2:00 PM Odette/Odile: Yuan Yuan Tan Prince Siegfried: Casey Herd^ Von Rothbart: Damian Smith Tuesday, January 26, 2010, 8pm Odette/Odile: Lorena Feijoo Prince Siegfried: Vitor Luiz* Von Rothbart: Anthony Spaulding Wednesday, January 27, 2010, 7:30pm Odette/Odile: Sarah Van Patten Prince Siegfried: Vadim Solomakha^ Von Rothbart: Anthony Spaulding Thursday, January 28, 2010, 8pm Odette/Odile: Maria Kochetkova Prince Siegfried: Gennadi Nedvigin* Von Rothbart: Damian Smith Friday, January 29, 2010, 8:00 PM Odette/Odile: Vanessa Zahorian Prince Siegfried: Taras Domitro* Von Rothbart: Anthony Spaulding Saturday, January 30, 2010, 2:00 PM Odette/Odile: Sarah Van Patten Prince Siegfried: Vadim Solomakha^ Von Rothbart: Anthony Spaulding Saturday, January 30, 2010, 8:00 PM Odette/Odile: Yuan Yuan Tan Prince Siegfried: Casey Herd^ Von Rothbart: Damian Smith * Denotes premiere in role. ^ Denotes guest artist. Casting subject to change.

Very sad news. My favorite role of hers was Kanchi in Black Narcissus. She doesn't say a word; everything is communicated with body language and those beautiful eyes. Simmons was only a teenager when she made that film, and as good as she was in later movies, for me she never surpassed that early performance. RIP Ms. Simmons.

Thank you!

What new ballet? Who's the choreographer? Who's the composer? Thanks

When stores (boutiques, et al) play that loud, hip hop music, I don't think they're trying to keep anyone out (like they're worried about maurauding grannies who'll trash the navel piercing display), but rather, they're tryng to bring a certain audience in. It's unlikely they mind your presence, as long as you've got the credit card!

It's hard to know whether to laugh or cry

I wanted to clarify what I said about Wheeldon's dances, which may have sounded more negative than intended. The first, brief pas de deux was a little like a prologue for Swan Lake: not necessary, but if it's there, you might as well enjoy it. In Carmen's case, it certainly set a mood (and elicited a few gasps from some of the LOLs in my audience -- there wasn't much left to the imagination about what Carmen was up to ). Wheeldon said the second pdd was meant to show the tender moments between Carmen and Jose, moments that the opera doesn't show, which is a valid point. I just can't see Carmen (especially Garanca's) wearing a filmy pink gown and acting like a schoolgirl in love for the first time. His real success was the opening of Act II at the tavern. The curtain comes up on sidelit dancers in a classic flamenco pose (sort of profile, one foot front with heel raised, hands raised near the face ready to clap, if memory serves). The ensuing scene -- until Jose shows up -- was full of dancing, mostly by the group but also, surprisingly, by Garanca. In her interview she said that while she was happy to try anything, she had to keep telling Wheeldon that there were some things she couldn't do and sing at the same time. She's clearly not a dancer, but she's agile enough to fake it -- at one point she's hoisted aloft and passed from hand to hand -- and Wheeldon did an excellent job of making her look like she was doing more than she really did. So, I'd have to say Wheeldon did at least some of what he intended: not sure if anything was 'profound', but Act II was certainly the best and most exciting integration of dance into an opera I've ever come across. Unrelated to the dancing: it's a shame those of us not in NYC won't get to see future casts; I'd love to see what Borodina and Gheorghiu do with this production.

Casts for the first two performances (scroll down past the Gala info). Note Casey Herd guesting on Sunday afternoon as Siegfried to Tan's O/O. I'll be there Saturday evening for the opening; glad for another chance to see Kochetkova. Opening Night Swan Lake (Program 1) Evening Saturday, January 23, 2010, 8:00 PM SWAN LAKE Composer: Peter Ilyich Tchaikovsky Choreographer: Helgi Tomasson Conductor: Martin West Odette/Odile: Maria Kochetkova Prince Siegfried: Davit Karapetyan Swan Lake (Program 1) Matinee Sunday, January 24, 2010, 2:00 PM Odette/Odile: Yuan Yuan Tan Prince Siegfried: Casey Herd^ ^ Denotes guest artist.

Someone correct me if I remember incorrectly, but as I recall, in his intermission interview Rhodes said that the covers had plenty of rehearsal, and that he was glad he hadn't known he'd be going on until that morning because had he know about it the night before, he wouldn't have gotten any sleep. When I said he was hesitant, I really meant physically -- he didn't strut and preen. He did say that he had been told not to overdo it, so maybe it was deliberate. Rhodes also pointed out that it's the people around Escamillo who make him into a 'rock star', so the singer really shouldn't need to do anything. Vocally he was good -- big, open, beautiful voice. I'd certainly like to hear him again. As to the 'beefcake' issue: my mother always bemoaned the fact that traditionally tenors looked like trolls (her word) and the baritones and basses like movie stars. Fortunately, tenors have gotten a lot better looking and the baritones and basses are still gorgeous! The only seat I was able to get was in row 2; I think my head now has a permanent 45 degree tilt to the rear.

Here's the schedule for the gala: 2010 Opening Night Gala Evening Wednesday, January 20, 2010, 8pm EXCERPT from SANDPAPER BALLET Choreographer: Mark Morris Conductor: Martin West Casting: Ensemble PAS DE DEUX from 7 FOR EIGHT Choreographer: Helgi Tomasson Piano: Roy Bogas Casting: Nutnaree Pipit-Suksun, Pierre-François Vilanoba PAS DE SIX from THE SLEEPING BEAUTY Choreographer: Helgi Tomasson, after Petipa Conductor: Martin West Casting: Elizabeth Miner, Dores Andre, Courtney Elizabeth, Frances Chung, Hansuke Yamamoto*, and Steven Morse* PAS DE TROIS from ON COMMON GROUND Choreographer: Helgi Tomasson Conductor: Martin West Casting: Elana Altman, Jennifer Stahl, and Garen Scribner* PAS DE DEUX from RUSH Choreographer: ©Christopher Wheeldon Conductor: Martin West Casting: Katita Waldo, Damian Smith “THE MAN I LOVE” from WHO CARES? Choreographer: George Balanchine Music: Martin West Casting: Sarah Van Patten, Pierre-François Vilanoba “BOOGIE-WOOGIE BUGLE BOY” from COMPANY B Choreographer: Paul Taylor Music: Tape Casting: Gennadi Nedvigin PAS DE DEUX from THE FIFTH SEASON Choreographer: Helgi Tomasson Conductor: Martin West Casting: Yuan Yuan Tan, Damian Smith CONCERTO GROSSO Choreographer: Helgi Tomasson Conductor: Martin West Violin: Roy Malan Viola: Marianne Wagner Cello: David Kadarauch Casting: Pascal Molat, Diego Cruz, Garen Scribner, James Sofranko, and Hansuke Yamamoto -INTERMISSION- PAS DE DEUX from ROMEO & JULIET Choreographer: Helgi Tomasson Conductor: Martin West Casting: Maria Kochetkova, Joan Boada PAS DE DEUX from TUNING GAME Choreographer: Helgi Tomasson Conductor: Martin West Casting: Lorena Feijoo, Vitor Luiz* EXCERPT from THE CONCERT (OR, THE PERILS OF EVERYBODY) Choreographer: Jerome Robbins Conductor: Martin West Piano: Michael McGraw Casting: Ensemble CHACONNE FOR PIANO AND TWO DANCERS Choreographer: Helgi Tomasson Piano: Roy Bogas Casting: Vanessa Zahorian*, Davit Karapetyan EXCERPT from CHI-LIN Choreographer: Helgi Tomasson Conductor: Martin West Casting: Yuan Yuan Tan and ensemble PAS DE DEUX from AGON Choreographer: George Balanchine Conductor: Martin West Casting: Sofiane Sylve, Anthony Spaulding* WINTER SECTION from LE QUATTRO STAGIONI (THE FOUR SEASONS) Choreographer: Helgi Tomasson Conductor: Martin West Casting: Taras Domitro* and ensemble

Just got back from the HD broadcast. If singers are being cast for looks, they hit the jackpot with Garanca; she's got the looks and she can sing and she can act and she moves well. Sensational performance. Alagna's not a favorite of mine, but no question this role suits him. Committed performance and great chemistry with Garanca. Mariusz Kwiecien was ill and replaced by Teddy Tohu Rhodes as Escamillo. Vocally he sounded fine, especially in his Act II aria, but physically he seemed hesitant and less commanding than I would expect of Escamillo (understandable since, according to his intermission interview, he had three hours notice that he'd be singing today). Barbara Frittoli was good as Micaela. I think the Liu from the Turandot broadcast (sorry, don't have her name at hand) is also cast in the role later in the season and I'd like to hear her, too. Also liked Zuniga and the two Gypsy women (I really wish someone would provide FULL cast listing -- can't even find one on the Met website). Although I usually have issues with updating opera to make it 'relevant' (whatever...), this update works beautifully. I did fear for Garanca having a costume malfunction a few times though. Orchestra sounded fantastic; I'm curious where all these 12 year old conductors are coming from (well, Nezet-Saguin looks about 12 to me). As to Wheeldon's dances: the first one was very brief and, um, explicit. This was the first time I've seen Maria Kowroski and I have to ask, are those legs for real? The opening flamenco dance of Act II was effective (lots of heel stomping; in his intermission interview, Wheeldon said he and the conductor had to come to an agreement over how much noise the dancers could make while the music was playing). The second pas de deux, at the start of Act III, was pretty much a waste of time -- she runs away, he drags her back, she runs away, he... think I've seen that one before. A big for the production, the singers, the orchestra and (some of) the dancing.

Wednesday, January 20 performance in honor of Helgi Tomasson's silver anniversary. No word yet on what's to be danced, but I'd guess there will be a lot of his choreography.