PeggyR

Perliminary take on 2019:

Shostakovich Trilogy – A genuine masterpiece.  I can easily see attending every performance, if the budget holds out (I guess that’s what standing room is for).  Taras Domitro will be much missed in Symphony No. 9, but with luck Sarah Van Patten and Luke Ingham will reprise their roles.  Hoping Joseph Walsh will be back to replace Davit Karapetyan in Chamber Symphony.

Divertimento No. 15 – SFB danced it well last time it was performed.  Can only hope enough good work will come out of the new works festival to justify only one Balanchine.

Rodeo:  Four Dance Episodes -  Maybe not a masterpiece but fun, and it’s always great to see the sterling men of the company showcased. 

Etudes – I remember seeing this about a million years ago with Toni Lander; don’t remember loving it, but as I recall it works if the dancers can pour on the flash; SFB should be able do that.

The Little Mermaid – Flawed (Neumeier throws in everything but the kitchen sink) and too long, but nevertheless a riveting piece of dance theater.  Tan's sinuous Mermaid - beyond beautiful; Van Patten's ultra dramatic Mermaid-well, ultra dramatic as only she can do it.  Interesting to see who else might take on the role this time.

The Fifth Season:  The only Tomasson ballet I can watch without yawning prodigiously.

Sleeping Beauty:  One of my favorite scores, an interesting production, and it's a good showcase for the dancers.  Plus, I suppose it makes sense to do a big production like this two years in a row, since presumably that minimizes rehearsal time.  But I can't help wishing we could bring in a La Sylphide, or a full length Bayadere, or SOMETHING else for a change.

Yes, Virginia, another Don Q:  See Sleeping Beauty.  To be fair, this is a good production and the dancers do it justice.  I hope the unexpectedly funny (Fancy Free, 2^nd sailor) Ulrik Birkkjaer gets a crack at Basilio.

Good to know a fairly large selection of the new works will be showcased, although, of course, the audience may not agree with Tomasson what's worth repeating.

34 minutes ago, pherank said:

...given a couple more years of experience, I would give the nod to Frantziskonis.

More than agree about that.  Actually, I haven't seen her since her stunning Prayer in Coppelia a couple of years ago.  Has she been out for some reason, or have I just been unlucky with casting?

Very good news on all accounts, especially Weeks, who I understand was injured, which seemed to delay this very well-deserved promotion.  He can have an intensity that’s almost scary; he’s definitely someone I’ll go out of my way to see.

As to Wei Wang, to be honest, as much as I like him, I have to wonder if he would benefit from another year or two at the soloist level, mainly to increase his stage presence.  He joined as apprentice 2012, corp 2013, soloist 2016, principal 2018, so he seems to be very young.  Having said that, it’s great to see an SFB male soloist being promoted instead of bringing in another male principal from outside, excellent as those imports have been. 

Speaking of promotions, when is Lauren Strongin going to be made principal?

A couple of weeks ago on another thread (which I can’t find at the moment), there was a discussion about promotional clips of various ballets set to a single piece of music, regardless of how appropriate it is to the video clips.

Aside from about a nano-second of The Red Shoes, this sticks to dance routines from movie musicals (which maybe fits TRS a bit), and it’s pretty well done.

OT, but "...newsroom undergoing major changes." isn't filling me with confidence either.

I don't have time to watch right now; plan to see it this weekend.  But I'm curious about the timing:  2 hours 34 minutes.  Has anyone seen this yet?  Does it really last that long?

Three performances of Program 3 in a week.  Serenade was the attraction for buying extra tickets, but this turned out to be one of the most enjoyable triple bills I’ve seen in years – the masterpiece, the likable (plus a bit of a mystery), and the fun.

SERENADE
Composer: Peter Ilyich Tchaikovsky
Choreographer: George Balanchine
Conductor: Martin West

February 18
Waltz Couple: Wona Park, Wei Wang*
Russian Girl: Frances Chung
Angel: Dores André
Dark Angel: Ulrik Birkkjaer 

February 24 2:00 pm
Waltz Couple: Yuan Yuan Tan, Carlo Di Lanno
Russian Girl: Sasha De Sola
Angel: Jennifer Stahl
Dark Angel: Luke Ingham

February 24 8:00 pm
Waltz Couple: Maria Kochetkova, Vitor Luiz
Russian Girl: Sasha De Sola
Angel: WanTing Zhao
Dark Angel: Luke Ingham

Casts for Serenade were all good, but newcomer Wona Park caught my attention. To be sure, probably any female member of the corp could perform the steps competently.  But aside from strong technique and intense musicality, Park’s dancing had an unexpected size and sweep.  In contrast to Tan’s languid, remote beauty, and Kochetkova’s airy lightness, Park brought a rather earthy, vibrant energy to the Waltz couple, well partnered by Wei Wang.  It’s going to be interesting to see how she develops.

THE CHAIRMAN DANCES—QUARTET FOR TWO
Composer: John Adams
Choreographer: Benjamin Millepied
Conductor: Martin West

February 18
Maria Kochetkova, Carlo Di Lanno
Yuan Yuan Tan, Ulrik Birkkjaer
Jennifer Stahl, Benjamin Freemantle

February 24 2:00 pm
Frances Chung, Vitor Luiz
Koto Ishihara, Tiit Helimets
Elizabeth Powell, John-Paul Simoens

February 24 8:00 pm
Frances Chung, Vitor Luiz
Koto Ishihara, Tiit Helimets
Elizabeth Powell, John-Paul Simoens

The surprise was the Millepied.  I’d seen ‘The Chairman Dances’ (without the ‘Quartet for Two’ section) at the 2017 Gala.  There are so many negative comments about Millepied’s choreography on this board, I felt a little guilty about liking it.  Still like it.  Not particularly original (lots of ‘walking’ a la Robbins' Glass Pieces), not something I’d go out of my way or spend extra money to see, but perfectly happy if it’s programmed.  

Part 1 has a vaguely military look with athletic solos and pas de deux.  Toward the end, and for no particular reason, everyone dances a foxtrot.  Good humored and lively.

A seemingly unrelated second section has been added: ‘Quartet for Two’.  I loathe cute titles for ballets (or ballet programs), but this actually made sense.  Four dancers – two male, two female – dance three short, intense pas de deux:  male/female; male/male; female/female.  Among the three versions of the PdD, similar, sometimes identical, choreography, but interesting with the various pairings.  In contrast to the bright blue/red uniforms of The Chairman Dances section, all wore plain white costumes, and the music further emphasized the disconnect from the first part.

It seems like Millepied has the makings of two interesting, short ballets that don’t make any particular sense as one ballet.  I’d be grateful if anyone could explain what the point of combining them might be, aside from filling up a 20-minute slot.

As for the casts:  Chung/Luiz best captured the fox-trot humor in the first part; and Tan/Stahl were particularly beautiful in the female/female pairing in Quartet for Two.

RODEO:  FOUR DANCE EPISODES
Composer: Aaron Copland
Choreographer: Justin Peck
Conductor: Martin West

February 18
Sarah Van Patten, Luke Ingham
Max Cauthorn, Daniel Deivison-Oliveira, James Sofranko

February 24 2:00 pm
Sofiane Sylve, Carlo Di Lanno
Max Cauthorn, Daniel Deivison-Oliveira, James Sofranko

February 24 8:00 pm
Dores André, Ulrik Birkkjaer
Esteban Hernandez, Hansuke Yamamoto, Wei Wang

I commented about this on the Gala thread and three more viewings haven’t diminished my enjoyment.  Great fun.  The men of the company outdid themselves, with Esteban Hernandez standing out.

4 hours ago, its the mom said:

Please know that I am always grateful to read the reviews from the west coast, as I am not able to travel there just for ballet.  First, I would like to say that I am glad to hear Weeks is doing well.  I watched him as a younger dancer and was impressed then.  I know he had a setback with an injury, so it is such good news to hear that he has made a comeback.  About Ana Sophia - she has had numerous opportunities to dance full-lengths as a guest artist.  She also has performed classical pas in numerous galas, so she is not unaccustomed to these roles.  I very seldom post in NYC Ballet's thread because I do not watch their performances as much as I do other companies, so I do not feel qualified to comment.  However, the few times I have seen her dance, I felt a coldness from her.  I was struck during World Ballet Day at her rehearsal of SB with Greco.  She did not look happy at all, and seemed to be annoyed with him.  I agree that her technique is impeccable, but I would not purposely pay to watch her dance, as I feel nothing when I watch her.  But, hopefully she will improve in the acting area as time goes on.

I may have missed it, but in relation to the pictures above with Hernandez and Sheehan, did anyone see them?  I love his dancing!  

 

re Scheller, She seemed a little cool and just a bit grand for a 16 year old. I’d be interested to see her as Myrta, which I don’t think she has danced.

Re Lonnie Weeks I was surprised he didn’t make soloist during the last round of promotions butI didn’t know he’d been injured.  He’s looking very good, though.  Fingers crossed for his promotion soon.

they just posted casting for the rest of the run (I’m on an iPad and donT thing I’m up to copy paste with this awful keyboard).  I had bought a ticket for 2/3matinee without knowing the cast, but lucked out with Chung/Luiz.  Hernandez and Sheehan will be dancing BB at that performance, and I’m looking forward to it.  He did dance as an Act III cavalier on Saturday and was very good.   I’m sorry to miss out on De Sola.

15 minutes ago, pherank said:

The Rose Adagio can be ruinous for a ballerina, so I was worried about Froustey having to train and perform for that in particular. You mentioned that she visibly finds her spot (I'm paraphrasing) but I have to wonder is there any other way for someone with a chronic foot issue? Such a dancer can never really be anything but careful (and that's going to have a visible effect on how they dance particular steps/variations). I think Tomasson gave her the role as a gift to her, but if things go awry this early in the season, I would rather Froustey had skipped SB completely and danced in the mixed rep programs - and had a season. This is why there's a place for Justin Peck sneaker ballets.  ;)

 

Sorry, it's hard to explain what I'm trying to describe; I'll try to find some video.  I didn't mean to imply that the balancing issue has anything to do with her injury; she's been pulling the same stunt since she came to SFB.  It's very admirable that she can balance that long, but she's too good a dancer to need to milk it.  That wavering back and forth to hold on to the balance completely ruins the moment, especially in the middle of a story ballet.  I've seen a few other dancers do the same thing, and it's just as annoying.  

Yes, I saw both performances yesterday (1/27).  I've been trying to gather my thoughts - there was a lot to like and a few things that made me gnash my teeth in frustration.  

 January 27, 2 pm

Aurora: Ana Sophia Scheller
Prince Desiré: Angelo Greco
Lilac Fairy: Ludmila Bizalion
Carabosse: WanTing Zhao*
Bluebird: Wei Wang
Enchanted Princess: Dores André 

Scheller:

-       Perfect ballet physique, gorgeous lines, strong technique, excellent turns.

-       Definitely more of an adagio than allegro dancer.  Opening variation in Act 1 lacked joyous spontaneity and crispness; had a distinct coolness – got a vibe:  “Hello.  I’m a Princess and you’re not.”

-       Hard to explain, but there seems to be a lack of nuance in her dancing, at least in this role.  Little phrasing, no ‘here’s a moment’ inflection.  Made the evening rather flat, despite her excellent technical skills.

-       Rose Adagio went well, although the balances were brief, which is perfectly fine as long as they are comfortable and relaxed, which these were not.  Given the flatness of the rest of her performance, there seemed to be an understandable but unexpectedly visible tension during the balances:  let go, get that arm up, grab the next suitor’s hand, whew, made it that time.

-       Much more suited to the Vision scene and wedding PdD, although, again, little or no phrasing – beautiful but slightly dull.

Greco:

-       As expected, strong, secure, sometimes thrilling. 

-       Desiré doesn’t provide the acting opportunities of other male leads, but Greco brought enough personality to the character to at least keep him watchable.  I’d like to see him partner someone who brings a little more to the relationship.

Bizalion (Lilac Fairy):  I haven’t noticed her before in the corps de ballet.  Beautiful arms and upper body, although she doesn’t yet have the sweep and presence needed, but still she held her own well.

André/Wang (Blue Bird Pas de Deux) – This was a bit of a disappointment.  André was lovely and delicate, but Wang, who I’ve always liked, was underpowered and earthbound, not at all as I remember him.  He was the same at the Gala; I thought he just needed time to settle in, but no improvement at all.  I’ve seen him enough before to know he has a big jump and good ballon, but none of that was on display here. 

 Zhao (Carabosse, called The Dark Fairy in the program):  Zhao is rapidly becoming a favorite soloist.  She can dance and she can act:  Very clear mime and a very vivid character.

 And a word for The White Cat and Puss in Boots (Kamryn Baldwin and Sean Bennett).  Played broadly for laughs without going overboard; very funny and endearing.

January 27, 8 pm

Aurora: Mathilde Froustey*^†
Prince Desiré: Luke Ingham*^†
Lilac Fairy: WanTing Zhao*
Carabosse: Anita Paciotti
Bluebird: Lonnie Weeks*
Enchanted Princess: Wona Park*

Froustey:

-       I was worried about her too, but she got through just fine.  I wonder if it’s her left foot that was injured:  I thought it looked a little wobbly at times, although she held her pointe with no apparent problems, and no obvious sign of favoring one side.

-       She isn’t a flawless dancer, and she doesn’t ‘dance big’, but more than makes up for it with personality and that glorious musicality and phrasing, both fully on display last night. 

-       Act I opening variation a delight, all the sparkle you could want.

-       The Rose Adagio, no problems, but this brings me to my main beef with Froustey:  she milks her balances shamelessly (she milks bows after a variation too, but that’s a different issue).  Yes, she can balance, but she does it by finding her ‘spot’ and then visibly wavering back and forth while holding that balance; nothing serene or relaxed about it.  Absolutely drives me up a wall.  It’s probably OK in a showpiece, but the Rose Adagio is a crucial part of the ballet, it’s part of telling Aurora’s story, and Aurora isn’t a showoff.  Naturally, the teenagers in the audience when ballistic.  I just rolled my eyes.

-       She’s a very good, if sometimes unconventional, actress, so it's not surprising that she created a rounded character:  lively, youthful in Act I, ethereal, slightly mysterious in Act II, matured and regal in Act III. 

-       I’ve got a ticket for 2/3, but don’t yet know casting.  If it’s not De Sola, I’ll probably trade to 2/2 just to see Froustey again.

Ingham:  I’ve tried hard to like Ingham in these danseur roles.  He’s excellent in contemporary ballets, e.g., Ratmansky’s Symphony No. 9, Pita's Salome.  But I suppose because he’s tallish and good looking, and a competent actor, that makes him ideal for this type of traditional ballet.  He has a big, airy jump – not beautiful but definitely big – but other than that, he can be very sloppy, and last night he visibly tired during the GPdD.  Having said that, he and Froustey seem to be cast together frequently, and they do have good chemistry and are physically well suited.  But I really wish they’d stop casting him in ballets that don’t play to his considerable strengths.

Park/Weeks (Blue Bird Pas de Deux):  This was the kind of showpiece performance Blue Bird should be.  Weeks’ ballon and batterie more than fulfilled expectations.  And keep an eye on Ms. Park:   a wonderfully charming performance with solid technique and sterling balances. 

Zhao (Lilac Fairy):  I wonder how many dancers have performed Carabosse in the afternoon and the Lilac Fairy in the evening.  A very good Lilac with the needed dignity and presence and lovely dancing.

1 hour ago, yodasan said:

Best was Little Waltz - but I'm biased because my son was in it.

I really enjoyed that one.  It was a little surprising there were only three boys, but all the kids were terrific.  Your son is lucky to be there.  Best of luck to him.

Entertaining gala, notable largely for splendid dancing from the men:  Ulrik Birkkjaer’s glittering batterie in the La Sylphide PdD; Vitor Luiz and his cheeky likability coupled with reliably impeccable dancing in Stars and Stripes; Angelo Greco’s dazzling (and I mean DAZZLING) Le Corsaire; and, best of all, the company of men in Justin Peck’s hugely enjoyable Rodeo:  Four Dance Episodes. 

Not to neglect the women:  As Josette predicted, a delightful Blue Bird PdD from Dores André; Yuan Yuan Tan, her usual exquisitely bendy self in Liang’s otherwise unmemorable Letting Go; Sasha de Sola more than holding her own (fouettés, fouettés, fouettés, not all beautiful but lots of them) in Le Corsaire; and especially Sofiane Sylve (partnered by Carlo di Lanno) in Rodeo.  In fact, I knew nothing about Peck’s take on this ballet beforehand, and was little disconcerted at the prospect of the statuesque, magnificent Sylve kitted out as a cowgirl packing a couple of six-shooters, but not to worry:  Peck uses the music, but not really the story, so she was able to be her own gorgeous self.  I was also interested to see the newest hire, Ana Sofia Sheller, in Stars and Stripes.  She’s a lovely dancer – beautiful lines, excellent turns – but somehow she didn’t strike me as particularly comfortable being coyly flirtatious.  I’m looking forward to seeing her Aurora (if the casting doesn’t change again), which seems like a better fit.  

Overall, good show.

Sleeping Beauty casts for first three performances.

 I’m curious to see André in the Bluebird PdD: I don’t really think of her as a ‘tutu’ dancer and she’s certainly not the fluttery type.   On the other hand, she’s never, ever boring.  Wei Wang should be good.

 THE SLEEPING BEAUTY

Choreography: Helgi Tomasson after Marius Petipa
Music: Peter Ilyich Tchaikovsky

 Tuesday, January 23, 2018 - 7:30 pm

Conductor: Martin West

 Aurora: Maria Kochetkova^†‡
Prince Desiré: Joseph Walsh^†‡
Lilac Fairy: Sarah Van Patten
Carabosse: Anita Paciotti
Bluebird: Wei Wang^‡
Enchanted Princess: Dores André^†

Wednesday, January 24, 2018 - 7:30 pm
Conductor: Martin West

 Aurora: Sasha De Sola^†
Prince Desiré: Carlo Di Lanno^†‡

 Thursday, January 25, 2018 - 7:30 pm
Conductor: Martin West

 Aurora: Ana Sophia Scheller^†‡
Prince Desiré: Angelo Greco^†‡

LEGEND
†Denotes premiere in role in Tomasson's The Sleeping Beauty.
‡Denotes premiere in Tomasson's The Sleeping Beauty.

I doubt if this would work for anyone else as a single program, but it’s my island.

Artifact Suite
Shostakovich Symphony No. 9
Kingdom of the Shades

VAI is having a DVD sale that seems to include pretty much all ballet videos (opera, etc also).  Still expensive even with a discount, but I checked a few on Amazon and the ones they had were even more expensive.

Sad to say, I can match that and raise you one.

I attend with a friend who used those exact words: ‘…elder abuse…’ (plus she thought Coppelia was boring - too much mime, not enough dance (!) )

AND, she thought the female corps de ballet costumes in Magrittomania were offensively sexist. I don’t know what image the costume designer used as a basis for the costumes, but this is the closest I can find.

Whatever.

A quick note about today’s matinee, with Chung/Luiz (both excellent, especially the amazing Frances Chung). Didn’t have time before the performance to look at the rest of the cast list, and during intermission was too busy yakking to friends, so didn’t know who would be dancing Dawn, Prayer and Spinner in the third act. Dawn (Rebecca Rhodes) and Spinner (newest soloist Lauren Strongin) were nicely performed, but Prayer made me sit up and wonder, who is THAT? I almost missed my bus taking time to find out THAT was Jahna Frantziskonis. Gorgeous arms and upper body (and I mean really gorgeous), excellent ballon, strong technique, but especially that indefinable something that says ‘star quality’. I can certainly understand why the PNB audience is sorry to lose her.

Is there anyone who has managed to see multiple performances (with different leads) that would like to share their impressions?

EDIT: CHANGE OF CAST FOR SUNDAY, FEBRUARY 28TH:

https://www.instagram.com/p/BCTjqhFnrdO/?taken-by=lapetitefrench_

I saw the 2/20 matinee Sylve / Di Lanno / Helimets, and 2/25 Froustey / Ingham / Bennet. It's taking some time to gather my reactions coherently: two interesting and VERY different interpretations. I'll try and post something tomorrow.

And I'd recommend trying to see Froustey on Sunday, even if you need to stand. Her interpretation may not be to everyone's taste, but trust me, you won't be bored!

I saw Maria Kochetkova perform Swan Lake last summer with ABT and her Odette/White Swan duet was one of the finest that I've ever seen. It had a masterpiece quality. Her moves were so remarkably constructed as if a painting by Leonardo or other great classicists had come to life. It was high art of the highest level.

I’ve seen her several times in this production as O/O and thought she gave a lovely, intelligent performance - good differentiation between O1 and O2, with O2 not the usual evil vixen, but more a young woman discovering her power over a man - end enjoying it. Not very PC, but it worked for me.

I had a ticket to see her Saturday evening, but decided to trade it for Thursday's Froustey/Ingham (both in role debuts this season), so I’m disappointed to miss Kochetkova. (I'm consoling myself with Sylve's Saturday matinee O/O. THAT is something I'm really looking forward to seeing.)

Instagram photo by Sasha De Sola - Swan's on the loose:

Cute photo, but I’m curious: it looks like they are bare-legged, no tights. I realize this is a rehearsal, but I hope they wear tights during the performance. I like the bare-legged look in contemporary ballets, but defintely not Swan Lake.

I am disappointed that Vanessa Zahorian is not dancing Odette/Odile this time around

Me too. To be honest, I've always thought she had more charm than expressiveness, still, I'd really like to see what she does with O/O, since I know a lot of people like her in the role. For some reason, in the past, she has never been cast when I was able to go, so this year looked like a good chance finally to see her. Oh well. SL is such a cash cow, maybe they'll bring it back next season.

I am surprised that both Zahorian and Chung are sitting SL out. But it occurs to me that this may indicate who is going to be dancing Swanilda the most.

They are both good Swanhildas: Chung is funnier and more natural, but although Zahorian plays her as a seriously spoiled brat, her charm (and that smile!) keeps the character likable. There's also Onegin coming up at the end of the season. Zahorian has done Tatiana before and the role would be a good fit for both Dores Andre and Chung.

I'm disappointed that Froustey won't be dancing the 2/20 matinee, but Sylve!!! What an unexpected treat. Froustey's 2/21 matinee is sold out but I may try and go standing room.

That's five out of the ten performances. I wouldn't be surprised if Yuan Yuan Tan got opening night. I have an unfortunate feeling that the dancer I want to see is not cast this time.

Yesterday, subscribers got a notice that a performance has been added on Friday, 2/26, so that's 11 performances, although it doesn't seem to be on the calendar yet.

It's good that Froustey is getting three, which will give her time to settle in. I don't think her Gala Black Swan was at all representative of what she can probably do with the role.

Agree Tan will probably get opening night. Van Patten is out on maternity leave, and Id be surprised if Feijoo will dance (she cancelled Giselle and Kitri the last couple of seasons). Among the principals, that leaves Sylve, though I dont think she's ever been cast as O/O here in SF; Zahorian, who will certainly get at least one; and Chung and Andre, assuming they have learned the role, both of whom would be debuting and both of whom I would do some serious rearranging of my life to see.

Have they ever cast a soloist as O/O? I cant picture anyone except Stahl at this point.

I have tickets for both 2/20 performances, but Ive seen Kochetkova twice already, so I may trade for 2/26 depending on who is dancing. Its very frustrating that they leave casting announcements so late.

SFB hasn’t yet posted casts, but Mathilde Froustey is posting on her Facebook page that she will be dancing Swan Lake three times:

“I’m so happy and excited to dance Swan Lake for the first time of my life with @luke_ingham on the 21th, 25th and 27th (2pm) of February ! #‎ilovemyjob”

Since they don’t post casts until a week before the performance, and by that time full lengths - especially SL and Giselle - are mostly sold out, I have to buy tickets without knowing who will be dancing, and hope for the best. So, I’m lucky to have purchased a ticket months ago for the matinee on the 27th.

Aha! that worked. thanks.

Sorry, that's supposed to be 2016, but I can't edit the title.


Program 1 - Sunday, January 24, 2016 - 2pm Opening Matinee

7 FOR EIGHT
Composer: Johann Sebastian Bach
Choreographer: Helgi Tomasson
Conductor: Martin West
Piano: Mungunchimeg Buriad

Mathilde Froustey*, Tiit Helimets
Vanessa Zahorian, Gennadi Nedvigin
Elizabeth Powell, Taras Domitro
Koto Ishihara, Lonnie Weeks

MAGRITTOMANIA
Composer: Yuri Krasavin, after Ludvig van Beethoven
Choreography: Yuri Possokhov
Conductor: Martin West
Piano: Natal'ya Feygina

Yuan Yuan Tan, Davit Karapetyan*
Esteban Hernandez*, Wei Wang*, Max Cauthorn*

PAS/PARTS
North American Premiere
Composer: Thom Willems
Choreographer: William Forsythe

Maria Kochetkova*
Frances Chung*
Dores Andre*
Yuan Yuan Tan*
Julia Rowe*
Sofiane Sylve*
Jennifer Stahl*
Skyla Schreter*
Carlo Di Lanno*
Francisco Mungamba*
James Sofranko*
Diego Cruz*
Joseph Walsh*
Wei Wang*
Henry Sidford*

Program 1 - Tuesday, January 26, 2016 - 7:30pm

7 FOR EIGHT
Composer: Johann Sebastian Bach
Choreographer: Helgi Tomasson
Conductor: Martin West
Piano: Mungunchimeg Buriad

Maria Kochetkova, Vitor Luiz
Vanessa Zahorian, Gennadi Nedvigin
Elizabeth Powell, Taras Domitro
Koto Ishihara, Lonnie Weeks

MAGRITTOMANIA
Composer: Yuri Krasavin, after Ludvig van Beethoven
Choreography: Yuri Possokhov
Conductor: Martin West
Piano: Natal'ya Feygina

Yuan Yuan Tan, Davit Karapetyan
Esteban Hernandez, Wei Wang, Max Cauthorn

PAS/PARTS
Composer: Thom Willems
Choreographer: William Forsythe

Maria Kochetkova
Frances Chung
Dores Andre
Yuan Yuan Tan
Julia Rowe
Sofiane Sylve
Jennifer Stahl
Skyla Schreter
Carlo Di Lanno
Francisco Mungamba
James Sofranko
Diego Cruz
Joseph Walsh
Wei Wang
Henry Sidford

Program 1 - Thursday, January 28, 2016 - 7:30pm
7 FOR EIGHT
Composer: Johann Sebastian Bach
Choreographer: Helgi Tomasson
Conductor: Martin West
Piano: Mungunchimeg Buriad

Mathilde Froustey, Tiit Helimets
Norika Matsuyama*, Hansuke Yamamoto
Ellen Rose Hummel*, Joan Boada
Lauren Strongin*, Daniel Deivison-Oliveira*

MAGRITTOMANIA
Composer: Yuri Krasavin, after Ludvig van Beethoven
Choreography: Yuri Possokhov
Conductor: Martin West
Piano: Natal'ya Feygina

Jennifer Stahl*, Luke Ingham*
Henry Sidford*,Wei Wang, Max Cauthorn

PAS/PARTS
North American Premiere
Composer: Thom Willems
Choreographer: William Forsythe
Maria Kochetkova
Frances Chung
Dores Andre
Yuan Yuan Tan
Julia Rowe
Sofiane Sylve
Jennifer Stahl
Skyla Schreter
Carlo Di Lanno
Francisco Mungamba
James Sofranko
Diego Cruz
Joseph Walsh
Wei Wang
Henry Sidford
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Program 1 - Saturday, January 30, 2016 - 2pm
7 FOR EIGHT
Composer: Johann Sebastian Bach
Choreographer: Helgi Tomasson
Conductor: Martin West
Piano: Mungunchimeg Buriad

Maria Kochetkova, Vitor Luiz
Norika Matsuyama, Hansuke Yamamoto
Lauren Parrott*, Pascal Molat
Lauren Strongin, Daniel Deivison-Oliveira

MAGRITTOMANIA
Composer: Yuri Krasavin, after Ludvig van Beethoven
Choreography: Yuri Possokhov
Conductor: Martin West
Piano: Natal'ya Feygina

Jennifer Stahl, Luke Ingham
Henry Sidford, Wei Wang, Max Cauthorn

PAS/PARTS
Composer: Thom Willems
Choreographer: William Forsythe

Maria Kochetkova
Frances Chung
Dores Andre
Yuan Yuan Tan
Julia Rowe
Sofiane Sylve
Jennifer Stahl
Skyla Schreter
Carlo Di Lanno
Francisco Mungamba
James Sofranko
Diego Cruz
Joseph Walsh
Wei Wang
Henry Sidford

Program 1 - Saturday, January 30, 2016 - 8pm
7 FOR EIGHT
Composer: Johann Sebastian Bach
Choreographer: Helgi Tomasson
Conductor: Martin West
Piano: Mungunchimeg Buriad

Yuan Yuan Tan, Tiit Helimets
Vanessa Zahorian, Gennadi Nedvigin
Elizabeth Powell, Taras Domitro
Koto Ishihara, Lonnie Weeks

MAGRITTOMANIA
Composer: Yuri Krasavin, after Ludvig van Beethoven
Choreography: Yuri Possokhov
Conductor: Martin West
Piano: Natal'ya Feygina

Jennifer Stahl, Luke Ingham
Henry Sidford, Wei Wang, Max Cauthorn

PAS/PARTS
Composer: Thom Willems
Choreographer: William Forsythe
Maria Kochetkova
Frances Chung
Dores Andre
Yuan Yuan Tan
Julia Rowe
Sofiane Sylve
Jennifer Stahl
Skyla Schreter
Carlo Di Lanno
Francisco Mungamba
James Sofranko
Diego Cruz
Joseph Walsh
Wei Wang
Henry Sidford

1/24 performance:

7 for Eight (Tomasson/Bach): This is the third time Ive seen this and if you paid me a million dollars I couldnt remember anything about it.

Magrittomania (Possokhov/Krasavin cheerfully slaughtering Beethoven): Sometimes likable fun, sometimes dramatic and moving; stellar dancing from all.

Pas/Parts (Forsythe/Willems): Wayne McGregor, eat your heart out.

The Fairy's Adventures in Three Movements.

Actually, sounds pretty good!