SandyMcKean

What's important is telling them what you honestly think in as much detail as you actually can without speculating. How you do it is minor compared to actually doing it (most don't or won't).

Earlier this year I bought a single ticket to have a repeat seeing of the Balanchine program. The seat just happened to be right next to Aya Hamilton who is the President of PNB's Board of Trustees. I struck up a conversation with her (a very elegant woman) during the intermissions. We covered many ballet subjects, but one thing in particular struck me: she was quite comfortable with PNB's financial situation. I am often horrified at the 1/2 or 2/3 full houses I see. She of course wanted to see more tickets sold (in particular subscriptions she said), but apparently the Nutcracker and the full lengths do the job. I expressed my huge approval of the more contemporary ballets Peter Boal is programming, and I was very pleased to hear that the Board fully supports Peter in this even tho they know more money would come in the door if they presented more traditional ballet. I didn't ask her what their marketing strategy was.....I wish I had. We did however talk briefly about PNB's desire to find a younger audience. She mentioned the 2 edged sword of doing additional contemporary works, which they assume would appeal to younger audiences, and of doing full lengths to bring in the cash.

Helene, I am certainly not against the new structure of this board. In fact, it makes very clear, logical sense to me. However, I think it will be very difficult to get everyone trained to use the new forums in a way that conforms to the intention of that structure. Why? Because humans are humans . The "Heads Up" forum is the most straightforward in my mind. Technically I suppose, there should be nothing there except single msg threads that give, well, a heads up (and maybe a clarification reply or two). But in practise it is very natural to reply to an announcement of, let's say, Jewels at MCB if you had just seen it or were thinking about it for some reason. I suspect most of us access the board via the "View New Posts" facility. So if one sees a thread titled "Jewels at MCB" in the "Heads Up" forum, and one has something to say, one is going to click on that thread regardless of which forum it is in. Hence "Heads Up" gets longer threads discussing the subject rather than just a simple announcement. How to get around that? Beats me. Again, I'm not suggesting change, but it is hard for me to imagine the average person being clear-headed enough to remember to post an announcement for their favorite company in "Heads Up", then send a msg for a link for a review they just read if it has been missed (or simply not yet posted), then go over to "Recent Performances" to post their own thoughts. OTOH, perhaps with enough reminders the users of this board can be trained. (New members will follow whatever they see happening, so they are not part of the problem.) I guess it comes down, as it must so often do, to the patience limits of the moderatorors.

I'm no Helene, but I will say.........I was duly impressed. I've always heard good things about MCB, but now I've seen it for the first time. I'll tell you one thing, if I ever find a reason to go to Miami again (I don't like warm weather ), I will make a strong effort to go during ballet season. I'm not sure exactly what I liked so much......if I had to pick something, I'd pick the word "lyrical".

Thanks Leigh, I feel much better now In recent years I have found myself going to 2, 3 or even 4 performances of the same ballet and opera here in Seattle. I've been telling myself that things are getting out of hand. But I can now see that I am as yet a piker. Apparently I am still sane since there are truly insane fanatics like you on the planet! I have comtemplated travelling to NYC to see the Ring (we only get it once every 4 years here in Seattle). In fact, my wife and I planned to go this last summer, but we never made it. This thread makes it seen easier (good tips). 2008 here I come!

What I think you will like in this production's use of dance is that the ballet-like dance is not done in interlude, but incorporated directly into the action. The chorus is an integration of both singers and dancers just as we speculated on earlier in this thread. As I commented in an earlier post, I agree with you. In fact, I'd love to see this done, and I believe the problems of "singer/dancer" and "dancer/singer" could be solved by proper direction -- just as Wadsworth did here in "Iphigenia in Tauris".

Serendipitously, I happened to attend Seattle Opera's new production of Iphigenia in Tauris today. I have never seen so much dance in an operatic production before. I found it stunning. This was the brain child of director Steven Wadsworth who always fills the stage with relevant action and movement. In this case (based on ancient Greek tragedy) he used dance to accomplish his ends. Since this production is a joint effort between Seattle Opera and the Met, you folks in NYC will get to see this marriage of dance and opera next month. True, the dance is essentially incidental to the opera, but it is a fundamental a part of this production none the less. I thought it worked extremely well, and demonstrated how dance and singers can be incorporated into a opera chorus to great effect by a creative director.

Yes, but that's not the problem I'm talking about. New productions of the classics are not in trouble; what's in trouble is brand new operas commissioned and composed from scratch. Not that there aren't Artistic Directors who are willing to attempt it, but as I understand it, opera audiences simply do not show up year after year to see brand new operas (a new production of Tosca is a completely different matter). To my observation ballet audiences are very different in this regard. Many in the ballet audience only come out to see the classics such a Sleeping Beauty, but there is a large fraction of the ballet audience (50%???) that loves to see brand new works. And some of these new works stick around and become part of some company's ongoing rep. Here's a test (rhetorically speaking): name me 3 choreographers doing brand new works recently for the ballet. Easy right? Now name me 3 composers who have done a brand new opera lately. Not so easy. Of course, a 20-30 minute ballet is far cheaper to mount than a brand new opera. But my point concerns where the audience appetite is for newly composed works.

The biggest problem I would think is the cost of commissioning and then of producing a new opera. I've heard it said by experts that one of the problems in today's opera world is that audiences are generally not receptive to new operas. They primarily buy tickets to see/hear the "standards" like Tosca, and even those of Gluck or Handel since they are "appropriately" old. New operas rarely make it into the rep of an opera company on an ongoing basis. Ballet can be very different than that of course where many members of the audience relish new works or at least relatively comtemporary works

Frankly, I'm not fond of the idea of "singing dancers" or "dancing singers" if for no other reason than the one Mel brings up. However, I like the idea of an opera lebretto than has a ballet company as its focus. As you say, there is lots of "love, jealousy, tragedy, triumph" there (no murder and death tho -- which is the bread and butter of most non-comedic opera). You would not have to have "singing dancers" or "dancing singers", but rather could have ballet dancers in the operatic chorus (a mixed chorus of singers and dancers). A good director could probably pull that off. In the recent opera "Florencia" modern dancers were used to great effect to "simulate" a river both in calm and in storm (the entire opera takes place on a boat plying the Amazon). I guess only trim opera singers could be cast however.

I too was lucky enough to attend this session (thanks Doug, thanks too to Peter Boal for expending the resources, and to the dancers for giving their time). Helene knows more about ballet in her little finger than I know in total, so I won't attempt to express what I saw factually, but I will express my reactions to the evening. This was my first time attending an informal session in the PNB studios (PNB has a regular program called "$5 Fridays" where for $5 you can go to this studio to see excerpts from upcoming ballets in a rehearsal atmosphere -- but I have never attended). This program of Doug Fullerton's was a much bigger deal than a $5 Friday, but the venue is the same, and atmosphere very similar I suspect. I estimate there were 150, maybe 200, fans in attendance. Doug was the main presenter as he is PNB's primary "public educator". However, Peter Boal also attended the entire session; an excellent accompanist on the piano played; and 6 or 8 of PNB's finest dancers (more than half of which were principals). I will leave the content to Helene's post. I will attempt to describe how it "felt". Frankly, it was a thrill to watch the dancers in a "rehearsal" environment (which I have rarely done). It is one thing to watch them perform; quite another to be able to also watch them as they "step off the stage into the wings". I got the biggest kick out of seeing someone like Carla Korbes "do her thing" as if she were on stage, but then at the conclusion of her dance, she walks away, hands on hips, in a natural stride, recovering her breath, just as I assume would happen in the wings on performance night. I was fascinated to watch the dancers watch each other as one by one they performed pieces that perhaps no one has seen in 100 years (since it took Doug's ability to decipher Stepanov's notation system to recreate them). They would laugh and joke with each other, or re-lace point shoes, or put on a tutu for the next demonstration. I felt I could detect a spirit of competition among the dancers, as well as a desire to be the one in the lime light at that moment; but also a sense of fun, family, and team, as they, like all of us in the room, appreciated the talent of the current dancer. Another perspective was made possible because of one's proximity to the dancers as they performed. I'll never forget Benjamin Griffiths stopping just inches away from the 1 row of seats, perhaps 20 feet from me at a pause in his remarkable solo from Baiser de la Fee that Helene described. It was as if I were in HIS world.......his everyday world. I was also energized by the fans in the room. Here were true balletomanes each and every one. Some ex-dancers (or so the lady next to me said she was), some children in the tow of their parents, all ages, all sizes, with only a love of ballet in common. It was like being on a bus load of kids going on a field trip to Disneyland. Like I said, I won't attempt to express what I learned, but rest assured I learned a great deal. I came away with a far stronger sense of how Balachine took the greatness that already was, and extended it, twisted it, expanded it, broke its unquestioned rules; none of this done in a garish way, but in a evolutionary way, while at the same time being revolutionary. I've felt his genius many times before, but not with this clarity. Thanks for sharing your knowledge and love of dance Doug. It was a generous act......and it made a difference. P.S. I greatly enjoyed meeting Helene at this session. She's as genuine in person as she is here on this board. Now, when I read her posts, I will see her lips moving!

Yes, Speight is a Northwest treasure......as everyone worldwide who loves The Ring knows.

Yes, this is true. However, such sessions were not done after every performance as they are now. I don't know this for a fact, but I suspect that Peter may have gotten the idea from Speight Jenkins (Seattle Opera's director). Speight has done Q&A's after every performance forever. He attends EVERY performance and ALWAYS does a Q&A afterward. I happen to sit directly behind Speight on my subscription nite at the opera, and I happened to notice he had invited Boal to sit with him soon after Boal arrived in Seattle. Seattle Opera is very successful at fund raising and audience building, and Peter Boal is no fool. I suspect Peter took council from Jenkins upon arriving. Perhaps this Q&A thing was Boal's own commitment from day 1, but perhaps Speight Jenkins inspired Boal to institute the practice. Personally, I find the Q&A's at both the opera and the ballet one of the most enjoyable parts of an evening at McCall Hall.

Yeah........since I had to catch an early plane, I skipped the Q&A (which I rarely miss). Thanks much Helene for all your reviews. I would have given a lot to see another couple of performances of this program (especially to see Moore and Korbes), but it's hard to get to the theater when you are camping at 12,000 feet with a 2 day walk from the nearest road Your reviews give me a sense of what I missed and I really appreciate it. BTW, I'm still thinking about Carrie Imler. Long ago she became the #1 dancer at PNB for me (altho what's happening since Boal's arrival has my head turning in many new directions). I don't have the experience or knowledge to put my finger on it, but she never fails to excite me. Her quickness is part of it surely, but essentially, for me, she creates instead of simply doing. I was so glad to see her back......(and told her so when I saw her in street clothes standing in the back of the orchestra during the intermission).

Just back. I enjoyed Ballet Imperial far more this time. I stopped fighting the piano and got into it....a lot of power there. Pantasico and Weese were......well.....fantasico. Prodigal is always amazing; Porretta was terrific of course (but I think I perferred Postlewaite's inner being -- if that's the right word). Lindsi Dec did a wonderful job as her first Siren, but Arianna Lalonne is untouchable in that role (altho I bet Carla Korbes gives her a run for her money next week as Carla is apt to do in all the "temptress" roles which belong to Arianna). The best over the 2 nights when all is said and done was Square Dance. Imler sparkled tonite. No trouble keeping up with Balanchine there.

I saw the All Balanchine program last nite (opening nite). I am catching a plane early tomorrow morning so I only have time for a brief comment. I thought Square Dance was a masterful pick to start the new season. So crisp, so classical, but with American modernity, and so many Balachine inventive twists. Pantasico "nailed it" as I happened to overhear Peter Boal remark (and I couldn't agree more). Neolani is the epitome of sweetness, lightness of movement, and grace IMHO. Porretta was his usual superlative self. He has such drama in his dance. His poise and command of the stage makes me think of the greats I've seen on film. Prodigal was the highlite of the evening in my estimation. I saw Lucien Postalwaite do it 3 years ago when he had to (at age 19) for an injured dancer. He has matured into a natural for this role. He projected drama and emotion powerfully in this piece that demands more of a dancer as an actor than perhaps as a dancer. In scene 2 after he is striped of his possessions and clothes and left essentially naked in a spotlight (almost like a Christ figure), the tears started down my cheeks and continued right up until his father encircles his returned son in his robe. Lucien is destined to make a name for himself in this role. As an aside, I thought one of the most impressive things he did was the way his showed fascination (utter) for the Siren (done by Arianna -- to perfection of course). Ballet Imperial left me flat after the first 2 pieces. My reactions are suspect however since I don't particularly care for Tchaikovsky piano concertos. The Prokofiev in Prodigal carried me to all sort of wonderful places, but Tchaikovsky piano does not move me (don't worry I do love Swan Lake). Frankly, and in addition, I am looking forward to seeing Pantasico and Weese in this ballet tonite since they are more "my style" of dancers. I am going again tonite (the only other nite I will be in town for this program). I am much looking forward to seeing Poretta and Postlewaite switch roles in the first 2 pieces, as well as droolling over Lindsi Dec as the Siren since she is my other favorite up and comer female (the other is Lesley Rausch). Imler will be in Square Dance which ought to be a thrill since she is incredibly fast with flawless technique which seems to me just what this ballet is all about.

I'll "record" it in my mind when I see it. Now all we have to do is figure out an access scheme

Good for you! Well done! And no, I'll bet she didn't "get it". (I think the most distrubing thing she said was her use of the word "turn" as if being gay were a disease or something.) Overall, I once again say "So what". There is huge prejudice in the world about everything imaginable. Small minds like printscess's son's friend's mother will insist on saying and acting in small ways. Better to teach one's kids to not be prejudice and small themselves, as well as help them realize that small views like this only hurt the one expressing them. Kids and adults both can laugh at these things (since these things are laughable). Ballet hasn't cornered the market on smallness. Small people say prejudiced, ignorant things about: race. religion, patriotism, educational-level, class, accent, men's height, and apparently even ballroom dancing.......you name it. Best to rise above this nonsense and see the absurdity in the human condition (and teach one's kids to see it too), as opposed to getting insulted or hurt by smallness.

Thanks for the heads up Helene. What an opportunity. I just got off the phone with PNB to buy my wife and I tickets. I've always been impressed with how Doug does his educational programs. His thoroughness together with actual dancers doing examples has my expectations high.

I'm with Farrel Fan.......Who cares? I would rather be me....someone who loves the ballet and gets huge enjoyment from it.....than someone who probably knows nothing of ballet and doesn't know what they are missing. Why would I be insulted because a taxi driver, or someone else, makes a comment out of ignorance? Frankly, I think the "proper" response to such a remark is to laugh right along with them! We ballet-o-nuts are kind of strange when you think about it. Besides it's easy to throw stones while living in a glass house. I am a macho male who does lots of backpacking, mountain climbing, and such; but I have never enjoyed any professional sports. I used to make similar condesending remarks to my friends who were into football or whatever. I distinctly remember me saying: "Ho, ho, ho, why would you go to a baseball game; you already know one of the 2 teams will win, ho, ho, ho!". I really sort of looked down my nose at those who loved professional sports. Well, then about 10 years ago my best friend, who happens to be a huge basketball nut, had me watch a basketball game on the TV while we were stuck in a condo with nothing to do while on a ski trip. He took the time to tell me what was happening and what he loved about the sport. I got hooked. I am now a fanatic fan of the NBA and talk b-ball to lots of folks......a world closed to me before because I was closed to it. P.S. OK...in the interest of full disclosure, I will admit that the very moment I got hooked on b-ball in that condo was when they showed a slam-dunk in slow motion. I was instantly reminded of ballet because of a perfect body moving in a graceful motion with extreme skill and talent. I still see ballet in b-ball everytime I go.

It's always great to see promotions especially since in ballet, unlike many other fields, promotions are almost, if not always, well earned. Bingo on he and Boal. It's quite remarkable really. I've been imagining the coaching Boal likely has been giving Postlewaite on that role. I couldn't be happier that Lucien is now a solist....he's been dancing that way for a long time. Mara seems like a real pro to me. I don't have doubts that she deserves the promo to principal; however, (you knew it was coming ) for whatever reason Mara does not excite me -- never has. Too cool and precise for me perhaps. I hate to say it, but I actually avoid casts where she has a major part.

Definitely Leslie Rausch. I'd also guess Maria Chapman for the other one. And the man must be Wevers. P.S. I didn't go. Previews sort of spoil anticipation for me, so I rarely go. I'll be there Thursday and Friday tho.

Why stop there? To me she has just about everything. She's the most exciting emerging dancer at PNB for me. (But then perhaps I am her biggest fan )

For those who might be lurking and might find this useful...........here are the prices I paid for the Ascher Fisch Ring. The prices do not include taxes. I also got 10% off for getting the entire set (the prices below reflect that discount). Parenthetically, I find the variation in the pricing for each opera interesting. (In US dollars) Rhinegold......$42.25 Valkuire......$71.05 Siegfried.....$53.05 Gotterdamnerung.....$53.05 P.S. I assume the Die Valkuire is so high because it is the most popular single opera in the Ring with the public (I think I'm right about that); so the demand will be higher; so maybe someone decided that by virtue of the law of supply and demand the higher price was justified. Pure speculation of course. P.P.S. I did find these same CD's on the internet slightly cheaper (another 10% less) at https://www.arkivmusic.com However, that does not include shipping; also they indicate that their stock is VERY low.

I'll keep my fingers crossed for you. Incidentally, I don't feel that I "hear" voices well enough to really distinguish a good voice from a great voice, so what moves me about a performance such a Grimsley's Dutchman is the emotion he projects. For me, Grimsley acts superbly; I feel the emotion in how he sings; and most of all, I love the way he "be's" the Dutchman (if you know what I mean). If one has the ear, as you no doubt do, to hear a great voice, and let's say to make the point that Grimsley is not in great voice, then I can readily understand how that would diminish one's experience. But for me, just the way he stands at the table in the 2nd Act not singing a note, I find powerful as hell (since the music itself is "telling" me the story). I'm tempted to go a 3rd time myself. Maybe I'll see you there. I'm very excited about having them. My wife and I plan to start our own RingFest this weekend. Our house is going to be full of Fisch's Ring all weekend long.....it will just be part of the air we breath as we fire up the BBQ etc