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Just back from this afternoon's performance which worked so, so much better for me than the opening night one. I'm sure it's a mixture of factors: the work has had a few runs now making everything look a bit more comfortable onstage, there appeared to be some slight changes to choreography (or they were performed slightly differently), plus the cast wasn't making their debut (they had a run two nights ago). Every movement had much more clarity of purpose behind it, which made it much more dramatically interesting as well as choreographically so. I hate to delve into comparisons between the casts, as again the first cast was making its first run at it, but it is hard not to compare them in my head. For example, while Gomes treated the opening as if he were shocked to arrive in front of the vast white scrim, he was a man up for an adventure and there was little tension in what laid ahead for him. Cornejo, however, was dwarfed by the scrim (due to his height, especially in comparison to Gomes, but also through his deep plies and backbends in the opening solo). The mood was more treacherous and foreboding. Further, he wasn't attracted to the Firebird nor was the Firebird attracted to him at all--he was clearly awed at her, but it's clear there isn't any sexual connection. Their pdd more clearly sketched out how the Firebird appears caged and Misty was great identifying moments in the choreography where the Firebird attempts to flee and then dramatically slumped back toward Cornejo as she is unable to leave. I think the key lies in the quieter intensity of both Herman and Misty. Misty was a more regal and majestic Firebird, and she used her back to great effect. While Osipova sprung around the stage in a seeming haphazard manner, Misty glided and showed her skittishness through her arms and hands. She was truly fantastic. I liked how she kept her face fairly blank, rather than making a lot of faces, as it added to her mystery and otherworldliness. Maria Riccetto was incredibly good--she is an excellent comedienne and while Messmer played the Maiden as more of an outsider from the start, which was very effective, Riccetto was the Maidens' ringleader, leading them in their bit of craziness, giving her a larger character arc when she happened across Ivan/Cornejo, as she gradually shuns her sisters and sheds her wackiness. There is this really awkward overhead lift that made no sense to me on Thursday night, but Riccetto made the movement's purpose a bit more clear: as Ivan lifts the Maiden into a press directly over his head she bends her legs into a froggish position and beats them nervously, making it clear she hasn't been lifted above anyone's head before (or in ballet language, it's been awhile since a man wandered through the forest to have a romantic pdd with her). I was in a better spot to see the visual projections this time (hint: if you want to see them don't sit higher than the second level at the theater as the trees really block them), and was able to see the "entrance" of Kaschei, which is a gigantic shadow projection that zooms in small behind a tree from which the dancer Kaschei emerges. I missed all of this the other night. I thought Zhurbin worked better for me as the Kaschei, and I'm sure this has to do with him being more used to doing character roles, and turning mere sketches of people into something really great. Hallberg was more kitsch and funny (this is not to say Zhurbin didn't embrace the moments of humor in the choreography), which doesn't work if you are supposed to believe this guy controls a pack of women. Also, Cornejo was able to demonstrate that he is under the spell of Kaschei in his body, but not yet in his mind. To sum it up: this cast was really incredible, buy your Met tickets for them NOW!! Finally: Sure! I'm not sure where you would like me to begin (so if there's something else, I am happy to elaborate) but I guess I will start when Ivan pulls out the feather to call the Firebird. Kaschei and Ivan struggle awhile for control over the Maiden, with Ivan and the Maiden slipping in and out of his control. Finally it seems like Ivan will surely lose as Kaschei grabs him and throws him to the ground, but Ivan wrestles the feather out and the Firebird appears. The Firebird bourees around the stage and puts the Maidens to sleep, leaving the three leads awake. They have a pas de quatre where the Firebird seemingly controls their movements as she lulls Kaschei into submission. First she twines herself around Ivan, while Kaschei has the Maiden--then when Ivan sees the two of them dancing together he tries to break free, but the Firebird separates them for him and she dances with Kaschei. The part seems a little convoluted because this is what I think should be occurring, and it does occur, but sometimes the choreography belies this and it seems very confusing what the Firebird is actually doing here. This goes on for awhile. Eventually she lulls Kaschei and the Maiden (who has been suffering a bit from Stockholm syndrome on and off throughout this last part) to sleep and leaves them curled up together on the front of the stage. Ivan is clearly upset at this, but she draws him back to one of the trees (she bourees a lot through the whole section, giving her a nice showcase for her upper body) and reveals the power source for Kaschei: a glowing white egg. As Ivan reaches for it, Kaschei awakens and lunges for it, but Ivan drops the egg and Kaschei is yanked (literally, there is a cord that drags him off) offstage. The Firebird leaps off and Ivan and the Maiden are left alone onstage (as the foreboding forest projections begin to fade and turn to sunlight), and she realizes her dress is coming off of her to reveal a white slip underneath (this is a bit like Giselle's mad scene where Bertha is trying to make it look like she isn't actually taking Giselle's hair down, so...not that realistic). Ivan pulls on her frizzy blonde and green wig, and a much nicer all blonde wig is revealed underneath. Then the trees open to reveal trapped men that the Kaschei has been enslaving this whole time (though, imo, it's odd we don't see them before this moment because both times someone in the audience around me has said "oh so the maidens were actually...men? and they have been turned back into men now?"). Then the Swamp Maidens who have long left the stage return in the same white slip as the Maiden (also w/ a better blonde wig). The men have a nice bit of dancing together, and they have a bit of finale number of the kind that Ratmansky seems to favor. Finally the Firebird returns and the Freed Gents raise her above their head so it looks like she is flying and they dance around her in a circle, thanking her for freeing them all. The rest: it looks like Hee Seo wasn't injured since she was on this afternoon for Thirteen Diversions. Or, at least, wasn't injured seriously...I am still wondering if something was up as she barely got off the ground while doing any jumps in Thirteen Diversion and seemed very restrained. Kristi Boone was replaced by a pre-curtain announcement for Duets, so I don't know if something is up with her as well.

I will see her on Sunday. There's only a few posters in Southern CA that attend shows in the area AND post on here, compared to the multitude of NYC-based/East Coast posters. Also it has been less than 24 hours, so you may need to be a little patient. I was hesitant to post my thoughts without seeing the production more than once because it's hard to articulate an opinion on something when you are not at all familiar with the ballet, so that may also be what people are waiting on. Re: the setting It may have been where I was sitting (a little higher than I usually do), but the details of the setting/background were lost on me, compared to the pictures and reports from the papers. I could hardly see the visual projections, so it looked kind of sparse. Seeing the straight on photos, the effect is markedly different.

A question to start: Is Hee Seo injured again? Misty Copeland and Gray Davis danced in the place of Seo/Stearns and since Stearns was on in Duets, I don't think the issue was him. I'm not really sure what to make of The Firebird, to be honest. It felt like it was missing something, but I'm not sure what and perhaps the repeated viewing on Sunday will help clarify it. The stage is sparse, four huge trees loom as the only background, with digital projectionss filling in the rest. The ballet opens with a blank scrim down and Gomes (clad in all white) lying on the ground. He enters a door, and then we arrive in the enchanted forest. The Firebird has been robbed of her recognizable solo entrance music, and instead that music is used for a flock of Firebirds (male and female) dancing that build up to her arrival. Osipova enters and duets with Gomes, leaving him with a feather. The choreography is more atheltic than anything and reminds me of Wheeldon, oddly enough, at (what I consider) his worst: overly dependant partnering, lots of twisting, not a lot of lightness and flight that I associate with the Firebird. Osipova couldn't seem to decide how to play the role: is she vunerable? Saucy? In control? Every moment it seemed like this changed, and not in a cohesive way. After Gomes receives his Firebird feather, we are treated to the arrival of the Maidens, dressed in tattered green dresses and ratty blonde&green wigs (perhaps better referred to a Zombie Unsocialized Swamp Ladies?), led by Simone Messmer. Gomes seems much more comfortable in this scene with Messmer (who really takes over the stage once her story kicks in); he turns on the charm and convinces his Unsocialized Swamp Lady to join him in a duet, while her Swamp Sisters alternately flirt with Gomes to attract his attention or pull them apart in jealousy. Messmer's characterization reminds me a little of the Mermaid in Neuemier's Little Mermaid: she is highly awkward, yet utterly captivating. They kiss and share an apple. Spurned, the Swamp Ladies all attempt to gain his affection with apples of their own (one apple didn't want to leave the stage--as Messmer tried to fling it off it hit the wing and bounced back in the path of dancers. One of the corps girls grabbed it and tried to fling it off again, only to have it hit a tree and bounce back at her). Things get weird when Hallberg arrives as the Evil Kaschei; Hallberg seems wasted in this role (actually the role seem wasted in general) as it is little more than posing and preening--no real dancing. He has control over the Swamp Ladies and, once he arrives onstage, they are under his spell: he lines them up and sniffs at them, finally stopping with Messmer, giving her a kiss. Tasting (?) Ivan/Gomes on her mouth he becomes enraged, searching out Gomes and smelling him as well, confirming he is the culprit; he claims Messmer for his own. What could be a beautiful pas de trois that leads Messmer to be pulled between Gomes and Hallberg is, again, a lot of posing. Gomes finally pulls out the feather and Osipova flies back onstage. The four "dance" or really, pull, themselves about the stage until Osipova leads Gomes to an egg that will break the spell of the Kaschei. They really need to work this prop out a bit better because I don't think the cello player in the pit appreciated the piece of the egg that flew down and hit him. Messmer then undergoes a transformation, turning her into a beautiful maiden clad in white, as do all the Swamp Ladies. The trees open to reveal beautiful gilded interiors (and a lot of men clad in white). They dance, it ends. Really, for me, Messmer was captivating and her vunerable, yet skittish, presence provided the most pathos to the ballet. I wish there was more dancing. ---- The rest of the evening: Duets was not to my taste. I spent most of the time watching the splendor of Veronika Part's limbs and back. I'm confused as to why ABT is listing this as Company when the majority of the dancers are principals (Kent, Part, Herrera, Reyes, Stearns). Considering the small amount of principals appearing on the rest of the run, it would be prudent to list them, especially since Kent and Herrera, at least, are extremely widely known in the area. I thought Arron Scott was very promising partnering Reyes--he looks a bit like a younger Sasha Radetsky, and seemed thrilled to be there. He had a spark in his eye that gave depth to his dancing. I really enjoyed Thirteen Diversions. Seo was replaced by Copeland who was really glorious. She and Abrera ate up the stage. It cannot be said enough: what is up with Abrera's career? More than a few times I was watching the four lead women together and thought, 'Which one is moving so gloriously fast?" and it was Abrera. Moreover, she acts the part of the principal--commanding the stage in everything she does in a way that other ABT soloists offer only in tantalizing glimpses still. She's ready! Give her more! Copeland was softer than I've seen her before--she was very luxurious where she used to be harder, more rushed. I'm VERY excited to see her take on the Firebird on Sunday.

The night is upon us. Here's the final word on casting: Program and Casting: Thursday, March 29 at 7:30 p.m. Duets: Company Thirteen Diversions: Maria Riccetto/Craig Salstein, Hee Seo/Cory Stearns, Stella Abrera/Eric Tamm, Christine Shevchenko/Blaine Hoven Firebird: Natalia Osipova, Marcelo Gomes, David Hallberg, Simone Messmer (Order: Firebird/Prince Ivan/Evil Kastchei/the Princess) Friday, March 30 at 7:30 p.m. Duets: Company Thirteen Diversions: Maria Riccetto/Craig Salstein, Hee Seo/Cory Stearns, Stella Abrera/Eric Tamm, Christine Shevchenko/Blaine Hoven Firebird: Misty Copeland, Herman Cornejo, Roman Zhurbin, Maria Riccetto Saturday, March 31 at 2 p.m. Duets: Company Thirteen Diversions: Sarah Lane/Jared Matthews, Misty Copeland/Gray Davis, Kristi Boone/Thomas Forster, Devon Teuscher/Daniel Mantei Firebird: Isabella Boylston, Alexandre Hammoudi, Cory Stearns, Kristi Boone Saturday, March 31 at 7:30 p.m. Duets: Company Thirteen Diversions: Sarah Lane/Jared Matthews, Misty Copeland/ Gray Davis, Kristi Boone/Thomas Forster, Devon Teuscher/Daniel Mantei Firebird: Natalia Osipova, Marcelo Gomes, David Hallberg, Simone Messmer Sunday, April 1 at 2 p.m. Duets: Company Thirteen Diversions: Maria Riccetto/Craig Salstein, Hee Seo/Cory Stearns, Stella Abrera/Eric Tamm, Christine Shevchenko/Blaine Hoven Firebird: Misty Copeland, Herman Cornejo, Roman Zhurbin, Maria Riccetto Also, Julie Kent leads a post-performance discussion this evening if anyone would like to stay after.

I was in SF this weekend and was able to catch the Sunday matinee of program 6. Mostly I was interested in seeing Raymonda, as I saw Raku earlier this year at SCFTA and wasn't that impressed by it. Vanessa Zahorian was Raymonda at the matinee and she didn't really do it for me. I don't find her to be a particularly expansive or regal dancer, and I couldn't help but wish I was able to see Sylve, in the first cast, on Friday. I was thinking perhaps Feijoo was the original second cast before her pregnancy (given that Vitor Luiz as Brienne), and I think she may have also worked better. Moreover, I think SFB needs much more time to let the Hungarian character dancing to settle into their upper bodies. The costumes and set were excellent though. Raku was Raku...I'm still not particularly interested in it, though I do enjoy the choreography for the four male dancers. A recording of the music (which I actually enjoy quite a bit) is available now online and at the theatre. Like my previous viewing, the audience completely loved this work and gave a giant standing O to Yuan Yuan Tan. Ashley Page's premiere of a Guide to Strange Places was forgettable. Like a lot of contemporary ballet in this vein (for me) it's hard to pick out images that linger or things I would like to see again. The company certainly looked more comfortable in this than Raymonda, which is a good or bad thing depending on how devoted you are to seeing more classical ballet. Frances Chung was particularly impressive with her lightning fast speed. But my litmus test for deciding how choreographically interesting a work is comes down to whether I would care to see a different cast in this, and I don't. Aside from Chung, nothing really grabbed me. I wonder if the men ever get tired of merely manipulating their partners around?? I should also say, before I sound too much like a negative nancy, that programs 5 and 6 (running simultaneously) were not that interesting in general to me. There were several other programs I would have preferred to come up to see, but due to timing I couldn't make it up another weekend this year and so ended up going despite my minimal enthusiasm for the works programmed (aside from Raymonda)

The re-stream of the day should be starting when the Insight Evening ends--guessing in about 30-45mins or so. Or 12:30-1 pm PST EDIT: The Youtube channels says 9 pm GMT, so 2 pm PST for me. Been fairly interesting so far, I caught the R&J rehearsal which was all sword fighting, and then the Sweet Violet rehearsal which looks killer (literally). Wish I was in London to see the final product; Leeanne Cope and Thiago Soares look fab together. Right now Wayne McGregor is rehearsing his new work--he has an...interesting way of "describing" steps. I'm not sure I would be able to take repeated rehearsals with all of his noises.

The ROH Twitter says they will be re-streaming the whole day directly after the Carbon Life Insight Event is finished for those in other countries who would probably miss the start of the day. This is great as I definitely wanted to watch company class plus the Prince of Pagoda/Polyphonia rehearsals.

They already did this (sans Vishneva)...it was called Reflections and it was AWFUL. And seeing as how it never went beyond SCFTA and then to the Bolshoi who co-produced it, it seems pretty much DOA, thank god.

There is now a schedule of what will be streaming of the ROH's Youtube channel. (http://www.youtube.c...se?feature=mhee) Times of course correspond to London, so conversion will be necessary for us in America. I don't know if this topic should be moved to the Video thread, so people have a place to discuss if they are tuning in?

The 2012/13 dance series is now on the website: http://www.scfta.org....aspx?NavID=993 ABT is not on the roster. I expected ABT would tour Ratmansky's Nutcracker in So. Cal. but it doesn't seem to be the case. Yes, I too had hoped that. There hasn't been a Nutcracker at the Center for several season nows, which seems incredibly silly/short sighted given its almost guarenteed selling power. It's going to be quite the short dance season here I guess. 16 days altogether? Yikes.

Youtube user Ewaasia has been uploading chunks of the broadcasted performance for those wanting to re-live memories (or watch for the first time!). I just love the tutus in this production (and other Bolshoi reconstructions). They are so flattering and luscious looking, plus they capture movement wonderfully. Much better than those flat pancaked things.

From The Ballet Bag: http://www.theballetbag.com/2012/03/15/rblive-the-royal-ballet-behind-the-scenes/ Sounds very interesting. Unfortunately, I will probably have to mostly settle for the highlights due to the time delay.

Drew, there is an Ashton bill. La Valse/Thais/Voices of Spring/Monotones I and II/Marguerite and Armand. There is also a Macmillan bill with Concerto/Las Hermanas/Requiem.

I found this which says that Viengsay Valdes and Osiel Gounod will be there, so you are certain to not be completely disappointed! They are wonderful. http://www.cubanews.ain.cu/2012/0308Prague-Ballet.htm Please let us know how it went.

Maybe they are doing something along the lines of the original Palais du Cristal costumes with the jewel colors. I admit I really like those on the Mariinsky dancers (seen here: http://www.ballet.co.uk/gallery/jr_mariinsky_symphony_on_C_roh_0809), especially the green of the second movement.

Is that fair though? Polunin, for all his praises and gifts, was a very, very new principal. Has he earned the right to dictate his partners? IMO, no. Perhaps some of the more seasoned female principals at the RB didn't want to dance with him because he doesn't like rehearsing very much and only enjoys male solos? Getting a say in what and with whom you dance is a privilege you earn in a ballet company (and is a luxury of large ballet companies who can afford for their dancers to be picky). I agree that Cuthbertson is perhaps not all the RB is touting her to be (though I can only make this conjecture via video), but that she is a team player is apparent and sometimes being a team player is more important to the daily workings of a ballet company when it comes to scheduling and opportunity. IMO, it's completely self-centered to act as though the only people who can bring something to you and to the ballet overall and who are worthwhile to dance with are those who are the most brilliant (technically, dramatically, etc).

The trailer (featuring an odd mashup of clips from The Artist ) says it will be for Youtube-Russia. So maybe not everyone? How disappointing. http://youtu.be/VPMUPzJ0mNA

I believe David will be dancing the Prince according to the SCFTA brochure: http://www.scfta.org/revue/0312/revue-0312-abt.html So then Marcelo will probably be the evil Kashchei?

More tour announcements from SFB: http://www.sfballet.org/about/media_center/press_releases/DC_Tour_Announcement Note to DC ballet goers: Sarah van Patten's Juliet is a must see!

Whoops! Presumably here, if it's available for everyone http://www.youtube.com/user/bolshoi on their youtube channel.

I think just the latter, if it is indeed for worldwide youtube users.

Hot off the presses (or just announced on their facebook): http://www.sfballet.org/about/media_center/press_releases/London_Tour_Announcement

Well the last sentence says "YouTube users will be able to see the ballet Le Corsaire on its premiere night." So going from that, and from other reports I've read it does seem like all youtube users. Everyone was able to watch the Bolshoi theater re-opening, so it seems like it might be along those lines. HOWEVER, there could be a translation problem that is contributing to those beliefs. I guess we will see on the 11th!

Have we talked about this yet? Supposedly the Bolshoi will be screening their cinema broadcasts on youtube as well as in theaters, beginning with Le Corsaire? This is fantastic news. http://www.russkiymir.ru/russkiymir/en/news/common/news6009.html

Here it is very briefly. It doesn't seem like the Center has put out a detailed description, but both the LATimes and OCRegister have picked this up. http://latimesblogs....-the-arts-.html Very slim pickings Dance wise, but if that's what needs to happen to get good quality ballet companies like the Mariinsky and the Hamburg (very excited!!), instead of idiotic Ardani productions, I accept it (though Ardani's website lists Tour de Force III on their website). I'm hoping since it says "international" below, that ABT will perhaps will show up on the more detailed brochure? EDIT: SCFTA's Facebook is updating with more info....They confirm what we already knew about Swan Lake: