ksk04

And Christian Bale didn't play a boxer, he was the boxer's trainer who had a drug problem (Wahlberg was the boxer).

Respectfully, that's splitting hairs a bit. Bale was playing an ex-boxer and trainer. I think the point was that Bale trained very hard and still a double was necessary. It's still his performance. And although I didn't follow the PR for The Fighter as closely as I did Black Swan's, I still managed to hear an awful lot about training regimens and weight loss.

Apologies then, I did not see the film and was merely going off what I knew from reading about it in the press which emphasized Bale's weight loss (undeniably done by him, to whatever end good or bad end) and Wahlberg as "The Boxer."

While a few people may be silly enough to call in asking if Natalie Portman will dance in Royal Ballet's "Swan Lake" - those people don't vote for Oscar winners. In fact, most academy members don't vote. Only members with acting credits get to vote. No directors, no cinematographers, etc get to vote for "Best Actor/Actress". Only Ms. Portman's fellow thespians voted, and they liked her best. These thespians - better than anyone - know that doubles are a part of the business - whether for stunts, nudity, dancing, or other feats of daring. These same thespians also voted for Christian Bale for best supporting actor in "The Fighter" (another actor who lost weight and trained relentlessly). And a boxing double was used for some of his scenes. This same boxing double is not whining to the press that an "illusion" has been created that Christian Bale became a professional boxer with a year of training.

Just a slight correction, the Academy Awards are voted upon by the entire member body. The nominations are what is culled from each individual branch (aside from Best Picture, which everyone gets to nominate)

And Christian Bale didn't play a boxer, he was the boxer's trainer who had a drug problem (Wahlberg was the boxer). I did read an article wherein Wahlberg discussed his training regime (which he started about 4 years before the film's production, as he was a producer) and how he refused a stunt double and got his nose almost broken several times. Who knows whether this is true or not? I do know that it wasn't in every article mentioning The Fighter, as it seemed for Portman/Kunis and their training regime.

----

My issue is that there was a clear PR slant that involved the implication that Portman was a ballerina. Maybe not by Portman, but by whoever was handling the PR for the movie. Look at this speech by director Darren Aronofky accepting on her behalf for the BAFTAS, especially starting at 1:05.

http://www.youtube.com/watch?v=nQ5Tn9TWSJM

"She became a prima ballerina" I mean, my god!!! The implication from him here is so clear and so far from the truth.

Yes I was relieved too; I wonder if some dancers were planning more contemporary choreography and SCFTA nixed it after the response from Reflections. This is even more "traditional" than last year's line-up it seems. In any case, the line-up makes me more interested to go as I was really afraid for the program selections originally.

There seems to be quite a few seats empty, if you view on the website. I'd wager half the orchestra and more than half of Tier 1 seats are not sold and it's only 3 wks before the date.

Program posted on the SCFTA website:

http://www.scfta.org/home/Media/program%20assets/TourdeForce2011.pdf

ACT ONE

Who’sWho

(First scene of Act II)

West Coast Premiere

Premiere: 2003

Inspired by the classic motion picture Some Like It Hot,

Boris Eifman recreates a moment from the famous beach scene.

Eifman Ballet of St. Petersburg

Choreography: Boris Eifman

Music: “The Entertainer” by Scott Joplin and “The Minor Goes

Muggin’ ” by Sy Oliver.

“The Entertainer” (orchestra version) – Scott Joplin (arrang. Marvin Hamlisch) –

The Sting. Original Motion Picture Soundtrack featuring the Music of Scott Joplin.

Music composed & adapted by Marvin Hamlisch. 1974 MCA Records, Inc. –“The

Minor Goes Muggin” composed by Sy Oliver – Highlights from The Duke Ellington

Centennial Edition (1927 – 1973). RCA Victor

Sylvia

(Pas-de-Deux)

Premiere: 1951

Anastasia Matvienko and Denis Matvienko

Choreography: Balanchine and restaged by Marina Eglevsky

specifically for Tour de Force II

Music: Léo Delibes

Cinderella

(Pas-de-Deux)

West Coast Premiere

Premiere: 2004

Heather Ogden and Guillaume Côte

Choreography: James Kudelka

Music: Sergei Prokofiev

Tarantella

Premiere: 1964

First performed at the Center by New York City Ballet (NYCB)

in 1990

Tiler Peck and Joaquin De Luz

Choreography: George Balanchine

Music: Grand Tarantelle for Piano and Orchestra, Op. 67 by Louis

Moreau Gottschalk/Hershey Kay

The performance of Tarantella, a Balanchine® Ballet, is presented by arrangement

with The George Balanchine Trust and has been produced in accordance with the

Balanchine Style® and Balanchine Technique® Service standards established and

provided by the Trust.

Creature

American Premiere

Premiere: 2006

Patrick De Bana and Dimo Kirilov Milev

Choreography: Patrick De Bana

Music: Parvaz by Kayhan Kalhor and The Brooklyn Riders and

Dawn Prayer by Dhafer Youssef

InTheMiddle, Somewhat Elevated

(Pas-de-Deux)

Premiere: 1987

Katya Markowskaja and Noah Gelber

Choreography: William Forsythe

Music: Thom Willems

Lady of theCamellias

Premiere: 1978

West Coast Premiere at the Center in 2007

Diana Vishneva and Marcelo Gomes

Choreography: John Neumeier

Music: Frédéric Chopin

Pianist: Conrad Tao

Mr. Tao appears courtesy of IMG Artists.

Rossini

(Pas-de-Deux)

American Premiere

Premiere: 2011

Natalia Osipova and Ivan Vasiliev

Choreography: Leonid Jacobson

Music: Gioacchino Rossini

Staged for Tour de Force II by Tatiana Sevostyanova and Igor Kuzmin

ACT TWO

Who’sWho

(First scene of Act I – “Night Club Scene”)

West Coast Premiere

Premiere: 2003

Inspired by the classic motion picture Some Like It Hot, Boris

Eifman recreates a moment from the famous night club scene.

Eifman Ballet of St. Petersburg

Choreography: Boris Eifman

Music: “Sing, Sing, Sing (With a Swing)” by Louis Prima,

performed by Benny Goodman.

“Sing, Sing, Sing (With a Swing)” – Louis Prima (Benny Goodman)

– Greatest Hits. RCA Victor. Planet jazz. BMG classics. 1962

Proust:The Intermittences of the Heart

(Excerpts)

Center Premiere

Premiere: 1988

Guillaume Côté (solo), Denis Matvienko and

Marcelo Gomes (pas-de-deux)

Choreography: Roland Petit

Music: Cello Concerto by Gabriel Fauré

The Picture of…

American Premiere

Premiere: 2008

Patrick De Bana

Choreography: Patrick De Bana

Music: “When I Am Laid in My Grave” from Dido and Aeneas

by Henry Purcell, sung by Jessye Norman, plus whale songs.

Tchaikovsky

(Pas-de-Deux)

Premiere: 1960

Center premiere was 1986 with NYCB

Tiler Peck and Joaquin De Luz

Choreography: George Balanchine

Music: from Swan Lake by Piotr Ilyitch Tchaikovsky

The performance of Tchaikovsky Pas de Deux, a Balanchine® Ballet, is presented by

arrangement with The George Balanchine Trust and has been produced in accordance

with the Balanchine Style® and Balanchine Technique® Service standards

established and provided by the Trust.

Slingerland

(Pas-de-Deux)

Premiere: 1960

Katya Markowskaja and Noah Gelber

Choreography: William Forsythe

Music: Gavin Bryars, String Quartet no. 1

LeCorsaire

(Pas-de-Deux)

Premiere: 1856

First performed complete at the Center by Kirov Ballet in 1989

Anastasia and Denis Matvienko

Choreography: Maurius Petipa

Music: Adolphe Adam

Onegin

Premiere: 1965

Center premiere by National Ballet of Canada in 1988

Heather Ogden and Guillaume Côté

Choreography: John Cranko

Music: Piotr Ilyich Tchaikovsky

Vertigo

American Premiere

Premiere: 2010

Diana Vishneva and Marcelo Gomes

Choreography: Mauro Bigonzetti

Music: Dimitri Shostakovich – String Quartet No. 8, “Largo”

arranged for orchestra and Piano Concerto No. 1 for Piano,

Trumpet and Strings, Opus 35 “Lento.”

FINALE:

Don Quixote

(Pas-de-Deux)

Premiere: 1869, staged by AlexanderGorsky in 1900

Center premiere by ABT in 1992

Natalia Osipova and Ivan Vasiliev

Choreography: Alexander Gorsky

Music: Ludwig Minkus

DonQuixote or Fantasies of aMadman

Premiere: 2010

Center premiere in 2011 as part of Eifman engagement

Eifman Ballet of St. Petersburg

Choreography: Boris Eifman

Music: Ludwig Minkus

Seems decent...anything would be an upgrade over Reflections.

Am interested in Gomes/Vishneva in Lady of the Camillas (ABT--please just bring this ballet on tour!), Peck/Luz in everything, Proust excerpts, Onegin excerpts.

Ticket prices are HIGH for this, so I haven't committed. Anyone else?

Natalie Portman finally responds to all of this:

"You know, I, it's it's....um...I know what went on. We, we had an amazing experience making the movie and I don't want to tarnish it by entering into nastiness, because it's such a positive thing what we get to do. We get to create things. I feel so lucky to be part of that, and um, I'm so proud of everyone's work on that movie and my experience. And I'll have that forever. And and and and and it's important for me to remember that no matter what nastiness is going around."

Video here: http://www.eonline.com/uberblog/b235053_Natalie_Portman_Dishes_on_the_Black_Swan_Ballet_Battle_.html

I think poorly played, Natalie. How hard is it to say, "I did not do the majority of the dancing. The dance doubles did, and I appreciate the work they did that let me portray such a believable character*."

*Obviously a believable character in their warped world

I liked this:

"My only wish is that Natalie, Darren and certain others who worked closely on the movie, could have grasped the beauty and the heart of true ballet."

Amen. We all know the movie wasn't "about" ballet as they continue to stress, but some respect for the art form if you are using it as the mode to tell your story would have been lovely. The arts industry, especially ballet, is in such dire straits in this country it would have been great if any of the stars/director/producers would have thought to use their platform (even if just on the PR side of things!!) in some way to show people the beauty of the art.

I think Lane has proved herself to be a true class act in all of this.

Well here is a brief clip. If you go to 1:35 you will see some of Millepied's Troika, which seems to consist the guys flinging Simkin around, and a bit of Fancy Free!

Hopefully more will come!

edit:

This one has a bit more of Fancy Free

http://www.youtube.com/watch?v=KWzd_UYJi0Y

The only thing I can think of regarding Marquez is that it is on Makarova's recommendation (if she even wields that kind of power, though the Mariinsky did just have the performance of Swan Lake in her honor which is what made me think of the connection). Marquez was a favorite of hers in Brazil and Makarova requested her as a guest for her staging of La Bayadere at the Royal which then translated into her principal contract there.

Every time Lopatkina adds a ballet to her rep, I am so surprised (in a good way!). It's great she has been more open to different kinds of roles in the past few years-thank god for the impending Youtube clips that will give us, who will not be there, a glimpse!

Wow, Roberta Marquez from the Royal is a little bit out of left field. Kondaurova and Hallberg should be exciting, though pairing Hallberg with those long-limbed beauties sometimes seems to not work out as well as planned. I wonder how the Russian audiences will take to Bouder?

Has Lopatkina ever danced Juliet?

edit: Osmolkina sighting in Chopiniana! Great news

This is pretty exciting ...much better news than anticipated. I had assumed the Bolshoi was merely releasing the announcement that there was no replacement yet because of complications with Vasiyev's La Scala contract.

If I was Vasiyev and they told me that Tsiskaridze also wanted the job I would have high tailed it out of the interview asap. We all remember the raking over the coals Ratmansky got from him, and that was without losing a job to Ratmansky.

I thought Vasiyev was doing well too...he is premiering 3 new full lengths this year so he clearly has a decent budget to work with and can program what he wants. He got Somova a cushy guesting gig, his wife a coaching position and basically ejected Zakharova from her etoile position (though her pregnancy did partially contribute to this). He is responsible for the return of Guillem in a 3 act ballet, though Guillem did say that all was not well in La Scala after her guesting gig, so I am sure there has to be some unknown drama going on.

Oy. What a mess. Is he going to wreck the same havoc on the poor Bolshoi as he did the Mariinsky??

I wonder how Zakharova feels??

It may only make you want to see more, but here's a

from a Swan Lake.rehearsal and a

from a Romeo and Juliet rehearsal.

Well Derek Deane is his usual, charming self.

I wonder if they are hoping to lure Sylvie Guillem back with a run of Manon after she appeared in it at La Scala this year. Le Riche is still dancing, no?

....

Still no Osmolkina in sight.

Osmolkina must still be out on her maternity leave. She has not danced even at home for about two years. However, I am a bit troubled that Olesya Novikova is nowhere in sight on tours and rarely dances at the Mariinsky, although she IS dancing Juliet tonight at the MT, opposite the Romeo of another non-tourer, Igor Kolb....and other top roles going to other non-tourers, e.g., Ilya Kuznetsov as Tybalt and Alexander Sergeev as Mercutio. Novikova is preparing to star as Raymonda at La Scala in October, in the premiere of Vikharev's reconstruction of the 1898 original Petipa. However, it is troubling that certain First Soloists in their absolute 'prime' are being kept off prestigious tours. Is Novikova now being "Dumchenkoed" because she is the partner/wife of Sarafanov, who moved to the Maly-Mussorgsky Theater in January? Hmmm.

I didn't know Osmolkina was out on maternity. I knew she had injured herself badly about 2 seasons ago and was worried she was still off with that. Hopefully she makes a quicker return to the stage than some of her other colleagues on maternity leave!

I was worried this would happen to Novikova after Sarafanov left the company...perhaps she doesn't want to tour with such a young child still (though the October La Scala date isn't much further off than these summer performances)?

SB was definitely on this year as I saw a few videos of Maria Alexandrova making her debut (with the Bolshoi, I think she's dance it elsewhere) this past fall. In teensy print at the bottom it says there will be new scenery for the Grigorovich SB - I hope they do some of the costumes while they are at it, from the videos I've seen they are ugly and not worthy showcases of the current capabilities of the Bolshoi costume department.

According to the following article, Paris Opera Ballet will be making other stops in the U.S. in addition to the Kennedy Center during the summer of 2012. The company will appear in Chicago, and will appear at Lincoln Center after the Kennedy Center engagement. YEAH!!

http://www.suntimes.com/entertainment/stage/4204728-452/paris-opera-ballet-set-for-2012-chicago-visit.html

I was so hopeful for a California date...DRATS!

The 2011-2012 season seems like an exciting season (more so than usual) for ballet throughout the US, beginning this year with Royal Danish and Mariinsky summer tours. All we are missing is the Royal from London...where art thou, Monica Mason??

Wow, insanely good casting. Lopatkina and Vishneva have really re-established their top places in the Mariinsky tour hierarchy with the tours they've participated in this year. Wonderful!

I agree with Natalie it's odd about Denis/Anastasia especially since they will be on-hand in London immediately following.

Still no Osmolkina in sight.

Well casts for Anna Karenina are surely Vishneva, Lopatkina, or Kondourova...they are the only ones dancing it currently. LLHH is usually Somova or Tereshkina (though I think Obratzsova recently debuted?). Carmen has been Lopatkina, Vishneva, or Kondourova so far. Luckily for NYers these are some of the harder ballets for Mariinsky management to mess around with!

What a great rep to bring over. Very jealous.

This looks somewhat promising:

San Francisco Ballet

Helgi Tomasson, Artistic Director & Principal Choreographer

September 27–28 & September 30–October 2, 2011

SEGERSTROM HALL

"One look at the dancers and I'm reminded that San Francisco Ballet is among the best companies in the world." - The New York Times

The venerable San Francisco Ballet, America's oldest professional ballet company, returns to the Center to start the 2011 – 2012 International Dance Series. The company will bring Tomasson's elegant full length Romeo & Juliet and a mix program of spectacular repertory works.

Program:

Tuesday and Wednesday:

Chroma

Music: Joby Talbot, Jack White III

Choreography: Wayne McGregor

RAkU

Music: Shinji Eshima

Choreography: Yuri Possokhov

Symphony in C

Music: Georges Bizet

Choreography: George Balanchine

Friday to Sunday:

Romeo & Juliet

Music: Sergei Prokofiev

Choreography: Helgi Tomasson

World Premiere

Diana Vishneva In Madame X

November 3-6, 2011

SEGERSTROM HALL

The dazzling prima ballerina of the Mariinsky Ballet returns to the Center with a brand new showcase for her phenomenal talent. Our previous collaboration with the superstar, Diana Vishneva: Beauty in Motion, won three of Russia's prestigious Golden Mask Awards. This season, Vishneva is back in a brand new program titled Madame X.

Guest artists include Marcello Gomes(!!!!), Bernice Coppieters and members of the Mariinsky Ballet

Les Ballets de Monte-Carlo

Center Debut

Jean-Christophe Maillot, choreographer-director

Under the Presidency of H.R.H. the Princess of Hanover

February 9 - 12, 2012

SEGERSTROM HALL

"Maillot's Cinderella is poetic and expressive. On the edge of the contemporary, but anchored in a superbly solid classical technique..." - La Croix

"brilliant…so enthralling from start to finish that one could hardly wait for the intermissions to be over." Pittsburgh Tribune-Review

Prepare to experience Cinderella as never before in this sophisticated, thought-provoking, contemporary interpretation. Les Ballets de Monte-Carlo, one of the world's most prestigious dance companies, has an illustrious tradition dating back to 1909. Artistic Director and choreographer Jean-Christophe Maillot's new version of the classic Cendrillon, with music by Prokofiev, graces the Center stage in the company's highly-anticipated Southern California debut.

Program:

Cinderella

Music: Sergei Prokofiev

Choreography: Jean-Christophe Maillot

Alvin Ailey American Dance Theater

Robert Battle, Artistic Director

Masazumi Chaya, Associate Artistic Director

May 6–11, 2012

SEGERSTROM HALL

"A company that clearly believes that dance is a gift to be shared with the audience" - The New York Times

Every performance by Alvin Ailey American Dance Theater is a celebration of dance at its finest with the company's brilliant artistry and passionate energy bringing audiences to their feet. Their Center engagement offers something historic to celebrate as well as the company begins an exciting era with new artistic director Robert Battle. Programs feature Ailey classics and works by today's most exciting choreographers.

Program:

Repertory Highlights including Revelations

American Ballet Theatre

Kevin McKenzie, artistic director

March 29 – April 1, 2012

SEGERSTROM HALL

"One of the most beautiful sights in dance is American Ballet Theatre in full flight." - New York Post

American Ballet Theatre with its unrivaled roster of superstar dancers holds a special place in the hearts of Orange County audiences as the company that has appeared at the Center more than any other. In honor of the Center's 25th Anniversary season, ABT will present the world premiere of Alexei Ratmansky's new production of The Firebird along with other beloved short ballets. In the world of dance, the ABT returns with a program that will include the world premiere of a new production of The Firebird by Alexei Ratmansky. This American dance treasure and its galaxy of international dance superstars will again captivate audiences with every move.

Program:

The Firebird | World premiere of new production

Music: Igor Strvinsky

Choreography: Alexei Ratmansky

Plus repertory highlights

Obviously the big news is ABT's new Ratmansky Firebird and Diana/Marcelo in Madame X. I love it the idea of it depending on the choreography (and if it's actually a ballet rather than an idiotic Ardani program title). Probably too much to hope for Ratmansky!

For sheer scale it would be hard to beat the kiss in Le Parc:

Or perhaps for a bit of humor the never ending kiss at the beginning of this pas in La Belle:

I hope there's a Kultura TV report(or perhaps some of our sneaky Russian friends on youtube will attend!). We too rarely see any clips of ABT's dancers. I swear the company acts as if streaming video doesn't even exist.

Thanks...and we have the Natl Ballet of Cuba's US tour coming up soon (Wash, DC and other cities in May/June). This may be the tip of the iceberg.

Yes...hopefully this doesn't affect any of their touring. I am really looking forward to seeing them in OC and LA.

Best of luck to those who stayed in Canada.

She's like a baby duckling learning to walk!

As someone who has taught that age, this brings many many flashbacks.

Here's the next rollout of publicity for Portman's Oscar campaign...highlighting the sheer amount of training she had to go through to have her face pasted on Sarah Lane's body (as shown very clearly in the special effect reel):....

That SFX reel no longer shows the head replacement stuff (at least not for Portman). So presumably the original reel must have been reedited and replaced with those bits missed out for some reason....

Wow. Guess someone got in trouble for revealing the secrets!!