It's probably best to start a new topic instead of discussing in the SCFTA Season thread (though California diligently broke the news there!), especially as the year rolls onward with any information forthcoming. Here is the lineup! Mariinsky and La Scala cross over for the Southern California engagements.

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MARIINSKY BALLET

Performing George Balanchine's Jewels*
Live music by Mariinsky Orchestra

October 24-27, 2019
The Music Center's Dorothy Chandler Pavilion

Choreographed by George Balanchine in 1967, Jewels is recognized as the first great abstract  work of classical ballet. The piece, inspired by a visit by Balanchine to Van Cleef & Arpels, consists of three acts: “Emeralds,” “Rubies” and “Diamonds,” featuring music by Fauré, Stravinsky and Tchaikovsky, respectively.

ALVIN AILEY® AMERICAN DANCE THEATER

 

March 18-22, 2020
The Music Center's Dorothy Chandler Pavilion

Alvin Ailey returns to The Music Center following its triumphant 60^th anniversary celebration. Alvin Ailey's performances unite and inspire. Under the leadership of its visionary artistic director Robert Battle, the company continues to honor the legacy of its founder, while stewarding the next generation of choreographers influenced by the African American experience. In all, more than 235 works by over 90 choreographers have been part of the Company’s repertory. Alvin Ailey American Dance Theater will perform different programs of mixed repertory along with the seminal masterpiece Revelations, which remains as poignant, relevant and moving as when it debuted in 1960.

TANZTHEATER WUPPERTAL PINA BAUSCH

Palermo Palermo

 

April 17-19, 2020
The Music Center's Dorothy Chandler Pavilion

Pina Bausch shaped the work of Tanztheater Wuppertal for 36 years, creating 44 pieces in a style and voice all her own. Her perspective was completely unfamiliar, empowering the dancers to take on characters that also spoke, sang and cried, conveying a full range of theatrical emotions. Bausch’s oeuvre not only influenced dancers and choreographers, but also theatre by often breaking the fourth wall during performances. Created by Bausch in 1989, Palermo Palermo is a post-war view of the Italian city as only Bausch can see it — beautiful and squalid, dangerous and ancient. The work transforms the everyday into the absurd as the audience is immediately taken on a dark journey rich with fractured relationships, beauty and surreal humor. 

 

MALPASO DANCE COMPANY

 

May 15-17, 2020
The Music Center's Ahmanson Theatre

Since its founding in 2012, Malpaso Dance Company has become Cuba’s leading contemporary dance company known for technically strong, agile dancers and its Cuban dance heritage. Led by Artistic Director Osnel Delgado, Executive Director Fernando Sáez, and dancer and Co-founder Daileidys Carrazana, the company collaborates on original works with prominent international choreographers and is dedicated to nurturing new voices in Cuban choreography.

 

TEATRO ALLA SCALA BALLET COMPANY

Giselle With Live Orchestra

 

July 24-26, 2020
The Music Center's Dorothy Chandler Pavilion

Teatro alla Scala Ballet Company is one of the world’s elite ballet companies, tracing its roots back to 1778 with the opening of the theatre, originally known as the Nuovo Regio Ducale Teatro alla Scala. This revival of Giselle was staged by the late French prima ballerina Yvette Chauviré of Paris Opera Ballet. The ghost-filled ballet tells the tragic story of a beautiful peasant girl who falls for the flirtations of a deceitful nobleman, Albrecht. When the ruse is revealed, the fragile Giselle dies of heartbreak, and Albrecht must face the consequences of his careless seduction. Giselle transports audiences from idyllic folk scenes to otherworldly realms with the technically demanding original Coralli-Perrot choreography set to Adolphe Adam’s beautifully haunting score.

 

I received my renewal via mail and it claims that Bolle and Nunez "will perform on July 31, Aug 1, and Aug 2 eves. Aug 1 matinee cast is to be announced." Direct quote. I have to assume the Aug 2 evening is a typo as there is no Sunday evening show that I can see?

I used the link here (https://www.scfta.org/Subscriptions/Packages.aspx?seasonID=671) and was able to select the exact seats I wanted from the available selection for the two new packages I bought; I also renewed separately by using the emailed link, but I didn't change seats for that package.

I did have a conflict or problem when I had two tabs open earlier, one logged in and one not yet logged in, and that seemed to create a problem when I was trying to check out. I had to close out the browser and start over again.

Josette, did you see that new subscriptions are select your own seats immediately? I thought that was nice instead of waiting months to see whatever random lottery you got. Maybe this isn't news, but I am always renewing instead of buying new. It does seem like a disadvantage to renewing subscribers though who want to upgrade or change seats; it would be nice to offer a bit of a delayed start for new subscriptions.

It will be illuminating to see how the Dorothy Chandler Pavillion's season looks; if it's similarly sparse, there may be some larger issue affecting touring? (wonder when this will be announced?)

Anyway, I bought two extra subscriptions in addition to my regular season seats, since I would go to see all these ballets more than once anyway and it's more economical as a package. Wanted to vote with my wallet upfront to express approval for such strange, yet pleasing, events!!

It's wild that there's only three productions in the subscription + Nutcracker. I did get my subscription renewal today.

That schedule does seem tight if he has a 7/31 show; thanks for that info, Dreamer. But, Bolle certainly came last time with Giselle; I hope that if they insist on a female guest artist, it's only Marianela Nunez not Misty Copeland, this time. I am thinking back to thisrevealing article from the programming director at SCFTA wherein she implied that Bolle/Copeland coupling were important in "selling" the La Scala Giselle and she did offer casting suggestions to the La Scala people. I imagine Onegin also needs "selling" as it's certainly less well-known among the general population.

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"If I am intent upon making sure that there would be what I would call success at the box office, I talk about casting," Morr said. "I would rarely interfere with an artistic desire on behalf of the company, but I think companies are already concerned about how they appear and what the thoughts are of the people they work with. I can't imagine that there isn't a presenter of dance that doesn't think about how it will shake out and who will dance the first night, the second night."

https://www.latimes.com/entertainment/arts/la-ca-cm-la-scala-ballet-misty-copeland-20170714-story.html

Wow what pot of gold did we luck out on?! Onegin, La Bayadere, Ratmansky... I hope La Bayadere doesn't get switched to Don Quixote like when we were last promised it by the Bolshoi.  It does seem a bit sparse if these are the only performances, but I guess better than being stuffed with Eifman and the like. I would have thought we were due for a visit from Alvin Ailey following the every other year formula.

I do wonder why they can never email their actual subscribers about these announcements?

She just looks so far off her leg, especially on the right; I imagine doing this in class and getting nailed for it. I can't imagine that leaning into the hyperextension is helpful for alignment, or weight transfer, etc. when actually dancing. I am skeptical but whatever--maybe it will help her in some way.

I would guess they display the seats grayed out even though they are not being sold. However @Josette said above that she got front row seats for all performances, so she might be able to tell you which row they are in.

I find the DCP website totally unreliable and often faulty (see above) and I haven't been able to purchase tickets through it in 6 months, and despite emails trying to get help to resolve the issue, I have received no response. Once previously, they called me months after buying a set of tickets and told me I needed to move because I apparently bought tickets that shouldn't have been sold which was annoying because months later the selection of tickets was terrible and they also didn't really seem to care about that. Not my favorite venue!

Soares danced with Cuthbertson as Mary Vetsera during the fall, so I would imagine that pairing stays barring injuries. I do hope there are three casts, as I have tickets to the Friday and Sunday shows and those would be the most likely to be repeated.

Thanks for the reply; I think he would be a candidate for something else in the vacancies. He was a great and attentive partner.

Saturday evening the cast was Maloney/Trenary and Hoven/Shevchenko. Though this is nitpicky (but what do you want after 3 consecutive nights?), I did feel this was my least favorite cast. No one was horrendous or anything, but that special something was not as present for me. First, I was nagged by the feeling the entire time that Shevchenko is wasted as Pierrette in a way I did not feel watching Abrera and Copeland. She was charming and excellent, and for me the strongest of this set of leads, but I wanted to see her in something more challenging, especially coming off of the triumphant Nutcracker I saw last month. I thought Maloney made a decent debut. He was not fairy-impish like Simkin, or as cavalier and joyous as Gonzalez, but a bit more mischievous. He had some moments where I was really taken aback by his ballon and height in jumps, and other times where he was a bit more leaden and heavy in his landings (weirdly enough, more ballon in Act 2). He and Trenary seemed comfortable with each other, though one of the lifts where she jumps to pose vertically on his shoulder in the Lark pas went awry and he had to bring her down into the cradle pose immediately. Not sure if it was just a mistiming or something else; nothing else seemed particularly problematic between them the rest of the time, though I thought the supported grand jetes that leap behind Harlequin's body (Lark pas) were sketched in comparison to the previous couples. I think a debut that suggests there is something good there that needs to be developed (which ABT is great at...). Trenary for me was a little disappointing next to Brandt and Lane; I felt some of the choreography and poses that I had come to be familiar with over the previous evenings were a bit muted and smaller scale. She was good, and I'm sure if I hadn't seen the other two it wouldn't be as apparent. There were no technical issues or anything. So I think also room to grow for her in the role. Hoven was fine; I think the Pierrots have all been about equal with different strengths here and there. Hoven did a very good Lady Capulet over the Harlequin dummy.

Much of the supporting cast was the same as Friday night, with the biggest exception that Aran Bell was Pierrette's cavalier. I though Keith Roberts was more effective Saturday evening as Leandre.

Other note/questions:  I thought it was interesting that Misty Copeland was the only Pierrette to wear the "shoe jewelry" as the program called it. I can see that it would be really annoying and potentially disruptive to a tight sous sous or quick footwork. AND I forgot to ask--was anyone else there on Friday? I swear I saw Zhong Jing Fang in the corps of the lark section but I don't see her name on casting. I was surprised because she is now a soloist so I wouldn't think she would be performing in the corps?

Looking forward to anyone else's impressions.

I did hear illness or something like that regarding Whiteside, as well.

I've been to Thursday (Simkin/Brandt and Forster/Abrera) and Friday (Gonzalez/Lane and Royal/Copeland). I think, in general, all four couples have acquitted themselves really well. I thought the opening cast, especially Brandt since the solos are SO difficult, were pretty much ideal and worried about the next night, if it would match the quality. To compare, Brandt was very solid technically and quite cutesy, in a good way. I think Lane was better at making the Lark section a bit more expansive in breadth and carrying the fluttering hands throughout, but also very strong technically. Both got applause in the middle of their solos for the terrifying hop sequence. Simkin was also ideal. He seems much more solid now partnering and he had a great rapport with Brandt. I also thought he handled the characterization of Harlequin quite well; he has a great little signature Harlequin excited-hop. I believe you all mentioned Gonzalez was a debut and he was also excellent. He was a very solid partner for Lane (happy to see after the Nutcracker with Gorak) and also did well with dancing/acting. I wish I could see him and Simkin without masks though! I think Gonzalez could handle more assignments during this ABT-leading-man crisis. Is he cast for anything else at the Met?

Abrera was excellent. She brings a great wit and comedienne's touch to the role. I thought Copeland was fine the next night and it is a good role for her technical skills (also on opening night they were giving away posters from her Nutcracker movie to everyone). Forster and Royal both played Pierrot well. Royal did not do his face with the white paint; instead he used some silver highlighter and red sparkles. I had read an article that said he was talking with the makeup artists about what to do because he didn't want to paint his face white. I thought it was fine. I did, however, feel like the optics of the opening mime (and much of interaction between Pierrot and Cassandre, Columbine's father) had a really uncomfortable racial undertone that veered toward the minstrel, though of course commedia dell'arte is its own stock-character genre. Obviously, I am happy for Royal to get this opportunity and he was excellent. I just felt that a white man threatening to beat a black man, his servant, is maybe not the greatest curtain opener.

Hammoudi and Hoven were Pierrette's pdd partners (Abrera and Copeland respectively) in the first act. Both were fine. I preferred the bitchiness of Duncan Lyle to Keith Roberts as Leandre. I felt, in general, both casts were very strong and the ballet showcases the talents of the company well. It is a very light ballet, overall, and could use more ADULT dancing (sorry--the children, though well drilled, went on for a long time, and yes, I re-read the thread about this issue from the Met season and I understand their purpose within the context of Petipa, etc. etc.). The Lark scene is beautiful; I hope that if this ballet goes away after a few runs that ABT keeps it as an excerpt. The costumes are also to die for, and I spent a lot of time looking at all those details through my binocs.

On the opening night, the Good Fairy (T. Ratmansky) got to borrow some heavy-duty Chopard per the program leaflet. Not so lucky for Friday, though.

One more show to go tonight!

Thanks for the info. Good news for me for tonight then! Brandt was the one person I was sad to not to fit in, but I did not want to do two shows on Saturday. However, I hope Boylston and/or Whiteside aren't injured as that is not nice.

Yes, agree with Josette and Ab'sMom--really beautiful performance. It's hard to believe it was a debut because they were so confident and comfortable in the choreography. I've never seen the torch lift accomplished so assuredly; they did the run and jump (not the run, stop, turn, place foot, and hoist) and it took barely a half second for Forster to stabilize her on his shoulder and for her to extend into the standing position (it seemed even more polished and elegant than the instagram clip I saw of Boylston/Whiteside rehearsing). They also have great chemistry and Forster makes it a point of making eye contact throughout and varying his facial expressions (what a big ask from some partners...). I think Kevin should definitely up Forster's assignments for the Met; they are going to need a stable hand as the roster review topic points out and it's clear he has two.

In general, I thought the energy was a lot higher in this performance. Snow looked a LOT sharper but I do see there has been a lot of changes in the corps casting since Saturday so maybe these ladies were a bit more on the mark. At this performance, I noticed Xuelan Lu in both Snow and Waltz--she has beautiful epaulement/port de bras, a light jump, and a very natural expressive face/smile.

I really enjoyed the Arabian cast with Zhurbin, Bonfiglio, Katsnelson, Loyola and McBride. It was nice to see ZJ Fang in the Nutcracker's sisters; in previous years she has been an almost ubiquitous Nanny/Sugar Plum (I wish they would have her do the make up for Act 2 for the new ladies because she captured the eccentricity of the costume so well), but I wonder if they do not consider that to be a "soloist" role? Cameron McCune and Breanne Granlund were the Recruit and Canteen Keeper; I thought he had some nice arms/feet and might be one to look out for in the future. 

Overall, very glad I went! Onto Harlequinade in a month.

Some other casting:

Recruit / Canteen Keeper: Frenette / Hurlin

Spanish: Loyola/Forster, Williams/Sumitani, Degrofft/McCune

Arabian: Calvin Royal (never seen him do this before), and Boren/Davison/Lall/Post

Chinese: Trenary and Scott. ABT Fan, I have seen them do this several times and find them charming enough but nothing more. The first time I saw Teuscher do the role, I thought she was incredibly virtuosic and made the most of it, but not really anyone since then.

Russians: Lyle/Vendt/Zhurbin

Sisters: Basmagy, Brandt, Giangeruso, Hamrick, McBride. Skylar Brandt was really wonderful, leagues above the rest of the women in epaulement and control in the tricky turning sequences.

Mother Ginger: Tyler Maloney (little understated)

Also yes, I expected as much from Gorak based on those same older reports, ABT Fan. He has a lovely fifth position (and feet!) though that he hits all the time in his solo work!

Late report, but I went to the Saturday matinee with Sarah Lane and Joseph Gorak. Overall a decent outing from everyone, though seeming a bit low energy at times (even the cannon which couldn't be bothered to descend from the clock to blast the mice). Luciana Paris and Garegin Pogossian were Columbine and Harlequinade, perhaps a debut? I don't know who Pogossian is, but perhaps Paris has danced it previously and I've missed it. Courtney Lavine was the Nanny/Sugarplum and she is quite delightful in the role, though it's sad to see her not dancing (Luis Ribagorda as Butler/Majordomo).

I thought Lane and Gorak were nicely matched in the Snow scene, but there was some definite uncertainty in the Act 2 pdd. She got twisted up at the end and they didn't hit their finishing pose; well they hit a pose but not one I have seen before. The torch lift was not attempted; instead, they did something akin to the lifts at the end of the Manon bedroom pdd (https://youtu.be/pyAdb6xTel8?t=260 see here for what I mean).  They did this lift and then he walked with her downstage as with the regular torch lift. He was better in his solo variation. I thought Lane was nice, but not at her finest, probably because of the partnering worries.

After several years of this production, I have to get this off my chest (maybe I have before): the costumes for Snow and Waltz make everyone look huge in the midsection. It's really sad and the costume designer and fitters should be shamed. There are a lot of busty ladies in the corps at ABT, I do note, but it's really not fair to them to look entirely square while dancing, especially in Waltz, though the diagonal shoulder strap situation in Snow is also unflattering to the majority of dancers.

If anyone is curious about any other casting info, please ask.

Also bought tickets specifically to see Shevchenko. Two new casts for me now (if the casting fairy stays kind)!

Well that's the last straw for me to not keep my ticket to the show for Abrera. I've been waffling between keeping it (maybe the last time to see Abrera in it) or swapping to Lane (who I have not seen yet), and now the answer is clear!

Anyone been able to get the Cyber Monday check out process to happen? Code CYBER for select dance programs (including opening night of Mayerling). I can get the code applied, but am not able to add seats to my cart! 🤔 Their website says their phones are having technical difficulties as well! Nothing much works there, apparently.

Thanks for letting me know--wish they were sending these out to my email. I was going to get the Thursday night show to see Stella Abrera since she was taken from my Friday night show, so I will try again!

There are Buy One, Get One tickets on sale for Black Friday "weekend" for the Nutcracker and Harlequinade, code BOGOBF . I think there are particular shows that this counts for based on the online comments (not clear as the Facebook advertisement is very vague and I didn't receive an email about this--guess subscribers don't matter); I've already purchased several tickets to all of these or I would jump on it, so very irritating! Also for Waitress, Bernadette Peters, and Johnny Mathis.

edit: Apparently, it's over.  I thought it was all weekend, but it ended last night. I was going to cave and buy another Harlequinade today 😒

Yes, totally agree with Josette about the lack of rake and lack of staggered seating in the orchestra. And yes, all other sections are STEEPLY raked downward. Don't sit in the front rows of one of the upper levels if you have vertigo or a heights issue. Walking down the stairs to the first rows can be a bit nervy, and I am not one who has a fear of heights.

I got on  about an hour ago, after I saw your message California. I got tickets into my cart but then a big mess with my password that wouldn't work (despite it being correct). When I called, the guy said they weren't actually releasing them online for another hour so he was surprised I could even add them to my cart? Seems like a series of unfortunate technological mishaps, but I did get one date (so far) by phone.

Oh come on, that's just cruel substitution on Friday evening!! I mean I'm happy for Stella to get an additional performance but...🤐