pherank Posted March 11, 2018 Share Posted March 11, 2018 SFB will be performing at the Kennedy Center in October, 2018: San Francisco Ballet: D.C. Premieres from Unbound: A Festival of New Works Oct 23 - Oct 28, 2018 "Praised for its impeccable technique, robust repertory, and distinct virtuosity, the renowned company presents premieres from Unbound: A Festival of New Works." https://www.kennedy-center.org/pages/specialevents/seasonannouncement Link to comment
pherank Posted July 25, 2018 Author Share Posted July 25, 2018 (edited) The SFB website tour page has some updated information regarding Fall 2018 tour performances: https://www.sfballet.org/season/tour The John F. Kennedy Center for the Performing Arts [tickets] October 23–28, 2018 Opera House Program A McIntyre's Your Flesh Shall Be a Great Poem Wheeldon's Bound To© Dawson's Anima Animus Program B Liang's The Infinite Ocean Marston's Snowblind Peck's Hurry Up, We're Dreaming New York City Center Balanchine: The City Center Years October 31–November 4, 2018 Mainstage Balanchine: The City Center Years is a celebration of the choreographer's iconic ballets and definitive style which remains at the pinnacle of modern ballet. The 13 works chosen for this international tribute will be performed by SF Ballet, American Ballet Theatre, Joffrey Ballet, Mariinsky Ballet, Miami City Ballet, New York City Ballet, Paris Opera Ballet, and The Royal Ballet. SF Ballet will perform Divertimento No. 15 in Program II & IV (November 1 at 8 pm & November 3 at 2 pm) and Scotch Symphony in Program III (November 2 at 8 pm). Edited July 25, 2018 by pherank Link to comment
pherank Posted August 31, 2018 Author Share Posted August 31, 2018 So who's going to dance the Kochetkova role in Dawson's Anima Animus at Kennedy Center? Or will Ms. K put in an appearance? She's never one to turn down an opportunity. Link to comment
sf_herminator Posted August 31, 2018 Share Posted August 31, 2018 14 hours ago, pherank said: So who's going to dance the Kochetkova role in Dawson's Anima Animus at Kennedy Center? Or will Ms. K put in an appearance? She's never one to turn down an opportunity. I am going to guess Sasha DeSola. In her Meet the Artist interview (unfortunately podcast not on the website at the moment) she was asked if there were any of the Unbound pieces that she wasn't a part of but would like to dance. She said Anima Animus. I am trying to remember who else has shared roles with Masha. Link to comment
Dreamer Posted September 29, 2018 Share Posted September 29, 2018 Casting for the Kennedy Center engagement: Tuesday, October 23, 2018 at 7:30 p.m. | Program A Your Flesh Shall Be a Great Poem Composer: Chris Garneau Choreographer: Trey McIntyre Benjamin Freemantle Isabella DeVivo, Steven Morse Jaime Garcia Castilla, Sasha De Sola, Jennifer Stahl, Lonnie Weeks Alexandre Cagnat, Esteban Hernandez Bound To Composer: Keaton Henson Choreographer: Christopher Wheeldon Conductor: Martin West Kennedy Center Opera House Orchestra Bound To: Full Company Open Your Eyes: Dores André, Benjamin Freemantle Wavelength: Angelo Greco Remember When: Dores André, Sasha De Sola, Isabella DeVivo, Jennifer Stahl Jaime Garcia Castilla, Benjamin Freemantle, Angelo Greco, Lonnie Weeks Speeding Past: Full Company Take a Deep Breath: Yuan Yuan Tan, Carlo Di Lanno Trying to Breathe: Lonnie Weeks Anima Animus Composer: Ezio Bosso Choreographer: David Dawson Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Frances Chung, Sofiane Sylve Carlo Di Lanno, Luke Ingham, Joseph Walsh, Wei Wang Kamryn Baldwin, Elizabeth Mateer, Elizabeth Powell, Skyla Schreter Wednesday, October 24, 2018 at 7:30 p.m. | Program A Your Flesh Shall Be a Great Poem Composer: Chris Garneau Choreographer: Trey McIntyre Benjamin Freemantle Isabella DeVivo, Steven Morse Jaime Garcia Castilla, Jennifer Stahl, Lonnie Weeks, WanTing Zhao Alexandre Cagnat, Davide Occhipinti Bound To Composer: Keaton Henson Choreographer: Christopher Wheeldon Conductor: Martin West Kennedy Center Opera House Orchestra Bound To: Full Company Open Your Eyes: Dores André, Benjamin Freemantle Wavelength: Angelo Greco Remember When: Dores André, Sasha De Sola, Isabella DeVivo, Jennifer Stahl Jaime Garcia Castilla, Benjamin Freemantle, Angelo Greco, Lonnie Weeks Speeding Past: Full Company Take a Deep Breath: Yuan Yuan Tan, Carlo Di Lanno Trying to Breathe: Lonnie Weeks Anima Animus Composer: Ezio Bosso Choreographer: David Dawson Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Frances Chung, Sofiane Sylve Carlo Di Lanno, Luke Ingham, Joseph Walsh, Wei Wang Kamryn Baldwin, Elizabeth Mateer, Elizabeth Powell, Skyla Schreter Thursday, October 25, 2018 at 7:30 p.m. | Program B The Infinite Ocean Composer: Oliver Davis Choreographer: Edwaard Liang Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Sofiane Sylve, Tiit Helimets Yuan Yuan Tan, Vitor Luiz Jahna Frantziskonis, Julia Rowe, Natasha Sheehan, Lauren Strongin Sean Bennett, Max Cauthorn, Cavan Conley, Myles Thatcher Snowblind Composers: Amy Beach, Philip Feeney, Arthur Foote, and Arvo Pärt Music arranged by: Philip Feeney Choreographer: Cathy Marston Conductor: Martin West Piano: Mungunchimeg Buriad Kennedy Center Opera House Orchestra Ethan Frome: Ulrik Birkkjaer Zeena Frome: Sarah Van Patten Mattie Silver: Mathilde Froustey The Snow/Neighbors/Farmhands: Ludmila Bizalion, Gabriela Gonzalez, Anatalia Hordov, Ellen Rose Hummel, Norika Matsuyama, Lauren Parrott, Elizabeth Powell, Miranda Silveira Nathaniel Remez, Alexander Reneff-Olson, Henry Sidford, John-Paul Simoens, Hansuke Yamamoto Hurry Up, We’re Dreaming Composers: Anthony Gonzalez, Yann Gonzalez, Bradley Laner, and Justin Meldal-Johnsen Choreographer: Justin Peck Dores André, Joseph Walsh Sarah Van Patten, Luke Ingham Gabriela Gonzalez, Ulrik Birkkjaer Kamryn Baldwin, Norika Matsuyama, Elizabeth Powell, Ami Yuki Diego Cruz, Daniel Deivison-Oliveira, Henry Sidford, Wei Wang Friday, October 26, 2018 at 7:30 p.m. | Program B The Infinite Ocean Composer: Oliver Davis Choreographer: Edwaard Liang Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Sofiane Sylve, Tiit Helimets Yuan Yuan Tan, Vitor Luiz Jahna Frantziskonis, Julia Rowe, Natasha Sheehan, Lauren Strongin Sean Bennett, Max Cauthorn, Cavan Conley, Myles Thatcher Snowblind Composers: Amy Beach, Philip Feeney, Arthur Foote, and Arvo Pärt Music arranged by: Philip Feeney Choreographer: Cathy Marston Conductor: Martin West Piano: Mungunchimeg Buriad Kennedy Center Opera House Orchestra Ethan Frome: Ulrik Birkkjaer Zeena Frome: Sarah Van Patten Mattie Silver: Mathilde Froustey The Snow/Neighbors/Farmhands: Ludmila Bizalion, Gabriela Gonzalez, Anatalia Hordov, Ellen Rose Hummel, Norika Matsuyama, Lauren Parrott, Elizabeth Powell, Miranda Silveira Nathaniel Remez, Alexander Reneff-Olson, Henry Sidford, John-Paul Simoens, Hansuke Yamamoto Hurry Up, We’re Dreaming Composers: Anthony Gonzalez, Yann Gonzalez, Bradley Laner, and Justin Meldal-Johnsen Choreographer: Justin Peck Dores André, Joseph Walsh Sarah Van Patten, Luke Ingham Gabriela Gonzalez, Ulrik Birkkjaer Kamryn Baldwin, Norika Matsuyama, Elizabeth Powell, Ami Yuki Diego Cruz, Daniel Deivison-Oliveira, Henry Sidford, Wei Wang Saturday, October 27, 2018 at 1:30 p.m. | Program B The Infinite Ocean Composer: Oliver Davis Choreographer: Edwaard Liang Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Ana Sophia Scheller, Tiit Helimets Yuan Yuan Tan, Vitor Luiz Jahna Frantziskonis, Julia Rowe, Natasha Sheehan, Lauren Strongin Sean Bennett, Max Cauthorn, Cavan Conley, Myles Thatcher Snowblind Composers: Amy Beach, Philip Feeney, Arthur Foote, and Arvo Pärt Music arranged by: Philip Feeney Choreographer: Cathy Marston Conductor: Martin West Piano: Mungunchimeg Buriad Kennedy Center Opera House Orchestra Ethan Frome: Ulrik Birkkjaer Zeena Frome: Sarah Van Patten Mattie Silver: Mathilde Froustey The Snow/Neighbors/Farmhands: Ludmila Bizalion, Gabriela Gonzalez, Anatalia Hordov, Ellen Rose Hummel, Norika Matsuyama, Lauren Parrott, Elizabeth Powell, Miranda Silveira Nathaniel Remez, Alexander Reneff-Olson, Henry Sidford, John-Paul Simoens, Hansuke Yamamoto Hurry Up, We’re Dreaming Composers: Anthony Gonzalez, Yann Gonzalez, Bradley Laner, and Justin Meldal-Johnsen Choreographer: Justin Peck Dores André, Joseph Walsh Sarah Van Patten, Luke Ingham Gabriela Gonzalez, Ulrik Birkkjaer Kamryn Baldwin, Norika Matsuyama, Elizabeth Powell, Ami Yuki Diego Cruz, Daniel Deivison-Oliveira, Henry Sidford, Wei Wang Saturday, October 27, 2018 at 7:30 p.m. | Program A Your Flesh Shall Be a Great Poem Composer: Chris Garneau Choreographer: Trey McIntyre Benjamin Freemantle Isabella DeVivo, Steven Morse Jaime Garcia Castilla, Jennifer Stahl, Sasha De Sola, Lonnie Weeks Alexandre Cagnat, Esteban Hernandez Bound To Composer: Keaton Henson Choreographer: Christopher Wheeldon Conductor: Martin West Kennedy Center Opera House Orchestra Bound To: Full Company Open Your Eyes: Dores André, Benjamin Freemantle Wavelength: Angelo Greco Remember When: Dores André, Sasha De Sola, Isabella DeVivo, Jennifer Stahl Jaime Garcia Castilla, Benjamin Freemantle, Angelo Greco, Lonnie Weeks Speeding Past: Full Company Take a Deep Breath: Yuan Yuan Tan, Carlo Di Lanno Trying to Breathe: Lonnie Weeks Anima Animus Composer: Ezio Bosso Choreographer: David Dawson Conductor: Martin West Violin: Cordula Merks Kennedy Center Opera House Orchestra Frances Chung, Sofiane Sylve Carlo Di Lanno, Luke Ingham, Joseph Walsh, Wei Wang Kamryn Baldwin, Elizabeth Mateer, Elizabeth Powell, Skyla Schreter Sunday, October 28, 2018 at 1:30 p.m. | Program A Your Flesh Shall Be a Great Poem Composer: Chris Garneau Choreographer: Trey McIntyre Benjamin Freemantle Isabella DeVivo, Steven Morse Jaime Garcia Castilla, Jennifer Stahl, Lonnie Weeks, WanTing Zhao Alexandre Cagnat, Davide Occhipinti Bound To Composer: Keaton Henson Choreographer: Christopher Wheeldon Conductor: Martin West Kennedy Center Opera House Orchestra Bound To: Full Company Open Your Eyes: Dores André, Benjamin Freemantle Wavelength: Angelo Greco Remember When: Dores André, Sasha De Sola, Isabella DeVivo, Jennifer Stahl Jaime Garcia Castilla, Benjamin Freemantle, Angelo Greco, Lonnie Weeks Speeding Past: Full Company Take a Deep Breath: Yuan Yuan Tan, Carlo Di Lanno Trying to Breathe: Lonnie Weeks Anima Animus Composer: Ezio Bosso Choreographer: David Dawson Conductor: Ming Luke Violin: Cordula Merks Kennedy Center Opera House Orchestra Frances Chung, Sofiane Sylve Carlo Di Lanno, Luke Ingham, Joseph Walsh, Wei Wang Kamryn Baldwin, Elizabeth Mateer, Elizabeth Powell, Skyla Schreter Link to comment
pherank Posted September 29, 2018 Author Share Posted September 29, 2018 (edited) On 8/31/2018 at 12:30 PM, sf_herminator said: I am going to guess Sasha DeSola. In her Meet the Artist interview (unfortunately podcast not on the website at the moment) she was asked if there were any of the Unbound pieces that she wasn't a part of but would like to dance. She said Anima Animus. I am trying to remember who else has shared roles with Masha. It looks like its going to be Frances Chung (which didn't occur to me). Fortunately Joe Walsh will get to dance the role that was created on him. Edited September 29, 2018 by pherank Link to comment
Josette Posted September 30, 2018 Share Posted September 30, 2018 Henry Sidford took on Joe Walsh's role due to Walsh's injury and was outstanding, likely contributing to his promotion to soloist. What a shame they they could not allow Sidford one show. That being said, I look forward to seeing a fully-recovered Walsh dance this season. I saw him in Nutcracker last December and he was not his usual exemplary self, and I hope he is fully mended. Link to comment
pherank Posted October 2, 2018 Author Share Posted October 2, 2018 It just dawned on me that Aaron Robison isn't cast for any of the tour dates. Perhaps he's just concentrating on learning/developing roles in next season's ballets (fingers crossed). Link to comment
YouOverThere Posted October 21, 2018 Share Posted October 21, 2018 Lots of inexpensive tickets left for the Kennedy Center performances (so far, I only have a ticket for Friday). Link to comment
pherank Posted October 22, 2018 Author Share Posted October 22, 2018 (edited) Sasha De Sola Instagram post from Washington DC: https://www.instagram.com/p/BpQEa7Al1Yg/?taken-by=sashadesola "Thank you for inviting us to the Capitol Building, for the once in a lifetime tour..." And here's one form Mathilde Froustey: https://www.instagram.com/p/BpQmWmTlhBK/?taken-by=lapetitefrench_ And Natasha Sheehan too: https://www.instagram.com/p/BpQXJ6rle0h/?taken-by=tippytoegirl Edited October 24, 2018 by pherank Link to comment
PeggyTulle Posted October 23, 2018 Share Posted October 23, 2018 Any idea on when the NYC casting will be up? Link to comment
pherank Posted October 23, 2018 Author Share Posted October 23, 2018 (edited) 2 hours ago, PeggyTulle said: Any idea on when the NYC casting will be up? Program I—Wed, Oct 31 at 8pm Miami City Ballet Serenade (Tschaikovsky) Emily Bromberg, Jeanette Delgado, Simone Messmer, Rainer Krenstetter, Chase Swatosh The Mariinsky Ballet Tschaikovsky Pas de Deux (Tschaikovsky) Viktoria Tereshkina, Kimin Kim The Royal Ballet Tarantella (Gottschalk) Anna Rose O’Sullivan and Marcelino Sambé New York City Ballet Symphony in C (Bizet) First Movement: Tiler Peck, Tyler Angle; Second Movement: Sara Mearns, Jared Angle; Third Movement: Ashley Bouder, Anthony Huxley; Fourth Movement: Lauren King, Taylor Stanley Program II—Thu, Nov 1 at 8pm The Mariinsky Ballet Apollo (Stravinsky) Apollo: Xander Parish, Terpischore: Maria Horeva, Polyhymnia: Anastasia Nuikina, Calliope: Daria Ionova New York City Ballet Concerto Barocco (Bach) Maria Kowroski, Abi Stafford, Russell Janzen The Royal Ballet Tschaikovsky Pas de Deux (Tschaikovsky) Anna Rose O’Sullivan, Marcelino Sambé San Francisco Ballet Divertimento No. 15 (Mozart) Dores André, Frances Chung, Sasha De Sola, Koto Ishihara, Ana Sophia Scheller, Benjamin Freemantle, Angelo Greco, Lonnie Weeks Program III—Fri, Nov 2 at 8pm San Francisco Ballet Scotch Symphony (Mendelssohn) Mathilde Froustey, Joseph Walsh, Dores André The Mariinsky Ballet Tschaikovsky Pas de Deux (Tschaikovsky) Viktoria Tereshkina and Kimin Kim Paris Opera Ballet Divertissement Pas de Deux from A Midsummer Night’s Dream (Mendelssohn) Hugo Marchand and Sae-Eun Park The Joffrey Ballet The Four Temperaments (Hindemith) Melancholic: Yoshihasa Arai; Sanguinic: Christine Rocas and Dylan Gutierrez; Phlegmatic: Greig Matthews; Choleric: Victoria Jaiani Program IV—Sat, Nov 3 at 2pm The Joffrey Ballet The Four Temperaments (Hindemith) Melancholic: Alberto Velazquez; Sanguinic: April Daly and Miguel Angel Blanco; Phlegmatic: Rory Hohenstein; Choleric: Victoria Jaiani Miami City Ballet Pas de Trois (Glinka) (Glinka) Nathalia Arja, Ashley Knox, Kleber Rebello Paris Opera Ballet Pas de Deux from Agon (Stravinsky) Hugo Marchand and Sae-Eun Park San Francisco Ballet Divertimento No. 15 (Mozart) Dores André, Sasha De Sola, Koto Ishihara, Wona Park, Ana Sophia Scheller, Benjamin Freemantle, Angelo Greco, Lonnie Weeks Program V—Sat, Nov 3 at 8pm The Mariinsky Ballet Apollo (Stravinsky) Apollo: Xander Parish, Terpischore: Maria Horeva, Polyhymnia: Anastasia Nuikina, Calliope: Daria Ionova The Royal Ballet Tarantella (Gottschalk) Anna Rose O’Sullivan and Marcelino Sambé Paris Opera Ballet Pas de Deux from Agon (Stravinsky) Hugo Marchand and Sae-Eun Park American Ballet Theatre Symphonie Concertante (Mozart) Christine Shevchenko, Devon Teuscher and Thomas Forster Program VI—Sun, Nov 4 at 3pm The Joffrey Ballet The Four Temperaments (Hindemith) Melancholic: Yoshihasa Arai; Sanguinic: Christine Rocas and Dylan Gutierrez; Phlegmatic: Greig Matthews; Choleric: Victoria Jaiani Paris Opera Ballet Divertissement Pas de Deux from A Midsummer Night’s Dream (Mendelssohn) Hugo Marchand and Sae-Eun Park The Mariinsky Ballet Tschaikovsky Pas de Deux (Tschaikovsky) Viktoria Tereshkina and Kimin Kim American Ballet Theatre Symphonie Concertante (Mozart) Christine Shevchenko, Devon Teuscher and Thomas Forster https://www.nycitycenter.org/pdps/2018-2019/Balanchine/ [Their website misspells Angelo's last name as "Graco", so I fixed those instances here] Edited October 23, 2018 by pherank Link to comment
The Traveling Ballerina Posted October 24, 2018 Share Posted October 24, 2018 I actually went to opening night at The Kennedy Center and will be going to see Program B on Friday The dancing really was superb. Link to comment
pherank Posted October 24, 2018 Author Share Posted October 24, 2018 32 minutes ago, The Traveling Ballerina said: I actually went to opening night at The Kennedy Center and will be going to see Program B on Friday The dancing really was superb. Thanks very much, TTB - a well written article. Is this your first time seeing these ballets, or did you see any of them during the past season at SFB? I'm just wondering how they are holding up with repeated viewing. I'm also wondering: has the substitution of Frances Chung for Maria Kochektova changed the dynamic in Anima Animus? Link to comment
The Traveling Ballerina Posted October 24, 2018 Share Posted October 24, 2018 8 minutes ago, pherank said: Thanks very much, TTB - a well written article. Is this your first time seeing these ballets, or did you see any of them during the past season at SFB? I'm just wondering how they are holding up with repeated viewing. I'm also wondering: has the substitution of Frances Chung for Maria Kochektova changed the dynamic in Anima Animus? Thank you! This was my first time seeing any of these pieces. If the opportunity arose, I would view them again this time from an upper tier; I think Anima Animus would be more effective from a distance. I can't speak to Kochetkova, but I loved Frances Chung's performance. I'm gathering that you went to Unbound in SF? What were your thoughts? Link to comment
pherank Posted October 24, 2018 Author Share Posted October 24, 2018 (edited) 22 minutes ago, The Traveling Ballerina said: Thank you! This was my first time seeing any of these pieces. If the opportunity arose, I would view them again this time from an upper tier; I think Anima Animus would be more effective from a distance. I can't speak to Kochetkova, but I loved Frances Chung's performance. I'm gathering that you went to Unbound in SF? What were your thoughts? I didn't see that program due to illness. It's a sore point for me. The SFB World Ballet Day 2017 footage had rehearsal footage of Anima Animus: >> Anima Animus rehearsal begins at 13:00 (I'm not sure how much was left intact - SFB's "highlights" edit out a lot of footage. I really wish they would leave things alone. If my memory serves me, the rehearsal is edited down.) Members that possibly have seen all of the new ballets: sf_herminator, Josette, Terez, Quiggin and JumpFrog Maybe we can get their comments. You would have been able to see Joseph Walsh perform in the role that was created on him, but he couldn't actually perform at the Festival due to injury. Edited October 24, 2018 by pherank Link to comment
PeggyTulle Posted October 25, 2018 Share Posted October 25, 2018 On 10/23/2018 at 2:11 PM, pherank said: Program I—Wed, Oct 31 at 8pm .... Thank you! Link to comment
pherank Posted October 25, 2018 Author Share Posted October 25, 2018 Aaron Robison published this short video, signalling that he too was in Washington with SFB (perhaps he is there in case someone gets injured) https://www.instagram.com/p/BpXlbIZlRER/?hl=en&taken-by=aaronrobison86 Link to comment
YouOverThere Posted October 26, 2018 Share Posted October 26, 2018 (edited) My Kennedy Center mid-term grades: McIntyre Your Flesh Shall Be a Great Poem: C- This one was set to music that was reminiscent of what you'd here in the coffee shop of a bookstore. Not much for the dancers to work with. (Admission: I only saw the second half of this one due to the frustratingly slow line at the box office - only 2 agents working, and inexperienced ones at that - when they had 4 shows starting at the same time. One agent spent at least 10 minutes with a single customer). Wheeldon Bound To: A+ Beautiful and totally full of emotion. Dawson Anima Animus: A- Good overall, but there were a few rough spots, such as when a second man was required to help with some of the lifts but there wasn't much for that dancer to do in the build-up to the lift Liang The Infinite Ocean: A I'll always give Edwaard Liang an 'A'. Marston Snowblind: B I might grade this one better after I see it again. There was some good stuff in it, but I couldn't make sense of the story. Peck Hurry Up, We're Dreaming: C+ Set to apparently his favorite rock songs (none of which did much for me), with no apparent program. Not particularly original. If you find yourself in DC but with only enough money to attend one performance, I recommend Program A. Edited October 26, 2018 by YouOverThere Link to comment
pherank Posted October 26, 2018 Author Share Posted October 26, 2018 34 minutes ago, YouOverThere said: My Kennedy Center mid-term grades: McIntyre Your Flesh Shall Be a Great Poem: C- This one was set to music that was reminiscent of what you'd here in the coffee shop of a bookstore. Not much for the dancers to work with. (Admission: I only saw the second half of this one due to the frustratingly slow line at the box office - only 2 agents working, and inexperienced ones at that - when they had 4 shows starting at the same time. One agent spent at least 10 minutes with a single customer). Wheeldon Bound To: A+ Beautiful and totally full of emotion. Dawson Anima Animus: A- Good overall, but there were a few rough spots, such as when a second man was required to help with some of the lifts but there wasn't much for that dancer to do in the build-up to the lift Liang The Infinite Ocean: A I'll always give Edwaard Liang an 'A'. Marston Snowblind: B I might grade this one better after I see it again. There was some good stuff in it, but I couldn't make sense of the story. Peck Hurry Up, We're Dreaming: C+ Set to apparently his favorite rock songs (none of which did much for me), with no apparent program. Not particularly original. If you find yourself in DC but with only enough money to attend one performance, I recommend Program A. Everyone sees something different. ;) Snowblind is loosely based on Edith Wharton's novella Ethan Frome. This short interview with Marston might interest you:https://www.youtube.com/watch?v=HrlWneN25jY And this one from the DC Metro:https://dcmetrotheaterarts.com/2018/10/19/interview-choreographer-cathy-marston-makes-her-kennedy-center-debut-with-san-francisco-ballet/ Trey McIntyre's ballet has done well with audiences and critics alike, but it obviously helps to know the story, and, like the music choices. Some of us just don't want to see ballet and pop/rock songs mixed together. Or ballet in sneakers. Link to comment
The Traveling Ballerina Posted October 27, 2018 Share Posted October 27, 2018 (edited) On 10/25/2018 at 11:11 PM, YouOverThere said: My Kennedy Center mid-term grades: McIntyre Your Flesh Shall Be a Great Poem: C- This one was set to music that was reminiscent of what you'd here in the coffee shop of a bookstore. Not much for the dancers to work with. (Admission: I only saw the second half of this one due to the frustratingly slow line at the box office - only 2 agents working, and inexperienced ones at that - when they had 4 shows starting at the same time. One agent spent at least 10 minutes with a single customer). Wheeldon Bound To: A+ Beautiful and totally full of emotion. Dawson Anima Animus: A- Good overall, but there were a few rough spots, such as when a second man was required to help with some of the lifts but there wasn't much for that dancer to do in the build-up to the lift Liang The Infinite Ocean: A I'll always give Edwaard Liang an 'A'. Marston Snowblind: B I might grade this one better after I see it again. There was some good stuff in it, but I couldn't make sense of the story. Peck Hurry Up, We're Dreaming: C+ Set to apparently his favorite rock songs (none of which did much for me), with no apparent program. Not particularly original. If you find yourself in DC but with only enough money to attend one performance, I recommend Program A. Interesting - except for McIntyre's piece, we seem to share similar opinions. Here are my thoughts on Program B. I absolutely agree with you regarding your recommendation of Program A over Program B. Edited October 27, 2018 by The Traveling Ballerina Link to comment
YouOverThere Posted October 28, 2018 Share Posted October 28, 2018 (edited) My Kennedy Center performance final grades: McIntyre Your flesh Shall Be a Great Poem: B+ There was a computer glitch in the mid-term grading ;). After re-watching this one, I found that I had WAY under-estimated its merits (in part because the most interesting - to me - choreography was in the first 10 minutes, which I missed the first time). Maybe I just wasn't in the mood for something so personal the first time. I still don't like the music. Wheeldon Bound To: A+ I absolutely loved this one. Varied choreography (with a stellar solo for a man), a coherent theme, and interesting music. I have no idea why the Washington Post reviewer called it "not Wheeldon at his best" (maybe for the same reason I initially gave a low grade to the McIntyre piece?) Dawson Anima Animus: A- A high energy, dynamic piece that had the misfortune of coming after the emotional Wheeldon piece. Maybe it would have gotten a full 'A' if scheduled differently, though I still felt that there were some instances where men had to wander about the stage to get into position for something while dancing was going on around them. Others might disagree. The costumes bothered me for some reason. The men's shirts and the women's leotards were backless except for a vertical strip that ran up their spines, which just made me feel uncomfortable - I can't explain why. Liang The Infinite Ocean: A Maybe it deserves an 'A+', but I can only give two of those and I liked the Wheeldon piece just a smidgen better. Another piece with interesting music. It was my accomplice's favorite, because in her opinion it was the work that required the most perfection from the dancers. Marston Snowblind: B I still didn't think that it did a great job of making the story clear, unless perhaps you were seated near the front and could see all the subtle gestures. And then there was the issue of having 4 men doing a simple dance in a back corner while "Mattie" was dancing the biggest solo of the entire work. Not only was impossible to watch both "Mattie" and the 4 men at the same time, but because the men were in a back corner they were out of view from at least a quarter of the seats (including the seat that I had the first time I watched it). Peck Hurry Up, We're Dreaming: C The only piece that I didn't get more out of with repeated viewings. It just didn't seem particularly original to me. San Francisco Ballet dancers: A+ They nailed EVERYTHING. Kennedy Center Opera House Orchestra: A Great solos from a violinist and a cellist Edited October 28, 2018 by YouOverThere Link to comment
pherank Posted October 29, 2018 Author Share Posted October 29, 2018 (edited) 3 hours ago, YouOverThere said: My Kennedy Center performance final grades: McIntyre Your flesh Shall Be a Great Poem: B+ There was a computer glitch in the mid-term grading ;). After re-watching this one, I found that I had WAY under-estimated its merits (in part because the most interesting - to me - choreography was in the first 10 minutes, which I missed the first time). Maybe I just wasn't in the mood for something so personal the first time. I still don't like the music. Wheeldon Bound To: A+ I absolutely loved this one. Varied choreography (with a stellar solo for a man), a coherent theme, and interesting music. I have no idea why the Washington Post reviewer called it "not Wheeldon at his best" (maybe for the same reason I initially gave a low grade to the McIntyre piece?) Dawson Anima Animus: A- A high energy, dynamic piece that had the misfortune of coming after the emotional Wheeldon piece. Maybe it would have gotten a full 'A' if scheduled differently, though I still felt that there were some instances where men had to wander about the stage to get into position for something while dancing was going on around them. Others might disagree. The costumes bothered me for some reason. The men's shirts and the women's leotards were backless except for a vertical strip that ran up their spines, which just made me feel uncomfortable - I can't explain why. Liang The Infinite Ocean: A Maybe it deserves an 'A+', but I can only give two of those and I liked the Wheeldon piece just a smidgen better. Another piece with interesting music. It was my accomplice's favorite, because in her opinion it was the work that required the most perfection from the dancers. Marston Snowblind: B I still didn't think that it did a great job of making the story clear, unless perhaps you were seated near the front and could see all the subtle gestures. And then there was the issue of having 4 men doing a simple dance in a back corner while "Mattie" was dancing the biggest solo of the entire work. Not only was impossible to watch both "Mattie" and the 4 men at the same time, but because the men were in a back corner they were out of view from at least a quarter of the seats (including the seat that I had the first time I watched it). Peck Hurry Up, We're Dreaming: C The only piece that I didn't get more out of with repeated viewings. It just didn't seem particularly original to me. San Francisco Ballet dancers: A+ They nailed EVERYTHING. Kennedy Center Opera House Orchestra: A Great solos from a violinist and a cellist Thanks so much for the reports from Washington - very much appreciated. Wheeldon's ballet got mixed reviews in San Francisco (where his work is well known). Obviously not every ballet is going to work on all levels, even for the most experienced choreographers, and the choreographers were asked to take risks, which could be an invitation to disaster. Or not. 😉 I know the violinist was Cordula Merks, who is concertmaster of the San Francisco Ballet Orchestra (formerly of the Seattle Symphony). So presumably the SFB Orchestra was performing the scores, and not the Kennedy Center house orchestra, but if someone could confirm this (or correct me) I would appreciate it. And now for something completely different! SFB in NYC Oct. 31st - Nov. 4th at "Balanchine: The City Center Years"… Edited October 29, 2018 by pherank Link to comment
apollosmuse Posted October 29, 2018 Share Posted October 29, 2018 The company brought 3 soloists, but not the full orchestra to DC. Link to comment
pherank Posted October 29, 2018 Author Share Posted October 29, 2018 58 minutes ago, apollosmuse said: The company brought 3 soloists, but not the full orchestra to DC. Somehow, I just knew you would pop in, Apollosmuse. ;) Thank you. The expense of bringing the full orchestra is prohibitive, I know that much. Link to comment
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