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SF Ballet 2018 Tours

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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

 

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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 by pherank

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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.

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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.

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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

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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 by pherank

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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. 

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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).

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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 by pherank

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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 by pherank

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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?

 

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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?

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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 by pherank

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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 by YouOverThere

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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.

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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 by The Traveling Ballerina

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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 by YouOverThere

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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 by pherank

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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.

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