SFB 2020 - Program 2 CLASSICAL (RE)VISION

[pherank]

On 2/16/2020 at 9:55 PM, sf_herminator said:

One more comment about today's performance:  I was a bit taken aback by the polite applause at the end of Sandpaper Ballet.  As a whole, it was a wonderful performance that I thought should have had a more enthusiastic response. 

Hard work needs to be rewarded. It bothers me as well when the clapping is perfunctory. I can't relate to the people who say they find the mixed-rep programs boring, and mainly attend endless numbers of Giselle/Swan Lake/Sleeping Beauty performances. I do wonder if the art of 'dance' is lost on these folks. They really love something, but is it actually dance?

Edited February 19, 2020 by pherank

[Phrenchphry11]

Wow Sandpaper Ballet was the most fun I've had at a ballet in a while! 

I'm glad to report that the audience was extremely enthusiastic and engaged the entire ballet, from the moment the orchestra started playing Sleigh Ride.  All the dancers had huge grins the entire time, but I have to say my eye was most drawn to Diego Cruz this entire ballet.  His smile was so infectious, and I could see some folks next to me pointing him out, too. It was great.

In the ballet world which often seems so competitive and serious, it was so refreshing to see a ballet where the dancers actually liked each other and seemed to have real kinship.  Even at the curtain call at the end, they all seemed to be laughing and smiling and had a great rapport.  It's a shame this ballet seems to be performed relatively infrequently!

 

Also - I was blown away by Danielle Rowe's For Pixie.  SF Ballet needs more female choreographers, please!  Especially Danielle Rowe!  I really hope she gets more SF Ballet commissions.  She brought such a great and fresh perspective to the program.  (and it was great to see Lauren Strongin did the costumes, I so miss seeing her onstage)

[Josette]

I went to the performance on Feb. 11, and loved everything about Sandpaper Ballet.  I was smiling throughout the whole ballet, it was such fun.  And I agree about Diego Cruz, Phrenchphy11.  My eye always goes to him because of his joy.  

 

[seattle_dancer]

I really enjoyed the show last night.  I lucked out and got a front row seat on the side for $71.  It was great to be so close so I can see faces clearly.   The pit wall is very low, in Seattle I need a cushion to see over it when sitting in Row A.

I saw Bespoke during Unbound but I was ill and don’t recall much.  I really enjoyed all the choreography.  It had a lot of difficult steps and turning sequences.  It was a great piece for me to get to know some of the dancers better, who I hadn’t seen featured before.  The podcast and program notes were helpful in understanding the narrative, especially the pdd with the woman (Mathilde) who is sad about losing her partner.

The other highlight was seeing Yuan Yuan Tan in After the Rain.  I’ve seen many dancers perform it, but I enjoyed her unique interpretation.  The flexibility in her back really shows during the Titanic pose.

Soiree Musicale had some different steps I had not seen before.  Misa did a double step up turn right into an attitude turn and at great speed.  I would think one would have to know exactly where to shift her upper body to hit that so quickly.  There was also a turning sequence she did ending in a pencil turn but leg extended to the back.  Angelo Greco is such an amazing jumper, I think he is my favorite danseur in this company.

I was glad to see Foreshadow again.  The choreography is fresh and a bit edgy.  I love costumes and the music.

Sandpaper was fun, I love the costumes.  The percussionists were right in front of me, it was fun to see all the bells and horse hoof sounds played right before me.

I had considered buying a ticket to the matinee but decided to have free time.  I was wondering if I would regret it.  I would like to see Bespoke again, but was glad to have such a great seat.  

[pherank]

12 minutes ago, seattle_dancer said:

I really enjoyed the show last night.  I lucked out and got a front row seat on the side for $71.  It was great to be so close so I can see faces clearly.   The pit wall is very low, in Seattle I need a cushion to see over it when sitting in Row A.

I saw Bespoke during Unbound but I was ill and don’t recall much.  I really enjoyed all the choreography.  It had a lot of difficult steps and turning sequences.  It was a great piece for me to get to know some of the dancers better, who I hadn’t seen featured before.  The podcast and program notes were helpful in understanding the narrative, especially the pdd with the woman (Mathilde) who is sad about losing her partner.

The other highlight was seeing Yuan Yuan Tan in After the Rain.  I’ve seen many dancers perform it, but I enjoyed her unique interpretation.  The flexibility in her back really shows during the Titanic pose.

Soiree Musicale had some different steps I had not seen before.  Misa did a double step up turn right into an attitude turn and at great speed.  I would think one would have to know exactly where to shift her upper body to hit that so quickly.  There was also a turning sequence she did ending in a pencil turn but leg extended to the back.  Angelo Greco is such an amazing jumper, I think he is my favorite danseur in this company.

I was glad to see Foreshadow again.  The choreography is fresh and a bit edgy.  I love costumes and the music.

Sandpaper was fun, I love the costumes.  The percussionists were right in front of me, it was fun to see all the bells and horse hoof sounds played right before me.

I had considered buying a ticket to the matinee but decided to have free time.  I was wondering if I would regret it.  I would like to see Bespoke again, but was glad to have such a great seat.  

I'm glad to hear that your trip to SF was a success.
You must have seen Foreshadow with Jennifer Stahl, Elizabeth Powell and Tiit Helimets. I'd be curious to hear how Powell performed in this role (she's the small brunette).

[seattle_dancer]

I was familiar with Powell through a friend’s photography but wasn’t familiar with her dancing until the gala when I saw her in Foreshadow the first time.  Her dancing was very sleek and fluid.  I also have not read Anna Karenina, sf_herminator and I will share the book this summer.  I thought she was gorgeous in the role.  However this piece is not one of technical precision, it’s more about the quality and style of movement.  In Etudes this afternoon she did have a small bauble when it was her turn to do a double pirouette from fifth.  But other dancers had such issues.  I chalked it up to them being exhausted from performing alternating programs for the last two weeks and rehearsing Midsummer when is new to probably almost everyone except Jahna F since she came from PNB.

[pherank]

3 hours ago, seattle_dancer said:

I was familiar with Powell through a friend’s photography but wasn’t familiar with her dancing until the gala when I saw her in Foreshadow the first time.  Her dancing was very sleek and fluid.  I also have not read Anna Karenina, sf_herminator and I will share the book this summer.  I thought she was gorgeous in the role.  However this piece is not one of technical precision, it’s more about the quality and style of movement.  In Etudes this afternoon she did have a small bauble when it was her turn to do a double pirouette from fifth.  But other dancers had such issues.  I chalked it up to them being exhausted from performing alternating programs for the last two weeks and rehearsing Midsummer when is new to probably almost everyone except Jahna F since she came from PNB.

General exhaustion (and injuries) can be a problem with these compressed seasons - I think that's why SFB has taken the unusual step of advertising for a male principal online. Which reminds me, it's a shame you haven't been able to seen Aaron Robison and Ulrik Birkkjaer dance with the company. We're all missing their contributions.

These days I especially like to follow the progress of Powell, Frantziskonis, Keesler and Max Cauthorn. I paid attention to De Sola and Ben Freemantle before them, but those two have now made it to the top of the ladder, so they're getting plum roles.
Edit: I forgot to add WanTing Zhao to my list - I still remember her appearance (as a new Corps member) as one of the Willis in Giselle. Great lines. And now she's a principal, but there are many roles she has yet to dance...

Oh, and there's an article online about SFB's upcoming Midsummer production and "passing the torch to the next generation"...
https://www.sfballet.org/midsummer-in-san-francisco/

Edited February 24, 2020 by pherank

[Josette]

I agree- I very much miss Aaron Robison and Ulrik Birkkjaer, as much as I do appreciate all the dancers. 

[pherank]

1 hour ago, Josette said:

I agree- I very much miss Aaron Robison and Ulrik Birkkjaer, as much as I do appreciate all the dancers. 

If their absence has proven anything, it's shown how deep the talent goes right now*. Even so, it would be great if Aaron and/or Ulrik made a surprise appearance in Midsummer Night's Dream.

* As Janice Berman put it (referring to the program substitutions just 2 weeks before opening), "There’s nothing like the unexpected to show off the San Francisco Ballet’s versatility as well as the management’s improvisatorial skills".

Edited February 24, 2020 by pherank