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PostPosted: Thu Apr 13, 2006 11:07 am 
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Location: San Francisco
I also liked the curtain effect, though I wish I hadn't read about it beforehand. In the second part of the ballet, in which the music is inspired by the Bach, there were several muffled "booms" that I took to be references to the falling curtain.


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PostPosted: Mon Apr 17, 2006 2:06 am 
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Location: Canada
Casting for Program 6:
Quote:
Thursday, March 30, 2006 8 pm-- Opening Night

FALLING
Conductor: Gary Sheldon

Elizabeth Miner, Tina LeBlanc, Kristin Long, Yuan Yuan Tan, Katita Waldo
James Sofranko, Gonzalo Garcia, Joan Boada, David Arce, Rory Hohenstein*

-INTERMISSION-

RUBIES
Conductor: Gary Sheldon
Piano: Roy Bogas

Vanessa Zahorian, Gonzalo Garcia
Muriel Maffre

-INTERMISSION-

ARTIFACT SUITE
Conductor: Gary Sheldon
Piano: Michael McGraw

Muriel Maffre*, Pierre-François Vilanoba*
Lorena Feijoo*, Pascal Molat*
Elana Altman*


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PostPosted: Mon Apr 17, 2006 2:08 am 
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Location: Canada
News:

SF BALLET DANCERS MEGAN LOW AND AMANDA SCHULL TO RETIRE FOLLOWING 2006 REPERTORY SEASON
SAN FRANCISCO--Wednesday, April 12, 2006-San Francisco Ballet has announced that Corps de Ballet members Megan Low and Amanda Schull will retire this summer, following the end of the 2006 Repertory Season.

A Bay Area native, Low trained at Ballet Capriole, San Jose Dance Theatre and San Francisco Ballet School prior to joining the Company in 1997. Over the course of her nine-year career with SF Ballet, Low has performed a diverse array of works by choreographers such as George Balanchine, Val Caniparoli, Paul Taylor, Helgi Tomasson, Stanton Welch, and Christopher Wheeldon. In addition, Low performed the lead in Mark Morris’ Sylvia in 2004, a role she will reprise on Program 7 of the 2006 Repertory season. Low plans to attend UC Berkeley’s Graduate School of Education as part of the Multicultural Urban Secondary English (MUSE) program.

Schull trained at Hawaii State Ballet before being named apprentice in 1999. In 2000, she joined the Company as a member of the corps de ballet. During her seven-year career with the Company, Schull has performed in a variety of works, ranging from classical full-length ballets to more contemporary works by choreographers such as George Balanchine, Peter Martins, Alexei Ratmansky, Paul Taylor, and Christopher Wheeldon. Schull also starred in the feature film Center Stage, directed by Nicholas Hytner.

Low and Schull will perform on Programs 7 and 8 of the 2006 Repertory Season, running April 21 to May 7. For more information on casting, visit www.sfballet.org/performances/casting.aspx. A complete Company update, including promotions will be announced in July.


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PostPosted: Mon Apr 17, 2006 10:43 am 
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It was also announced that Peter Brandenhoff is retiring.
Both those dancers are quite young, especially Shull, and so far as I know don't have injury issues. Any news on what they plan to do next?
Looks like the company will have some different looks next year.


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PostPosted: Mon Apr 17, 2006 10:56 am 
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Location: San Francisco
I'll miss all three dancers (especially Megan Low's exuberance).


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PostPosted: Mon Apr 17, 2006 11:50 am 
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Quote:
It was also announced that Peter Brandenhoff is retiring.


Peter Brandenhoff is not retiring from a performing career. He will not be with San Francisco Ballet after this season ends.


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PostPosted: Mon Apr 17, 2006 12:10 pm 
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Location: Canada
From SFB's April update:

"Soloist Peter Brandenhoff's Final Season

Soloist Peter Brandenhoff's 13-year career with San Francisco Ballet will
come to a close at the end of the current seaon. A versatile dancer, he
has performed lead roles in a variety of works in the repertory ranging
from classical to ocntemporary. After leaving in 1997 to join Hamburg
Ballet, Brandenhoff returned a year later and expanded his repertoire to include character roles, including Hilarion in Giselle; Tybalt in Romeo
and Juliet and Drosselmeyer in Artistic Director Helgi Tomasson's new
Nutcracker.

Brandenhoff plans to stay in San Francisco and pursue various dance opportunities and artistic endeavors. His final performance will be
announced at a later date."


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PostPosted: Mon Apr 17, 2006 12:22 pm 
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Location: London, England; Tallinn, Estonia
Here's the link to Petra Tschiene's interview with Amanda Schull for CriticalDance, where she discusses SFB and "Center Stage":

http://www.criticaldance.com/interviews ... 10816.html

For 2 or 3 years after "Center Stage" came out, this interview was one of the leading entry points to CriticalDance - the power of the film world and search engines!


Last edited by Stuart Sweeney on Mon Apr 17, 2006 11:54 pm, edited 1 time in total.

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PostPosted: Mon Apr 17, 2006 11:34 pm 
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Thanks, Stuart, for the link to Petra Tschiene's interview with Amanda Schull. I had no idea Amanda and "Center Stage" had a role in developing interest in criticaldance in its early days. I was struck by her commitment to her own education (as an educator myself, I'm impressed with how many ballet dancers today are pursuing higher education in addition to their extraordinarily demanding training schedule.) I've always enjoyed Amanda's dancing and will miss her at SFB. I would have loved to have seen her star in Coppelia with Joan Boada for Ballet Hawaii last summer. She is a lovely dancer, and she also has great comic timing: she is actually a bit of a ham, and audiences love it when she shows it. And she's even more beautiful in person than she is on screen or on stage.

Here's a more recent interview (August 2005) given when she was preparing for Coppelia with Joan in Honolulu:

http://www.midweek.com/content/story/mi ... _her_toes/

PS: Thanks for your earlier post on Artifact Suite--it was extremely helpful, including the referene to the Forsythe CD.


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PostPosted: Tue Apr 18, 2006 8:08 am 
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Location: Where little cable cars climb halfway to the stars
I will miss Peter Brandenhoff's comic flourishes. I enjoyed him most in a role he danced at a San Francisco Ballet School Spring Showcase about six years ago. He danced The Headmistress in "Graduation Ball," "partnered" by Jorge Esquivel. He was absolutely hilarious :lol: because of his timing and the rapport that the two of them managed to develop onstage.


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PostPosted: Tue Apr 18, 2006 4:03 pm 
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Even before the announcement of Brandenhoff's departure, our Sunday afternoon cabal had observed that he was not dancing much this season. He will have other opportunities for artistic expression in SF. We're fortunate to have a variety of other dance companies.

At least the company thinks of life after dancing, for certainly that would have fostered Low's move to a Master's degree and Legate to chiropractic school. I hope we'll eventually learn what Amanda Shull plans. She could have gone Hollywood after Center Stage, but stuck to the corps, with predictably vivacious break-out solos.

Speaking of which, I asked once why we don't hear about all the departures or information as to where people go to. Some other companies provide this, but the SFB management answer was that the dancers usually don't want this information given out. I find that strange, because dancers do after want publicity about their careers. The only way I learned about dancers like Julie Diana and Zachary Hench going to Pennsylvania Ballet was through googling.

Regarding recent performances, what has happened to Poussakov? He was difficult to watch in "Rubies," so out of shape. I've been watching ballet for 40 years, and can't recall seeing a dancer appear on stage in such a condition. It was so disappointing in light of his past powerful performances and well-sculpted form. Come back, Yuri!

Overall, bravo and brava to members of this marvelous company, who dances brilliantly even when the choreography does not meet their level of artistry.


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PostPosted: Tue Apr 18, 2006 6:16 pm 
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Location: San Francisco
About posting the goings of dancers, including details, I think it's best left up to the dancer to decide what's made public, whether they're going on to another company or leaving the dancing world. It's also hard to publish a wrap-up of where every departing dancer is going to as many contracts and decisions aren't solidified until the summer or beginning of a season. Plus, the soon-to-be-former and soon-to-be-new companies prefer to announce an agreement when it's definite, which due to the nature of ballet and the arts, is most likely after the fact.

And Julie and Zach's departure was made public; it was noted in the Chronicle as well as Dance Magazine.

_________________
So two dancers walked into a barre...


Last edited by RaHir on Fri Apr 21, 2006 2:52 pm, edited 1 time in total.

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PostPosted: Wed Apr 19, 2006 3:41 pm 
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Location: El Granada, CA, USA
Amanda's been battling persistent back problems for years. I'm not surprised she's retiring, though I will miss her. She's a bright spot. So is Megan. I'll miss her too.


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PostPosted: Mon May 22, 2006 5:17 am 
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Location: London, England; Tallinn, Estonia
Image
Ballett Frankfurt in "Artifact" by William Forsythe
Photography by Dieter Schwer

Image
Ballett Frankfurt in "Artifact" by William Forsythe
Photography by Dominik Mentzos



Earlier in this topic, we discussed "Artifact Suite" and possible differences between the versions for the various companies. Here's the response from Annette Reschke, a representative of the Forsythe organisation and we may get further comments from another member of the team. Many thanks to the very helpful people working around William Forsythe, Company for taking the time to answer our queries:

*****************************

Dear Stuart,

By way of introduction, I am the license agent for Bill Forsythe's ballets and I take pleasure in replying to the email you sent to Mechthild Rühl [Press Manager of the Forsythe Company].

"ARTIFACT SUITE" is the final title of a newly structured 45 minutes compilation of the 1984 full length ballet "ARTIFACT". The new version premiered in Scotland in spring of last year [2005] under the title "SUITE FROM ARTIFACT" which then turned into "ARTIFACT SUITE".

The second production of this ballet opened in Paris at the Opera National on February 6, 2006 as part of a Forsythe Soiree. The third production of the piece was by San Francisco ballet and opened March 30, 2006 - you know all this, of course.

As far as I know there are no significant differences between the three productions. Scottish Ballet Description might refer to differences between "ARTIFACT SUITE" (="SUITE FROM ARTIFACT") and the original "ARTIFACT".

Yet, to be 100 percent sure I contacted the choreographic assistant and teacher for this work and will let you know what she says as soon as I hear from her.

Best regards

Annette Reschke


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PostPosted: Wed May 24, 2006 2:04 am 
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Location: London, England; Tallinn, Estonia
A second e-mail from Annette:

**********************************************

Dear Stuart,

This is what I've just received from Jodie Gates:

"To answer your questions, no there are no real differences. Bill came to SF
Ballet and made a few small changes for individual dancers but the ballet is
the same.
Best, Jodie"

Thanks for the [CriticalDance] links and all best wishes,
Annette Reschke


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