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 Post subject: San Francisco Ballet 2008: American Tour
PostPosted: Sat Sep 20, 2008 3:31 pm 
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Location: San Francisco
This fall, San Francisco Ballet embarks on a four-city national tour with 30 performances total, including engagements at:
    Harris Theater for Music and Dance, Millennium Park, in Chicago (September 16–21)
    New York City Center in New York (October 10–18 )
    Orange County Performing Arts Center in Costa Mesa, California (November 11–16)
    The John F. Kennedy Center for the Performing Arts in Washington, D.C. (November 25–30)

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So two dancers walked into a barre...


Last edited by RaHir on Wed Sep 24, 2008 10:53 am, edited 2 times in total.

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PostPosted: Sat Sep 20, 2008 3:32 pm 
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San Francisco's double treats: New pieces by 2 bright stars take your breath away at Harris Theater
By Sid Smith
Special to the Chicago Tribune
September 18, 2008

Quote:
Despite the San Francisco Ballet's long absence, its visit to the Harris Theater this week will not be a compendium of the best hits of its history.

Instead, the engagement through Sunday is heavy with something more rare: new ballets. The troupe opened Tuesday with new ballets by two bright stars of the art and artistic director Helgi Tomasson's 2 1/2 -year old "The Fifth Season."

Both Christopher Wheeldon's "Within the Golden Hour" and Jorma Elo's "Double Evil" offer plenty of evidence of the innovation, excitement and daring of their creators. They also reveal weaknesses, inconsistencies and the occasional irritating quirk. Both overstay their welcome, but both boast spots that take your breath away.

"Double Evil" is aptly named, a bipolar affair shifting back and forth between contrasting scores from Philip Glass and Vladimir Martinov. The dancing shifts, too, eventually conjoining its classical form and a modernist, marionette-like counterfoil. "Evil" also shows off one of the troupe's celebrated attributes, the speed and agility of its male dancers, and it defies all sorts of structural rules and traditions in search of a new, cluttered, yet vaguely satisfying elegance. At times the men lift the tutu-clad women and wind them around their bodies with contorted, unpretty, almost gauche movements, while the entrances and exits, from the side and the rear, upend the usual dramatic expectation.


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San Francisco Ballet's B side may contain some of its best
By Sid Smith
Special to the Chicago Tribune
September 19, 2008

Quote:
Helgi Tomasson's "On a Theme of Paganini" is an adroit, lively example of the neoclassical mode he inherited from George Balanchine, a stately, elegant, straightforward work frequently graced with his own unique stamp.

Framed at the start and the end with a motif riffing off classic ballet arm positioning, it is rich with contrapuntal structures—a pair of leads, for instance, enacting one set of rhythms and moves in complete opposition to different ones from a handful from the corps. At its heart is an utterly glorious pas de deux, telegraphing Tomasson's riveting sense of drama, danced exquisitely Wednesday at the Harris Theater by creamy, swarthy Davit Karapetyan and delicate Maria Kochetkova, one of the more artful ballerinas on view during this visit by the San Francisco Ballet, where Tomasson is artistic director. I prefer it to his "The Fifth Season" from Tuesday, though that work is probably more original, layered with earthy tones and buoyed by a sly, imaginative ballet tango.

Of the four ballets from the troupe's new works festival this year, my favorite by far is "Fusion," Yuri Possokhov's moody, mysterious, almost impish fantasia on the whirling dervishes. Not only does he know the dancers and their strengths (he is resident choreographer), but he clearly knew with "Fusion" precisely what he wanted to portray and how to achieve it. His is the least meandering and clearheaded of these new pieces, and Wednesday it proved a grand showcase for former Joffrey Ballet star Lorena Feijoo, as passionate and agile as ever, and tantalizing Yuan Yuan Tan, a ballerina with serpentine limbs and scintillating power. Four men were clad in dervish-like costuming, but Possokhov provides an ingenious, plotless work that suggests more than it tells and moves from start to finish with its own compelling logic.


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PostPosted: Sat Sep 20, 2008 3:33 pm 
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From Francis Timlin:


Hedy Weiss reviews the performance on Wednesday, September 17, 2008 in the Chicago Sun-Times:

Chicago Sun-Times

This program included works by Helgi Tomasson's "On a Theme of Paganini," Mark Morris' "Joyride" and Yuri Possokhov's "Fusion."

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 Post subject:
PostPosted: Tue Sep 23, 2008 1:54 pm 
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Location: Seattle, WA, USA
In the Chicago Sun-Times, Hedy Weiss reviews Program A from the Saturday, September 20, 2008 matinee performance and the Thursday, September 18, 2008 Gala performance:

Chicago Sun-Times


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 Post subject: A review from NYC
PostPosted: Tue Oct 14, 2008 11:24 am 
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Location: El Granada, CA, USA
Quote:
Dance review: San Francisco Ballet in New York

Ben Finane, Special to The Chronicle

Tuesday, October 14, 2008
(10-14) 04:00 PDT New York -- To celebrate its recently completed 75th season, the San Francisco Ballet is taking its show on the road. On Friday and Saturday, New York City Center audiences got their first look at works by Mark Morris, Yuri Possokhov and Christopher Wheeldon, all of which had their world premieres this spring at the New Works Festival in San Francisco.

Of the three premieres in this second stop on a four-city tour, Wheeldon's "Within the Golden Hour" on Friday deferred most heavily to the classical ballet style. The genius of the work lies in the subtle stretching of the traditional male-female relationship found in ballet's ubiquitous pas de deux.


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 Post subject:
PostPosted: Wed Oct 15, 2008 2:08 pm 
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Alastair Macauley reviews the San Francisco Ballet's performances at City Center in New York on Friday, October 10 and Saturday, October 11, 2008 in the New York Times:

NY Times

It is gratifying to read that Tina LeBlanc is performing a leading role in Balanchine's "Divertimento No. 15."


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 Post subject:
PostPosted: Thu Oct 16, 2008 12:22 pm 
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from
"San Francisco's Anniversary Trip"
By ROBERT GRESKOVIC
The Wall Street Journal (10/15/08)

"[In] the closing work of the run's second program, "The Four Temperaments" (1946), Balanchine's compelling look inside a haunting chamber score by Paul Hindemith . . . an elegantly fierce Sarah Van Patten, supported by a lustrous Tiit Helimets, performed the ballet's authoritative and poetic "Sanguinic" duet with more vitality, impact and sheen than it often reveals nowadays at NYCB."

more:
http://online.wsj.com/article/SB122403174756334839.html

(great photo of Tina)


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 Post subject:
PostPosted: Fri Oct 17, 2008 11:16 am 
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From the SF Chronicle, another review from the East.

Quote:
Dance review: San Francisco Ballet in New York

Ben Finane, Special to The Chronicle

Friday, October 17, 2008

(10-17) 04:00 PDT New York --

Jorma Elo's "Double Evil," a work that subversively injects modern movements into classical ballet, was the electrifying highlight and audience favorite of the San Francisco Ballet's Program C, which opened Tuesday at New York City Center.

Program C, the final of three programs on the four-city tour, also included New York premieres by choreographers Val Caniparoli and Helgi Tomasson. All three of the works had world premieres in the spring at San Francisco's War Memorial Opera House during the company's 75th anniversary season.

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 Post subject:
PostPosted: Fri Oct 17, 2008 2:09 pm 
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In the New York Times, Alastair Macaulay reviews SFB's third program at City Center (consisting of works by Helgi Tomasson, Jorma Elo and Val Caniparoli):

NY Times


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 Post subject:
PostPosted: Tue Oct 21, 2008 2:06 pm 
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Robert Johnson is highly complimentary toward SFB in the New Jersey Star-Ledger:

Star-Ledger


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 Post subject:
PostPosted: Wed Oct 22, 2008 2:46 pm 
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Tobi Tobias on Bloomberg.com:

Bloomberg.com

Hilary Osterle in the Financial Times:

Financial Times


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 Post subject:
PostPosted: Thu Oct 23, 2008 5:58 pm 
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Robert Gottlieb reviews the SFB season at City Center in The New York Observer:

NY Observer

Deborah Jowitt reviews the City Center season in the Village Voice:

Village Voice


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 Post subject:
PostPosted: Mon Oct 27, 2008 2:19 pm 
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In the New Yorker, Joan Acocella devotes an article to the San Francisco Ballet and brings in the Suzanne Farrell Ballet for a bit of comparison and contrast:

The New Yorker

Of particular interest is her statement that there are four "superb classical choreographers" working today: Christopher Wheeldon, Alexei Ratmansky, Mark Morris and Twyla Tharp.


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 Post subject:
PostPosted: Wed Nov 12, 2008 3:33 pm 
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In the Los Angeles Times, Susan Josephs previews the SFB performances at the Orange County Performing Arts Center in November 2008:

LA Times


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 Post subject:
PostPosted: Thu Nov 13, 2008 2:43 pm 
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Reviews of the Tuesday, November 11, 2008 performance in Costa Mesa, California.

Paul Hodgins in the Orange County Register:

OC Register

Laura Bleiberg in the Los Angeles Times:

LA Times


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