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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Tue Mar 30, 2010 12:29 am 
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JimVanPatten wrote:
For anyone wondering, Sarah left a bit of herself in the Mermaid role this past week. She has black & blue knuckles on both hands, a shiner over one eye, whiplash, a busted lip, scraped knees & elbows and too many bruises to count. Her claim to fame, however, comes from the stage crew. She knocked two fairly burly crew members around who were holding the door closed in the Act II opening scene, she punched three holes in the plywood, and she left a pool of blood on the floor in the final scene, complements of the busted lip. The crew now gives Sarah a wide berth in the hallways of the Opera House.

I saw Saturday's matinee, and I have to say I was stunned at the ferocity of her performance. I said to someone afterwards that I was sorry for the mermaid, but I was worried about Sarah. During the curtain calls, I thought she looked exhausted; not surprising. Superb performance, but tell her to be careful; her fans need her in one piece!


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Tue Mar 30, 2010 1:18 am 
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I don't think we know the half of what ballet dancers go through physically and mentally. For example:

"Physical, Mental Stress Comparable In Football, Ballet, Says Study"

"Ronald Smith, a University of Washington psychology professor together with J.T. Ptacek, a psychology professor at Bucknell University in Lewisburg, Pennsylvania, and Elizabeth Patterson, a retired ballet dancer, studied forty-six dancers from the Pacific Northwest Ballet company in Seattle, Washington. Using questionnaires, the researchers found an injury rate of 61 percent over an eight-month performance period, which is comparable to rates found in studies of athletes in hard-contact sports such as football and wrestling. . . ."

more at:
http://findarticles.com/p/articles/mi_m ... _68618172/


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Tue Mar 30, 2010 11:41 am 
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It's no surprise to me that the men go out with back injuries. Everything we've been taught about careful lifting is violated daily when men lift 100+ pound women in odd postures, then wave them around in the air and set them down using their upper body only. I wince every time I see a lift - after marveling at its beauty, of course.


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Wed Mar 31, 2010 11:17 am 
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Posts: 36
Location: San Francisco
PeggyR wrote:
JimVanPatten wrote:
For anyone wondering, Sarah left a bit of herself in the Mermaid role this past week. She has black & blue knuckles on both hands, a shiner over one eye, whiplash, a busted lip, scraped knees & elbows and too many bruises to count. Her claim to fame, however, comes from the stage crew. She knocked two fairly burly crew members around who were holding the door closed in the Act II opening scene, she punched three holes in the plywood, and she left a pool of blood on the floor in the final scene, complements of the busted lip. The crew now gives Sarah a wide berth in the hallways of the Opera House.

I saw Saturday's matinee, and I have to say I was stunned at the ferocity of her performance. I said to someone afterwards that I was sorry for the mermaid, but I was worried about Sarah. During the curtain calls, I thought she looked exhausted; not surprising. Superb performance, but tell her to be careful; her fans need her in one piece!

One other thing to remember is that Sarah was in every single performance of The Little Mermaid. When Yuan Yuan Tan was the Mermaid, Sarah was dancing the role of the Princess/Henriette.


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Thu Apr 01, 2010 10:31 pm 
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Paul Parrish on his second viewing of The Little Mermaid:

“...another visit to San Francisco Ballet's The Little Mermaid (to see the second-cast ballerina Sarah van Patten) went a long way to reconcile me to the melodrama of this powerful spectacle. Van Patten is both a warmer and more musical dancer than (first-cast) Yuan Yuan Tan, and though she lacks Tan's extreme flexibility (which made Tan seem as fluid as a fish), nevertheless she "swam" in the music with such feeling for the timbres and melodies (of a score that had seemed merely serviceable on opening night) that I bought into the illusion and came to respect the composer. . . .

“More Mermaid” (scroll down to the end of the Merce Cunningham review):
http://ebar.com/arts/art_article.php?se ... rticle=161


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Tue Apr 13, 2010 11:41 am 
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Posts: 350
Location: San Francisco
Programs 6 and 7 are alternating for the next week.

Dance review: San Francisco Ballet's 'Haffner'
Allan Ulrich, Chronicle Dance Correspondent
Saturday, April 10, 2010

Quote:
Seven principals and a mixed corps of eight animate Zanella's style, marked by twisting torsos and florid arm gestures. In her opening solo, Sofiane Sylve, magnificent in her own way, looks like a sister of the Novice in Jerome Robbins' "The Cage." She yields to three duets. These are fervid, shifting balance-of-power affairs, rendered by Lorena Feijoo and Pascal Molat, followed by Frances Chung and Gennadi Nedvigin. Only the final pairing, matching Vitor Luiz with Katita Waldo (in her last creation before her retirement this month and as charismatic as ever), stands out.

More...

S.F. Ballet transfigures Schoenberg
By: Janos Gereben
Special to The Examiner
April 12, 2010
Quote:
Yet Zanella shows shadowy figures upstage, an ominous Black Swan-like figure dancing in front (Elana Altman was brilliant at the Saturday matinee), followed by pas de deux by three different couples.

These elements don’t seem to relate to the story, which ends with Anne Marie Legenstein's mysterious, affecting scenic design of falling leaves and diminishing light in the finale.

It is possible to forget the original and simply embrace the music and great performances, including a true star turn by Yuan Yuan Tan.

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'Classical Symphony' delights S.F. Ballet crowd
Rachel Howard, Special to The Chronicle
Monday, April 12, 2010
Quote:
A resident choreographer earns his keep when he feeds the audience what it wants and needs, brings out qualities in the dancers only someone intimately familiar with them can, and stretches his own talents in the bargain. Yuri Possokhov's new "Classical Symphony" at San Francisco Ballet does all this and more: It makes you smile, nonstop. This caper of stretched-to-the-extreme classical technique forms the zippy centerpiece of a short and spirited seventh repertory program likely to delight ballet diehards and newcomers in equal measure.

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Rush down to see S.F. Ballet Program 7
By: Janos Gereben
Special to The Examiner
April 12, 2010
Quote:
In “Classical Symphony,” Maria Kochetkova and Hansuke Yamamoto led 12 dancers in bringing Prokofiev’s familiar score to life, movement by movement, phrase by phrase.

It's unusual for Possokhov to be so literal – his other works are more imaginative and surprising – but the piece works fine. Yamamoto's sleek, dashing performance is a personal best, and Chung and Long were especially impressive.

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_________________
So two dancers walked into a barre...


Last edited by RaHir on Tue Apr 13, 2010 11:48 am, edited 1 time in total.

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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Tue Apr 13, 2010 11:44 am 
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Posts: 350
Location: San Francisco
Also, the Chronicle profiled soloist Garen Scribner on his pre-performance prep.

Workout gives Sea Witch energy to work up storm
Sam Whiting, Chronicle Staff Writer
Monday, April 12, 2010
Quote:
On the same day that Garen Scribner was taking the stage as the Sea Witch in recently closed "The Little Mermaid," he spent four hours in rehearsals that had nothing to do with the Sea Witch or "The Little Mermaid."

In-between, Scribner needed a way to forget the roles he was rehearsing and remember the role he would be performing that night in the War Memorial Opera House. That's what his 45-minute stop in the weight room is for.

Most every artist has a routine or ritual before performing, and often these activities involve fitness. In an occasional series, The Chronicle will visit the places they go and the things they do that are not seen by people in the audience. Where Scribner goes is an overheated ante room, 8 feet wide and 25 feet long, on the third floor of the Ballet building.

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_________________
So two dancers walked into a barre...


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Wed Apr 14, 2010 4:04 pm 
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Posts: 350
Location: San Francisco
For a shameless plug, I'll also add my review at the SF Appeal to the mix...

SF Ballet's Program 7, Reviewed
by Becca Hirschman
The San Francisco Appeal
April 12, 2010 4:50 PM

Quote:
San Francisco Ballet performing Jerome Robbins' The Concert (Or, The Perils of Everybody) may be one of the most enjoyable dance pieces ever. It isn't traditional in the ballet sense: there's no giant pas de deux or repetitive steps to the right, left, and right again. But it's a well made ballet that conveys mood with a timeless feel, large heart, and overwhelmingly delicious humor.


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So two dancers walked into a barre...


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Thu Apr 15, 2010 3:46 pm 
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Location: Seattle, WA, USA
Paul Parish is head-over-heels excited about Yuri Possokhov's "Classical Symphony." He reviews both programs 6 and 7 in the Bay Area Reporter.

Bay Area Reporter


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Fri Apr 16, 2010 4:37 pm 
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Posts: 350
Location: San Francisco
So I guess I'm the only one who didn't like "Classical Symphony"?

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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Tue Apr 20, 2010 2:17 pm 
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Location: Seattle, WA, USA
Sean Martinfield reviews Program 7 in the San Francisco Sentinel.

SF Sentinel


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Wed Apr 21, 2010 12:35 pm 
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Posts: 167
One of the highlights of Bay Area National Dance Week:

San Francisco Ballet
Open Company Class
Sunday, May 2
11:45 AM - 1:00 PM
War Memorial Opera House
301 Van Ness
San Francisco
415.865.2000

"Before any rehearsal or performance, San Francisco Ballet begins with a daily, warm-up ritual known as Company Class. With costumes and scenery stripped away, attendees will experience this internationally acclaimed company in its purest and most fundamental form."

More information (scroll down to May 2):
http://www.bayareandw.org/free_events_d ... php?loc=sf

Although you can sign up in advance, no reservations have ever been necessary in the past. You should be able to simply show up at the Opera House at 11:30 on Sunday morning. SFB company class is always special.


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Mon May 03, 2010 11:12 pm 
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Posts: 12093
Location: Seattle, WA, USA
San Francisco Ballet closes the 2010 season with Helgi Tomasson's "Romeo and Juliet." Allan Ulrich reviews the Saturday, May 1, 2010 performance in the San Francisco Chronicle.

SF Chronicle


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Tue May 04, 2010 12:19 am 
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Location: Seattle, WA, USA
Ann Murphy reviews the Sunday, May 2, 2010 matinee performance of "Romeo and Juliet" in the San Jose Mercury News.

SJ Mercury News


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 Post subject: Re: San Francisco Ballet: 2010 Season
PostPosted: Tue May 04, 2010 4:48 am 
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Rachel Howard reviews Romeo and Juliet in San Francisco Classical Voice (so glad Rachel is still writing dance reviews--I thought we were going to lose her when she left the Chronicle).

http://www.sfcv.org/reviews/san-francisco-ballet/the-san-francisco-ballets-radiant-juliet


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