Five reviews of all three SFB programs at Lincoln Center (including 3 takes on Mark Morris's Sylvia) are now on the Dance View Times website:
http://www.danceviewtimes.com/backissue ... 73106.html
1. Susan Reiter on Opening Night Gala:
"It celebrated the company’s array of strong, personable dancers, imbued with a gift of showcasing fluency and technical expertise without every seeming to push or strain for effects. Clean, crisp, artfully phrased dancing was there in abundance. The program also celebrated the diverse, intelligently chosen repertory that artistic director Helgi Tomasson has acquired over his 21 years directing this splendid troupe. . . ."
2. Leigh Witchel on Mark Morris's Sylvia:
"San Francisco Ballet followed the blockbuster opening gala in their New York engagement with what should have been another juggernaut; Mark Morris’ version of “Sylvia”. It’s a handsome production and it has Delibes’ marvelous and haunting score, but the choreography is a thin brew. . . ."
3. Mary Cargill on Mark Morris's Sylvia:
"Morris’ Sylvia is a feistier heroine than the traditional classical ballerina, and Elizabeth Miner, a tall, leggy blond, with a heroically pure line, made her immensely appealing. . . . Morris gave the company a real ballet, which required emotional as well as technical abilities, and the cast I saw created true and vibrant characters, even if they had to dance around an elephant [Ashton]."
4. Susan Reiter: Vanessa Zahorian and Guennadi Nedviguine in "Sylvia"
"Vanessa Zahorian, lithe but strong, projected warmth and humor as Sylvia. Her commanding presence and powerful, sleek technique made her the clear leader of the huntress nymphs, who fend for themselves and have no use for the powers of Eros, to whom everyone else in the ballet bows, or prostrates themselves, reverently. This Sylvia is obviously a take-charge, no-nonsense nymph, but also rapturously feminine. Her crisp attack imbued her Act One material with welcome energy and fire, and her dramatic skill allowed one to follow Sylvia’s emotional journey quite clearly, culminating in her lucid radiance in Act Three. . . ."
5. Lisa Rinehart: 7 for Eight, Quaternary, Artifact Suite
"[T]he interesting story here is that the San Francisco Ballet is a force to be reckoned with. Somewhat under the radar, Tomasson has commissioned work from internationally respected choreographers and has hired high caliber dancers for those choreographers to work with. There's work to be done, but the directors of large New York based ballet companies would do well to take notice: Tomasson appears to have the vision, taste and patience to create a company of international importance. There's room for all, but the gauntlet has been thrown."