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 Post subject: San Francisco Ballet 2007 Program 4
PostPosted: Thu Mar 08, 2007 6:04 pm 
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Joined: Thu Mar 25, 2004 12:01 am
Posts: 350
Location: San Francisco
Casting is posted for 3/13 and 3/14.

PROGRAM 4 Opening Night
3/13/2007,8 PM
SPRING ROUNDS
Conductor: Martin West

Vanessa Zahorian, Garrett Anderson
INTERMISSION

CHI-LIN
Conductor: Martin West
Piccolo: Julie Mackenzie

Dragon: Pierre-François Vilanoba*
Tortoise: Tiit Helimets*
Phoenix: Hansuke Yamamoto
Chi-Lin: Yuan Yuan Tan

INTERMISSION

EDEN/EDEN
Conductor: Gary Sheldon

Muriel Maffre*, Gonzalo Garcia*
Pascal Molat*, Dana Genshaft*
Rory Hohenstein*, Katita Waldo*
Jaime Garcia Castilla*, Hayley Farr*, Moises Martin*




PROGRAM 4 Evening
3/14/2007,7:30 PM
SPRING ROUNDS
Conductor: Martin West

Vanessa Zahorian, Garrett Anderson

INTERMISSION
CHI-LIN
Conductor: Martin West
Piccolo: Julie Mackenzie

Dragon: Davit Karapetyan*
Tortoise: Tiit Helimets
Phoenix: Hansuke Yamamoto
Chi-Lin: Yuan Yuan Tan

INTERMISSION

EDEN/EDEN
Conductor: Gary Sheldon

Muriel Maffre, Gonzalo Garcia
Pascal Molat, Dana Genshaft
Rory Hohenstein, Katita Waldo
Jaime Garcia Castilla, Hayley Farr, Moises Martin

* Designates premiere in a role.
^ Designates premiere in Tomasson version.
Casting subject to change.

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PostPosted: Fri Mar 09, 2007 6:15 am 
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Location: London, England; Tallinn, Estonia
For non-SF folk like me, this description of programme 4 from the SFB website might be helpful:

Spring Rounds
Composer: Richard Strauss
Choreography: Paul Taylor

Acclaimed choreographer Paul Taylor’s joyful ensemble piece is set to music by Richard Strauss.

Chi-Lin
Composer: Bright Sheng
Choreography: Helgi Tomasson

A striking interpretation of Chinese iconography, Tomasson’s Chi-Lin is set to several musical pieces by renowned composer Bright Sheng.

Eden/Eden - NEW!
United States Premiere
Composer: Steve Reich
Choreography: Wayne McGregor

Originally created for Stuttgart Ballet, Eden/Eden is a highly provocative, contemporary work by one of Europe’s most talked about choreographers, Wayne McGregor-an astonishing piece that boldly confronts the issue of cloning.

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

Very interested to read what our SF members think of "Eden-Eden". McGregor, whose training was exclusively in contemporary dance, is now, arguable, the most sought after UK-based ballet choreographer, after a string of successes for the Royal Ballet and other companies around Europe.


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PostPosted: Fri Mar 09, 2007 10:18 am 
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Location: San Ramon High School
Stuart...could you tell me a bit more about the EDEN-EDEN choreographer? The ballet seems very promising...


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PostPosted: Wed Mar 14, 2007 6:32 pm 
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Joined: Thu Mar 25, 2004 12:01 am
Posts: 350
Location: San Francisco
Just copy and paste
San Francisco Ballet
Program 4
Tuesday, March 13, 2007


The city’s ballet aficionados were out in full force Tuesday night for the premiere of San Francisco Ballet’s Program 4, a mixed, and contemporary, bill chockfull of imagery and appeal.

The hit of the night proved to be the US premiere of Wayne McGregor’s “Eden/Eden,” which was originally choreographed for Stuttgart Ballet. A beautifully disturbing look at human cloning, nine dancers, dressed in striking attire by Ursula Bombshell and led by the stunning Muriel Maffre, explore the world of carbon copies and the slight nuances that make us human. Drawing on aspects of Adam and Eve (here, Eve came first!), the dancers delve into the deep issues of immortality, choice, and individuality. Dana Genshaft showed amazing flexibility and line during her sections with Pascal Molat, and Hayley Farr stretched and cavorted like a pixie. In fact, the entire cast astonished me with their ability to move very rhythmically in a very non-traditional way, and if I hadn’t known better, I would have thought we were in Germany. Charles Balfour’s stark lighting initially covered the stage with a silvery-white newness a baby might experience in its early stages, and later the lights transcended to a rich, dewy orange, similar to a sunny evening at Baker Beach. Minimalist Steve Reich’s rich and ear thrilling score combines text, vocals, techno, and classical music in a way that made me bop along in my seat while wishing I could grand battement up the aisle, down Van Ness, and towards the bus stop. Intellectual yet intricately choreographed, “Eden/Eden” builds to a satisfying yet still disturbing climax, which had many jumping to their feet in applause at the end.

The encore of Paul Taylor’s “Spring Rounds,” with music by Richard Strauss, was led by Vanessa Zahorian and Garrett Anderson, who both danced with ease and a genuine nature-- there’s nothing forced here. Both looked natural, and very much like a Taylor dancer (only better) with the tuck of a pelvis here, a curve of the arm there. Their pas de deux spoke volumes, even though it evoked a quiet time of growth between two people; these are dancers who can do more than just ballet. Sprouting up and dancing fervently like spring could end tomorrow, the lime green-clad corps of 12 dancers clad flew from corner to corner and around in circles, whipping out tuck jumps and sauté attitudes front and back, and while I like my weather a little on the cool side, “Spring Rounds” made me glad spring is truly here.

Helgi Tomasson’s “Chi-Lin,” which debuted in 2002, returned to the Opera House, yet seemed out of place compared to the other two works. Tomasson collaborated with Bright Sheng, a past MacArthur Award winner, on the score and concept, but while there’s plenty of glitz and tricks, the superficial “Chi-Lin” seems to be lacking in substance, development, and musicality. Yuan Yuan Tan seemed warmer and more sensual compared to her “Chi-Lin” of five years ago, and Tiit Helimets proved slow and steady can be beautiful as the Tortoise. But Hansuke Yamamoto’s Phoenix didn’t quite have the spring of Parrish Maynard’s debut, and Pierre-François Vilanoba, bless his heart in those golden hot pants and a wig full of dreds, did the best he could with the limited movement vocabulary. The men’s and women’s corps, while mostly there for show, seemed off or out of sync at times, but they also proved the point that sometimes less is more. Too much can be a distraction, and we don’t need a ballet that has everything but the ******* sink in it unless everything is just amazingly structured, developed, and presented. Then please, go right ahead.

Program 4, without a tutu in sight, aims to please the contemporary ballet-goer, and “Eden/Eden” is not to be missed. If only all dance programs were this good.

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Last edited by RaHir on Thu Mar 15, 2007 9:41 am, edited 2 times in total.

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PostPosted: Thu Mar 15, 2007 12:25 am 
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Thanks, RaHir, for your review of Program 4. I went tonight (Wednesday) and agree with you about Wayne McGregor's Eden/Eden. I think it's this year's Artifact Suite--the contemporary ballet that reflects SFB's greatest strengths. The dancers seemed incredibly turned on by the piece: they clearly enjoy being pushed by certain contemporary choreographers, and McGregor is one of them. Muriel Maffre is her element in these pieces, and Katita Waldo and Dana Genshaft were actually thrilling in their unconventional movements. What a contrast with Chi-Lin, which sems to get more boring every year. I know Helgi likes to choreograph, but I think his greatest gift to SFB is his eye for talent. I'm glad he invited McGregor to SFB after seeing Eden/Eden in Stuttgart. For his part, McGregor said he was "shocked" by how quickly SFB dancers learned his unconventional vocabularly, and they also helped him see aspects of his work he hadn't appreciated before. SFB and McGregor are a good combination, but I believe he was recently hired by the Royal Ballet to be their in-house choreographer.

There was a major techincal glitch at the beginning of the piece, the band stopped playing, and the house lights came back on, follwed by an announcement that because of technical difficulties, the ballet would begin all over again, which it did. I've never seen that happen before at an actual performance. The audience was completely good-natured about it. Lots of cheering at the end.


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PostPosted: Thu Mar 15, 2007 9:45 am 
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Location: San Francisco
Dance stretches — or numbs — the mind
Mar 15, 2007
by Janos Gereben , The Examiner


Quote:
SAN FRANCISCO - Art that makes you feel stupid is not a good thing. Of course, it’s possible that you just don’t understand it because you’re not very bright in the first place. But how would you know that Wayne McGregor’s “Eden/Eden” is art? The circumstantial evidence is indisputable: This 30-minute work, which had its U.S. premiere in the War Memorial Tuesday night danced in white heat by nine members of the San Francisco Ballet, cannot be anything but “art” — and yet how is one to understand it?

Program notes speak of cloning. To one of Steve Reich’s more percussive and less successful pieces of music (from “Three Tales”), “Eden/Eden” unfolds with dizzying and obscure projections of symbols. The “naked” (body-stocking-clad) soloists — including a painfully thin Muriel Maffre and Gonzalo Garcia — dance their hearts out in William Forsythe-type angular, convulsive movements, and there is a deliberately slurred, ambiguous narration, reminiscent of what Laurie Anderson made old hat three decades ago.


For more, go here.

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PostPosted: Thu Mar 15, 2007 9:47 am 
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Location: San Francisco
Futuristic 'Eden/Eden' has garden-variety appeal
Rachel Howard, Special to The San Francisco Chronicle
Thursday, March 15, 2007

Quote:
If you want to know where the San Francisco Ballet is headed, talk to the younger dancers. For months, they've been buzzing about "Eden/Eden," the futuristic work by British choreographer Wayne McGregor that had its U.S. premiere on the company's Program 4 Tuesday night. Such bizarre, crazy movement! Like nothing we've ever danced! And indeed they danced it with obvious relish.

But what may feel cutting-edge and exciting to dancers brought up in the relatively artistically isolated world of ballet is not always a thrill for the audience. "Eden/Eden" is relentless. It's designed to be. It's about cloning, and it uses music by the minimalist composer Steve Reich -- fast repeating xylophone rhythms intercut with robotic voices, and audio clips of scientists talking about genetic engineering. The nine dancers start out in flesh-colored underwear and bald caps, looking like eerie mannequins; Ursula Bombshell's costumes really do succeed at making them look identical. Later, apparently as they begin to take over the human race, they put on clothes; there's also a tree hovering in the background, and it disappears along with our last shred of humanity. Think Philip K. Dick for the Opera House stage.


For more, go here.

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PostPosted: Thu Mar 15, 2007 10:00 am 
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Posts: 350
Location: San Francisco
More casting:

PROGRAM 4 Evening
3/16/2007,8 PM
SPRING ROUNDS
Conductor: Martin West

Katita Waldo, Garrett Anderson

INTERMISSION
CHI-LIN
Conductor: Martin West
Violin: Roy Malan
Piccolo: Julie Mackenzie

Dragon: Davit Karapetyan
Tortoise: Tiit Helimets
Phoenix: Jaime Garcia Castilla*
Chi-Lin: Yuan Yuan Tan

INTERMISSION

EDEN/EDEN
Conductor: Gary Sheldon

Muriel Maffre, Gonzalo Garcia
Pascal Molat, Dana Genshaft
Rory Hohenstein, Katita Waldo
Jaime Garcia Castilla, Hayley Farr, Moises Martin


PROGRAM 4 Matinee
3/18/2007,2 PM
SPRING ROUNDS
Conductor: Martin West

Katita Waldo, Garrett Anderson
INTERMISSION
CHI-LIN
Conductor: Martin West
Violin: Roy Malan
Piccolo: Julie Mackenzie

Dragon: Davit Karapetyan
Tortoise: Pierre-François Vilanoba
Phoenix: Nicolas Blanc*
Chi-Lin: Nutnaree Pipit-Suksun*

INTERMISSION
EDEN/EDEN
Conductor: Gary Sheldon

Yuan Yuan Tan*, Tiit Helimets*
Pascal Molat, Dana Genshaft
Rory Hohenstein, Katita Waldo
Jaime Garcia Castilla, Hayley Farr, Moises Martin

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PostPosted: Mon Mar 19, 2007 11:52 am 
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Posts: 22
Sunday's matinee had major cast changes due to injury. Yuan Yuan Tan and Tiit Helimets, cast for Eden/Eden, replaced Nutnaree Pipit-Suksun and Pierre-Francsois Vilanoba in Chi-Lin. Taking over their Eden spots were Muriel Maffre and Gonzalo Garcia. Part of the audience burst into spontaneous applause when the announcement was made. Not a very polite response, but that is what you get when only opening casts get reviewed, with the mistaken implication they are the "best" dancers for that piece.

Yes, Chi-Lin is a choreographic mess, yet it received the strongest ovations of the afternoon. Tan is even more remarkable, particularly in displaying such subtlety in her fingertips and hands, than when she originated the role. Helimets transformed into a Tortoise--what fortune to have him added to the company. Karpetyan gave his usual powerful performance. Seen up close, Blanc was a bit shaky, but the audience loved him. For sheer dance prowess, the performance overall was a blast.

And then there's the other reason some enjoy this spectacle: men without tights. Those fabulous abs and thighs. Let's not forget that this is an art form that delights in the human body.

Spring Rounds was first up on the program. Katita Waldo brought emotional depth to the quietest moments. The corps men were (not surprisingly) wonderfully energetic and in the precise unison that propels their impact up to top level. The corps women were slightly less united, and not as deeply grounded in the Taylor style. At times they were a little too much like ballerinas trying to be "cool." But who's to complain for what was a delightful opening to the afternoon. Taylor's choreography revealed with affection and joy, and that's what counted.

Eden/Eden closed the program. Jaw-dropping, take-no-survivors effort from every member of the case. I still can't get those relentlessly repeated chaines and fouettes out of my mind. Highlight of the season for me so far. More MacGregor, please!

There are some in this Sunday audience who like to applaud as though they are at a broadway show: clap for the set, clap when the "star" appears, clap for the costumes. Gradually this spring the rest of the audience has joined in with less frequency. An unspoken retraining.


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PostPosted: Mon Mar 19, 2007 12:07 pm 
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Posts: 12512
Location: Seattle, WA, USA
A review from Allan Ulrich in the Financial Times:

Financial Times

Mary Ellen Hunt reviews Program 4 in InsideBayArea.com:

InsideBayArea.com


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PostPosted: Mon Mar 19, 2007 12:53 pm 
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Joined: Sun May 07, 2006 12:13 am
Posts: 36
Location: San Francisco
fluteboo wrote:
Sunday's matinee had major cast changes due to injury. Yuan Yuan Tan and Tiit Helimets, cast for Eden/Eden, replaced Nutnaree Pipit-Suksun and Pierre-Francsois Vilanoba in Chi-Lin. Taking over their Eden spots were Muriel Maffre and Gonzalo Garcia. Part of the audience burst into spontaneous applause when the announcement was made. Not a very polite response, but that is what you get when only opening casts get reviewed, with the mistaken implication they are the "best" dancers for that piece.

I think Nutnaree is the injured one. I was at all of the performances this past weekend. I had tickets with work colleagues for Saturday afternoon, but wanted to see the evening cast of Fancy Free (Benjamin Stewart, Rory Hohenstein, and Ruben Martin danced in the afternoon; Pascal Molat, Garrett Anderson, and Gonzalo Garcia performed in the evening). Prior to the afternoon performance, a casting change announcment was made. Due to injury, in The Fifth Season Yuan Yuan Tan and Tiit Helimets will replace Nutnaree Pipit-Suksun and Pierre-Francois Villanoba. In the evening performance of The Fifth Season, Pierre Francois danced with Sarah van Patten. Since I had seen Eden/Eden on Friday with Muriel, I really wanted to see Yuan Yuan dance the role on Sunday. Nevertheless, I am glad I saw Eden/Eden again. I will post all my thoughts on both programs later. I hope that Nutnaree's injury is not serious.


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