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 Post subject: Pacific Northwest Ballet 2012-13
PostPosted: Sun Mar 11, 2012 10:51 pm 
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In the Seattle Times, Moira Macdonald reports on the 2012-13 season announcement, Pacific Northwest Ballet's 40th anniversary season.

Seattle Times


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Thu Jul 26, 2012 11:39 am 
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Theresa Goffredo previews the 2012-13 season for the Everett Herald.

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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Wed Sep 12, 2012 11:05 am 
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In the Faster Times, Marina Harss reviews PNB's performance at "Works and Process" at New York's Guggenheim Museum on September 9-10, 2012.

Faster Times


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Fri Sep 14, 2012 12:11 pm 
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In the Seattle Times, Moira Macdonald posts a compilation of photos from PNB's first 40 years.

Seattle Times


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Sat Sep 15, 2012 5:21 pm 
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Tobi Tobias reviews PNB's performance at the Guggenheim's Works & Process series, September 9-10, 2012 in ArtsJournal.

Arts Journal


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Thu Nov 29, 2012 12:31 pm 
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Pacific Northwest Ballet has been awarded a $40,000 grant from the National Endowment for the Arts to support the "Director's Choice" program, May 31 through June 9, 2013, which will include a world premiere by Christopher Wheeldon and Balanchine's "Agon" and "Diamonds."

Press Release


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Sun Jan 27, 2013 1:36 am 
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Broadway World previews PNB's performances at New York's City Center, February 13-16, 2013. The program includes one evening of Balanchine works, "Concerto Barocco," "Apollo," and "Agon" (Feburary 13) and Christophe Maillot's "Romeo et Juliette," February 15-16. Casting is included.

Broadway World


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Fri Feb 01, 2013 1:51 pm 
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In the New York Times, Gia Kourlas interviews principal dancer Carla Korbes prior to the company's February 2013 appearances at New York's City Center.

NY Times


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Sat Feb 02, 2013 3:44 pm 
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Artistic director Peter Boal announced the promotion of James Moore -- portraying Romeo -- to Principal Dancer at the curtain call of the February 1, 2013 opening of Jean-Christophe Maillot's "Romeo et Juliette." Congratulations to James!

PNB School Professional Division students Jahna Frantziskonis and Elle Macy were also named as Apprentices.


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Mon Feb 04, 2013 9:26 pm 
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Moira Macdonald notes PNB's February 13-16, 2013 performances at New York's City Center in the Seattle Times.

Seattle Times


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Thu Feb 14, 2013 1:42 pm 
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Apollinaire Scherr reviews the Wednesday, February 13, 2013 performance of "Concerto Barocco," "Agon" and "Apollo" at New York's City Center for the Financial Times.

Financial Times


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Fri Feb 15, 2013 1:13 am 
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Alastair Macaulay reviews the February 13, 2013 Balanchine program at City Center for the New York Times.

NY Times

Lynn Jacobson reviews what the New York critics think of PNB's Balanchine program for the Seattle Times.

Seattle Times


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Fri Feb 15, 2013 2:07 am 
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In the Wall Street Journal, Pia Catton previews PNB's performances of Jean-Christophe Maillot's "Romeo et Juliette" at New York's City Center, Friday and Saturday, February 15-16, 2013.

Wall Street Journal


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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Fri Feb 15, 2013 10:21 am 
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Location: New Jersey
Pacific Northwest Ballet
City Center
New York, New York

February 13, 2013
Concerto Barocco; Apollo; Agon

-- by Jerry Hochman

If you’re going to carry coal to Newcastle, the coal had better burn brighter than the coal already there. By bringing its initial program consisting entirely of iconic ballets created by George Balanchine to New York, the home of the New York City Ballet and its heritage of Balanchine ballets, Pacific Northwest Ballet essentially presented an in-your-face opening night program. It was a gutsy (and one night only) invasion into NYCB territory.

While not outshining NYCB’s execution of these classics, PNB succeeded in showing that it can do a credible job with them, that it has a strong nucleus of dancers, and that the company merits the description ‘NYCB-West’ (as Miami City Ballet can be said to be NYCB-South). Given that the company’s Artistic Director, Peter Boal, is a former NYCB principal, and that the company’s ‘star’ ballerina, Carla Korbes, is a former NYCB soloist, this kinship, and level of accomplishment, is not surprising. [The company’s Founding Artistic Directors, Kent Stowell and Francia Russell, also have NYCB roots.]

For this viewer, however, the pleasant surprise of the evening was not Ms. Korbes – who I remember well from her years with NYCB, and whose departure from that company was a significant loss for NYCB (and obviously was PNB’s gain). From the time she first joined NYCB as a member of the corps, Ms. Korbes stood out not only for her technique, but for the quiet serenity of her performance quality. She was excellent as Terpsichore in Apollo, which was the most successful of the three Balanchine ballets on Wednesday’s opening night program (the other two being Concerto Barocco and Agon), but I expected nothing less. Her technique is as crisp as it ever was, perhaps even more refined, and her Terpsichore could not only inspire a god, but could capture a god’s heart. One awaits with great anticipation her performance as Juliet this coming weekend, to assay whether her stage persona can add the necessary fire.

But the surprise of the evening, at least to this viewer, was another PNB principal, Lesley Rausch, who danced an outstanding Polyhymnia in Apollo, and anchored Agon. As Polyhymnia, Ms. Rauch, who joined PNB in 2001 and was promoted to principal in 2011, provided a strong emotional counterpoint to Ms. Korbes’s illuminated composure, enlivening her presentation with considerable flourish and allure. To this viewer, her performance made Apollo’s choice of a preferred muse more difficult.

Apollo, one of the greatest of Balanchine’s ballets, describes not only Apollo’s selection of a favored muse, but his growth as a god. It is critical, in this viewer’s opinion, that the transition from a nascent god to an Apollo who would be one of the greatest in the pantheon be clearly transmitted – not only by executing the steps, but by conveying the demeanor of a god who, inspired, grows in confidence. Seth Orza’s Apollo was very well-danced (Mr. Orza is another former NYCB soloist), but his Apollo lacked the bearing of a god, and came across to this viewer as more human than divine. And although, as Calliope, Maria Chapman’s execution of the choreography overall was accomplished, she downplayed her ‘audition,’ making her character appear unexceptional, and thereby making Apollo’s decision not to prefer her to be an easy one.

The program opened with Balanchine’s Concerto Barocco, a staple of NYCB’s repertoire from its opening performance in 1948. [Concerto Barocco was created on a predecessor company, American Ballet Caravan, which reportedly consisted of students from the ballet school that Balanchine and Lincoln Kirstein created – the School of American Ballet, which continues to funnel extraordinary dancers into NYCB. The piece premiered in 1941 in Rio de Janeiro, during Ballet Caravan’s tour of South America.] It was an understandable choice to open the evening, competently executed by the three lead dancers -- soloists Laura Gilbreath, Lindsi Dec, and principal Batkhurel Bold (replacing Karel Cruz) – and the corps (several of whom I thought were quite good, but I cannot yet identify them). But one could see the choreographic seams (the transitions, the wind-ups), as well as insecure footing and somewhat sloppy partnering, and an overall sense of upper-body ‘tightness’. It was not the best of performances to begin the evening’s program, but the company’s execution of Apollo and Agon showed that the perceived deficiencies in Concerto Barocco were probably more a product of dancing on an unfamiliar stage and for the first time in New York than any absence of ability by the dancers.

Agon, which demands both precise execution and a hint of aggressiveness, was danced very well by all the dancers involved: Ms. Rausch, Ms. Chapman, Mr. Bold, Kylee Kitchens, Elizabeth Murphy, Chelsea Adomaitis, Jessika Anspach, Emma Love, Leah O’Connor, Andrew Bartee, Jonathan Porretta, and Jerome Tisserand, although not as crisply or with the ‘edginess’ as by NYCB (if you’re going to bring coal to Newcastle…). Ms. Rausch, in the pas de deux with Mr. Bold, was particularly good, as were Ms. Kitchens, Ms. Murphy, and Mr. Porretta in the first pas de trois (although Mr. Porretta, who has a tendency to appear smug, would be well-served to display a more gracious demeanor, particularly during acknowledgments to the audience).

My knowledge of PNB is limited. I saw a PNB performance in Seattle many years ago, and, frankly, don’t recall the program. I do recall with pleasure seeing PNB’s star ballerina, Patricia Barker. One of PNB’s challenges, since Ms. Barker’s retirement, has been to demonstrate that it can be more than a company built around one dancer. Although this initial program was not a complete success, what is clear is that under Mr. Boal’s leadership, and now in its 40th Anniversary Season, PNB is doing exactly that.


Last edited by balletomaniac on Fri Feb 15, 2013 12:42 pm, edited 1 time in total.

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 Post subject: Re: Pacific Northwest Ballet 2012-13
PostPosted: Fri Feb 15, 2013 11:56 am 
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Robert Johnson reviews the Balanchine mixed bill at City Center for the Newark Star-Ledger.

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