Tag: performances

War Memorial Opera House, San Francisco — February 17, 2012

On Friday night I saw San Francisco Ballet’s Program 2, which consisted of Wayne McGregor’s Chroma, Mark Morris’s world premiere Beaux, and Christopher Wheeldon’s Number Nine.

Chroma

For me the revelation of the evening was Chroma. I had only heard about it fleetingly and seen only very short video clips of it, so I went in with few set expectations. Well, actually my one expectation based on the photos I’d seen was that it would be very stark or cold and I wasn’t sure I would like it or get into it. Finally seeing it totally blew that away.

The music for Chroma, by Joby Talbot and Jack White III, was much more lush, lyrical, and cinematic than I’d expected. And paired with the starkness of the set and lighting, and the boldness of the choreography, there was a kind of tension in the whole thing, a dynamic range of music and emotion that I enjoyed. Well done.

Beaux

I wanted to love Beaux more but unfortunately it felt like the weak link. I was excited by the idea of a new, all-male work by Mark Morris with costumes by Isaac Mizrahi, but the costumes and lighting — mostly pink and orange — were a distraction. (Thom says the costumes are Slim Goodbody-ish.) I enjoyed the middle and later movements more, where the lighting wasn’t as harsh as the beginning. I know this makes me sound old! Otherwise the choreography, which made me think men at leisure in some sylvan utopia, is playful, fraternal, even emotionally touching, which you rarely see in ballet partnering among men.

Number Nine

I had first seen Number Nine last year at its premiere (and again at this year’s gala). I felt like the dancing was just a tad imprecise now and then during this most recent time, but it’s still a relentless, colorful delight. Indeed when I first saw it last year I was distracted by the bright costumes and saturated lighting but here coming after Beaux, it was almost refreshing. (See video.)

By the way, Number Nine is the ballet I’m having fun with here:

Now do I just pop on down to the costume shop to get fitted for a bright yellow unitard?

» See also: Reviews from the Chronicle (“Ballet’s candy-colored ‘Beaux’ plays with imagery“) and San Francisco Classical Voice (“Beauxs will be beauxs“). Program 2 runs through Saturday, February 25. The main cast I saw on February 17 is listed below.

Continue reading “Dancing through a prism”

War Memorial Opera House, San Francisco — January 19, 2012

Last Thursday night I went to the San Francisco Ballet opening night gala performance. What an entertaining and inspiring evening of dance!

I went on a totally last-minute decision; even though I had been tempted in the months leading up to it, I thought, well, as I subscriber I see SF Ballet enough that I can save my money, that I don’t need to go to the gala. (Then again when you’re obsessed with something, there’s no talking rationally!) The program and casting were announced a few days beforehand, and I thought, OK, twist my arm, I’ll get a performance-only ticket (i.e., no fancy pre- and post-performance shindigs) and go check it out.

First, the glitz. I threw on my tuxedo–so glad I finally bought one a few years ago–and headed to the Opera House.

Complimentary bubbly? Don’t mind if I do!

Most of the orchestra-level crowd sauntered in well past eight. I assume that one can’t help but dawdle when one has dinner across the street at City Hall and then is greeted by free-flowing Champagne in the lobby.

People-watching from the Ballet Shop on the mezzanine during intermission:

So, the dancing! It was all pretty amazing. I had seen two of the pieces before, and while I’d heard of some of the others, like Balanchine’s Tchaikovsky Pas de Deux, it was the first time I’d seen them performed live. I’m still rusty at writing reviews (and I’ve procrastinated on this post long enough), so I’ll lead you to the San Francisco Chronicle‘s review, which covers all the bases: “Gala’s depth, daring.” (See below for program listing.)

I will say that one of my highlights was the one-two punch of Maria Kochetkova and Joan Boada in Voices of Spring followed by Yuan Yuan Tan and guest star Alexander Riabko in Lady of the Camellias. One so light and exuberant, the other so dark and moving. Also I appreciate them showing off the men (they are inspiring!), especially in the lively men’s section from Classical Symphony and the fun piece Solo, whose lighthearted camaraderie reminded me a bit of Kings of the Dance.

So I think I’m hooked. I went stag this time, but next year I’m bringing Thom and we’ll just have to do the after-party too. Cheers to a new SF Ballet season!

Continue reading “Bella Notte: San Francisco Ballet gala”