If a sold out week-long run of Christopher Wheeldon’s “Cinderella” is anything to go by, San Francisco Ballet should note that story ballets and fairy tales sell.
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Although the San Francisco Ballet’s sixth program got off to a shaky start at the War Memorial Opera House, the troupe’s star dancers quickly overcame the initial deficiency and the mixed repertory evening proved delightful.
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Tragedy has attracted artists since time immemorial, and Yuri Possokhov’s “Francesca da Rimini” is no exception.
The brief but tumultuous piece is the second part of San Francisco Ballet’s Program 7 mixed bill, and its ultimate highlight.
Based on the tale of Paolo and Francesca – lovers immortalized in Dante Alighieri’s 14th century poem “The Divine Comedy – “Francesca” is, essentially, a condensed “Romeo and Juliet.”
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Although San Francisco Ballet's sixth program got off to a shaky start in the War Memorial Opera House on Tuesday, the troupe’s star dancers quickly overcame the initial deficiency, and the mixed repertory evening proved delightful.
Yet the performance began with an unusually awkward entrance by the corps, marching on steps, in “Raymonda Act III.” Almost immediately, things picked up, with bravura performances by Vanessa Zahorian and Taras Domitro, and bright solos by Sarah Van Patten
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With a steady string of world premieres and regular accolades in the national media, the San Francisco Ballet has been on a roll the past few years, and 2014 might be even better.
America’s oldest professional ballet company announced its 81st season today. It begins Jan. 22 and ends eight programs and 61 shows later on May 11, 2014.
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A magnificent dance production, San Francisco Ballet's "Onegin" also exemplifies romantic poetry and theater of the first order. Thursday’s opening performance of the woefully short one-week run was thrilling in every way.
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San Francisco Ballet’s Program Four is perfect for those who think they don’t like ballet.
Works by George Balanchine, Christopher Wheeldon and Alexei Ratmansky make a lively mixed bill; Wheeldon’s “Within the Golden Hour” fired up the house enough to get an unusual standing ovation mid-program on Friday’s opening at the War Memorial Opera House.
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Vaslav Nijinsky — a great, troubled, self-destructive artist who spent the end of his life in psychiatric hospitals — was the world’s most famous dancer a century ago.
His shocking story is the subject of “Nijinsky,” a bold, full-length ballet by choreographer John Neumeier, the Wisconsin-born dancer who has headed the Hamburg Ballet for 40 years.
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Although British choreographer Wayne McGregor’s “Borderlands” made its world premiere at the War Memorial Opera House on Tuesday night, the piece looks rather familiar.
The finale to San Francisco Ballet’s Program 1, “Borderlands” feels like a B-side to McGregor’s 2006 work “Chroma” – which SFB performed just last year. The works share similar sets, costumes, lighting and staging but use different music.
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The San Francisco Ballet opened its 2013 season Thursday evening at the City Hall rotunda with “Moving the Compass,” a black-tie gala celebrating the troupe’s 80th anniversary. Chaired by Deborah Taylor, the evening included cocktails, fine dining, a crowd-pleasing performance (including excerpts of works by artistic director Helgi Tomasson) and an after-party.
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