San Francisco Ballet has opened its 2012 season with a brilliant U.S. premiere of John Cranko's revised 1967 "Onegin."
It’s exceptional in that it even surpasses the company's recent all-around excellence.
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Opera audiences in The City have seen and heard Tchaikovsky’s 1879 “Eugene Onegin” dozens of blissful times, but John Cranko’s 1965 “Onegin,” opening next week, is a San Francisco Ballet premiere.
The famed late director of the Stuttgart Ballet also used Tchaikovsky’s music, but not from the opera.
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“Year of the Dragon” opening: On Jan. 9, Gump’s in San Francisco hosted a party to present its seasonal collection of Asian-inspired fine art, ceramics and decorative accents. The display continues through Feb. 26.
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Here in The City, where the country’s fascination with the “Nutcracker” began at the 1892 Petipa-Ivanov ballet’s American premiere in 1944, the annual rite of passage has become a major economic and educational force.
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For Elana Altman, a featured soloist in the San Francisco Ballet’s annual “Nutcracker,” her first memory of ballet goes back to age 3, when she attended a performance of the Tchaikovsky classic in the War Memorial Opera House.
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Jewish Community Center of San Francisco Showcase: On Thursday, the California Street facility was transformed into an oldies party for a benefit event featuring an appearance by The Temptations. Proceeds will fund the JCCSF’s continuing educational, recreational, cultural and community programs.
Finding a cure for Coats
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Not all story ballets are created equal. In most cases, a flimsy tale is an excuse for the dancing. But San Francisco Ballet’s production of John Neumeier’s “The Little Mermaid” is the opposite, clinging tightly to the tragic Hans Christian Andersen story on which it is based.
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Music is not always honored at the ballet, but it should be.
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In the San Francisco Ballet’s Program 6, two new and adventurous pieces bracket a simple, excellent and satisfying work.Company artistic director Helgi Tomasson frequently choreographs in the manner of “a step per note” — not a good thing — but in case of his 2004 “7 for Eight,” revived this season, it really works for the best.
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Coppélia is a mechanical doll, without a heart, but around her, San Francisco Ballet’s production of “Coppélia” sparkles with live and lively dancers, miles of heart — and muscles not to be believed.In Sunday’s Program 5 matinee, Vanessa Zahorian danced the lead role of Swanilda with charm, grace and what must be called superhuman strength.
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