Who’s in town Historian John McMillian talks about “Smoking Typewriters: The Sixties Underground Press and the Rise of Alternative Media in America.” [7 p.m., City Lights Bookstore, 261 Columbus Ave., S.F.]LecturesSusan Jacoby: The journalist discusses marketing hype vs. realistic hope in terms of what awaits the millions of Americans who will be beyond the traditional retirement age by 2030. [5:15 p.m., Commonwealth Club, 595 Market St., S.F.]
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Around townWho’s in town Cultural anthropologist Mary Catherine Bateson discusses the future of aging and how older adults can contribute “active wisdom” throughout a changing life cycle. The Long Now Foundation presents the lecture. [7:30 p.m., Cowell Theater, Fort Mason Center, Marina Boulevard and Buchanan Street, S.F.]Lectures
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By leaps and grand jetés, San Francisco Ballet Resident Choreographer Yuri Possokhov is becoming a major figure in the world of dance.
With the vastly entertaining “Magrittomania,” “Damned” and 10 other works behind him, Possokhov premiered “RAkU,” the centerpiece of the season’s second program, Thursday night in the War Memorial Opera House.
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By leaps and grand jetés, San Francisco Ballet Resident Choreographer Yuri Possokhov is becoming a major figure in the world of dance.With the vastly entertaining “Magrittomania,” “Damned” and 10 other works behind him, Possokhov premiered “RAkU,” the centerpiece of the season’s second program, Thursday night in the War Memorial Opera House.
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San Francisco Ballet’s current revival of “Giselle” is of a 12-year-old production, and it’s aging well. The performance by the Sunday matinee cast was a formidable presentation of one the greatest “white ballets” of all time.
The original 1841 Jean Coralli-Jules Perrot choreography, in Marius Petipa’s 1884 version, has survived all this time and is still produced today around the world. But San Francisco has something different.
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A strong, entertaining opening night gala Wednesday night signaled the beginning of San Francisco Ballet’s 78th season.
Two great selections bracketed the program: the opening excerpt from William Forsythe’s dazzling 1996 “The Vertiginious Thrill of Exactitude” and the finale’s fourth movement from Georges Bizet’s “Symphony in C” featuring George Balanchine’s landmark 1947 choreography.
Frances Chung and Jaime Garcia Castilla were the lively standouts in “Thrill,” seemin
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Few ballet companies, even large troupes, schedule more than one or two full-length works per season. Mostly they present repertories of dance pieces usually running between 20 and 30 minutes.
With large casts and elaborate sets and costumes, evening-long works are difficult and expensive to produce; they are what opera is to chamber music.
Yet San Francisco Ballet offers three big story ballets for its 78th season, which opens with a gala Jan. 26.
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San Francisco Ballet — the country’s oldest professional ballet troupe, founded in 1933 — was also the first to present “Nutcracker,” the holiday classic set to Tchaikovsky’s beautiful music, in the United States.
With the 2010 “Nutcracker” season about to begin Dec. 9, some members of the international company offer comments about their holiday experiences at home, from neighboring Canada to far-away lands.
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Whatever Helgi Tomasson’s classical and restrained 1994 “Romeo and Juliet” — onstage at the War Memorial — may lack in passion is more than made up by San Francisco Ballet’s super-romantic pair of Davit Karapetyan and Vanessa Zahorian.
Karapetyan, from Yerevan, Armenia’s largest city, and Zahorian, from an Armenian family in Pennsylvania, portray Romeo and Juliet with all the heartbreaking poignancy of Shakespeare’s original.
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I’m crossing off of my New York nostalgia bucket list all the George Balanchine ballets performed at the New York City Ballet (the great man's home company until his death in 1983).
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