Little wonder that Balanchine seemed to hover over “Prism” by San Francisco Ballet’s artistic director, Helgi Tomasson, or that Robbins floated above Christopher Wheeldon’s “Rush.” Tomasson danced with Balanchine and Robbins from 1970 to 1985, when he left to take the helm of the San Francisco company. He was commissioned by New York City Ballet to make “Prism” in 2000. The British-born Wheeldon set out from London for New York City Ballet in 1993, soaking up the spirit and ethos of neoclassicism and becoming that company’s first resident choreographer eight years later. His jazz-inflected “Rush,” first performed in San Francisco in 2003, is very much a paean to Robbins and Balanchine.
When the couple touch fingers, it’s as epic a moment as any bed-rumpling romp on “Sex and the City” (where Misha famously played another brooding Russian), Krymov’s acrobatic staging of the rendezvous brings to mind the work of Robert Lepage or Rinde Eckert, spectacular but also intimate, Sinyakina, the leading actress from Krymov’s Laboratory, imbues Olga with such vulnerability that you wish this were a different kind of love story, Tei Blow’s sly video design and ballet shoe cookie cutter - fondant, sugarcraft & biscuit - 3 sizes - instagram Dmitry Volkov’s beguiling soundscape also heighten the passion in this cerebral stream-of-consciousness piece..
And here’s the best news: This was the first of two weeks featuring Heras-Casado. The conductor returns to Davies next week to conduct Bartok’s “Dance Suite,” Ravel’s “Le Tombeau de Couperin,” Shostakovich’s Symphony No. 9, and the world premiere of Mason Bates’ “Auditorium.” At the April 27 performance, “Auditorium” will be streamed live on Facebook Live to audiences around the globe, making the San Francisco Symphony the first major orchestra to stream a world premiere in real time. Catch it if you can and help make music history.
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Mine? It was way back in 1967, but I remember it well because it cost me a bundle! And that part hasn’t changed through the years, which I discovered a few years back when I helped my own sons get ready for their big nights. That’s about where the similarities end, though. Because other than the fact that it’s still an expensive night, the event held today is much different than the one I attended nearly 50 years ago. But you see more of an evolution of the Senior Ball if you compare my sons’ events of the 1990s to mine of 1967 and then to my dad’s of 1934.