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The Ballet of Teatro Colón will present John Cranko's Onegin. It will feature the guests artists from the Stuttgart Ballet Elisa Badenes and Jason Reilly. Performances dates: September 1-11, 2022 https://teatrocolon.org.ar/en/season-2022/ballet/produccion/onegin

Kyiv City Ballet makes first Chicago visit at the Auditorium Theatre, September 24-25. Tickets start at $40. https://www.broadwayworld.com/chicago/article/Kyiv-City-Ballet-Makes-First-Chicago-Visit-At-Auditorium-Theatre-September-24-25-20220824

Miami City Ballet is bringing Jewels to the Zellerbach Hall in Berkeley, California, on September 23-25. The event is made possible, in part, by an anonymous sponsor. Prices range from $37 to $148. To purchase tickets, visit the CalPerformances website: https://calperformances.org/events/2022-23/dance/miami-city-ballet-george-balanchines-jewels/

National Ballet of Canada will give four performances at the New York City Center (March 30-April 1, 2023). The program will include the works of Kenneth MacMillan, David Dawson and Crystal Pite. https://www.nycitycenter.org/pdps/2022-2023/the-national-ballet-of-canada/

I am afraid I don't understand what it means SFB being in the orbit of NYCB and what happened in 2001. But until 2022, the final season for its AD Helgi Tomasson that understandably was programed to highlight his legacy, SFB regularly performed works by both Balanchine and Robbins. During the two years of the lockdown SFB recorded and streamed A Midsummer Night's Dream and Emeralds (a complete performance of Jewels was streamed that used earlier recordings of Rubies and Diamonds).

Any word on dancers who have actually escaped the war and fled their country to dance the lead parts?

Having seen all three performances of Mayerling in the summer of 2019 during the RoyalI Ballet’s tour to Los Angeles, I feel tempted to see it again but this time on the company’s home stage and with two debuting Rudolphs as added bonus. I checked the website for tickets availability and saw plenty of excellent seats. The price of £135 for the best seats in the stalls is a steal when one considers that average energy bills for households might soon be in excess of £300 a month. A ballet ticket that equals to 45% of one’s monthly gas-electricity costs sounds very reasonable. If the ballet company in my city offered £30 tickets for orchestra seats I’d be at a performance every night of the week. You Londoners are so lucky to have access to arts at such affordable prices!

Can I add John Neumeier's "Nijinsky" and Vladimir Varnava's "Isadora"?

The current ticket prices will look like a bargain come fall and winter. 13% inflation is no joke.

Does anyone wear red-white-black at at the Royal Opera House? How about black-red-green? No? No one? I thought so.

I like to add my two cents to the discussion on whether or not the American audiences like narrative ballets beyond the 19th century Petipa classics. We certainly do, although we may not have that many examples of full-length, two or three act, ballets because it is extremely expensive for the companies to commission evening long new pieces. To the ballets already mentioned in this thread, I want to add Ratmansky’s “The Bright Stream” and “The Golden Cockerel”, part of ABT repertory, as well as Possokhov’s “Anna Karenina”, which premiered at Joffrey Ballet in February of this year to a great acclaim from critics and audiences alike. Yuri Possokhov, a choreographer-in-residence at San Francisco Ballet, created quite a few narrative ballets for SFB and other US companies — RAkU, The Swimmer, Francesca da Rimini, Optimistic Tragedy and The Miraculous Mandarin. Yuri is very popular with San Francisco audiences as his ballets present a satisfying mixture of neoclassical elegance and graceful athleticism. His choreography can be too busy and relentless at times but its classical vocabulary will always bring people to the theater. I am not a big fan of the idea of literary works to be adapted for ballet but I liked what Possokhov did with Lermontov’s “A Hero of Our Time” which I wished would have toured to the US (a tour to California was announced but the plan was later scraped for unknown reasons). Not only the story moves along smoothly and conveys the mood of the novel but there is much dance to be enjoyed, with exciting grand scale group work, intricate steps and plenty of virtuoso tricks that require solid classical ballet training. All these essential dance elements I found missing in such works as Marston’s “Snowblind” or Ochoa’s “A Streetcar Named Desire”. I personally find these ballets as well as many of those by John Neumeier though engaging and exciting at times but not worthy of a repeated viewing. This is just my personal opinion and balletic preferences. And I must admit that I do very much like Grigorovich’s ballets which to many in the US would be a manifestation of poor taste.

For the sake of historic accuracy I want to correct one point in Ivy Lin’ review. San Francisco Ballet by no means is a Balanchine offfshoot company. It is the first and oldest professional ballet company in the US founded in 1933 before Balanchine’s arrival in NYC. It is true that SFB founders Harold and Lew Christensen performed with Balanchine’s American Ballet and that its current Artistic Director Helgi Thomason is a former principal dancer of NYCB but it doesn’t mean that the company can be characterized as based on Balanchine’s repertory, style or technique.