Natalia

Cygne - Please don't stop dancing! You'd be surprised that it doesn't take quite so much money. Some of us make choices in life....long, long ago, in my case....to make ballet travel the absolute-number-one priority. No car - no kids - no credit card debt. Furthermore, I plan everything well in advance to get the best airfares & guesthouse deals. I've even been known to stay in a hostel or two! Moscow hostel near the Bolshoi: $12/night. Sparkling-clean, wonderful staff & a nice breakfast included! of course, if I'm in Moscow on my company's business, then it's the Metropole all the way! - Jeannie

Olé, Monsieur Lacotte! Review and Commentary of the Paris Opera Ballet's PAQUITA January 26 & 27, 2001 Balletomanes from near and far gathered in the gold-encrusted auditorium of the Paris Opera House-Garnier to witness the first performances of the full-length ballet PAQUITA in almost one hundred years. Through the wizardry of master-choreographer Pierre Lacotte, the Paris Opera Ballet's dancers were about to breathe life into the characters of Paquita, Lucien, and their confreres, just as the Bolshoi Ballet did with the Ancient Egyptians, eight months earlier. And the results? C'est vraiment magnifique! Yet another historic, full-evening ballet is no longer relegated to the tattered pages of Cyril Beaumont's "Complete Book of Ballets" but, rather, has taken on a three-dimensional form within luxuriously realistic designs, set to tuneful waltzes and jotas. PAQUITA lives and dances! LACOTTE: MASTER MAGICIAN Pierre Lacotte is not, nor does he claim to be, a dance notation decipherer. Rather, he is a choreographer in his own right, who fully understands and-more importantly-adores the 19th-century manner of dancing. He lives and breathes the enchainements of the Franco-Romantic and Russo-Classical styles. Could he be the spiritual cousin of the choreographer of the original 1846 Paris production, Joseph Mazilier? Or is he the great-grandson of Marius Petipa, who restaged the work for St. Petersburg in 1881, adding the 'Golden Pas de Trois' to Act I and the 'Children's Mazurka' and 'Grand Pas Classique' to Act II? One thing is for sure: Pierre Lacotte was the pupil of Lubov Egorova, one of the great ballerinas of the "Silver Age of the Imperial Russian Ballet" at the turn-of-the-century. Egorova instilled in Lacotte a great passion for and understanding of the 19th-century manner in ballet. This production is jam-packed with rich dancing, as well as extended mime passages. Gypsies twirl. Nobles swirl. Twenty-four Spanish senoritas emerge from a tiny tent, much like those Polichinelles hop out of Mother Ginger's skirt in NUTCRACKER. So the steps don't match the historic notations? Who cares! It's the Romantic Elssler-esque & Cerrito-esque spirit that counts. And, besides, who on earth has tried to bring these wonderful ballets to life during the past 100 years? Only Lacotte. [in all fairness, the three aforementioned Petipa additions are 100% intact here, and quite recognizable to the public.] PLOT: MELODRAMA TO THE MAX Perhaps it is time to pull-out that yellowed Beaumont tome? Every bit of the tale has been maintained in this revival. This translates to a rather complex plot, necessitating clear miming skills in the dancer-actors. The ballet is set in the French-occupied Zaragoza, Spain, during the era of Napoleon and Goya It is the story of a young noblegirl, Paquita, who was reared by gypsies after her family was killed in a massacre. Now a beautiful woman, she is living under the thumb of a Macho-Gypsy Chief named Inigo. She falls in love with a French nobleman, Lucien, whose entourage stops at the Gypsy Camp for a rest (setting of Act I)...much like the nobles stop for refreshment and entertainment by Giselle's cottage in some other ballet...a great excuse for dancing! But, alas, Lucien has just become betrothed to a Spanish noblewoman, Dona Serafina, through a diplomatic marriage of convenience. However, Serafina's father is not enthused about his daughter having to marry a French Invader (Have I lost you yet?) . Macho-Gypsy Inigo, suspecting future hanky-panky between his Slave (Paquita) and Lucien, is all-too-willing to assist Serafina's dad in assassinating Lucien. The plot thickens. Act I, scene ii is almost all mime. It is set in the living room in the house of Inigo & Paquita. A big fireplace dominates the back wall. This 'gypsy hut' has Moorish high ceilings akin to the Grand Mosque in Córdova. (Gypsies obviously lived very well in 19th-century Spain!) Paquita overhears the plotters in their dastardly scheming - Lucien will be arriving for dinner, upon which he will be drugged to unconsciousness, then stabbed. Plot is averted as Paquita warns Lucien in the nick-of-time and they escape the house through a neat bit of stage trickery...which I won't reveal here. Act II - the final act - is all set in the grand arcaded ballroom of the French Governor of Zaragoza. Celebrations for the wedding of Lucien and the Spanish senorita are under way. Lucien & Paquita run in breathlessly. Lucien proposes to Paquita who, in her simple gypsy dress, is embarrassed to be in the midst of such luxury and must refuse. Then - lo! - she bumps into a portrait on an easel....which looks just like the picture of her long-lost daddy, which she carries in her locket. Yes - it is the same man. She is truly a noblewoman! Hoorah --she can marry Lucien after all! Hoorah - the wedding dress, which just happens to be displayed on a mannequin in the middle of the ballroom, fits her! Hoorah - we can have a Pas de Deux and Grand Pas Classique!!! DESIGNS FIT FOR AN EMPEROR OK - you can breathe a sigh of relief. PAQUITA has not been set in a minimalist spaceship or in a drug addict's tenement. My utter frustration with John Neumeier's SYLVIA or Eks' SLEEPING BEAUTY would not be repeated on this Parisian vacation! The moment that the curtain went up on designer Luisa Spinatelli's realistic canyon in the Spanish hills, I knew that all would be well. And Spinatelli's costumes were stunning - simply stunning. Act I featured rows of corps ladies in multi-tiered Cachucha-like red skirts, with flounces of gold, copper or black lace. Other ladies wore romanticized, pastel-toned 'fantasies on a Tziganesque theme.' Delectable, platter-skirted classical tutus take over in the Act I pas de trois & Act II grand pas classique. Philippe Albaric's lighting added greatly to the dramatic effectiveness of the work. My #1 Favorite Scenic Moment: the start of the Grand Pas Classique in Act II, when the back-curtain goes up to reveal Paquita & Lucien walking down the most splendid staircase in balletdom, complete with lion-headed banisters. Now THIS is the stuff of which Grand Ballet is made! MUSIC TO MAKE ONE WHISTLE WITH GLEE Kudos to the evening's conductor, David Coleman, who elicited heavenly playing from the POB's resident orchestra, the Orchestre Colonne. Mr. Coleman was also tasked with reviving and arranging the tuneful score by Edouard Deldevez, with additions by Ludwig Minkus from the 1881 Russian production. Coleman maintained most of the original score and, when necessary, provided orchestrations that are true to the style of the period, rather than resorting to the modern practice of over-sweetening ballet scores to the point of saccharine disgust. (Take note, Mr. Lanchbery.) Interesting Aside for Ballet-Music Enthusiasts: During the course of his musical research, Mr. Coleman discovered that the 'Golden Pas de Trois' music - heretofore attributed totally to Minkus, was not so. Only the coda, with its galloping airs, is by Minkus. The entrée and both female variations are by Deldevez. The male variation is from Adolphe Adam's score to DIABLE á QUATRE..which ABT fans fondly remember as Mikhail Baryshnikov's "goblet variation" in his version of DON QUIXOTE! AH...AND THE DANCING!!! I'm leaving the best for last. The dancing? SPECTACULAR, as one can only expect from - perhaps - the finest ballet troupe in existence at the moment, the Paris Opera Ballet. Paquita on both evenings: Marie-Agnes Gillot displayed a remarkable versatility in dancing the title role. A very tall and large-framed dancer, albeit rail-thin, Gillot was unexpectedly adept in most of the terre-a-terre, petite-batterie dancing in Act I. Such fleet-footed dancing is normally the domain of shorter ballerinas, such as Clairemarie Osta (who danced the premiere on January 25), but Gillot did quite well, with exception of one small falter on her first evening. Her mime was clear and comic in all the right places. Gillot was in her queenly element in Act II, especially in the gazelle-like grands jetes that commence her solo. [On both evenings, the audience went crazy cheering that diagonal of jetes, even before it was completed!] In the coda, her fouettes were spot-on and included multiple doubles. Lucien d'Hervilly: Jean-Guillaume Bart and Jose Martinez. The handsome & statuesque Bart was a revelation to me, due to his elegance & perfect partnering of the queenly Gillot. The very thin but powerful Martinez had a bit a trouble in lifting Gillot but he was his magnificent, high-flying self in his solos. Soloists in the 'Golden Pas de Trois' for two women & one man: The men did it for me! Both men who I saw in this role left me in wide-eyed wonder. On the 26th, it was the airiness and elegance of Jeremie Belingard; on the 27th, the in-your-face dynamism of Emmanuel Thibault (one of the all-time great Bluebirds at the POB, by the way). Among the four soloist ladies whom I saw in this work, over the course of the two nights, Clairemarie Osta and Fanny Fiat (on the 27th) were far and away the best. Grand Pas Classique soloists: In this original version of the Grand Pas, unlike the Russian "multiple soloists" version, only Paquita & Lucien dance solos. [As mentioned earlier, Paquita dances the famous "jete variation" which is normally danced by "another girl" in Russia; Lucien's variation is the same as danced in Russia and ABT.] Nonetheless, the corps of Spanish senoritas includes parts for six demi-soloist girls who appear in pairs (as in the Russian and ABT versions). I was particularly impressed by the long line, stretch & elegance of Geraldine Wiart in the second pair. Other soloists: In the role of Inigo (Macho-Gypsy), both Yann Saiz and Karl Paquette danced with the appropriate degree of dastardly abandon. The exotic, raven-haired Isabelle Ciaravola was a gorgeous-looking Dona Serafina on the 27th and left me wanting to see wore of her dancing. Children's Corps: Alas, this is where this production's quality wanes notably. Why the POB chose to use the youngest of students-aged 9 and 10-is beyond me. The stately 'Children's Polonaise & Mazurka" in the ballroom scene is supposed to reflect 'nobility in miniature,' as we are used to seeing at the Vaganova Academy/Kirov-Mariinsky in Russia...and even in the Kirov Academy of Washington, DC. Instead of nobles, the POB children galumphed like peasants at a hoedown. Adult Corps: Exquisite, especially in the Grand Pas Classique. The POB corps of ladies is the only one on earth, in my opinion, to rival the Kirov-Mariinsky's. The men were also quite wonderful, although the Toreadors in Act I were not quite 'in synch.' Special Post-Varna IBC note: How nice to spot the POB's 2000 Varna IBC competitors, Jean-Sebastien Colau, and Julianne Mathis, among the dancers. Bravi to both! FINALLY...THE IRONY OF IT ALL The POB PAQUITA is a balletic event made in heaven. We who prefer our favorite art "straight-up and classical" can smile and know that conservative splendor continues to flourish in the world of ballet, at the dawn of the new millennium. How ironic that, as an American, living relatively close to the purported "World Capital of Ballet - New York," I must usually - not always -- travel beyond my shores to satisfy my hunger for old-fashioned ballet of the purest form, danced in luxurious settings. All I can say is, "Lord, keep the airline prices from going up much further, so that I can continue to enjoy the best that European ballet has to offer!" Jeannie Szoradi Washington, DC, USA [This message has been edited by Jeannie (edited February 09, 2001).]

Good question! In addition to the obvious technical prowess, artistic sensibility and physical beauty.... To me, a 'prima ballerina' possesses a special 'regal' air & quality. The 'prima ballerina' commands the stage as if she owns it..and whoever gets in the way, beware! The regal air. Examples: * Cynthia Gregory * Margot Fonteyn * Elizabeth Platel * Irina Kolpakova * Uliana Lopatkina * Maya Plisetskaya * Sylvie Guillem * Suzanne Farrell * Nina Ananiashvili

I don't know, Alexandra. Ms Levene's article is rather glib...replete with cutesy quips & somewhat-stereotypical comments about various international schools (supposedly quotes from the various English repetiteurs interviewed)...but she comes to no conclusion. Why point out the problems -- in rather mocking fashion -- if no solutions are offered? - Jeannie

Will do. ************ Jan. 2 update: Jay, I never received a response from you to my e-mail of last week. Please write soon if you'd like my help, as I will be on extended travel during most of January and unable to provide you with the information that you need. Cheers. [This message has been edited by Jeannie (edited January 02, 2001).]

Hi, Jay! Another Drigo fan in our midst. Yeah! I trust that you've written to 'Francoise' by now and that she'll be able to help you. That's why I don't even bother to offer my services; Francoise is tops! For the record--and as a 'public service' to other Drigophiles on this Board --following is a list of what I have in my video collection, to music by Drigo: * THE TALISMAN, complete - Arena di Verona reconstruction; in addition, there are various video versions of the Soviet-era pas de deux (Niriti & the Wind-God), which was not a part of the full-length ballet * MAGIC FLUTE, complete - NYCB, Peter Martins (& Balanchine?), closely following the Ivanov mise-en-scene directions. A delight! * REVEIL DE FLORE pas de deux - Joffrey dancers, Ann Marie d'Angelo & Ron Reagan (yes--the son of the ex-President) * HARLEQUINADE, complete, Kirov Filial Troupe & St. Petersburg Maly; highlights of NYCB version (Balanchine); many versions of the Soviet-era pas de deux * ESMERALDA, complete, St. Petersburg Maly - Drigo wrote music to additions to Act II, including the famous Fleur-de-Lys Waltz, Diana & Acteon pdd, etc. * LITTLE HUMPBACKED HORSE, complete, Kirov-Vaganova Academy - Drigo wrote music to a few variations in the Underwater Grotto scene; also, some Drigo music included inthe Soviet-era addition to this scene "Ocean and Two Pearls pas de trois" (which may--just may--be derived from Drigo's full-length ballet, THE PEARL, written for Tsar Nicholas II's coronation) * LE CORSAIRE pas de deux (or pas de trois, depending on version) - many, many videos! * SWAN LAKE 1895 version - Drigo orchestrated some little-known Tchaikovsky piano pieces for the definitive Petipa/ivanov version, such as Odile's solo and Valse Bluette/Un Poco di Chopin for the swans in the final scene. So, you see, Drigo lives on in our collections! One more thing...have you tried Dance Books (UK shop) for the scores? It's the only shop where I recall seeing several complete scores of ballet music. Good luck! - Jeannie [This message has been edited by Jeannie (edited December 28, 2000).]

TATSU, I couldn't agree more with your assessment of Vishneva's Aurora.It was a blessing and honor to have seen her performances in that role in London, this past summer. They were even better than the one in New York in '99. Simply the finest Aurora I've seen, although Jennifer Ringer (NYCB) conveys much of the same charm & 'perfume.'

I thoroughly enjoyed reading your report, Hu Xinxin. I'm only a bit sorry that you did not find Elvira Tarassova's Gamzatti to your liking, as she is one of the few remaining true classicists among the Kirov soloists. Perhaps she was having an off-day or recovering from injury? When she is "on" she is truly beautiful.

According to a Washington, DC-based electronics store that caters to the globetrotting diplomatic community, I have the following information: * AIWA multi-system Hi-Fi VCRs ($720 at this particular store) were introduced to the U.S. market about one year ago. They differ from other multi-system VCRs in that, with the proper connection cables, they can be used with any television set (including NTSC-only sets, as we have in America). THE OTHER HUGE PLUS OF THE AIWA is that it allows dubbing of foreign tapes, if you have it connected to another VCR (not nec'ly multi-system VCR) and to your TV set. In other words, it's possible to dub PAL/SECAM, etc. tapes to NTSC and, vice-versa, if you wish to tranlate an NTSC tape to PAL/SECAM for a friend who lives overseas. * ALL OTHER multi-system VCRs sold in the US (varying in price from $199 for a JVC to $600 for a SONY) require a multi-system television set. Apparently, dubbing (copying) from one system to another is not possible with such machines. * Multi-system TV sets range in price from $350 for a 21" Hitachi...to $650 for a 29" Hitachi...to $2,500 for a SONY Trinitron 34" set. I'm not endorsing this store. It's the one that my company generally goes to when procuring equipment going to our overseas projects (after obtaining three bids, etc. etc.). Exports Electronics, 1719 Connecticut Avenue, NW, Washington, DC. Tel. 202/232-2244.

Slowly I turn...step by step...inch by inch. ABOTT & COSTELLO - The Ballet!

Right-on, dirac! However, why can't we enjoy a 'gloss' on GWTW from a pure-entertainment perspective? Are we so jaded at the start of the 21st century that we cannot enjoy entertainment-for-entertainment's sake? Must we always look for deep meanings and form picket lines? How about protesting ABT's "Corsaire" as being anti-feminist or protest the Mariinsky for showing the little black sambos who dance with the Golden Idol in "Bayadere"? Why don't we protest the Kennedy Center next March, as ABT's "Giselle" shows cruelty-to-animals in the Hunt Scene. Gimme a break! Not every work of art has to possess a "deep intellectual meaning" to warm audiences hearts. I pity the jaded intellectuals who are unable to enjoy the performing arts without finding some liberal cause or "reality-blast" in the scenario. It's just as blessed to possess the heart of a child as it is to have the brain of a neurosurgeon. - J. [This message has been edited by Jeannie (edited October 11, 2000).]

Cervantes' Don Quixote: The Ballet! Whoever would THINK of trying to transfer this huge tome into a ballet should be shot. Get it? HELLLOOOO!!!

There is a "War and Peace" opera, so why not a "Gone With the Wind" ballet? I think that it's a splendid idea. MY kind of dance production - costumes! sets! spectacle! old-fashioned, non-offensive romance!

Here is the ultimate cast: SCARLET - Sylvie Guillem...gorgeous minx who, I'm sure, will know how to get her Rhett RHETT - Konstantin Zaklinsky...picture him with a mustache ! Remember, in the novel, Rhett was quite a bit older than Scarlet MELANIE - sweet Yvonne Borree (Darcey Bussell would be a second choice but she's too tall to be ideal as 'meek-and-mild') ASHLEY - Charles Askegaard...no question about it! MAMMY - Mark Morris in drag AND blackface. ....and in a cameo role.... AUNT PITTIPAT - Natalia Dudinskaya (currently in Boston, rehearsing Bayadere...so I'm sure she can swing down to Atlanta for this!) [This message has been edited by Jeannie (edited October 10, 2000).]

Lordie...I go away for a week & return to discover that "y'all" are on a roll regarding this topic! Simple answer to Leigh's question: I consider all overt depictions of sexuality in the performing arts as tasteless & sickening. Even in Eifman or MacMillan, choreographers who I greatly admire otherwise for the realistic splendor of their productions. It doesn't matter if it's straight, gay, whatever. I don't pay my $30-a-ticket (or more) to see that crap on the stage. - Jeannie [This message has been edited by Jeannie (edited October 10, 2000).]

Oh dear, Alexandra. Well, I thought that, this morning, after a good night's sleep, my feelings for last night's program--and for the entire season--would change. No -- I feel stronger that I was, in essence, gipped of my $31 (2nd tier sides - cheapest seat). A great PRODIGAL alone does not constitute a MAJESTIC evening of supposedly first-class ballet at the opera house in the capital city of the (supposedly) most powerful country on earth. Plain & simple. If opera-lovers can demand spectacular sets & costumes and a general feeling of REGAL MAJESTY when they plop money to see an opera, then why can't the ballet produce the same effect? Ballet, to me, is La Scala's EXCELSIOR, NYCB's COPPELIA, ABT's MERRY WIDOW, Eifman's RED GISELLE, Kirov's SLEEPING BEAUTY-1890, POB's RAYMONDA...and the opening program of this Balanchine Celebration...the only one worth the price of my ticket, IMO. There alone, I felt like a Tsarina seeing a majestic production before me. Not what I saw last night. I realize that some folks prefer the simpler stuff...I simply want to chime in for that segment of the audience that prefers spectacles & luxury. [And I was not alone - after the first ballet last night, the ENTIRE 2nd-tier, left side front row had left. LOTS of empty seats at the Kennedy Center last night.] Have a great week-end, nonetheless. I will--watching my EXCELSIORS & RAYMONDAS on video. - Jeannie

Just back from opening night of this fourth & final program of the Celebration...if tonight's mostly blase display can be called a 'celebration'. Thank goodness for the San Francisco Ballet's PRODIGAL SON for saving the evening. My cape embraces him! SYMPHONY IN THREE MOVEMENTS (San Fco Ballet) - Quick -- Pass the No-Doz! The evening began with an fizzle in the form of this minor Balanchine work, danced by a ragged corps. I swear, my Saturday-morning aerobics class can jog in greater unison than do these gals. As with the previous program's SYMPHONY IN C, this ballet was somewhat-salvaged by the brilliance and beauty of Lucia Lacarra in the central role of the girl in 'light pink' displaying great fluidity & expressive feet. What a fascinating dancer! Among the three soloist men, the classy slinkiness of Parrish Maynard stood out. PRODIGAL SON (San Fco Ballet) - Spectacular! Muriel Maffre was a Vamp with a capital "V" and Gennadi Nedviguine brought compelling acting to the title role. They were electric in the Seduction pas de deux. High-flying Michael Easton was most impressive as one of two demi-solo 'friends' at the banquet. WESTERN SYMPHONY (Pa Ballet) - Hard to believe that this two-week homage to the great Balanchine ends on this amateurish ballet. [Could it be that I really adored this ballet years ago? Hard to believe.] The soloists--especially in the first movement--were embarrasingly weak. Nonetheless, the corps gave it its all in the rousing finale...waking me up for the final applause. Good night, ladies (and gents). Z-Z-Z-Z-Z.... - Jeannie

Manhattnik wrote: ************* I do think this is a good candidate for The Worst Ballet Ever. ************* Didn't I predict this reaction from you & other 'Manhattanites' months ago? (he-he) Nonetheless, from all I've read beforehand about this ballet, I think that I may agree with all of you this time. ************* . . . some really terrible choreographers like Bejart or Eifman. . . Speak for yourself! - Jeannie (not exactly rushing to NY to see this one)

Yep...I don't know where & exactly when this version was made. A while back I also saw a version with -- hold onto your hat -- Monique Loudieres in the second movement. I believe that that one was made ca-1994, during the period to which you refer. I'm REALLY jealous of the people with that video! [This message has been edited by Jeannie (edited September 21, 2000).]

There's quite a bit, Alexandra. I detest--absolutely DETEST--the Kirov's APOLLO with those "prima-donna-smiley" muses. Especially the toothy-grinned Assylmuratova (in 1992) &, more recently, Svetlana Zakharova primping & smiling at the audience. Estelle, this was a 'private video' that I saw at the house of a European acquaintance, last year. Several etoiles & premieres danseuses from ca-1998 (I recall Arbo, Guerin & Letestu among female solistes). Mind-boggling perfection among the corps. - Jeannie [This message has been edited by Jeannie (edited September 21, 2000).]

Saw the program last night. SERENADE (Pa. Ballet) "Serenade" was the highlight for me, by far. The feather-light touch is just what I've always envisaged for this ballet; NYCB is too earthy; Kirov is lighter, but too tentative with the steps. SYMPHONY IN C (San Fco Ballet) "Symphony in C" has long been one of my favourite 'Balanchine-Abstract' ballets, along with "Ballet Imperial" and "Theme & Variation". Alas, my good vibes couldn't save the evening! With the huge exception of the ravishing Lucia Lacarra, "Symphony in C" was a let-down tonight. It came nowhere close to the magnificent performance that I saw by this same troupe at Wolf Trap two years ago. The current corps are simply too disparate in body types to make this work. And I was sitting way up in 2nd tier...its still noticeable. [And for whomever on this Board wrote, a few days ago, "Jeannie--uniformity has nothing to do with Balanchine..." I respectfully answer: "CRAP! It does count in works where a corps de ballet is supposed to be dancing the same steps, side-by-side." That having been whispered ...I can state with some degree of first-hand knowledge that no company can touch the Kirov with this work...and I've seen NYCB, Bolshoi, Royal Ballet & POB (the latter two via video) dance it within the past 18 months. Would love to someday see POB dance it "live" as, like the Kirov, the French dancers seem to have a crisp uniformity...not to mention a certain 'majestic-regal hauteur' that, IMO, should come through in the faces of the corps when performing these sorts of Balanchine ballets that pay homage to the Mariinsky.] BUGAKU (San Fco Ballet) As for "Bugaku," I couldn't stand it before...can't stand it now. 'Grotesque' is the only word that comes to mind. I'm sorry that I missed Tan in the role of the Bride because Maffre was as vulgar-looking in the role as was Heather Watts or whoever I saw years ago with Dance Theater of Harlem. IN SUM Program #1 remains the undisputed winner among programs in this Balanchine Celebration...by far. I'll be seeing Program #4 tomorrow (opening night) with great hope for a repetition of the sparkle from Program #1. - Jeannie [This message has been edited by Jeannie (edited September 21, 2000).]

"Mozartiana" was telecast by PBS in December 1983, along with the complete versions of "Vienna Waltzes" and "Who Cares?" (program title: "New York City Ballet Tribute to George Balanchine"). People who had VCRs at the time were able to record it. Yes, Farrell/Andersen/Castelli danced the "Mozartiana" telecast. No, it has not been made commercially available...although there was great hope at one time that this would be the next installment in the 'Balanchine Library' video series. We may wish to send our cards & letters to the producers of that series, Nonesuch, requesting that they release that magical broadcast. (hint-hint) Of course, approval must be received by all dancers before a telecast performance is made available commercially...one reason why we'll never see certain blooper-filled telecasts come out on commercial video...such as ABT's 'Romeo & Juliet' starring Makarova/McKenzie, in which Kevin Mckenzie danced Act III with his warm-up pants on, over his tights. [Darn...if it weren't for those sweat-pants...] [This message has been edited by Jeannie (edited September 19, 2000).]

Thanks, Samba! Regarding the program, which I saw Saturday night, I'll give the nutshell-summary (as we have entered a crazy period at work). * DIVERTIMENTO #15 (Farrell Troupe) & TARANTELLA (joffrey) were the absolute-highlights for me. I agree with Cargill & others that Divertimento #15 is one of Balanchine's most obvious and captivating tributes to Petipa and the art of the female variation. Whoever loves 'Sleeping Beauty' would be a nut not to love "Divertimento.' Among the fantastic soloists, I was most taken by the beautiful line and crisp dancing of Chan Hon Goh. [i'd love to see her Aurora. Isn't she a star with National Ballet of Canada?] * AGON & FOUR T's (Miami City Ballet) - While I honor & respect these two ballets as masterpieces, they personally don't do much for me. Sorry--'Balanchine black-and-white' is simply not my thing. However, the well-drilled & uniform corps de ballet allowed these two works to triumph over so-so soloists (IMO)...as I continue to have trouble with the 'short line' of some MCB soloists. I saw MCB's AGON at Wolf Trap three or four years ago & much-preferred the soloists on that occasion. I'm very much looking forward to the greater variety of costumes, music, & style promised by the 3rd & 4th programmes in this Balanchine Celebration, later this week. - Jeannie [This message has been edited by Jeannie (edited September 19, 2000).]

Thank you, Alexandra. I'm with you 100%. I'm also pleased that this thread will remain open for the reason why it was created in the first place (BC #2). [edited to delete a business email address] [This message has been edited by alexandra (edited September 18, 2000).]

samba38 - So are you into name-calling now? ("Jeannie-Gimme-Russians") Perhaps you could post me a private e-mail if you have a personal quarrel to pick, rather than subject Alexandra and the kind readers of this Forum with this sort of name-calling, which has no place on this board. It is particularly ignorant & out-of-place, as my recent review on the Balanchine Celebration's programme #1 gave the least amount of praise to the one ballet performed by Russians (the Bolshoi's "Mozartiana"). [This message has been edited by Jeannie (edited September 18, 2000).]