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Anthony_NYC

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Fan, musician
  • City**
    New York
  • State (US only)**, Country (Outside US only)**
    NY

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  1. Anthem has pushed back the publication date to September 2024.
  2. As a workaround, with a free account you can borrow it on the Internet Archive, which offers full-text searching.
  3. Well, maybe a little self-deceived. As for Cothran’s relationship with Bernstein, it seems to me Cooper would have had to invent most of the details in order to tell that story.
  4. Same thing happened to me. Check your junk mail folder. That’s where mine was.
  5. Still listed for March of this year, which is good. But it’s in two volumes, each of which will cost $250, or a dollar a page. Or did whoever typed in the information for Anthem just erroneously plug in “250” everywhere?
  6. Oh boy! “This issue of Dance Index is devoted to a series of relatively brief passages culled from a manuscript about George Balanchine that Arlene Croce has been working on for many years.” The issue is called “Arlene Croce on George Balanchine,” and you can buy the issue here
  7. Thank you! Just what I needed to know.
  8. There is still nothing on the NYCB website or in their brochures about Nutcracker for December 2023. Does anybody know when the schedule will be announced and single tickets are likely to go on sale?
  9. I’d thought Alondra de la Parra was supposed to conduct all performances of LWFC. Does anybody happen to know why she was out tonight?
  10. Acocella in her NYRB review makes a great observation: “Some people proposed that perhaps Balanchine had special interests. In his 1957 Agon, he was one of the first ballet choreographers to use fully spread female legs—en face, or seen from the front (and covered, needless to say). Many choreographers have since used this maneuver. (What would Karole Armitage have been without the crotch?) God bless him, many of us thought. There it all is, the whole story of the female body, and unashamed—indeed with the pelvis featured, to show that it is the engine of movement. Men can't do this. Only women can. (Women give birth and therefore they have to be able to spread their legs.) It seemed that we were at last seeing the full extent of what female dancers could do, as design and suggestion.” (Acocella might have added that Balanchine gave us the spread legs as early as 1928’s “Apollo”—in an actual birth scene. There is also the famous head-through-the-crotch move in “Prodigal Son” that still raises a murmur from the audience almost a century later.) Personally, I think Acocella is right to single out Homans’s addressing of Balanchine’s emotional and sensual life as perhaps her most significant contribution. The book genuinely gave me a new perspective on an artist I thought I knew well already. I’m still turning it over in my mind and looking at his ballets again with a different perspective. Homans’s writing style is occasionally a little ponderous, and I agree with those who find her descriptions of individual ballets less enlightening than other elements in her biography. (Her description of “Diamonds” is positively Cubist—things don’t happen in the order she gives them, and even the music is identified incorrectly. Very puzzling.) But I was glad to have a great big, long, loving book to get lost in about an artist who is so dear to me, and I plan to reread it in the near future.
  11. There's an interview with Jennifer Homans in The Nation.
  12. Not much information on the publisher’s site. It says “edited by” Wiley, not written by. Are individual chapters by different authors?
  13. "The northwest corner of West 64th Street and Columbus Avenue will soon bear the name of Jacques d’Amboise, the National Dance Institute founder who passed away on May 2, 2021." https://ilovetheupperwestside.com/two-upper-west-side-streets-to-be-renamed/
  14. Macaulay makes excellent points: Scarlett died by suicide: speculation. If it was suicide, the Danes' cancelling of his ballet was the immediate cause: speculation. Nor do we know the specifics of why Scarlett was dismissed from the Royal Ballet. People are free to speculate, of course; and sometimes it might be educational to do so. But I know from personal experience how quickly gossip turns speculation into "facts," and I know all about the harsh judgement that follows.
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