82 replies to this topic

[kfw]

I'd love to see the "Orpheus" Balanchine did for the Met. Also, "Le Chant du Rossignol."

[Dale]

Union Jack will be seen at NYCB in the 2004 Spring season.

[Farrell Fan]

Just leafing through "Choreography by George Balanchine: A Catalogue of Works," the possibilities seem endless. That's why NYCB's "Balanchine 100" plans were so disappointing to me when they were announced. Just off the top of my head, I'd love to see Roma, and Native Dancers. Also, the ballet  commissioned by Kirstein and Warburg, The Card Game. This was to the Stravinsky music  Peter Martins later used for his messy Jeu de Cartes.

Carbro, I saw PAMTGG, and though I've forgotten it, I don't need to see it again. Neither does anybody else.

[Dale]

I'd also like to see Card Party.  During Frederic Franklyn's recent round of seminars in NY, he said that was one of the ballets for which he was ballet master.  It would be great if his vaunted memory can put this ballet back together.  I've only seen silent snips of it, but it looks very inventive.

[Paul Parish]

I'm on for the Rossignol and la Chatte --

and Baiser de la Fee -- despite the reports that stravinsky wrote fabulous but undanceable music for he end, I still wish I'd seen it...

[perky]

There is a lost ballet Balanchine made for Tanaquil LeClercq in the 50's. I think it was to Hindemith and featured her as an insect that turns into a butterfly at the end. I can't for the life of me remember what it was called. It also had some of Karinska's most inventive and beautiful costumes, and an interesting pas de duex with LeClercq being partnered by a man who dances entirely on his knees. Definately one I would like to see.

Also rq thanks for the posting about Rhapsody Espanole, I was hoping someone who saw it could comment on it for me.

[Mel Johnson]

"Metamorphoses"

[perky]

Thanks Mel  

[Roma]

"Roma"    and the Met "Orpheus" get my vote, though really, it would be easier to name the ones I wouldn't be at least curious to see-- there aren't any.

[atm711]

After seeing "Rubies" last week, I thought how much I would like to see again its precursor--"Danses Concertantes"  with the original Berman sets as performed by the Ballet Russe in 1944.  It was revived in 1972 by NYCB--I did not see it then, but from what I have read it was not successful.  Danilova and Danielian said that the revival did not succeed "because the original had a jazzy thrust absent in the later staging"...I wish all the "Rubies" lovers out there could see this.

[tempusfugit]

Definitely Roma-- a lost treasure it seems... Metamorphoses, which also has a wonderful score; Cotillon; and
VALSE-SCHERZO, a marvelous piece of music which was set for Wilde and Eglevsky. {drool}

[Helene]

A version of Balanchine's Danses Concertantes was revived again in 1989, and performed in 1993 as well.   I have them listed as five movements, all coded by color.  I'm sure these aren't the only casts, just the two I saw.

1989

Green:  Cass, Sosenko, Frohlich
Purple:  Tsetsilas, White, Reeder
Blue:  Jackson, Z. Karz, Byars
Red:  Sh. Stevens, Whelan, Boos
Yellow: M. Roy, Woetzel

1993

Green:  Mahdaviani, Sosenko, Gold
Purple:  Reyes, White, Lyon
Blue:  Borree, Z. Karz, Byars
Red:  Calvert, K. Tracey, Evans
Yellow:  Whelan, Soto

According the Choreography by Balanchine, the 1944 cast was:

I. Variation:  Svobodina, Talin, N. White
II. Variation:  Boris, Goudovitch, Etheridge
III. Variation:  Lanese, Bliss, Goddard
IV. Variation: Tallchief, Magallanes, Moylan
Pas de Deux:  Danilova, Franklin.

The 1972 cast was Lynda Yourth, John Clifford, 8 women, 4 men.  The sections are listed as:  Marche; Pas D'action; Theme Varie (4 variations); Pas de Deux; Marche.  

Listening to Maria Tallchief and Mary Ellen Moylan in Dancing for Mr. B describe the fourth variation that they performed made me wish I was there.

Francia Russell also described Clarinade, which was the first new ballet NYCB performed at the New York State Theater, as a ballet that didn't need to be recovered.  The score was by Morton Gould, and it was danced originally by Govrin/Mitchell; Farrell/Blum; and couples/corps.

Also in response to a question about "lost" Balanchine ballets, Russell mentioned that there was a reconstruction of Cotillon recently.  I thought she said it was done in Tulsa, but, unfortunately, I'm getting an error from the Tulsa Ballet site which I try to click their "Repertory" link, so I can't confirm.   A Google search found a link to an article from Dance Magazine article by Hedy Weiss that references a Joffrey Ballet revival of the ballet in 1988.

[sandik]

hockeyfan228, on Feb 19 2004, 07:06 AM, said:

Also in response to a question about "lost" Balanchine ballets, Russell mentioned that there was a reconstruction of Cotillon recently.  I thought she said it was done in Tulsa, but, unfortunately, I'm getting an error from the Tulsa Ballet site which I try to click their "Repertory" link, so I can't confirm.   A Google search found a link to an article from Dance Magazine article by Hedy Weiss that references a Joffrey Ballet revival of the ballet in 1988.

The Joffrey did indeed revive Cotillion -- Illaria Ladre, who had danced with the Ballets Russe and had performed in the work, assisted in the revivial.   It doesn't seem to be in their current repertory, however...

[carbro]

I saw the Tulsa's "Hand of Fate" pdd and Joffrey version each once, but only a few weeks apart, and very little of what I recalled from the Tulsa version was there in the Joffrey.  I recall Tulsa's pas being much more mysterious and ominous than anything in the Joffrey piece.

Such are the ways of the diaspora, I guess.  :shrug:

Editing to add:  At least in the days before the Balanchine Trust.

Edited by carbro, 20 February 2004 - 06:59 AM.

[Amy Reusch]

I'd like to see Figure in the Carpet too...   but call me sadistic, I'd also like to see PAMTGG because I wonder if now that "jet set" seems "period" there aren't aspects to PAMTGG that are "period" as well.... just curiousity..... everyone seems to have thought it pretty bad, it's sort of fascinating for that reason alone.  What would the Trocks make of it, I wonder?