Posted 23 January 2004 - 11:53 AM
Posted 23 January 2004 - 06:15 PM
Points well made, I was unaware of ABT's financial challanges
at this time & you are correct that as a "not-for-profit" salaries are public
My point was that I, as well many of us who have an interest in our
children's future as possible professional dancers would like to see
the financial reward be on par with other performers, athletes,
muscians, actors, etc.
We all know how hard dancers work.
Susan has truely given blood, sweat & tears to
the dance world & she (& many others) truely have earned
financial reward at this level.
Of course no individual in any organization should earn a salary
that could threaten the strength & stability of that organization.
ABT's Board of Directors must make that judgement.
Both in regard to Susan & any others.
Hopefully they make the correct decisions for ABT as well
as all Ballet lovers.
Edited by dadof2dancers, 23 January 2004 - 06:18 PM.
Posted 23 January 2004 - 08:32 PM
I have spent my most of my working life in the not-for-profit sector, and I know that equivalent jobs in the for-profit sector pay more. It's a choice I made about the nature of the reward I expect. Am I naive in assuming that for most others in n-f-p, the same is true?
Posted 23 January 2004 - 09:43 PM
More good points, as a dancer this would be less of a concern but as an advisor
to the Board it should be very important to understand the "N-F-P mind-set".
Again, I say that perhaps the actual concern should be placed with ABT's
Board & what is perhaps not that best use of ABT's money
considering the company's financial condition.
I am sure that none of us are privy to Ms. Jaffe's level of hourly commitment to ABT or how her level of compensation was determined. If she was asked
by ABT's board to serve in an advisory role & the Board offered
her compensation that they now can no longer afford or justify
ABT's board needs to address this issue if they are truely
concerned about the welfare of the company.
Posted 25 January 2004 - 12:24 AM
Posted 20 March 2004 - 06:05 PM
Posted 22 March 2004 - 09:39 AM
Jaffe was Giselle. She inhabited the role on that night with transparent artistry. She nailed the feelings of a beautiful fragile young girl who knows love for the first time. The audience was spellbound.
And when that hunting horn sounded at least one member of the audience was dismayed, feeling "Oh no, she is going to be hurt."
Sounds silly to think that way but we were so caught up in Jaffe becoming Giselle that the person on stage became real.
We also saw her the next year when ABT brought Swan Lake to Motown. She was evil personifed as Odille--the swan you not only loved to hate but also hated to love, even though you did.
Amazing dancer. I feel lucky we were able to see her when we did.
Posted 08 April 2004 - 06:09 AM
Posted 04 December 2010 - 04:45 PM
Opening to the Preghiera, the prayer that begins the ballet, Jaffe opened to herself. Here was a warm, confident, honest performance, shimmeringly sure, touching in what it showed to have been inside Jaffe and in what Farrell knew she could bring out.
Posted 05 December 2010 - 09:15 AM
But was 'Mozartiana' Balanchine's 'last masterpiece'. A lot of us think Robert Schumann's Davidsbundlertanze was a masterpiece, too, and that's a few years later, isn't it?
Posted 05 December 2010 - 10:40 AM
According to the Balanchine Trust's website, Davidsbundlertanze premiered in June of '80, Mozartiana in June of '81. I'd hate to have to choose between them.
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