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Suzanne Farrell on Kennedy Center honors list.


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#16 carbro

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Posted 05 December 2005 - 04:54 PM

While it's a little disappointing that (as far as we know) the only dancing on the stage during the Farrell tribute is the finale of Divert., I am sure the filmed portrait will include clips of Farrell in a range of roles. I look forward to them.

I've questioned the appropriateness of some past KC honorees, but I have absolutely no problem with the inclusion of Tina Turner. She is a prime example of an American art form at its best. I think this is the finest fivesome in a long time.

#17 Dale

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Posted 05 December 2005 - 04:58 PM

I am sure the filmed portrait will include clips of Farrell in a range of roles.

<{POST_SNAPBACK}>


I bet they all will come from Elusive Muse. The film tributes to Tallchief and Baryshnikov were disappointing in their laziness. Tallchief's came directly from the Balanchine Muse film, while the clips of Baryshnikov were all from his films - The Turning Point and Dancers. The Larry King show with Baryshnikov did a much better job, culling clips from TV specials and DIA.

#18 Farrell Fan

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Posted 05 December 2005 - 05:11 PM

I add another "wow," Jack, that's great! Thanks for sharing it with us.

Was there any mention at all of Peter Martins?

#19 Natalia

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Posted 06 December 2005 - 06:48 AM

Thanks for the report, Jack, and to the information on what was danced. I sure hope that all of what was danced on the stage (finale of Div 15 w/ Farrell Troupe) will make the Dec 27 broadcast!

#20 Jack Reed

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Posted 06 December 2005 - 12:59 PM

That was the only ballet dancing; the only other stepping I can remember at the moment was combined with singing in the more pop-oriented part of the program. But I think there is a strong intention to include all of that short movement in the broadcast.

As those who have seen previous broadcasts know, there is first a documentary feature before the live performing, and the ones I saw in the theatre this time (my first) looked a lot like those. Much of the material for Farrell was familiar from Dance in America; a bit of Tzigane, for example, and a b & w clip I think is from Elusive Muse.

More when I can.

Edited by Jack Reed, 06 December 2005 - 09:23 PM.


#21 Jack Reed

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Posted 06 December 2005 - 09:46 PM

Now that you mention it, Farrell Fan, I can't recall mention or sight, for that matter, of Peter Martins. Because the performance clips were alll things I had seen before - the b & w one I mentioned above was from Balanchine's Don Quixote, I think - I didn't try to note what they were, expecting that they will all show up in the broadcast.

For me, the Divertimento Finale was the high point, and d'Amboise's animated remarks as well as Tallchief's and Mitchell's comments were heart-warming. I hope and pray the editing of the ballet is clear and simple, so everyone can see it. It is, after all, excitingly fast already, and so maybe this time no one will think it needs to be made "interesting" by rapid switching among cameras scattered about or "up close and personal" by showing partial views of performers instead of letting us see them fully and effectively, and all that.

#22 Jack Reed

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Posted 08 December 2005 - 03:24 PM

I'd just like to recommend George Jackson's brief account of the evening on Dance View Times for his usual excellence beyond mere professionalism:

http://www.danceview.../10/honors.html

Not the least of it, he gets the cast right, and he stuck around until 2 AM, too, not having booked a flight out at 11:46 AM, evidently (bad planning, Jack).

#23 Farrell Fan

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Posted 08 December 2005 - 05:26 PM

I much appreciated that Mr. Jackson mentioned all the Farrell dancers by name. The report as a whole captured the excitement of the evening almost as if I'd been there.

#24 Jack Reed

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Posted 25 December 2005 - 07:15 PM

There's been some discussion on another thread

http://ballettalk.in...st=45&p=172187

about the choice of the Divertimento No. 15 Finale versus the predelictions of the television people for making it hard to see the dancing. We'll know in a couple of days what they did this time, but in the meantime I'd like to suggest that the Finale is a choice with considerable potential in that it is already fast-moving, if that is what it takes to hold an audience tuned in for the pop content: There is an active medium-sized corps, and couples appear and disappear quickly for brief duets. This can be shown in relatively short takes, broader for the corps, somewhat narrower for the principals, broader again for the corps. If the televising doesn't obscure, some members of a public which sees a lot of TV and knows how to place themselves in relation to the place they are being shown - in this case a dance space - may actually relate to what they see happening and like it, to everyone's benefit. While a pas de deux is easier to televise to our satisfaction, the core of it is adagio, and to the uninititated it might seem something of a let-down.

In other words, I think the choice of the Finale may make it possible to reconcile the desire to interest an audience who wants it fast and lively with a faithful rendering of the dancing. It all depends, IMO, on whether they aim at letting the audience see through the television medium to the dancing, or whether they use the dancing as material to make something else for the audience to look at.

#25 canbelto

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Posted 27 December 2005 - 07:07 PM

Just wanted to pipe up and say how much I like Suzanne's new 'do. I thought the super-long, straight do made her face look kind of severe, and I like the softer, permed hair and the bangs. Very pretty.

#26 drb

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Posted 27 December 2005 - 07:47 PM

.... I thought the super-long, straight do made her face look kind of severe, and I like the softer, permed hair and the bangs. Very pretty.

<{POST_SNAPBACK}>

Sorry to disagree, but in the times I've seen her in the "real", post-performer world, that hair has been the madeleine that stirred my tea: making her instantly recognizable and spurring an endless dancing stream of memories. But of course she is Suzanne, so I yield to her higher knowledge.
A very good job by CBS on the Kennedy Honors, 14 uninterrupted minutes. Jacques was terrific, and they let us see her company. Sure there were two "reaction shots", but they were both of Suzanne, and every chance to see her is a privilege, and an honor.

#27 ViolinConcerto

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Posted 27 December 2005 - 07:59 PM

Jacques is ALWAYS terrific! I was surprised that they didn't say how, as a child, she had a chair named Jacques d'Ambois that was her "partner." I was also very, very moved because I've known Julie Harris since I was a child, and the things they quoted her as saying were things that could also be said about Suzanne. They both put "truth" before anything.

I was very impressed by her company, too, and noticed this one ballerina when she came to a sudden stop, leading me to recognize her as "stop-on-a-dime Ansanelli!" She looked really wonderful.

#28 stinger784

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Posted 27 December 2005 - 08:03 PM

So I'm a little confused. Is her company made up of students, or is it professional?

#29 kfw

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Posted 27 December 2005 - 08:09 PM

I thought D'Amboise was a hoot and the dancing was thrilling when you could see it, but the camera might as well have been in outerspace most of the time. As for the reaction shots during the dancing, I would have bet the house against anything so amateurish. I don't think my expectations were high, but I remember the nice job the Honors did with the Villella tribute in '97, and I'm pretty disappointed.

#30 canbelto

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Posted 27 December 2005 - 08:14 PM

I loved Suzanne's elegant black dress, as well as her new shorter 'do. As I said before I think it looks gorgeous.
I thought Jacque's mentioning of Suzanne leaving the NYCB in 1969 was so tactful. He did a great job. I wish they could have shown some clips of her as Titania. And it's nice to see Suzanne smiling and having a good time. I always thought of her as a bit of a glacial Diana, and I must admit I was jolted when I saw her giggling and laughing tonight. It's like my vision of her was ruined.


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