DanceView Autumn 2007

[kfw]

Most Ballet Talk readers and posters probably know about DanceView, the quarterly print companion to danceviewtimes, but I like to plug the magazine for newcomers to the site. Each issue has several full season reviews of major companies, along with many black and white photographs. Many issues have a lengthy interview with a dancer or choreographer. Just like this board each day, DanceView's thoughtful articles are a great place to turn not just for interesting reviews, but for writing that deepens one's knowledge and understanding of dance (mostly ballet).

The 47-page Autumn 2007 issue has the following fine articles:

Challenges, Farewells, Blockbusters: American Ballet Theater's 2007 Spring Met Season" by Mary Cargill;

"Kirstein 100: New York City Ballet's Spring Season" by Carol Pardo;

"The Bolshoi in London, Summer 2007: Novelties, performances of a lifetimes, and dancers to die for" by Marc Haegeman;

"Restoration in Toronto: The National Ballet of Canada" by Denise Sun;

"London Report" by Jane Simpson,

and "San Francisco Report" by Rita Felciano.

I especially enjoy the three half page photos of NBoC's Heather Ogden in "Sleeping Beauty" and Balanchine's "Don Quixote," as well as the cover shot of Christopher Wheeldon rehearsing Aesha Ash and Tiler Peck in a London studio.

Subscriptions to the magazine are available here: http://www.danceview.org/. Both DanceView and danceviewtimes are published by Alexandra Tomalonis, the founder of this site.

[bart]

I want to echo kfw's praise for the Autumn issue.

For those of us who have followed the ongoing Ballet Talk threads on the big companies during the past seasonss, it's very useful to find excellent season summaries by Mary Cargill (ABT), Carol Pardo (NYCB), Marc Haegeman (Boshoi/London), and Jane Simpson (London). Effectively-chosen photos, too.

Denise Sum's long review of the National Ballet of Canada performances of Balanchine's Don Quixote really helped me to reorganize my thoughts about the many posts devoted to this revival (NBofC and Farrell Company) over the past year. Sum's piece especially impressed me by including detailed descriptions of individual movements and combinations of movements.

Sums description of Chan Hon Goh's "delicate chaines on her heels" had the instant effect on me of bringing back detailed moving pictures of Farrell from the original NYCB production. I've had a hard time remembering specifics of that, possibly because my dislike of the score pushed out much of what I saw so long ago. Sum's brief descriptive phrase was a trigger -- a kind of petite madelein -- opening a memory door to many other images from 1965. I'm always grateful to writers when that happens.