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[bart]

The Spring 2010 DanceView is in the mail.  Ashley Bouder's Giselle (Rome Opera Ballet) floats across the front cover.   My copy arrived today. I have only read the first two articles so far:  Carol Pardo's report on two Miami City Ballet programs from this this season, and then to Gay Morris's piece on NYCB's winter season.  I realize that most readers will have their own ideas about what to read first, so here's the full table of contents in order of appearance.

-- Gay Morris on NYCB's Winter season

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The talk in New York dance circles over the winter was New York City Ballet's season of narrative works, most of them evening length.  In some corners the programming was treated as a sell-out to commerce.  How could "Balanchine's company" do such a thing?  Yet everyone survived and the season provided a number of insights, particularly concerning dancers' performances.  Above alll, it made a star of Sara Mearns, the kind of ballerina City Ballet has not seen for decades.

-- Carol Pardo on 2 winter programs by Miami

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[Allegro Brillante] is, as Balanchine once said, "everything I know about classical ballet in thirteen minutes."  Tschaikovsky Pas de Deux contains everything he knew about the bravura pas de deux in nine.  Both ballets accomaye and reward a range of interpretations and make their dancer look good.   Both ballets require fearlessness and grandeur of their ballerinas:  this company has the ballerinas to fit the bill.

-- Horst Koegler's review of Sjeng Scheijen's new biography of Diaghilev

-- Marc Haegeman's photos (b-and-w, full and half page) of the February Giselle performances (Bouder/ Tewsley; Obraztsova/Makhateli) in Rome

-- Gay Morris on Deborah Hay, yvonne Rainer, Paul Taylor and Mark Morris in New York
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- Jane Simpson from London AND Copenhagen

-- Rita Feliciano on the contemporary scene in San Francisco