Posted 24 May 2012 - 01:01 PM
Posted 24 May 2012 - 02:32 PM
Posted 25 May 2012 - 01:43 AM
He will indeed be missed!
(for those who read German, here are a few links to his columns there: http://www.tanznetz.de/koegler.phtml - and his last one, which should have been the first in a new series: http://www.tanznetz....d=200&tid=22914 )
Posted 25 May 2012 - 04:30 AM
A critic such as Koegler will be hard to replace. Perhaps not possible at all. He wrote reviews not critiques. A wonderfully educated man with such a passion for ballet.
Posted 01 June 2012 - 03:44 PM
Slightly off topic in the current circumstances, but I would like to mention that I had some letter exchange with Dr. Koegler. Naturally I have preserved his letters carefully. The other day, I was made aware that the correspondence I had with a former chief librarian of the Royal Library in Stockholm had been donated to a collection. Six of my letters to him ( all about Pehr Christian Johansson) are in the collection for, I dont know about the public, but at any rate for scholars to read. So, if you have any letters or documents, they might be valuable for research, dont throw anything away before making sure they might be valuable to some collection.
Posted 01 June 2012 - 08:38 PM
But with the first encounter with Balanchine (and Robbins) and the New York City Ballet at the Berlin Festival in 1952 I suffered a kind of a brainwashing effect: I, an Opera Saul, become a Ballet Paul.
Doch die Erstbegegnung mit Balanchine (und Robbins) und dem New York City Ballet bei den Berliner Festwochen 1952 hatten bei mir eine Art Gehirnwäsche bewirkt, die mich von einem Opern-Saulus (Reste stecken auch heute noch in mir) zu einem Ballett-Paulus werden ließen.
Even though I have [seen] no new Violette Verdy, Patricia McBride and Allegra Kent, and no younger Jacques Amboise, Edward Villella and Nicholas Magallanes as I once discovered among the company members ... they [still] dance with a verve, a pace that even at a very high speed has such a somnambulistic musicality that goes beyond one's eyes [ability to see] (and ears [to hear]).
Und was ist das für eine junge Tänzergeneration – auch wenn ich keine neue Violette Verdy, Patricia McBride oder Allegra Kent und keinen jüngeren Jacques d´Amboise, Edward Villella oder Nicholas Magallanes unter ihnen entdeckt habe. Sie tanzen jedenfalls mit einer Verve, einem Tempo, ja einer Rasanz und immer mit einer so nachtwandlerischen Musikalität, das einem die Augen (und Ohren) übergehen ...
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