where is the heartbeat in the Balanchine legacy?
Posted 09 June 2002 - 08:14 AM
Posted 02 June 2002 - 01:09 PM
Posted 10 June 2002 - 01:56 PM
The main person that I would have liked to see as an active participant in the company and the school is of course Suzanne Farrell. The fact that she is missing is a major loss and maybe we should blame that on PM. So if the topic is "Isnt it awful that SF is no longer working with the school and company" I would agree. But to berate PM for the lack of Russians and prior stars in working with the company is just garbage.
Posted 26 May 2002 - 04:08 PM
In fact, one of the most satisfying "revivals" of late for me was the Liebeslieder Waltzes, which I understand was coached very intensely by some of the Balanchine-era principals who danced it. And what a difference!! The little nuances that are so vital to that (and any ballet) were there.
As a matter of fact, at Saturday matinee's Cortege Hongrois, while watching the ballet, I remembered what Patty McBride said Balanchine told her. He used the image of "begging for money" for one of her hand movements during her solo variation while turning on pointe. Although Jeny Ringer was lovely, I so missed that one little detail. It's just lost now -- as so many, many other little details are. And don't get me started on details lost in The Four Temperments!!
That being said though, I only find "boring" performances by those dancers at NYCB today who -- because they are not coached -- do not go out of their way to find out how the ballets should look. So, yes, it would be ideal and wonderful to have Balanchine-era dancers coach today's dancers. But it's not going to happen. However, those enterprising dancers can find on tape and through interviews some sense of what the ballets should look like. But I agree with Ms. Homans that the break in the human chain is very real at NYCB and very sad.
What is that saying, "it's all in the details." How true for ballet.
Posted 27 May 2002 - 07:45 AM
It would make an interesting new thread to ask all of those who have posted to think about what little nuances in both the Balanchine and Robbins rep have disappeared since April 30, 1983 -- you know, the little details that just appealed to you and you looked for in performances. My bet is that each poster could come up with at least five or ten. So add them up and, yes: Houston, we have a problem!
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