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      2018 Joint Fundraiser for Ballet Alert! and Ballet Talk for Dancers   02/03/2018

      We have launched our 2018 Fundraiser.  To donate, please see the instructions on our home page for checks (US dollars only) and credit card donations via PayPal.  We close the fundraiser as soon as we raise enough to sustain us for the next year, and we thank you for your support!


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About CharlieH

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  1. 2017-2018 season: Washington Ballet

    Any word on the progress of the three new ballets for the March presentations, including Marcelo Gomes’ newest work?
  2. Thank you. So the Grigorovich Bayadere from the early 1990s is being replaced, perhaps by a long-awaited Ratmansky reconstruction (or am I mixing this up with a reconstruction in Berlin)? I recall Fokine’s Petroushka danced by the Bolshoi at least 30 years ago, so it’s not new, unless it’s a completely different staging.
  3. Yes. The performance was originally advertised to be in conjunction with the conference.
  4. It’s on an advertisement for the program that the academy performed on a recent tour to Switzerland and some other European stops. It’s the program that includes excerpts from Burlaka’s Flora’s Awakening Suite, excerpts from Naiad & Fisherman, etc. The original ad (published in Nov) for the Feb 2018 Euro tour also mentioned the presentation in StP. I don’t recall the venue - Alexandrinsky? Not the Mariinsky. A similar program will be performed in Moscow, in summer, at the Kremlin Theatre.
  5. Buddy, my Nov 28 post, above, gives some info. It came from Vaganova Facebook. I posted here as soon as I saw it on my Facebook (same day).
  6. Winter 2018

    Yeah, right. How interesting that my (our) three choices for potentially-salvageable Repertory works are the three cited by Stafford: Barber Violin Fearful Symmetries Hallelujah Junction Out of 75-plus rep works (all of Peter Martins’ oeuvre beside restagings of 19th-C classics), these three ballets are cited. Slim pickings, in other words. “That’s all, folks!” said Bugs Bunny.
  7. Thanks, Sandik. I just didn’t want folks to think that I was pegging Lifar’s known pro-Nazi feelings to Martins.
  8. This is a game changer. Maybe - maybe this will finally be committed to professional DVD? Are you listening, Mezzo TV?
  9. I mean this more as a sad reflection. Lifar & Martins both led major ballet troupes for many years, both suffered from “a whif of scandal” during their terms (for very different reasons/allegations), and were both highly prolific choreographers, yet a very small percentage of their respective outputs is -in Lifar’s case - still in the rep or - in Martins’ case - in danger of the same fate.
  10. You’re welcome. Besides Martins’ take on the 19th-c classics, we’re up to about five or six ballets worthy of retaining at NYCB: Barber Violin, Hallelujah, Fearful, Adams Violin, Waltz + maybe Calcium Light. Slim pickings for a 40 year output. Martins may end up being the Lifar of NYCB.
  11. I never saw that one but remember having read mostly-positive reviews about it at the time. The Waltz Project might be added to the “keepers” list. I saw it ages ago soon after the premiere, which garnered nice reviews.
  12. 2018 Met Season

    Cassandra Trenary and Cirio are both mentioned in that article. So now we know names of three possible and likely cast members (Lane, Trenary, Cirio). I’m guessing that Simkin will also be in the mix.
  13. Drew, Calcium Light Night was surely one of Martins’ earliest hits, if not the first. His La Sylphide is fine since he kept 90% of the Bournonville. E Johnson, I have to agree about Reliquary! I’d also “ban” Friandises (where each dancer was seemingly asked to excecute his/her best move at the end!), Ash, Ecstatic Orange, Them Twos, Thou Swell, Jazz...ok, maybe save that one for the Wynton Marsalis score.
  14. Winter 2018

    FYI: So as not to divert this thread, I’ve started a separate thread in Ballets and Choreographers to discuss Martins’ choreographic legacy (what to keep, what to put in deep hybernation).
  15. I’m opening a thread to continue a discussion about the possible future programming of Martins’ many ballets, created created before and after he took over NYCB’s direction upon the death of Balanchine in 1983. That’s a long time and a lot of ballets! My vote for “best ballets” that should remain in the rotating -active rep, because of their musicality & excitement factor: Fearful Symmetries Hallelujah Junction Barber Violin Concerto In the Petipa vein, I like his Sleeping Beauty and The Magic Flute. On the opposite side of the spectrum...what should be retired forever? Hmmm...Ocean’s Kingdom? Red Violin? R+J? How about that Ray Charles gem that was telecast around 1990?