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  2. Oh yay! Thank you for posting. I watched their Creole Giselle on tape I don’t know how many times as a dance student. I can’t wait to watch it again.
  3. Today
  4. Happy birthday, Alexandra!
  5. Today is our founder Alexandra Tomalonis' birthday. Happy Birthday, Alexandra .
  6. I thought it was particularly good that she used that story not only to acknowledge her mistake but also to share an explanation of why #blacklivesmatter needs to be said and why #alllivesmatter is not an acceptable substitute. I wish that explanation weren't necessary, but unfortunately it is.
  7. The Creole Giselle is one of my favorite productions of anything. I was lucky to see it live, but I'll take this video anyday.
  8. Well Sarah Lane just posted this:
  9. Regardless of what Jerome Robbins' precise intentions may have been when creating Afternoon of a Faun, and notwithstanding its brevity, the performance by NYCB on the 100th anniversary of the choreographer's birth revealed a work not just of great beauty but also of considerable depth and meaning. Coming simultaneously on an anniversary of the company's own and at a challenging juncture, it was a luminous, beneficial success. And certainly it was heartwarming as well as thrilling to observe recently how the haunting performances by Sterling Hyltin and Joseph Gordon retained their power when viewed on a laptop screen. Nevertheless, one aspect that makes Afternoon of a Faun so stimulating is its effectiveness at prompting consideration of the significance and essence of attending a live performance at a theater. A showing of the ballet, therefore, during a period in which people cannot avail themselves of this opportunity—due to a crisis this time engulfing not just the company but the entire nation and world—appears strikingly meaningful and pertinent. A wise decision by NYCB to include this work and performance as part of their scintillating Digital Spring Season!
  10. Woo Hoo! This is wonderful news—and not just about Creole Giselle. I'm delighted to see that Robert Garland's work will be featured as well.
  11. I think the stars they had during the late 90s/early 2000s were equal in quality to the stars on 42 years ago (Ananiashvilli, Ferri, Corella, Carreno to name just a few). It is only in recent years that standards and quality have taken such a downturn.
  12. I've seen Makarova's DQ PDD many times back in the 70's and she almost always did the fouettes (even though she hated them). Ditto with her Swan Lake. This performance was one of her first after returning from maternity leave and she was not 100% back in shape so I can forgive her substituting the fouettes here. Its very different from a ballerina who is at full strength and simply can't execute the steps. Agree that it was a wonderful video and hope that its available for awhile longer. That T&V is legendary and the Sylphides was gorgeous!
  13. Dance Theatre of Harlem has announced a digital season, with their Creole Giselle this Saturday, June 6: https://www.dancetheatreofharlem.org/dthondemandvirtualballetseries/
  14. For me the pas de trois at the end (admittedly, a "witnessed" pas de trois) made the ballet; I found it not just emotionally, but formally the most interesting section--in part, because of the way it seemed to draw on and revise movements what we had seen before. Until then, I found the ballet engaging but wasn't sure it would bear repeat viewing or that I would particularly want to see it in the theater. But that intrigued me...
  15. I kind of wish we had seen full, impactful ballet instead of a whole bunch of excerpts, but I suppose I'm being picky at this point. I also wish they had concluded the season with a "bang"... Maybe something less contemporary, and more iconic and memorable from Balanchine (Serenade, Agon, Mozartiana or even Emeralds from Jewels). But that's okay, again, I can't really complain and I am super thankful we even got to see anything at all. My favorite part of this whole assortment was definitely Taylor Stanley and his solo. Wow. I'm also happy we saw a little bit of Unity Phelan in Easy, although I wish we had seen her in a more prominent, pointe-based role. I love her dancing. Harrison Coll was also fantastic. I really enjoyed this piece overall...Now, this is the Justin Peck people were talking about! I'm pretty excited to move on to the Lincoln Center selection with some oldies but goodies!
  16. If Copeland deleted her account, it only lasted a few minutes because it's definitely up and running. So are all the comments under Lane's post. I just read every comment in that very long thread. I'm sorry, but I agree with those saying that Copeland took it just a bit too far. At one point, Misty implies that insensitive mistakes shouldn't be made, as in ever. I was going to agree with that until I read the response to that comment. Mistakes will be made and that's how one learns. Has she never made mistakes that may have hurt others? I'm sure she has. It's one thing to be openly racist or even intentionally making jokes that are definitely inappropriate. It's another thing to make a mistake because you didn't know that a hashtag that looks innocent is in fact used by really awful people to help push their just as awful agenda. Anyway, she changed the hashtag and even acknowledged her mistake in a story post. For the record, I don't agree with everything Lane posts and our views on life couldn't be more different from what I see on social media, but I think she tried to be empathetic and meant no harm with her post. What I don't get is, why didn't Misty just reach out to her co-worker privately and helped her with that post? I get not reaching out to people you don't know, but a co-worker? I think Lane would be better off deleting that post before the Misty trolls come at her (and no, I don't mean just "Misty fans", I mean those who will insult and even publicly threaten anyone who dares to disagree with their idol. I've seen it before, maybe some of you have too).
  17. Hear hear! Lane and Forster are long time veterans of the company who severely suffered from the guest star policy. Now they are both being overlooked in favor of the younger, management-favored rising stars. How hard would it have really been to include Lane and Forster in the debut videos? Even now off stage, management shows what they really value. Just further confirming my dislike. When performing is allowed, I will only go to a select few. I'm really not happy with ABT and the direction it's taking. (In other news, it appears that Copeland has deleted her Instagram account after an argument with Lane. Lane natively made a post that included the hashtag "all lives matter" and Copeland called her out on it. Lane explained that she did not know about the negative connotations of #alllivesmatter and proceeded to change it to #blacklivesmatter. Others felt that Copeland was unfairly harsh on Lane, who had good intentions, acknowledged her own naivete and changed the hashtag. Copeland had already deleted her comments and entire account when I came across Lane's post. I don't know if the exchange with Lane was the sole reason for Copeland deleting her account, but it's a pretty good guess. I'm sure she'll be back soon enough.)
  18. Mentioned earlier, the Ballet of the Teatro Colón in Ronald Hynd's The Merry Widow, with Marianela Nuñez, Alejandro Parente, Camila Bocca and Maximiliano Iglesias. At the moment you have to skip ahead about 11 minutes to an introduction by Hynd and 13 minutes to get to the actual ballet
  19. I've been very impressed with the company and the stagings. I feel the intention is there with each of the three Balanchine ballets they've shown.
  20. @California You are probably right. It's interesting that they posted it "unlisted" on YouTube. I mean, what's the point of making it available, even for a limited time, if people can't find it readily? Lincoln Center's own videos are put up very clearly on its YT channel. Even old Live from Lincoln Center videos. The Midsummer was posted in a similar way as the other NYCB videos for its digital season and even featured an introduction by Jonathan Stafford. It will be interesting to see if the other offerings get put up in similar ways. My guess is the SAB and NYCB will follow form. The original broadcast featured backstage interviews. This is the way the recording is listed at the NYPL: Cassette 1 (ca. 72 min. total). Les sylphides (ca. 36 min.) / choreography, Michel Fokine; music, Frédéric Chopin, orchestrated by Benjamin Britten; scenery, Alexandre Benois; lighting, Nananne Porcher; danced by Eleanor D'Antuono, Rebecca Wright, Marianna Tcherkassky, Ivan Nagy, and corps de ballet. Grand pas de deux from Don Quixote (ca. 15 min.) / choreography after Marius Petipa; music, Leon Minkus; lighting, Nananne Porcher; danced by Natalia Makarova, and Fernando Bujones. Backstage interviews (ca. 17 min.) with Natalia Makarova, Fernando Bujones, and Erik Bruhn. Cassette 2 (ca. 93 min. total). Theme and variations (ca. 24 min.) / choreography, George Balanchine; music, Peter Ilich Tchaikovsky; costumes, Desmond Heeley; lighting, Jennifer Tipton; danced by Gelsey Kirkland, Mikhail Baryshnikov, and others. Backstage interviews (ca. 17 min.) with Gelsey Kirkland and Erik Bruhn. The firebird (ca. 46 min.) / choreography, Michel Fokine, restaged by Christopher Newton; music, Igor Stravinsky; scenery and costumes, Nathalie Gontcharova; lighting, Nananne Porcher; danced by Cynthia Gregory (the Firebird), John Meehan (Prince Ivan), Marcos Paredes (the immortal Kostchei), Leslie Browne (the Princess), and others. Cassette 3. Backstage with Live from Lincoln Center [interview with Mikhail Baryshnikov] (c1977; ca. 14 min.) / taped and telecast on June 2, 1977, after a performance of Giselle. Director, Robert Schwarz; producer, John Goberman; interviewer and new introduction: Dick Cavett.
  21. My hunch: A lot of rights holders had to agree to this limited release. When it was broadcast in 1978, it didn't occur to people that there was such potential for different forms of distribution. So I'm guessing that one (or more) of the rights holders for this one insisted on very limited release, with these restrictions. If you remember back to the very long delay in getting the Makarova-Baryshnikov Giselle released on videotape, that was the explanation at the time. They hadn't anticipated these forms of distribution and had to get permission from all the rights holders. Ditto the long delay in releasing the tape of Baryshnikov at Wolf Trap, originally broadcast in fall 1976 on PBS to include the opening movement of Push with Tcherkassky and van Hamel (the original cast). This was omitted from the commercial tape released years later, presumably because Tharp was planning a release of the complete work (although with a different opening cast (Kudo and Jaffe). And there were reports that Kirkland was resistant to releasing it at all because she was in such terrible physical shape in July 1976; thus her statement at the end as part of the compromise.
  22. I waited till the last hour to watch the final NYCB "digital season" clip, and went straight to the Taylor Stanley solo, which I had not seen before. The whole thing is mesmerizing, a perfect marriage (as noted up-thread) of dancer, choreographer, and I'd add, composer and costume designer. My only question is, who was the understudy? I can't imagine anyone else dancing it anything like this, and I pity the poor guy who has to go on if Stanley is out one night.
  23. I started searching the ABT 1978 performance on Youtube on my TV at 7:45. No go, I then went to ABT.org and the LC site. What a mystery, it's unfindable! I finally was given a link courtesy of another ballet lover's site that required you to put your email address in and I watched it on computer Does ABT/Lincoln Center really think people are going to copy it? Films of a film, come on, we can see that on Youtube now. We can see the T&V there now. We can see better versions of Les Sylphides by ABT too. I loved T&V especially. What a masterpiece and what a beautiful definitive performance of it by Kirkland and Baryshnikov. It doesn't get any better than that! I thoroughly enjoyed DQ PdD and the Firebird. I particularly liked Tcherkassky in Les Sylphides but overall I thought it wasn't a particularly special performance of that work. Later, after the program was over, I found this link to the Youtube site. It is totally unclear how long ABT 1978 will be available. On the LC website it says available for a limited time on demand. https://www.youtube.com/watch?v=Wn45Q4SbiGk&t=209s
  24. One of my top Balanchine ballets, too! (But I can't get the number down that small!) I missed the 1972 Stravinsky Festival itself, but when I did start to gorge on "Symphony Three," as we called it, in 1973, part of the fun was to see what colors the three solo girls, especially Sara Leland, in the most prominent role, had on at each performance. It varied among pink, pale orange, scarlet, and so on; but the large corps of 16 girls who start the ballet always wore white, and the smaller group of 5 demi-solo couples were always in black and white - the girls in black leotards, the boys in white tee shirts - as in the final image here. (It occurs to me that Alexander Calder, whose work was much admired by Stravinsky, liked color schemes like these, too.)
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