aubri

And when you want to cheer a corps of girls let's shout BRAVE

And when you want to cheer a corps of girls let's shout BRAVE

I so agree with Victoria, unfortunately parents or child wants to got often to fast, but you shouldn't put the carriage before the horses.

All I have to say about the Youth Grand Prix is that it is exremely badly organizes. When one of the participant chose, after looking at the list of the repertoire suggested, a variation pay for a costume and hour of coaching, you cannot go to her after and tell her that she cannot use the solo chosen because of problems with copyrights. The girl choose to dance "Sylvia" solo from the pas de deux choreographed by Balanchine, just as it is suggested on the list of the repertoire : :youth grand prix repertoire Then she reads on her evaluation "wrong Choreography" then told that she couldn't use Balanchine Choreography because of the right problem with the Trust. Well it unadmissible to do that to a young student, that of course was distressed and confuse and needed a lot of guidance after that, without talking about the money spent on a costume and long hour of training. If the dirgeant of the competiton knew about that ( by the way "Sylvia" is still a choice on the site) they should have noticed all the dancer that decided to dance that choreography or tell them to get the right or to simply find another solo to dance. :confused: :mad

Why am I even Amazed that mis Kanter didn't like a POB performance [ March 22, 2002, 10:50 AM: Message edited by: aubri ]

Well if you want your daughter or son to win the American Youth Grand Prix, you better become a good friend with one of the judge. I read one of the judge evaluation whom will remain nameless, and on one of the student that was dancing "Sylvia" by G Balanchine and coached by a Principal from NYCB, that judge wrote "wrong Choreography" Scary epecially when the variation was taught by a Ballerina that performed it with NYCB

Actually I don't think that NYCB performs Balanchine as it use to be danced when mister B was alive, you see as soon as the master is gone, the choreography get slightly changed and his eyes are not here anymore to see and correct and have it the way he really wants it, and NYCB dancers are wonderful but they do not perform the way the ballet were performed 20 years ago and they will be even more different 20 years from now

The best Aurora I have seen was Noella Pontois

a repetiteur is the person that use to rehearse the company only he wouldn't teach class, the ballet master was the ballet teacher.

Pierre Lacotte famous for his historically revival such as la Sylphide and lately Paquita did one for Nancy in France years ago and it was much longer, and it had a Pas de deux in the first act with giselle and albrecht [ February 11, 2002: Message edited by: aubri ]

Sorry but Abi studied at Central Pennsylvania Youth Ballet, where she got her training,she didn't get that wonderful training in SAB, she went there already very well trained. Contratulations to Abi and the wonderful teacher at CPYB

I would have to say , the person that created the role

I have to answer to Felursus and correct him, Nureyev was not schedule way too many performances for the money, I agree that he was performing extensively, I saw him perform in venue where he was making very little money, he wanted to dance as much as possible, not missing one minute,you see he never missed class, his dedication and love for ballet was unlimited, Rudy was working very hard and did until the last moment devoting himself to his art. And towards the end of his carreer, I asked him when he would stop dancing, and he answered, I will die on stage. and people still came to see him, maybe sometime to see how bad he became but still came.No I don't think Rudy was dancing for the money, however he made a lots of it and never refused it. And also loved Bruhn and Dowell.

Hi BW, Well the Paris Opera was under the direction of few people coming from abroad and I guess that under the power of Staats and Zambelli, Zambelli brought the Italain Style, then with Lifar some of his Russian heritage probably followed him, so indirectly I think yes there has been influences from the other school. [ January 24, 2002: Message edited by: aubri ]

When I was at the school, the teacher at the conservatoire were former Paris Opera etoile, Roger Ritz, Christiane Vaussard, Pierre Lacotte and it was exactly the same, but the discipline was a little easier ther as they dealt with older kids, 14 to 18. Elisabeth Platel,Isabelle Guerin amongs other are Premier Prix du Conservatoire.

hi , I am a product of the Paris Opera and I joined the school under Mlle Guillot who was the director before Mlle Bessy, and then Mlle Bessy became the director, and let me tell you, there was amazing dancers before mlle bessy and there is amazing dancer under Mlle Bessy, what she did for the school was a revolution and it worked, as far as epaulement is concerned I learned epaulement at the Paris opera, they are very strict about it, and do not dissociate it with the rest of the technique, I have danced in Italy, Belgium, England and united states, I have studied if France and Russia and United States I know Ceccheti, Vaganova, RDA, Bournonville and Balanchine and they are all wonderful schools that emphasis in different area of dancing, but the french school as taught at the PAris Opera is definitely the most complete. As far as acting I do know that dancers like Pietragalla, Platel, Guerin, Maurin, Arbo, Legris, Belarbi etc all product of "the torture of Claude Bessy" ARE GREAT ACTOR THAT CAN DANCE. If there is a shortage now which I do not think so,Dancers it's just like wine, you have good years and you have bad one . I whish for the world that each country had a Mlle Bessy. And Rudolph choose is marvel among Mlle Bessy's product. [Remarks deleted by Administrator.] [ January 24, 2002: Message edited by: aubri ] [ January 25, 2002: Message edited by: alexandra ]