glebb

I know I might get my wrists slapped for this (because it's not a ballet Barbie), but if I am going to watch a Barbie movie I would like to see her as each of the women in NINE, the musical.

How exciting Tancos!

That is the tune used in episode 3 of "ElizabethR" and I think the tempo is perfect!

For anyone interested in La Volta and Elizabeth I, rent or buy the DVD box set. There is a special feature which enables one to watch the episodes all the while hearing commentary by Alison Weir.

If I remember correctly a friend of mine from SFB told me (two years ago) that it is pronounced as it is spelled. Maybe Uwon Uwon Tan is easier to understand.

Are you sure about Rachel Rutherford? I believe she was a student at the Joffrey School at one point.

Sorry, I don't have it any more as it was not returned from a loan out, but I did buy it at the San Francisco Opera Gift Shop many years ago.

Getting that DVD out. Thanks!

Thanks to you Leigh and Mel. In the episode of "ElizabethR", La Volta looks to be a new, racy and almost reckless dance! Very exciting and daring.

Not sure if I spelled it correctly. Does anyone know about this dance?

La Vaulta is reportedly a favorite of Elizabeth I of England. It is well done by Glenda Jackson in episode three of "ElizabethR".

Paul and the beautiful Bruni are still married. I saw them last summer at the MET. We were all seeing what might have been Amanda McKerrow's last "Giselle" at ABT.

Excellent people.

Paul is retired but still stages "Rodeo" for companies all over the world.

I know you are interested in hearing from others but I would like to say one more thing. I believe that in Ashton and Balanchine ballets the choreography is the definitive interpretation of the music. The steps are inevitable. Therefore, one does not need to count though Stravinsky might be the exception.

I have never worked with Ashton himself, but I have worked with Michael Somes, Brian Shaw, Alexander Grant, Christopher Newton, John Taras, Faith Worth (choreologist), and the swan-like Lynn Wallis.

Somes-LES PATINEURS, Shaw-LES PATINEURS, Grant-THE DREAM, LA FILLE MAL GARDEE, Newton-A WEDDING BOUQUET, John Taras- ILLUMINATIONS, and Wallis-MONOTONES I & II all went in and out of counting music. I had the feeling that they could but didn't feel the need to count everything. As you said Leigh, they demonstrated, spoke, hummed and pounded out rhythms. I particularly remember receiving wonderful suggestions through imagery from Michael Somes.

Faith Worth- FACADE, THE DREAM, JAZZ CALENDAR, LA FILLE MAL GARDEE taught every count from her Bennesh Notation Score.

I'm not sure if I've put this question in the correct area, but here goes.

I'm sure this is a tough one, but I would like to find out the name and composer of a particular piece of music that I heard in part III of "The Six Wives of Henry VIII"-BBC.

The scene is a court dance with Henry and Jane (Seymour) sitting on their thrones. Mary the first enters to give her father a gift and he in turn gives her a gift.

I heard the music on the radio several years ago and I think it was announced to be Flemmish.

I know that if I have any luck in procuring the answer, it will be by way of a BA member.

Bringing this back to earth I propose Isadora/Barbie, in Grecian tunic.

Mattel has created a new substance to make her body less rigid.

Thanks Alexandra. Your comment about Valdemar reminds me in a round about way of the song from A CHORUS LINE - Dance Ten, Looks Three.

If Ellen Price de Plane (Juliette's niece) is filmed, it means that Juliette and Lucille were doing their muse thing just a few years before moving picture technology came about.

What a shame. I so wish to see Lucille Grahn in motion and I still want you to write the book about all of this for us!

Is this the same Juliette Price that is on film and whom posed for the statue of The Little Mermaid?

Blanche DuBois?

Help me. Was that Barbie as Evita?

"Some days later I received a visit from the lovely Pavlowa; and again I was presented with a box to see her in the ravishing ballet "Gisele". Although the movement of these dances was against every artistic and human feeling, again I could not resist warmly applauding the exquisite apparition of Pavlowa as she floated over the stage that evening."

Isadora Duncan arrived in Russia (her first time) on January 6, 1905. This was the day after Bloody Sunday. She witnessed a funeral procession and "If I had never seen it, all my life would have been different. There, before this seemingly endless procession, this tragedy, I vowed myself and my forces to the service of the people and the down-trodden."

"The next day I received a visit from a most charming little lady, wrapped in sables, with diamonds hanging from her ears, and her neck encircled with pearls. To my astonishment she announced that she was the great Kschinsky. She had come to greet me in the name of the Russian Ballet and invite me to a gala performance at the opera that night. I had been used to receiving only coldness and emnity from the ballet in Bayreuth. They had even gone as far as to strew tacks on my carpet so that my feet were torn. This change in sentiment was both gratifying and astounding to me. That evening a magnificent carriage, warmed and filled with expensive furs, conducted me to the opera, where I found a first-tier box, containing flowers, bonbons and three beautiful specimens of the jeunesse doree of St. Petersburg. I was still wearing my little white tunic and sandals, and must have looked very odd in the midst of this gathering of all the wealth and aristocracy of St. Petersburg."

"I am an enemy to the ballet, which I consider a false and preposterous art-in fact, ouside the pale of all art. But it was impossible not to applaud the fairy-like figure of Kschinsky as she flitted across the stage, more like a lovely bird or butterfly than a human being."

Tough old gal, no kidding!

A coworker of mine told me that Edna Mcrae made two male dancers crawl on hands and knees to their places at the barre, when they were late to company class.

Ah the good old days.

Though I have never liked competitions, I often sit on a panel of judges at a local competition. This competition is a tribute to a young dancer who was killed in a car accident. Her parents hold this competition in her memory and cash prizes are awarded. It's a very small competition.

Three years ago, a very young woman from Washington School of Ballet was among the entrants. She had technique and artistry, and images of her performances are still etched quite clearly in my memory. She was an example of having the technique and the artistry completely on top of it.

I hear she is doing triple fouettes now with no sweat. This is a great example of the creation of a star. This girl obviously has something special that is being nurtured and continually improved upon.

I think Evdokimova, Kirkland, and Makarova performed the most beautiful grand jete of the recent past.

Who does it for you today?

Congratulations NINE! Eight Tony nominations!

Too bad that Scott Pask (set designs) was not nominated. His nomination would have given the show a perfect nine nominations.

It's interesting to read her autobiography and remember through her language, that she was a Victorian woman.