glebb

I'm well acquainted with the choreography of 'Theme and Variations', 'Symphony in C', and 'Giselle'. I've staged a 'Giselle' and could probably stage the other two, (with a little advance video studying).

In 'Giselle', as you have said Paul, it's the way the penche is done. I don't think a six o' clock penche is necessary. I love Makarova's develope a la second in her solo leading into the pas de deux in Act II. But there is something poetic about the high leg. It's not high for the sake of being high, or "scratching her head with her toes" as is asked in the first post of this thread. It's just in the right place, taste wise.

I do think they way the develope, or the penche is executed makes the difference. I've recently seen photos of a gorgeous NYCB ballerina (one of my favorites), in a past six o' clock penche in the 2nd movement of 'Symphony in C'. It just didn't look good.

Get out your video of Gelsey in 'Theme' and see her a la second, and her penche. That is what I like.

I don't think the leg to the ear (as it is more often done today), in a short or long tutu is appropriate.

And there's the Romantic tutu to consider.

And there's the Romantic tutu to consider.

While I have this fantastic opportunity, I'll take a meeting with August Bournonville and Lucille Grahn.

I just hope they will not be bickering. ;)

The first time I saw Nichols, she was in the corps and it was announced before the curtain that she would dance the first violin in 'Concerto Barocco'.

She was quite wonderful in the role she origniated in 'The Four Seasons'.

One of my favorite ballets to see her dance was 'In G Major'.

I didn't know that Gloria Govrin danced Profane Love. Who danced Sacred Love and Rimbaud in her cast?

Of all rep that the company does, those are my least favorite. They're probably bringing them because as you said, all of them will be new to you.

I've not seen the Jimmy Vincent piece yet.

I'm anxious to read your review.

I don't know what they are presenting, but they are excellent (non pointe) dancers.

They excel in Kylian, Duato and Nahrin works.

I've seen them dance works by Twyla Tharp, Margo Sappington, David Parsons and Daniel Ezrilow.

The dancers are quite beautiful and talented. High energy and exquisite quality.

I love to show my support to dancers by yelling bravo at the end of a performance. I have to admit that I usually use bravo for female as well as male dancers. I don't know why, but I am most comfortable with that and I'm sure they know that I am saluting them.

I am okay with thunderous applause and even bravo after a variation. I am fine with applause for a spectacular scene revealing. But noise while the dancer is dancing, is distracting annoying to me.

I really enjoyed the unison applause, at the end of the night in Europe, Russia and Asia.

I love to show my support to dancers by yelling bravo at the end of a performance. I have to admit that I usually use bravo for female as well as male dancers. I don't know why, but I am most comfortable with that and I'm sure they know that I am saluting them.

I am okay with thunderous applause and even bravo after a variation. I am fine with applause for a spectacular scene revealing. But noise while the dancer is dancing, is distracting annoying to me.

I really enjoyed the unison applause, at the end of the night in Europe, Russia and Asia.

Great one!

'Les Sylphides' was the first ballet I ever saw, so part of me thinks Fokine has to be the greatest. But then there's 'Apollo' and 'Prodigal Son'. Those are amazing too!

I have seen and even learned three Nijinsky ballets (or at least what we think they might have been).

I've been a part of Massine ballets, and they are quite fun to do.

I'll be learning Nijinska's 'Les Noces' next year, so I am most curious about her.

But I guess it's a Fokine/Balanchine tie, for me.

I hear you Bobbi. It does not make sense that NYCB didn't get the critical attention it deserves.

I have not seen the company since last spring, but the performance I saw (All Balanchine), was impeccable.

I cannot say the same for what I saw at ABT.

I agree with 'thank you' being a good way to address the performer even if I didn't like the performance.

But I often use a simple 'thank you' for a sublime performance, when words cannot describe the beauty I have just witnessed.

Our feline audience in London has been requesting 'Deux Pigeons'.

I couldn't wait for 'Russian Hamlet' to end, but I still had to get on my feet for the dancers. I wanted them to know how much I appreciated their beautiful dancing.

PS. I loved 'Red Giselle'.

I couldn't wait for 'Russian Hamlet' to end, but I still had to get on my feet for the dancers. I wanted them to know how much I appreciated their beautiful dancing.

PS. I loved 'Red Giselle'.

Don't worry Farrell Fan. It's all in the way you say thank you.

I love 'Union Jack'. Is it deep or entertaining fluff? Or is it masterpiece fluff?

It's 'I love you' in her first language.

Okay, next meeting, Arthur St. Leon.

We would discuss his choreography of the Pas De Six from 'La Vivandiere'.

Five minutes later.

I would like to meet Natalia Makarova just after a performance of 'Giselle'. I would say "Ya lioubliou vas"!

For me this will change every five minutes. There are so many I wish to meet!

Right now I will pick Marie Taglioni. The meeting will take place in St. Petersburg.

Billy The Kitten.

Treefrog:

Your daughter's observation about 'Birthday Variations' was correct. No multimedia effects.

After 911, Mr. Arpino decided to cancel 'The Clowns' due to it's destruction of humanity theme.

He wanted to give the Joffrey audience something light and colorful.

I do think that the way the Joffrey dancers made the fiendishly hard choreography look easy was the special effect.

CopaCabannaGirl,

Would you mind giving us a review of The Spotlight Awards Competition?

I would like to know about it.

Glebb

Delia Peters would also be a fine Thalia.