lmspear

Very true. After watching this episode, I asked my daughter (now in college) what she learned in high school about Napoleon. Her response "Nothing really. I didn't take European History, mom!"

Didn't they cover the Louisiana Purchase in American History?

I just wanted to add Amanda McKerrow and Christine Sarry to the list.

That was my experience exactly. I also know Ashton's Wedding Bouquet only from pictures.

Cakewalk by Ruthanna Boris and Lichine's Helen of Troy

Thank you Ma'am.

I'm going to put Alex Wong up for consideration. He was recently on Broadway in Newsies we know he can tap.

Early vintage Stars and Stripes with Hayden and d'Amboise:

http://youtu.be/leXASt3CZW0

I tried to take a picture of the theater for "Book of Mormon" long before the performance began, as there was a decorated stage exterior visible, and an usher immediately stopped me.

I've been told that there are copyright concerns with photograhs of scenic design elements, i.e. creating unauthorized reproductions of the set. The ushers have no way of knowing that the snapshots are going to be tucked lovingly into a personal album. If the pictures show up on a blog or website they can be used by anyone for any purpose.

Is the KAB still associated with the Unification Church (www.nytimes.com/1990/09/08/arts/moon-church-founds-ballet-school.html) ?

Here's the Marilyn Horne segment:

Thanks, Helene!!

There's a wonderful old segment where Marilyn Horne does a version of "C is for Cookie" in an Aida inspired setting. Sorry I'm at work and don't have time to find the link, but I know it's on YouTube.

Thank you very much for that link!

-d-

Any time.

Lisa

PBS is currently offering it at http://video.pbs.org/video/2320387369/

Loved Shirley Bassey, but I did get nostolgic for Carly Simon doing The Spy Who Loved Me.

Oh I think that you'd have a hard time convincing your average subscriber to the NY Philharmonic that Tchaikovsky isn't a classical composer. I think the vernacular meaning of "classical" music probably trumps all else today and that the more specialized, nuanced, historically informed one is rarer.

I disagree, Michael. If you were talking about the average person who doesn't listen to classical music or know that much about it, that would most likely be true. But I have to believe that most people who care enough about classical music to subscribe to a series of concerts would have knowledge of the development of 'classical' music and would know that Tchaikovsky is a romantic composer and an example of the 'high romantic', for lack of a better description. On the ballet side of this discussion, what may be less clear to casual ballet-goers is the difference between romantic ballet and classical ballet, which doesn't correspond to the development of what is termed 'classical music'. I agree with your earlier post, and Dirac's, that the terms are confusing.

There should be an easy way to explain that not all classics are classical.

As a DC area resident I can't recommend Metro enough. Harman Hall is smack in the middle of downtown, near museums and a sports arena. The only time I would drive there would be on a week night when the no-parking spaces used for loading spots and in front of business entrances become available at 6:30.

If you decide to see the Washington Ballet at the Kennedy Center, there is a free shuttle bus that runs every 15 mins. from the Foggy Bottom Metro station.

So you really think that driving a few miles to the Metro station, parking in a free parking lot, taking a 15-minute train ride, and getting dropped off a block from the theater is a better plan than driving on crowded streets with a traffic light every block, circling around for 40 minutes looking for a place to park, spending $15 to park, and walking (or, in my case, limping) a half mile to the theater?

Alas, the reason why the parking at the Silver Spring Metro station is listed as costing $0.00 is that there isn't any.

There is municipal parking in Silver Spring within walking distance of Metro. It is free on weekends.

So you really think that driving a few miles to the Metro station, parking in a free parking lot, taking a 15-minute train ride, and getting dropped off a block from the theater is a better plan than driving on crowded streets with a traffic light every block, circling around for 40 minutes looking for a place to park, spending $15 to park, and walking (or, in my case, limping) a half mile to the theater?

When visiting back home in NY I'm notorious for driving into Manhattan being my first choice of transportation over the Long Island Rail Road.

As a DC area resident I can't recommend Metro enough. Harman Hall is smack in the middle of downtown, near museums and a sports arena. The only time I would drive there would be on a week night when the no-parking spaces used for loading spots and in front of business entrances become available at 6:30.

If you decide to see the Washington Ballet at the Kennedy Center, there is a free shuttle bus that runs every 15 mins. from the Foggy Bottom Metro station.

Can we add Elliott Feld's Papillon http://www.nytimes.com/1984/04/24/arts/ballet-feld-s-papillon.html . It was really delightful.

You're right, lmspear, I remember d'Amboise saying something to that effect.

Thanks for the confirmation, dirac!

If I'm remembering correctly Jacques d'Amboise spent some time discussing the creation of the Kirkland Firebird in his fairly recent autobiography. The gist of if was that Balanchine resented the individual success that Maria Tallchief had with his first version of Firebird. Balanchine seemed to be working out some kind of psychodrama on Kirkland. According to her book, Kirkland disliked the music as well as the costume.

Or they could offer some kind of pay-per-view option.

Other reasons for mikes besides amplification include recording the performance and transmitting the sound to any monitors that are displaying what's going on in the theater.

Words On Dance: Edward Villella

Monday, March 11, 2013

6:30 pm ET

New York

I just stumbled across this, http://www.paleycenter.org/2013-spring-words-on-dance-edward-villella.

In Person

Edward Villella

The San Francisco–based Words On Dance interview series returns to New York in this newest collaboration with the Paley Center.

Join us for an evening of conversation and television and film clips as the legendary dancer and artistic director Edward Villella talks about his extraordinary and unique career. In 1957, Villella joined the corps de ballet of Balanchine's New York City Ballet at the age of 21, and weeks later was cast as the star of Jerome Robbins's Afternoon of a Faun—subsequently going on to have unparalleled success in a series of classic Balanchine ballets including Prodigal Son, A Midsummer Night's Dream, Jewels, and Apollo. After retiring from the stage Villella segued into the role of Artistic Director. In 1986, Villella founded the Miami City Ballet, and led it to international success for over twenty-five years. Among his distinguished honors are the 1997 Kennedy Center Honor, and the National Medal of Arts, the 38th annual Capezio Dance Award, and the National Society of Arts & Letters Award for Lifetime Achievement.

The interview will be conducted by his daughter Crista Villella (the ballet mistress of Miami City Ballet) and clips from Mr. Villella's career will be shown, including rare film footage from private collections.

Tickets on sale to Paley Center Members now.

General Public: Wednesday, January 9, 2013, at noon.

I hope the open slot gets filled with one of the soloists that have been undeservedly stacked up in a holding pattern for so long.