Victoria Leigh

And ABT performed at that theatre, the 54th Street Theatre, in 1962 or '63, not sure which.

Leigh, I don't know. Have not been by there in many years, and can't remember the exact address of the building either. Sorry

Leigh, I don't know. Have not been by there in many years, and can't remember the exact address of the building either. Sorry

Before the Broadway studios ABT was located for many years on 57th St., just west of 8th Ave.

Before the Broadway studios ABT was located for many years on 57th St., just west of 8th Ave.

Henrik, this question is really more suited for the YD board than the Buddy Board. It could actually even go on the General Discussion board. Actually, I think I will move it there, as there are some Bournonville experts on this board who will see it there, and they cannot respond on YD. On second thought, I moved it to Subtexts and Contexts, under Choreographers.

Who in the world ever allowed that photo to be published? Certainly the dancer would not have approved it. Is it actually in the brochure or published somewhere? It is really frighteningly bad. :eek:

Solor, I'm sorry but I did some editing on your post. While negative opinions are not a problem, personal attacks on dancers are a problem. When we write about individual dancers on Ballet Alert we try not to say things that are destructive, even if we feel that their performance in a particular work was not suitable or up to par technically, or if they were possibly miscast in a role. That would be okay, but saying that they are horrendous and should not be on the stage is really not appropriate. Try thinking about things you write as if you were saying them to this dancer, or the dancers' mother! :eek:

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Solor, I think that if there were very many others like you we would not have any ballet companies in the world! While I think there are many of us who love the classics, personally I really enjoyed dancing the few Balanchine works that I got to do, and I absolutely adored ALL of the Tudor rep! I never did Grahm, so can't respond to that. But I think part of the challenge of being a professional dancer was to work with different choreographers and learn all kinds of different ballets. While we don't have to love all of them, they can still be fun and chanllenging to dance. An all Petipa rep could get old pretty fast I would think.

What a wonderful review, Alexandra! Although I did not see this program, I have seen this young man and his work several times and have been enormously impressed with his talent. Delighted, but not surprised, to hear that this program was so good! Bravo, Dana!!!

Danceon, try visiting the web sites of any of the major ballet companies, like ABT, Houston Ballet, San Francisco Ballet, The Royal Ballet, The Kirov Ballet, The Bolshoi Ballet, etc. Most of them are found by typing in www. and then the name of the company and .org, such as www.abt.org If that doesn't work, there are several sites with links to the companies, or you can even use any of the major search engines and type in the name of the company. One of the major places with links to companies is DanceLynx.

Yes, Susan, there are agents who handle ballet dancers. Usually they are "stars", or at least principal dancers or soloists from major companies. The agents book them for guest starring roles with galas or regional companies, and sometimes teaching or choreography situatiions as well.

Great review, Giannina! Thank you Very good to hear such positive reports about Othello, and it sounds like something I would really like to see!

Since he is a professional dancer, I'm moving this to the Dancer forum

Pleiades, ABT did only Act II Swan Lake at that time. The third ballet was probably either Billy the Kid or Theme and Variations, or possibly Etudes. You would have seen me in this program, in my first season with ABT

I was 10 years old, and a friend of my parents took me to see Coppelia, performed by Sadlers Wells Ballet in Miami Beach, FL. Between that and the film of The Red Shoes, which was somewhere around the same time, I was totally and completely hooked and never looked back. Ballet has been my life ever since. It was before that, but I didn't know it until then

I knew Laurie from my years in Florida. She was a dedicated dance lover and critic, and she put up a valiant fight against this cancer. May she rest in peace.

Dominic Walsh, very talented dancer and also potential choreographer. He has been there a long time and has done lots of good roles in the company. He is a prince type but a bit short in stature. With a small enough ballerina it works pretty well. Very good partner. Good in demi character roles as well.

I saw Magnicaballi do it, two years ago I think. Maybe three.

Katelyn Prominski (apprentice) is a June high school graduate, trained at the School of the Washington Ballet. She did SF Ballet this summer, and then Farrell's KC workshop. She will return to SF Ballet to continue her studies in their top level after the Farrell performances.

Aubri, my first thought was to agree with you, reluctantly, that the Balanchine school is thought of as the American School. And I imagine it is in a lot of places. But this is really not only not true, but too bad, because it limits the thinking of what American dancers are like. While there are certainly a lot of very fine Balanchine trained dancers, I still think that there are more working dancers in the country, in ABT, Joffrey, Houston, and lots of other companies, who are trained in a more European classical tradition. Most of the recognized "stars" of these companies are not Balanchine trained, like Kent, Corella, Acosta, Carreno, Murphy, Wiles, Jaffe, Dvorovenko, etc., etc. Of course they are not all trained in America, either. But I think that the majority of the corps dancers and soloists as well as a lot of the principals in these companies are trained in traditional American schools, as opposed to SAB or very Balanchine oriented schools. There are really such a variety of dancers in this country trained in a variety of schools that I feel they should not be lumped into one category of dancer. But, I also understand your point and where that idea could take hold in other countries, especially if they have seen primarily NYCB, PNB, and SF Ballet.

Veronica, there are so many really good ballets on video and DVD right now, but I would suggest a mixture of companies and as many different ballets as you can get. ABT, RB, Kirov, Bolshoi, NYCB, etc. Everything! ;)

"Little" swans do indeed do the Cygnets variation, but they are just the shortest dancers in the company, not the youngest! ;)

Both are available from Christopher, at www.christopherseminars.com The site was down earlier today, however, I went there a couple of weeks ago, registered for their catalogue, and it arrived in two or three days. I then ordered some CD's, and they arrived just as quickly. Talked to Christopher himself on the phone when I ordered. It's a new business. He has orchestrated class CD's as well. He sends out a demo with his catalogue, but I discussed this demo with him, as I felt it had far too many things for "commercial studios" and not nearly enough ballet. Some of the stuff on the demo is quite awful. But the CD's I ordered are excellent! I ordered Class #7, which is not shown online, but is in the catalogue. It has ONLY classical music from ballets, no other stuff. Also ordered the class versions of Paquita and Don Q, and the full version of Paquita for the school. The class CD's have far fewer selections but MUCH longer bands, which I find very useful. They are particularly good for center work and pointe classes with upper level classes.