zerbinetta

In Act I of Sleeping Beauty, Aurora crosses her wrists to her parents. I always assumed it indicated obedience. In Act I, Sc 2 of Bayadere, Nikiya crosses her wrists to Gamzatti. That one seems to indicate servitude.

Neither of these are preceded by the reaching hands, though.

It would seem to be a versatile gesture.

I recognize a number of these from Act I of Don Q - when Basil is flirting with Kitri's friends, when Kitri is receiving unwanted attention from Gamache, etc.

I've also seen a fan used in Act I of Barbiere di Siviglia when Rosina appears on the balcony and now I know she's signalling "I can't go out".

Thank you, Alexandra.

Scherr's blog now includes some responses, the most substantial from Paul Parish on Macaulay's qualifications as a Londoner for the post in New York:

"...If you don't know that, you don't really know the first thing.

And that's what Alastair as a Londoner ain't got" (Foot in Mouth 2/17/07

Has Macauley ever been based in New York? It would seem from the interview that his NY trips have been either on assignment for his papers or lecture and research oriented. I don't see how we can predict whether or not he may develop wider interests once he arrives. Perhaps Mr. Parish might have said 'ain't got .. '"yet"'. There seems little point in blaming someone for not possessing virtues if he has not yet had the opportunity to do so.

There is a rather snarky tone in Scherr's responses to those who disagree with her which does little to strengthen her argument.

Perhaps Ms. Scherr could establish the Molly Ivins Memorial Scholarship to be awarded annually to a young female writer in need of assertiveness training.

While I deplore the company's new Blockhead programming, one justification was that fewer ballets would need to be rehearsed each week, hence more time to prep each ballet. I came upon some calculations I did last August.

It could have had that effect, but the scattering of the individual blocks was not thought out properly, with the effect that there's been no change in the number of ballets per week:

For example, even if three blocks were staggered throughout a week there would be an average of 11 different ballets to rehearse.

Last winter with old-fashioned diverse programming there were five full weeks of rep, with an average of 13.8 different ballets performed per week.

This winter there are six weeks of rep. But the blocks are so scattered that the weekly average is 13.7.

We've sacrificed diversity without gaining quality.

"Blockhead programming" is a perfect description.

When I was called by the CB subscription office I asked if they wanted comments on the new programming system and was told "yes, actually, we do" so perhaps call/write if you feel the same way.

Well, I dunno.... Depends what you like.

My tastes are eclectic. To me the most beautiful man in the world is Dikembe Mutombo. Not merely his appearance but his comportment is noble and gracious.

He looks not at all like Zoltan S.

Happy Valentine's Day to all ballettalk posters - to those I agree with, to those I disagree with, to those who make me laugh and especially to those who make me think.

I'm grateful you are part of my life.

And most grateful to the administrators and moderators who keep this a "civilized" forum.

zerbinetta

What about the stereotypical Ugly American Pinkerton? Or the stereotypical spineless diplomat Sharpless? Or the sweet but somewhat dimwitted Kate Pinkerton?

It's far more insulting to Americans, seems to me.

Won't stop me from seeing a good cast, though.

The Royal Ballet's current heaver of taller, heavier ladies is the Royal Danish Ballet's Kenneth Greve and I'm happy to report he is far superior to Solymosi in every respect.

But surely not more gorgeous?

The Madame X comparison is quite apt. Miranda has that same air of mystery and transparence combined. So unique.

Let's not forget that Kowroski is also a wonderful comedienne.

As far as NY, I did notice at the Golijov festival last spring, at the Rose Theater in the Time/Warner building, a greater percentage of somewhat to much younger people in the audience than I generally see on programs at the NY Philharmonic which include a new piece. This is also true of Alice Tully Hall. Perhaps younger types feel more comfortable in smaller halls? Although the Rose Theater is quite large, it isn't a barn like Fisher.

Most, if not all, of the Grendel performances at the NYS Theatre were sold out. NYC Opera's new operas generally get a youngish crowd.

In Santa Fe, the new operas also get a younger (& less affluent) crowd than the traditional operas. This is also true of the SFe Chamber Music Festival for new works (& dance as well) at the Lensic Theater downtown.

So I guess I have to conclude that I don't see this as so in my two home cities.

I do like your turn of phrase, Haglund's.

I'll mention one Old Dude who knocks my socks off: Armin Mueller-Stahl. Those eyes, that mouth. Goodness! I know he made films in Germany in his youngerhood but can he possibly have been as magnetic then as he is now?

"Optimal" seats can be very subjective. There are people who won't sit anywhere except the first row of the Orchestra. I guess they watch faces as they cannot see feet from the ankle down.

Most people who can afford it prefer as close to center Orchestra as is available. Second choice would probably be Grand Tier, especially for the big productions.

Seats very much to the side in Orchestra can be wonderful & there is usually no problem with heads in front of one as long as one sits past about row Q.

Natalia Makarova was in her middle forties when she danced one of the youngest Juliets I've ever seen

And the film of Ulanova in the Lavrovsky? Miraculous!

Oops, sorry - simultaneous postings.

Now shtumm on this, yes, OK.

There was a piece in the New York Times

http://www.nytimes.com/2007/01/15/arts/music/15dica.html which reviewa a work which seems to be along the lines of what my original query was about.

The article mentions Puccini's first opera Le Villi, was conceived of first as an opera ballo. What exactly is an opera ballo?

If this piece, which did not get a stirling review in the Times, is still on, I might try to see it.

Do and BTers have any knowledge of or comments about this work?

I think Midgette is misusing the term "opera ballo". which refers to grand opera including at least one major ballet set piece. Think Meyerbeer, Verdi's French operas and those translated into French for the Paris Opera.

Le Villi is a hybrid of opera & dance (ballare: It. for dance). It's a wonderful piece for a first opera but not a wonderful opera.

The last performance at Di Capo was Sunday afternoon.

I'll post later on the Nilas Martins thread but will say a male Myrtha can work to the right music.

Well hey, Sofiane gone walkies again?

Why is the BNP party membership list private? While I agree that whom we vote for should be secret, my membership in the Democratic party is not a secret. This had to be disclosed at voter registration and I receive mail based on my party affiliation almost every day.

But perhaps it is different in Britain?

And there's always the "be careful what you wish for" factor.

I'm not bringing this up to denigrate these artists, but to enjoy their art one has to divide the artist from their personal life - if one can. That's up to the individual.

Precisely. Otherwise how could we enjoy listening to Richard Wagner?

My husband, who is Jewish, loves Wagner's music & attends every Wagner opera with the exception of Die Meistersinger. He feels Wagner used Meistersinger as a platform for his anti-Semitism.

If Ms Clark were dancing the BNP manifesto, I would certainly stay away. But she's dancing Giselle and should be judged only on how well she dances it .. or not. The rest is a separate kettle of (rotten) fish.

Doesn't Sofiane generally take this time of year off to appear with the Het, her other company, and spend time with family?

Clearly many of us here wish you had been right.

How about live re-runs? There have been plenty of times I'd like to see a bis but they are almost unknown in ballet.

My understanding, from a YAGP Board member, was that the date was changed so as not to conflict with the NYCB Spring Gala.

Ah, whatever ...