puppytreats

"For what it's worth, Duato's "Beauty" had it's premiere, and the reviews (in the Russian media, among the pedagogues and the cognoscenti) have been, (politely) deemed in a word, mediocre - at best. All this, in spite of Kehkman's recent acquisition of Osipova and Vasiliev, not to mention Zakharova's and Sarafanov's participation in it" What does the acquisition of NO and IV have to do with the premiere of a ballet starring SZ and IS? I am confused. I thought the ticket sales would be affected by the overabundance of programs of local and foreign ballets, among other offerings, this year.

I cannot give enough praise for the leading men in the POB performance of "Paquita". Martinez and Thibault were fantastic (although Martinez was weak in a few lifts at the very end, when he was apparently tired, and Letestu is so tall). I liked Letestu, but she seemed to tire in the end, too. Are tall women usually cast in this ballet? I did not imagine her in the role. The music, on the other hand, is hard to listen to, since it is so repetitive and not very pretty. I liked the costumes and set, contrary to some opinions listed on these boards. I always love the detail in POB costumes. The structure of the ballet seemed unusual, and a bit crowded. Maybe this is due to the interpolations discussed here.

I agree with the role of fiction and research, but disagree about sustaining personal hurt. Collateral damage cannot be ignored. One's personal legacy can be hurt. One's family can be hurt. One's dignity can be hurt. And, if you believe the Romantic ballets, or other sources, one can still sustain personal harm.

Nina A did the same thing at Avery Fisher Hall earlier this year.

Which shop in NY?

I was told the same thing by two people behind the glass at the box office, but then spoke to a representative from the ballet (not the box office) and was let in to hear the lecture. Some people with subscription tickets indicated that they did not have notice of the need to get a ticket for the lecture; they were allowed to attend the lecture by the ballet company representative. I would hope that you are not too disappointed by having missed it, though. Other lectures I have seen have been more informative. However, the dancers were really nice.

Rereading parts of Beaumont, I lost respect for him. Basically, he concludes that Giselle was a hypersensitive neurotic, stating that a man played with her heart, big deal, no harm, no foul. On the other hand, he shows great sympathy for Albrecht, whom he describes as perhaps caught in an arranged marriage and yearning for love. Does he simply identify with the yearning, and not the heartbreak? Does he not have praise for her being so magnanimous in her forgiveness and her courage and sacrifice in protecting her loved one and sending him into the arms of another woman for his own well-being? He also posits that Giselle might be a changeling because she is unlike her mother in temperment. Has this man never been in the presence of a mother and daughter before? Speaking of Darci Kistler (see post above), she spoke at the Koch Theatre yesterday as part of the Balanchine celebration. She told a story about Mr. B fixing her hairpiece after she came off stage as Dewdrop and then returned onstage to continue dancing. She also said he used class as a laboratory, not a full warm-up. Wendy Whelan appeared onstage but hardly spoke. I was hoping to hear more from her. Is it really bad that I gushed to her about her being "so beautiful"? I am not sure who was more embarrassed, me or WW :<

Other than "Cafe", can you identify which dance is which? I saw this yesterday. Also, how were the dances generally staged or presented? Outdoors? On film? As performance art?

Ray, Do you know if any of her classes are streamed on the internet or otherwise available remotely?

Did anyone get to see this?

Worth it to reschedule the cable Eileen. If I lived as close as you do (and it weren't so cold), I would go. Trying to think how I can get to see Pina at Linc Center in the snow.

I have been reading this book and learning a tremendous amount. I found surprising the deferral to stagers by the artistic director on issues casting, particulary since this seemed to contrast with the practice described on this board on discussions regarding RDB and Mr. Hubbe. The writing style of the book, so far, disappoints. I derive pleasure in the facts and the details about which I am learning as I read, but not from any turn of phrase. I feel like I am reading a unedited sports blog, instead.

I bought an ABT 6 series subscription, and I would love to see the 4 companies you mention, in addition to the Chinese company, but I can't justify it to myself, when I add in parking, tolls, and incidental costs, and have a bad book purchasing habit (although I have used the library and netflix for many dvds and books on ballet).

Way more down south, BB... pitchforks, fires, south Mooooooore south! -(hint-hint.. ) in a pineapple under the sea

Way more down south, BB... pitchforks, fires, south

I meant, do they stream both nights of each event, i.e., 4 nights total?

Do you know which dancers will appear? Do the same dancers appear at both dates of each event? Are both dates streamed?

tours en l'air ?

After being shocked and disappointed by ABT's website, I was surprised to see a minor fix in its library, at least.

I read Kirstein's New York City Ballet and Beaumont's The Ballet Called "Giselle" over the holidays (a gift to myself). I expected Beaumont to answer all of the mysteries of "Giselle", but I was disappointed. Beaumont does not focus on the central questions long debated on this website about Loys/Albrecht, regarding the character's true emotions, motivations, and character. Instead, the author summarily remarks that Loys loved Giselle. I thought the entire book would discuss themes about which I have had tortured debates in my mind and struggled for answers. If anyone knows of a book addressing this topic, please recommend it. I really enjoyed Kirstein's book, despite its structural failures. I found crucial, glorious nuggets of information and wisdom in this book, about art, the business of theater, philosophy, metaphysics, and history, as well as Balanchine's thinking and influences, and Kirstein's admirable character. So many times I felt the urge to pull out my highlighter, which I could not use, since I borrowed the book from the library. If I were interviewing a ballet dancer or artist, I would use many quotations from the book to generate issues into which I would inquire. (Many would make great topics for this board, as well. :>) Mr. Kirstein comes across as so much more humble than I anticipated. This is a particular feat, since the book is presented as a fictional, supposed diary, followed by chronological commentary on the development of Kirstein's interest in art and ballet, and the development of the NYCB. This artifice is unnecessary and diminishes the impact of the commentary. Furthermore, the chronological presentation results in buried insights, which would benefit from a thematic organization. The historical analysis serves a useful purpose, though, and perhaps further reading of books by Kirstein will yield a more satisfying exposition of his themes. Physically, the book is wide, huge and unwieldy, but worth the time to sit with and read in full. Kirstein discusses Robbins's "The Cage" as a commentary on "Giselle". Has anyone seen this ballet? Please describe it. Lastly, I watched the season 4 episode of "Gossip Girls" in which Gillian Murphy and Ethan Stiefel appear. The episode involves a gala for the NYCB. Who were the ballet dancers standing with Peter Martins when he gives his little speech? Happy new year.

Does that mean we get a picture of Christian in his party clothes?

I only cut in and out so I don't have a clear memory and did not have a clear observation -- but did the fairies do pirouettes in both directions? Isn't that unusual? And aren't the fairies usually partnerless? I thought that was interesting. I would love to know who the brown clad dancer was supposed to be in Act III. And was there a Cinderella tale? Someone should unite the two threads on this topic.

The fairies were all partnered in this version, unlike other versions.

Exactly what I thought, although she gained composure after the first act.

Yes, Caraboose was excellent in this version.