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.

It's natural to feel protective toward artists who mean something special to us. However, novelists do this sort of thing all the time, nor is it unusual for writers of fiction to do research. Le Clercq has been dead for some time and can't sustain any personal hurt. Fiction can be preferable to biography for the writer's purpose precisely because it allows greater freedom in the way of speculation and imagining than is permitted to a biographer (a responsible biographer at any rate). I have no idea what this effort will be like, but it's not by definition a disrespectful or exploitative endeavor.

Thanks for the heads up, Neryssa - much appreciated. I hadn't heard about this.

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.

Back in the mid-seventies I saw a Bolshoi "Highlights" program at the Met where Plisetskaya repeated the Dying Swan twice for a total of three repetitions of the whole dance.

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

. I purchased them from Amazon, Kulture, and the old Ballet Shop, in New York.

Which shop in NY?

I forgot to mention that I didn't get to attend the 1:45PM talk on Sunday afternoon. When I got to the box office at the David Koch Theatre (a little after 12:00PM) the man there told me the tickets were all gone. Could I have gotten the ticket to the talk over the internet? Do you have to go in person? I live in Staten Island and don't want to make that long trip if I don't have to.

With regard to simona's question, I have often attended performances at the end of NYCB's season (whether winter, spring or now fall). My subscription is on Sunday matinees and often I've gone to the very last performances of the season. I've never noticed any major differences between the quality of the dancing at the begining and end of the seasons. Sometimes dancers get injured and NYCB has to change performers or even the program. Injuries seem more likely to occur at the end of the season, but they can of course occur any time in the season.

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 :<

The film is comprised of extracts from "Le sacre du printemps," "Café Müller," "Kontakthof," and "Vollmond" interspersed with commentary from Bausch's dancers. ....There's one genuine "coup de camera" -- Wenders shoots two of Bausch's dancers looking into a diorama of the "Cafe Müller" set, which magically comes to life as an actual performance of "Cafe Müller" while they talk. (The diorama is set up outdoors in a green and sunny park.)

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?

Colleen, the promenade is the large area up several stairs from the ground floor lobby and then up another half flight. (It's reachable from either side, left or right, of the lobby.) There are two large white sculptures on either end of the promenade, and on performance nights, a gift shop in the middle near the windows. They set up lots of chairs and it's first come, first seated. So line up in the lobby early!

I went last year and it was wonderful - the dancers were interviewed and they were so insightful and just lovely as individuals. This year, unfortunately, I am tethered to home waiting for Verizon guys to fix my computer! This process will take 4-6 hours!!! So Colleen, I am counting on you to report on the 1:45 panel discussion since I can't be there, and for other Ballet Talkatives as well. Oh, and you need a ticket, be sure to get one, free at the box office.

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.

In addition to NYCB, you also need to figure out your budgets and schedules for the Australian and the Mikhailovsky across the plaza, and POB this comig spring/summer season.

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).

Were you in the Everglades????? LOL

Way more down south, BB...

pitchforks, fires, south

Mooooooore south! -(hint-hint.. )

in a pineapple under the sea

Were you in the Everglades????? LOL

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 ?

, ABT continuing to act like the internet/youtube/movie theater streaming does not exist

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.

. The Lilac Fairy reminded me of Polina Semionova in look--she seemed nervous though, but had a really strong, beautiful arabesque.

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

Yes, Caraboose was excellent in this version.