puppytreats

vrsfanatic. The feet were not cut off at the Boynton Beach Cinemark last night.. Watching footwork was one of the joys of the evening. Everything looked just as the filmakers must have intended.

Like you, I enjoyed being part of an audience that was clearly there for love of ballet. It was rather largish and included a small group of young students Everyone was as silent as humanly possible once the performance began.

Question: are the lead males as slightly built as they appeared on the screen?

Sarafanov looked like he was 12; Kuznetsov was the most willowy Hilarion I've ever seen; Wilfried seemed almost without substance, even during his big moment in the graveyard scene. On the other hand, the corps dancers -- male and female -- seemed quite solid and real. The Wilis, in their big white tutus, looked not at all ethereal, especially in when they formed those long diagonal lines. This worked out very well for the drama. Their synchronized rejection of Albrecht -- a wave of movement moving down the line -- was, for my companion, the strongest visual image of the evening. The moral: don't fool with THIS group of Wilis, you poor little man.

It would be fascinating to be able to see this WITHOUT 3D, while the 3D visual memories are still so vivid. Which each of us one like best?

A fey Albrecht? How did he portray the "he loves me/loves me not" flower petal scene? Did he have any humor or justification for his deception, or was he just slimy and self-involved? This sounds so disappointing.

They did not do the Mother's Mime, which is criminal and a huge shame, because the dancer playing the mother could act and mime, and they dropped the Peasant Pas as well. After the PNB production, this one looked empty.

No peasant pdd? Did the corps dance for Bathilde? I can't imagine Giselle without the peasant pdd.

[. Looking at the cast lists from before the men are wide open (except Corella and Beloserkovsky did Lensky--though it's a crapshoot whether either of them would be cast again, esp. Beloserkovsky) and Riccetto and Reyes did Olga. It's interesting to think about this one as Anderson gets to choose, so we may be in for some unexpected choices!

If i am not mistaken, Marcelo did Onegin for 1 performance the last time around . David would be interesting as Onegin although he is more of a Lensky type. E Tamm /A Hammoudi would be possible Lenskys. Olga? -- Sarah/isabella,h seo ? Any suggestions?

R. Bolle performed it at La Scala, so it is in his repertoire.

How about writing to the dancers and their union?

I watched "The Red Shoes" this weekend and it was magnificent. The film was compelling.

Moira Shearer's dancing was stunning. I was surprised by Ms. Shearer's commentary, in which she indicated that she did not want to do the film, and was pursued for over a year by the producers. From watching her dance, I can finally understand the commentary on these boards about line and artistry, which I have been unable to grasp fully based on my experience with current dancers only. (I have been working on obtaining extreme flexibility and hyperextension because I have always been awed by the hyperextended splits and 180 degree penches, among other things, which I see on youtube.com and dvds.) Watching Ms. Shearer dance, I really believed that the red shoes had a life and drive of their own, and were moving the dancer's body, rather than the other way around. Massine was fabulous, too.

What is the background of the dancer who played the part of Irina, who announced her intention to marry during a rehearsal of "Giselle", and of the dancer who played the part of Ivan, who was Vicky Page's partner?

Did Diaghilev have a reputation for behaving like Mr. Boris Lermontov or was this entirely fictional?

On tiny stages, such as that of Rambert's dance company, where Ms. Shearer danced "Swan Lake" in the move, how are ballets staged for live audiences? Is scenery used? Is the corps cut down in size?

"prurient interest in peoples lives by the media, has degenerated to a level which is in my opinion appalling."

-or others using media or other methods. It is appalling, sad, and horrifying.

Are you saying it is about Grace? Would unmerited forgiveness be a gift, and would birth itself be a sin, then?(Question asked by a nice Jewish girl who knows very little Christian theology.)

Unearned, unmerited Grace, yes. But why would birth be a sin in this context? No quite sure I get the connection here. I'd rather think, it's quite the opposite: Aurora is born into a magic kingdom of light and goodness, and without having done anything either good or bad, she receives everything one can only dream of. Sin has no role to play here.

Or did I completely misunderstand you and you meant something else?

Your comment about unearned gifts made me believe you were suggesting an underlying Christian theme in this story, as in many stories about birth and rebirth. Therefore, I asked my question about unearned Grace and forgiveness of sin. Pardon my limited understanding of Christian theology. I thought Grace was unmerited, "prepaid" forgiveness of sin, and man is sinful by nature, having been born as a result of so-called original sin. Do children inherit the sin of their parents, as a result? Will she commit a future sin by virtue of being human and having free will? If she is asleep, does she avoid her sin and/or be reborn? Maybe I am going off course. I have not really thought this through very thoroughly.

Was it Lane or Seo?

In R&J it was Seo. At the Guggenheim it was Lane who was coached. Seo danced the Prayer from Coppelia, but in a different context (and I think during a different program).

I only saw the one with Seo. Jose was in that one. What was the topic on the program that included Lane?

I suspect, though, that the problem for me with this ballet is the story. “Sleeping Beauty” is not a drama, nor an over-the-top comedy like “Don Quixote” or “The Bright Stream.” It’s a fairy-tale like “Cinderella,” but there is no real conflict (it takes all of what, two seconds for the Prince to eliminate Carabosse?), no reversal of fortune for the characters (elevation of Cinderella from rags to riches; punishment for her stepsisters/mother), and no real chance for the Prince and Aurora to fall in love on stage. The music is undeniably lovely (except when played badly as it was occasionally last night), there may be some nice dancing, and it might be enjoyable to see your favorites or star ballerinas in it, but I suspect that it will never be a favorite ballet of mine.

I agree completely - SL is not a drama. Unlike Cinderella where the protagonist gets rewarded for being nice to a destitute stranger, Aurora hasn't done anything to deserve all the gifts she's being blessed with at BIRTH.

Sleeping Beauty is not about character development or dramatic conflicts, but about the promise (and eventual fulfillment) of absolute happiness which is presented as a pure gift, inexplicably bestowed upon Aurora for no apparent reason and without requiring anything from her in return. The ultimate gift, so to speak

At least, that's the way I always saw it

Are you saying it is about Grace? Would unmerited forgiveness be a gift, and would birth itself be a sin, then?(Question asked by a nice Jewish girl who knows very little Christian theology.)

I've been reading this thread, and here are some observations:

Dancers are like any other artists, they take time to grow as dancers, actors and athletes. While many of you say "promote from within" and "give them chances to dance principal roles" - are you also willing to watch a few years of perforances that are not virtuoso before they grow into principal "stars"? ABT pays the bills with story ballets, which means feast or famine for dancers - especially the men. Either you're carrying an entire ballet, or you're carrying a speer on stage right. Not much in between.

I wonder if ABT could leverage ABT II to somehow include these growing dancers, maybe with more performances around the country where they are not expected to be at the standard set by the "stars", but perhaps some sort of tours that allow them to work out those principal roles repeatedly while on the road. The younger dancers are less likely to be tied down by children, so their schedules would allow it.

Another idea would be to set up a formal exchange program with another large company, such as Royal Ballet for some one-offs, pairing a "homer" with a guest. Examples: David Halberg guesting at RB with - say Marianela Nunez - and then some sort of return exchange at ABT.

I've been following this thread and would like some feedback as to how fellow members might look upon this idea: How would you feel about giving soloists major roles in certain ballets without initially promoting them to principals? This would take care of the idea expressed somewhere that MacKenzie (I think?) feels that in order for a dancer to become a principal, he/she must be able to dance principal roles in most, although not necessarily all, of the repertoire. There is precedence for this in Kajiya's DQ and Seo's R&J. For example, I would love to see Sarah Lane dance Swanilda. She participated in a program at the Guggenheim Museum in which Susan Jaffe, speaking of her new role as coach subsequent to her dancing career, demonstrated how she coaches dancers, with Lane in Coppelia as the example. Lane was delightful. This is generally how soloists become principals, is it not--by dancing at those Wednesday matinees? It does seem unfair to deny dancers in their prime an opportunity to dance major roles because all the principals have to have their turn. Could not a principal defer to a rising potential?

This could be done on the male side of the equation also, not necessarily in the same performance.

As for Stella Abrera, I think she should definitely be promoted.

And thank you to those who enlightened me about how to "box" text.

Was it Lane or Seo?

I did not see PS at ABT, but have seen her on DVD, in performance and rehearsal. She strikes me as cold in rehearsal and imperious in performance, but I don't know if she is just shy. I did not find her performance on tape (albeit, each performance is different) to be superior to others.

Critics of "Swan Lake" always praise "boneless" swan arms. I have seen multiple ballerinas try to demonstrate swan arms, but often they look like cats licking their paws and washing their faces. When I look at birds and their majestic wingspans, I do not think of them as "boneless." I have seen so many other animals more aptly portrayed in dance.

I finally finished watching the tape of the Australian Ballet performing "Don Q." I am left wondering how a wonderful book could be turned into such an uninspired, insignificant ballet. The first act is a blurry mess. The story is poorly conceived and expressed. I only enjoyed the vision scene, which occurs after Don Q encounters the windmill in Act IIm and the wedding dance in Act III. I understand why a dancer would want to perform in this ballet, though, in light of some of the dancing and the ample solo and pdd work.

Nuryev's dancing is remarkable. His partnering amazes; it is secure and seems effortles, as I have stated earlier in this thread. I cannot believe how much upper body strength he has, since he does not look very large. His footwork is quick and clear. When he was onstage, everyone else looked like an amateur in comparison. However, his acting and mime seemed overstated, particularly for video.

The costumes and set were crowded, too busy, and unattractive. My mind was occupied trying to decide whether Basilo's tights contained padding in the rear, because of the distractingly unusual shape, instead of watching the dancing. I entertained similarly silly thoughts regarding the attire other dancers wore, as well.

This ballet did not entrance me with compelling drama, beauty or the expression of emotion. I was quite disappointed. I do not know if the dancing is sufficiently interesting to entice me to pay money to see this ballet in person.

Did anyone watch her and Max on PBS? She did not seem the least bit materialistic there.

The forum notes that the NYT article was a "fluff piece." It was not an serious analysis of art, but rather, a snapshot of a week in the life of a performer, with a focus on action, not thought. The article was published in the fashion section, so the point of the article was to discuss her taste in clothes and what she wears at work, when doing errands, and at gatherings. People are complex, with many sides to their personalities and performing many functions. Artists have to do laundry, grocery shopping, banking, as well as dancing, exercising their minds, and creating. Irina seemed to want to bring beauty into all parts of her life, and she was sharing how she incorporates beautiful, creative details into different parts of her day, whether on stage or not. She was generous to share these insights. Of course, her snippet raised more questions.

Much of what is discussed on these boards can be trivial, so criticizing Irina for what a journalist chose to write about the mundane part of her life, which she tries to raise above the level of the mundane, is somewhat misplaced and obnoxious.

The "New York Times" review of Jose's finale stated: "David Hallberg as the sorcerer von Rothbart. (Isaac Stappas played his nonhuman alter ego)." Since I have not seen this version, please explain this statement. The version I have seen also does not include Rothbart seducing anyone. Please describe this. Thank you.

Faux Pas, I do not agree with everything you say, and I do not have the knowledge to give an opinion on or evaluate everything you say, but your comprehensive analysis deserves applause.

I get the impression several people who did not need to retire or move elsewhere were pushed out unnecessarily, leaving the gaping hole bemoaned here. My review of interviews with Jose indicated to me that he was not ready to retire or leave. Maybe I am reading something into his expressions or words, but I was not convinced that he felt the burning desire to become a freelance dancer at this stage. Others have stated that Angel feels unwelcome and underused. Stiefel's excuses sound suspicious, as Faux Pas notes. If many are being pushed out when seemingly replacements are not readily available, broader questions arise. I am left to ask, "Is some grand strategy at play?"

"My facorite Part SL was several years ago with Roberto Bolle. It seems like we will not be seeing that partnership again. "

???

Has anyone read Jennifer Kronenberg's book yet?

I am also feeling “priced out” of NYCB performances now. Unlike many other posters, I am relatively new to ballet watching. Over the past year, I saw about a dozen performances not because I’m a big NYCB fan, but because I was determined to learn more about NYCB and broaden my ballet horizons. And a big reason that I was willing to do that was because I could get reasonably-priced good seats in the front and center of the fourth ring (and sometimes the third ring if I had a discount). Under the new pricing scheme, however, I don’t think I’m willing to pay so much to sample ballets I’ve never seen before and am not sure I’ll like.

For comparison, a number of other cultural institutions offer great discounts for younger patrons, something NYCB might want to consider if they want to attract new, younger audience members.

ABT, for one, has a fantastic deal—if you’re under 30 and buy 3 or more performances, the tickets are $30 each and they are good seats in the Orchestra (Orchestra balance and rear). That’s like 3 for the price of 1! And you get exchange privileges too. Thanks to this program, not only have I seen a ton of performances, but I’ve also been able to convince many of my ballet-newbie friends to see a few. “Well, I don’t know if I’ll like ballet, but it’s only $30 each? Ok, why not!”

The NY Philharmonic has a similar program—if you’re under 35, buy 3 or more (selected) performances, and they are $32.50 each.

At Carnegie Hall, if you’re under 40 and join their Notables Prelude group by paying $20, you can then buy $20 tickets to selected performances in a certain month starting on the 1st of that month.

The Met opera weekend lottery and weekday rush also allowed me to see two performances for about $25 each—and I definitely would not have gone if I had to pay full price. As others have said, it would be fantastic for NYCB (or any cultural institution, for that matter), if they had a donor to fund a program like that!

I understand most of these programs require proof of age.

Unfortunately, I'm aging out of most of these deals.

I assumed Bat's daughter got the kiddie subscription, Roberto.

Let's keep the "smoking-nostalgia" going on...! . When I was a kid one of my favorite things was while in bed and ready to sleep, lights off, to ask my father-(who was an avid smoker all his life until he suddenly stopped after more than 50 years of smoking)-to stop by with a cigarette and seat at the bedside and start swinging it very fast in circular motions in front of me. The effect of the whole thing was a lit up red dot dancing and swirling and forming all kinds of cirles and forms in the middle of the darkness..! When eventually started smoking at the age of 14 I usually used to lock myself in darkness and repeat the childhood game. It was-(is)-very hypnotic. I still do it.

Great story, Cristian. My parents never smoked, but I remember standing on a beach in shallow water, having fun knocking the ash off of my grandfather's cheap cigar.

Re: cheap cigar: what about getting to wear the paper ring and play with the tin container? fun fun fun but the smell was awful

I am in the middle of watching the Nuryev version of Don Q on VHS tape. I am so far not impressed with the ballet, but I am amazed by Nuryev. I have heard so much about his footwork and speed, but I have never heard about how secure he was in lifting and assisting his partner in turning. Does he place his hand further in front of the waist and ribs than others, and is this the reason for the sense of security and ease? His partnering seems so secure and effortless. Usually, I see hands twisting and turning at the waist, but not with RN. Also, he seems so small, but lifts with such fluidity, strength, and ease.

Can you identify the time marker for the place you're looking at? I don't notice anything distinctive here about what he's doing with his hands, but perhaps I'm just not seeing it.

I can't even fix the tracking. I am lucky I can turn it on and off. Time = flash 12 flash 12. LOL.

Honestly, it is throughout.

I find it strange that he kicks and lifts his leg higher than his female partner, and don't know if that is variance in skill or intentional. The female looks sloppy, weak and/or constrained compared to him. Also, a lot of the turns involve semi-open legs, which seems unfinished, but, as in other dances, can be intentional. It is jarring, though.

I am in the middle of watching the Nuryev version of Don Q on VHS tape. I am so far not impressed with the ballet, but I am amazed by Nuryev. I have heard so much about his footwork and speed, but I have never heard about how secure he was in lifting and assisting his partner in turning. Does he place his hand further in front of the waist and ribs than others, and is this the reason for the sense of security and ease? His partnering seems so secure and effortless. Usually, I see hands twisting and turning at the waist, but not with RN. Also, he seems so small, but lifts with such fluidity, strength, and ease.

This discussion is making me want to take up drinking and smoking.

If you know you stink, you stay away from people; even homeless people who don't have an opportunity to bathe understand that and usually settle themselves in some out-of-the-way spot.

And the 2011 Marie Antoinette Award for the Civically Minded goes to....

Oh, but if Dupont had just said a quick "do you mind?" to those present before taking that cigarette, I would have cheered for her! If more people were willing to be a role model for etiquette, perhaps we wouldn't need so many laws to enforce what should just be common sense and good manners.

The fact that she didn't makes me love her all the more, anyway, she was with smokers, why would other smokers mind? Now she has to be a role model for etiquette too? With that much weight on her shoulders the next time she performs the rose adagio she's going to fall flat on her face, as if crushed by a giant iron lung.

Who, please, is the "smoking nazi" in this scenario? Who has a seat, and who has none?

Lebensraum is always a tricky one, but as the one to have coined the smoking Nazi soubriquette in this discussion I think I've hit upon the solution for the smoking problem. Some might say a Final Solution.

Let's put them in camps. Great big camps. Where they can smoke like chimneys.

P.S I'm Jewish so the last statement wasn't offensive rather post modern, self referential, culturally ironic humour.

Pretty offensive.

City Ballet is investigating Ballet in Cinema as such a vehicle for select performances.

Great idea.

Good luck with the Balanchine people, the unions, etc., who have up to this point borne a great deal of responsibility for the relative invisibility of NYCB in the video market. Maybe, at last, all the "interested parties" will realize that they only gain when they make their art available to a larger public without burdening the transaction with all sorts of fees and conditions.

Speaking of a larger public, I hope that NYCB will try to obtain the largest feasible network of theaters. Fandango seems to have been doing a decent job of getting good national coverage for the Mariinsky Giselle in July. The Met's HD/Live program sets the gold standard for national publicity.

The broadcasted operas seem to end up on PBS, too.

"Well, not through google translate (but as a native speaker), his acting and dancing ... "was called shy and school-boy like, confessing his forbidden love to his school-master... partners shyness and unreliability in lift caused a problem (acting-wise) for Diana. She, facing the lack of harassment and pressure from the partner,"

What does "lack of harassment and pressure" mean?

I have tried not to be critical of dancers, and I know everyone on this board loves the Marcelo-Diana partnership, but I have not been able to bring myself to look at any MG videos or see MG live because he looks so "slick" in his photographs. Maybe someone can disabuse me of this impression, but it is not inviting to me.