puppytreats

Did anyone see ABT's "Lady of the Camellias" last year at the Met? I watched a tape of it on Saturday. I wanted to know the opinion of board members.

Sandy,

I do not think a response to a "clash" equates with revenge. Is manipulation the same as revenge? I think Oberon was angry that he did not obtain what he wanted by direct request, so he sought another means by which to obtain the object of his desire. I also thought that Puck's actions were infuriating to Oberon because they were incompetent or erroneous. Part of the humor, I thought, was based on the unintended consequences and mistakes. Giving the potion to the wrong members of two dancing couples was not calculated or the intended result of vengeance, but rather, carelessness, blindness, and error. Likewise, I did not think making T love Bottom was a result of revenge. I thought it was a mistake. The potion was to make T love O and therefore give the boy to him, which she ultimately did, I thought, out of her love and maybe even obedience, not out of being chastened or forcibly coerced or regret after realizing she had been a victim of revenge.

A Birmingham Royal Ballet press release, as quoted on Ballet News, states, regarding an upcoming performance of "The Dream" to benefit Japan: "The course of true love never did run smooth… certainly not in Frederick Ashton’s The Dream where a group of mischievous fairies are involved! Having argued with beautiful Titania, Oberon, king of the fairies, seeks a suitable revenge. He orders Puck to transform a dopey local peasant into a donkey and cause Titania to fall in love with it. This he does, but things soon get out of hand – the over-use of a love potion hilariously embroils four poor mortals in the fairies’ games. Mendelssohn’s tuneful and instantly recognisable music becomes the basis for Ashton’s elfin comedy, as he shows his mastery of dance, theatre and humour." I have seen the Balanchine full version, which does not involve revenge, but rather manipulation and mishap. Is the Ashton piece different in theme?

I think you are opening a real can of worms here Natalia, .....

...it’s surprising just how many excellent dancers hail from Kazakhstan, watch out for the dancers from the Nureyev School in Ufa too as the graduates there are of a consistently high standard. Perm is also a hot spot of teaching excellence.

I'd better weld the can shut!

Beyond StP and Moscow, I knew about Perm & Ufa and, to a lesser degree, the Novossibirk academy's excellence. I had no idea that Almaty, Kazakhstan, was such a 'hothouse' for male dancing excellence! Of course, we all know that Assylmuratova hails from there.

Borat starring in the remake of "Black Swan" instead of Natalie Portman....that is quite a thought to ponder, Natalia.

I had a great ballet weekend -- skimmed several books on ballet at the NYPL, watched Ferri in "Manon" at NYPL, and watched "NY Export: Opus Jazz" on PBS. My questions follow.

1. Opus Jazz:

I enjoyed the little details that referred to George Ballanchine - the "B" on the basketball court, the variation on "Apollo"; can anyone point out any others?

I thought the dancing was good, but (sorry) boring. I did not find much emotion in this piece. Many complain that classical ballet is too stylized, but I find this ballet, like "West Side Story" and musicals generally, to fit that description.

2. Manon:

I was mesmerized by the tape of the ABT performance in June 2007. Ferri is remarkable. Her flexible back really stunned me. Did she have any Russian type of training?

I was surprised by her failure to perform a traditional form of reverence at the end. Was that a defiant response to the treatment of women in the plot, or was she just exhausted, or is it her signature?

The leaps, lifts, and balances were incredible. The choreography communicated clearly. The emotional impact was powerful. I was really surprised by the criticism of this ballet, much of which I read on this website.

I have seen clips of the final scene on YT of a Ferri/Bolle performance at La Scala in 2004. I may have missed it, but were some lifts cut out of the ABT version in 2007?

3. Books:

S. Farrell and T. Bentley both spoke about their hip injuries ending their careers. Is this due to turnout? I had presumed that back, leg, and foot injuries were more common causes of retirement.

I am baffled by the shelving system at the NYPL. I will have to return to figure it out.

I recently watched a program about Darcy Bussell, parts of which disturbed me or made me uncomfortable. She discusses having to be "manhandled" during a rehearsal for "Manon". Then, she and a Russian dancer are interviewed about the propriety or impropriety of his kisses during a rehearsal. Have any dancers discussed in interviews or books issues such as this? I am going to post a similar question on BT4D.

Maybe I am just now responding to it because I recently read an article that struck a raw nerve, about how people have to put up with unwanted touches, glances, inquiries, and other behaviors at work, solely to be able to continue to have a job and pay the rent. I cannot imagine being in a profession that demands constant, unwanted physical connections or attention. I have long wondered how dancers endure it.

"An Afternoon with Alexei Ratmansky

Sunday, May 8, 1:30PM

Central Library, Dweck Center

American Ballet Theatre’s Artist in Residence, choreographer Alexei Ratmansky, discusses his upcoming production of The Bright Stream, presented June 9-15 during ABT’s 2011 Spring Season at the Metropolitan Opera House. This comic masterpiece takes place during a harvest festival on a collective farm in the Russian steppes, and is set to Dmitri Shostakovich’s vivid folk music. Born in St. Petersburg, Mr. Ratmansky trained at the Bolshoi Ballet School in Moscow, and is the former artistic director of the Bolshoi Ballet."

--Has anyone attended events at the Brooklyn Library? Are reservations suggested, or does one need to get in line extremely early?

"Of course there are "non-licensed" versions, maybe the most widely held is the Baryshnikov/Kirkland version from the ABT telecast from the late 70s, but it doesn't officially exist."

If it were telecast, a video made for personal use should not be wrongful. I am sure someone could lend/gift/bequeath it, as well. I think the position taken on these boards is a bit overstated. I am not an IP specialist, and I have not done the research recently, so I invite any corrections, but the scoldings I have received and seen given to others on this board, in this regard, are, with due respect, a bit misplaced.

One of the reason's I became enchanted with ballet was because of the children in "Midsummer Night's Dream". They are so darling!

On a possibly related note, I was noticing that the male dancers in the beginning of "Sylvia", in the scene in the glade, are so slight (especially when compared to the muscular gods and Aminta who later appear.) I was wondering if the performers in the glades were from a ballet school or if the corps generally contained younger, less developed dancers.

Which leads to other questions regarding behind the scenes issues - how many hairdressers, costumers, dressers, make-up artists, etc. generally work with the dancers? The elaborate hairstyles and pinning of tiaras and hats on each dancer must require tremendous effort.

"I think dressing up for the theater had gone the way of dressing up for church"

"If I were a heterosexual male, I'd move to Phoenix and get a subscription to the ballet, because a lot of young women attend, and many wear the smallest of sundresses, with bare, tanned legs and strappy, high-heeled sandals, vying with the ballerinas over who is wearing the least."

When I was invited to my first midnight mass for Christmas in Virginia during my mid-20's, I dressed in my fanciest, dark suit, and was received with looks of horror, as everyone wore jeans. I thought I was being respectful. I had always been taught to dress modestly and with respect to religious ceremonies. Instead, I was perceived as snobby and arrogant, I believe.

Then, when I saw pictures of religious Jewish ceremonies from Phoenix, I was amazed by the sundresses, bare shoulders, and sandals. I later attended an evangelistic Sunday service and observed a rock band performing to worshippers wearing jeans.

Now, when I go out in New York City, the most dressed up people look like tourists. Nevertheless, a level of respect for the forum, moderated by taste, should be observed. I would never attend a religious ceremony in immodest attire. However, I would not want to look like a tourist at the opera house, either. Maybe this is why New Yorkers are so partial to black outfits....

Leigh, In your list of expenses, you forgot to mention the cost of the dry cleaning nicer suits and blouses, and the extra cabs needed because of the inability to walk in high heels, and the special, additional, dressy outer garments needed because theatres are cold, and the cost of hosiery which is basically disposable, and the cost of make-up, hair and jewels, .... all on top of the ticket price! Add to that the cost of travel, and time off from work (at times necessary)....

Do members of this board ever jointly buy group tickets? I have received two offers from ABT to buy group tickets at a discount. I wondered if this was of any value or interest.

"The 5/30 performance is the Carreno Farewell - it will definitely sell out"

Susan, the website states: May 30

Metropolitan Opera House

New York, New York

7:30 PM

Giselle

P. Herrera

R. Bolle

M. Wiles

Is something special happening on that date other than the performance of "Giselle" with Bolle as Albrecht? I really want good seats to that show, and your post made me nervous.

When NYCB Dancer A gives an interview to New York City Dance Critic B or "Dance Magazine" or writes a book and says "I didn't/can't dance Role 123 because my partner was/is injured/sick/pregnant at the time", is that covered by the same policy? If it is an issue of disclosure of personal health information, then it seems to me that it should apply more to companies themselves than to dancers, since it is a disclosure made by an employer.

It's hard to respond precisely as you've actually thrown about a dozen different variables into the situation you describe, each with its own nuance (Past or current injury, previously known or not, time to publication, how specific the diagnostic information is being revealed and if someone was pregnant at the time - the outcome is certainly very public or very private).

Nuances make social media policies challenging.

I will say that in the most likely situation that we're discussing here, 1.) there are also legal/HR issues involved in disclosing this information and b.) what we're really talking about is current injuries or health issues, that have not been made public, and such a restriction is ultimately for the benefit and protection of the privacy of the dancers.

Think about it, if you were a dancer and just went down with a knee injury, would you want your company members sharing that information with the world? Would you even want to worry about this information being disclosed?

There are often gray areas when trying to come up with an effective social media policy, but this is not one of them.

Dancer A could announce that Dancer B won't dance on the weekend without explaining why, and this would meet the goal of protecting ticket purchasers who want to see Dancer B but not Dancer C, while also advancing the goal of maintaining privacy, without defrauding the consumer, by misleading ticket purchasers into thinking they were buying tickets to see Dancer B. If Dancer B comes back to dance the next week, the ticket purchasers will still have funds available to purchase tickets, which fund have not been spent on tickets to see Dancer C which were not desired. The company may not achieve a financial gain of selling tickets to the less popular Dancer C's performance, but the company will not have lost good will or defrauded its audience, on which it depends and which it serves, either.

Simon, Since some readers seem to be missing your tone, intention, and meaning today, including me (see above posts) and it seems to offend, I will be explicit and ask your meaning of the following phrases contained in your last post:

"class libel action" - what exactly is that?

men "dressing their wives" - ???

Does the prohibition on discussing injuries mean that the dancers cannot advise or notify followers that the cast will change for an upcoming show, thereby alerting readers to come see or avoid commuting to see a specific dancer? I would love to know in advance that certain dancers would appear to replace an injured dancer.

I daresay it's for precisely this reason that the new guidelines are in place. Where a dancer can pass personal information that will directly impact on attendance and ticket sales - should a dancer's disclosure of third party information harm the company and its financial takings at box office, then that must be a good reason for sacking.

Simon, Are you suggesting that selling tickets to unsuspecting fans based on misinformation is appropriate, and passing on correct information to prevent misleading the public is good reason for "sacking"? From reading these boards, I have become aware that many audience members carefully select which dancers they wish to see and how they wish to spend their limited funds. Withholding information regarding which dancer will perform, or selling tickets based on promises of one performer when he/she is not available, is fraudulent, even if it financially assists the company.

Does the prohibition on discussing injuries mean that the dancers cannot advise or notify followers that the cast will change for an upcoming show, thereby alerting readers to come see or avoid commuting to see a specific dancer? I would love to know in advance that certain dancers would appear to replace an injured dancer.

rg, I watched "Camille" this weekend and thought you would be interested to learn that in the movie, Armand buys the book, Manon, for Marguerite as a birthday present. The movie was very sad and moving, but the ballet, as described in the program notes that you posted, sounds even more compelling.

Helene, I presume that sometimes things that are not "commercially" available are still possible to obtain through other means, for instance, a limited license, a negotiated individualized contract, private borrowing, or gifting. My post suggested maybe someone had a copy from viewing on TV, but did not want or need it anymore (is that a trade?), or had negotiated or spoken with the Nuryev Foundation (or other private group)or RAI and could provide advice on how to proceed with such an endeavor.

"I also hope someone will film Vishneva soon. She's not my ideal Aurora but there is no denying she is one the most exciting current dancers in the role. There is already a La Scala tv broadcast of her but between the Nureyev choreography and her mustard tutu it was kind of a letdown."

I went to the library to watch this version of SB on Saturday. I enjoyed much of it (or at least, the parts that I could see on the blurry video), but was underwhelmed by parts. I was interested in seeing Vishneva, particularly after reading so much about her in the discussions about the M-K at the Kennedy Center on this board recently. I must be missing something, maybe because I do not have the education or background to analyze the issue properly, but would someone please point out what about her performances distinguishes her as a ballerina?

Also, is choreography by Nuryev always so busy? Do all versions of SB emphasize groups of five and standing in fifth position?

I would like to obtain a copy of this version of the ballet, to watch again, but in light of the no trading policy on this board, can someone please provide me with some advice in this regard? Sitting in the library, finding time to go to Manhattan, paying for parking near Lincoln Center, not being able to exercise while watching the tape, are all hardships that I wish to avoid. Thank you.

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Thank you so much RG. This description is so sad and painful that I don't know how I will be able to endure the ballet.

Now I understand. Thank you. I have rented DVDs of "Camille" and "La Traviatta" and will read the "Lady" book prior to the ballet, but I am unsure if I should make time to read "Manon" in advance, as well. I am still trying to work through "Apollo's Angels" and a primer on ballet in advance of the ABT performance.

RG, I am not asking anyone to perform research. My confusion arose because I read the following notes from the library on ABT.org's website regarding "Lady", which I reviewed in anticipation of purchasing tickets:

"Lady of the Camellias was given its World Premiere by the Stuttgart Ballet at the Weurttemberg Staatstheatre, Stuttgart, Germany on November 4, 1978, danced by Egon Madsen (Armand Duval), Marcia Haydée (Marguerite Gautier), Birgit Keil (Manon Lescaut) and Richard Cragun (Des Grieux).

John Neumeiers original staging of Lady of the Camellias received its United States premiere by the Stuttgart Ballet at the Kennedy Center for the Performing Arts, Washington, D. C. on May 15, 1979, with the same cast.

John Neumeier revised Lady of the Camellias for the Hamburg Ballet; this version premiered on February 1, 1981 with Marcia Haydée as Marguerite and Kevin Haigen as Armand. This production made its United States premiere at the Orange County Performing Arts Center in Costa Mesa, California on February 13, 2007.

The revised production of Lady of the Camellias was given its American Ballet Theatre Company Premiere on May 25, 2010 at the Metropolitan Opera House, New York danced by Julie Kent (Marguerite Gautier), Roberto Bolle (Armand Duval), Gillian Murphy (Manon Lescaut) and David Hallberg (Des Grieux)."

Do they both have characters named Manon Lescaut and des Grieux, and if so, what is the nature of the reference?