puppytreats

Do you suggest calling to exchange Sat. matinee tickets for Sunday at this point?

Does City Center exchange tickets on the day of the show? If only bad tickets are available, is one better off buying them and exchanging them, if possible, or waiting until the day of, in case of cancellations, in light of how bad the bad seats are at City Center? Are other reputable sources of tickets available?

I keep reading about the Valentine Day La Scala broadcast, but not in NY :< We have to wait a few weeks for that.

there's nothing in any of his biography to suggest the type of dominance and lack of shame that Nureyev had, and he certainly doesn't come with the Russian pedigree that Nureyev was able to flaunt, even when he was adding solos for himself and questionable passages to the classics. The only reason why Nureyev managed for so long was that enough dancers believed in him and supported him, and even when they hated him they appreciated how he pushed them. I'm not aware of any who wouldn't have conceded that he breathed new life into the company and raised the standards.

Helene,

In other posts, you have alluded to dissatisfaction with Rudi Nureyev's work at POB. Can you amplify this? I have only seen his choreography in SB and DQ.

Quote: ‘There are very good reasons besides sensationalism for making Tsiskaridze a headliner.’

That’s right - but depending on what kind of headline. I thought that I gave a vivid example of a knavish and cruel headline.

While the head that you quoted was probably chosen because it dealt with the most dramatic aspect of that article, I don't really think I'd call it knavish or cruel. It was, strictly, factual -- I think the worst you can say of it was that it might be considered incomplete.

Incomplete can be misleading, with consequences or collateral results, possibly intended or not.

Puppytreats, you should try to contact the lost and found office at the Koch for your hair comb.

It is becoming a ritual for me.

It may be a little off topic but I'm curious about the financing of new plans. The POB has two major houses to support and up to now the arts budget has been bountiful. France isn't in the same situation as the PIIGS (yet), but the national credit rating was recently downgraded and France has just embarked on what will be a lengthy and extremely costly war.

Taxing high earners at 75% appears to be backfiring what with Depardieu decamping to Russia and the Sarkozys rumoured to be moving to London, so Hollande with soon have to start looking elsewhere to make cuts, and if it's the arts budget.............oh dear.

As someone above said, he has savvy, successful experience, and connections for international fundraising, as well as publicity and attention.

Forgive me for lacking the background, knowledge, ear, or vocabularly to address this properly, and for my inartful phrasing, but the music on Saturday did not sound correct (as I imagined "correct" would be). It sounded somehow "off", with horns or wind instruments that sounded "bloated" or "gassy". The percussion also seemed too loud and ill-timed. I was wondering if it was played properly and these imperfections that I perceived were intended, as part of the language, interpretation, or commentary.

I agree with almost all of the statements above about the dance performances and performers on Saturday. However, I really missed the aching violin adagio and associated dance in "SL". "Serenade" and "Mozartiana" are now two of my favorite ballets, although nothing can touch my heart or my mind the way "Giselle" can.

If anyone found a small hair comb with blue faux jewels, worn for the first time and missing after the 5 pm demonstration, please let me know.

Has anyone reviewed the music from Saturday? I am interested in reading reviews or hearing comments.

New today, to serve the story, or the truth?

From The Telegraph:

"But there were departures among traditionalists as well: shortly afterwards, Ivan Vasiliev, the ballet's star principal dancer and Natalia Osipova, another young talent, resigned in protest at the Bolshoi's more progressive artistic programme, defecting to the Mikhailovsky Theatre in St Petersburg."

Does leaving the Bolshoi to stop dancing Petipa, Grigovich, etc. to dance Nacho Duato qualify?

it sounds like they're accusing him of implicit approval of what happened. i think that if he wanted to be seen more sympathetically he should be stronger in denouncing it.

Maybe he would be better served by not being in the press. He is attacked for saying too little (by whose standards, I do not know.) He accused of supporting a vicious attack because he does not say, "X", even though he does not say "I think he deserved the attack." He would be attacked for protesting too much if he more strongly denounced it. He would draw attention. He is damned if he does or does not say anything, or for how much he does or does not say. That is the nature of the media, and how papers sell. Hypothetically, even if he did not know of the attack, he would be accused of not saying enough, I believe.

I do not say this as a fan (I am not), or a supporter of what I read about his conduct (the truth of which I have no way to verify). I just think it is wrong to speculate as to criminality or vilify the degree of reported stated outrage and relate it to criminality or morality.

She was featured at the Workshop last spring and an earlier NYCB demo/lecture. Then, she was front and center in PC2 at the finale of the GB celebration day.

I think the casting for DonQ on Feb 17th says it all in terms of how Pavlenko is fairing after all these events.

She is slated to dance Street-dancer next to Kampa's 2nd shot at Kitri.

Now that is what I'd call a low blow ( even though I don't think she does Kitri... ??) considering she has been Principal for a decade and Kampa is Corps for less than a full season and had a rather shaky debut this week in the role.

Sounds like standard operating procedure - complain and you are attacked with the "nuts and sluts" defense playbook - here, quite literally.

Can he, after all this public exposure, back a low criminal night attack on his colleague

What does this mean?

A question to those of you who know the intricacies of the current Russian Ballet world. What do you think about Alexei Ratmansky's comment that the pathologies of the Bolshoi are wrapped up in the power of the claque and the influence of the media?

Alexei Ratmansky, one of Mr. Filin’s predecessors as artistic director and now an artist in residence at American Ballet Theater, wrote on Facebook that the incident was “not a coincidence.”

He added, “Many of the illnesses of the Bolshoi are one snowball — that disgusting claque which is friendly with artists, ticket speculators and scalpers, half-crazy fans who are ready to slit the throats of their idol’s competitors, cynical hackers, lies in the press and scandalous interviews of people working there.”

It's sad and astonishing to see that people work themselves up to such extremes of hate and rage, all in the name of "art." Ratmansky is well out of it.

Firstly, I pray for Mr. Filin. I hope he does not suffer physical, emotional, spiritual, mental, artistic, or financial pain, from his attack or its scars.

Secondly, I do not think the phenomenon described by Ratmansky is unique to Russia. We have observed claques, reporters, fans, agents, politicians, and other manipulators of media, boards, and other outlets influence casting, hirings, promotions, and pay. This is the topic of many discussions on BT.

Albany, I got confused. Saturday with George during the Celebration day includes "Ballet Imperial" and "Themes and Variations". "Crystal Palace" is in a few weeks. I also watched a version of "Allegro Brilliante", with Maria Tallchief, introduced by Shirely Jones speaking in a weird accent. The version lasted less than ten minutes, and I think Balanchine Variations states that the ballet lasts seventeen minutes, so maybe includes only one movement.

I watched the Berlin film.

I watched "Serendade" and "Symphony in C" last night to prepare for my Saturday with George.

Re: "Serenade": From the tiny computer screen and blurry video, as well as the "Swan-lookalike-which one is she effect," I cannot tell which women at the end become the (a) "ascending one who can't be saved by 'Orpheus'/ the dying woman" and (b) the "Dark Angel/'Amour'/winged guide who covers the man's eyes." Are they identifiable in the beginning? Also, is there a "Myrtha" type women leading the group which displays the "underwater Wili-type" movements?

Re: "C": In the new costumes, the men no longer appear like harlequins. Does this impact the interpretation for anyone?

Does the trust support her? Has she applied for a grant? Do NYCB or SAB supporters support her? Has she done any promotion in conjunction with them? Or Playbill? Or the theatre?

OT.: Puppytreats--I am puzzled by your remarks about Spartacus. Karl Marx--who, whatever his faults, was pretty serious about revolution--is on record as having admired the historical Spartacus and Soviet artists/intellectuals followed suit. Spartacus' defeat doesn't change the "pro-revolution" cast of the story if one tells it or interprets it as a story of heroism defeated by tyranny. Especially if one assumes that its function is to inspire future revolutionaries who may do better. The Bolsheviks themselves took inspiration from the defeated Paris Commune. Uh...as for Grigorovich's choreography...that I have no defense for, though when well danced, the ballet ranks high on my guilty pleasure list.

The characterization is not sympathetic to the emperor or his court, but the defeat can be read as a warning against insurrection, and can render one hopeless, rather than inspired. In contrast, the story of Moses leading the exodus of the slaves from Egypt into freedom, even though the generation that left Egypt did not enter the promised land, seems hopeful. Stories about rewards in the afterlife offer hope, even in the face of death.

Maybe the ballet deemed death itself as heroic because it was superior to slavery, and the insurrection itself constituted an heroic statement in favor of self-determination and dignity. Bravery and courage are inspiring and can be heroic, and maybe the sacrifice of the life of Spartacus was justified by freedom of subsequent generations who followed his example, but I did not see evidence of that in the ballet.

I received this in the mail today:

"Tune into Starz for the final chapter, Spartacus: War of the Damned. Premieres January 25 at 9 p.m. EST. (emphasis added)

And because The NEW Spartacus Workout on DVD, you can get gladiator fit in your living room, basement, and just about anywhere else you have 6 feet of open space."

War of the Damned - is the title tragic, defeatist, cautionary, or inspirational, Drew? It reminds me of Das Boat.

[Please forgive my miserable mood.]

"

Pointe Magazine ‏@pointe_magazine

There's a new Wendy Whelan documentary live-streaming tonight at 10 EST! http://bit.ly/VQv1Ff @KET"

Do you think Diaghilev caused, spark, incited, encouraged, or enflamed Nijinsky's madness, or was Nijinsky initially mad, or predisposed to madness?

Helene says Stern's artistry (which the trailer alone demonstrates, magnificently) does not "exonerate" his wife abuse (a specific topic about which I lack complete familiarity). In line with our discussion of the Willis, collective culpability, judgment, as well as appropriate punishment in light of manslaughter, negligence, intentional conduct, and mens rea, what was Stern's alleged crime, what was the degree of Stern's legal culpability for his crime (his mental state, his intentions, his defenses [justification, self-defense, provocation, lack of intent], and the consequences), and what is the appropriate punishment. Also, by making the film, can one conclude that he does or does not seek "exoneration"?

We have read much about Picasso. What is his just punishment? Do his abuses eliminate his value as an artist? Or as a human being?

Are me making a judgment about human nature in general?

OT.: Puppytreats--I am puzzled by your remarks about Spartacus. Karl Marx--who, whatever his faults, was pretty serious about revolution--is on record as having admired the historical Spartacus and Soviet artists/intellectuals followed suit. Spartacus' defeat doesn't change the "pro-revolution" cast of the story if one tells it or interprets it as a story of heroism defeated by tyranny. Especially if one assumes that its function is to inspire future revolutionaries who may do better. The Bolsheviks themselves took inspiration from the defeated Paris Commune. Uh...as for Grigorovich's choreography...that I have no defense for, though when well danced, the ballet ranks high on my guilty pleasure list.

The characterization is not sympathetic to the emperor or his court, but the defeat can be read as a warning against insurrection, and can render one hopeless, rather than inspired. In contrast, the story of Moses leading the exodus of the slaves from Egypt into freedom, even though the generation that left Egypt did not enter the promised land, seems hopeful. Stories about rewards in the afterlife offer hope, even in the face of death.

Maybe the ballet deemed death itself as heroic because it was superior to slavery, and the insurrection itself constituted an heroic statement in favor of self-determination and dignity. Bravery and courage are inspiring and can be heroic, and maybe the sacrifice of the life of Spartacus was justified by freedom of subsequent generations who followed his example, but I did not see evidence of that in the ballet.

puppytreats, it really depends on the program (and what you consider great seats). What are you trying to see?

I imagine Cosaire will sell better than the mixed rep, especially since it's got the weekend matinees. Also if there are Russian dancers cast, the DC area Russian contingent comes out full force - I bet tickets for the Sunday matinee with Osipova/Vasiliev will go quickly.

I am not interested in "Corsaire". I actually think I am getting a ticket O/V's Corsaire in my Met subscription and I will have to trade or sell it. A cheerful ballet about an auction of sex slaves actually unnerves me, even if the costumes and choreography are pretty. While Medora convinces Conrad to release his slaves, this does not affect the market or its other participants. I don't really understand why reviewers attack the supposed ethnic stereotypes in "Corsaire", but do not comment about the slave auction. (Then again, I don't understand how "Spartacus" is discussed by critics as pro-revolutionary, when the emporer defeats the slave insurrection. I have similar feelings about the writings of critics in the face of my interpretation of other ballets, such as Balanchine's "Orpheus" or Tharp's "In the Upper Room", aspects of which, to me, are disturbing.)

In addition, I know Ivan Vasiliev has a lot of fans, as well he should. I admire his leaps, his strength, his fire, his energy, and his good cheer. However, I thought a key aspect of ballet was about creating an appearance of control, beauty, and harmony. In the lengthy clip of "Valencia" that I saw on YT, he appeared to lack control to some degree, which did not generate a graceful or elegant portrait for me. At the ABT gala, his energetic performance excited the audience, but his anger at his fall was apparent. I guess he may have sacrificed placement or precision for height and speed. His style of dance is fun to see sometimes, but it is not my preference when I am sitting in a theatre. I have not seen much of his work, so I am not in a position to judge his talent or his overall abilities. However, I would prefer to spend my money to see some other performances.

To answer your question about tickets, in general, I prefer the front of the orchestra. However, I bought binoculars after seeing POB's "Giselle" from the upper level, and have enjoyed seeing Balanchine from the rafters. For ABT's dramatic ballets, I prefer to see faces generally. To me, the emotional impact of a dramatic ballet is not the same from afar. However, I may try a less costly alternative in D.C., especially since I may attend with others.

I bought a ticket for the NYCB Symphony program - Western, 3, C, in addition to the GB celebration performances. No $29 tickets in sight.

I am concerned that the seats at City Centre will render viewing impossible. Has anyone sat in the back of the orchestra since the renovation?