Birdsall

You are so right about flying by the seat of its pants! And no rhyme or reason. August schedule has been posted for a while, but June was posted on Thursday and July on Saturday. Crazy! And this is the first I have heard about this broadcast to cinemas! They aren't publicizing it much!

Since I posted earlier today a friend in St. Petersburg is already planning to go with me for the day to Moscow on July 10, and we will see Onegin together and take a sleeping train back to St. Petersburg. I only have mild interest in Moscow and the Bolshoi so one day will actually be enough for me even if I hardly see anything. I am that odd person who would rather watch a dvd of a place than travel there normally. St. Petersburg, Russia is the only place that gets me out of the country nowadays and only because of ballet. Every other place in the world rates popping in a travel dvd as absurd as that sounds (my friends do not understand this, but I think I am the only person on earth who feels that the Mona Lisa is easier to contemplate in a book than in the Louvre in Paris behind glass and crowed with tourists all around it). I hate crowds! And the previous two trips I kept trying to make it to Moscow and never could b/c it meant either making the trip way too long (because too many ballets at the Mariinsky I wanted to see).....attaching Moscow before or after doesn't seem to work for me, b/c if I spend more time in Russia I would rather add another Mariinsky ballet before or after instead of a trip to Moscow before or after, so I think the only way I am going to see Moscow and the Bolshoi is to cram it in on a day when nothing is playing at the Mariinsky. After this ultra short trip to Moscow I will probably never go to Moscow ever again. I know this is a crazy thing to say. I suspect there will be many more week-long trips to St. Petersburg in contrast. Don't worry. Last two trips I partied (danced and met people) and had a taste of how Russians spend their evenings. This trip will be window shopping and people watching, napping and going to the Mariinsky at night, maybe a bar afterward and chatting with new people using Google Translate on my phone unless they speak English. Then, sleeping in and repeat.... There is absolutely nothing like sitting in the Mariinsky's historic theatre. For me it is so magical. If that ever burns to the ground I probably will stop going. Seeing things at the Mariinsky II is not the same. I know we should be focused on the dancing on the stage, but OMG.....the Mariinsky setting is better than chocolate!

They finally started posting the White Nights June info on the website this past Thursday, and today they finished posting July. I am planning to return to St. Petersburg from July 5-16. If anyone will be there seeing shows at the Mariinsky let me know. Would love to meet. I already plan to meet at least one person from Ballet Alert already. I bought tickets for Swan Lake, Marguerite and Armand/Chopiniana/In the Night twice, La Sylphide, 3 Bayaderes (one with Smirnova guesting and it looks like Gergiev is conducting 2 of them with Tereshkina, which could mean a videotaping for dvd in the future.....he usually doesn't conduct ballets unless they plan to videotape it), and the Igor Zelensky Gala (Carmen Suite and Scheherazade). Since nothing good is playing on July 10 I might take the bullet train to Moscow to see Onegin at the Bolshoi, although I don't know if I want that stress yet or not (believe it or not, I HATE to travel). I would like to go to the Bolshoi Theatre once in my life and also get a pic of myself in front of St. Basil's Cathedral for Facebook, but to tell you the truth I really only care about St. Petersburg and the Mariinsky, but I suppose I should go to Moscow eventually at least to say I went!!!! LOL I am trying to finish seeing all classical ballets at the Mariinsky before they close it for renovation. Who knows what will happen? The Fenice in Venice, Italy burned to the ground when it was closed years ago for renovation. Of course, they rebuilt it but.......so.....I am hurrying up......

Just this morning I noticed the website is updated finally. Maybe someone at MCB reads Ballet Alert and saw that you could not find the info! I did find it odd not to have the next season info up asap. Until today there were links to a couple of articles with the info on which ballets, but no dates. But now the website is finally showing the dates and all info for next season.

It is strange that it isn't on the website. I could not find the info there either. Here are the dates in their subscriber renewal brochure. Arsht Center (Miami) Program 1: Oct. 17-19 Program 2: Jan. 9-11 Program 3: Feb. 13-15 Program 4: April 10-12 Broward Center (Ft. Lauderdale) Program 1: Oct. 24-26 Program 2: Feb. 6-8 Program 3: March 20-22 Program 4: April 17-19 Kravis Center (West Palm Beach) Program 1: Nov, 21-23 Program 2: Jan. 23-25 Program 3: Feb. 27-March 1 Program 4: March 27-29 Note: Fridays 8pm, Saturdays 8pm (and 2pm in West Palm and Ft. Lauderdale), Sundays 2pm (1pm in West Palm)

Forgot to mention Logan Learned's wonderful moment when he did a series of turns ending in a held balance in cou de pied position. Not to mention the armless cartwheels (not sure what the technical term for that is)! Maybe Natalia can help with that!

One more thing.....this Ashton festival (the closing night at least....since that is all I saw) did what it intended. It made this audience member want to see more Ashton. His ballets are wonderful! And that is the purpose of Iain Webb putting this festival on, I imagine......keeping Ashton's choreography alive.

What a joy last night's closing gala was! I was wondering if I would regret driving 3 hours to see the final night of the Ashton Festival, but I was glad at the end of the night that I went. Sarasota Ballet's dancers showed a fluid upper body and nice arms that is not often seen in this country. Kbarber, who I met and who is very nice, tells me that the class earlier in the day showed how the upper bodies are stressed in their classes, because Ashton stressed this. I saw better arm movements last night than on videos by the Royal Ballet which I often find very stiff in the upper bodies. This is a quirk of mine. I like to take the waist down for granted and love when the arms and upper bodies are flowing! Sarasota Ballet's dancers were not as amazing with their arms as Vaganova trained dancers, but they came close at least in this repertoire!!! The evening started with Illuminations which was surreal. Monotones 1 and 2 were originally scheduled but I was glad to see this rare ballet. No way to really understand what is going on, but the costumes and dancing were fascinating. This is where Amy Wood (Sacred Love) and Ellen Overstreet (Profane Love) showed off their flowing arms. At moments it was almost (not quite, but almost) like watching Mariinsky dancers. Ricardo Graziano (who I saw as Colas last season in La Fille mal Gardee) was terrific in his turns and leaps. He is great in his solos and when partnering. At moments I wished they had performed this without a tenor singing the songs. I found him mediocre. Maybe he had to learn this music quickly. No idea. The audience loved him, but after 20+ years of opera listening I am really picky....I guess I should cut him some slack. I guess not everyone can be Pavarotti or Domingo or even Polenzani! Divertissements came next. Ellen Overstreet was fun and sexy in Jazz Calendar staying in character even for curtain calls rolling her shoulder! During the Awakening pas de deux for Sleeping Beauty I thought Ricardo Rhodes betrayed the fact that Sarasota Ballet is still not quite at the international level at all times. He has actually impressed me in the past (I think in Les Rendezvous last season), but somehow he was off his game and seemed to have a hard time turning Victoria Hulland in the overhead turns. He also seemed a bit tentative in his solo moments. Maybe he is injured or nerves before a packed international audience got to him. La Chatte was danced by Kate Honea, and she was cute and in character as a cat trying to be a woman. Then, came the Meditation from Thais with Danielle Brown and Edward Gonzalez (a former National Ballet of Cuba dancer). These two were FABULOUS and brought tears to my eyes as I thought about a past love myself as they danced. This was one of the highlights of the night for me. Voices of Spring with Jessica Cohen and Ricardo Graziano was exuberant and beautiful too. A good piece to end the divertissements with.... And the cherry on top: Les Patineurs and Logan Learned (who I have seen in the trio of Les Rendezvous and as Alain in La Fille Mal Gardee) wiped the stage clean with his acrobatics and personality. It should have been called Logan Learned and Friends! I felt like I saw the best Blue Boy I will ever see in my lifetime. He stole the show (which is easy for the Blue Boy to do). The only quibble would be that I expected his turns in second to speed up as the curtain went down. But overall this dancer is incredible. His short stature and cutie pie personality would probably hinder him in other companies, but Sarasota Ballet recognizes what a gem they have and made him a Principal last season I believe. I saw Miami City Ballet do Les Patineurs and although very professional and nice there was something missing. Sarasota Ballet dancers looked like they were totally in character and having fun!!! At times the Sarasota Opera House stage was a bit too small causing the group scenes to look too crowded, but their exuberance and passion made this a great performance.

Thanks for the reviews, Natalia! I have also read the rave reviews in the Sarasota Herald (online). Heading down soon for Sarasota for tonight's final performance at 6pm. Now I am really looking forward to it after reading the reviews. I saw Les Rendezvous last season and loved it as well as La Fille mal gardee (which I read will be performed again next season). Too bad I no longer live in Tampa. I would have been able to attend all nights, b/c Tampa is only an hour away. But today will be a 3 hour drive! Ugh!

What is the difference between Palais de Cristal and Symphony in C? From my reading about it on the Balanchine Trust it sounds like the only difference are the sets and costumes (simplified for Symphony in C). Is this correct? Does anyone know? When I saw Symphony in C at the Mariinsky they wore different colors in the different movements, but they called it "Symphony in C".....is that actually Palais de Cristal?

I will wear a navy sport coat, khakis and probably a red polo shirt under it. I am 6 feet tall and buzzed salt and pepper hair (maybe more salt than pepper), rimless glasses. Half Asian, but some people are unsure and think I am Hispanic, but when I say it, most see the Asian after I tell them that is part of my mix. Once someone said I look like Keanu Reeves (I wish). That was a great day! LOL But the red dress sounds like the easiest to spot. Should we meet in the main lobby area?

Natalia and anyone else, I will only be at the final closing night Saturday 6pm show. Anyone planning to be there? We could meet and say, "Hello" during intermission.

If you can, save up and go to St. Petersburg. There is absolutely nothing like seeing Sleeping Beauty in the Mariinsky Theatre (gorgeous theatre). When the fairies came out in the prologue to that music it practically brought tears to my eyes! Somehow the setting of the Mariinsky Theatre makes the experience even better like you've entered a fantasy world. However, it seems like they are only playing it at the Mariinsky 2 Theatre which is modern, so if they do not move it back to the historic theatre I guess seeing it in the U.S. is just as good.

I know that in some companies, dancers have sent each other flowers, for various accomplishments. I thought that was particularly sweet. (I originally thought you were just referring to tossing flowers over the pit at the end of the performance, which has the added possibility of a tulip on the head...) I think at the Mariinsky you are supposed to give the flowers to an usher or the backstage area (drop off) and tell them (or have a card) who is to receive it. I don't think it is allowed to bring the flowers into the auditorium and toss them at the Mariinsky. Maybe it was allowed at one time, but I don't think it usually happens now, but I could be wrong. Rules are meant to be broken! LOL I have seen in the U.S. people going up to the stage and handing or tossing flowers or torn up programs (for confetti), so I am sure tulips or roses can land on heads! LOL I read that Maria Callas once picked up radishes some disgruntled fan threw up onto the stage, and she sniffed them and threw them into the pit. She was near sighted so thought they were roses at first without her glasses (which she wore off-stage), but she was always quick to deal with anything that came her way, it seems. I also witnessed first hand a young fan give Kathleen Battle flowers, and she refused to take them until he removed the plastic around them. In fact, if I remember correctly, she made a big show telling him and showing him to remove the plastic before she finally accepted them with a smile. I felt sorry for that particular fan standing there while she taught him etiquette while using bad etiquette (correcting someone publicly). I would think receiving flowers from actual fans would be more meaningful to a ballerina than flowers purchased and given by the company. But I don't think I would complain where I got them either!!! LOL

I sort of like the Russian way where the flowers actually come from the fans. Of course, there are pros and cons to both ways of doing it.

Yes, I noticed that. Thank you! That is actually perfect b/c I used to live in Tampa and so I will probably combine the trip down with a visit with my old friends in Tampa (Sarasota is an hour south of Tampa).

I don't know what Gergiev's views are on the Ukraine or on the gay propaganda law, but there is always the possibility that he is okay with it all. I think we sometimes assume artists (due to being artists) automatically support gays, etc. Helene mentioned that he runs the risk of alienating Putin and damaging finances for the Mariinsky if he speaks out against what is happening in Russia. But let's say he is on the same page as Putin, well, he has worked hard at trying to get the Mariinsky Opera and orchestra loved in the West. He also could alienate the West and damage all his hard work. So, in a way, it seems like he is in a no-win situation. No matter what viewpoint he has and speaks his mind, he will lose something. But I can't believe I am almost having sympathy for him. I tend to fall into the anti-Gergiev camp usually. I guess pigs can fly!

I hope to attend the final night of this festival.

That’s such and admirable (and none too easy, I would think, and none too common, it seems) attitude to take. Thanks for the compliment. I lived in a Southern community with a huge air force base and had many, many friends with polar opposite views as mine that worked alongside me and became genuine friends, and we had to learn how to agree to disagree and still find some common ground. It made for some uncomfortable moments, but it also taught me to view people with totally different views as good people as well. The world is not black and white. It is quite complicated. I also grew up in a family where my grandmother was very upset at my father who married a Japanese woman. So I grew up with racism in my own family and loved my grandmother even though she had problems with my mother. I loved my mother more, but I loved my grandmother even though she wasn't always great with my mother. My grandmother grew to love my mother in her own way, but tension was always there. This also helped me accept that life is complicated. Getting back to artists: I think the thing is that when we admire or like a particular artist we are sometimes happy and relieved when he/she shares our point of view and/or speaks out in support of the things we agree with. And sometimes we are disappointed when an artist holds opinions we totally disagree with. However, I am used to not liking the person behind the artist, because I love Wagner's music but it is hard to like him as a human being when you read about him and/or read things he actually wrote. But I can't imagine life without his music.

As an openly gay man I have to say that I do not believe anyone has to have my same opinion and no one has to speak out in support of my particular group. I might like someone to speak out or at least have compassion or tolerance, but every human being is allowed to have his own private opinions. I tend to think artists do not sway anyone anyway. People who hold a different view than a particular artist will stop buying that artist's work or just shrug off that one opinion of that artist. I think the only people who make a difference are the people immediately in your life (not strangers who speak out). If someone knows a caring and kind person who happens to be gay, that has much more effect on someone not wanting to harass a gay person than Brittney Spears or Gergiev speaking up for gays will ever have. That is my opinion.

"Adapted and staged by Geta Constantinescu with Edward Villella"

Sara Esty's Amour was the most beautiful and exciting dancing last night for me! Very, very impressive! Her arms were gorgeous and her bouree-Ing so smooth. Loved her!!! I think the way she danced Amour could have been transplanted onto any world stage. Penteado had much more flowing arms than I've ever seen from him and he was impressive. Catoya was great too. More later....busy weekend with parents!

Victor Lebedev is amazing! Masculine he isn't, BUT oh, my God, the artistry! His pirouettes often end in a coup de pied balance or he does this thing where he is spinning and the leg goes up and down. I don't know if there is a name for it, but it is unbelievably beautiful and incredible. Not to mention his Vaganova arms that give the women a run for their money. If there were justice in the world he would be a superstar right now. His cambres at the end of variations are also amazing. But, like I said, he is not just a bag of tricks. There is elegance, elegance, elegance in his dancing. Of course, it is the total opposite of Vasiliev who is male hormones reaching out to the upper balconies. I enjoy Vasiliev for his own strengths, but Lebedev is probably the inverse......ultra elegant but amazing also. If you see Lebedev on the bill, GO!!!!! I am certain you will see amazing things! I am hooked on seeing these companies in their Russian homes, b/c those theatres are so gorgeous (atmosphere really makes a difference), but I might try to take time off and see Lebedev in NY....he is totally worth it! So far I have seen him in the secondary role of Flames of Paris, in a gala where he danced the DQ pdd and Corsaire pdd, an unbelievable Solor, and the online Swan Lake from the Mikhailovsky. He is AMAZING!!!!! I can't believe the Mariinsky let him slip through its fingers!

I hate Duato's choreography. When you have Vaganova trained dancers (most of the Mikhailovsky dancers are Vaganova trained, I believe), you are wasting their special style by giving them King Tut arms as you mention. He has jewels at his disposal and wastes them. As for the bows I don't think I have seen Russian ballerinas give the males a flower, because usually flowers in Russia are given from a fan to a specific dancer and males get bouquets too, so there is no need to really share. Males often receive their own bouquet. I can't say it is never done, but I think American companies tend to give all their females a bouquet at a debut or special performance (same size and equitable distribution), and the males are left out, so the females hand over a flower to the males to show appreciation, but in Russia the flowers actually come directly from the fans, not the company. So if no fan bought a dancer flowers, the dancer doesn't get any. Meanwhile, one dancer can get 5 bouquets of various sizes or even a large basket if she has a huge fan base. You can have cases where the Gamzatti receives 6 bouquets while the Nikiya gets nothing.

I actually thought I would not like this program, but I enjoyed it for the most part. After seeing it, I think it was smart to program a crowd pleaser like Westside Story after Episodes. Lourdes Lopez knows what she's doing. To get us to eat our spinach she offers a puff pastry at the end of the meal. I was totally unfamiliar with Episodes but read about it, and it sounded like it started as an interesting experiment with Martha Graham. It is very modern so the type of ballet that we know we "should" see. Lourdes Lopez even says this show was designed to show that ballet is not just tiaras and tutus, that it is a living art form (I am paraphrasing her comments in the program). For me it was like eating spinach (or sweet potatoes). Although I respected Balanchine's inventiveness and the dancers' ability to bring life to Webern's modern music I really only liked the final movement which included the most beautiful ballet movements (probably because the music for the final movement was an arrangement of Bach's music so the music was more beautiful also). Maybe repeated viewings would help me enjoy the whole thing more. For me Tschaikovsky Pas de Deux is an example of what draws most of us to ballet in the beginning. It is such a gorgeous work that stresses the beauty of ballet and shows Balanchine's roots in classical ballet in Russia. Yet there are slight changes and tiny modern touches that make it a very Balanchine piece at the same time. I felt Arja and Cerdeiro Danced well especially in the coda, although I recently saw this same piece danced by two more seasoned and polished dancers. Little things like the awkward linking of arms as Arja is assisted in turns near the end of the adagio betrayed that they are young dancers, incredible dancers, nevertheless. I also feel this piece requires an almost Russian-style imperial body carriage at least when they first enter. Westside Story Suite was the piece I was actually dreading. I thought I would hate it as a junky pop ballet, but it was hard not to be swept up by the exuberance the dancers brought to the work. Jeanette Delgado was terrific as Anita. As much as I love and prefer Russian classical ballet with tutus I have to admit that a Russian dancer would not be able to dance Anita with that type of brio and that style. This type of pop ballet is probably where American dancers excell. I doubt this will ever be one of my favorite works, but it was fun, and the audience loved it.