KarenAG

True. It raises the question: do we/can we ever really see a truly authentic rendering of a romantic ballet, because later technical developments, as you point out, Hamorah, supersede and replace the older aesthetic.

Thank you, Quiggin, I have and love that book and will check out the essay you mention. I'm also thinking of Deidre Kelly's book, Ballerina, which is an insightful and often wrenching history of the ballerina and describes the professional ballerina's rise to fame amidst a new social, bourgeois order. In the second chapter, she describes the rise of the Romantic ballet; the notion that dancers represent the 'ideal woman', with Robert le Diable (1831) being the work that led "ballet's 'new wave', where 'female dancers became spectral images of themselves: vapors more than real women'". OT, my post earlier where I lament my troubles getting used to writing in this format, I think my post misleads that I am currently an English major. Not so, having graduated many years ago. Just want the record straight and happily, I've found the option to open the writing box here, which makes it much easier to compose my thoughts! This is such a fun thread and so many interesting comments. ~ Karen

Agreed! This puts me in mind of one of Murray Perahia's anecdotes about his time studying with Vladimir Horowitz. Perahia told Horowitz that he wanted to be "more than a virtuoso." "Well," Horowitz observed,"If you want to be more than a virtuoso, first you have to be a virtuoso." That's a wonderful anecdote, Kathleen, and so true! Mr. Perahia certainly achieved and surpassed his desire, IMO. I saw Mr. Perahia perform at Carnegie once many years ago, a solo recital, and he was incredible. I'm enjoying this thread and the observations being made. I agree with your post in general, Sandik, and I admire your observation about the complexity of Aurora's role as it relates to the choreography, and having just seen Sleeping Beauty with NYCB, as well as DVD productions (Royal Ballet), I couldn't agree more.

Happy Birthday, Herr Blutig! I'm wearing my silver Gorey ballerina pin today in honor of him. The one in Giselle/Serenade tutu and arabesque pose; the other one, which I don't own, is a grand jete pose.

Hi AlbanyGirl, I'm organizing a group trip to Saratoga for the NYCB weekend, so hopefully you and I might get a chance to meet! Hi Kbarber, Thank you, that would be great! I'd love to meet you and my other friends at Ballet Talk. We can talk soon about that.

Thank you, Jayne, for posting this. I'll read this over the weekend.

Thank you, Helene and Victoria, for generously donating your time and resources to this effort. I'll make my donation this weekend. ~ Karen

Thank you, Bart.

I disagree, Michael. If you were talking about the average person who doesn't listen to classical music or know that much about it, that would most likely be true. But I have to believe that most people who care enough about classical music to subscribe to a series of concerts would have knowledge of the development of 'classical' music and would know that Tchaikovsky is a romantic composer and an example of the 'high romantic', for lack of a better description. On the ballet side of this discussion, what may be less clear to casual ballet-goers is the difference between romantic ballet and classical ballet, which doesn't correspond to the development of what is termed 'classical music'. I agree with your earlier post, and Dirac's, that the terms are confusing. One of the problems I have writing on this, my only forum, is that I post thinking my draft is final! Then, after posting, I realize I could have written more clearly or concisely, etc. (I'm an English major, so this is not new to me! The problem isn't the writing, but the leisure to write.) That said, I'll revise this to say: But I have to believe that most people who care enough about classical music to subscribe to a series of concerts would have some knowledge, more or less, of the development of 'classical' music and would know that Tchaikovsky is a romantic composer.

I'm not surprised at all, Helene. People have different levels of interest when experiencing a performance.

Wow!!! I'm impressed! Congratulations, Dancers!!. Keep up the great work.

Last time I was in Saratoga, they used local ballet school students for Circus Polka, they didn't bring them from NY. I suspect they will do the same for Garland Dance. Why would transporting the Valentino costumes cost any more than any other ballet's, especially when you've got a truck loaded up anyway with other rep? My understanding of NYCB's practices at SPAC with students is that they do audition and select local students to perform, but SAB students almost always perform there. As for bringing the sets and costumes up there, NYCB performs all (or almost all) of its ballets at SPAC. Last year, a local newspaper article mentioned, when NYCB arrived in town, the number of trailers containing sets and costumes! Can't remember exactly, but it was something like, I don't know, 20.....

I disagree, Michael. If you were talking about the average person who doesn't listen to classical music or know that much about it, that would most likely be true. But I have to believe that most people who care enough about classical music to subscribe to a series of concerts would have knowledge of the development of 'classical' music and would know that Tchaikovsky is a romantic composer and an example of the 'high romantic', for lack of a better description. On the ballet side of this discussion, what may be less clear to casual ballet-goers is the difference between romantic ballet and classical ballet, which doesn't correspond to the development of what is termed 'classical music'. I agree with your earlier post, and Dirac's, that the terms are confusing. My 100th post! I thought I would write a more substantial post for my 100th, perhaps about NYCB's Sleeping Beauty last Saturday at Lincoln Center, but since I have to sign off, this will have to do. (I'll post about SB this weekend). Just to clarify my statement about 'high romantic', high as in late romantic. Didn't we say something about confusing terms?!

I disagree, Michael. If you were talking about the average person who doesn't listen to classical music or know that much about it, that would most likely be true. But I have to believe that most people who care enough about classical music to subscribe to a series of concerts would have knowledge of the development of 'classical' music and would know that Tchaikovsky is a romantic composer and an example of the 'high romantic', for lack of a better description. On the ballet side of this discussion, what may be less clear to casual ballet-goers is the difference between romantic ballet and classical ballet, which doesn't correspond to the development of what is termed 'classical music'. I agree with your earlier post, and Dirac's, that the terms are confusing.

Hello, Everyone, SPAC has released NYCB's performance schedule. Now that the company is here only for one week , there are, IMO, too many repeats (Year of the Rabbit THREE times?). Also, the following week, National Ballet of Canada visits for four performances, July 16-18, three of which is Giselle. July 24-25 is Aspen Santa Fe Ballet for three performances. Tickets are not yet on sale. Visit spac.org for additional information. Any thoughts, members, about this schedule? ~ Karen Tuesday, July 9 / 8:00 PM New York City Ballet - Opening Night OPENING NIGHT Garland Dance (from The Sleeping Beauty) (Tschaikovsky/Balanchine) Tschaikovsky Pas de Deux (Tchaikovsky/Balanchine) Year of the Rabbit (Stevens/Peck) Opus 19/The Dreamer (Prokofiev/Robbins) Theme and Variations (Tchaikovsky/Balanchine) Wednesday, July 10 / 8:00 PM New York City Ballet - Mixed Repertory MIXED REPERTORY Serenade (Tschaikovsky/Balanchine) Garland Dance (From The Sleeping Beauty) (Tschaikovsky/Balanchine) After the Rain Pas de Deux (Pärt/Wheeldon) Year of the Rabbit (Stevens/Peck) Theme and Variations (Tschaikovsky/Balanchine) "American Girl Night" "Instrument Petting Zoo" Sponsored by The Alfred Z. Solomon Foundation Thursday, July 11 / 2:00 PM New York City Ballet - Martins / Robbins / Balanchine MARTINS/ROBBINS/BALANCHINE Barber Violin Concerto (Barber/Martins) Opus 19/The Dreamer (Prokofiev/Robbins) Stravinsky Violin Concerto (Stravinsky/Balanchine) Thursday, July 11 / 8:00 PM New York City Ballet - All Balanchine All Balanchine Serenade (Tschaikovsky/Balanchine) Stravinsky Violin Concerto (Stravinsky/Balanchine) Theme and Variations (Tschaikovsky/Balanchine) The Sage Colleges "Date Night" Friday, July 12 / 8:00 PM New York City Ballet - Mixed Repertory MIXED REPERTORY Hallelujah Junction (Adams/Martins) After the Rain Pas de Deux (Pärt/Wheeldon) Dances at a Gathering (Chopin/Robbins) CDPHP "Family Night" "Instrument Petting Zoo" Sponsored by The Alfred Z. Solomon Foundation Albany Medical Center's "Children's Workshop on the Lawn" Saturday, July 13 / 2:00 PM New York City Ballet - Mixed Repertory MIXED REPERTORY Year of the Rabbit (Stevens/Peck) Garland Dance (From The Sleeping Beauty)(Tschaikovsky/Balanchine) Barber Violin Concerto (Barber/Martins) Stravinsky Violin Concerto (Stravinsky/Balanchine) Saturday, July 13 / 8:00 PM New York City Ballet - The Ballet Gala: "The Ruby Ball" THE BALLET GALA: "THE RUBY BALL" Bal de Couture (Tschaikovsky/Martins) This Bitter Earth (Washington and Richter/Wheeldon) Rubies (Stravinsky/Balanchine) West Side Story Suite (Bernstein/Robbins)

I saw it on Saturday afternoon with Megan Fairchild and I enjoyed the performance immensely but can't post my thoughts right now as my Golden Retriever, Fergus, is giving me the 'Fergie-eye' (i.e., he wants his walk on this beautiful day!) So, I'll write later about my wonderful experience at NYCB! Also, has anyone seen the performance I saw?.... (Sat, Feb 16, 2pm).

Cristian, that is very touching, why Giselle matters so much to you. Thank you for this post. It is obvious from this post and some of your others that Giselle is a deeply personal ballet for you - I noted it almost immediately when I joined. Yes, I know I will love Giselle live - I already do, from the performances on YouTube I've seen: the great Katia Maximova and equally great Alessandra Ferri. She is one of the most poignant heroines in ballet - you weep for her, this absolutely innocent maiden. Perhaps so because she is not the Swan Queen or the Sleeping Beauty; simply a pure-hearted peasant girl (who transcends her mortal self in the end.....). Meanwhile, tomorrow I travel to NYC to see another great ballet star in the firmament - The Sleeping Beauty! I'll post about that on Sunday or Monday, perhaps. ~ Karen

Also, the scene in the cemetery, graves, i'm having chills just thinking about it. Actually, what I'm having chills thinking about is the thought of my first live performance of Giselle coming up this summer! So, to all Giselle lovers here, esp. to Cristian, I can't wait!!

We decided that Valentine's Day and St Patrick's Day don't count. Happy belated Valentine's Day, everyone! When I was in Catholic school, our nuns were Irish and on St Patrick's Day, they allowed us to break our Lenten fast and gave us two pieces of candy each. Unfortunately, they were green jelly candies, not chocolate, but it was a treat anyway. I would consider St Vals and St pat's the allowable Lenten fast break days!

Also, the scene in the cemetery, graves, i'm having chills just thinking about it.

This is an interesting thread and I want to think about it for awhile, but a couple of things coming readily to my mind are: Giselle embodies something of the Gothic, too, doesn't it?, and Gothic is from the romantic era. I mean, the wilis are a bit vampiric ; and Referring to Bart above, I've always thought of Swan Lake as a classical ballet, however, it recently occurred to me that, in a way, it's kind of a ballet blanc, too, in its own way, with its woods and moonlight, swans emerging from the lake, etc. Just a thought that I need to think about for awhile, but I wanted to chime in and keep this delicious thread going.,... ~ Karen

Happy Belated St Cupid's Day, Friends! I hope you had a lovely day, doing loving things for people, and thanks to you all for you own kind wishes! ~ Karen

Hey, Vicx! Welcome to Ballet Alert and enjoy the posts. There are many delightful threads about the Mariinsky and its dancers, past and present. I hope someday I can see the Mariinsky perform - last year I could have in NYC (I live in upstate NY) but I was committed to NYCB's summer performances at Saratoga Performing Arts during the same time period. When it rains, sometimes it pours.

Yes, when I was listening to the Kodaly yesterday, I imagined it choreographed. A couple of other points: David Alan Miller is known for championing the works of modern composers and almost all concerts in each season features a work of a modern composer. Also, that living composer is usually present for the concert, which is really fun (Christopher Rouse, Joan Tower to mention two). And we ballet lovers and enthusiast may be happy to hear that Mr. Miller has conducted the New York City Ballet orchestra! As you are the generous bringer of our daily links, Dirac, you may wish to read the Albany Times Union review today of the concert at: http://www.timesunion.com/entertainment/article/A-rousing-performance-by-ASO-in-Troy-4268022.php Bringing Mr. Bronfman back into the discussion, I found something really fun on his Wikipedia article and I think it's ok to post it as it is short. Here it is: In The Human Stain by Philip Roth, the narrator attends a rehearsal at Tanglewood at which Bronfman performs. The following colorful description is offered (page 209-210): Then Bronfman appears. Bronfman the brontosaur! Mr. Fortissimo. Enter Bronfman to play Prokofiev at such a pace and with such bravado as to knock my morbidity clear out of the ring. He is conspicuously massive through the upper torso, a force of nature camouflaged in a sweatshirt, somebody who has strolled into the Music Shed out of a circus where is the strongman and who takes on the piano as a ridiculous challenge to the gargantuan strength he revels in. Yefim Bronfman looks less like the person who is going to play the piano than like the guy who should be moving it. I had never before seen anybody go at a piano like this sturdy little barrel of an unshaven Russian Jew. When he's finished, I thought, they'll have to throw the thing out. He crushes it. He doesn't let that piano conceal a thing. Whatever's in there is going to come out, and come out with its hands in the air. And when it does, everything there out in the open, the last of the last pulsation, he himself gets up and goes, leaving behind him our redemption. With a jaunty wave, he is suddenly gone, and though he takes all his fire off with him like no less a force than Prometheus, our own lives now seem inextinguishable. Nobody is dying, nobody - not if Bronfman has anything to say about it. ~ Karen

I'm on cloud nine after seeing Mr. Bronfman perform Beethoven's Piano Concerto #5 today (one of my most beloved works) in the great and acoustically renowned Troy Music Hall, under the baton of Maestro David Alan Miller of the ASO. What an outstanding performance: the orchestra is impeccable and absolutely sparkled and how Mr. Bronfman made that Steinway sing! The concert also included Kodaly's Dances of Galanta (love that work, also) and Christopher Rouse's Kabir Padavali, beautiful songs for soprano and orchestra set to six Indian poems of Kabir. The soprano was Talise Trevigne, who has a gorgeous, deep and dark voice and, from the program notes, originally trained as a dancer. She also was the vocal soloist in the world premiere of Dance Theatre of Harlem's St Louis Woman - A Blues Ballet. What musical gifts! This concert was performed twice, today and last night, to a packed theater. Mr. Bronfman received a standing ovation and encored Schumann's Arabesque and it was so lovely. Maestro Miller is a wonderful musical director and is full of great energy and spirit when he's conducting; he's very charming!. The ASO also performs at the Palace Theatre in Albany and we who love this orchestra are thrilled that the ASO's concerts are extremely well-attended these days. We're blessed to have such a musical powerhouse! The ASO will perform at Carnegie Hall for the 2nd time, having been invited back for the Hall's Spring for Music series this May, so keep it in mind if you'd like to see an excellent regional orchestra that isn't all that regional! ~ Karen