LisaY

I know it's still a long way off, but does anyone know if they are planning on attending? I haven't been to a competition, but I went to a gala/benefit last Spring and had a wonderful time. I'm blocking the time off in my calendar.

Hello Alexandra and Juliet, believe me, I wish I could go to both! My little tragedy is that I'll be in D.C. at the end of March on business - and no ballet! So I managed to talk my way into *one* return trip in the late Spring, early Summer. For that trip, my cup runneth over. Feast or famine. Y' know? It's not a Solomon-like decision, but it's tough enough for a ballet lover from the ballet-starved provinces. Greyhound, thanks for the tip. I'm going to sign up for that "remind me" service on the Kennedy Center's web site. Hockeyfan thank you so much. Your info provides much food for thought. I trended towards the Kirov, because ... it's the Kirov, my favorite, and I think I'd enjoy Corsaire. But then again, I want to see SF Ballet when I have the chance. From what I've read, she's built something very interesting and intriguing, and I'd love to see Ms. Go. I get the feeling that Ms. Farrell's company is more elusive (pun not intended), in a "see it when you can" sense. I hope I'm wrong but maybe I shouldn't take the chance. My ballet friend in D.C. hasn't yet weighed in on which one she would prefer, but since she goes to them all, I imagine she'll leave it up to me. *She'll* get to go to both!

Greetings! Imagine you have a chance to go to D.C. in the early/mid summer, You see that the Suzanne Farrell Ballet is in town in June (performing Donkey Shoot, aka: Don Quixote) and the Kirov makes an appearance in July (Le Corsaire). Highly subjective, but I'm curious - which one would *you* go to see and why? Alexandra (or anyone else who lives in the city or frequents the ballet at the Kennedy Center) - how difficult do you think it's going to be to get tickets to a weekend performance?

I remembered to bring my program, so for anyone interested, and (disclaimer ...) according to the program; Wu Haiyan and Mikhail Ilyin - Giselle, Pas, Act II Wu was a Senior Gold Medal winner in 2002, Mikhail took Senior Bronze. Both are now with Miami City Ballet Katia Carranza and Luis Serrano performed the Stars & Stripes Pas. Katia won Senior Bronze in 2002 and Luiz won Senior Bronze in 1998. Both are with Miami City Ballet Joseph Phillips won Junior Gold in 2002 and is now with San Francisco Ballet. It was announced that Sarah Lamb (winner of Senior Silver in 2002, performed Black Swan Act III Variation and Diana & Acteon Pas w/ Danny Tidwell) is now with the Royal Ballet. (Danny Tidwell won Junior Silver in 2002 and is now with ABT) The dancer who performed "Caught" by David Parsons was Marty Lawson

In a nutshell: Wu Haiyan as Giselle made me cry. She nailed the "intangible" - "becoming tangible" - "she's all here" development that I think the role requires. She (and in no small amount aided by her partner, Mikhail) appeared weightless and made her work look free of effort; Danny Tidwell flat out stole the show as Acteon. Leaps and control such as I have never seen. His contemporary piece brought gasps and thunderous applause as well; the home team was Kathy Thibodeaux and her Ballet Magnificat! She has a company of dancers that are very well rehersed and very well trained. I enjoyed her choreography and I enjoyed the precision of the corps. I just don't know if I could sit through an evening of her "message" so an excerpt of the company rep was good enough for me. Just a personal preference; Sarah Lamb fumbled a bit as as Odile but brought it all home as Diana. She has such a beautiful line and a dignified princess air. As Diana she seemed to let a bit more playfulness shine - as I like my Diana. I like to see a bit more heat, passion, and flirt in my Black Swan; Joseph Phillips was the "Classical Ballet Variation Male" of the evening - who we didn't see enough of. He was wonderful in both variations (La Bayadere and Grand); Rasta Thomas was the Crown Prince, beloved by all. He brought two contemporary pieces. In the first I recognized martial arts movements - I understand he is a Bruce Lee fan. The audience loves him and he seemed very 'at-home' in Jackson; the Ball siblings provided comic relief with "Mostly Mozart". They made it look so easy. It was fun to watch and delighted my ballet novice friend. My only complaint was with April Ball's long skirt. You couldn't see some of the interesting aspects of the choreography. I thought I saw some 'classical ballet movement - antethesis of the classical ballet movement' going on and the skirt hid that; I wish Irina had brought more than "Dying Swan". I'm following Flower's advice any further re: her interpretation, moving on; enjoyed Katia and (her husband - Miami City Ballet dancer, I forgot my program this morning and I cannot, for the love of the divine, remember his name) but wished for a bit more crisp and polish in the Stars and Stripes pas; "Caught" the show closer was striking. It taught you to appreciate the lighting director as well as the dancer and the clever choreographer (David Parsons). A note about the Jackson audience. These people know their ballet. At home, surrounded by the usuals (aw shucks, let's go to the ballet - I've never seen one) I have to grit my teeth with the inappropriate clapping and exclaiming. I was in complete agreement with the Jackson audience. When they wanted to clap, I wanted to clap. When they thought a "bravo" or "brava" was warranted, I thought a "bravo" or "brava" was warranted (and they knew the difference!) I felt like I was surrounded by true ballet fans. My ballet dollars were very well spent, and I now have a convert on my hands. My friend was amazed and entranced. I looked over at her during Wu's Giselle and saw that look on her face that I must have had at my first ballet - when I fell in love with it all.

There was an article about this ballet (I'm going to butcher the title, the article is no longer on the NY Times website, and the NYCB website still lists it as "New Eifman Ballet" - so I can't check the spelling, so here goes ...) "Musagete" (?) in last weeks NY Times Online. It sounded interesting and I'm curious if anyone here has seen it - and what they thought. It's described as Eifman's take on Balanchine's relationships with his wives, girlfriends, muses. Did that come across clearly? Accurately? (well ... as much as any ballet can be an accurate description of such complexities). I remember Eifman as being a topic of some interesting debate on this site in the past and am wondering if opinions of his choreography or staging talents have changed, or where affected at all by this ballet.

Writing from an area of the country where there is not a great ballet following, I definately read any review or preview in the local press with skepticism. Particularly since whatever articles appear are about local, regional/city/school companies. Most of the time the 'review' is written more to generate interest and get tickets sold. Not a bad thing, but I consider the subjectivity of the term when I read that the dancing is "top-notch." I'm more likely to check past (or present) BalletTalk posts if I'm going to see a nationally known company - with thanks to Alexandra for the resource.

Thanks so much to everyone that offered info. I wish I lived closer to some of these ballet companies (or could afford air travel - the expense AND the hassle). I remember a few years ago some of us 'BalletAlerters' discussed the "Showcase for the Arts" network - they show clips from symphony, opera, ballet. Kind of like an MTV for art lovers. Well, the programmers must read Ballet Alert. Saturday morning they began airing a sequence that included several Carmina clips with Smuin Ballet/SF's Camille Fishelle-Burke (sp?) performing the "In Trutina" section. Blessed be for stereo TV - with apologies to my neighbors.

Well that's good news, but I'm still pouting and waiting for March.

Har, har. And unless ya' got *really* good air conditioning, the theater smells better too. :grinning:

... a full symphony orchestra and 200 live singers! Maineballet that looks as though it will be an incredible production. *wondering how much airline tickets to Portland are going for these days ...*

What a great way to start the day. The local college radio station just completed their broadcast of Orff's "Carmina Burana" in its entirety. I remember about 3 to four years ago it seemed to be a very favorite work (perhaps more with small(er) regional companies?) upon which to choreograph a ballet. (kind of like "Dracula" - big for a while and then faded I suppose.) Do you know of any ballet companies that still perform Carmina Burana? I'd really be interested in knowing what the libretto, underlying story, or the choreography's 'take' was on it. Did anyone have a favorite? The "In trutina" section just seems so perfect for classical ballet. I wish I could choreograph - and I'd do it. :rolleyes:

Here's a toast to strength in numbers for us squeaky wheels. Perhaps, and hopefully, other BalletAlert readers have used different sign in names than the ones used here. I vented/posted under my alternate personality - "lkyork."

I noted Mr. Forrest was quick to reply to the "loved the NRBQ, when will it be re-broadcast" message, but so far no response to the dissent regarding their diversity programming, or the "Ballet" topic. Although I realize replies from "Eliot Forrest" are probably posted by staff or even a 'bot'. Still, some response to the discussion (whether "Eliot Forrest" or some other BWTA staffer) would be nice. Due to a household felled by the flu we were not able to attend any 'Nut performances this season. It sure would've been nice to watch a new, or even 'new to me' production of the ballet on BWTA this Christmas (as they usually program) - from the couch, with juice and tissues at hand.

Has anyone else noticed? I logged on to the BWTA "discussions" on the A&E web site to see what was up - and there was a post by Elliott Forrest asking how everybody liked the new "diversity programming" Well, I like diversity just fine, but if their definition of 'diversity' means 'no ballet' then I don't like it at all. Thoughts?

Prokofiev. Not happy about that given his (reportedly)unpleasant outburst at Balanchine. Manhattnik, did your web poking turn up any "Dead European Composers' Personality Tests?" I'm sure I'd be Mozart. Flighty, Childlike, sure of my own genius even though those around me are doubtful, and probably won't be appreciated until I'm gone.

Prokofiev. Not happy about that given his (reportedly)unpleasant outburst at Balanchine. Manhattnik, did your web poking turn up any "Dead European Composers' Personality Tests?" I'm sure I'd be Mozart. Flighty, Childlike, sure of my own genius even though those around me are doubtful, and probably won't be appreciated until I'm gone.

He's bAAAAaaaack ! Hilarious and wonderful review. Wish I coulda' been there.