Natalia

Oscar Hawkins - a Jackson IBC semi-finalist in 1998 - is a heavenly dancer. Last time that I checked, he was a soloist at Cleveland-San Jose Ballet (or its successor name). I've lost track of him...anybody know where he is, these days? The male 'star' of this year's Kirov Academy/Washington, DC spring performance was a very promising African-American, Danny Tidwell....beautiful jump, tons of charisma (the 'it' factor) and the face of Jose-Manuel Carreno. ;) [As academy reviews are off-limits on this forum, you missed my praises of his 'Coppelia pdd' with Ashley Canterna.] Danny will compete in the Jr division at the upcoming Shanghai IBC. Keep him on your radar screen. [ 07-10-2001: Message edited by: Jeannie ]

Oh, BalletNut - I stopped worrying about 'normal people' considering me to be 'idiosyncratic' a long time ago. If I invite them to my house & they catch sight of the ballet-themed art, hanging toe shoes, 100s of videos, etc, etc, and make a funny face, then it's THEIR problem, not mine! Why I love ballet? 1. Movement to music - something inside of me cannot listen to a piece of music without imagining dancers dancing to it. Even in a concert hall, I can't just listen to a symphony orchestra or band without picturing dancers in my head. 2. Spectacle - gorgeous costumes on gorgeous human beings, all displayed on a stage, surrounded by opulent sets. Visual 'Beauty' in every sense of the word. 3. Opportunity to learn every nugget of information about one theme - becoming an expert at something. Turning every stone. Constant seeking, reading, exploring, traveling. I'm still learning.

Fokine is one of the immortals. With the miniature 'The Swan'-- one of the few true icons-like images in ballet -- alone, he secures his place in the pantheon of great choreographers. 'Chopiniana' is another iconic work, with images of the ballet seen often in the popular 'mass culture' (such as the insurance company commercial 10+ years ago showing a ballerina- sylph striking the pose with hand-to-ear..."when company-x talks, people listen"). Of course, Fokine gave us much, much more...'Pavillon d'Armide' (my personal fave, revived in Russia by Dolgushin a few years ago), 'Petrushka,' 'Carnaval,' 'Firebird,' 'Spectre de la Rose,' 'Prince Igor,' 'Schherazade, etc. Again--'Scheherazade' made it to the pop-culture status, inspiring women to wear Orientaliste garb, redecorate homes a-la-Bakst, even inspiring a mock-ballet by Balanchine in a Broadway musical, 'Princess Zenobia' in 'On Your Toes.' And what about Nijinsky's great leap through the window in 'Spectre'? As much as I adore Ashton & Balanchine, I don't think that there ever existed a choreographer -- except for Petipa -- who has made his choreographic images 'stick' in the minds of the general public as has Fokine. I mean...if an insurance commercial uses the image of, say, Apollo & the three muses, do you think that Mr. and Mrs. Joe Public 'get it' & know that it is derived from a famous ballet? Maybe in NYC... (oops - wrong thread!) [ 07-09-2001: Message edited by: Jeannie ]

Oh dear...I think that we're offending each other left & right, without intention. Before my dear Joffrey friends pounce on me, please note that I described the 1960s/70s Joffrey audience as 'hip and modern' in response to Mel's question [paraphrase]: 'Where have the 70s Joffrey audiences gone?' I didn't mean, in any way, to imply that Joffrey audiences were no longer hip...they certainly *can* be, with productions such as 'Billboards' and such. HOWEVER, I am personally delighted that, since the early days, the Joffrey has expanded its repertoire to include not only what is 'hip & modern' but also historic rarities from the Diaghilev/post-Diaghilev Ballets Russes + Ashton + more. Just to clarify.

NO7 et. al. - The "Les Saisons Russes" front-curtain existed in 1994 when Andris Liepa & Isabelle Fokine first presented their Firebird-Scheherazade-Chopiniana program at the Mariinsky. [The Petrushka figures were painted prior to the cancellation of said ballet, due to inadequate rehearsal time...with Chopiniana substituted.] Of course, the first performances of the Liepa-I.Fokine 'Firebird' took place earlier, at a special gala in Moscow...perhaps the curtain made its first appearance there? It dates to at least 1994, that is for sure.

Sorry that you feel that way, Leigh. I am trying really hard to understand what you wrote above...but if Alexandra wrote, in her question/clarification of this topic, that she was seeking comments: "...to address the perception which often appears in print) that Americans, and especially New Yorkers, are Balanchine-centric and not only look at other companies and choreographers from that vantagepoint (which would be only natural) but [also] don't recognize any other choreographers and style except Balanchine's. Leigh,if by 'New Yorkers' Alexandra doesn't mean 'audiences,' then who would they be? People behind the scenes -- dancers, technicians, designers, choreographers, etc. -- are a teeny-tiny portion of the New York 'dance milieu.' The largest category of 'New Yorkers' about whom we can comment in this thread are audience members. Thus, to me, and to most folks who responded to this thread, "New Yorkers" = "audiences." It never occured to me that Alexandra was referring to any group *but* the audiences. Sorry if I totally misunderstood! Anyhow...my answer to Alexandra's original question -- interpreting "New Yorkers" to mean mainly audience members -- is that no, I don't feel that the majority of New York balletgoing audiences are Balanchine-centric. NYCB regulars & subscribers certainly are...and, in general, a category best described as 'intellectuals' are...but, no, not New Yorkers in general. I've been in the midst of too many audiences in NY that seem to love ballet of non-Balanchinean varieties, as well as Balanchine. [ 07-06-2001: Message edited by: Jeannie ]

I love FILLE, of course, but my absolute-number-one Ashton ballet is A MONTH IN THE COUNTRY. [How the Kennedy Center elected to showcase Guillem in MARGUERITE/ARMAND rather than in MONTH IN COUNTRY -- Guillem's other great Ashton success of late -- is a mystery to me!] I also adore PATINEURS (esp. blue skater solo), RENDEZVOUS (esp. pas de trois), and BIRTHDAY OFFERING (esp. Nerina variation). I also love, in CINDERELLA, the title character's fleet-footed solo with the broom in Act I. My favorite aspect of Ashton is the fleet-footed-yet-dainty 'taquate' quality of the pointework in many female solos...and in quick-footed male variations. Something very special about it.

I love FILLE, of course, but my absolute-number-one Ashton ballet is A MONTH IN THE COUNTRY. [How the Kennedy Center elected to showcase Guillem in MARGUERITE/ARMAND rather than in MONTH IN COUNTRY -- Guillem's other great Ashton success of late -- is a mystery to me!] I also adore PATINEURS (esp. blue skater solo), RENDEZVOUS (esp. pas de trois), and BIRTHDAY OFFERING (esp. Nerina variation). I also love, in CINDERELLA, the title character's fleet-footed solo with the broom in Act I. My favorite aspect of Ashton is the fleet-footed-yet-dainty 'taquate' quality of the pointework in many female solos...and in quick-footed male variations. Something very special about it.

Mel - Maybe they're the audience that loves the avant-garde-de-jour, whatever that may be nowadays (new Feld Ballet? whatever)...there will always be an audience for what's hip & modern. Alexandra - Dumb question. Doesn't ABT have its equivalent of '4th ring society'? The Russians pack the Met's Family Circle (& other sections) during Nina Nights or Irina-and-Max nights, etc. The Latino population comes out in droves for Julio/Paloma Nights....and so on. But doesn't ABT have its hard-core Manhattan-based balletomanes too? Innocent question - maybe the answer is 'no'....

Mary - I think that we posted simultaneously. My feeling is that the last words in your post (about NYers probably being mostly pro-Balanchine) holds true for that portion of the audience that goes mostly to NYCB performances (subscribers & regulars). I would venture to guess that, in sheer numbers, the audiences that pack the Eifman Seasons @ City Center or the classics @ the Met might outnumber the NYCBers (not that the ABT-Eifman-etc. fans wouldn't love Balanchine, too).

This from a Washintonian who has attended many performances of ABT and NYCB in their respective 'home theaters,' through the years - I would *never* state "New Yorkers are Balanchine-centric" because I've notice equal amounts of passion among New York audiences at ABT and NYCB performances. Each group is sooooo unique that I would think I'm in a different country, let alone city...let alone across the Lincoln Center Plaza! [Out of respect to the two sets of sudiences -- the NYCBers and the ABTers -- I will refrain from listing the 'unique traits' that I've noticed in each group...catch me in person, at a private event, & I'll list them. ;)] In other words, I believe that it's a bit unfair to (a) categorize the NYCB regulars as THE New York Audience and, thus, (B) categorize New York balletomanes as being Balanchine-centric. True, there is a large group of Balanchine-centric balletomanes in New York City...but they alone do not represent 'New York,' just as the Russophiles who pile into The Met on a 'Nina Night' or to the Eifman seasons at City Center represent New York. p.s. - I'm writing in generalities. There is no intention to imply that, if one is a New Yorker who loves ballet, then one is 'either-or'...I know lots of folks who equally love & support both troupes. But, in general, the two audiences are unique. [ 07-05-2001: Message edited by: Jeannie ]

Thanks for that review, NO7! I'm intrigued by something that you wrote regarding the ballet 'Firebird.' You mentioned that you wish that the finale would be revived. Does this mean that the Kirov no longer performs the final scene in which Ivan & the Beautiful Tsarevna, plus the ladies & knights, are reunited, slowly acsending the steps leading to the castle? What on earth does the Kirov do now - end the ballet with the breaking of the egg?

Since the topic of this thread is '...Scores for Midsummer Night's Dreams,' and not necessarily just the Balanchine & Ashton versions...here's a bit about a more recent version. I was pleasantly surprised with the recently-broadcasted (A&E TV in the USA) version by choreographer Heinz Spoerli for one of the German troupes (Dusseldorf, I think). The score is a blend of Mendelsohn's famous incidental music to 'Midsummer Night's Dream' with Philip Glass' intoxicating violin concerto. Very effective. And what about the just-performed Neumeier version at POB? It is a full-evening-length ballet, so I am assuming that the score is much more than the Mendelsohn incidental music to 'Dream.' Can our POB regulars shed light on the kusic of the Neumeier version?

What - no NASCAR auto racers or wrestlers? Ooops...I'm sure that "Best Sports Figures" will warrant an issue all to themselves. ;)

I guess that a few will be communicating in Russian...Batalov, Ratmansky & , now, Sarafanov. Curious fact that the top male medalists of the last two Moscow IBCs are with RDB: Andrei Batalov (1997 Grand Prix, topping even Tsiskaridze's "simple Gold"!) and Leonid Sarafanov (2001 Sr Mens Gold). Globalization indeed!

Thanks, Estelle. I didn't even want to mention Fallou because it is sad. I never saw her "live" (except among the corps in the mid-90s) but I'll always treasure my tapes of Varna 1990, where she won silver, and of a Moscow Gala ca 1993. Lovely dancer. Reminded me a bit of Gelsey Kirkland in body type and style. Also, both Fallou and Kirkland aborted their careers way too early...Fallou even earlier.

Yes, Mezentseva definitely polarizes the audience. One either loves her or.... Different strokes for different folks, I suppose. One thing is certain: GM has attained near-goddess-rank in St. Petersburg. Lopatkina seems to strike the same chord in Petersburgers...the long, reed-slender body that cries and sings at the same time (the gist of what they love in these two ballerinas).

Estelle - I am a bit surprised that you wrote that Abbagnato is the premiere danseuse with the most likely opportunity of being promoted to Etoile! Huh??? I would bet my money on Gillot, Pujol, and Osta (in that order) before Abbagnato. Err...unless other forces are at play. ;)

Thanks so much for this, Terry. I'm with you, Juliet. I've never seen Mezentseva strike a position (pose) that is not divine. Another example of beauty that does not rely on acrobatic tricks.

Good point, Terry. I have seen so many examples of what you describe: * At the 98 Jackson IBC, a technically-powerful female dancer thrilled the audience with the rarely-performed Laurencia solo (Plisetskaya-style stag jumps around the periphery of the stage). Audience screamed & "wooo-hooo'ed" as if she had performed the triple axel. Sure - a great technician...but a "bully approach" with no nod to artistry. Audiences were stunned that she did not progress to an award of any sort. * At Varna 2000, the top medal in Junior Ladies was shared by a technically-sparkling but shortish-height girl (a very pretty soubrette-type) and a technically-weaker, long-limbed beauty with the 'Giselle style' to die for. Many screamed "foul - the short girl should have won the medal all to herself!"...but judges obviously saw the importance in rewarding, at the same level, the exquisite lines and style of the weaker girl. In other words, the technical soubrette was not placed ahead of the pure-stylist. * At a mid-1990s Vaganova Prix, a now-Kirov-principal male earned a medal on the basis of his beautiful line, especially his feet...despite mediocre technique at the time. The judges were looking for beauty of form, rather than tricks. In sum, the "tricks-only" approach doesn't cut it at the top-flight competitions. [ 06-29-2001: Message edited by: Jeannie ]

Sneds - Thanks for the report. A couple of qq's. Who danced Titania? (You mention Woetzel's Oberon & Somogyi's Hippolyta...but no Titania.) Also, what did Neal & Weese dance...the Act II Divertissement pdd?

Thanks for the insights, David, as I had not heard of this competition. Pamela, the sort of narration that you describe ("...watch the height of his rivolvade...") incenses me to no end and only serves to add fuel to the arguments of people who see high-quality, UNESCO-sponsored competitions as sport. [insences me about the TV presentation...not Pamela, of course! ] If this were a sport, then the judges would ask dancers to perform grand jete and measure the coverage in centimeters, as in the Long Jump...or have a fouette-endurance event (see who can turn the greatest number of revolutions before going off-axis). A judgement of beauty-in-art does not need such absurd blow-by-blow commentating! Can you imagine this at a Van Cliburn Piano Competition? ("...now listen for the crispness of this arpeggio...look at that wrist-action!") [ 06-28-2001: Message edited by: Jeannie ]

Thanks, Alexandra - eloquently stated, as always. Right-on. I'm far from a Russian Expert but have watched & followed the Kirov for some 20-25 years and, indeed, I see a few flashes of 'Trouble in River City' (the River Neva, that is). Most Westerners don't see these troubles, as the Kirov rarely, if ever, performs the questionable works abroad. I am refering to certain 'modern ballet evenings' that have been presented during the past 3-4 years. No, not the wonderful Balanchines; rather, the "Ratmansky Ballet Evening"...or "Roland Petit Evening"..or that short-lived fiasco ca 1997, "Goya." I can't speak for the new "Nutcracker," as I haven't seen it but some might place it in the loser category. As for the future, be on the look-out for the Kirov's "Neumeier Evening" promised for autumn 2001. I'll hope for the best. As a result of these new, sudden forces in the Kirov repertoire, there may be a deterioration in the quality of the soloists...all those 180-degree Guillem extensions and such. The corps is still pure-gold in the classics...but how long will Nina Ukhova (the female corps' legendary coach)be around? Nina - eat your Wheaties!

Alexandra & Leigh - I now understand perfectly your explanation of the POB phemomenon (great at both classical & modern). In my visits to POB & by watching them on TV-video, it seems that most etoiles and principal dancers are extremely versatile - even than Queen of Classicism, Platel, was amazingly wonderful in Neumeier's Sylvia! Anxiously awaiting Estelle & other POB-regulars' comments.... Funny thing in all this is the fact that ABT has a greater/older tradition of eclecticism than does POB...yet ABT doesn't seem to fare as highly in experts' opinions than does POB. Perhaps this is due to ABT's dancers coming from so many dance academies, not just in the USA but around the world? Yet..how many ballet troupes can afford to maintain a filial-academy...and to populate its professional company *only* with dancers from said academy? Are the 80% of ballet troupes without an affiliated school (or without sufficient graduates from that school to merit a place in the company) in this world doomed to mediocrity? [ 06-27-2001: Message edited by: Jeannie ]

Paris Opera Ballet is referred to, by many experts, as today's premier ballet company. Yet, they have, for about 20-25 years, combined the classics with modern ballet (Carolyn Carlson, et. al.). Modern & 'American Jazz' dancing are included in the POB Ecole's core curriculum. Has the POB deteriorated since its incursions into the territory of Modern Dance/Jazz? Has it improved? Just playing Devil's Advocate; I don't feel strongly, one way or another. But perhaps POB should be our Exhibit A in this discussion?