bobbi

My pick for "one favorite moment" would be in the divertissement in Act II of Balanchine's Midsummer Night's Dream. The moment when the cavalier shifts the ballerina from one arm to the other and she "falls" through the air never fails to quell the audience into total silence and awe. It's just an exquisite little moment to which I always look forward. Many a time I have almost heard a collective sigh and an in-take of breath from those sitting around me.

Thank you Sylvia for your detailed report on Alina Cojocaru. Now I am really glad she's scheduled to do a Bayadere on one of my subscription nights!!

Yesterday's mail brought my subscription renewal brochure for ABT's spring season. In going through the casting for the spring seaon, I was surprised to see that Carlos Acosta doesn't seem to listed for anything and he is not pictured along with ABT's other principal dancers. Also, there is a new female principal named Alina Cojocaru. Does anyone know anything about Acosta's status and/or the background of Alina Cojocaru? Just curious.

Tonight there was a very rewarding event at the Metropolitan Museum of Art entitled "Finding a Choregrapher's Voice." Peter Martins and Albert Evans along with a budding composer Will Boyd were interviewed about their thoughts on the choreographic process. Their insights and comments were very interesting, especially with Peter Martins telling vignettes about Balanchine's comments on his (Peter's) own budding choreographic career. However, the special highlight for me was a demonstration of Albert Evans' work to Will Boyd's music. Albert said he calls the ballet Sego (sp?) for no other reason than, as he explained it, he liked the sound of the word!! The dancers were Faye Arthurs, Carla Korbes, Teresa Reichlen, Amar Ramasar and Andrew Veyette. How to describe the music? It was quite fascinating actually. Think of a lyrical take on the "sounds" for Variations for a Gate and Sigh with a syncopating rhythm. I know, I know, that sounds weird, but it was very enjoyable. The girls were dressed in the costumes (or similar ones) for the Stravinsky Violin Concerto. It was a series of pas de deux and then a pas de trois. At first, I thought "oh no, another pretzel ballet." But the work went way beyond gymnastic efforts and thankfully the dancers were kept upright and even airborne. (My pet peeve in this post-Balanchine era is ballet dancers being dragged along the floor.) Yes, there were quote from Monumentum/Movements, Episodes and Violin Concerto, but there was a true flow to the entire work and some very original movements. And what I like about Albert's work is that his charm and wit (very much in evidence by his comments tonight) come shining through in his ballets. I hope to see this work again. In closing the demonstration, each of the dancers was asked to make a comment about how it feels to have a ballet created on them. All but Carla Korbes made very nice comments. Carla seemed either too shy or too winded to talk. I certainly hope it was the former, as I want her to have stamina to tackle as many Balanchine ballets as possible this season. This event was an appetizer for the upcoming season.

I had never seen the San Francisco Ballet before last Thursday. Somehow I was under the impression that it was a "world class" company; however, I don't think I would have been so very disappointed had I thought of them as a regional company. I wholly agree with Manhattnik's assessment of the Paquita/Rubies program on its opening night. However, when I went back for the closing night program (which had the same ballets), I enjoyed it more just because I had lower expectations. I can't honestly say whether it was a truly better performance or just the fact that I didn't expect an international-level performance. By the way, I too heard the loudly shouted bravos from somewhere in the mezzanine level during the performances; I assumed they were from local friends of the dancers.

My first ballet was an ABT (then just BT) performance of Giselle with Carla Fracci and Erik Bruhn. I was in my junior year at Queens College and wanted to expand my cultural horizons after having spent the summer touring Europe as part of a National Student Association group. Prior to that time, I had only seen Broadway musicals and plays. My family was not in the ballet/opera/classical music orbit. Wow!! I had never seen anything so magical as that Giselle. The performance made me want to find out more about this beautiful world. I was hooked, and have stayed hooked on ballet for more than thirty-five years!!! And those Fracci/Bruhn Giselles remained the gold standard for me until the Makarova/Nagy pairing ten years later. And eventually I found my way to New York City Ballet and Balanchine ballets. . .

I definitely agree with Farrell Fan that there seems to be more interest in opera than ballet right now. But I chalk this up to a dearth of greats in the ballet world. We have been going through a very fallow period in ballet for a number of years. (But, by law of averages, we are due for some great stars (I hope!!).) I don't think it's just because Balanchine is gone. I think it was Arlene Croce who said that something like "ballet is only good when it is great." What made ballet so exciting in the 70's was the sheer amount of great talent: at NYCB (Verdy, Martins, Anderson, Tomasson, McBride, Farrell, Ashley, Kirkland, etc., etc.), at ABT (Makarova, Gregory, etc. ) Every night you went, you saw a great performance!! How many people can really say that today in the ballet world? Please, this is not to say that we have not had some outstanding performances recently. Just that the world larger than the insular ballet world has not "heard" how good a Wendy Whelen (or name your favorite today) performance can be. In the opera world today, there is a lot of up and coming and genuine talent. The public who follows the performing arts sort of learns what's really good by word of mouth. I was at the New York State Theater on Thursday night for NYCO's Il Trittico, and it was so nice to see a sold-out house. People were really "into" the performance because it was a good one. They will be looking to see what, when and where Mark Delavan (as well as Maria Kanyova) will be singing next; they will come back for more opera. However, there hasn't been a sold-out house for NYCB in quite a while. The audience will start to come back as soon as word gets out that "you can't miss so-and-so in X ballet. He/she is fabulous."

Right back at you, Farrell Fan. Hope to see you -- and lots of other Ballet Alertnicks in October. Alexandra, is there any way of identifying other Ballet Alertnicks, i.e., a lapel pin or something like that? I know Opera-L has them, and they have designated a sort of informal, yet specific meeting place at the Met, which is called "the Millo Pole." It would be nice to have a place where Alertnicks could gather at City Center during the San Francisco and ABT seasons -- maybe the head of the stairs on the mezzanine level? other suggestions?

Farrell Fan, I know we talked about this at intermissions. As you know, I am firmly in the early curtain camp. When performances get out at 10:45 or later, it means that, by the time I get down there, the 57th Street crosstown bus becomes more and more of a phantom. On cold, windy winter nights, waiting an extra 15 minutes for a bus definitely takes the glow off a nice evening at the ballet!! New York City Opera has 7:30 mid-week curtains, and they are well attended. (My Met opera subscriptions are matinees because of the too-late curtains.)

It may be what you get used to. When Balanchine changed Ballet Imperial to the Piano Concerto No. 2, he ditched the formal tutus for flowing chifon. At first I missed the tutus, but eventually I got so used to seeing them that they became part of the movement of the ballet. In fact, the flowing costumes themselves became -- in their own way -- an part of the choreography. And when ABT did Ballet Imperial a few years ago and used their favorite "long stiff" tutu, I found I missed the flow that the chifon imparted. What a difference a costume makes in the feel of the ballet!!

Farrell Fan, thanks for your input and your kind comments. And I very much return the feeling of respect for your opinions. That being said, I never went "off the wall" before about these types of photo. All the prior publicity photos that you listed had the dancers in costumes, with makeup and, if not in classic ballet poses (i.e., the Albert Evans photo you mentioned, which I liked by the way). In other words, they were recognizable as ballet dancers. This latest photo could have been take outside of most high schools/colleges at lunch time: they looked likely your typical teens/young adults -- and very bored and sloppy ones at that. I strongly feel that dancers should be portrayed as they are: as extraordinarily lovely creatures who inhabit a very special and -- dare I say it -- aristocratic world very much different from the everyday world we live in. If the art of ballet did not already exist, it certainly would not be "invented" in today's world. Oh boy, I am getting more and more off topic so I had better sign off.

Thank you both, Alexandra and Juliet, for your supporting comments re the NYCB photo in my last post. I had been festering inside about it for months, and it's good to know that there are other balletomanes who do not like it either. To me, the choice of that photo -- even the fact that it was conceived at all as a promotional piece --- says a lot about what's happening at NYCB right now: the Powers That Be at NYCB really do seem to be bored by the art of ballet. I've never seen -- and don't expect to ever see -- a cover like that on a brochure for ABT, the Kirov, the Royal, etc.

I have to weigh in on this topic's tie-in to opera. There is a Kirov opera soprano named Anna Netrebko who was Natasha in last season's War & Peace and is to be Donna Elvira (I believe) in Don Giovanni this season. She is wonderful singer and is as svelte and beautiful as any ballerina. It is such a joy to both see and hear her!!! About 95% of the time, opera goers suspend belief (think of all the 200 lbs. Violettas dying of consumpton, etc.), and still come away with a satisfying feeling if the singer is top-notch. However, when one has it all -- as has a Ms. Netrebko -- it's just icing on the cake. I do very much agree with Farrell Fan though that at the ballet all the dancers are beautiful. It's the art of ballet to make the human body as beautiful as possible, and I can truthfully say that I have never seen an "ugly" ballet dancer. In my opinion, they are as elegant a breed as exists. Just the way they carry themselves puts them head and shoulders over Hollywood stars, fashion models, etc., you name it. Major Digression on the "looks" issue: I was very, very upset by the back cover of NYCB's season brochure which, in my eyes, protrayed ballet dancers with dishevelled hairdos, without make-up, in slouching positions, and definitely with "attitudes" (but not ballet attitudes). For the first time, I didn't see these wonderful dedicated people as ballet dancers; they almost looked like young "punks." I was offended on behalf of the dancers. Is this really the way management at NYCB sees its dancers and wants them to be perceived? That photo would never have been used in Mr. Balanchine's era. Never, never, never, never, never.

On the blonde/brunette issue, I found myself quite disconcerted this summer when all the Shades in the Kirov's La Bayadere wore the same color wigs. It looked so odd to me. I find one of the most fun moments in Balanchine's Walpurgus Nacht is when all the dancers' hair flies free and you see the magnificent variety of human hair color. So for me, it's Vive le difference!!! And that goes for skin color too!!

Yes, I, too, enjoy the Suki ads/commercials. I have often wondered why she (and her association with SAB) isn't identified. Anyone know/guess why it's done that way? But what amazes me every time I see those ads is that my eyes stay focused on Suki -- as opposed to the young students. It must be that old-fashioned "star power" -- once you have it you just don't lose it!! The same thing happens with those snippets of Danilova in the Turning Point; she's the one you can't take your eyes off.

I too want to thank you for your wonderful detailed report and especially for the use of the term "diva in training" for Ashley Bouder. That's great!! I've felt that way about her ever since her SAB graduation performance where she turned in a grade A Liberty Bell in Stars & Stripes. In my mind, I've been casting her for at least one of the Swanhildas in Coppelia in the upcoming season. But alas and alack, I assume the Swanhildas will be given to Borree and/or Stafford. Thanks again for the report, and I think I'm on the same wave length with you for about 95% of the time.

Thanks, Farrell Fan. The issue came up at the Kirov intermissions recently when Suzanne's name came up (as it often does). My ballet friends were so insistent that I just had to ask the question. You are the one person who I am sure would know.

Does any Ballet Alertnik know -- definitively -- which of the below contentions is true: Contention 1: (which is mine) When Suzanne returned in 1975 she did not dance the role of Titania in Midsummer. It was my understanding that "the word" at the time was that she felt she had outgrown the role. [And New York audiences were subsequently treated to dozens of "To Die For" performances of the Act 2 divertissement with Peter Martins.] Contention 2: (which is that of several balletomanes I know) Of course, she danced Titania after she returned in 1975!! Bobbi, how could you possibly have forgotten them? Rambling (and Too Long) Reason Why I Ask: On a sultry Friday after the close of NYCB's spring season -- and suffering from withdrawal symptoms -- I went to the Performing Arts Library to watch the 1978 Live from Lincoln Center performance of Coppelia with Patti McBride and Helgi Tomasson. I was ballet in heaven because while I was happily watching this -- and peeking at the terminal to my left which was showing NYCB's 50th Anniversary Gala -- at another terminal was playing the 1996 interviews with Suzanne Farrell entitled The Elusive Muse. One of the segments was Suzanne as Titania. I was completely bowled over; to me, every other Titania I had ever seen just paled in comparison. Surely, I said to myself, I would have remembered Suzanne in this role after 1975.

Manhattanik, in re-reading your post, I had forgotten to add to my post that yes, there was one NYCB ballerina who "doubled up" (as Pavlenko did on closing night). It was Merrill Ashley doing both the first ballerina role in Emeralds and the ballerina in Diamonds. There may not be a printed program on this because it was shown as a slip in the program with the usual reason "because of Illness/Injury." No senior moment for me here: she danced two major roles in Jewels on the same night. Although I couldn't tell you the year, I vividly remember it because at the time I was working at the NYCB gift shop. At the end of the evening's performance, as our troop of volunteers was making its way backstage, we spotted Merrill outside her dressing room and lavishly contgratulated her on her feat. She said words to the effect that "she half expected them to knock on her door and ask her to do Rubies." And I will tell you that she danced full out (Merrill style) during both sections. Quite a trooper and a great lady!!!

Ari, I'm not sure you're right about Karin von A. doing Verdy's role. But then again maybe I just didn't describe the part I was referring to properly. In my memory, after Violette Verdy retired in the mid-seventies, the lead ballerina/Verdy role was taken over by Merrill Ashley and Stephanie Saland. I really don't remember Karin ever doing the first ballerina role, only the second, which is the one with the extended walking on pointe sequence. Since I am have too many senior moments lately though, I would appreciate other long-time NYCB-goers for their recollections on this point.

I already commented on the opening night Jewels and want to add an addendum about the closing night. Emeralds: It worked more for me than the opening night. And actually, the second ballerina role here (the "walking on point" role) was beautifully done by both Part on 7/18 and last night by Daria Pavlenko. This was the highlight of the entire evening for me; Pavlenko was exquisite. I suspect that role was so well done because one of the coaches was Karin von Aroldingen, who was herself a major and exemplary exponent of this role. Here, Karin von A had two major ballerinas to work with and imparted all her knowledge about the role to them. Boy, did it show! Rubies: Last night's lead was Irina Golub. What a charmer!! She was totally in control and in command of the part. Fun, fun, fun. Pavlenko came out again in the second ballerina role and, although I think she is miscast here as this role usually calls for a very tall girl, she was very enjoyable. Her rock solid arabesque penchee's as she exited quelled the audience into attentive silience. And -- a surprise here -- the lead male role was done by Viacheslav Samodurov, which was the same as opening night. I didn't care for him at all on 7/18, but last night he was perfectly fine and more so. Diamonds: Regrettably, Pavlenko didn't come out for a third time last night and do the lead in Diamonds (which I understand from other balletomanes who saw her last night was wonderful). The lead on closing night was taken by Sofia Gumerova. Her dancing was so out of shape that somone viewing Diamonds for the first time would wonder what the fuss was all about. Her partner, the stalwart of the Kirov run, Danila Korsuntsev, acquited himself very well. General Notes: This is one classy company. Just look at the way they stand in repose when others are taking their bows. Elegant, elegant, elegant. Thank the stars (or should that be the Tsars?) for this company!!

As I just posted about the Kirov Jewels, Emeralds is my favorite section. The dancers have to have mastered every aspect of their art. The leads -- and the corps -- are totally exposed. If they don't have technique, they can't "hold" onto a pose or choose when to fall off point. If you can't phrase, don't dance this one!! It's so subtle and so, so elegant. And the whole mood of the ballet is so other worldly; you can have just gotten off an over-crowded M104 bus, walk into the State Theater, see/hear this ballet and you forget what ails you. Of all of three sections, I think that section is the hardest to cast. As a matter of fact, I still miss Violette Verdy (and that's a quarter of a century after she retired). [As an aside, I hope that Carla Korbes of NYCB grows enough to take on the lead role. Music just fractures though her, and that is what Emeralds needs.]

Okay, I'll weigh in on this one. Emeralds: This has always been my favorite section, but I don't think the Kirov "got" that it was all about the music. Maybe it's better they don't do the full Emeralds until they absorb the style more. On the positive side, I was happy with (the new ABT solosit) Veronica Part in the second ballerina role. She has the technique to be able to play with musical phrases and choose when to fall off point. She used her ability to the hilt. From the Dress Circle view, I thought she may have faltered for a nao-second in the "walking on point" sequence (my very favorite section) but that is quibbling. She turned in an A+ performance. I was not happy with the lead ballerina (Ayupova) though; there was no pliancy or fluidity -- which is what Emeralds is all about. And two nit-picks though: (1) what's with the dirty toe shoes? The bottom of Part's tow shoes were actually black!! (But on the other hand, the sound of their toes shoes was more muffled than in other performances in the Kirov run); and (2) why all this radiant smiling in what should be a mysterious, romantic atmosphere? Ladies, look at tapes of Violette Verdy in this role: all mystery. Rubies: Vishneva turned in a very satisfying performance. They were many moments when I saw flashes of Patty McBride in my mind. She has absorbed what the ballet is about. Very nice. The dancing of her partner, however, Samodurov, reminded me that this is a very new style for the Kirov. The second ballerina role was attempted by Sofia Gumerov. The two signatures steps of this part (the grand jetes and the exaggerated arabesque penchees) were not executed well at all. A disappointment. Diamonds: First of all, Kudos for the corps here. Wow! the first section with all those zillion balancees was beautifully done. (I always called it was the "waiting for Suzanne" section.) Sakharova and Korsuntsev were the leads. Sakharova certainly has the grand ballerina manner and turned in a very satisfying adagio section. Again, I had flashes of Suzanne before me. Very, very nice. However, when it came to the allegro sections, she seemed to have run out of steam and there were some flubs, but let's chalk them up to first night jitters. The coda -- with the corps -- was just a wonderful ballet experience. It gave one "chills." One major nit-pick though: What's with the beige color for the tutus? The tutus for this should be dazzling white. Does anyone know whether Karinski had originally envisioned this beige (and is this why the Kirov in its camaign for authencity didn't use white)? I didn't like the tutus at all; in fact, they were distracting in their un-grandness. Note to NYCB: bring back this ballet!!! I was very happy to see how magificently it filled the huge Met stage (and with the relatively "original" scenery). I'm looking forward to seeing the closing night Kirov Jewels. But it just makes me realize how much I want to see NYCB do it!!!

Yes, I too enjoy news from Saratoga. PLEASE post about Friday night's Tarantella. I'm a big fan of Ashley Bouder and want to know how she does. Also please give a full report on next week's casting of Ashley Bouder and Antonio Carmeno in the third movement of Symphony in C. Your reports are terrific and much appreciated. Farrell Fan, let's hear from you too!!

BW, how very sexist of me to use only the male pronoun in referring to you. My profound apologies. As a woman, I should know better!! I'm very glad that your husband (and you too) enjoyed Tracey's performances; I really can understand why she had many, many fans, just not me. What upset me about her dancing -- and why I so agree with Robert Gottlieb's comment -- was that, although Tracey was a beautiful woman and was a good technician, her dancing -- to my ears -- had absolutely no relationship to the music. So when Gottlieb said "Teach what," I understood him to mean that Tracey has nothing to offer about the art of phrasing. After more than thirty years of going to NYCB, I have absorbed Balanchine's dictum (hear the dance, see the music). With Tracey, I felt deprived indeed. And, yes, I too have very much enjoyed Yvonne Borree in Duo Concertant. However, as Ms. Borree herself said in a profile appearing in one of NYCB's recent progams, she admits to not being a technician. So Gottlieb's comment (why is she there), just hit home for me. One gets a little upset at "white knuckle" (will she get through it?) performances from a NYCB principal dancer. But, BW, I'm going to get a copy from the library of the book you liked!!