Marga

Robert Rauschenberg's death marks the passing of another larger-than-life innovator in the world of contemporary American culture. Personally, the notice of his passing was another jab to my heart, as I was lucky to be a participant in one of his dance/visual art collaborations at the end of the 1960s. Viola Farber recruited some of us for that project, thus helping out her good friend Rauschenberg, with whom she had a connection via Merce Cunningham. Rauschenberg's art was so quirkily avant-garde and unique in the 1950s - '60s and he remained, often whimsically, cutting edge throughout his life. I remember how soft-spoken, friendly, and approachable he was while he worked with us. In fact, the whole group of cultural icons -- legends! -- consisting of Jasper Johns, Merce Cunningham (both still with us), and John Cage (gone for over 15 years) -- made their mark while maintaining low-key, affable personalities (at least in social demeanor to which I can attest), and extreme generosity of spirit and sharing of resources, including providing financial aid unasked and wherever needed, among their friends and causes. Role models, all. Robert Rauschenberg, you were one of the inspirational people in my life. With a great smile and certain sadness, I celebrate yours.

For any Canadians currently online: The Ballets Russes film is on right now -- on Bravo. It began an hour ago and will run another hour. It is so fantastic -- I am enthralled......and in love with it all!

Adam, here is the thread where this is being discussed: Daniil joining ABT

There's Cyril Beaumont's A Manual of the Theory and Practice of Classical Theatrical Dancing (Cecchetti method). Lots of copies are available through Amazon (link above). For a video, there's: Cecchetti video:" Ballet: The Tradition of Cecchetti" You can also check out the website of The Cecchetti Council of America. There's a lot of information there, people to contact, and a few informative articles, like the detailed one on épaulement. Cecchetti Council of America website Look on their ordering page for more books, an instructional Cecchetti video, CDs of Cecchetti music for all levels of the syllabus, a DVD for children's Grades One and Two, and Cecchetti syllabus booklets. Only hitch is you must be a paying member of the Council to buy most of these items. And, btw, here's where you are allowed to use the word "method" -- It's the Cecchetti Method, not the Cecchetti Style.

Erica Cornejo left ABT for Boston primarily, I believe, because she married Boston Ballet principal Carlos Molina.

FYI: Daniil is dancing in Toronto this coming Sunday, May 4th, in the Stars of the 21st Century Ballet Gala (Toronto Centre for the Arts, 8 PM).

It's wonderful to hear good news as a new spring rotates into our world. Congratulations, Daniil!

She just turned 76. Here is a recent picture of Ms. Wilson working with New York Theatre Ballet. (Her age is incorrectly stated in the accompanying article.) Sallie Wilson coaching

Sallie Wilson's obituary notice in BT hit me like a dagger to the heart. Deep sadness. "We meet but briefly in life. If we touch each other with stardust -- that is everything".

Gene Schiavone has some pics up from the gala: Drew Jacoby & Rubinald Pronk, Osipova and Vasiliev, Sarawanee Tanatanit & Blaine Hoven: YAGP photos

I've seen this movie many times, as it's shown quite regularly on TV here. The streetwalker segment of "Ring Around the Rosy" is Toumanova's only appearance. Each part of that ballet is a unit unto itself. As pertains to the trilogy of dance which makes up the movie, Gene Kelly is the only constant. The rest of "Ring Around the Rosy" has other gems, in particular Claude Bessy as the ballerina/model, Igor Youskevitch as the artist/lover, Diana Adams as the hat check girl, and even Tommy Rall as the boyfriend. The movie was actually ready in 1952, but was not released until years later due to its being perceived as a failure. I wish there was a commercially released video of the Sol Hurok story, Tonight We Sing, in which Toumanova portrays Pavlova.

Zolton Solymosi is teaching at the Hungarian Dance Academy. You'll find his name in the list of ballet teachers on this page: Hungarian Dance Academy Here is a post from a year ago when we were discussing Solymosi's whereabouts: Zoltan Solymosi

My first ballet teacher was a dancer and choreographer for the Metropolitan Opera Ballet. In fact, that's how we found him. My mother took me to Manhattan (we lived in Queens) to audition for the Metropolitan Opera Ballet School (which was the school of both the Metropolitan Opera Ballet and American Ballet Theater at the time). After the audition, Margaret Craske (director of the school) made an announcement that one of their dancers was opening his own ballet school on Long Island and was looking for students. She encouraged those of us who lived on the Island to enroll at his new school. This new school was started by Karl Klauser. He was the main teacher and as his enrollment grew, he hired Metropolitan Opera Ballet colleagues to teach there. My first backstage stories about the life of ballet dancers were all about the dancers of the Metropolitan Opera and American Ballet Theater. A great thrill was when Mr. Klauser invited Sallie Wilson (then dancing with Ballet Theater) to guest-teach a class. I was in awe of her feet -- they were as strong as steel. Her tendus were amazing! Other dancer/teachers who taught at the Dance Academy of Rockville Center included Marie Adair and Alice Greene.

I agree. Iana Salenko's version of this way-overdone variation is indeed a "a really beautiful example of ballet". It is so refreshing to see this showstopper piece performed in an artistic, balletic style, rather than in the acrobatic way that so many 13-18 year olds enjoy executing (pun intended) it. Thanks for bringing it to our attention.

I saw her back then, too, but don't remember anything to tell. I was born in 1947 and my mother took me to see the NYCB frequently from a young age. My recollections are irritatingly vague.

One more There are 13 copies available at Amazon (link at top of this page), starting at 34 cents, and a whole whack more if you go to AddAll.com. I have the book and enjoyed reading it and referring back to it. While Mazo focusses on a few dancers to the exclusion of many others, it's always fascinating to get a behind the scenes look at a ballet company, and for me especially, the NYCB that I knew.

I agree with so many opinions expressed in the posts above mine. I had similar gut reactions. Since I've been well aware of the "My Turn" column for decades, having had an interest to contribute to it on many occasions throughout my life, but never doing so, my first reaction was that Sascha had the same twofold desire: to make a few bucks (I assume the contributors to this feature get paid?) and to get his name out into the mainstream. A member of BT4D was pleased to discover that he was a very fine writer, but I don't think there was anything "very fine" about his writing, rather, it was just okay. Had I written an article about the subject, I (wouldn't have been content to send in such a hackneyed attempt. The inclusion of "loving the girls" is, IMO, definitely his way of saying he's straight (and feels the need to make this distinction). But, I think that's okay. That way he won't be written off by some still-biased readers. At least they will read to the end of the article. As far as M. Mel's cynicism goes, the examples stated are rather old, although valid. I'd like to think Newsweek, in the name of current events and keeping up to date, has modified its position over the years, as much of the general population has. We all grow and change with the times. Do I think Sascha's article will effect any change? No. I think it was just a satisfying exercise for him, personally, to be published in Newsweek. If he'd wanted to make a real case of it, his slant in the piece would have packed more punch.) Edited to say: I was just adjusting the order of words in one of my sentences (ever the editor) and having a lot of trouble posting my modified post -- my screens wouldn't change. I had the same trouble with "quick edit" and had to go to "full edit" in order to amend my post. Now, poof! -- the bulk of my post is gone (and that's not the section I was adjusting, so it wasn't my keystrokes that did it, I don't think). I have no copy of what I had written, so can't fix the above truncated post! Sorry. There was so much more there, part of which is, thankfully, reproduced in M. Mel's post below. For the record, I don't know if this comment will ever post, as nothing is happening when I press "submit modified post". We just got our computer in from the shop where it was sent because we thought we had a virus. It's only been back for an hour or two and is acting up, although the computer shop guy said everything was okay. So, I don't know if it's me or BT! Moderator's note Previous text salvaged from email notification and copy/pasted here. Mel Thank you very much, Major! Marga

Agnes Oaks and Toomas Edur of the English National Ballet are a married couple who dance together with such synchronicity as to be spellbinding. They are the epitome of a romantic couple, both on and off stage. Toomas makes for a superb supportive partner on whom Agnes can totally depend. Their sensuality when dancing is almost palpable. Their lines echo and complement each other, and they give the impression of one entity split into two symbiotically moving parts. A partnership made in heaven and nurtured through love!

Congratulations, Ian, on the stellar review you received from Helene for your interpretation of Espada! From Helene's review in danceviewtimes:

Another sad loss in the world of dance. His name is legend!

As with my Ufa, there's sometimes a danger in knowing too much, especially with Jeopardy ballet questions. To confused readers who are not reading the whole thread, Tucker Carlson was a subject of the earlier posts on it, written four years ago. I chose to add to an apt thread rather than start a new one.

Yesterday's Jeopardy had a hidden ballet category, the title or which escapes me, but that it had to do with the country of birth of the name given. The five dancers ("answers") were, in order of difficulty (and I may have transposed nos. 3 & 4): 1) Rudolf Nureyev 2) Margot Fonteyn 3) Uday Shankar 4) Carla Fracci 5) Angel Corella The first received a quick correct "question", USSR, while I was still spouting place names "Ufa, Russia, uh..... always reluctant to speak the letters "USSR" out loud. The 3-day champion rang in with an incorrect question for the second (stating "France" as Fonteyn's birthplace). I suppose he may have gotten it right if they had presented her name as Margaret Hookham! The third was answered correctly. Hard to miss, given the better-known success of Ravi or by drawing a logical conclusion from the sound of the name. The 3-day champion also got the fourth correct, but I am 100% convinced it was because he deduced "Fracci" to be an Italian name. I am sure he'd never heard of Carla Fracci, the ballerina. The fifth had no one ring in at all, not even to take a stab at it based on the Hispanic nature of the name. I guess there was just too much leeway for them, and no one wanted to lose money on a guess. Color me disappointed, once again.

Your post makes me wonder to whom you are alluding? I read back through the thread and am perplexed as to the identity of the dancer you mention. Could you reveal his name?

What a great loss for the ballet world.

Joanne Woodward, Jackie and (now) Caroline Kennedy, Chelsea Clinton (and her parents at one time). Chelsea is even on the Board of Directors of SAB.