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Everything posted by DanielBenton

  1. AlbanyGirl, I don't know the rules of the Trust (but I expect some of the more experienced Ballet Alert contributors know). Probably the individual who receives the rights to the ballet agrees to let the Trust do the licensing for performance, but they can probably put restrictions on it too (e.g., I can't imagine someone at NYCB doing Tzigane, unless she does the coaching for it).
  2. I remember reading somewhere that Taras was given the rights to Symphony in C by GB, and that during Taras' lifetime he determined what changes could and could not be made to it. Someone with a better memory than mine may know more about this.
  3. Seems to me it takes both great acting and great dancing to do it right (which is why I like Fracci/Bruhn the best). I am not sure who in NYCB can do this, but Mearns as Giselle and R Fairchild as Albrecht might be good. Re an earlier thread here, in Volkov's Balanchine's Tchaikovsky, Mr. B. says (with regard to Sleeping Beauty), "I agree with Lopukhov that it is the best of the old ballets, second only to Giselle". That statement and Maria Tallchief's off-hand remark saying that Balanchine loved Giselle, knew all the parts, and "taught them to us" has me studying Giselle much more closely than when I started my study of Balanchine. I think the music is quite good, very clever in places and more imaginative and skillful than the standard Minkus/Pugni.
  4. I can't figure out how to paste a YouTube video here but the Peter Wright version is available by searching "Peter Wright Awakening Sleeping Beauty" on YouTube. Very interesting to compare with Ashton.
  5. In it's original position as No.18, the entr'acte does seem to be kind of an action-stopper and one can see why various artists chose to reposition it. In Solomon Volkov's book Balanchine's Tchaikovsky, Mr. B. says "if I do Sleeping Beauty, that entr'acte will definitely be in it". I speculate idly if he would have included it as music only at its original position, or move it, or choreograph it....
  6. Thanks rg. Doing a little sleuthing - the entr'acte music in question is no.18, which comes in the middle of Act II, before the Panorama..
  7. That is interesting. The Het Nationale Ballet DVD of 2004 (with Sofiane Sylve) credits the choreography to Marius Petipa and Peter Wright (only) so I guess Wright did his own version of the entr'acte?
  8. Does it go between Act II and Act III? (Somewhere I have the complete score on a CD-Rom but I cannot find it). At the end of Act II, after Aurora wakes up, Peter Wright (Dutch National Ballet) choreographs a pas de deux to this music for Aurora and her new beau.
  9. Thanks for all the good info and other stuff this past year!
  10. I'll be sorry not to see the young models trolling around the fountain, hooking up with equally young photographers, then exchanging emails on their I-pads.
  11. Pherank: (with d'Amboise): Terpsichore:Melissa Hayden; Calliope: Jilliana; Polyhymnia: Patricia Neary
  12. Just received and watched Vol.5: Bugaku and Apollo excerpts from Bell Telephone Hour. Bugaku is very interesting on first viewing. I immediately thought "movie music", but very good movie music. I need to watch it several more times. It would be interesting to hear from those who saw the initial casting of Kent and Villella and can compare. Bell Telephone Hour excerpts: the action seemed too fast and kind of casual, plus the yellow/orange fringe-y costumes and soft pink background light made the whole thing a little odd. I do think d'Amboise is the best Apollo, bringing out the personality traits Balanchine wanted us to see in the brash young person.
  13. I wonder if a PBS affiliate pays less for a program they are going to broadcast once in the middle of the night vs.showing it in prime time.
  14. I have been watching Balanchine's Robert Schumann's "Davidsbunderlertanze" in which Ib partners Sara Leland as the fourth couple. Very nice!
  15. I have been watching Balanchine's "Robert Schumann's 'Davidsbundlertanze'" in which Ib partners Sara Leland as the fourth couple. Very nice!
  16. Out here in the heartland (Iowa City)...Iowa Public Television is showing this program, once, AT 2AM DEC 15. I tried to shame them into reconsidering but they are incapable of being shamed. The executive director told me they were going to show something, in the primetime slot, more in line with Midwestern values - an opera from Minnesota Public Television. It makes me sick. I guess they don't know that there are many aspiring young ballerinas dutifully taking ballet lessons in this state.
  17. uh....NEA gives money to American companies for productions of The Sleeping Beauty and La Sylphide? I suppose they made a case for using it for outreach somewhere in America, but does it make sense? What happened to commissioning American choreographers from "America's ballet company" with Americans' tax dollars?
  18. Lopatkina is the ballerina in the Diamond section of the Mariinsky Jewels.
  19. Am I the only one who thinks the Fracci/Bruhn Giselle is the standard (in spite of, as discussed elsewhere, the bizarre camerawork?). Also, I know it's not the classics, but I enjoy the Dance Theatre of Harlem's Creole Giselle. I think the Mariinsky Jewels is good, especially Diamonds, and some of the camerawork is interesting. POB has a better feel for Emeralds (as they should), and Rubies. Only POB does the final movement of Emeralds - La mort de Melisande. I think this movement was added later by Balanchine and some companies do not do it. It is a beautiful part of Emeralds and that alone would favor POB.
  20. Angelica, yes the very same. The director was Hugo Niebeling (with David Blair, but it is Niebeling's film). To me, Fracci/Bruhn are so iconic in their roles that I can put up with the filmic distractions/distortions (same with much of the Berlin Balanchine filming).
  21. Sandik, very true about the Berlin filming, but of course the culprit there was a famous film director who was really full of himself. I guess he "got away with it" doing the great Fracci/Bruhn Giselle film so he did it again!
  22. Balanchine said that ballet was the younger sister muse to music, by which I understand that music as a sophisticated art form has been around for about 500 years and ballet for a much shorter period. As he demonstrated in many works, ballet as an art form continues to develop and become more sophisticated. He felt that large scale structures were a function of the musical mind (rather than solely physical gestures), but anyone who has seen Serenade, Apollo, Agon, or any number of other works knows that ballet can uniquely enhance and intensify a musical experience. I find a contrast in Alexei Ratmansky, who has a keen musical ear, and likes to refer to ballet as "just dancing".
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