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DanielBenton

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Posts 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. 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....

  5. 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.

  6. 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.

  7. 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.

  8. 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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