Saveta

I was recently watching a little exerpt of Glinkiana featured on video "Edward Villella- The Man Who Dances". I'm wondering if anyone could tell me which piece of Glinka's music did Balanchine use for this ballet?

Artistic director of National Ballet of Canada has anounced promotions for this year. Here is official information: May 30, 2002….Toronto, Ontario….JAMES KUDELKA, Artistic Director of The National Ballet of Canada, today announced promotions for the 2002/2003 Season. Mr. Kudelka has promoted Second Soloist GUILLAUME CÔTÉ to First Soloist, and corps de ballet members HEATHER OGDEN, KEIICHI HIRANO and PATRICK LAVOIE to Second Soloist. "One of the greatest pleasures as Artistic Director of this fine company is to watch extraordinary talent develop and grow. I am very proud of the dancers, and these promotions add to the already rich and deep levels of artistry within The National Ballet of Canada." said James Kudelka. The Patrons’ Council Committee and the Patrons’ Council Special Events Committee of The National Ballet of Canada has awarded The Patron Award of Merit to corps de ballet members Jillian Vanstone and Nehemiah Kish. The award is given to one male and one female corps de ballet member at the end of each season. They each receive a gift of $1000, plus a $1000 donation in their name is directed to the Dancer Endowment Fund of The National Ballet of Canada.

Thank you for the encouragement Leigh:) -saveta

I attended PPF summit on that Saturday, and I’m not defending any opinions, but Anderson's words are really taken out of context in this article. I believe that he was elaborating on this issue as an answer to one of questions from the audience. The subject of it were differences between European and North American audiences and critics. It was stated that Atlantic seems to be getting wider and wider, and that (for contemporary ballets) North Americans seems to like more neoclassical works (or "chiffon ballets" as it was simplified). On the other hand audiences in Europe can’t seem to generally take seriously any new ballets that are not based on postmodern or minimalist styles (very intellectual, certainly no pretty costumes or elaborate set designs etc). Of course I'm paraphrasing and oversimplifying (sorry for my not so eloquent English) but as an example for this it was noted that few years ago Kudelka's lyrical ballet Desir was not well received in Germany at all. Anyway, I believe that Mr. Anderson was just agreeing with above statements and said that whenever he sees ballet that fits in "chiffon ballet" category, although he may really like it, feels that it would never be successful in let's say, Stuttgart. Therefore he was very nervous about staging La Fille Mal Gardee, especially because of that "chicken part". But as you heard - audiences loved chickens! Sorry for posting realy late (again).:eek:

Very nicely said Paquita:) I agree completely. I feel that true artist should posses both- unique artistic personality and strong technique. Of course, both (especially artistic expression) sometimes take time and life experience to develop. Also competitions are tough on dancers, I'm sure that stage fright and pressure are obviously higher than normally. I think that the most important thing is what Rex Harington said- with quality of dancing as it was in this competition, the future of ballet is secured. saveta

I know that this is a little late, but I also saw this year’s competition. I like Erik Bruhn Prize because I think it’s a good way to see what sensibilities are developing in (very different) participating companies and for which dancers their artistic directors have high hopes. In many things I agree with Paquita’s wonderful report. I believe that overall standard of dancing this year was very high. The fact that there are different opinions on who should have won already tells a lot. In regards to female dancers, I have to agree with Paula Citron from Globe and Mail. Like her, I also thought that the most interesting dancer that evening was Alicia Amatriain from Stuttgart Ballet. Her Giselle was simply so beautiful. Even though her extensions were higher, in my opinion that was never distracting, nor was her flexibility in any moment purpose for itself (as I feel about what I saw of i.e. Lucia Lacarra’s dancing). Amatriain’s arms and port de bras were so lyrical and telling, and her beautiful line so elongated and very reflective of Giselle’s sadness. I felt moved as if I watch entire ballet, and not only a pas de deux. As a sharp contrast, her energy changed so much in In the Middle Somewhat Elevated. She was so spunky and flirtatious, and that took me by surprise. Of course, the choice of their program dictated this big change, but change of her temperament was unusual and extraordinary. To me it was as if you can imagine Evelyn Hart (if you know this Canadian dancer) change into Zizi Jeanmare. I also liked Canadian Heather Ogden very much. Both her and her partner Guillaume Cote were excellent in modern piece. I was surprised when I learnt that they choose Black Swan Pas de Deux, (as Paquita said Ogden seems more like Julliet type) but they were good in it. I thought that ABT dancers were both stunning in Grand Pas Classique. Their technical brilliance was probably winning over everyone in the audience. I especially liked Hallberg in his variation. But, in their Manon Pas de Deux I didn’t feel any special moments. It was nice, but that is all that I felt. Of course, this is just one opinion. I think that the most valuable thing was that there were no clear winners (or rather that there were more than two).