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Jack Reed

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About Jack Reed

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    aficianado
  • City**
    Chicago, Illinois, USA

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  1. I happen to share Hogmel's taste, or preference, only I developed it in the theater. The NYCB video programs recently shown, one ending with the last act of Coppelia, another with Mozartiana in the middle, and especially the one of Chaconne posted on Kurt Froman's YouTube channel (which some of us old fans consider the best Farrell-Martins performance on screen - or, maybe, ever), all from the 70's and early 80's, also do more for me than anything NYCB or most other companies attempting Balanchine do lately, for that matter. I saw hundreds of performances of his company (i.e. not Peter
  2. It says a thing or two about VV, too - about her vision and intellect - but it also reminds me of what Balanchine thought about "the POB dance culture" around the time he made Le Palais de Cristal (later called Symphony in C) for POB in 1947. Maria Tallchief writes, "[Balanchine] paid no attention to the company's rules and its rigid hierarchies. He never did anywhere. Instead he made hierarchies of his own, and in Paris, rather than using corps de ballet dancers who he felt weren't up to his standard, he chose students from the Paris Opera Ballet School, "les petits rats," to dance in Sere
  3. The question takes me back: In the history of Balanchine's great New York City Ballet, which ranks with the Mariinsky and Bolshoi in the minds of some of us, it might be mentioned that his The Nutcracker was sometimes performed in summer in the open-air Performing Arts Center at Saratoga Springs, in upstate New York, where many New Yorkers - and a passing Chicagoan, like me - took breaks from the heat of the city. Or tried to. One evening in July 1972 the heat and humidity were so high we would stick to the board seats we sat on, while we watched it snow on stage. Does everybody know w
  4. Like pherank was, I'm glad for the reminder, Quiggin. I haven't seen the whole video yet either, but it's always at least interesting to see how Ratmansky hears. I have major issues with the busy, complicated camerawork, though. To show us one dancer dancing? Really? But an advantage of a video is that we can study it in repetition, and get more of the dance. I prefer a plain, calm, straight-on, center-seat approach, like Ballet Arizona has been showing us, for one example, and I'm sorry that another dance organization, Vail, seems to feel the need to overdo it. Way overdo it.
  5. I would imagine so! I've noticed performing artists perforce tend to think in entertaining ways - although whatever that way is at the moment may bother those trying to focus on cold facts or a consistent story sometimes - so, thanks for the link to one of his examples, but do you have a link handy for the "listening parties" as well?
  6. Helene's link, above, leads me to an error. If you have this problem, try this one: http://www.balanchine.org/balanchine/display_result.jsp?num=285 In the 70's, I was much taken with Balanchine's suite - well, I still am, for that matter, and I remember Farrell's staging of it as one of the best of many great experiences of watching TSFB (even with her restoration of the four cygnets in place of one of Balanchine's best dances to one of Tchaikovsky's best numbers), but I digress - not least because Verdy was leading it (alternating with Hayden). I went repeatedly for about a week,
  7. An old thread with a couple of little errors worth correcting; in the interest of giving credit where it is due, I note that bart gives "Denby" a first name in his quote from Robert Garis's book which belongs to somebody else: David Denby, the film critic of The New Yorker, was born in 1943 (and doesn't appear in Garis's index). Not only is this too late a date for the subject under discussion, but surely by "Denby" Garis means Edwin Denby (1903-1983), as confirmed by his index, which directs us to the reference by Garis bart quotes. (There's a nice line in his review in the March 8 194
  8. May I recommend the discussion going on here in 2007 about Mozartiana's heavenliness and complexity? Like other great art, Mozartiana is inexhaustible.
  9. Simone Messmer has had an association with Ballet Chicago going back seven years, according to their current publicity, where she is listed (three times!) among the visiting summer faculty and which identifies her home company as Ballett am Rhein. (This last item comes in an email I can't seem to link to.)
  10. Unh, unh. Swanilda! That was something to see. Not just her sparkling dancing but her animation of the action in Act II. *sigh* I'd love to see that again, too. (Nichol Hlinka took the role of the eponymous Doll.) But at least McBride and Helgi Tomasson (Frantz) do dance the "Peace" pas de deux (to some music Mr. B. imported from Sylvia, for the male variation and the coda). It's the last of the divertissements, in Act III, before the Finale wrap up. Don't despair!
  11. Available until July 3, too. Generous for those of us not blocked, at least. (This is just an image from the page listing their live-streams; sorry for the arrow in the middle, which looks like a clickable "start" button. Presumably, if you're not blocked, it works. This link may take you to that page: https://kglteater.dk/xtra/forestillinger/?section=33179 )
  12. This page seems to have been recently updated, as it gives the new repertory for the NYCB program scheduled for next Monday, the 22nd, as well as their reasoning for the change: http://lincolncenter.org/lincoln-center-at-home/show/coppeacutelia-858 Of the original Coppelia, only the third Act is now planned, preceded by other Balanchine repertory in more recent performances. It may be interesting to compare the way NYCB danced Balanchine in 2004 with the way they danced his choreography in 1978. (Apologies to rg and Dale, who have posted in another thread.)
  13. I think so. The experience of art is like a trip; it takes us away, out of our ordinary existence; it changes us - maybe permanently. Artists understand that, at least some of them do: Speaking at the Skirball Center of NYU during the last season of TSFB, Suzanne Farrell remarked, "It's not, we come down to you; we invite you to come up into our world."
  14. The Live from Lincoln Center broadcasts of the 1978 NYCB Coppelia and the 1983 Tribute to Balanchine have lately been re-scheduled for Monday, June 22nd and June 29th, respectively, at 8:00 PM eastern time: http://lincolncenter.org/lincoln-center-at-home/series/live-from-lincoln-center I'm looking forward to seeing these at last, especially to the second program, for Mozartiana, with Suzanne Farrell, Victor Castelli, and Ib Andersen. Evidently the 1986 Balanchine A Midsummer Night's Dream continues to be available there.
  15. In one of these places, it's said - as California wrote while I was posting - the video - actually, available on Vimeo as well as on YouTube - will be available until 11:59 PM Eastern time Sunday, June 7. Personally, I think it's appropriate for various presenters to shuffle their original schedules in light of our current tragic circumstances, to give more prominence to Black performers (though I agree that they might better have made some announcements). In connection with the Dance Theater of Harlem, shown here, I recall that one of the founders, Arthur Mitchell, was motivated to do
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