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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. May I recommend the discussion going on here in 2007 about Mozartiana's heavenliness and complexity? Like other great art, Mozartiana is inexhaustible.
  2. 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.)
  3. 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!
  4. 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 )
  5. 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.)
  6. 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."
  7. 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.
  8. 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 so by his circumstances: Deeply saddened by the shooting of Dr. King in Memphis in 1968, Mitchell wanted to do something affirmative, resulting a year later in the founding of DTH; and here is some of that affirmation.
  9. There is a technical bobble at the end there; not only in the video, but I believe the curtain is just a bit early, too. Luckily, in spite of those, we do see and hear, in sync, the ballet, right to the curtain, if not through the last notes: The final pose, with the three boys on one knee. And what a performance! To everybody's credit, including Sandra Jennings and her two assistants, identified in the credits below the video window as the people who staged it. I'm grateful for this.
  10. Art, the experience of art, "takes us away" from our ordinary existence. That is much of its value. Some say, Art should change you, maybe permanently.
  11. One of my top Balanchine ballets, too! (But I can't get the number down that small!) I missed the 1972 Stravinsky Festival itself, but when I did start to gorge on "Symphony Three," as we called it, in 1973, part of the fun was to see what colors the three solo girls, especially Sara Leland, in the most prominent role, had on at each performance. It varied among pink, pale orange, scarlet, and so on; but the large corps of 16 girls who start the ballet always wore white, and the smaller group of 5 demi-solo couples were always in black and white - the girls in black leotards, the boys in white tee shirts - as in the final image here. (It occurs to me that Alexander Calder, whose work was much admired by Stravinsky, liked color schemes like these, too.)
  12. Actually, if I may disagree, the video doesn't look to me like the camera was that high, and whenever I've been in the theater, I've seen one or two cameras set up on tripods at the back of the center of the main floor. The main criticism I'd make is that the image of the stage is too loosely framed, so that there's a lot of wasted black area around it, compared, for example, to the still image of the last "totem pole" pose posted here, which is just about ideal. The effect is to make the ballet less immediate, to make the dance "remote," as someone said about the Square Dance video, though, again from familiarity with the theater, which is pretty level, I wouldn't want the camera moved closer to the stage; aside from blocking some spectators' view, it would go even lower relative to stage level. A little zoom in would have helped. But the height is very much to my liking. I think this video is very good - the camera doesn't move - the movement is left to the dancers! The camera shows their space and they move in it. The camera controls our point of view, and dance videos where I'm bounced around the theater give me fits. (I will say the the advantage of a video you can see more than once is that you have a chance to reassemble the event in your mind; but that shouldn't be necessary.) I'm glad we have this.
  13. Is that all the farther back it goes? In my years watching NYCB in the State Theater - 1973 into 1986 - the live monitors were already active on orchestra level and in the lobby, and when I sat in the Second Ring I noticed a small camera in the west end of the technical booth window. Casual inquiry of company employees brought forth the explanation that not only were late-comers cared for by feeding the camera to the monitors, but the company recorded that feed as well.
  14. If you search, you can find it for $9.99! Not the VHS tape either, apparently; it's the DVD. Reading mention of "Elusive Muse" reminds me of one of the many valuable insights in it: Remember that when Balanchine fired her and her husband Paul Mejia, no one would hire them for fear of getting on Balanchine's bad side, until they got to Maurice Bejart, who was not afraid. In "Elusive Muse," Bejart looks into the camera and tells us, "I knew she was from Balanchine and she would go to Balanchine, but I could see the music in that body." Some of the music he saw in that body had been written by Hector Berlioz, and there has sometimes been available a good Italian television production of the result: Bejart's "Romeo et Juliette," available on Hardy Classic Video sometimes. We had a short discussion of it here: https://balletalert.invisionzone.com/topic/33877-farrell-donn-in-bejarts-romeo-juliet/ I'm sorry I don't remember the other Italian dealer I got my copy from years ago, but it was listed as Berlioz, not as Bejart, and you didn't know it was the ballet until you looked at the list of performers. That may help searchers. Meanwhile, there are a few still images from the video here: https://contemporarydance-db.blogspot.com/2009/03/maurice-bejart-romeo-e-giulietta.html such as this one: https://1.bp.blogspot.com/_EeY8jv1Chx0/Sc9kDYxOIlI/AAAAAAAAAR0/yLOvqwoFmso/s1600-h/bscap0019.jpg but the old Rapidshare files seem to be gone. That's a shame, because these few still images don't begin to suffice - you need the quality of movement.
  15. Speaking of on-line video about Farrell's life, we remember dancing is her life; and in another thread here, there is a post lacking details at present, but which looks like it might signal a brief on-line appearance of the PBS broadcast of October 1983, including the performance taped that Spring of Mozartiana, with the original cast, headed by Suzanne Farrell, Ib Andersen, and Victor Castelli: https://balletalert.invisionzone.com/topic/45484-free-streaming-during-covid-19-crisis/?do=findComment&comment=426773 So here may be an opportunity to see her live her life, as it were, rather than reflect on it. (The broadcast included the whole program, beginning with Orpheus.) >> No, I was wrong; Orpheus was on another broadcast, in October 1982, with Apollo, led by Farrell and Martins. Mozartiana was preceded by Vienna Waltzes, with Farrell and Martins in the final movement, and followed by Who Cares?
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