MJ

I just got back from the first perfromance of the Yale Undergraduate Ballet Company (YUB?) this evening. The troupe offered a perfromance of a Midsummer Nights Dream, based on Shakespeare with Music by Mendehlsohn.

Credit must be given to Amymarie Bartholomew, a student at Yale and Choreographer, producer, dancer, and costume designer. Kudos for building a company with such promise.

The Company and production was well rehearsed, The choregography was simple yet elegant.

Theresa Oei, danced the role of Titania fluidly and beautifully. Her partner, Jordan Laris-Cohen, was very good.

Aren Vastola of Alaska, stole the show with his role as Puck. his style of dance was more modern than Ballet, but his enthusiasm on stage was endearing. You could tell he was having fun with the role.

My only critique would be the dancing was a little fast, a bit rushed.

I truly enjoyed the performance and look forward to future productions.

opening night is sold out!

http://www.bloomberg.com/apps/news?pid=newsarchive&sid=a0oxw90zC9Wc

A stagehand/prop person made close to 540k at Carnegie Hall. Carnegie hall and LCPA are non-profits regulated by the State of NY, and may even use buildings owned by the State. I believe Robert Moses used a State agency to condemn fund and build LCPA. State and Federal arts funds (AKA our tax dollars) helps cover many operating expenses of performing arts companies.

NYSAG Elliott Spitzer had Dick Grasso thrown off the NYSE chairmanship for generous compensation.

NYCB and ABT had to let a few dancers go to cut costs, I doubt the unions gave anything back or got more flexible on their work rules.

There are stories floating around that Lincoln Center and Carnegie Hall Stage hands make a lot of money, and was recently mentioned on the radio.

My question is, When I make a donation or buy a ticket to a Ballet Performance, how much is going to the stagehands versus the Dancers and Musicians?

Warm Regards,

I think it may have been Ben Stevenson's Three Preludes but I'm not 100% certain as choreography for the film is attributed to Graeme Murphy.

I would be surprised if the dance scenes were CGI (apart from using computers to slomo the action) - Chi really is that spectacular!

Chi's legs in the Don Q solos were slightly unnatural, too choppy. The costume he wore was a giveaway, the white neckline makes it easy to play with the head and neck. When the DVD comes out, you will be able to tell.

I think all the dancing was Chi's but they may have cuts bits and pieces from different individual performances. Movie editors do that.

I liked seeing a ballet movie about Heterosexual men, it's about time!

Some of the solo Dancing looked Computer generated, reminding me of "Blades of Glory" skating scenes. Beautiful movie and very moving.

How does the Patent office offer a name trademark on a European Fairy Tale Character's name? I could see trademarking a likeness to the Cartoon Character, but not the name.

I would also blame the Cultural cluelessness at the USPTO.

I think the family of Tchaikovsky should trademark the name "Princess Aurora" and the their music in Russia. The French Should Trademark the Name "Sleeping Beauty" and "Beauty and the Beast" as a French Cultural institution.

It's been a marathon week of Swan Lakes for me. No time right now to talk about the Dvorovenko/Bel. matinee and the Paloma/Ethan performance on Wed. evening. Last night Kent was absolutely gorgeous, luminous and heartbreaking. She and Marcelo conveyed such romance and tragedy. Gomes is an extraordinary partner. His lifts of Julie were effortless. His expressiveness is heartstopping. Bravo.

I felt sorry for anyone who had to sit in the Family Circle. It was full of little kids who were making noise throughout the performance. Their adult parents have no consideration for others.

The Additional procenium prevented seeingANYTHING from the rear of the stage, the White Swan vision and the Apotheosis/sunrise were unseen.

I did not see the company penchee/cambre that traditionally happens when the swans enter, did I fall asleep? Vishneva was AMAZING! Brava!

The dramatic structure would have been better with the ballet in two longer acts. Frankly, the first act is choreographically and dramatically thin. I don't know how this would have affected the Chopin score, but the first act should have been telescoped since it is essentially character introduction and plot exposition that leads up to the country house party and then stops before we get there. The shortened first act could then be combined with the current second act at the country house up to the big love PDD with Marguerite and Armand in the bedroom as the final climax and emotional payoff. Act II would begin at the auction with M. Duval telling his side of the story of how he convinced Marguerite to break off the affair running through the end of Act III. The new Act I is the big romance and Act II is the heatbreak, separation and death of Marguerite. We could have cut out one intermission and maybe 10 to 15 minutes of filler and we all would get home a half hour or more earlier.

My only earlier exposure to this ballet was the film with Marcia Haydee and gorgeous Ivan Liska. That film clocks in at under two hours and it works better than the stage version. If my memory is correct, less is more here. Neumeier felt the inclination as MacMillan did to create grand opera length, three act ballet spectaculars. Like "Mayerling" there is good stuff there and a LOT of padding. As I have heard (since I never saw either version), the one act MacMillan "Anastasia" is way better than the big three act show that came to ABT over 10 years ago.

Another interesting observation - Manon has more interesting, technically demanding choreography than Marguerite who basically runs around on pointe waving her arms and then is tossed around in the air over Armand's shoulders.

Things that make the evening worthwhile - some gorgeous pas de deux's, a beautiful physical production and costumes, Soheil Nasseri's fabulous pianism in Chopin (shout out to cutie Koji Attwood as his backup), good use of the soloists and corps in supporting roles, Julie Kent's deep vulnerability and sadness (real tears) and every second of Roberto Bolle.

Embarrassing. There's a reason this ballet in performed infrequently. The pieces of nice choreography are few and far between. The pdd for the leads repetitive. The corps has little to do but wear some very nice costumes. Chopin is better served in the Concert Hall. Long and dull. I was happily able to exchange all my other tickets for this ballet for other dates.

I Agree, terribly long. I fell asleep during dress rehearsal.

From connecticutballet.com:

Saturday, July 17, 2010 – 7:30pm*

Riverfront Recapture

Mortensen River Plaza, Hartford

Admission free *Rain date: Sunday, July 18, 2010

Special pre-performance complimentary ballroom class with master teacher

John Vitti - 6:30-7:15pm. Please wear comfortable shoes (no heels).

Amy I'm so glad you enjoyed it. Look for more Ballet in the Hartford area this Fall and Winter! We have some remarkable dancers!

We repeated the performance in Bridgeport today at the Discovery Museum, it was well attended also.

We made the evening events open to sponsors of Connecticut's Science museums and the Friends of Ct. Ballet.

Actually this is a new program to bring Dance into schools while also exposing them to Science and Physics as well. Physics professor from U of Illinois attended, a Physical Therapist, a Sports doctor and a Skating Coach as well. Two short performances of the Summer season were premiered, a Contemporary Classic Piece and a Jitterbug-style piece, both by Connecticut Choreographers.

The New Cesar Pelli designed Connecticut Science Center is Stunning, a 100 million dollar masterpiece towering over the Connecticut River.

I don't understand... the CT Science Center has this:

Science of Dance Saturday, May 22: 1 - 4 PM

How do dancers create illusions of ‘floating’ jetes or control the rotational inertia in breathtaking multiple pirouettes?

Join us for participatory presentations by professionals in science, sports medicine and dance.

Presented with the Connecticut Ballet.

Included with general admission.

http://www.ctsciencecenter.org/things-to-do/calendar.aspx

But you seem to have it down as 6:00-8:00pm

When is it? Would like to come.

The Flyer I have says 6-8pm, it is a private event for Friends of CT Ballet and Donors to the Museum.

I think there are two events, one public and one private. Call the museum to confirm. Should be interesting.

I look at the Nutcrackers as a necessary evil, to generate cash flow, especially in today's climate where large donations are presumably more difficult to come by.

MacKenzie or David Koch mentioned ABT expects nutcracker to help ABT's financial stability.

MJ, the reason Balanchine interpolated that piece in his Nutcracker is that the same theme was already in the Nutcracker score--during the music for the transformation of the living room and the growing Christmas tree. Thus, when he was choreographing his Nutcracker for NYCB and found he needed more music in Act I, he added the previously unused entr'acte from Sleeping Beauty.

Yep, I was usually on stage ready to help move the packages at the bottom of the Tree in the Stamford Balanchine Nutcracker. If I was not off stage I had my ear pressed against the pit door to listen to the violin solo.

BUT, it was a huge time waster, adding 7+ minutes to the ballet. It did give Clara's mother time to change into a nightgown and some of the Party Scene Children to get into Soldier/mouse costumes. Or adults changing into a Mouse costume. :^)

I think it is more effective in Nutz than Beauty.

Subject: Friends of Connecticut Ballet - Event Update!

May 2010

Greetings - My fellow Friends of Connecticut Ballet;

Over the next several months, Brett Raphael and the company's fabulous

dancers have many unique and special events in store for the Friends of

Connecticut Ballet. Access to these special gatherings is part of the

benefit of membership. I hope you will pencil these dates into your agendas

and join us.

"The Science of Dance" - Why does it look like magic!

Saturday, May 22nd: Connecticut Science Center, Hartford, 6:00-8:00 pm

Sunday, May 23rd: The Discovery Museum & Planetarium, Bridgeport,

5:00-7:00 pm

These two events are by invitation only for Museum and Science Center

patrons and the Friends of Connecticut Ballet. A reception and informal

tour of each venue will take place followed by a presentation by Professor

George D. Gollin on the "Physics of Dance" along with a sneak preview of a

new ballet by Connecticut Ballet dancers.

Please RSVP to the Museum & Science Center events as follows:

Kimberly Levesque, Company Manager, at: ctballet@ix.netcom.com or

203-964-1211 or 860-293-1039.

RSVP by Friday, May 21 So food and Beverages can be ordered.

****

New Ballet Fest - Come see the World Premieres of Connecticut Choreographers

Mitzi Adams and Ted Thomas and a former Zig Zag Ballet dancer, Brian Carey

Chung, performed by Connecticut Ballet's dancers.

Thursday, July 8th: Levitt Pavilion for the Performing Arts, Westport

6:30 pm - Picnic/8:00 pm - Performance

Back by popular demand is the Annual Friends of Connecticut Ballet Picnic in

the Park followed by a performance by Connecticut Ballet: New Ballet Fest.

Last years, picture perfect weather, stunning performance and festive picnic

were a night to remember. Bring a folding chair and bring a friend!

Picnic - exclusive for the Friends of Connecticut Ballet.

Performance - admission is free.

Saturday, July 17th: Riverfront Recapture, Mortensen River Plaza, Hartford

(Rain date - July 18th)

An annual tradition in Hartford, this evening includes a complimentary

ballroom dancing lesson from master instructor John Vitti at 6:30 pm

followed by the 'New Ballet Fest' performance at 7:30 pm.

Performance - Admission is free.

***

The sun may now be shining, but plans for the snow falling at the Palace

Theatre have already begun. Save the date: The 2010 Nutcracker Gala will be

on Saturday, December 11th at the Palace Theatre, Stamford.

Please feel free to email me with any questions about these events. I look

forward to sharing these fun and exciting engagements with all of you!

Sincerely,

Jeanne

Jeanne Hendrickson

President

Friends of Connecticut Ballet

(Posted by Mike Young, membership director)

Macauley thinks Lady of the Cam. is "foolish". I guess I'm not surprised by his reaction, but most of the audience seemed to enjoy it.

In Macauley's mind, Ashton and Balanchine are the only choreographers worth seeing.

Friends of Connecticut Ballet co-sponsored a talk by MacAuley at the Wadsworth Antheneum in Hartford, the Museum sponsored Mr. B's green card and managed to buy almost all the costumes, sets and drawings from Ballet Russe. Mr Macauleys discussion was in depth and very knowledgeable.

AWAKENING PDD--I thought was rather flat. Is this the usual music used in the complete perf? I don't remember all those references to Nutcracker's score--which came first?

The Sleeping Beauty music came first, but it was not used in the 1890 production, so Tchaikovsky re-used the theme in Nutcracker.

Hans, George Balanchine took the gorgeous Violin solo from Beauty and added it to his Nutcracker. No other Choreographer uses it. The piece builds excitement to lead into the battle scene in Act I.

Alastair M says, for the full context of his comments on Stiefel's blondness: "Although “Don Quixote” features Spanish characters, Ethan Stiefel appeared with his hair so ultra-blond that he looked as if he were auditioning for the Hitler Youth. His partner, Gillian Murphy, also seems singularly non-Hispanic, but the liquid ease and skill of her dancing, especially in her brilliant legs and feet, certainly makes me want to see her dance several other roles."

Alastair's comment seems misguided by the basic, but flawed, tenet that the leads in Don Quixote have to look Spanish. Yes, the ballet features Spanish characters, but it does not flow from that that Basilio and Kitri should physically look Spanish (including with respect to their hair color). Alastair's flawed point is made again when he notes that Gillian "seems singularly non-Hispanic".

Taking the converse of Alistair's argument to the extreme, to illustrate how silly his argument is, Sleeping Beauty and Cinderella are not Spanish characters. So, would a Latina ballerina be inappropriate, just because of her ethnic origin, to play those leads?

Alastair's comments were bigoted to say the least. Very surprised "The Gray Lady" would allow such a racist remark.

To follow Alastair's logic: no Blacks or Latinas should dance as a Willie in Giselle, they are supposed to be ghostly and pale.

". . . let's keep politics out of this board. . . "

Another commenter had said ". . . David Koch received surprisingly little applause from the audience considering how much money he has contributed. . ." I offered a possible explanation that's been in the news. It's also possible that the audience didn't make the connection between the David Koch being introduced on stage and the David Koch whose name is now on the (former) State Theatre next door. Or perhaps the audience was distracted by the presence of Baryshnikov or Makarova or other stars of the past and didn't realize how much $$ Koch has donated to the ballet. I suppose there are all sorts of explanations for the tepid response from the audience, some political, some not.

He gives a lot of money to PBS too, maybe the audience is full of NBC executives. He got more applause than Ms. Trump, who needs to work on her presentation skills.

I still prefer to keep the discussion apolitical. It was not terms for expulsion, but still a cheeky political slap.

I think ABT did a great job last night, Mr. Koch deserves the accolades for his support.

California, let's keep politics out of this board. No one criticized Mrs Obama when she appeared last year.

Wonderful evening, I would have liked to have seen an excerpt from Nutcracker; perhaps one of the divertissements some costumes in the lobby.

I would have liked to seen more from "Birthday Offering"

Sleeping Beauty excepts were slow, PDD was messy and I miss the Technicolor costumes from the rose adagio. Audience was silent afterward.

Bolle's partnering took my breath away, Camalias Chero was amazing, Bolle did lifts I have never seen before. Audience was buzzing after that piece.

There was a beautiful Clarinet Solo, no mention in the program, Violins and Piano solos were mentioned. Orchestra was pitch perfect as usual.

Floor tape came up in Thaiis PDD, Stage hands should have done a better job on the floor.

"Caught" was great, music was loud. It was not a tour de force, but very visually appealing. Lighting rehearsals must have been difficult. I assume a lighting technician was backstage with a light trigger to capture Mr. Corella "en l'air" Cirque De Soleil style multiple bows was tacky, or Corella needed to rest.

A new Nutz is always risky, a Fall contemporary season is as well.Cash is king, and the economy is not improving. Better to keep your powder dry.

The Audience last night Friday was full of Ballet Fans. During the Silent section in DGV, you could hear people coughing IN THE LOBBY! I heard many gasps the evening when the dancers did something extraordinary, which was often

Kudos to the Company and Mr. Corella! Spain deserves a world class ballet company, and they now have one. I look forward to see their version of Don Q in the future.

I recall seeing it on PBS-TV, not my favorite opera, but might be worth seeing at the Met.

I'm glad to hear Beauty was a success for NYCB. The stories of folding Ballet companies and other arts organizations has been disturbing.