Old Fashioned

I found this very amusing. I had the privilege of meeting Mr. Taylor at his Long Island home, and I think the pictures and his answers describe him perfectly. He was at odds with what I had imagined a choreographer would be like. He seems to care little for dance and yet he continues to sacrifice so much for his company...

You're mistaken about jazz at Lincoln Center, Old Fashioned. Christian McBride is there tonight. I heard Joe Locke there in 2007. Sunday I'll hear John Patitucci, Joe Lovano & Brian Blade, Tuesday Chico Hamilton, and Wednesday Roy Haynes. People of that quality play there year 'round, in the club and in the two theaters. I have to disagree re: "danceable" too. Those guys make a variety of records and as sidemen play in a variety of contexts.

I'm aware that the best musicians often perform at Lincoln Center so I guess I should have been more clear about what Lincoln Center represents to me. JALC embodies the whole notion that jazz is "high art" and should be kept there, untouched by outside and popular influences. Not to say it should be dumbed down, but allowed to evolve and grow. This may be a reason why younger audiences feel a disconnect with jazz, believing that it's too cerebral for their tastes. I recall some interview with Wynton Marsalis where he said something about how latin-influenced jazz isn't "pure" jazz music, whatever that's supposed to mean. That's the type of musical ideology I'm opposed to, the idea that this music should be codified in music conservatories.

Editing to add: That's a great lineup they have. But, just as good jazz can be found at JALC, good jazz can also be found at Whole Foods and Starbucks. Miles and Herbie Hancock recordings sit along side Jamie Cullum and whatever cool new indie-hipster musician/band is out there. It's really about what these places embody, not what can actually be found.

For me it's after John Coltrane ("My Favorite Things"), when jazz no longer was based on popular songs, Rogers & Hart and Cole Porter, etc--playing every note except the one you were supposed to play--that it became less interesting...Jazz no longer comments on the world from the standpoint of an astute outsider, which was its old role--it's now part of Lincoln Center and Whole Foods.

Isn't that a bit contradictory? The jazz you find at Lincoln Center and Whole Foods is usually insipid renditions of standards and that's what most jazz novices are drawn to. Will people be more willing to listen to jazz as social commentary? It certainly can be more interesting, but not necessary what's going to drive the masses to listen. I could try to explain the significance of a recording like Max Roach's Freedom Now Suite, but people in my age group, if they choose to even listen to "jazz," will still rather listen to Diana Krall or Michael Buble (he is to jazz what Josh Groban is to opera). By the way, I find the music of today's jazz musicians very danceable, including but not limited to Roy Hargrove, Joe Locke, Christian McBride, etc...much more so than the lounge-y stuff you get from Krall and Buble. If people choose to perceive attending a jazz club as an esoteric experience, then it will be. Otherwise, if the music moves you, please get up and dance the next time you find yourself in one...

I'm not sure why the article refers to Angel Corella as a "regular visitor" at ABT. He's been with the company for over 10 years, and up until very recently appeared with them both at the MET and at City Center. He's very much a fully participating principal in the company. I thought the article was mostly on target, except that I tend to disagree with his negative viewpoint on V. Part. But, as we know, Part certainly inspires a divided opinion.

Yes, she does, but I don't really care for this as an argument against her. There are very few dancers who are universally beloved by all ballet fans and critics. His tone is getting really irritating whenever he mentions Part.

Her appearance surely garnered a lot of new ballet fans.

Really?

Maybe not new ballet fans, but maybe a few Veronika fans.

He was an exceptionally gifted mover but I'd be hard put to call him a great dancer.

He's not the greatest, not a genius, but seeing him holding his own alongside the Nicholas brothers, I can easily consider him a great dancer.

I understand that image plays an important role in the First Lady's life, and I'm not saying that it shouldn't be talked about at all. I happen to enjoy following her different outfit choices, and I'm not so daft as to think she doesn't put a conscious effort into her dress. I simply thought that since this is a thread dedicated to the ABT gala that there should be more discussion on the performances and focus on the content of Mrs. Obama's speech.

Can we please stop criticizing Mrs. Obama's appearance, whether it's the way she sits, stands, or dresses? The discussion should focus on ballet and if her name is to be brought up at all, it should be about her role in promoting the arts and how her attendance at these events could change the public perception of the nation's performing arts.

Is there a problem with what I said?

Old Fashioned, I’m thinking of Republicans like Olympia Snowe, who voted for NEA funding in 1999 when the Republican majority was intent on cuts. There aren’t many but they’re out there. (There are also many Republicans on the state and local level who favor supporting the arts.)

My fear is that the time may already have passed for any big boost. Congress is already spooked about high spending levels, and not without reason, and with the government prosecuting two wars and the financial crisis, I suspect that even Democrats may not be willing to hand out much more to the arts, relatively small though the amounts are.

That is what I suspect as well, so there is no disagreement there. Your earlier posts seem to suggest that the Obama administration should and could have pushed for even more funds which I don't think is possible at this point no matter how much they may want to.

Don't forget that this $50,000,000 was probably as much as Obama's Admin. could get anyway with the way alot of our

dear members of the House and Senate feel about funding the NEA.

We have a Democratic majority now, and there are Republicans who would be receptive to the idea of greater support for the arts, as well. Times are changing.

I agree with fandeballet. I'm not seeing a changing attitude among most Republicans toward what they like to call "special interest spending." My dear congressman (gag) Pete Olson sent out a mailer to make sure that his constituents know of the specific measures he disapproved of in the stimulus package, and in bold he listed the 50 million for the NEA.

Can we please stop criticizing Mrs. Obama's appearance, whether it's the way she sits, stands, or dresses? The discussion should focus on ballet and if her name is to be brought up at all, it should be about her role in promoting the arts and how her attendance at these events could change the public perception of the nation's performing arts.

I haven't been able to attend an HB performance in what seems like a very long time, but every now and then I like to keep up with what's happening at the company. I found some Marie videos on youtube, provided below if anyone is interested:

http://www.youtube.com/watch?v=t8DpIM5zib0

http://www.youtube.com/watch?v=XzBxkmrdUrA

http://www.youtube.com/watch?v=YgpFXZ453-Q

Welch's choreography here looks to be in the vein of McMillan and Cranko. Why, there's even a bedroom scene!

Those of us who love Balanchine more than other choreographer are naturally quite happy with the way things are, whereas those of us with broader tastes would like to see a more diverse repertoire and aesthetic. No one wants Balanchine to go away entirely, but the steady diet of Balanchine, reworked Petipa, and Flashy Contemporary Drivel is becoming monotonous.

That's a bit of a generalization, isn't it? I don't think anyone is really happy with the status quo (even Balanchine lovers), particularly on these boards. Aren't we all still waiting for the next best choreographer to come along? Don't a lot of us wish there was more Tudor and Ashton programming? Don't we all want to see more traditional productions of Petipa's ballets? Yes, I agree that the repertoire of companies worldwide has become monotonous, but to say we're all just content with what we're seeing is flat out wrong. I don't have the answer as to how to change this trend, but I have to side with argument that Balanchine is not to blame.

My humble opinion - in this case totally acceptable. At the same time, I feel that there had been standing ovation inflation. So many times in theater (not dance or music yet) a standing ovation is an automatic, as if the audience is congratulating themselves on their brilliant choice of ticket.

In your case. seems to me, the tribute was justified and the woman behind you was rude.

Agree. Even if this occasion didn't warrant a standing ovation (which I think it did), it was rude of the woman to "correct" you and for poking you. It's perfectly acceptable for someone to sit and clap politely while others want to stand, but it's not that person's place to tell someone how to applaud or express thanks.

A mock documentary? Is it supposed to be a comedy?

: The cartoon movie's "double" is the Maryinsky's Somova; there's a very strong resemblance.

I hardly think Disney can sue someone for looking like herself (Somova really does look like cartoon Aurora, but I like cartoon Aurora better). Then again, I don't know...there are some awfully silly claims out there made by silly corporate lawyers, one in particular that I'm thinking of is American Apparel defending its unauthorized use of Woody Allen's image, making the case that his image is too damaged to be worth anything. Talk about chutzpah.

Thanks for reviving this thread. I hadn't read it before and found it amusing since I've never given a thought to how Serenade should be pronounced. I always assumed it was Serenade like lemonade, and I pronounce Agon like Ay-gon.

I recently saw "Black Book" on cable. It's kind of like "Lust, Caution" on steroids. If I got my history only from movies, I would assume that resistance movements are full of beautiful women going undercover and falling madly in love with the oppressor. Well, all I can say is that if joining the resistance involves romantic evenings with Sebastian Koch and a little roughhouse from Tony Leung, just tell me where to sign up.

Thanks for mentioning "Black Book," dirac. I'll have to look into that one, although I think I'm off Nazi/WWII themed movies for awhile.

Q: why is Part still listed -- with a photograph -- under "Soloists" on the ABT website?

Volcanohunter answered that a few posts back. It is frustrating to see that though, isn't it? She's been languishing there long enough...and if they could bother with changing her photo, why not just go ahead and put it under Principals?

It's hard to imagine a picture of Part that isn't beautiful. After all, consider the subject! But this portrait, IMO, does as much as possible to make her look ordinary.

She looks youthful and pretty in the new photo. The previous one, with the cropped 'do, was more glam.

Perhaps 'Generation Me' would prefer that Alina Somova be Fonteyn? (tee-hee)

Awww, c'mon guys, Fonteyn was (is) THE epitome of the perfect face, the perfect features, the perfect body for ballet -- though I am not saying that her technical skills then would match-up to today's ballerinas, 50 yrs later. [she most likely would have matched or exceeded today's requirements, had they been requirements.] Every time that I've seen Anne Hathaway on the red carpet, her hair up, in a glamorous super-slim beaded gown, I instantly remember Fonteyn.

I certainly would not like to see Somova as Fonteyn. If I had my choice of casting, it would be a dancer. Fonteyn had the perfect proportions for ballet, but I don't consider her a natural beauty. She matured very well, and was beautiful in a glamorous way. Her features looked different when she was younger before her nose job(s) (according to the Daneman bio). Vipa mentions a South American look about her; wasn't her mother half Brazilian? I might cast Roberta Marquez as Fonteyn; I've really enjoyed the clips on youtube of Marquez in Symphonic Variations. I don't know if she's been at the Royal enough to embody the British style, and she would have to work on an accent.

Here is our Fonteyn:

http://www.tvguide.com/Special/Oscars/gall...150&page=40

Need we say more?

I might get flamed for saying this--but Anne Hathaway is too beautiful to be Margot Fonteyn.

I don't see Ansanelli bearing much of a resemblance to Fonteyn looks wise, other than they both have dark hair. Rojo may be a better fit (again, only basing this on looks). Duff looks nothing like Fonteyn, but I can't really think of another actress who could be a good fit. Emily Mortimer and Emily Blunt are too tall (although about the same height as Duff, according to their imdb bios). Maybe Natalie Portman?

It's probably too much to hope that after a year or so away from dancing, she'll change her mind and find a hospitable performing situation.

You never know. Barbara Bears returned to Houston Ballet after "retiring." Perhaps the management at Royal Ballet could be so kind as to make some sort of "if you ever decide to dance again, you still have a place here with us" arrangement.

This is shocking. Was any reason given for her retirement?

There's not much that I can add, as I can only echo the sentiment that everyone else here has already expressed. Congrats Veronika!!! Still hard to believe it took ABT this long to realize you are most deserving of the title.