felursus

As a non-practicing notator, I remember being told when I was studying that only notation "copyrights" a dance. A film's copyrights are for the film NOT the dance. But legal interpretations may have changed in the last 30 years, so I hope there are some legal eagles out there. BTW, at least SOME of Balanchine's ballets were notated (how well, I do not know) - and I can't tell you which ones.

I agree with Cargill that a Nureyev would survive under any type of management style - perhaps ESPECIALLY in a corporate-style environment because of the marketing value of a 'star'. If a corporation is flogging a star, who cares about the product? So a well-marketed "star" will sell tickets despite the quality of the medium (i.e. ballet in this case). I can give you an example: the RB had a ballet for Fonteyn and Nureyev which probably ranks as one of the world's worst, but it sold tickets because of their star draw-power. (I'm thinking of 'Paradise Lost'.)

The problem with a purely corporate structure in the arts is that BAR a major star like Nureyev (and there simply aren't any of those out there these days)they have to cater to public taste in order to sell tickets. Yes, a good arts organization should also be in the business of EDUCATING taste. That's why there are triple/quadruple bills. But the idea that you can line up dancers like battery hens and expect them to 'produce' on command, and to have an artistically un-educated corporate drone set artistic policy (even with help from those better educated than him/herself) will lead to a mediocre company producing mediocre works in a mediocre fashion. Great works of art have always been the result of a certain amount of "daring". You cannot run a great arts organization and refuse to take risk. Diaghlev took risks all the time. Of course it was his money and the money of his rich friends, but the results are there for all of us to see.

A corporate drone will not want to take any risk at all. His board, as Mme. Hermine has said will be fearful of losing their investments. After all why are the board members there: because they love ballet? because they like the prestige of being associated with an arts organization? a bit of both? Surely most if not all of them are interested in the prestige that is usually attached to such positions. But in order for it to BE prestigious, the general public needs to perceive it that way. So our corporately-structured arts organization has to CONVINCE the general public that the organization is a great thing. How?MARKETING!!! (And who was it on this board who was somewhat offended by slick marketing of the arts? If I tried I could write really slick copy for most full-length ballets, and I could work on the "abstract" ones, too. Hey, this could be a topic for another thread! ) Creative advertising, and manipulation of the media could be used to convince the public that what is being offered is what they MUST see. In order for this approach to work, however, one needs to cater to the lowest common denominator - not something that is condusive to great art. Not something condusive to creating a great ballet company.

Hey, Cargill, I loved Bergsma too - the thing I remember the most were her entry bourees - it looked as though there was a layer of air between her and the floor. And I agree with you about her Lilac Fairy, too. I also have extremely fond memories of a Bolshoi dancer, Maya Samokhvalova, as Myrtha. She had the most amazing jump ever. She just seemed to sit in the air.

BTW, and somewhat off topic, for those of you in NYC, besides whatever she may be dance-wise these days Martine Van Hamel has taken up choral singing. She's a member of the New York Choral Society. They have a concert coming up in May in Carnegie Hall. (NOT promoting my own thing, Alexandra - although I'll confess that my husband is in the choir.)

Hey, Cargill, I loved Bergsma too - the thing I remember the most were her entry bourees - it looked as though there was a layer of air between her and the floor. And I agree with you about her Lilac Fairy, too. I also have extremely fond memories of a Bolshoi dancer, Maya Samokhvalova, as Myrtha. She had the most amazing jump ever. She just seemed to sit in the air.

BTW, and somewhat off topic, for those of you in NYC, besides whatever she may be dance-wise these days Martine Van Hamel has taken up choral singing. She's a member of the New York Choral Society. They have a concert coming up in May in Carnegie Hall. (NOT promoting my own thing, Alexandra - although I'll confess that my husband is in the choir.)

Please note, everyone - it's a FRENCH classic!

It's just that I find it overly-ornate and fussy. I understand it was supposed to try to be close to the original but.... It's set in 19th c Russia and not in the medieval period, not even medieval Russia (which WOULD make sense), so it's a little weird having enchanted swans and magicians hanging out in/near Imperial Petersburg. It feels quite cluttered - lots of extra people trying to emote. I feel this gets in the way of the actual dancing. The sets, esp. the ballroom, are very elaborate. Perhaps better than the "courtroom" set of the NYCB (I kept waiting for an English judge in red robes and a wig to come on and start singing something by Gilbert and Sullivan in THAT production), but not to my taste. By all means go and see it for yourself. I certainly would go if I lived in/near Boston. You may like it. You may LOVE it. I wasn't trying to imply that the RB production is one of the world's worst. (We may have that here in NYC) I just feel that the BB production is excellent, but the Boston critics have been coming down heavily against AM Holmes' emphasis on Russian classics, so why bring more? I wonder whose idea it was?

I find it interesting that FleetBoston (which is the reformed BankBoston) Celebrity Series is sponsoring the RB visit - this is the same organization whose director stated (in the Jan 20th, 2000 Dezell article in the Globe) that she was doubtful whether there was an audience for classical dance (as opposed to dance in general) in Boston.

Furthermore, the RB are bringing Swan Lake. They are performing almost immediately after the BB closes its season with The Sleeping Beauty. The RB production is nothing to write home about - the Boston/Kirov co-production is far, far better. So WHY???? It's at a time when the kiddies will just have seen SB, the colleges will have held graduations, summer sessions will not yet have started, and it's yet another classical, Tchaikovsky ballet in a town whose dance critics and arts writers have openly hinted is bored with classical ballet - esp. of Russian ilk. I wonder why they didn't at LEAST get the Royal to do La Fille Mal Gardee. They are bringing it to DC, so why not Boston - OR why not the mixed bill (it's more "modern")???? ARGHHHHH!!!!

By the way - was anyone elso annoyed/upset by the implication in the title: "First-class ballet finally arrives?" I think Temin is suffering from a case of "keyboard in mouth" syndrome.

Ah, Drew, methinks Mr. Babcock DOES indeed fancy himself either as Lincoln Kirstein or as Diaghlev. Alas, he hasn't the genius of either or the geniuses either of them had to work with. Furthermore, the times they do change, and I don't think any CEO (or whatever title such an individual may give himself) can get away with doing the things either Diaghlev or Kirstein could do.

Re: Wheeldon - you made my point for me. I think that Babcock (and perhaps his board) have no idea of who Wheeldon is or what he represents. As the statement in the article was made in conjunction with complaints about AM Holmes having replaced "popular local choreographer Daniel Pelzig" with Wheeldon, it could be taken as a person rooting for the home-grown product OR as a plaint about more "classically-oriented" choreography. As I have never seen any of Pelzig's works, I can't comment. I guess if you are a member of the anti-pointe shoe brigade you might dislike Wheeldon's ballets - even assming that Babcock had actually SEEN one of Wheeldon's ballets when he made the statement. Or do we lay the plaint at Maureen Dezell's door? I would LOVE to have been a fly on the wall during the interview, or - that being impossible - talk to her about it now.

Good point, Steve! As an "old lady", I'll confess to having seen nearly everyone mentioned - except Pavlova and her generation. I EVEN have seen Markova (I don't remember what I thought, I only know I did because I have the program.) I think there is something to regret in not having seen those who "went before", because the aesthetic of ballet is changing so much. I once went to a perf of the NYCB, and a bunch of senior students from SAB were sitting behind me. They were oohing and ahhing over Wendy Whelan's "perfect" body. Now I happen to dislike her body shape intensely. I think it's fine for some of Balanchine's more 'athletic' ballets, but I don't find it pleasing in the more romantic ballets at all. Please give me - anyone of a very long list instead. But I'm afraid that that is what people are striving towards. It's natural for Wendy, but not for all the other imitators. Anyway, I digressed. Badly. Yes, I think there is more emphasis on technique today, but I think the aesthetic suffers from it. Jeannie said elsewhere that she would love to see the Kirov's Sleeping Beauty done in the original dancing style. The only dancer that tried to "tone down" the modern technique was Assylmuratova. And the "toning down" WAS necessary to make the production make sense. I noticed tutus flopping over peoples heads in penche arabesques - something that CLEARLY wouldn't have happened 100 years ago, as no one had a split penchee arabesque in those days. In fact, (to refer to things a bit more recent), neither did Margot Fonteyn. What she lacked in 180 degree extensions, she made up for in artistry - IMHO! So who would I have liked to see - see more of? Well, Svetlana Beriosova, because she was so gorgeous; Gelsey, because I was in London when she was at her peak with NYCB and ABT (I only saw whatever she did in London), Ulanova in Romeo and Juliet (I only saw her do it once - they hadn't announced the cast, but we figured that because it was May Day...); Sizova and Soloviev; Kolpakova when she was young; Makarova in Giselle; Erik Bruhn, Erik Bruhn, Erik Bruhn!!!!!

No, no, Salzberg and Liebs, you are going to run things TOGETHER - by committee. You will decide on a piece of music "of artistic merit". Salzberg will design an exquisitely artistic lighting plot. You will then hire a choreographer who will "fulfil" that lighting plot. Et voila! A ballet on which the artistic and administrative staff have been in complete cooperation.

If you want to have an idea of what's behind all that has been happening at the Boston Ballet, I suggest you go to the Boston Globe's archives (as I did) and look at an article published on January 16,2000. The article was written by Maureen Dezell. It is rather lengthy. It is basically about Babcock, his background (bio)and his attitudes toward the Boston Ballet and ballet in general. It is also rather nasty about Holmes - in a way that implies that at least some of the expressed sentiments against her were Babcock's while giving him the chance to say that those nasty sentiments are NOT his. Nevertheless, a lot of negativity against her administration IS present in the article, and it leaves you to wonder where all that negativity came from. There is even an interesting quote from an official at the Bank of Boston, which sponsors a cultural festival, who says that while there is an audience for DANCE in Boston, she doubts there is one for classical ballet. This fits right in with other statements in the article that imply that Babcock a)approved of the idea of making ballet more "accessible" to a younger, hipper audience - which it was felt that Holmes had done with "Dracula"; B) felt there had been no carry-through because the rest of Holmes' programming was all "traditional, classical story ballets" (i.e. "Don Quixote", "Le Corsaire," and the then-projected "La Bayadere"); and c) then complained indirectly that "Dracula" didn't have enough artistic merit. There seems to be a complaint about Holmes' emphasis on Russian classical ballets and the classical style in general - as evinced by her not using Daniel Pelzig (described as a "popular, local choreographer") but instead hiring Christopher Wheeldon to do new choreography for the company. Per Dezell, Babcock was not "overwhelmed" by "choreographer-driven" dance. (I'm not sure what is meant by that - perhaps it was clearer in the interview, and the article left out some important, clarifying statements.) (Perhaps he was obliquely saying that he didn't approve of the way the NYCB (eg.)was so driven by one choreographer's, Balanchine's, vision - or by the way the company was run during Balanchine's life time??? - merely a wild guess on my part.) Babcock also expressed the opinion that one of the problems with the BB was that "the artistic and operational management...have been kept pretty separate for a long time." He goes on to say that he feels that a more team-based approach was necessary. (Yet he ALSO said he didn't want to "upset the applecart.") The article winds up with a quote (referring to why ballets like "Cinderella" and "Romeo and Juliet" survive - i.e. because of their "great music") "The link," he said, "is music."

Go read it for yourselves. I had read it and even made a hard copy of it last year, because I was so incensed. Alas, I couldn't find my copy, so I had to pay $3 for the privilege of reading it again. This time I've saved it among my emails, so I always have a handy reference. I think it is an extremely telling article - and Babcock's intentions are even clearer now - given the events of the past year. So let's see: he wants ballets that will appeal to a young, hip audience, have good music, are definitely NOT Russian classics - but perhaps use the MUSIC from the "better" Russian composers (obviously Prokofiev is ok - judging by the quote). I bet he'd just LOVE something with a "European" flavor (remember our discussions about "Euro-trash" - oooh, naughty me - I mean "Euro-style" like the two pas-de-deux I saw at the International Ballet Gala in NY - one of which was the "Balcony PDD" from Maillot's "Romeo and Juliet." Let's see: the music's on the "approved list", it's NOT Russian, it's "modern", the choreography that I saw made the dancers look like 8-year-olds (but perhaps Babcock would think that that would appeal to a young, hip audience), the choreography isn't too "classical" - although Juliet wore pointe shoes, and so this might appease everyone. What do you think?

In view of all the upcoming vacancies in orchestral artistic directorships, I think Anna Marie Holmes should be appointed as the Artistic Director of one of our great orchestras. After all, I'm sure she has impeccable artistic taste and probably knows more about music than McPhee knows about ballet (other than the music).

I haven't noticed the phenomenon so much with ballet - but the NYC Opera does it all the time. No naked ladies (or gents), however! Perhaps we could start a thread with "dramatic ads". If it weren't nearly 3 a.m. I think I could come up with some rather amusing ones. I don't think one need go as far as "Hot sex and slaughter in the insect world" (The Cage)

I remember "Giselle's Revenge" very well. For those of you who never saw it, it ends with Albrecht having been lured into the coffin and Giselle sitting on the lid. Quite Freudian.

I also rather like the idea of Myrtha as Albrecht's mother. Albrecht's father was a philanderer too - leading to Myrtha's death. She's out for revenge - like father like son: If she can kill off Albrecht she messes up the princely succession. Perhaps there's a daughter in the wings who can take over (if there's no Salic law in effect in the kingdom). Viva equal rights for women!

Speaking of production "oddities" I remember the staging Stuttgart had when they first came to the Met. The Wilis were all lying on the floor (on one of the elevators of the Met stage). Through lots of dry ice they ascended to stage level. They were covered in shrouds - one for each half of the stage - that were pulled off into the wings. This produced a lot of giggles in the audience.

I remember "Giselle's Revenge" very well. For those of you who never saw it, it ends with Albrecht having been lured into the coffin and Giselle sitting on the lid. Quite Freudian.

I also rather like the idea of Myrtha as Albrecht's mother. Albrecht's father was a philanderer too - leading to Myrtha's death. She's out for revenge - like father like son: If she can kill off Albrecht she messes up the princely succession. Perhaps there's a daughter in the wings who can take over (if there's no Salic law in effect in the kingdom). Viva equal rights for women!

Speaking of production "oddities" I remember the staging Stuttgart had when they first came to the Met. The Wilis were all lying on the floor (on one of the elevators of the Met stage). Through lots of dry ice they ascended to stage level. They were covered in shrouds - one for each half of the stage - that were pulled off into the wings. This produced a lot of giggles in the audience.

I think the Royal Swedes had a production of Fille as well.

Ooh Allegro, I like that. But they'd have to have padded costumes! Question: do we pad out Ken too?? Naughty, naughty.

and thanks to the person who pointed out my omission of the bunioned feet.

In the Barbie Ballet do we have Barbie in a different career in each scene? This would be a great boon to the costume business. By the way, do we end it with Barbie celebrating middle age and retiring to Florida? The dancers will all have to have special training in order to cope with the 3" heels - at least once Barbie graduates from high school and gets out of her cheerleading shoes.

Alexandra, I remember Poor Pitiful Pearl - although I never had one. My first love in terms of ballet dolls were all paper dolls. I had several sets: there was one that had fabulous costumes, but most of the others had those "powderpuff" tutus, and if I remember correctly, I rather think the dolls all had oddly sickled feet.

Isn't Barbie getting to be a bit too old to start a career in ballet? Surely by now the ballet should star Barbie and Ken's daughter. That way Barbie can dress up as much as she wants for the premiere and the size of her, ah, chest won't matter. And think if the cool rehearsal clothes they can sell to go with the doll: woolen warm-up tights complete with holes - $13.99, a frayed practice tutu skirt - $29.99, a specially designed leotard with most of the back cut out - $6.99, pointe shoes scuffed in genuine rosin - $8.99. Then there could be the dance bag accessories: a tiny towel, bottle of water, hair clips, a teeny antiperspirant stick, teeny bandaids, teeny elastic ace wraps for when Barbie has an injury, etc. Ken could have his own bag, too. We won't go into that here. :-)

Fonteyn was very interested in the meaning of gesture and the emotion of the situation in which the "character" found herself (even if the ballet were plotless). I had the privilege of working with her once. It was in 1977, the last time "Marguerite and Armand" was done with the original cast. She spent quite a bit of time coaching the boys who were playing Marguerite's admirers (all dressed as Franz Liszt). She gave a bit of character to each boy and told him how she would react to his "advances". She also said that every gesture has a meaning and one should never waste a gesture. She never did!

Lynn Seymour liked to go to the theater and observe how actors moved. When she danced Juliet in the MacMillan production, she used to "roll" on the balcony railing. This, she said, was from something Judy Dench once did. It is interesting to think of dancers getting movement from actors.

CygneDanois wrote:

Most dancers from Paris Opéra are impeccably placed, although Sylvie Guillem's placement (especially in developpé à la seconde and première arabesque) tends to be somewhat off-center.

I think it's probably because at some point her rib cage just gets in the way of her leg!

Did you ever see the "South Bank Show" (shown on Bravo) interview/program about Guillem? There's a bit toward the end where she does a developpe a la seconde (leg-to-ear, of course) and then, very slowly, releves onto pointe. You can't be uncontrolled and unplaced to do that. I'm not saying I agree with all her exaggerations, but boy is it fun to watch!

Ok - I see the possibility of making SOME kind of synopsis of War & Peace, I think it would be very difficult to do it justice (whereas Anna Karenina has definite possibilities) - but I was proposing the "complete & uncut" version. Next suggestion: Ulysses.

By the way, I have a special fondness for "The Lesson" - I was the ASM when it was done at the Colisseum (London) in 1977 as part of the Nureyev & Friends presentation. It starred Nureyev and Makarova.

Karen

PRESENTING for the first time anywhere, a ballet SO BIG it could only be staged at Madison Square Garden: WAR & PEACE - uncut. This spectacular ballet, performed by a company of thousands, includes vivid reconstructions of the battles and balls. There are beautiful sets and exquisite period costumes. Realistic sound and visual effects usually seen only in the movies. Your children, so accustomed to violence on-screen, will appreciate the blood and gore. Ticket prices include breakfast, lunch, dinner and evening snack. All seats will have adjustable headrests, so that those who need catnaps don't fall over on their neighbor.

I don't have a Master's degree in European History, but I was married in the parish of Berkeley (yes, THAT one). The Castle and its association with the death of Edward II is the top item of interest in the area. No one, however, has had the poor taste to open "Ye Hotte Poker Inne" - at least not yet. It's a subject best left in the history books. Even Shakespeare knew better. Edward II's greatest moment in history was when, as an infant, he was presented to the Welsh as their "Prince who speaks no English".

I agree completely with Manhattnik on the subject of "Death". I had an almost irresistible urge to take a flying leap onto the stage, (quite a feat from above), grab that scythe and use it on Bintley. I promise you, fellow listers, that I seldom feel this violently - or violated.

Surely ya'all can't have forgotten one of the great dramatic ballerinas of the last century - Lynn Seymour? Perfect Scarlett. As for seeking perfection for Ashley - I recall the gasps of one fan at the stage door when the Royal Danes visited NY in the 60s - with reference to Peter Martins: "How can he bear to look at himself in the mirror when he shaves? It's like looking at a marble statue of Apollo." And it was, indeed.

Ah, so you missed that magic moment...my husband, not a regular ballet-goer, poked me in the ribs and asked "- and what did he just do?" Just think, I can remember when the RB carefully did not schedule "The Invitation" for matinees.

I think if the second act had gone on one minute more I would have lost my lunch on the person sitting in front of me. I found the whole thing tasteless, badly conceived, mostly badly choreographed (although it did have its moments) badly costumed (except for those gorgeous dresses for Isabella - I want one of those) and far, far, far ... too long. I am so glad I no longer live in England so I know that nary a penny of my tax money has gone to help pay for what gets my vote for the worst ballet - and certainly the most nauseating ballet - ever.

The auditorium was quite empty when I saw it. They should have promoted it heavily in gay interest publications, then they might have had a much bigger audience. Bintley seems determined to portray Edward as a poor, oppressed, misunderstood gay king who was persecuted for his sexual preferences and was martyred - and thus portrayed as Christlike! In actual fact, he got into trouble because he was a bad king and didn't know how to manage the barons. He reigned for over 20 years, by the way. Also, the barons tried to get him to die by more natural means - like getting pneumonia, but Edward had a strong physical constitution and hung on. [edit; sorry, but this was a bit too graphic for a board read by children] How's that for gruesome? The dungeon at Berkeley Castle is still there...

The other thing (well one of the other things) that bothered me, is that I found much of the choreography derivative. Did anyone else recognize bits from Spartacus, amongst other Soviet-era works?

[This message has been edited by alexandra (edited September 26, 2000).]