carbro

I'm hesitant to recommend that anyone avoid a ballet altogether. That said, I've already seen it, twice, and even though Tiler Peck has skyrocketed to the top (albeit a rotating top) of my Favorite Ballerina list, I won't bother seeing her in it. Ever. Or anyone else.

And also, it seems that Keenan Kampa is going to join as a coryphee in May.

http://archive.const...9268419726.html

Wow! She must be very special! I'll look forward to seeing her!

Thank you, elianam, and welcome to BalletAlert!

Hi, tableleap, and welcome to BalletAlert!

I've been in those ballet slippers -- wanting a copy of a lost program. I never had a problem asking the company for an extra copy. In fact, I even remember one performance where there were no extras in the house -- the ushers had distributed every single one of them. A day or two later, when I called the office, they had some and were happy to send me one.

If you haven't done so yet, you should probably call (or these days, e-mail) the PNB offices or perhaps the theater. Good luck!

Or, perhaps one of our friendly readers will be able to help you. I've had excellent luck that way, too!

It used to shock me how open some people are about their salaries. No more. If Manes got the figure from the 1099, I assume the dancer in question showed it to him.

That's quite a impressive background you have, Dr. A. I'm pretty sure that as you scroll through these pages, you'll see old associates.

I'm happy to welcome you to BalletAlert! and look forward to reading your unique viewpoint.

Welcome to BalletTalk!

Sorry, Beezus. BT4D, which is administered separately and has different policies, does not accept registrations tied to free domains, such as Yahoo, Hotmail, Gmail, etc. You'll have to use an address tied to your work, school or your home internet provider.

Welcome to BalletAlert!, lb09. How do you compare the experience of taking ballet as a child and as an adult? Aside from the benefit of weight loss, does it have a different meaning for you?

Amy, check the menus along the left side of the screen. Have any options been inadvertently checked to restrict the new items you see? For example, is there a check beside "blogs" under Content Type? or under Other by "just items I follow" if you haven't subscribed to e-mail notifications of any forums? If you haven't cleared your Invisionzone cookies, it's probably a good idea to do so now. Unfortunately, I can't find a one-click cookie cleaner on this version. Apparently, we now have to do that manually.

ABT rotates the ballets that it presents in its mixed bills. You're right when you suggest that most of the ballets in the archive are not danced anymore. Many of the ballets go in and out of active rep with some regularity. Others that have been dormant for years may get new productions. And some are duds -- failures when they premiered, only to disappear quickly and permanently, leaving behind only a mention in the archive to let people ponder.

I have one (1) extra ticket to Thursday's performance. It is for the seat next to me in the Third Ring . I bought it with my Society NYCB (ne Fourth Ring Society) membership, so it's only $17. PM me if you want it.

Program/cast as follows:

DONIZETTI VARIATIONS: M. Fairchild, De Luz [Conductor: Delmoni+]

intermission

IN MEMORY OF…: Whelan, J. Angle, la Cour [Conductor: Sill, Solo Violin: Nikkanen]

intermission

FIREBIRD: Bouder, J. Stafford, Krohn, *Catazaro [Conductor: Otranto]

You can see Aran on this video, beginning at about 9:50. I'm pretty sure Aran danced another piece that evening. To find it, you'll have to either slide the time indicator along until you find it, or watch the whole, 90-minute video.

Editing to add: Aran dances the variation from Paquita starting at 33:58.

The video I've linked is from the Guggenheim's Works & Process evening about how judges judge the YAGP contestants. From First Position's trailer, the film seems to show the competition from the viewpoint of the dancers. The linked video gives a taste of what it's like from the judges' viewpoint.

Welcome to BalletAlert!, desiree. I'm glad you asked for help locating the publications, rather than asking directly for information, since we do not allow this forum to be used as a research source for academic work. Your query is permissible.

As you may have noticed, the posts herre are over a decade old. Neither Estelle nor vagansmom posts here regularly anymore.

It appears that Les Saisons de la Danse has ceased publication -- a shame. I can't offer helpful suggestions, but perhaps some of our readers can.

According to the Playbill, the Guest Teachers are Arch Higgins, Darci Kistler and Andre Kramarevsky. Merrill Ashley's name is absent.

I find it amusing that we're discussing this business of marital infidelity and correspondents' culpability while one of our TV networks is promoting tonight's broadcast of an interview with the second divorced wife of a candidate trying to snag the title of Most Conservative Candidate in the 2012 presidential derby. We'll see how it goes. If the accusations don't disrail this candidate's progress, I find it hard to believe that the scandal at NYCB would be the main obstacle between an especially talented corps dancer (who is also one of my favorites) and her soloist status. Over the years, as Jayne noted, dozens of dancers there have seemed poised on the cusp of promotion only to ... not.

Hi, Kerry! Many of us started out much like you did -- hooked by a tv show or a video or movie. What makes BalletAlert! a lively place is that there are so many varied details even when the broad outlines of our experiences are similar. For you, it was Bessmertnova in those touchstone classics, for someone else, perhaps, Baryshnikov in Twyla Tharp.

I look forward to hearing from you. Welcome to BalletAlert!

It's wonderful, Eileen, that you've been able to immerse yourself in your singing. There is, I think, a crucial difference implied in the very question that titles this thread. If you're an adult and not already dancing ballet professionally, your chances of ever doing so are about one in a trillion. However, if you have the talent and the drive, you can embark on a singing career even well into your adult years.

Meanwhile, back in the USA , earlier this week the New York Philharmonic was called to a halt mid-Mahler when a persistent ring tone (coming from the first row) would not quit. Bravo, Maestro Gilbert!

Repeated Gaynor theme? I caught one mention, but then so much of it went by so quickly, I know I missed a bit, but ...

The credits indicate that the writers and performers are from the Royal Danish Ballet. I take the whole thing as self-parody and nothing more. I may be wrong.

I love that one, too, Helene. Also, "That was GELSEY KIRKLAND's old role!" And "[snort] That class did not get me on my leg." Such a cornucopia here, and so well done!

Do you know which dancers will appear? Do the same dancers appear at both dates of each event? Are both dates streamed?

Each event is streamed live. If you watch the stream on Monday night it's what is taking place on Monday, not Sunday.

Neither W&P nor the companies announce dancers in advance. ABT sometimes changes dancers (usually just one or two of their senior principals) between the Sunday and Monday events. As California notes, it becomes a more costly option when companies fly in and stay overnight. As best as I can recall for previous events, PNB used the same dancers both nights, as did the Royal Danes last year. NYCB, when they participated, also presented programs with a single cast for both nights, and they're less than two miles away!

Hi, judiann. You might want to look at the page I linked in post #3, above. Specifically, a post on that page by cheryl44tn, here. If you'd like, I can forward your e-mail address to any of the contributors to these discussions. I know how comforting it can be to share remembrances of a loved one with others. Just let me know. This assumes, obviously, that the addresses we have are still current.

This is wonderful! Thank you, rg!

I don't know whether this photo was much handled, but it looks to me like whoever developed the film and printed it did a sloppy job with the chemicals. Too bad.

I also loved the NYCB corps de ballet in the revival of Balanchine's exquisite Tombeau de Couperin.

Thank you for mentioning Tombeau, Natalia. A major highlight for me, too , but in New York.

We're delighted you're joining us, and glad that your wife, those many years ago, dragged you to that Farrell-Luders Swan Lake.

I hope you'll join in discussions as you browse through our forums. Feel free to answer, as well as ask, questions. You'll see that our members run the gamut from new enthusiasts to seasoned experts.

Welcome, jamesb, to BalletAlert!

I share several high points with Helene. Topping my list -- and certainly among the top five of my lifetime list -- was Alina Cojocaru's transcendent Aurora opposite Johann Kobborg in ABT's embarrassing (albeit improved) Sleeping Beauty. It was like seeing the ballet for the first time, the steps melting into meaning, nothing extra, nothing wasted, as natural as breathing.

Although the Royal Danish Ballet's programs in Washington and New York were, on the whole, disappointing, I adored Gudrun Bojesen's Sylph.

Doug Fullington's two Works and Process programs, the one devoted to PNB's new/old staging of Giselle (still available for viewing here) I wish his lecture/demo on Balanchine's Petipa, a 2010 event here, were similarly available. So much info to absorb! By the way, I'm excited to see that Doug is bringing some of his wonderful dancers back this spring for a program "After Petipa."

At NYCB Sara Mearns colored the "bracelet variation" with wistful melancholy. I'd never seen danced that way before, but it fit, and I loved it. I loved everything I saw Mearns do but that Emeralds stands out among the standouts.

One evening was both a high point and a low point: the sad evening of Jose Manuel Carreno's retirement, when he danced like a man ten years his junior.

As for other worsts, I managed to avoid Ocean's Kingdom and Seven Deadly Sins at NYCB.

I stand firmly with abatt's negative marks against NYCB's harebrained, new pricing scheme, apparently designed to alienate lower-cost ticket buyers. It left me feeling so bitter that I didn't even bother to see if there were reasonable seats for George Balanchine's The Nutcracker. Goodness knows, there were plenty of appealing casts.

The other low point was ABT's program decisions for the City Center engagement. Obviously, they were looking to save money by using works with recorded music.

To be fair, several of the ballets were performed to solo instruments (including the wonderful Barbara Bilach at piano) or small ensembles. The ballets themselves were for small ensembles, which I suspect meant that many corps dancers never performed, never collected the higher salaries for performing weeks, and likely weren't even called to rehearse. Further, there was scant use of those very expensive, short-lived pointe shoes. There were many economies taken in that season. On the one hand, I think it was ingenious money-saving. On the other, I hope the junior dancers' paychecks didn't suffer.