carbro

Didn't Tiler originate Carousel A Dance with Woetzel?

No, Ansanelli, another dancer with great imagination and flair for story-dancing. I miss her.

I think the point about Balanchine schooling his dancers to become what he needed was key. I also think that, especially with choreographers like Wheeldon and Ratmansky -- essentially global freelancers, even if they are Choreographer in Residence somewhere or other) -- the most important quality they look for is the ability to understand what he wants of them. Sometimes -- you know? -- people just miscommunicate with each other. Especially in the arts, where suggestions may be more poetical than specific. And further complicated if the choreographer, working in a second language, uses a word with unintended nuance.

I'm not a big Kistler fan, but to my eyes this is so much more enjoyable than what we saw on Wed. Kistler luxuriated in the steps, her dancing had amplitude, warmth and allure.

Perhaps aided by the security that, in the studio shooting, if she messed up, they could retake.

I've always felt that Otranto went for pretty moderate tempos compared to other NYCB conductors. They have always favored brisk tempos, especially their principal conductors, Karoui and Andrea Quinn before him.

Interesting. I find Otranto the fastest of the bunch. While I acknowledge that Karoui and Quinn can/could be brisk, it's Otranto who most often makes me wish that she'd hit the brake pedal.

Thank you, Natalia, for redirecting bobbi (and others, I'm sure) to the ongoing thread about the NYCB broadcast/cinemacast (wd?) of Nutcracker. I'm closing this thread.

Eileen, Marley is the covering used on ballet floors that gives just the right amount of traction. Not as slippery as wood.

...in the classical vocabulary as I understand it, partnering should enhance the quality already inherent in a movement.

Although one might argue that part of Balanchine's enormous contribution was to expand each step's "inherent" quality of each step. This lift, I believe, is supposed to trace an arc while it covers space.

I hope the cows didn't moo the performance and the musicians didn't milk the applause.

I, too, was wondering about the casting of Megan Fairchild as SPF in these performances, and the only thing that makes sense is that Martins (with PBS?) chose to cast deLuz as Cavalier and then fit a matching ballerina. I have never cared for the two as a partnership. It's not that Megan is too tall for him, but that he's too slight, too narrow for her. He's bulked up a little in recent years, but not enough to make up for her breadth, which I think enhances her dancing overall.

Megan is a beautiful classical dancer, but I think nerves undermined her in the broadcast. I also think she would have benefited mightily if Otranto had slowed the adagio just a bit. Yes, the pas de deux is an adagio, not supposed to be brisk.

Also, in general, there are elements that are played broadly in the theater, because you have to project to the back of the house. When the camera zooms in close, it looks terribly artificial, overplayed. Maybe you miss the "excitement" of LIVE, but I think this would have benefited from a studio recording where no one needed to worry about the conflicting preferences of in-house audience vs. home viewers.

My big complaint about the tv broadcast was the ill-aimed cameras. There was a moment during Snowflakes when there were dancers dancing on stage, but all the camera showed was a vacant spot stage-left. And in my viewing area, the toy bed's movement to the wings was pretty well obscured by the logo "thirteen [+ face]."

I'm sure I'm not the only one who remembers the old movie musicals and how they left a few moments after the song-and-dance numbers for audience applause. Later, when they hit the small screen, those pauses were edited out ... or segued into commercial breaks.

Here's an audience that could teach some of our audiences a thing or two about good manners. Even the late-arriving patrons are not disruptive.

The world is certainly charging ahead quickly. The most astonishing news in the cnet report, to me at least, was this:

And though there aren't tweet seats at the Kennedy Center just yet, it may only be a matter of time: No less an institution than Kennedy Center house band the National Symphony Orchestra got started with Twitter way back in 2009, when it tweeted live commentary during a performance of Beethoven's "Pastoral Symphony." (That was at Virginia's Wolf Trap Center for the Performing Arts, which lists innovation as a core value.)

[ ... ]

It's often about encouraging real-time, performance-related, Twitter-enabled discussions. And the venues or companies themselves are often participating in the tweeting.

One COULD argue that, for those people who can't or won't sit still and just listen and watch, it's better to have them do express themselves silently.

I doubt that the Twitter stream was aimed at those in attendance. Rather, it was probably for fans who couldn't be there. Was the concert, by any chance broadcast or streamed? Those audiences might have been the target.

It might be worth pointing out that, like Askegard, Anna Liceica was a member of both ABT and NYCB. She, however, traveled in the opposite direction, starting her career at NYCB and moving to ABT, where her rank was elevated.

Thank you, Tiago, for sharing your work with us.

We have other members who know music better than I do, but my immediate reaction is positive. Your music is tuneful and atmospheric and I can easily imagine dancing to it.

Of course, it's impossible to know what pieces you have that are still in progress, or maybe just in your head, but I hope that you have themes for the main characters. You can hear how composers do this in Coppelia, by Delibes, and in Prokofiev's Romeo and Juliet.

I hope you'll let us know how you're progressing.

Best of luck to you, and welcome to BalletAlert!

You must see The Red Shoes. Here's why (you'll have to excuse the trailer's fevered narration):

Please let us know your thoughts.

And welcome to BalletAlert!, LaraP.

Thank you for your kind words, "Meesh." We're very proud of our members and the breadth and depth of expertise they share so generously.

We hope to hear from you often. Your enthusiasm is contagious! Wherever a topic captures your interest, don't be afraid to add a comment or question. You'll be a New Member in no time!

Have you seen our sister site, BalletTalk for Dancers? It's for dancers at all levels and ages (above 13). If you haven't, I think you'll enjoy it. We request (but don't require) that members sof both boards keep the same user name from one to the other. It helps us recognize them as the same person.

Welcome to BalletAlert!

Welcome to BalletAlert!, RSSS.

Definitely Allegra Kent. There's a also slug at the bottom of the image "AK&MBlaSscfotoWM.jpg" The "AK" would seem to refer to Allegra Kent.

Neil, if you like, I would be happy to send Hamorah your email. Please let me know.

Hamorah, welcome to BalletAlert! I hope you'll browse through the forum and add your thoughts to any topics that you can contribute to.

Hi, kozi, and welcome to BalletAlert!

Your question is better asked on our sister site, BalletTalk for Dancers. You'll find a special forum there for adult ballet students. This site, BalletAlert!, is oriented to the interests of the audience, the viewers. BalletTalk for Dancers is for doers!

You might also notice that this thread was started way back in 2003, and many who contributed to it are no longer active on BalletAlert!

In order to post on the Dancers' board, you'll have to register separately. We ask, but do not require, that members of both boards use the same name from one to the other.

Please come back here when you want to discuss performances or videos you've seen or some aspect of ballet history or repertoire, etc.

Hi, Neil.

We do have members who remember that era. If you haven't already, you might try browsing through the Royal Ballet subform here. Don't be afraid to revive an old thread, if you want to go more deeply into the topic.

Welcome to BalletAlert! I hope you find what you're looking for.

Helene,

I'm wondering if there is a system-wide configuration setting for determining messages "Since my last visit" under "View New Content"? The current situation on BA seems to mean this literally. That is, if I go to the board under this option, I naturally see all msgs since the last time I was on the board. What's different is that if I leave the site, and then come back just a minute later, I see no msgs under "Since my last visit" for "View New Content". This is literally correct of course, but most boards I'm familiar with (including the old BA software) give a grace period (an hour maybe).

I wonder if there is a setting where the current 0 minutes grace period can be changed? The reason I find this useful is that sometimes I leave the board only to find that I wish I hadn't (something forgotten perhaps). By going back to the board just a few minutes later, I like to find myself right back where I was, not have the entire list of new content reset to zero. I will admit that having a 30 or 60 minute grace period can cause problems too, since it's a bit inconsistent to come back to the board and see not the true new content, but the content that was new when you went there initially, say 10 minutes earlier. But for me, that inconsistency is worth the ability to go back to the board quickly and not "lose my place".

I guess we lost that when we lost "Today's Active Content" which would have pulled up everything in the past 24 hrs, week, etc., once you got to the menu. Is TAC still available, Helene?

Another thing, Helene, and so trivial that I'm almost (but not quite) too embarrassed to mention, so don't make it a priority. I can't find a settings option to customize page length. Is one available? I'm accustomed to my old setting of 40 posts/page, and since I'm still on DSL, pages sometimes need a few seconds to l-o-a--d-.

I can't use my single Fall for Dance ticket for Saturday night, 10/29. Front row of Grand Tier, partial view. PM me if you want it.

The program is:

PROGRAM II

Vertigo Dance Company, Mana (adapted for Fall for Dance), Noa Wertheim

Drew Jacoby, Bloom, Andrea Miller, Artistic Director of Gallim Dance

Jessica Lang Dance, Among the Stars, Jessica Lang

Richard Alston Dance Company, Roughcut, Richard Alston

Noticed, too, that the smileys appear (very tiny) in a strip below the posting space.

Sandy, I notice that to the left of the list of New Content is a menu where you can select the time window. I don't know whether this is something Helene added since you posted (if so, thank you!) or is part of the default format.

, Helene, for also explaining the other changes.

Welcome to BalletAlert!, BlueRose. I hope that, once you've had a chance to watch the video, you'll post a few reactions. You can add them to our thread about it here.

... and the full calendar has been posted, with the few, customary TBA's.

Thank you for that terrific introduction and especially for your generous praise, Mikael Ballet.

I have been impressed by the ambition of the Los Angeles Ballet. As one who remembers Colleen Neary as a dancer, I've taken a particular interest in its progress. I wish the whole enterprise the best of luck.

Welcome to BalletAlert! You're in an interesting situation, where you're learning both from within and outside the workings of the ballet world at the same time. I hope you'll join in the discussions.

There is not a uniform price for the 4th Ring C-K. -- or any location of the theater. You have to think of the price scheme as a concentric horse-shoe shape, with (if I recall correctly) the most central 4th Ring seats priced somewhere around $100, prices falling as you move away from center. I can't imagine anyone paying that much, even for a dead-center ticket, in the 4th Ring.

I haven't been able to find a map of the seats that show the prices. I suspect the reason is that the company doesn't want patrons to know that the person with whom they're fighting the armrest battle paid $20 less than they did for essentially the same seat.

I retract this post. A friend confirms what Eileen said -- the standard price for 4th Ring is $55. Apologies for the misinformation and any resultant confusion (not including my own ).

Thank you, Sandi.

Where is the link?

Can't be absolutely sure that this is the link that sandik meant to include, but I googled "39 reels belonged to Karel Shook," and that key phrase landed me here --> http://preservingdth...overdue-update/ .

There is not a uniform price for the 4th Ring C-K. -- or any location of the theater. You have to think of the price scheme as a concentric horse-shoe shape, with (if I recall correctly) the most central 4th Ring seats priced somewhere around $100, prices falling as you move away from center. I can't imagine anyone paying that much, even for a dead-center ticket, in the 4th Ring.

I haven't been able to find a map of the seats that show the prices. I suspect the reason is that the company doesn't want patrons to know that the person with whom they're fighting the armrest battle paid $20 less than they did for essentially the same seat.