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It's name is Lady Deborah MacMillan. http://www.theguardian.com/books/2001/aug/11/books.guardianreview5

Thank you so much, Janneke. I would urge viewers to click through to Part 2. So moving! With all due respect, and I know you're a veteran ballet watcher, Jane, this is not my experience at all. I've seen many Makarova O/Os, including two consecutive late-career performances with ABT, separated by only one day (if I recall correctly [maybe it was two days]), each characterization consistent throughout and totally unlike the the one of two nights before/after. The first was a fiery, passionate, powerful Odette fighting Rothbart's curse with all her might, the second a more subdued one, tender and tragic and doomed from the get-go. I remember, too, one she did with the Royal Ballet in London, 1976. Her Siegfried (Anthony Dowell?) was injured just that afternoon, and word had it that Makarova herself was having back problems, so there she was with perhaps an unfamiliar partner and not at the top of her own form. With her great wealth of stagecraft, she knew how to direct the audience's eye. I was mesmerized by her pointe work -- the smoothness of her releves and deleves. This may not have been her greatest dramatic interpretation, but it was a unique view of the role and one that I will treasure. I think Makarova knew this ballet so well, the options available to the ballerina at any given moment, that she was able to improvise while looking like this is what she'd planned all along. Thank you, Drew. I agree about Makarova's use of the slow tempi. Seems also that over time, she did pick them up a little. Ha-ha, for me, Lopatkina's the one who seems like she's the one who will not change an eyelash from performance to performance. Her readings are so richly detailed, and it's a joy to see what she's found, but I do miss the suggestion of spontaneity. Same here, at least for Act I. I did not like her as the young heroines, Giselle or Juliet ... until the artistic flowering she underwent after she became a mother. Then, she found a way to be be convincingly youthful. On the other hand, Makarova's the only one who, at the start of the Balcony pas, has taken Romeo's hand to her chest and let ME feel her heartbeat. Yes, I've literally felt it, even way up there in my cheap seat.

Thank you, Lobelia, for the lovely introduction. The live cinema relays, while not quite the same as live-in-person, have been a great boon to people who do not live in ballet capitals -- and even for some who do! One of the wonders of our technological age. Enjoy browsing through the discussions, and please feel free to add your own comments or questions as they arise. Welcome to BalletAlert.

Hi, Paula. Welcome to BalletAlert! We are a discussion forum for topics of interest to the audience, and your question is beyond our scope. I'll direct you to our sister site, BalletTalk for Dancers. That's where you'll get good advice on training. You'll have to register separately. http://dancers.invisionzone.com It's a great place, full of friendly, helpful dancers. I'm closing this topic.

Only Saturday matinee's ticket remains available.

The ticket for October 16 is no longer available. Here are the programs for the other performances: October 18, 8pm: From Foreign Lands, Beaux, Classical Symphony, Symphonic Dances Saturday, October 19, 2pm: Trio, Ghosts, Suite en Blanc

A friend has been called out of town suddenly. She is entrusting me with her tickets for San Francisco Ballet's mixed bill programs. Seats -- one for each date -- are located in 2nd and 3rd rings, off center, but not AA. In other words, full view. Price: $29. each Message me if interested.

Welcome, enpointe5744! Thank you for introducing yourself. Your list of favorite ballerinas includes a few of my own. We'll look forward to hearing what you're seeing and other topics that catch your interest.

Welcome to BalletAlert!, eekmholt. That is surely an intriguing theory, and one that illustrates how much our culture has changed in the past 75 years (is my math right?) I wouldn't be surprised if some of our members give you good leads.

James Fayette, former NYCB Principal Dancer and husband of NYCB Principal, Jennifer Ringer, was the victim of a man on a stabbing rampage in Riverside Park Tuesday morning. Their two-year-old son, Luke, also suffered a wound. Luke received stitches and was released from the hospital. Jimmy, who subdued the attacker, remains hospitalized but was reported to have said, "It could have been much worse. All best wishes to the Ringer-Fayette family and other victims for a full recovery from both the physical and the emotional wounds. http://www.dnainfo.com/new-york/20131001/upper-west-side/man-stabbed-near-riverside-park-south-fdny-says http://newyork.cbslocal.com/2013/10/01/at-least-four-people-stabbed-on-upper-west-side/ http://www.nbcnewyork.com/news/local/Stabbing-Police-Victim-Riverside-Drive-Park-Manhattan-Ambulance-Suspect-225951811.html

I'm closing this thread. If you have any comments about hte performance, please post them here: balletalert.invisionzone.com/index.php?/topic/37162-roberto-bolle-and-friends-gala-the-city-center/

For reference, the other thread is here: http://balletalert.invisionzone.com/index.php?/topic/37094-rbolle-friends-gala/#entry326516 If you attended, please post your comments directly below. Thanks!

UPDATE! Roberto Bolle performing Prototype: A solo combining dance and video which will have its United States premiere at Roberto Bolle and Friends at the New York City Center Theater on September 17 Photo Credit: XChanges vfx Roberto Bolle, artistic director and star, introduces the lineup for: ROBERTO BOLLE AND FRIENDS A special evening of dance featuring international ballet stars Presented by Artedanza S.r.l. with Patron of the event Acqua di Parma as part of the 2013 Year of Italian Culture in the US September 17th, 2013 7:00 PM New York City Center Theater Dancers performing will include the likes of Herman Cornejo (Principal- American Ballet Theatre), Alina Somova (Principal- Mariinsky Ballet Company), Lucia Lacarra (Principal- Bayerisches Staatsballett), Alicia Amatriain (Principal- Stuttgarter Ballett), Maria Kochetkova (Principal-San Francisco Ballet), Elisa Carrillo Cabrera (Principal- Staatsballett), Marlon Dino (Principal- Bayerisches Staatsballett), Mikhail Kaniskin (Principal-Staatsballett Berlin), Jason Reilly (Principal- Stuttgarter Ballett), and Erika Gaudenzi (A young talent of Italian Ballet). Choreography performed will include that of John Cranko, Roland Petit, John Neumeier, and Mauro Bigonzetti, among others. Works range from Excelsior- the Italian classic that has not been performed in New York for over 100 years- to Prototype- a bold and modern solo combining both video and dance. This particular Roberto Bolle and Friends tour will mark the international premiere of Prototype, and it will be the very first time Roberto Bolle performs the work in the United States (see photo above). Roberto Bolle and Friends will be featured in Trieste, Rome, Genoa and Taormina before making its way to the special one-night only performance at the New York City Center Theater on September 17th, 2013! It will then travel to Shanghai’s Culture Square Theater. Roberto Bolle and Friends, is a concept developed by Roberto Bolle over 10 years ago: gathering the best of today’s dancing talent to perform solos and pas de deux across the globe, offering a sampling of the very finest ballet has to offer. Roberto Bolle and Friends has traveled to Piazza Duomo in Milan, the Coliseum in Rome, and has even made its way to China and Japan. Bolle selects only the finest dancers in the world who have reached international fame to perform in his gala. Roberto Bolle and Friends truly appreciates the support that the National Italian American Foundation(NIAF) has lent to this project. For the Full Program: http://sallyfischerpr.com/files/RobertoBolleandFriends_ProgramandCast.pdf For Further Information: http://www.nycitycenter.org/tickets/productionNew.aspx?performanceNumber=7440 Contact the box office: 131 West 55th Street or call CityTix at 212-581-1212

Welcome, Claire! I'm sure you'll find lots and lots so satisfy -- and pique -- your curiosity. I think you'll get the hang of the board pretty quickly. Have you visited our sister site, BalletTalk for Dancers? It has special forums for young dancers like you. You'll fit right in! (You'll have to register separately.) We're glad to have you on board.

I can't speak for others, but for me it was his penchant for contrasting legs for men's tights. When you have a lighter side and a darker side, you see a lighter side and a heavier side. It bothers me no end, perhaps because I'm a Libra.This was a fabulous video. Tereshkina's feet would mesmerize me, until I'd notice how the line of her back changed, and that epaulement! OMG!! Impossible to take in all of her exquisite details in a single viewing.

I suspect the 700 artists include the technical and crafts people behind the scenes. Beautiful photo. I love Maximova's wistful mien.

Welcome to BalletAlert! We're delighted that you decided to join, balletlover1980. We look forward to hearing from you. Please keep us posted on Oklahoma City's ballet scene. We on't get much news from there.

So let me swing us back to the advice that ord seeks. It might help us advise you if we knew a little about your tastes. Which ballets have you seen (by which companies) and which have you liked, which not? It will help us guide you. I looked at NYCB's offerings for its Fall Season, and I cannot recommend highly enough the Balanchine Black and White program. It contains three acknowledged masterpieces. I don't think two of them -- The Four Temperaments and Symphony in Three Movements -- are inaccessible. (The other masterpiece is Duo Concertant.) Episodes is a little dense in some sections. If you don't like leotard ballets or plotless ballets, then this is NOT for you. Yet. And while it doesn't come around until the last week of Spring Season I urge you: Do not miss A Midsummer NIght's Dream. Sheer delight, wonderful choreography, costumes, story, the whole shebang!

Most likely. Next time, wave. I'll do same.

Thank you, rg! I had not known that Ivanov had a hand in the ballroom.

I think Drew made an excellent comparison of the two full-length Swan Lakes, and I agree with every point she made. I would suggest, if you MUST see a Swan Lake, to see ABT's first, since it is, generally speaking, more traditional. Unless you are able to catch Mearns in the lead at NYCB's. Very special, indeed, but don't think the production is a typical staging of Swan Lake. As for the one-act Balanchine version, I never thought it was supposed to be a literal Swan Lake, but an evocation of Balanchine's sense of the lakeside scenes, deliberately abstract. Martins seems to have wanted to apply that approach to the full ballet (as well as to his very misguided Romeo + Juliet), and it just can't, by definition, work. ??? I thought Ivanov choreographed only the White acts, Petipa the "festive" ones.

Ahem. My neighborhood never looked better!

Here Leonard Lopate's fascinating interview with Kendall on WNYC radio. So much I didn't know! http://www.wnyc.org/shows/lopate/2013/jul/29/george-balanchine-liidia-ivanova-and-revolution/

Thank you for opening the topic, PetitDi. I hope any of our members who might have seen this eagerly awaited, capital-E Event will share their impressions. Welcome to BalletAlert!

I was nursing a wish that she'd choose ABT as her primary company. Selfish, I know, but at least we can look forward to more Cojo, her health permitting.