carbro

And isn't it attractive! Now I just (may) have to edit my links. :rolleyes:

I don't have my programs from the City Center season, but weren't those costumes -- the originals -- items from the Calvin Klein line? There is a difference between Lord Olivier becoming a Polaroid spokesman for his personal enrichment and a not-for-profit organization trying to muster financial support for its very survival. I don't like the commercialization of the arts, but given the world as it is and the government's reluctance to put public funds into the arts, I don't know what other options there are to keep American arts vital.

But theaters do have the right to evict disruptive persons. It's just a matter of how far they're willing to go to deem someone disruptive.

Sorry. It didn't work when I tried to go back there, either, Mel, but here is a different link you can copy and paste to your browser: http://www.theatermania.com/content/news.c...nt_news_id=3129 Good luck, all!

This AP report will give you the gory details on the Council's override of Mayor Bloomberg's veto. The mayor thinks the legislation is unenforceable (he's probably right), but the Council has asserted its proud role as the Voice of the People.;)

I was drawn to tonight's program by a good program, expecting my personal highlight to be Jenny Ringer in Donizetti, with Damian. Alas, that was not to be. The dreaded program insert noted that Yvonne would dance in Jenny's stead, due to injury. Dale, do you have any info on the seriousness of said injury? So, inhaling and resolving to banish my prejudices, I decided to try to enjoy the evening. The corps looked better than was reported last night. On her first entrance, Yvonne was fine, and her coda was really pretty good. It was her adage and first variation that were really troublesome, though. She just looked so disjointed, couldn't keep a steady flow of movement. Damian, supporting his ballerina both physically and morally, was nearly his usual brilliant self; some of his familiar flourishes were missed. The fast releve pirouettes of the coda were astonishing, though -- like lightning, and on a dime. Agon followed. The work looked reborn. I have not seen it danced at this high a level for at least a decade. My two criticisms are relatively minor: In the first pas de trois (particularly the girls' dance) McBrearty's exaggerated head movements tended to be distracting, and Somogyi's variation in the second pas de trois could have been conducted just a hair slower. I'd have liked to see the movements a little more attenuated. Outstanding work by Peter Boal, and electrifying pas de deux by Whelan and Soto. What a thrill to see details restored. And the easy intimacy that this partnership has attained is gratifying in itself. The sparse audience responded accordingly, sounding like a very happy full house. If I'd checked casting before I bought my ticket, I would have missed this amazing Agon for the ages. :D Kowroski and Neal in In G Major completed the program. Don't know if it was the dancers or the dance, but I drifted out of this a few times (kept returning to the Agon) and don't feel it would be fair to remark on the performance.

A practice completely discarded in the 20th and 21st centuries! ;)Even Balanchine remade existing works. Taken as commentaries on their -- uh precursors? -- I accept their validity in varying degrees. That is, I see Cortege Hongrois as Balanchine saying, "This is what the last act of Raymonda felt like to me," rather than "Here is what it was."

These clips are from various Great Performances: Dance In America programs featuring ABT. They all are from the PBS/Great Performances website: Steifel in Corsaire Carreno In Diana & Acteon (I confess I visit here a couple times a week.) Corella in Don Q #1 Corella in Don Q #2 Malakhov in Corsaire I also found Aldous & Nureyev in his staging of DonQ for the Australians. Aldous,Nureyev in Don Q

Sometimes, when I'm seeing my 487th performance (it seems) of a particular ballet, a moment will take on new meaning. The juxtaposition of corps to soloist, the construction of a phrase, the expressive possibilities of a step. Usually it happens when the dancers are not the ones I immediately lose my heart to -- I guess it's the cold light of objectivity. But those mini-epiphanies are always such happy occasions. Alexandra, your course sounds fascinating. Your description of it gives good guidelines for us to pay attention to. Any chance you might give the course again?

I second Leigh's suggestion. There are so many delightful moments in Balanchine's "Dream," and while so much that City Ballet has done in recent years has fallen below the standard I expect from them, Dream continues to be fresh and gorgeous. I usually find myself fading out halfway through Act III of ABT's Swan.

I take Crisp as being self-consciously curmudgeonly. As for children in ballet, I hold them to the same standard I keep for adults (and near-adults). I hate seeing them oversentimenalized. I hate when they are underrehearsed (as I'm sure they do to) or exploited for their cuteness (a self-defeating effort as far as I'm concerned). I love when they're well trained, musical and open to spontenaiety. It's the damn cooing from the audience at the mere appearance of these very short dancers -- so condescending! -- that sets my jaw. [Okay to say "damn" on these boards, Alexandra?]

What a fabulous experience for you, AE! Many of us are great admirers of LaBayadere. And how lucky for you to get an "up close and personal" chance to work with the Kirov. How did this come about?

How good to know for sure that I'll be able to continue following some of the more exciting dancers from the Studio company! I have particularly admired Danny Tidwell and Zhong-jing Fang.

Yes, but most striking to me is Kronstam's complete relaxation despite the exertion required for cabriole. Stunning photo.

As I remember in the film, Leslie did get the hang of it in the coaching sessions, Alexandra, but as Mary noted, did not do it in performance.

Dale, I have heard such conspiracy theories, although I do not subscribe to them. I almost wish I could blame poor stagings on less-than-honorable intentions. I think that in some cases, when the ballets were still known by those in the company -- either the dancers or ballet masters -- it is likely that the alumni were asked for a final look. There were cases, though, where the consulting showed brilliant results and suggest a considerable investment of time and heart by guest ballet masters. Harlequinade, for example, which was coached by both McBride and Villella, revealed Peter Boal's newfound sense of dramatic projection. A real milestone, I think, in his artistic growth.

More recently, it cost less to see ballet than to see a film. During The Balanchine Era (and some have said at Balanchine's insistence), 4th Ring tickets were approximately the same price as movie admission, standing room a bit less. I remember paying $2.50 for an evening -- many evenings -- with City Ballet. Now at City, even with Fourth Ring Society membership, we pay a few bucks more than the going rate for movies, and at ABT? Fuggedaboudit! And then there are those houses with no standing room . . .

At the time of the earlier Balanchine Celebration, Frank Moncion was a panelist at a symposium at the Library at Lincoln Center. He attributed NYCB's revival to Tanny LeClerc, very disapprovingly. His opinion, not mine. But after all the great things I'd read about the Haieff, that performance was a bit disappointing. Terribly sad that neither Moncion nor LeClerc is around to supervise a staging for the upcoming festival.

I don't know if tango dancing and pointe are incompatible, Silvy. :confused: It would seem that your heels and pointe shoes would probably make your feet bend in very different ways, depending on your particular anatomy. But WOW! I am very impressed by your ability to dance in high heels for eight hours! Congratulations to you!

I have understood epaulement to imply movement. An example would be the scene in "Turning Point," when Mme Danilova is coaching Leslie Browne in the final diagonal of Kitri's Act III variation. The shoulders do not move, but there is a rotation of the spine that gives dimension to the dancing. It is so much more satifsying than seeing two shoulders plunked statically over the hips. There is a relation between the shoulders and the hips, but it is more of a reference point to which we return between movements -- like having the leg pass through first (reference point) while moving en cloche. If you "hit" first, you stop the continuity of the movement, but you must know where it is and how to get there, and pass through it without resting there. Same principle applies above the waist.

Yes, sweet Paul, Albert Evans is the choreographer of Haiku, which many posters have enthusiastically praised on the NYCB Winter Season [2003] Weeks Three and Four thread. (E-mail me if you want the specific notations.) I have not been fortunate to have seen other samples of his choreography. Yet. I hope Evans' career as a choreographer is worthy of his talents, as his career as a dancer has not afforded him the range of opportunities that he clearly deserves. That's the catch. But I'll put my money into something risky if I believe in it. (This is "Monopoly" money, is it not? ;))

Part of what I enjoy about Michele's dancing -- which is very special -- is that she lets you forget about technique. She exudes so much joy in just dancing, such musicality. I am disappointed that she doesn't have more roles this spring at the Met. I hope she gets to do (and I get to see her in) many unbilled roles. There is much to be said for the patient wisdom of bringing a dancer along slowly and steadily. Part of the reason why she may not be getting more roles, though, may be due to lack of a mature guy who is tall enough to partner her. She looks fabulous with David Hallberg, but he has not developed to her level . . . yet.

I find that I am easier on dancers I know and like, tougher on dancers I know and Don't like, and more open minded (fairer ;) ?)with dancers I don't know. However, there is nothing more gratifying than spotting an exciting, new kid in the corps, becoming a fan, and then watching them develop and advance. On the other hand, there is nothing more frustrating than spotting an exciting new kid in the corps, becoming a fan, and watching as they languish , wondering, for crying out loud, why management can't see the Star who is before their very eyes.:confused:

There have been internal changes to Theme over the years, too, although I'm not able to specify which. I'd have loved to see the original version of Serenade, with each entree danced by someone different. And before the final movement was added. It always looks tacked-on to me, beautiful as it is.

It seems that many ADs are hired for their star status -- that their presence at fundraising events, involvment in courting potential major donors, being the company's public face, etc., are expected to send people to their checkbooks. All that is fine and good, as long as they are competent in tending to the artistic matters (including dancer morale), either directly or through able underlings. Ultimately, the success of either feeds the success of the other. Just as the failure of either portends the failure of the other.