carbro

Thanks for the effort. I tried to PM you back, was denied access. Left my aol and yahoo IM handles in my registration. Does that help? "Pour forward" -- what a gorgeous evocation of that image!

I attended the evening, on the premise that a Ringer-Boal-Ansanelli cast was untoppable. It was a disappointing night. My report to friend (edited for public consumption) follows: Act I: Generally fine. Unwelcome "improvements" in Mouse fight (unless memory's playing tricks), but the kids were good. I liked Fritz (Amon Ito), but I always like Fritz. Act II: In her variation, Jenny seemed not to have gotten back to performance shape yet, and the pas was marred by mishaps. Peter nearly dropped her on her tiara after the first swoon. The first pirouette into backbend was botched; it seemed Kaplow and the dancers were each waiting for the other to signal the climax. The second one was not a whole lot better. For these fine dancers, it was definitely not their finest moment. The Angels were a little under rehearsed. Polichinelles: seriously under rehearsed. Hot Chocolate: watered down. Coffee: burnt. Tea: way over-caffeinated. Candy Canes: soggy. Marzipan: stale and hardened. Flowers: wilted. It's all thanks to management's campaign to drum the musicality out of everything. Dewdrop was . . . Alexandra saved the night for me. Flashes of Gelsey's daring. She was just sensational. It's so gratifying to see her dance allegros big and full-out and with nuance -- a rarity at NYCB these days.

Amazing, Paul, how the small excerpt of her dancing Bizet in "Six Ballerinas" brought tears to my eyes! Re: Midsummer -- is there a video (legit or . . . ;) you know) available? That would be a dream come true!

I agree with Victoria. If you feel uncomfortable, though, and your teacher doesn't object, you might want to wear jazz pants, or another stretchy garment that's a little less revealing than tights. Enjoy!

W O N D E R F U L !

:eek: Shhhhh!! Don't give anyone such ideas!

It is always simplistic to attribute the onset of mental disorders to a single cause. In cases as extreme as Spessivtzeva's -- or Nijinksky's -- there must be an inate predisposition that is aroused by external events. At any rate, the brief film clip I saw of Spessivtzeva in action showed her to be an extraordinary dancer, a fascinating bridge between 19th and 20th century sensibilities. Her illness and eventual dementia were tragic, and the untimely loss of her talent left the art poorer than it might have been.

I suspect that many donors respond with larger gifts when they have an opportunity to link their names directly to that of a principal dancer. I am so very impressed! Not. But I am grateful. ABT has been doing this for a couple of years now. At first, the only "underwritten" dancer was Nina Ananiashvili, then Susan Jaffe and (I think) Julio Bocca. Perhaps ABT will find itself in a position where it feels compelled to promote everyone to principal status in order to pull in the really big bucks.

I'd prefer tacky thanks in programs ;) to a completely impoverished company, though.:eek:

Would that it were merely corporate acknowledgments! I cite a recent ABT playbill before me, substituting initials for the names of actual human donors: Ms. Ananiashvili's performance was underwritten by N.E. and W.R. Mr. Carreno's peformance was underwritten by N.E. and W.R. Mr. Corella's performance was underwritten by M., P., and L.R. Ms. Dvorovenko's performance was underwritten by Dr. & Mrs. K. etc.

Alexandra, if I recall correctly, the deodorant commercial featured Peter Martins and Allegra Kent costumed for (and dancing?) "Tschaikovsky pas," with the Mazurka music from Swan Lake superimposed. It was edited with MTV sensibility, cut into so many small pieces that not a step -- let alone a phrase -- was discernable. :eek: I also assumed that the royalties from that display went directly to the dancers, not their employer. I think the "sponsored by" credits are merely a way to acknowledge the "most generous" (or publicity-starved) donors. Personally, I find it vulgar and out of line with the spirit of giving, but if it loosens purse strings, it's a small enough irritant to forgive.

I was told by one of ABT's pianists that, due to the misprint in the Times (which stated curtain time as 8:00 instead of 7:30), and the likelihood that many tickets were bought specifically for the Harrison, it was placed last as a concession to latecomers. It is wonderful how Murphy and Steifel can project their joy at dancing together. I think the sauts de Basque should always be single. Doesn't it just feel better with the music? Doesn't the double feel "off"?

Just to clarify: I love Jose largely for the way he coaxes his ballerina along, whether or not she needs it. He always tries to engage her in a shared experience, sort of saying, "I'm having the time of my life. I just love being up here with you, and I want you to feel the same." Usually, that will cause his partner to open herself up to the moment, feel freer to be spontaneous and dance with an extra measure of energy and joy.

In her own mind, so it often seemed. Brilliant technique, no question! Fleet, clean, solid. But that alone will hold my attention for a mere season or two. Whatever it is that everyone else has fallen in love with in Kyra escapes me.

Man, I post, then remember something else. Oh, well. Sorry, all. It appeared to me that Part was pretty nervous last night, especially after she/he/they botched the grand fouette, and I wouldn't be surprised if her nerves were contagious, wiping out any confidence Molina may have had as well as her own.

I've never noticed Dvorovenko pushing herself forward as first among equals. But am I the only one to notice, after NYCB performances of such as Liebeslieder, Serenade, Bizet, Divert 15, etc., how Darci always waits until all the other leads were on their knees to begin her bow, and then rises particularly slowly? Tsk, tsk! As for Ananiashvili looking better with Carreno than Molina, well, as a sentient woman (and not to take anything away from Molina), all I can say is "Duh!":rolleyes:

Beautiful post, Drew. Lots of important points. In my experience, Lis Jeppesen was the perfect Bournonville heroine. I regret deeply never having seen her Sylphide (La, of course), but was never compelled to see her in Petipa or Balanchine. That would have been curiosity, perhaps of the morbid variety. Jenifer Ringer, I'm afraid, will never reach her considerable potential within the current NYCB environment. Not that she won't give performances of great depth and beauty. Her second act pas de deux from Midsummer Night's Dream (debut)last spring will remain among a handful of highlights over my lifetime, I'm sure. Her exquisite tenderness stilled the house. It just pains me to wonder the greater heights she might reach with a little responsible artistic guidance. Even as a 16-year-old student, she gave the "Waltz" girl in "Serenade" as much sweep and emotional nuance as any veteran I'd seen, and added that special, fresh excitement unique to youngsters. I am struck by the absence here of Martine van Hamel, forever my ideal Aurora, Myrtha and Raymonda. While seeming physically unsuited, as La Sylphide she captured all the necessary lightness and created a character that was not only credible, but beautifully danced. Her Swan Lake synthesized dance and mime, every single moment of her Act II telling Odette's story as vividly as if she were reciting it. She excelled in Balanchine -- "Theme" and "Sylvia" as well as "StravinskyViolin." And she was a fine Tudor ballerina, as well. Perhaps she craved respect more than love. Speaking of divas, if Martine had had a bit of the diva in her, ABT's various managements may have given her the support she deserved. I know Kyra Nichols is much loved, but she just never hit the mark for me. So often, I felt her telegraphing, "Look what I'm about to do! Aren't I clever/strong/cute?" Just too much manipulative calculation for my liking.

Who might have seen Sun. Eve. perf., on the 20th? Specifically, Dvorovenko in 1st Mvt, "Symphony in C". An absolute revelation! Astonishingly fresh reading of the role! Her playfulness was totally right; it's in Bizet's music. And I loved the way she angled her head in acknowledgment of the partner behind her, maintaining an interaction where the possibility was never considered before. Amazing how this product of the Soviet system has become such a versatile stylist. Almost everything she touches she makes her own within the parameters of the work and with nary a false note. Earlier casts had Xiomara Reyes in 3rd Mvt., who insisted on doing double sauts de Basque with great difficulty. Scary how unstable her landings were! Why won't anyone tell her she'd look 100% better doing singles?

When I first saw Wendy Whelan, ( "Concerto Barocco", First Violin, at her SAB workshop), she was all gawk and sinew. Over the years, I recognized her smoothing off her rough edges and bringing a true intelligence to her roles. It is easy to be impressed by technique, but the evidence of a dancer's examination of the choreography and music in relation to her/his ability and temperament is rarer and so much more gratifying. She was indeed very moving in "Liebeslieder Walzer" last spring. Thank you, Wendy. Must add: Saw Irina Dvorovenko in 1st Movement Symphony in C tonight. After 30 years (easily over 100 viewings) of this work, I found her to be (using the word advisedly) a revelation. With complete fidelity to the Balanchine style, she found the playful vein in Bizet's music and went with it. At appropriate moments, her head would be tilted just so, tenderly acknowledging her partner standing behind her, thus maintining their interaction. It was really quite a thrilling performance. Dvorovenko has proven herself an extremely versatile stylist. I have watched her with gratification on many occasions, and she has often surprised me with attention to details. Where is the line between great and near-great? She may be ready to cross it. Having just recently emerged from a ballerina-rich era, it is somewhat disconcerting to wonder where everyone is these days. Well, like learning after Balanchine's death that great ballets don't automatically appear every year or two, neither do great dancers, male or female. The staggering level of male talent today must simply be a fluke. Enjoy it, everybody, while it lasts!

Thank you, Vladimir, for the gorgeous photo of Altinai!

Yes, Vladimir. In the Kirov, Altinai is at the top, along with the wonderful Zhanna Ayupova. I was very sorry that Altinai did not accompany the Kirov on their recent visit to New York. I would have loved to see her, especially in the Balanchine. Veronika Part has joined ABT. I look forward to seeing how this lovely dancer does. She has gained a few unwanted pounds since summer :eek: , but so far she seems happy. She is in one of the new ballets. I hope the weight will take care of itself. I hope that you are able to see some of ABT's fine dancers soon. Any chance you might be able to visit the US?

Wilhelmina Frankfurt did indeed dance the "Showgirl" in "Rubies," but I would be surprised :eek: to hear that she was doing it so early in her career as to have been in it with John Clifford.

Yes, after posting noted the "Today" part. Never meant "end of discussion" seriously. Should have inserted winky face ;-) or something. Today I love Jenifer Ringer @ NYCB & have hopes for Alexandra Ansanelli, who seems to have extraordinary depth. Too bad no one is there to mentor them properly. ABT: Eyeing Michelle Wiles, who monopolizes my attention when on stage. I like Julie Kent in limited range of roles -- will never see her disappointing Giselle again, for sure! Expecting wonderful things from Gillian Murphy. But the word "great" as applied to the likes of Farrell, Makarova, Kirkland? Don't think so. Of course, it's a young group of dancers with lots of time (let's hope) for growth. Recently saw Cojocaru at RB as Giselle. Promising still. Seemed undecided in Act II whether to be a traditional Romantic wili or a contemporary one. If she was trying to blend the two, she doesn't yet have the artistry. When it comes to men, at ABT at least, it's a far different story. In order of most favorite, there's Jose Carreno, Marcelo Gomes, Herman Cornejo; in a 3-way tie (depending on role, night, etc.) Angel Corella, Ethan Steifel, Max Belotserkovsky; still have a soft spot for Robert Hill, looking fwd to development of David Hallberg, yada, yada, yada. An incredible generation. Was there a thread on partnerships? I will never forget the electricity, love and one-ness between Alonso & Youskevitch in "Giselle" Act II pas de deux at an ABT gala in -- what? early 1980's? They'd been apart since she returned to Cuba, she was over 60 and he near 70. This was their first reunion, but it was as if they'd never been apart. It was -- literally -- stunning. The audience was in complete silence for some moments before erupting thunderously. Other than that, and on a more earthly plane, was the beautiful work Susan Jaffe and Jose Carreno did together. After their first NYC "Sleeping Beauty," my response was, "It was just like real life! She was asleep for a hundred years until Jose woke her up!" Thanks for your interest.

The peerless Gelsey Kirkland. End of discussion.

I think the word missing from this discussion is "passion." Some dancers (e.g. Peter Martins in his performing days) lack it on stage. Some focus theirs on their work and can confine its public display to that outlet (generally Makarova, Farrell, the young Kistler). Some simply can't contain it. It is an issue that is expressed differently by different individuals.