Terry

What are the names of these 3 dancers -- I'd like to know!

Was Yuriko Kajiya in the performance? How is she doing at the school?

I think she'll live up to the expectations but I don't think one will really see a "technical" Kitri like Rojo. She'll probably make a sexy and good Kitri, but perhaps not as virtuoso as some other performers like Yoshida and Rojo. Still, she'll have some amazing jumps!!

Mussel and Melissa -- thank you so so much for all your information. Melissa, the link was great!!

jcaguioa -- don't you think Alina would make a perfect Amour too? I heard that Clara Blanco is trying to recover from an injury. She will be an official corps de ballet member from this coming season.

I just came up with some performances of "jeune danseurs" that I would like to see (I wish they had this kind of POB program in all other companies...) 1) "Diana and Actaeon" pdd with Herman Cornejo (ABT) and Clara Blanco (SFB) 2) "La Sylphide" or "Flowers of Genzano" pdd with Alexandra Ansanelli (NYCB) and Guennadi Nedviguine (SFB) 3) "Les Sylphides" with Emilie Cozette (POB) and Herve Moreau (POB) 4) "Satanella" with Alina Cojocaru (RB) and Angel Corella (ABT -- even though he isn't really a "jeune danseur")

I was wondering if anyone knew of a CD that contained the music for Balachine's Tchaikovsky pdd. Thank you!!

When Japanese audiences (and I don't see any happening here, which I'm VERY glad about) start clapping in rhythm to the music from the beginning of a fouette in the coda, esp in Don Q and Le Corsaire. They do this in EVERY major gala performance, which really annoys me.

IMO, one word to describe Maximova is that she is absolutely "charming." We say a lot of dancers are "charming" today, but her level of charm can't be found amongst many dancers.

I saw Reyes in the Peasant pdd when Kent and Carreno performed Giselle. She's very strong technically, has a charming style and nice lyrisicm. I don't know if she's a "principal" quality yet, in fact, there's also a few dancers in the corps and soloists who seem to have all the qualities listed above already, that it's really difficult to say that she is something special. But right now, I wish her the very best of luck!!

I thought SFB was participating too? Didn't they participate last time?

Lovebird, do you know if there are any plans to establish a national ballet company with a more classical ballet-based repertory? Or are there some companies like that already? The ones that I'm a little familiar with, including the National Dance Company and Ullate's Company seem to be mostly contemporary ballet companies. If one thinks of a national company in Spain that had all the stars and dancers that I've listed above -- it would definitely be one of the best companies in the world!!

How is Lorena Feijoo's popularity? I really liked her a lot -- she would make an excellent Kitri!! I really do wish SFB could do Don Quixote sometime soon; they seemed to have done all the other big classics except for this one (and Cindrella also?). I also liked Muriel Maffre a lot, especially as the Lilac Fairy. I can see that she would be excellent in some contemporary ballets.

Some big stars who are Spanish: Jose Martinez (Paris Opera Ballet) Lucia Lacarra (San Francisco Ballet) Angel Corella (American Ballet Theater) Tamara Rojo (Royal Ballet) Others who are not quite as famous as the dancers listed above, but are extremely talented: Joaquin De Luz (ABT) Gonzalo Garcia (SFB) Clara Blanco (SFB) Antonio Carmena (NYCB) Victor Alvarez (RB) Have I forgotten anyone else?

Thank you all for replying! It's great to read what everyone is interested in seeing. If we're lucky, maybe some of the ADs might read these messages?

I think I should have brought some kids along for this performance!!! This is the first time I've seen anything with magical scenary in ballet -- I felt as if I was in a planetarium while watching the performance. I do think they could have made the ballet much more simple, especially in terms of the costumes, sets, and scenary. I also thought there was no real dance scene for all the other characters, who sometimes looked as if they were simply roaming around on stage in heavy costumes. Herman Cornejo has great potential as a dancer, and this work does suit him because it includes a lot of jumps and pirouettes, but as an audience, I would have liked to see a more "interesting" choreography. Were those steps really necessary or were they used to simply "impress" the audiences with the dancer's bravura? The producers seemed to have tried hard to capture and impress the audience, but really, simplicity would have worked better in a story like this. What did others think?

Also, the DANCE EUROPE magazine posts a lot of audition information about European companies -- it's very good. Their website is : www.danceeurope.net

I always thought Roland Petit's was so creative. I really enjoyed his waltz scene with Swanilda.

Segreta -- Thank you so much! I'll be looking forward to your report. The junior category looks very exciting.

Thanks Pamela! I understand, it really does get very expensive. Well, if anyone has seen it or has heard about it, please do post some information.

I was wondering if anyone had any information about the Luxembourg IBC which is taking place in Luxembourg at the moment. In fact, I think it just finished. Jeannie, anyone -- I would appreciate it if you provided some information! Also, will anyone be attending Helsinki (May) or Moscow (June)? Thanks

Ballet Nut and Donald-- thank you for all your comments; I enjoyed them. Please do post your views on POB's performances -- I wish them success! And I also wish SFB success on its tour to Garnier as well.

I absolutely LOVED Fracci's Giselle (esp Act I) and Makarova's Act II, but I also thought Stuttgart's "Giselle and the Wilis" with Birgit Keil was interesting. Also, Mats Ek's "Giselle" on video is absolutely thrilling as well. I also wonder if there are any remaining videos of Dame Margot Fontyn dancing this. I've only seen an excerpt of her dancing with Nureyev, and it was sublime.

I haven't had the opportunity to see Mark Morris's pieces for SFB, but which pieces have really been successful so far? How is his "Sandpaper Ballet"?

Alexandra, which one has the biggest? ABT or NYCB?