Hans

I was once sent a series of creepy, stalker-ish postcards as a student. It was very disturbing.

I really don't think Kaufman is referring to Balanchine with that remark but rather to current ballet performance and choreography trends begun by people who misguidedly think ballet is primarily about steps.

My mouse pad features ABT in Swan Lake....

That is funny--I find Raymonda Variations nearly unwatchable but love Apollo, even though I find it dated. Different tastes. Perhaps it's because I grew up with Balanchine's style--I generally find his 'surprises' predictable.

It seems to me that what Kaufman is saying is that artistically, following Balanchine is only going to take us so far. Many of Balanchine's creations are quite dazzling the first few times one sees them, but after that, his conventional choreographic devices start to wear on one, and there is frequently not much else there to support them. (His formulaic 'homage to Petipa' tutu ballets come to mind.) I find that the 'less is more' formula really did seem to work well for Balanchine: when he doesn't have sets or costumes or 'easy' music, his choreography is much more interesting, albeit perhaps only from the point of view of choreographic and/or technical theory. Unfortunately, his choreographic imitators do not have his ability with abstract and plotless dance, and while 'The Four Temperaments' and 'Agon' pushed the notions of what ballet was (and is), ballet choreographers have not taken us beyond that, and even their imitations lack his perfect, diamondlike structure. Thus, whereas Balanchine's black and white ballets have (IMO) the most choreographic substance even if robotically performed, his imitators give us expressionless dancers performing choreography that is not even interesting from a theoretical standpoint. However, skilled dancers and choreographers, even if not geniuses, can take even conventional steps and use them in service of expression. Tudor, Ashton, Bournonville, and Petipa all did this very well, but the electricity their ballets (and plenty of dancers performing today) can create is largely ignored by AD's and choreographers who think high legs, spinning, and fussy choreographic embroidery are the only things that sell tickets. In short, Balanchine's ballets are lovely, but empty imitations of his style are just pale, lifeless copies, however fast the footwork and however contorted the limbs. NOTE: Apologies, miliosr posted whilst I was writing.

It wouldn't. It might, however, start a trend of producing expressive, emotionally satisfying ballets rather than ones that are little more than technical exercises.

Have Balanchine's ballets aged better than others'? It's a matter of opinion. I think some have, and some haven't.

I have to say, I think she is exactly right (except about Bourne).

According to PBS.org, MPT will be showing the performance May 21 at 8pm and May 23 at 7pm.

Reminder: NYCB's production of the Prokofiev classic will be broadcast in the US on Live from Lincoln Center around May 21-23. Check your local listings for exact dates and times at http://www.pbs.org. It is less than two weeks away!

Having devoted my entire life to the art form since the age of seven, I think it is safe to say I am a balletomane.

I'm trying to read Murdoch's A Severed Head at the moment. It is certainly not difficult language, but the plot seems totally unbelievable so far, and I think it is quite dated. I'll have to wait until I've finished to form a definite opinion. I'm also reading three other books (Far from the Madding Crowd, As I Lay Dying, and Silas Marner) so it may take some time.

I wish I had thought to post about this sooner. Did anyone else take advantage of the Metropolitan Opera's "Free Met Player Weekend" this past Friday-Sunday? There is an astonishing number of complete operas, audio and video, at http://www.metplayer.org. I took advantage of it to see some classics I hadn't yet had the chance to see in performance--Rigoletto, Tosca, Das Rheingold, Die Walkure. One can ordinarily watch and listen for very reasonable rates ($15/month for unlimited operas, $3.99/opera, &c.), and I will start doing this (I must finish the Ring cycle!). I wonder if it would be possible to do something like this with ballet.

Yes, Gina, that is what I meant.

The dancers at SAB/NYCB say Seren-AHD. Indeed, I've never heard it pronounced any other way.

I have a friend whose favourite books are Don Quixote and the Lord of the Rings trilogy. Maybe DQ (which I've never read) requires a fantasy novel mind-set?

Click here: http://www.abt.org/education/dictionary/index.html and scroll down to "fouetté rond de jambe en tournant" on the left.

I agree about both Ringer and Hathaway, Carbro. For me, this is a bit like choosing who might play Maria Callas or another similar artist: ultimately impossible, but still interesting to consider.

I am surprised at the relative laxity of the dress code...even KAB is more strict.

Hopefully this isn't too off-topic, but does this mean that Diana's variation from Vaganova's "Diana & Actaeon" pdd is actually by Petipa?

The first variation in Part II is certainly not Romantic-era...this scene is lovely, though. Thank you for sharing.

The tricky part would (for me) be the orchestra. I'm not sure you will ever find a really first-rate orchestra playing for a ballet company, but some ballet orchestras play quite well. Apart from that, though, I think there are quite a few DVD's of the quality you describe. Is there a particular ballet you're looking for?

How about Sylvie Guillem as Mary?

It appears there is no film of Verdy and Villella's performance on Youtube, presumably because of the same copyright issues.

Yes, but I think there still ought to be a ballet about it.