Hans

Lauren Anderson of Houston Ballet

It should also be noted that Swan Lake was Tchaikovsky's first ballet, and IMO he didn't really know what he was doing, so while the music is good as music, some of it is pretty awful for dancing. Variations blather on endlessly, the "white acts" are filled out with pointless "scènes," &c. I do think Tchaikovsky's original idea of having the would-be brides enter separately during the waltz, each with her own fanfare, makes sense--that way it works as an entrée for the pas de six, in which Odile joins as a prospective wife. So there's good and bad, but I think Petipa made intelligent decisions regarding the re-ordering of the score, some of which were made with Tchaikovsky's permission, shortly before the composer's death.

Considering the lack of public arts funding and awareness in the US, I propose a "trickle down" system to make dance more popular. To start, presidential candidates will now be required to debate issues such as health care, social security, the military, the environment, and of course, funding for the arts, via interpretive dance (classical mime is also allowed). However, I think this can go farther. We need the government to use art (and especially dance, particularly ballet) in creative ways during its day-to-day operation. Other ideas? One benefit I can see from this is more women becoming involved in the government.

I'll start a thread--it's August, after all.

I do believe the government ought to support art because in my opinion, art is not an individual responsibility but a national one just like education. Some people disagree about certain aspects of the curriculum, but no one would use that as a reason for abolishing the public school system. Clearly the NEA's budget is too small for it to have much effect; I did a project on arts funding in the US in high school and found that less than 0.05% of the government's budget goes toward the arts--and then one reads in the newspaper that the NEA is being cut further because the government is trying to balance its budget. Well, I don't think $105 million or so is causing our multi-billion-dollar deficit. I also don't think opera and ballet companies (or anyone else) should have to schmooze with Phillip Morris to stay in business. If art were subsidized by the government, ballet companies for example might not be forced to accept cigarette money to keep their doors open.

That would indeed be an exciting prospect! Unfortunately though, the signature definitely ends with a large "t." I'm pretty sure these are not original works, but they appear to have been done in chalk originally. They're black and white. They also clearly don't depict Pas de Quatre, as there is a man partnering a ballerina with two female corps dancers in the background in each one.

Seattle is on the coast of Washington State.

Hm, I remember a long time ago we had a (short) thread called something like Name That Paquita Variation. If I remember correctly, Mel was the only one who answered, and he named the White Pearl variation from LHH and Amor from Don Q, as well as, I think, the pas de trois (what ballet is that from, anyway?). So now the only unaccounted-for variations are the one that begins with the six (or so) grands jetés and the one Solor mentions that Lyubov Kunakova performs on the Kirov Classics tape. er...This has been an thread-hijacking by Hans, now back to your regularly scheduled LHH discussion....

That sounds as if it would be the first variation performed on the "Kirov Classics" tape--the one that begins with pas jeté, developpé to écarté derrière.

Am I right in thinking that SFB also has more classics in its repertoire than the other NYCB-offshoot companies? If so, that could be an ideal match.

I came up with another one: Michele Jimenez as Odette/Odile. She'd be perfect! And I know these aren't dancers, but I can think of some teachers who would be pretty terrifying in The Lesson.

Wonderful article dirac has posted regarding this. Here is my favorite quote: Finally--an AD with both intelligence and humility! (Not that I doubt that his ballets, should he choose to make any in the future, would be anything less than lovely and tasteful.) I'm sure he will be as appreciated and revered by everyone at PNB as he was at SAB/NYCB.

There's a new review that dirac just posted in links. One of the things the reviewer says is that Lacotte's version is "better than the original," a remark I find absurd considering that he hasn't seen the original (and based on what I've seen of Lacotte's other work, I have a tough time swallowing the idea that his best is better than Petipa's worst). The reviewer also claims that Petipa reached his choreographic "acme" with Raymonda. Of course if he happens to like Raymonda, that's fine, but to flat-out state that it's Petipa's best ballet (perhaps it was his most popular in its day?)...well, I don't think I'll be paying much attention to his reviews in the future.

In marriage, always the wise course. And one not taught in any ballet I can think of. <{POST_SNAPBACK}> Good luck expressing that in classical mime.

What I wouldn't give to see that! I finally got to see the Trocks in Baltimore last year and loved it.

Out of curiosity Doug, do you think it would be possible to stage the entire original ballet?

I would love to be hypnotized to forget certain parts of the Nutcracker...most of it makes me twitch.

What a GORGEOUS photo of Karsavina!

Sleeping Beauty is my favorite ballet too. The purpose of this particular forum is to discuss ballets in depth, and that's what we're doing. From my point of view, this type of conversation is enjoyable because I get to hear others' opinions and ideas as well as learn some of the history behind the ballet, which gives an already rich and detailed ballet an even greater depth and significance. Thus, I feel that such knowledge allows me to more fully, as you said, "...enjoy the freaking ballet!"

In fact, UBA performed the Ocean and Pearls Pas de Trois as recently as its Winter Concert in December 2001. They may have performed it more recently, but that's the latest one I've attended.

Editing to add that Natalia and I were posting at the same time. Natalia, I think I'm going to snatch up a Loge ticket while I have the chance! Original post: I'd rather not sit on the lawn, as my back tends to hurt when sitting for long periods of time without any support. I don't mind sitting up high/far away as that generally gives an unobstructed view, so I wonder if the Loge might be the best option. Do you know if the rear orchestra is "stadium style" or whether I'd have heads in front of me? (I'm short.) I've looked at the "views of the stage" on the Wolf Trap site, but couldn't really tell from the picture.

I desperately wanted to choose the "He's no Minkus" option, but I can't pass up voting for my favorite ballet.

Helene, what about Western Symphony as the "popular" ballet?

What is the best place to sit at Wolf Trap? I have never been, but I would like to see the Bolshoi.

That's right--the controversial figure is Anastasia Volochkova; I don't know whether Evgeniya is any relation. By the way, did you see this article in Links about A. V.'s lawsuit with her interior decorators?