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Rest in Peace
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  1. So Sorry to hear this news. I knew Brian when I was with the Harkness Ballet. My first job there as company chorologist was to notate Brian's "Time Out Of Mind" ballet. Others followed, "Firebird" was a magnificent version. RIP.
  2. So sorry to hear this. I met Harry while he was staging for the Las Vegas Ballet and its then director Vasilly Sulich. We became good friends with much to talk about, knowing many of the same people in London.. RIP
  3. Joan Benesh was not only my teacher of notation at the London Institute of Choreology but a dear friend as well. After my graduation from the Institute, as the first American, she visited me several times in NYC and later at my home in Tucson, Arizona where I was able to show her around Southwest USA. We kept in touch through the years. I felt so honored to be invited to escort Joan to her Benefit performance of the Royal Ballet at Covent Garden, London. It was through her and her husband Rudolph who invented the system of notation that is now used by dance companies all over the world and that opened many doors for me as a dancer, choreologist and a choreographer. I am eternally grateful to them and to the remarkable system of notation they invented. I know Joan ... how strongly you believed in the hereafter. Rest in peace. Richard.
  4. Thank you for your comments dear ballet friends. I enjoyed writing these memories of my teachers though now badly in need of a re-write. Wisps of memories of these remarkable people who should never be forgotten and I guess will continue for as long as I do.
  5. Dear JamesPDX Was just ambling through some old postings on Ballet Alert web site and came across yours about Yuri Zoritch. I was curious who JamesPDX was, then found that I had actually written to you, perhaps one or two years ago in response to your posting. However as far as I know I never received a response. Several months ago I had severe surgeries for cancer so may have just been out of touch. I've looked for you here on BalletTalk but apparently you are perhaps not even a member any longer. Anyway, if this does reach you and you are even remotley interested, I would be delighted to hear from you. Richka
  6. This is sad news indeed. Though I have always read John's writings, I've only recently became acquainted with him; through his wife Judith. This friendship has been entirely through the internet by way of emails. Johnn was a termendous source of dance knowledge, as is Judith and happy to share. I send my condolences to Judith.. John will surely be missed.
  7. Hello James, So you were just now reading about George Zoritch and his obituary?. I am the one who put his obituary here but it was quite some time ago. I'm surprised it is still on this web site. George's last words were to me, Goodbye Richka after he had spent 4 weeks in hospital after a fall. I can tell you details if you like and can share so much with you about Yuri since he was your teacher and my friend living close by my house, and the memorial I arranged for him at the very studio at UA where he taught for all those years. Actually I think I met you once at Yuri's house, quite a few years ago. Anyway, my email is greyhound@richka.net if you care to be in touch. Cheers, Richard
  8. From the start I found your 'ruminations' of tremendous interest. We have had so many of the same experiences in the dance world. We have corresponded before but a long time since. We did exchange pictures of George Chaffee and memories. A few months ago I put a blog up here about my ballet teachers. There is of course some I wrote about Chaffee. He stands out as one of the few who were not Russian emigres. I don't think anyone has read the blog at all; at least there have been no comments. Sometimes I wonder why I bother. Not that I want to rave about Facebook as it does have many faults, but it does open up far more communication. I have been very much out of the picture for the past few months due to the scourge of cancer. I've had two horrible surgeries, then an infection that required endless daily infusions through a tube into my heart. Thank goodness it's all over now and at the moment I'm in recovery. The good news is I'm getting stronger every day and also they got all the cancer out. I hope you are well and would love to be in touch again if you are willing. This is probably enough for now. All the best, Richard Holden
  9. Oh yes, Maria Ouspenskaya was from the Moscow Art Theater and Stanislavsky, et al.. Mordkin, or Adolph Bolm would indeed have been logical choices for some ballet training for actors. There was an old ballet film on TCM several years ago. Forgot the name of it (maybe The Mad Genius) but it had.John Barymore as a Diaghilev type figure who turns a young boy into a great ballet dancer. Nijinsky? Adolph Bolm did the choreography and there is a ballet in it, ending with on stage murder of Barymore. The ballet used a real dancer in long shots but as it was around Garfield's era, perhaps it was what he was thinking of as a vehicle. Early 1930s I believe. I had it on tape but disappeared long since. Interesting to see ballet choreography of that era..
  10. Sr. Lucas, Hello, In reading your posts I see mentioned the name of Raoul Pause. During my youth as a dance student in NYC, I remember hearing that name mentioned a few times but knew nothing about him, though now I am curious. Two other names you mention I am more familiar with; Pavley and Oukrainsky. Back in those days of youth I became acquainted with a friend of a friend who was probably then in his 60s and had actually danced with the Pavley/Oukrainsky company in his own youth, well before I was born. The company, Chicago based, apparently toured vaudeville circuits then and he took joy in showing me pictures of himself on stage at the Palace Theater as a corps dancer in various exotic ballets. He was also a friend of Lisan Kaye, another former Pavley/Oukrainsky dancer who ended up teaching in Carnegie Hall. The Pavely/Oukrainsky Ballet always fascinated me and I always wanted to know more about it, especially the bizarre life and death of Andreas Pavley. What kind of a dancer was he? Why is he not mentioned in the dance history books? Imagine my surprise when, not too long ago, i came across a book written by Arthur Corey, called Danse Macabre. Corey had danced with the company as well and It must be a rare book because it is a limited edition of 500 copies, boxed, and autographed by Corey himself. I found it in an odd bookstore. I already knew of Arthur Corey because he had, oddly enough, written books on Christian Science which, having grown up in Christian Science myself, was familiar with. His book is the Life And Death of Andres Pavley. But this incredible life of Andreas Pavley is scarely known. The many pictures of him and the ballets he danced in were highly mixed with the eoticism of that era, Was he, then, so remarkable? He was certainly celebrated during the 20s, if not for his dancing then for his bizarre, mysterious death.
  11. Welcome to Ballet Alert and thanx for the compliment. I see you reside in Santa Barbara, CA. Are you familiar with State Street Ballet and its Director, Rodney Gustavson?
  12. I also have never heard of Sven Norriander but that doesn't mean he doesn't exist or is not legit.. He no doubt is a re-constructor of other choreographer's works, either those living or dead. As a rule, the re-constructor is a notator or has a close relationship with the choreographer in question and is familiar with the work and is named in the choreographer's will or trust as inheritor of his works.. Dance notators, or "Choreologists" go all over the world staging from the written scores that they have done or those notated by another choreologist. They have the rights to do this and the rights come along with the notation of the score. This has been proven the most accurate and reliable way rather than relying on memory.becasue every detail is documented in the score. Staging from a video is a tremendous help but not as accurate as a written score; the same way you wouldn't want to stage an opera from just listening to a recording of a particular performance. My guess is that Mr. Norriander performed in these works or assisted in their re-staging as a ballet master, etc. and so the choreographer gave him the rights to re-construct the work. Or perhaps he is a qualified notator and has notated the works. You could check with the Institute of Choreology in London or the Dance Notation Bureau in NY and find out if they are registered there. Just going around and staging another's works, unless you have this kind of permission or legal rights would be an infringement of copyright and is illegal. It is basically theft. Agnes de Mille always had quite a time dealing with that. .
  13. thanx for the information. Wasn't too clear about time line and never knew Ben ever had anything to do with Chicago, After Harkness folded I thought he went directly to Houston. Now I don't know WHY he left that. He was here in Tucson several years ago bringing his Swan Lake. I aksed why on earth bring that as we already have it. Why not bring Dracula. He said the production was too big. Swan Lake ISN'T. Anyway, he invited me to come see his Snow Maiden he was then doing for ABT.Almost did but had to go to London instead. Told me he was thinking of retiring in Mexico. Larry Long, and is wife Doloras, were with us on European tour in 1970. Long story here. more later. Richka
  14. OK, thanx. That makes sense because Larry Long was a ballet master at Harkness during that time period and he also was Ruth Page;s right hand man. After she died he took over her company, then HE died! Sorry tale. I understand when we are young we don't usually bother to keep programs.
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