liebs

The only ABT dancer I remember seeing in Theme was Harvey with Bissell. It closed the program on one dismal Sat matinee at the Met and made the whole experience worthwhile. At NYCB, I've seen McBride, Farrell, Nichols, Watts, Kistler and Ashley with a variety of partners. I vividly remember seeing Nichols and Lavery at an open rehearsal just prior to their debut and then seeing the debut performance. Lavery was wonderful in the role, I especially remember the pirouette series.

I thought this was a terrific night at the ballet. I enjoyed this performance of Raymonda even more than the one the other day. Bouree did well as the ballerina but Ringer has terrific. Although she may have been less than ideally suited for Cortege, this was great casting. Ringer gave a radiant and stylish performance and had great rapport with Neal. In her balances, Ringer seems to luxuriate in the moment. Its not just confidence, it seems almost to be a moment of relaxation at the top of the balance - giving us a number of beautiful moments. The soloists again performed well. It was interesting to see Riggins in the variation that Bouder performed last time while Bouder performed the variation done by Stafford. She was lovely and spectacular in the fouette section with Ash. Hallelujah Junction was more interesting than some of Martins' recent works but I still felt I had seen everything in it before. Everyone danced well but I didn't think Martins showed us anything new about Millepied and anything that extended his range. Re: Theme and Variations, I agree with Leigh - Stafford made a debut that was clean and pure in its technique and not marred by mannerisms. I think she has a lot of potential but wonder if she'll get the help she needs to develop into a ballerina. Right now, she reminds me of Merrill Ashley in her early years - great technique and enormous facility but very little projection. Ashley remained at that level for many years before developing into the ballerina we all remember with some fondness. I remember seeing Nichols debut in this role with Lavery - she was just as diffident as Stafford and did not deal as well with the technical demands of the role. Ultimately, Nichols gave great performances of this and other ballerina roles and perhaps Stafford will as well. Woetzel partnered very well and the corps and demis were impressive.

Alexandra, I got it from the Lincoln Center Library for the performing arts. Now that it has reopened, there is lots of great stuff on the shelves that I have been loooking for for years. This book and Seymour's autobiography among others.

I recently read her biography written by Barbara Newman. Extremely interesting and I had no idea she had suffered so many injurires and so much illness during her career.

It was a wonderful evening and one of the reasons was the opportunity to get a look at the wide range of Balanchine's genius. Raymonda Variations may not be a master piece but only a master craftsman could show us every possible variation on hops on pointe. Watching this ballet is, among other things, like taking a master class in pointe technique - something we don't see much of these days. Bouree gave a nice performance, although I felt she was better in her first variation than in the second. Maybe she was tired but the end of the ballet didn't quite come off especially the final jump into Woetzel's arms which could have been better timed to the music. This is an interesting ballet as there are dances for the couple but no formal pas de deux. The soloists' variations were well danced but I was lessed impressed by Edge and McBreaty than I thought I would be. I was impressed by Natanya, although I thought she was miscast. For me, that variation would look better on a smaller, less rangy dancer. Bouder was terrific, lots of elan and great musicality. Stafford gave an outstandingly clean performance of her variation but like Merrill Ashley when she was young, all we see from Stafford now are steps. But they are text book perfect steps and she doesn't give us mannerisms. Seeing Whelan in Mozartiana we see a great dancer making a throughly unsuitable role her own. I think Whelan is miscast in this role but given that she makes a persuasive case for the part as an allegro role. There was little of the long, singing lines we saw from Farrell and the dancers who followed her such as Nichols and Kowroski, Whelan defines the role in short phrases and it is her footwork within those phrases that interests us. I agree with Leigh that this isn't really the right role for Hubbe, the footwork and batterie and the closings into fifth aren't his strong suit. He and Whelan also don't make visual sense as a couple given the difference in their body types. Ib Andersen, who was medium sized, originated the part and I'd like to see some closer to his physique such as Millepied have a crack at it. Four T's was a joy. Great casting except for Tracey who made a valiant but unsuccessful attempt at Choleric. It seems to me that Meunier is made for that role. Jennie Somogyi was terrific but I'd like to see her get some new opportunities to stretch her talents. Although I'm happy to see Stafford get a chance at Theme and Variations, I'd also like to see Somogyi in the role. Her great allegro technique needs a work out in Balanchine's Tchaikovsky ballets to help her become a full fledged balllerina. Even with this quibbles, it was one of those nights that convince that NYCB is a great company and one of those nights that make you glad you live in NYC.

Although I agree with you, Leigh, Ulbricht is a rustic type, I enjoyed his performance because it had the details that have recently been blurred by dancers like Gold. I would love to see Ritter in the role, he is much more like Castelli than the others who have been cast recently. The best thing about Polyphonia, for me, is the portraits it paints of Whelan and Ansanelli. The choreography shows a softer, more vulnerable side of Whelan than we usually see. Asanelli in this piece seems like the "sleeping princess" just waiting for her future to arrive. And on Sat night, it did with an incredibly accomplished performance in Fall. I had seen her debut in the role in Parma but wasn't prepared for the sheer joy and bravado of Sat's performance. I was also impressed by the wealth of choreographic detail Ansanelli showed us and by the great musicality in her performance. This is the first time I've thought she might develop into a ballerina. All in all, a very enjoyable evening at the ballet with strong performances by Kowroski, Neal, Ringer, Meunier, Fayette and Bouder. I am particularly happy to see a revived Jennifer Tinsley and the development of Hall and Fowler (as seen in Polyphonia).

Lately I've been concerned about Somogyi's development. Maybe, she's just having an "off" start to the season but neither her perfomance on opening night (in which she substituted for Weese on short notice) nor the Sugar Plum I saw were encouraging. And in the first week of rep, I didn't think either the roles Martins or Wheeldon made for her in Verdi Variations or Polyphonia showed us what her distinctive qualities might be. Given her physical gifts, there are many roles in the NYCB repertoire that Somogyi can fill. Any thoughts on what might help her fulfill her talent. Certain parts, better coaching or a particular partner?

Certainly one of the most unusual perfomances of Symphony in C I've ever seen was the Bolshoi's (two summers ago at NYS). Nina A was 2nd movement, complete with every ballerina mannerism in the book. The corps women looked like they had never heard the name of Balanchine.

Certainly one of the most unusual perfomances of Symphony in C I've ever seen was the Bolshoi's (two summers ago at NYS). Nina A was 2nd movement, complete with every ballerina mannerism in the book. The corps women looked like they had never heard the name of Balanchine.

Ok, here goes: 1st - Nichols and Neal 2nd - Farrell and Martins 3rd - Bouder and Millepied 4th - Calegari and Anderson 3rd movement from Hell: Horiuchi and Killian

Ok, here goes: 1st - Nichols and Neal 2nd - Farrell and Martins 3rd - Bouder and Millepied 4th - Calegari and Anderson 3rd movement from Hell: Horiuchi and Killian

Manhattanik, I saw it also probably a season or so later at the State Theater and remember being somewhat disappointed. Maybe it was the cast - Eleanor D'Antuono and Ted Kivitt. It only really come alive when Ruth Mayer and Bill Carter did a czardas or something like that in the last act.

Interestingly, NYCB is doing both Raymonda Variations and Cortege Hongrois this season. I'm looking forward to comparing and contrasting these two Balanchine glosses on Raymonda.

Polyphonia by Chris Wheeldon.

I'm very grateful to Mirella for commissioning these thoughtful articles. Tobias has many good points but I cann't help but feel that given the lack of world wide perspective (she doesn't talk about the current state of the Royal, Bolshoi, Kirov or Paris Opera)in the article, she is using her thesis primarily to criticize the current administrations of NYCB and ABT. Not that there is not alot to criticize in those directorships. But one could also claim that neither Farrell or Dowell or the other directors of the above mentioned companies have nurtured ballerinas either. Wheeldon's interest in Asanelli seems to me to be the closest contemporary nurturing of a dnacer's individual qualities that we've seen to date. Maybe, he'll become a great choreographer as she becomes a great ballerina - a symbiotic relationship. Maybe as Tobias suggests we are not in an era that wants ballerinas in a traditional sense. And in that way, ballet is reflecting the popular culture where the glamour of stars like Garbo, Dietrich and the two Hepburns has been replaced with the efficient modernism of Meg Ryan and Julia Roberts. I also feel that there was a strong elements of "Sheeznofonteyn" in the article. As a ballet goer, not a critic, I remember and enjoy the glories of the past while also enjoying what the present moment has to offer.

I hope that the New York City dance scene will not suffer a severe contraction, companies and spaces going out of business, but I fear that it will. I hope Melissa Barak and Chris Wheeldon's new pieces will live up to the promise of their earlier works. I hope Wallace Chappell will bring some peace to ABT's administrative staff. I hope you all have a happy, healthy and peaceful New Year.

I hope that the New York City dance scene will not suffer a severe contraction, companies and spaces going out of business, but I fear that it will. I hope Melissa Barak and Chris Wheeldon's new pieces will live up to the promise of their earlier works. I hope Wallace Chappell will bring some peace to ABT's administrative staff. I hope you all have a happy, healthy and peaceful New Year.

I saw the 12/26 mat. and 12/29 eve. performances. I realize that I've only seen one of the casts of children. Tyler Gurfein was a terrific Nutcracker prince, nice clean technique and he mimes with a real passion and involvement. I was less impressed with Meiying Thai as Marie, she was competant but lacked the charm and warmth I remember from previous Maries. I saw Ansanelli and Angle and Margaret Tracey and Hubbe as Sugar Plum and her cavalier. I enjoyed Ansanelli more as Sugar Plum than as Dew Drop. Her perfomance was warm, charming and confident and had a nice rapport with Angle. My only quibble is that her arms are sometimes held too straight, a little more softness in the elbows would be nice. Tracey was dancing her last Sugar Plum yesterday and gave a terrific performance. She glowed in her first solo and danced the ppd with joy and confidence. She was well partnered by Hubbe who gave a nice performance in his variation. Van Kipnis danced Dew Drop on the 26th and once again gave a stellar performance. Unlike Somogyi who seems to be having an "off Nutcracker," every one of Van Kipnis' performances have been on target. She was lovely last night as Marzipan as well. Ulbricht was terrific as tea on the 26th. It's not just that he can jump, every move is clean, neat and precise - a pleasure to watch. Neither Suozzi nor Hoffmans brought this kind of technical precision to Candy Cane at the performances I saw. One of the happiest developments of this season to date is the return of Jennifer Tinsley. Although I still think she is miscast as Marzipan, she gave strong performance and has looked hapyy and relaxed as the demi-soloist in Waltz of the Flowers. I'm looking forward to the season!

$57,000 for top level corps dancers at NYCB is not a lot of money. Per diems are often spent on tour because even dancers have to eat. NYCB dancers work 38-40 weeks per year and that $57,000 has to cover 52 weeks of expenses in a very expensive city. It has always been my understanding that NYCB is the highest paid co. in America and it has the most guaranteed weeks of work. So Victoria, I think you are right and most young dancers should not expect to make $100,000 per year.

Does anyone know if Meunier and Arch Higgins are injured? She only did one Dew Drop and I haven't seen Higgin's name on the cast lists at all.

Somogyi was Sugar Plum with Angle as her Cavalier and Asanelli as the Dew Drop. Van Kipnis and Tinsley led the flowers. The rest of the cast was much the same as in previous performances I've seen. Angle partnered Somogyi at this performance and he was the stand out of the ballet. I've enjoyed watching him grow as a dancer over the last year or so but was unprepared for the polish and authority of this performance. To date, I thought he was a nice looking guy with an attractive technique and decent partnering skills but he usually seemed tentative and somewhat withdrawn to me. Not at this matinee, he handled Somogyi with great authority and aplomb, every difficult lift and supported move was well executed and related to her nicely. The circle of grand jetes en tournant was well executed, not the highest jumps I've ever seen but clean lines and well pointed feet. In the turns a la seconde in the second variation, he was flawless - never moving off the spot and using his arms with great style. Very impressive. I was a little disappointed in both Somogyi and Asanelli. Both were a little brittle for my taste. Younger dancers are often concerned about being correct and Martins sometimes seems to value neatness and technical correctness over expressiveness - that seemed the case in these two performances. Somogyi's performance was well danced but their was no warmth or magic in it and I think you need that in this role. Asanelli also gave a good technical performance and her coltish physique seems a good match for the role of Dew Drop. But in contrast to Van Kipnis the other day who responded with great joy to the music, she seemed almost nervous. There were some lovely moments, particularly in the diagonal of arabesques and jumps. But the only moment, Asanelli relaxed and seemed to enjoy herself was one beautiful balance in arabesque in her solo in the finale. She just balanced, breathed and smiled and the audience responded in kind. Van Kipnis and Tinsley led the Waltz of the Flowers and it seemed as though they were really enjoying the flow of the music. Tinsley seems happier this season than I have previously seen her. I hope each of them get some good parts in the upcoming season, they've been languishing in "soloist hell" for too long. Best wishes to all this holiday season!

David Gordon's FamilyDeathArtCom.edy at Danspace. It ends with a ppd for Gordon and Setterfield that is a perfect portrait of a long marriage. Paul Taylor's Black Tuesday, even though it was set on ABT it was choreographed on his own company. Lucinda Childs' Concerto for White Oak, also her Carnation danced by Emily Coates.

Alexandra, you're right. All of the expenses of running a big or small company add up. But it is important to remember that no one, not the dancers, stage hands, musicians or administrators get rich on the salaries or fees they are paid. Almost everyone does it to some degree or other for the love of it.

My first performance of Symphony in C. I don't remember who danced but my first sight of Balanchine's masterpiece will stay with me forever. Ashton's La Fille Mal Gardee and Monotones Lucinda Childs' Available Light Paul Taylor's Esplanade and Arden Court As Time Goes By, my first Tharp ballet with a solo by Larry Grenier that I'll never forget. Tharp's Nine Sinatra Songs (danced by the original cast) A good performance of Swan Lake and Giselle Farrell in Duo, Agon, Chaconne, Mozartiana and Vienna Waltzes Four Ts Any good performance of a Balanchine masterpiece

Although galas are an important part of the fundraising mix for dance companies, I am not aware of any company where the galas constitute the greatest portion of the funds raised. Most companies have a diverse mix of funding including individual gifts from a wide variety of donors, foundation grants, corporate sponsorship or grants and government funds. If ballet is an elite art form, how it is funded is only part of the issue. In Europe, government provides most of the money but ballet is still considered an elite art form. My question is "why is that considered bad?"