Petra

I wonder how the POB's income from tickets is divided up between 'regular' ballet-goers and between tourists/corporate, etc. Personally, when I was in Paris 3 years ago, I would have gone to anything being presented by the POB. Of course, I would have preferred to have seen Swan Lake or La Bayadere rather than Nosferatu :shrug: but what could I do, Nosferatu was the only production on at the time. Perhaps management counts on 'drop-ins' more than on 'regulars'.

Also, as it is heavily subsidized, the POB can afford to ignore public opinion more than most companies. French posters, are there ever discussions of reducing its subsidy?

It looks great and I hope to be able to see them more often next year than I am managing to see this year. BUT surely they aren't producing a new Swan Lake just to put in moth balls... As I have been told in umpteen marketing calls, it's costing them a million and ahalf $ (and unfortunately I won't be in the country the first half of June).

I assume you're referring to the artistic achievements of the houses of Chanel, Dior, Badgely Mischka, Vera Wang et al

I must admit that I didn't think Mystic River was a great movie - at least not compared to Unforgiven, but then Eastwood's not so great movies are probably so much better than other people's best efforts.

However I think Kevin Bacon deserved a nomination for Mystic River - I have always liked him but I think this was one of his best roles ever. This is very unfair to say but I always expect Sean Penn to act well, so no surprise whenhe does. Bacon isnt that consistent.

I also thought LAura Linney did a great job and if I were selecting the nominees, would have nominated her and not Marcia Gay Harden - she's too actressy, IMO.

This is the first (out of 4) page of the thread http://balletalert.com/forum/index.php?showtopic=8019&st=0. If the link doesn't work it's on the Paris Opera Ballet forum and the thread is called "moral harrasment at the POB".

I'd vote for Swan Lake -as it forms a perfect balance between romanticisim and classicisim.

On the other hand and in light of the unanimous votes above, I think I've yet to see a really good Sleeping Beauty. :green:

Paul, that poem sent shivers down my spine - not to mention tears to my eyes.

coffee, Lexis-Nexis holds quite a few European and other international databases including news services like Reuters so it is quite possible that your uncle (or his paralegal) can find info. on the Volochkova case too.

There was some discussion on BA a few months ago about investigations into the Paris Opera School too - and I think the French posters put up quite a few links, so search the site, perhaps use 'Claude Bessy' (the principal of the POB school) as a key word.

Good luck.

It seems that Ms. Lyons' resume needs as much padding as possible. I would love to see more women in AD positions and other senior administrative jobs, but it doesn't seem that Ms. Lyons has quite the experience that either Martins or Baryshnikov had when they became ADs.

Thanks. Sounds like the road to Edward Gorey should be pathed with Maurice Sendak.

I've never read any of these books. Are they children's books or more for (young) adults? As a point of reference, I'm currently reading Beatrix Potter to my little boy.

I feel very sorry for Matt's parents - they must be exhausted!!!

A very interesting article for anyone concerned with creativity, children and the arts.

A story apropos the article - My son of 21 months adores the Baby Mozart video, which shows toys and "real-world objects" moving to "baby friendly" adaptations of Mozart. As he is only allowed to watch this video once a day, I am lucky that we have his absolute favourite piece of music from the video - ROndo Alla Turca - on a CD of classical music excerpts". However, on the CD the ending is different, it's probably not as "adapted" as on the video. He has such a tantrum every time the CD music diverges from the video music. Now I will tell myself that these "terrible two" tantrums are a sign of great musicality and genius

Joanna, thanks for that. I was especially taken (aback ) by your comment that "there is no functionality (especially in architecture)". This is my instinctive reaction when I see a 'postmodern' building, but I didn't know it was a principled discision.

How is this justified - as architecture is the most functional of arts?

I had to stop reading "Hero with a Thousand Faces" in the middle because I had to return it to the library :shrug: Howver, reading "Emma" for the first time more than made up for that. What a delightful book - and Emma Woodhouse is such a beguiling, sweet, naive young lady yet tough and pragmatic at the same time. The characters are so true to life. It is quite amazing to read the 'real thing' and to to sense the difference between that and all the "influenced by.."s.

This will be my first halloween in the US - my first halloween ever actually - and I thought that the scheduling of Dracula was so timely that I'm surprised to hear that it was previously performed in Spring. I mean you can't get away from haunted houses, haystack rides and witches - and the advertising thereof - at this time of year. So I think it's very clever marketing on PA Ballet's part.

On the other hand, I'm with your friend, Tessa, about the tag line. There is nothing less likely to pull me into the theatre than that tag line for Dracula. I'm not a huge musical fan and certainly not of the Andrew Lloys Webber variety - assuming of course that the tagline referred to the musical and not to Gaston Leroux's novel or the Lon Chaney movie (I'll admit that I had to look those names up before writing this ) But then, neither I nor most other ballet alerters are targeted by these ad campaigns.

I will probably give Dracula a miss and save up for The Nutcracker, but I'm not sure that's connected to the ad campaign at all. Buffy defeated Dracula and I get my vampire fix on "Angel" every Wednesday at 8 p.m. on the WB.

Seriously, I've never seen Balanchine's "Nutcracker" and in the (probable) event I have to choose between the two, my choice is clear.

I'd like to hear about Dracula though - how did you like it last time, Tessa?

Thanks a lot. I hope to utilize this info as often as possible.

LaraF, I'm also in Philly also on a limited budget :sweating: Can you share with me the cheapest and easiest way of getting to NYC from Philly??

I thought Ballet Imperial was an earlier version of Theme and Variations.

One of the more troubling facts arising from this affair is that ABT has chosen to spend what they claim to be a serious amount of money in obtaining exclusive rights to Les Sylphides in NY from July 2003 until 2005. This board has often discussed the ways in which companies generate income and use this income. Perosnally, if I had donated money to ABT (which I haven't), I would rather they used the money to hire a really good coach/es for Les Sylphides, than to use it to obtain this trumped-up exclusivity, and I would be seriously annoyed to find out what the money had been spent on.

Another more legal issue is that the contract between ABT and the Fokine Estate seems to disadvantage, not to say discriminate against, those companies that perform a 'traditional' version of Les Sylphides whereas companies that perform individual interpretations are able to continue doing so. Does any one know whether the Fokine Estate approved NYCB's Chopiniana at any time? To be more precise, the ABT agreement disadvantages the 'weaker' companies - those who are not the Kirov, not NYCB, and like the Cubans do not have the financial ability to contend with ABT. In less legal terms, ABT has taken on the role of the schoolyard bullly.

Oh, and since when is SwanLake Act 2 a natural substitute for Les Sylphides. I think someone at ABT needs a history lesson...

Concerto Barocco, The Four Temperaments, Fancy Free - in that order. Just writing those titles excites me. I came prepared to enjoy myself and it really was a great evening at the ballet. That said, how come this program wasn't sold out? Is it too adventurous to program 3 masterpieces of the 20th century on one bill? But that's for another thread...

This was the first time I've seen Concerto Barocco and it was beautiful. It reminded me of Les Sylphides, in that the dancers completely embody the music. Except in CB, the dancers aren't romantic sylphs but some kind of Classical Olympian or Elysian beings bearing within them the essence and the rhythm of the music. However, it also reminded me of Les Sylphides in the actual structure of the choreography, in the interplay between the soloists and the corps de ballet, in the 'first among equals' atmosphere in this interplay. I don't know how or why this Les Sylphides analogy entered my head, but now I can't get it out. I'd have to see the ballet again to know whether it was just coincidence.

The Four Temperaments was the only ballet on the program that I had seen before and I had been completely over whelmed by it the first time. I must admit I wasn't as overwhelmed this time. Don't shoot me, but I think the live orchestra softened the music so the sound was more classical as opposed to the recorded version I heard the first time I saw it. Also, my seat was very high up this time. I could see well, but it was a bit difficult to 'feel' the dancers. Regardless, this must be one of the most modern ballets ever choreographed. In fact, The FTs is IMO a masterpiece of science fiction. I don't know the company so I don't want to mention many names, but Charity Eagens (3rd Theme) has gorgeous feet and Christine Cox was a very powerful Choleric. Overall, I though Concerto Barocco was better performed than The FTs and interstingly, when I checked the program, there was a repetiteur listed for Concerto Barocco (Sandra JEnnings) but not for The FTs. What does this mean?

Fancy Free was a delight. An incredibly well crafted ballet. Unbelievable to think this was someone's first choeogrpahy. It was performed well too, although the differences between the sailors weren't too perceptible. I laughed out loud a couple of times mainly in the 'chats' between the first and the second girl. I could just see how these girls of the '40s would grow up to be Jewish Mothers (This is supposed to be a compliment).

That was my evening. I'd like to hear some more experienced viewers too.

I'm going this evening. I just hope I'll be able to see - especially Fancy Free - I'm sitting waaaaaay up.

I am slowly reading Joseph Campbell's "The Hero with a Thousand Faces". It's very dated as according to Campbell, Freud has the answer to every problem, but comparative mythology is very interesting, especially as it reminds you of all the myths you know already and informs you on those you don't - in my case, the African and Native American myths.

I have reiginited my love of ballet and my pride in loving ballet that had been dormant for a few years.

I'm also a better parent because of Ballet Alert. I know this sounds strange, considering my son will have to wait at least another year or too before starting pre-ballet, but the advice I read on the parenting thread can be applied to any parenting situation and far surpasses anything - in depth, in honesty and in sincerity - you read in the 'proper' forums.

Many happy returns... Alexandra, you've persuaded me to come out of my semi-retirement (otherwise known as Culture Shock) and start posting again.

I too am Frederick Ashton

My computer snag came when I tried to rate the quiz (giving it high marks, of course) and was informed that someone at my IP had already rated the quiz????