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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. Thank you for sharing your thoughts. It sounds as if some of the problems might be fixed with judicious editing...but not all...
  2. I'd be grateful to read any reports/reactions to Lacotte's staging of Stendhal's novel at the POB.
  3. Yes I hope so too. There is a lot of life getting in the way of ballet these days....Be well yourself!
  4. Thank you for writing about this. I definitely weary of watching ballet on video even though in many ways I have depended on it even when there wasn't a pandemic as I don't live in a city with (what I consider) a major ballet company or that gets tours from other ballet companies. I'd like to say I'm reading a lot about ballet and this work by/on Legat sounds very interesting....but I haven't been doing too much ballet reading either. (Other reading yes...developing some stay-at-home hobbies too. Also: work under present circumstances also just leaves me a lot more exhausted than it used to do.)
  5. The last time I saw Stafford dance was a few years ago in the first movement of Symphony in C--and that was my first time seeing her in some years: I noticed that she had, in the years since I had first seen her, developed a subtle warmth I found quite appealing. I hope she enjoys being a lawyer and does a lot of good ... and/or makes a fortune. I'm a little dismayed reading about both Jonathan Stafford and Wendy Whelan not being there for her final performance with the company. If there are going to be farewells for all retiring principals then I can't help but feel that the company leadership should show up for all of them--or none of them--whatever personal relationships are like behind the scenes. I guess I would understand people not showing if there were a legal dispute (to my knowledge there isn't) or if the retiring dancer had asked them not to be there. But farewells do seem to have a script of sorts and I guess it seems unfortunate to me--and even unprofessional--that everyone isn't able to rise to the occasion of following them.
  6. I find myself wondering if Mariinsky visit to D.C. will have to be cancelled then?
  7. Louise Fishman (1939-2021) is an interesting figure to me--also linked to abstract expressionism and an explicitly feminist painter as well: Her website: https://louisefishman.net/index.html Obituary in ARTnews: https://www.artnews.com/art-news/news/louise-fishman-painter-dead-1234599995/
  8. Wonderful to read about the promotions. Congratulations to all of the promoted dancers!
  9. I can't argue with history--the ballet didn't get traction--but when I saw Gounod Symphony a few years ago with Farrell's company I thought it was pretty terrific and distinctive. The choreography for the corps de ballet doesn't look like anything else I've seen in Balanchine, even when it works through recognizable motifs ("London Bridge"). The choreography for the ballerina did in spots remind me of the choreography for the ballerina in Allegro Brillante, and both ballets were created for Tallchief so no great surprise there--but that's hardly a knock on Gounod Symphony. I think it should be regularly revived--by all means, with Farrell guiding productions as long as she is willing and able--if not by NYCB, which has no special relationship to it, then by other companies. Gaspard de La Nuit is another Balanchine Ballet that more or less disappeared--and more completely than Gounod Symphony. It premiered as part of the Ravel festival. If my memory is at all accurate it was not just distinctive but completely unlike other late Balanchine works in having choreography completely interwoven with costumes and scenic effects. It also belonged to the sub-genre of his work having a rather gothic sort of tone. I would be very curious to see it again, but surprised if it turned out to be a lost masterpiece. (I was always also curious about Seven Deadly Sins. It had staging requirements that perhaps meant that even as a hit it would not have been revived frequently. My impression is that it was well-received critically.) Anyway, Balanchine is important enough that there is a lot of leeway for interest in the minor and offbeat. Or should be...even if it can hardly be a repertory focus.
  10. What a fabulous quote...it's funny to me too because, as a layperson, when I watch rehearsals, one of the things that most strikes me, is how much they stop & start!
  11. I am on a bit of a moratorium for new (or old) ballet books, but this sounds wonderful...
  12. I must have read that at the time . . . and as I recall he also cast Ashley in the Verdy role in Emeralds which also seemed about 'stretching' her. I would be very happy to see Ballade revived.
  13. ENB brought this to Chicago a couple of years back. My sister saw it and described it as "sublime." It's too bad there wasn't a fuller tour or a NY appearance.
  14. I saw it with Ashley--probably just the one time. I vaguely remember (or thought at the time that) Balanchine seemed to be trying to stretch her in more lyrical directions. It wasn't just another Ballo Della Regina. I've occasionally thought NYCB should revive it and have been puzzled that they don't. But somebody should.
  15. Lovely to read about this emotional evening . . .
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