pj

If I may be permitted....

For those long-time YAGP participants who remember Boris Shapiro when he gave the welcoming speeches at the beginning of the regional awards ceremonies, "EVERYONE is a winner."

It is uncanny that those of us who thought the other "issues" of Suzanne Farrell's Notes from the Ballet were less than exciting agree that this last writing was much more detailed and interesting. Maybe she's lurking here somewhere!

Esmerelda???? (the tambourine was what gave me that idea)

But I'm not really sure that the french would be that different (Esnell vs. Esmerelda). Maybe someone who knows opera better would have a better idea.

The "hurry-up-and-give-them-a-standing-ovation-so-I-can-get-to-my-car-fast" phenomenon is alive and well in Orange County as well. It really dilutes the sincere standing ovation, unfortunately.

I saw "The Seagull" in Berkeley, and will see it again in OC. This is a once only type event, as we hardly have the resources to travel at leisure to see Ballet, and then see the same show again at home, but we met friends to see the show in the bay area two weeks ago while my husband had to be there on business. And, well, this week, my daughter, who has been wanting to see Eifman, is finally home from her residency program for spring break, so we will all go see it in OC.

If I may be permitted to analyze "the thing" that produces dancers, here is my personal view, based on nothing other than just personal observation and a "feeling," of what "the thing" is. I believe that this is when the choreographer "dreams" his dances and choreography (perhaps in his dreams, literally; perhaps when he is listening to music for inspiration). As he dreams, dances, or movements (portrayed by dancers) emerge from his dreams.

Ok, now you can shoot me down, or come up with another interpretation. Anyone?

Moving ahead to 2007.....

My husband and I combined a business trip to the bay area and a just for fun trip and we saw "The Seagull" on Weds. night at Zellerbach Hall. We have previously seen also "Anna Karenina" in L.A.

Mr. Eifman has toyed with the Chekov play to make it more ballet related, but retained the play's themes and has come up with a fun production. One of the more memorable scenes was when the entire corps broke out in hip hop style (and costumes) and seemed to have a lot of fun. It was very interesting seeing some of those very tall dancers doing hip hop. There were some shorter dancers that were actually very proficient at this particular genre (actually, I can't imagine an Eifman dancer not being proficient at anything they choose to do -- this company is so versatile, energetic and talented).

Because there were really no program notes that explained the entire story as envisioned by Eifman, it would be good for anyone attending a performance to familiarize themselves with the Chekov play and go to the performance knowing the themes of the play, but keeping an open mind as to the actual playing-out of those themes. There were a number of audience members that were left scratching their heads, and asking "But where is Nina?"

Although this ballet doesn't have the dramatic impact that was shown in "Anna Karenina," I think that most ballet people will enjoy it. The dancing is beyond phenomenal, and there are many interesting ideas presented (and open to your own personal interepretation, of course). My husband (the engineering brain) particularly enjoyed the design and functioning of the sets (including lighting).

Although I had read that this program would take place and was definitely planning on tuning in, my daughter called me from the East Coast (at 12:30 a.m. her time) to let me know it would be on and it was REALLY good. I watched, of course, and agreed that it was really good. I too was impressed by his recollection of the time at NYCB, as I had always got the impression that he left so soon because it didn't work out well for him -- for me at least, this interview set that part of the record straight.

I felt like Charlie Rose actually had not done adequate preparation for the interview. I feel like the whole defection thing has been hashed over ad naseum, and he could have just let that part be and asked more about what he was currently working on in connection with his new center. A lot of the questions Rose was asking, I could easily anticipate the answers, because most of those things Baryshnikov has covered in other interviews or I've read in other places I don't have specific questions that I felt Rose should ask, but I would've liked to hear things that I hadn't already heard from another source. It was nice seeing parts of the building that I haven't seen before, and I wouldn't have minded seeing more. I've only been in the lobby and outside (in the rain), so I wish they could've taken the tv audience on more of a tour.

I LOVED the fact that as a person who dancers are (understandably) so in awe of, that he was totally in awe of the fact that he got to perform at the White House. I think it is really good for our students to see that he has great respect for his opportunities, and that he is not at all cocky about them.

I also loved his comments about "knowing" people by their movement quality or the timbre of their voice, not by their name or address, necessarily.

Don't worry Ostrich, you are in good company. My daughter and her schoolmates got to see Sunday's matinee (although I've not heard her review of the performance yet). And here I am, suffering from the same jealousy and stuck on the West Coast!!!

Cost for one of the ballet residencies in the United States (including boarding, academics and ballet training) is $30,000+ (I don't have the exact figures, but know this amount is reasonably ballpark). I believe this particular program is not one of the most expensive in the country.

I would agree with Ray. There was far less substance than I expected; a bit of information and not much insight. Perhaps these notes are meant for a more general audience than those who attend ballet on a regular basis.

I am definitely not the world traveler, and I know nothing about shopping in Japan, but I just wanted to let you know that if you are not already aware of the beautiful ballet magazines that are printed in Japan, you should look for some -- the ones I've seen are beautiful, and include ballet stars from around the world.

I have seen them perform and we are on their mailing list, but we live too far away to see them often. They have a school associated with the company. My daughter knows a dancer in their company. What specifically did you want to know?

I was lucky then, I guess, that I was able to see both the Soviet Beauty (w/Lopatkina as Lilac at one of the performances that I attended) and the Bayadere-1900 both when they have been in L.A. I was fortunate to see several performances of both (as a little bird I know was in the cast ).

Today, my daughter got to see the matinee performance of R&J at Kennedy center (which she loved; of course, who doesn't love Kirov).

And if they did Raymonda in DC, I'd probably have to buy a plane ticket to go see it (and I'd probably let my daughter tag along too!!!). I love the music for this ballet.

I realize that I am off topic for Kennedy Center, but I am more interested in their ballet offerings now that my daughter lives in DC, so here goes with a potentially stupid question:

Regarding the "new-old Bayadere 1900" that Natalia refers to, didn't Kirov do this a few years ago (Oct. 2002) in L.A.-- (and a few other places in the US, if I recall correctly), or was it a different version?

In Los Angeles area, this was on KCET last Thursday Nov. 9, at 9 p.m. I saw the first 45 min; I had to leave to make an airport pickup. From what I saw, I would certainly want to see it again, and the whole program, of course; it was made only 3 years ago. Since my husband was out of town and since I am incredibly techno-incapable, I didn't tape it either. I was hoping to see it re-run this afternoon on KCET again. But no such luck. I wanted my daughter in DC to see it as well, but 10:30 p.m. on a Monday night will not go over well with the RA's at her residency. Rats!!

I LOVE attending rehearsals. I have only seen two companies (ABT and Kirov) in rehearsal, but those times were just so much a part of understanding the hard work of ballet. Just as a side note, I still felt the "magic" during the performances after the rehearsals. For me, it added to the experience, as it was so interesting to see the personalities of the dancers and especially of the artistic directors, as they directed their dancers. I would never miss an opportunity to see a rehearsal in the theatre (or the studio, for that matter).

Mel, I agree with you about Segal and his supporters getting off their duffs and paying attention to what's in front of them. Actually, I see Segal as part of some of the problems he's complaining about. Every time ABT comes to town and does a classic, he goes on and on about how lovely the dancers are and how well trained, and what a beautiful production, blah, blah, blah, and from my point of view, seeing the same show, I cannot always agree (in fact, hardly ever). It seems that the bigger the star dancers, the more he caters to what he apparently thinks they want to hear. On the flip side of that, when Kirov came last year with the Sleeping Beauty, I remember his reviews to be lukewarm and he complained about the length of the ballet, and the version of the ballet, while I felt that this classic was far better than anything ABT has done here (this includes OCPAC) for the past few years. My honest personal feeling is that Segal is buddies with the ADs at some of the American companies that he critiques, while Vaziev was probably too busy doing his job to make nice with the self-important local critic. I refuse to read his reviews anymore, as they seem totally uninformed and trite in content. And they aren't an accurate reflection of the shows that he sees (or sleeps through?) If he's not willing to actually make a constructive critique that a company or a dancer can use to improve their performance, how can things change for the better?

I don't think he knows as much about ballet as he thinks he does.

Overheard at SPAC about 5 summers ago, during a performance of "Prodigal Son:" "Where in the world is THIS story from -- it is SO lame and boring!" (I bit my tongue and declined to tell her the origin of the story)

As soon as I get off of the computer, I am going downstairs to read "Pointe" magazine. I also read "Dance" magazine, but I only have a subscription to "Pointe."

My daughter and her teacher (both former soccer players), and my husband (never a dancer, but definitely a soccer player/fan/ref/coach/etc.) would absolutely LOVE to see this ballet. And by Kirov (our family's favorite company) -- just to die for.

Would they ever bring it to USA??...here's wishing

nysusan,

Yana Serebryakova is a blonde, and she did dance Sheherazade pas de deux w/ Zelensky at YAGP gala. But she wears a brunette wig for the Sheherazade piece.

We saw Romeo at one of his rehearsals with Ashley. He is so incredibly young-looking. This season should be fun to watch!

Although our family was not able to go see the film, we WILL get the DVD when it is available.

Our school was extremely privileged to have George (Yuri) Zorich (I'm not sure I spelled that right) teach a master class last week, a few days after the opening of the film in our area. He is 88 years old and an amazing man.

Doug,

Thank you so much for your reply. When I have this all worked out, I'll report back in case it is helpful for others with similar questions.

pj