Alexandra

Here's a link to the Balanchine Foundation web site. Bookmark this one! There's a wealth of information here -- a complete list of centennial events all around the world, info on the Balanchine Archive Project, including which libraries participate -- YOU MAY VERY WELL BE ABLE TO VIEW THESE TAPES. They are not restricted to dance professionals and scholars, but are for anyone who is interested. Each session centers on a particular solo or excerpt from a balleet, coached by the dancer on whom it was set. (And if this project interests you, you may also want to read the reports on several of these sessions, by Leigh Witchel, published in DanceView that are now on line here: DanceView's Balanchine Archive )

Effy, I share your thoughts on Cavallo -- and I don't think of it as a bias. To me it's an assessment, made after watching many performances. This is an age where "if you can do the steps, you get to dance the role," and that has not been, until the past decade, an attitude shared by the Royal Danish Ballet. In a time when rehearsals have been cut to the bone (which may be changing under Andersen; he does realize the importance of rehearsing) fast learners are also more likely to be cast. And, like you, I'm always ready to be surprised -- one role I did like Cavallo in very much (10 years ago) was "Serenade." It was, I believe, her first leading role and she was quite tentative in it at first; you could see her confidence grow in every performance. But there, her forthright approach to dancing works. When the company danced Napoli pas de six and tarantella here last year (I reviewed this for Dance Magazine and will say the same thing here), Cavallo and Massot danced the leads opening night, and the whole thing looked like an exercise. A highly spirited exercise, Konservatoriet with tambourines. But it had no center. It was merely a collection of solos. The next night Rose Gad and Thomas Lund did the leading roles and there was quite a difference -- the ballet DID have a center. It was a wedding again, not a series of solos. Cavallo was one of the soloists and she was charming -- fresh, and sweet, and beautifully clear dancing. Now, there may have been those who would have seen both performances and preferred Cavallo because her dancing was "stronger" than Gad. Gad has been much injured and her dancing was not as sharp as it was 5 years ago; I'd call it mellow -- she knows what she can do and she doesn't push for anything beyond it. But she's still beautifully musical and she can still hold the stage. I find both Cavallo and Claire Still's lightness a bit insubstantial -- it's lightness that has been learned, not a lightness that comes from within, the result of dancing in a certain way from childhood. Anna, yes, there's a group of dancers, led by Peter Bo Bendixen, who will be performing in New York after the Washington performances. The schedule is on a thread right next door: http://balletalert.ipbhost.com/index.php?s...showtopic=13436 I will be glad to see more of Gudrun Bojesen as well. She came up during the Time of Troubles, unfortunately, and came late to leading roles, but I think she is a lovely dancer -- beautiful proportions, beautiful lines. She's also the grand-niece of Edel Pedersen, a dancer from Hans Beck's time, and had the benefit of Great Aunt Edel's comments on her dancing when she'd go for Sunday visits (I know this from an interview I had with her in 2000).

Two choices only. If you don't care, don't vote

To clap, or not to clap? There are two distinct views on this and they've been expressed in two recent symposiums in New York: RAYMONDA DOES NOT CLAP, SHE IS A PRINCESS: (from Dale Brauner's article on DanceView Times this week) Homage to St. Petersburg OF COURSE SHE CLAPS, IT'S A DEMI-CARACTERE ROLE But Frederic Franklin had this to say at another recent New York symposium. From Mindy Aloff's Letter to New York (November 10, 2003) in DanceView Times: Letter from New York So what do we think happened? I'll put up a poll in a minute so you can vote for which you'd prefer, but I'd love to hear other lore here -- Russian, European, American. There was an article a long time ago in Dance Research Journal (and I hope I have the right one) by Alastair Macauley, an interview with Ashton, about the claps. I remember the question being raised, but it was so long ago that I can't remember his answer -- if anyone knows about this, please report!

I would love to see Lilac Garden on a small stage. That was a comment from British viewers from the first time ABT brought it (aside from missing the original cast, of course) -- that it just didn't have the impact in a larger house. I want to see "Knight Errant." No chance of it, I suppose, but I'd still like to see it -- perhaps Birmingham Royal wil revive it? There are some American dance scholars reviving "The Planets" piece by piece. I saw a bit of it last spring and it was certainly interesting enough to warrant further work. It's very external -- Tudor's interest in the psychological and internal motivation is obvious, but he hadn't figured out how to do it yet, and so he makes the characters' actions the result of planetary influences. Tudor's centennial is coming up in 2008. It's never too soon to start......

That darned handclap deserves a thread of its own. Frederic Franklin said at another symposium recently that there should be an audible hand clap because the role was demicaractere. I'm going to put up a thread called The Clap in Aesthetic Issues in a few minutes and we can hash it out

Good point, Paul -- his essays are exceptionally clear. I think he knew he was a missionary. He loved dancing, but loved Balanchine especially and was the first to really explain Balanchine to us. And he loved DANCING for its own sake, not as a means of expression, but as art for its own sake. "When you watch ballet dancers dancing" one essay begins, and it is, I think, the clearest description of what one might see doing so.

Denby was a poet (and gymnast, in his early life) in addition to being a dance critic. Most of the pieces in the post above refer to his poetry, and his role in New York's artistic and intellectual life. But this long interview with Anne Waldman is a lot about dancing, too: Anne Waldman interviews Edwin Denby [Editing to add:] Much of the conversation is about Davidsbundlertanze (and, later, the Tchaikovsky Festival). It's especially valuable because this was after Denby had stopped writing dance criticism.

Edwin Denby is considered by many America's greatest dance critic; he's certainly the Patron Saint of many. I just found an extensive collection of articles in Jacket (February-March 2003) about him: Edwin Denby Feature: Edwin Denby, 1903–1983 — edited by Karlien van den Beukel Rudy Burckhardt: ‘And then I met Edwin...’: Rudy Burckhardt talks to Simon Pettet Yvonne Jacquette Burckhardt: Edwin Denby Jacob Burckhardt: Martens Bar (with photo of Martens Bar and MP3 audio file of Edwin Denby reading ‘Disorder, mental, strikes, me; I’) ‘The Cinema of Looking’: Rudy Burckhardt and Edwin Denby in conversation with Joe Giordano Lynne Hjelmgaard: Ten poems Vincent Katz: Poem: Edwin Sitting Nicole Mauro: Ode: To Edwin Denby Alice Notley: Intersections with Edwin's Lines Simon Pettet: poem: ‘Fortunate proximity of lives...’ Noel Sheridan: Remembering Edwin Denby Simon Smith and Ron Padgett: A conversation about Edwin Denby Brian Kim Stefans: poem: A california submerged Anne Waldman interviews Edwin Denby, 1981 Edwin Denby interviews artist Neil Welliver Audio links: Edwin Denby reads five of his poems Vincent Katz’s site curated for the New York Studio School on ‘Rudy Burckhardt’s Maine’ contains eight sonnets by Edwin Denby: ‘The sonnets he wrote later in life, in Maine, where he spent summers with Burckhardt’s family, show his characteristic compression and opacity taken to new extremes.’

NYCB will close its gala program tonight with Symphony in C, considered one of it signature works. Questions, comments, memories, favorite casts, ideal casts, lore, discussion -- the floor is yours!

In the 11/24/03 DanceView Times, Dale Brauner reports on a panel discussion at Columbia University called St. Petersburg in New York: Ballet. One of the panelists was Suki Schorer, whose talk focused on Balanchine technique: Homage to St. Petersburg

I thought it might be helpful to have a central place for posts -- news, announcements, and reports -- about events this Balanchine Centennial season: symposia, lectures, etc., film series, etc. I've put it in the Companies Forums right next to NYCB on the theory that way those most likely to be interested would have no trouble finding it. But there are events around the world, as well, and if you'd like to post about an all-Balanchine evening you've seen far from New York, that would be fine.

gatto, there might be union problems. A company using a non-union orchestra might have trouble getitng booked into a union theater, etc. (Note: the company will perform to live music at the Kennedy Center, according to the Center's web site.) I think traveling with an orchestra is prohibitively expensive these days -- almost no one does it. Companies come with a conductor, who has to rehearse the resident orchestray, and when you're doing one night stands, this just isn't possible. And with all due respect to the young and hungry, a tape might be better than underrehearsed, green players, as many companies have found when they've tried to use a local youth orchestra for Nutcracker. (Sometimes it works; sometimes it doesn't.) Piccolo, thanks for your review!

You better!!! : ) Take good notes, and we'll be anxious to hear all about it.

And some children might love them. Think of all the 19th century childrern's books where the little dears are enthralled with Fox's "Book of Martyrs" All the blood and torment without the humor!

I like shades of gray, but I like them in the context of being between two poles (the balck and the white). I think it was relativism that sent Moses up the Mount, but I can't prove it But relativism is an off-shoot or corollary to post-modern. And I think Joanna's description is quite fine and I'm glad to have the view of someone who's sympathetic to PoMo.

Absolutely! And don't forget that geniuses are known for their terrible twos tantrums at any age. Something to look forward to

Kate, I think part of the "fun" of postmodern is that you can have any opinion -- nothing matters, everything is relative, murder? self-defense? accidental death? Hey, it's all in how you look at it. (Ayn Rand never gets enough credit for relativism.) Who says a building has to be functional? Or have doors and windows?

In today's Guardian: Buyout saves music publisher Boosey's independence

Not specifically dance-related, but there's an interesting article about genius and the wiring of the brain in Wired magazine. The Key to Genius

Oregon Ballet Theatre's Dance Talks presents Merrill Ashley and Nancy Goldner "Dancing Balanchine/Watching Balanchine" Monday, December 1 7 PM Winningstad Theatre, 1111 SW Broadway at Main. Free Reservations required: 503-227-0977, ext. 213 Merrill Ashley, former principal dancer and current ballet mistress with New York City Ballet, and dance scholar/critic Nancy Goldner launch Oregon Ballet Theatre's Dance Talks series on Monday, December 1. This ongoing series will provide context and perspective for all remaining programs in OBT's 2003-04 15th Anniversary Season. On December 1, Ms. Ashley and Ms. Goldner will discuss choreographer George Balanchine in general and his Nutcracker, in particular. Oregon Ballet Theatre presents the first West Coast production of George Balanchine's The Nutcracker December 11 - 27 at Keller Auditorium. Ms. Ashley danced every principal role in the Nutcracker to great acclaim and her Balanchine repertory includes more than 50 pieces (many created for her) danced over two decades. As a student in School of American Ballet, Ms. Goldner danced in the 1954 debut of George Balanchine's The Nutcracker. The event is free but reservations are required: 503-277-0977, ext 213.

The GashlyCrumb Tinies, which I've never read! I know A is for Amanda and B is for Basil because I've heard people recite them, but I've not delved farther than that.

A press release from the company: Excitement is running high every hour of every every day as the 130 dancers -- including 95 children -- of OBT's Nutcracker company prepare to debut the first West Coast production of George Balanchine's The Nutcracker. From the tiniest angels to the magnificent Sugar Plum Fairy, these dancers will steal our hearts for 21 performances beginning December 11 at Keller Auditorium. Opening night is Thursday, December 11 at 7:30 PM. Please let me know when you'd like to see the production. You are most encouraged to see it more than once, as the cast will change frequently. There are lots of fascinating facts in the history of the Nutcracker, including these about the current OBT production: All in the family Christopher Stowell’s mother, Francia Russell, a former New York City Ballet dancer and now co-artistic director (with Kent Stowell) of Pacific Northwest Ballet, trained the children’s Nutcracker corps at NYCB for many years. OBT Artistic Director Christopher Stowell’s first dance role was the Nutcracker/Prince at Pacific Northwest Ballet, before he’d taken a single dance lesson. He was 11. Alexander Poe (party child) is following in the footsteps of his father, Kevin (Drosselmeier) and mother, Nicole Cuevas, a former OBT dancer. Emily Locke’s (soldier) father, Frederic, is also a former OBT dancer and three sets of sisters grace this OBT production: Jadyn and Kylan Meyer (party children/soldiers), Dalia (polichinelle) and Marissa (soldier) Taylor, and Genevieve Boutelle (candy cane) and Kjirstin Wodtli (soldier/polichinelle). --------------------------- Events Associated with OREGON BALLET THEATRE’s Production of George Balanchine’s The Nutcracker Friday, November 28 9 - 11 AM Free Meier & Frank Holiday Parade Through Downtown Portland Toy Soldiers escort a carriage with the Sugar Plum Fairy, Nutcracker, and Mice Saturday, November 29 1:30 – 2:30 PM Free, with Museum Admission Children’s Museum, Washington Park Meet the Sugar Plum Fairy, Nutcracker and Toy Soldiers Monday, December 1 4 – 5 PM Nutcracker Tea Heathman Hotel, SW Broadway at Salmon Fremont & Morrison Rooms Tickets: 503-227-0977, ext. 208 Dance Talk 7 – 8 PM Free Dancing Balanchine/Watching Balanchine Winningstad Theatre, 1111 SW Broadway at Main Former NYCB principal dancer Merrill Ashley and dance scholar Nancy Goldner discuss Balanchine, in general, and The Nutcracker, in particular. Ms. Goldner was in the first, 1954 performance of Balanchine’s Nutcracker and Ms. Ashley’s repertory of Balanchine’s works includes more than 50 ballets, spanning two decades. An extraordinary opportunity to learn about Balanchine from one of his principal ballerinas as well as a critic steeped in his tradition. Reservations: 503-227-0977, ext. 213. Sunday, December 7 3 – 3:30 PM Free Providence Festival of Trees Oregon Convention Center, Exhibit Hall A Nancy Killough provides a brief introduction to the ballet. Polichinelles (small clowns) perform. Saturday, December 13 4:15 PM Saturday, December 20 4:15 PM Sugar Plum Party First Balcony, Keller Auditorium, immediately following the 2 PM matinee Refreshments, party favors and photos with your favorite Nutcracker characters. $25, in addition to a performance ticket. Reservations required: 503-222-5538.

Richard Dyer responds to, and expands on, John Rockwell's article, and there are points in it that shed light on our discussions here: Distinct styles, panned or praised, are vital

Mindy Aloff's Letter from New York in this week's DanceView Times is about the Works & Progress program at the Guggenheim devoted to the reconstruction of two "lost" Balanchine ballets.