Alexandra

I look forward to reading what you think of Jewels -- it won't look like NYCB, or SFB or MCB. One might say that Balanchine went BACK to Petipa, leapfrogging back over Fokine. They're both branches of the same tree, of course, and Fokine was quite capable of formal choreography, but they operated from a different aesthetic. I don't think Fokine thought he was a reinterpreter of Petipa -- he was leapfrogging back to an older tradition there, too (the Romantic ballet on the one hand, and the ideas of Noverre on the other).

I think the days of live music for companies of this size are long gone, unfortunately. It would double the ticket price -- anyone like live music that much Unless a choreographer/company limits the rep to works that can be accompanied by a piano, or a string quartet (as Eliot Feld used to do) we're stuck with tape. It's gotten to the point that I'm shocked that there's an orchestra! Even mid-sized companies do tape now

October 9, 2003 Ballet Nacional de Cuba will perform "Swan Lake, Act II" as part of their Mixed Repertory Evening at City Center October 15-19th Ballet Nacional de Cuba announced today that they will substitute the second act of Swan Lake for the once planned Les Sylphides. This is in response to a claim of copyright infringement by the Fokine estate, although the version danced by the Cubans was one taught to Ms. Alonso by Michel Fokine himself and differs in many respects from the version licensed by the Fokine estate. In addition, the Fokine estate has given exclusivity of performance of Les Sylphides to American Ballet Theatre (ABT) for a period of three years. This was unknown until yesterday. [snip] As a result, the substitution will be made. Reached at her home in Cuba, prior to her arrival in New York next week, Ms. Alonso was disturbed by the news. "How sad it is that I won't be able to show my company perform my version of this beautiful work. Usually dance companies help each other and this comes from my own home company [ABT]."

Dale, yes. It was early days for Mr. Z (a dancer whom I admire; I saw him as a last minute replacement in "Giselle" -- we were told it was his debut -- and loved his Albrecht). At this performance, though, he was telegraphing -- "Why is there partnering in the middle of MY SOLO?????" which, in connection to what Drew wrote above, is more a matter of coaching than being miscast.

From Links: The San Francisco Ballet opened its season in Los Angeles on Tuesday. Art Priromprntr in USC's Daily Trojan Lewis Segal's review in the LA Times is available online only to paid subscribers, but here is a taste: Laura Bleiberg in the Orange County Register

CASTING ANNOUNCED FOR THIRD WEEK OF AMERICAN BALLET THEATRE’S FALL SEASON AT CITY CENTER Amanda McKerrow to Make ABT Debut as Hagar in Pillar of Fire on Wednesday, November 5 Pas de Deux from Flames of Paris to be Performed on November 8 and 9 Matinees Casting for the third week of American Ballet Theatre’s Fall season at City Center, October 22 through November 9, was announced today by Artistic Director Kevin McKenzie. Highlighting the third week of performances will be the ABT debut of Amanda McKerrow as Hagar in Antony Tudor’s Pillar of Fire and the debut of Gennadi Saveliev as The Friend on Wednesday, November 5. On the same evening, Michele Wiles, Carlos Molina, Yuriko Kajiya and Jesus Pastor will perform the roles of the Couple in White and the Couple in Yellow in Martha Graham’s Diversion of Angels for the first time, and a new cast will debut in Sir Frederick Ashton’s Symphonic Variations. The pas de deux from Flames of Paris, after the original by Vasily Vainonen, will be performed by Gillian Murphy and Gennadi Saveliev at the matinees on Saturday, November 8 and Sunday, November 9. The pas de deux was first performed by ABT in 1972 with choreography by David and Anna-Marie Holmes after the original. The complete four-act ballet received its World Premiere by the Leningrad-Kirov Ballet in Leningrad in 1932. American Ballet Theatre’s Fall season at City Center continues through November 9. The season is sponsored by Movado Watch Company, a leading benefactor. ABT’s 2003 City Center season is made possible with public funds from the New York State Council on the Arts, a State Agency. Tickets priced from $30 to $80 can be purchased by calling CityTix at 212-581-1212 or at the City Center box office. City Center is located on West 55th Street between 6th and 7th Avenues in New York City. For more information, please visit ABT’s website at www.abt.org. Complete casting follows: THIRD WEEK Tue., Nov. 4, 7:30 P.M. INNOVATIVE WORKS WITHOUT WORDS – S. Brown, Saveliev, Herrera, Corella, Murphy, Molina, Reyes*, Stiefel workwithinwork – Company WITHIN YOU WITHOUT YOU: A TRIBUTE TO GEORGE HARRISON – Company Wed., Nov. 5, 7:30 P.M. MASTER WORKS DIVERSION OF ANGELS – Wiles*, Molina*, Tuttle, Stappas, Kajiya*, Pastor* SYMPHONIC VARIATIONS – Kang*, Abrera*, Fang*, Hallberg*, Gomes*, Torres* PILLAR OF FIRE – McKerrow+, Saveliev*, Corella RAYMONDA (Grand Pas Classique) – Dvorovenko*, Beloserkovsky* Thurs., Nov. 6, 8 P.M. CONTEMPORARY WORKS PETITE MORT – Company SECHS TÄNZE – Company DORIAN – Beloserkovsky, Dvorovenko, Saveliev Fri., Nov. 7, 8 P.M. MASTER WORKS DIVERSION OF ANGELS – Wiles, Molina, Tuttle, Stappas, Kajiya, Pastor SYMPHONIC VARIATIONS – Kang, Abrera, Fang, Hallberg, Gomes, Torres PILLAR OF FIRE – McKerrow, Saveliev, Corella RAYMONDA (Grand Pas Classique) – Dvorovenko, Beloserkovsky Sat. Mat., Nov. 8, 2 P.M. FAMILY FRIENDLY THEME AND VARIATIONS – Tuttle, Corella LE GRAND PAS DE DEUX – Reyes, H. Cornejo THREE VIRGINS AND A DEVIL – Butler, Riccetto, Dmochowski, Salstein, Lopez FLAMES OF PARIS Pas de Deux– Murphy*, Saveliev* FANCY FREE – Salstein**, Lopez, Gomes, Herrera, Kent, Snow Sat. Eve., Nov. 8, 8 P.M. CONTEMPORARY WORKS PETITE MORT - Company SECHS TÄNZE - Company DORIAN -Hallberg, Kent, Gomes Sun. Mat., Nov. 9, 2 P.M. FAMILY FRIENDLY THEME AND VARIATIONS – Wiles, Hallberg LE GRAND PAS DE DEUX – Dvorovenko, Beloserkovsky THREE VIRGINS AND A DEVIL – Waddell, Schulte, Fischbach, Molina, Bragado-Young FLAMES OF PARIS Pas de Deux – Murphy, Saveliev FANCY FREE – Salstein, Lopez, Gomes, Herrera, Kent, Thomas Sun. Eve., Nov. 9, 7:30 P.M. INNOVATIVE WORKS WITHOUT WORDS – Abrera, Torres, Tuttle, Tidwell, Murphy, Molina, Dvorovenko, Beloserkovsky workwithinwork – Company WITHIN YOU WITHOUT YOU: A TRIBUTE TO GEORGE HARRISON - Company *Editors please note: first time in a role: Tue. Eve., Nov. 4 – Reyes in Without Words Wed. Eve., Nov. 5 – Wiles, Molina (Couple in White), Kajiya, Pastor (Couple in Yellow) in Diversion of Angels; Kang, Abrera, Fang, Hallberg, Gomes, Torres in Symphonic Variations; Saveliev (The Friend) in Pillar of Fire; Dvorovenko, Beloserkovsky in Raymonda (Grand Pas Classique) Sat. Mat., Nov. 8 – Murphy, Saveliev in Flames of Paris **Editors please note: first time in a role in New York: Sat. Mat., Nov. 8 – Salstein in Fancy Free +Editors please note: first time in a role with ABT: Wed. Eve., Nov. 5 – McKerrow in Pillar of Fire

Welcome, Quiggin! Thank you for posting that. There are two ways (if not 99) to look at everything, and people can find "Scheherezade" silly or charming or once-revolutionary -- thank you Drew, for your post, which puts Fokine in context as well as anything I've read (and much better than I could have said it!) The whole notion of after-Petipa/pre-Balanchine is a fascinating one. When I saw a tape of Spectre de la Rose immediately after seeing the Kirov's new/old "Sleeping Beauty" and realized that there was less than 20 years difference between the two, I was struck at how similar it was to Petipa in some ways -- not that far from the Bluebird, choreographically, although, of course, the context is different -- not a divertissement, a tiny story/poem. We see almost nothing like Fokine today -- the whole Noverre line (anything that can be painted can be danced, unification of costume, decor, music, choreography) as well as the use of character and demi-caractere dancing -- is gone, or at least sleeping. Fokine is indeed very unlike Balanchine - he wanted rounded line, what he considered "natural" movement, and wasn't interested in experimenting with the body to see what it could do -- not interested in movement for its own sake, but in how to use movement to express something. The two political parties in ballet I think it's great that you sensed there was something going on there that you might not be seeing. One of the big revelations for me was when I realized that, for Fokine (and for audiences of that day) the steps were private; people weren't concerned with the technical aspects of dancing beyond "wow! what a jump!" They were watching/seeing the expressive possibilities of movement. So from both sides -- stage and audience -- the context in which they were creating and watching is very different from today. Did anyone else go? What did you think? Silly and old-fashioned? Of historical interest only? Rejuvenated and lively? Or something else entirely?

Here are the first three reviews I've found: Kirov Ballet's San Francisco opener reviewed by Ann Murphy Kirov Ballet's opener a brilliant, thrilling spectacle (to cut to the chase: Vishneva did not do Firebird) ------------------- Another review of the Kirov, by Mary Ellen Hunt in the Contra Costa Times: Kirov worth the long wait ----------------------------- And another reveiw, by Asya Passinsky Ballet Toes Line Between Old and New "Graceful, pink-tutu'd ballerinas" in Swan Lake. No wonder Fokine rebelled!

There should be a secret handshake for hairspliters I'm with Drew. I think this is the way critics use the term. If you read "Buzz was miscast as Siegfried" that's what they mean. A great dancer miscast in a role can still give an interesting performance. A good dancer well-coached miscast in a role can give an interesting performance. A less gifted dancer perfectly cast in a role can place high on the "from hell" list.

I wonder how much help Zeklensky was? I saw his Tchai pas and it was stop/start, as though his battery suddenly went dead, then got recharged for his solos. I'd like to put in a kind word for Bussell -- first in Agon, I think people realized that the guests were trying out roles and didn't expect NYCB interpretations. Bussell got a lot of buzz for that "Agon" -- she got a lot right about it, and people liked her guts. I'd also say that I think she could be a great Aurora -- like Drew, I liked her sweetness. Her rosiness. I thought that production was unhelpful, shall we say. Since it was anti-everything that she was. I didn't think it was a great performance, but I thought the jury was definitely out (and learned afterwards that she was injured) on her as an Aurora, and I can think of many more hellish Auroras -- but she's an English Aurora, not a Russian one.

Five! Wow. I hope they give stickers!! I think you raise an interesting point -- one of the great things about those roles is that they can be anything: innocent, knowing. I've sometimes thought that Odette had been burned before -- always running into these earnest young men, who always promised anything by moonlight, then either went off hunting and genuinely forgot ("I'll call you!") or went to the ball with the best of intentions, but there was this hot chick in a black strapless...... oh, she's seen it all before, she has, she has. I also think Siegfried can be young and innocent ("the Prince who has never loved before") like Marguerite and Armand. Marguerite is so often played by an older woman that I'd forgotten, until I reread the book some years ago, that she's actually a year or two older than Armand. And about 20 years more experienced. Nice to have a production where Odette and Siegfried take center stage, and it's not Rothbart's Dream.

There are days when I think that casting has generally been so, well, mis, during the past 10 or 15 years that, like political scandals, it's difficult to come up with something so outrageous that it hasn't been done (the death of satire, etc. etc.) The problem is that it's difficult to judge miscasting when directors do what we all accused our teachers of doing when I was in high school -- throw the papers down the stairs, and whichever ones landed at the bottom got the As. Put all the dancers out there -- keeps 'em happy -- and one of them is BOUND to be really good. (Always remembering that there will be a dancer ideally suited to the role that some people will hate, and others ideally unsuited to the role that people will think -- and some write -- "His lack of musicality was an apt metaphor for the awkwardness of adolescence. Although it is unusual to have a Prince several head shorter than the cygnets, this, too, added pathos to his portrayal. The button nose, cauliflower ears and endearingly bowed legs made us realize that Siegfried, too, is enchanted, under a spell until true loves frees him. Finally, line is not necesary for a performer who can find the hidden comedy in what more conventional interpreters have chosen to see as a tragic part. In short, perhaps the greatest Siegfried in the history of time."

Yes, it is nice, Ina -- and nice to have your review as well. What's next for Zakharova there? Has her schedule been announced?

Whether it's a Golden Age or not may be too early, but I definitely think the West Coast is coming into its own as a major force in American ballet. The sheer number of performances -- people want to live there, and "people" includes dancers, and dancers have to dance.... West Coasters, strut your stuff! Is there a ballet boom where you live?

Welcome, Nyala! Not too late at all -- no review is ever too late here. A very warm welcome from all of us at Ballet Alert! and I hope you'll keep us up to date on what's happening in Seattle (and join in our other discussions as well). Any thread that's not locked is an active thread -- if you scroll through the various forums and find something you'd like to comment on, don't be shy. Some of our best discussions have come from people reviving older topics. Thanks again for a fine review -- this is an important company, and we want to hear about all of its performances and casts!

Yes, we're working on our TURN OUT right now :grinning:

It's been a bit hectic around here lately (or at least on the back end of things) and so I forgot to post when we had our FIFTH ANNIVERSARY!!!! I don't even know exactly when it was. I registered the domain name and put up the site in late July 1998 -- around the 21st (?) And put up a little Front Page message board which was up for awhile, and then put up our first real message board -- the UBB -- in October of 1998. And, so, well, here we are. Give me an annivesary present -- POST. We've gotten away from our scintillating debates on aesthetic issues. More people are posting about performances WHICH IS TERRIFIC! Being greedy, I'd like more. Don't be shy. Dip your toe in. You saw something? Say "I saw X and kinda liked it." That's a start. When you realize that no one will jump in and say, "You LIKED IT? What planet are YOU from?" maybe next time you'll tell us why -- or what you didn't like. The Young Dancers and Special Groups forums talk lots -- it's the General Discussion group forums that need encouragement. Read something? Post about it. Someone says something that strikes you as interesting? Chime in. Thanking you in advance.......

I'm putting the article up again, with a blurb for discussion: it's not only a preview of the company, but it's about many of the issues we talk about here. The Oregonian watches as Christopher Stowell takes over the reins at Oregon Ballet Theater.

It's a beautiful review, Drew; thank you for it. I was interested in your comments on Oscar Torrado. I hadn't seen him when the company was here, and have a friend who described him as the greatest pure classicist ever born. (Those kind of remarks always make me skeptical.) I did see J. Carreno and agree that he is a fine classical dancer, and so you've given me a basis for comparison. I admire the Cubans, too. They were very controversial (at least here). Several friends simply couldn't stand them -- didn't like the bodies, didn't like the approach, didn't like the way they moved. I will say it took me two performances to get used to them, but then I liked them very much -- for many of the same reasons you did. One could sense that they were loved at home, from the way they took the stage. Two dancers our audience had never heard of would come out as though they were great stars and home team favorites -- without any arrogance, in a matter of fact way. And that was nice to see.

No. No. Bowing Thank you, Robert. That is THE most beautiful photo of Dowell I've ever seen. I also like the energy of it -- quiet, but he's not a marble statue. It's gorgeous! A

West also wrote a review (covering OBT, PNB and a few other things from the Pacific Northwest scene, for the Summer issue of DanceView, and will be writing for us again). :)

Loving the whole thing is just fine You don't have to find flaws. If you don't like something, say it. If you do, that's good too. It's always interesting to read everyone's opinions -- for us, and probably for the company too.

I'd agree -- it's not a lurid ballet. It was violent by 1965 standards. No blood, no spilled entrails, no close ups of the poison going down the gullet projected on the backcloth.

I can't resist. The late Anita Finkel nicknamed this one "Under the Table, Somewhat Inebriated."

It's similar to the MacMillan version in many ways -- they're both derivative of the Lavrovsky one. Cranko's is more lively, less grand (the Stuttgart was a smaller company than the Royal), more dramatic -- in that the drama is the focus. More street fighting, less formal dancing. (with apologies to those on this board who know the ballet more intimately; feel free to add, correct, etc. )