Alexandra

It never ever occured to me that someone was really trying to make certain groups of people _go away_ by playing certain music!

I suppose then.. that in some boutiques my patronage is not wanted. ;)

-d-

For a time, after I had the exchange noted above, I thought it my patriotic duty to avoid any small carryout that played classical music, and then I realized that that was just as silly as what they were doing.

Oh, there were good reasons -- I've read that about "Nocturne," too, and that Ashton didn't think the ballets would suit the new, larger Opera House stage. Still....I'd like to see them

I agree with everyone on this Fonteyn is 50 or 51 in this clip, and I'm pretty sure I remember reading that she wore her original costume.

Lynette, I would also love to see some early Ashton ("The Lords of Burleigh," especially, but all of this one as well, and "Nocturne" and many others). But at this point, I don't think it's possible, alas.

They've been doing this in DC for years. Anything Baroque or classical. There's also a nasty racial over/undertone to it here. I first noticed it when the little "news kiosk"/lunch place run by a very sweet Korean couple played Baroque music. I told them it was so nice to hear that. "Gets rid of those black kids who used to hang out here," the man said. "We put that on and they run out the door!" Whether they started the trend, or were riding the crest of a wave I don't know, but I began to notice this happening. and before I get hate emails, OF COURSE many teens, regardless of ethnicity, would react the same way, AND there are undoubtedly thousands of Korean shopowners who happily rap. I'm just telling an anecdote.

Thanks for posting that, Jane -- it is a nice photo of his James.

I've been sad since I read this. My first Rohmer was "Ma Nuit Chez Maude." I loved it. Saw it about 10 times, and I think I've seen all of his films over the years. Heck, I haven't gotten over Truffaut's death yet....

Thanks for posting that Kathleen (and for reviewing these programs for dvt) AND for posting all those links!

I second the motion. I hope you'll keep letting us know if you see something you think is worthwhile. Not only is it good to see new things and new spaces, but looking at modern dance can shine an interesting light on what's supposedly "new! new!" in ballet.

(Shameless plug. DanceView Times covers all types of dance, mostly in New York, Washington and San Francisco. While we generally link only to the ballet reviews in Links, there's other stuff there too, so take a look. We don't have a publication day any longer; people put up reviews as they write them. But you could look in once or twice a week and see what's new.)

Hi California! Welcome to the forum.

I'm bumping this up hoping that someone iwll see it -- I have not heard or read anything yet. I hope someone else will have some news.

Loved your summary volcanohunter.

I remember the third act as being like a chess game: each Queen had her own corner. They sat and glared at each other. This was one of the early Let's Rethink "Swan Lake"! versions. When I saw it, during the Cold War and long before the easy availability of tapes/DVDs, I didn't realize that the Soviets had been working along the same lines.

I also remember watching this once at the Met, and at second intermission, the young man sitting next to me asked me what I thought. He obviously loved it, so I didn't want to be rude. "Well, it's very DIFFERENT," I said. He looked stunned. 'This is the only one I've seen," he said. And that's one of the reasons they should think before they rethink.

Just a quick happy new year! No party here -- just working on getting out DanceView.

I love "negative crossover"! Brilliant term -- I hope all marketing directors as well as ADs read it.

Good points! (I liked the very last sentence. And I agree with him on what he says about the Festivals. The first one was supposed to be a one-off, partly because it was the 100th anniversary of Bournonville's death, and partly because the company was not in good classical dancing shape, the Bournonville repertory was in decline, and it seemed a good opportunity to rebuild both. It was intended to be an every 13-year EVENT (and I think it has made both the dancers and the audience want to be as far away from Bournonville as possible.)

The point about repertory is a good one -- but they can't invent a choreographer. They can just provide a climiate in which one can grow. And Ratmansky does have Danish roots, so they have a claim to him.

Jane Simpson has a very nice interview with Nikolaj Hubbe on the ballet.co.uk magazine:

http://www.ballet.co.uk/magazines/yr_09/de...kolaj-hubbe.htm

Every three or four months I check to check the price of certain treasured ballet books. One is Nancy Reynolds' "Repertory in Review," which for many is THE definitive book on the NYCB repertory through the mid-70s. To me, it's invaluable, and there are quite a few copies available from used book stores via Amazon starting at $15. !!!!! (Lasti time I checked, the lowest price was $69, so race to that search box in our banner, type in Repertory in Review, and buy!

The number of great male dancers who are Pisces, starting with Nijinsky and Nureyev, is astounding. I went through the Oxford Dictionary of Ballet once when I was laid up with flu and counted about 30 of principal level or above. That should keep you busy! (Pisces rules the feet and ankles.)

There are many memories as well as comments about this clip on this thread: Gelsey Kirkland's Giselle

Thanks for posting the link, Hans. I'm going to close this thread so that the dscussion can stay in one place.

Thanks, Natalia! Please keep us posted.

Eliot Feld

I'd guess that Makarova and Seymour were about the same age in their respective videos - but Makarova always danced her characters as very young. Also, at the time of Turgenev, 30 WAS an older woman. Today, 30 year olds try to look like teenagers; then, 20-year-olds were running households. I like Makarova's Russianness, her way of hearing the music, but I like Seymour's "this is my last chance!" desperateness, and I think that's true to the play. (I don't know of another ballet verison of the play, so I don't think Ashton's is an outlyer, or a changed interpretation.)

bart, I agree with all your points -- I was thinking, watching it again, that this is one pas de deux that really should not be danced as a gala excerpt. Ashton very rarely is thought of as an innovator, but this ballet is the most advanced dramatic classical choreography that I know.

Be careful what you wish for! The company danced it in Washington this past season, and it did not look like itself.

Thanks for posting that, Simon -- it is beautiful, isn't it? I remember reading at the time criticism that Seymour was overdramatic, or melodramatic, but I always thought that was accurate to the character.

It's a shame this (and "The Dream," televised about the same time) has never been released on DVD. Hint hint.

Jane Simpson's review of "Napoli" is ow up on ballet.co.uk's magazine:

Napoli

I'm afraid you're going to have to be patient. When casting is posted, it will be noted in this thread.

Were ABT to post it now, you couldn't really count on it holding up for two months anyway.

One season at Wolf Trap years ago, we all noticed that "ABT" is "TBA" spelled backwards (Meaning there were a LOT of cast changes.)

It won't be any less banal up there, though.