Alexandra

Thank you for that, Effy, and good to see you again. We'll be looking forward to your comments on City Ballet in Copenhagen, too.

I'm sure someone will be able to give a more detailed answer, but for starters, two thoughts. What "difficult to count" means, I think, is that it's not a simple waltz, say (1, 2, 3) or eight-bar phrase (1, 2, 3, 4, etc.) It may go 1-and 2, 3; 1, 2, 3, 4; 1 and a 2 and a 3 and a 4, 5, 6. The pattern of counts may not be easy. ALSO a dancer may not make a movement on each count, but if, say there are three days, Dancer A moves on 1; Dancer B moves on "and a"; Dancer C waits until 3. So this would be more difficult to remember. "Agon" is notoriously difficult to count, especially for companies new to it. Regarding Kyra Nichols' comment, I've heard that from dancers, too. For some, it seems to be a matter of pride that they "don't have to count," the implication being that it is their less "naturally musical" fellows who do. By this they mean (again, I think) that they "feel" the music, have a natural kinetic response to it. I've also been told by someone who staged ballets (and I don't think this is idiosyncatic) that someone who isn't musical can be made to look musical by counting; that way their body will be moving correctly in time with the music, even if they might not move that way if left to their own devices. Some choreographers don't use counting. Ashton didn't. (In "Repertory in Review," Nancy Reynolds note that this confused the dancers when he was setting "Illuminations" becuase they were used to counting. Kronstam said, of working with Ashton in "Romeo and Juliet," "He didn't care whether you did the movement on 1 or 4, as long as you were with the music." ) I hope Mel or Victoria, Leigh, Glebb, mbjerk, et al will see this thread and respond.

This is from the classical music section of the Internet Public Library - Music History 102: The site that I'd put on Discovering Ballet Music History Resourcesis an outline of material in one of the current standard undergraduates text, A History of Western Music by Donald Jay Grout and Claude Palisca (4th ed.). It has three separate chapters: Early Classical Period (Scarlatti, C.P.E. Bach), Classical Period (Hadyn-Mozart), and then Beethoven. Beethoven's work was divided into periods as well -- three, if I'm remembering correctly (and I may not be -- I'm writing without checking). As is often the case with "bridge" (a great word) artists, the earlier period was more classical, in this case; the later one more romantic. Other opinions on this welcome, of course.

I agree, Funny Face. Once when I taught dance aesthetics, in a graduate course, someone asked for a time line because, as she put it, "I have nothing to hang any of this [the readings in dance history] on." Most of the people in that class couldn't name a Romantic poet or painter or composer -- they'd never been taught it. Back to Beethoven, I just found this site (with a discussion board!) They take the "it doesn't matter, good is good, what period something is is of interest only to music historians" approach.) http://www.kingsbarn.freeserve.co.uk/

That's a very interesting question and I don't know the answer -- I hope someone else does. They try to emulate gas light with electric lights (with a blue filter -- one of our lighting masters will be able to do better, I'm sure) -- but those who saw the beginning of the electric era said it had an entirely different effect. I think there might be a problem, not only because the gas fittings will have been removed from theaters and may be hard to reintroduce, but because they were so terribly dangerous. Many dancers burned to death, including at least one noted one (Emma Livry in Paris) because they would dance too close to the flames their skirts would ignite.

I put up a few links I'd found for the histories of various art forms in the Discovering Ballet forum, and in looking through them I noticed something in the Music History section that went along with our discussions on the Classical period in music, and in Western Europe's history generally. My undergraduate music history text (c. 1968) considered the "classical period" in music from Mozart to Beethoven; Mozart began it, Beethoven developed it to its apex. Then the Romantics rebelled against it. I know that's a simplistic summary, but I hope it will do. In the music history resource that I found on the net (which is an "official" site and looks solid) Beethoven is now his own period. The classical period (late 18th century) in dance is the age of Noverre, and other creators of the ballet d'action, some of whom worked into the early 19th century. I thought of Cliff's point on another thread, can one person define a period? And wondered if there were those who know more about music history than I do who could comment further on this, on the historiography of music history. What are people teaching/being taught today? Where is Beethoven?

kfw, it's your company, so your corps can be anything you like

There's a possible solution to the View New Posts problem. I spoke with someone this morning who had missed a post, and said she'd noticed if a post was made when she was working through the View New Posts list, if she marked all posts as read, she'd never see that post (on the list). I've found the same thing, and it happened on the last board as well. What I'll do is, after going through the View New Posts list, I'll close out of it and then click on the link again -- that way I'll see the three or four new posts that have appeaed while I've been reading. I then read those three or four posts, then close out and click again. By that time, I should have caught up with it, and will mark all posts as read. Hope that helps.

Oh, rg, thank you -- I agree, the descriptions aren't always complete, and this will be invaluable. Also a good check list for those who THINK they have the complete Cyril WB And atm, thank you for that lovely story.

I was interested to see the prices -- quite low for what is, to me, such a valuable book. (When I first discovered ballet, Cyril WB was my first window on the 19th century. I must have read that book, cover to cover, four times.) I bought mine back in 1977 and it was $15 then -- several copies on that list are $15 now. A few years later, when Beaumont died, you couldn't get one for love or money, as they say, and when they started coming back on the market the book was generally $60 in New York's Ballet Shop. Anyone who is interested in 19th century ballet should have this book, IMHO. Thanks for the suggestions on how to find a copy, rg and atm.

Thank you for that, Jane. I hope you'll inspire more designers to answer! I think I'd enjoy watching your corps in performance

Marc, just to be clear, it sounds as though you're saying the ballet has been postponed indefinitely rather than pushed back to next season?

Thanks for finding that for us, kfw. I moved it into the NYCB forum so that NYCB people would be sure to see it.

She was initially trained at the Washington School of Ballet; the role of the Christmas Star in the company's production of Nutcracker was made on her when she was a teenager, I was told. I agree with Mel's assessment. She danced so softly that her technique was often underrated, but I'll never forget one Don Q where she did the fouettes with her hands on her hips! I liked her Sylph very much, as well as her Giselle. She was also in the original cast of "Push Comes to Shove." I never considered her one of ABT's stars, although she was a principal -- stiff competition then, with Makarova, Gregory, Van Hamel and Kirkland. In soloist roles, she was always the one I noticed -- the pas de trois in Swan Lake, for example. A lovely dancer.

Ah, so it was poor Pugni's fault I'd forgotten that -- of course you're right, Marc. His contract was cancelled. Thanks to both of you for the update. Any word on what AF will be doing next season?

I hope Marc will see this and respond, as he interviewed Fadeyechev several times and saw the company a lot during his tenure. As I remember it -- and I may be misremembering -- he resigned rather than carry out the orders of a new director. I thought there were some threads on this, but they seem to have disappeared, unfortunately.

That's an early start -- I'll be interested to read about what you think. It's an important season for this company. We've got some other Houstonites here, I know, and I hope they'll come out and join in the discussions when the season starts. Thanks OF.

Welcome to Ballet Alert!, Eric -- and thank you for your question. As you probably know, a reconstruction was scheduled for last season, if I remember correctly, and was postponed. Whether for lack of funds or another reason I can't say -- someone else may have much better information (Marc, rg?) editing to add: I did a search and found a thread on the Kirov-Mariinsky forum that discussed this a bit. It starts several posts down. http://balletalert.ipbhost.com/index.php?s...t=0entry72582

Maybe we should get little ballet alertnik beanies with red lights on the top that we can press when we want to be seen Thanks for the question, and thanks for the information on the theaters, Carbro.

There isn't a comprehensive site for dance history on the web comparable to those for the other arts, I'm afraid. There are, however, quite a few general dance history books that cover European ballet history in the 20th century.

I'll vote for that -- the Nanatchka Doctrine Good points, Nan. Thank you. Other views? Modifications, quibbles?

Adding a few more: Vera Volkova A site of interest to Ashtonphiles and Vaganovites as well as RDBers; read Volkova on Ashton and Vaganova at this site devote to the great Russian teacher whose work meant so much to both the Sadler's Wells and Royal Ballets. Thomas Lund dancer's site -- Thomas Lund is a principal dancer with the RDB Alexander Kǿlpin site of former RDB principal, now actor and choreographer Peter Schaufuss site of Schaufuss's company, Peter Schaufuss Balletten

Unfortunately, she's too tall for nearly everyone, except Kenneth Greve.

Why, thank you!!! Do you mean the Hell pieces? Of all the things I've written, those are the dearest to me. I'll always be very grateful to David Leonard for printing them in Dance Now so that more people would see them. Glad you did! For those interested in coaching, and how a ballet is put together, Part 3 has more of that and less of the history and politics.

Thank you, Maria! (I have to say, I chuckled at your Nutcracker Act comments. I know exactly what you mean, and about the Sore Thumb casting, as well. ) I wasn't sure why they redesigned the ballet -- perhaps because the sets were too large for Gamle Scene? I hope you see Schandorff at a second or third performance -- she often takes time to think through a role and make it work for her, but when it's inside her, she can be magnificent. (I don't think that she and LeRiche have a regular partnership, either.) I'll be interested to see the reviews -- I'll check the Danish papers on line tomorrow. And I look forward to reading more from you!