Alexandra

I took the comment, "but I'm not here to emphasize my husband," at face value; i.e., she wasn't being asked about him, but about Balanchine, and she did not want to be pushy But that's obviously just a guess. I've read a lot of dancers say that their favorite ballet is the one they're working on at the moment, and I think that's probably true, at least in one sense. You may be fascinated by a current role that isn't as fulfilling as an earlier role, or that you know you're never going to be known for, but it's NOW and you have to live and dance in the present.

Etudes is often misunderstood. For a Danish take on this ballet and its history, here's an article from DanceView by the Danish writer Alexander Meinertz: Etudes and Danish Classicism

Ismene Brown in the Telegraph on the Kirov's production of Sacre (Nijinsky via Hodson-Archer) Misguided quest for Nijinsky's genius is a travesty Actually, I think Nijinska is a greater choreographer than her brother, but that's another story But I love the phrase "celebrity ambulance-chasing." That could sum up our age!

Those are great, Tancos! It is a worrying concept. Are the monkeys given adequate breaks? (We must assume they're well-fed and well-housed.) But why typewriters? Why not give them computers? It would speed things along, one would think.

I'll put up everything I can find, but it means going from venue to venue and takes some time. There's no Suzanne Farrell Ballet Company in the sense of press releases, people to answer questions, etc. Dale (or anyone) if you find out what's in New Jersey, New York, Pennsylvania, that area, please post. I've put up all I could find on line at this time.

Hans, my great talent is that I can delegate Dream up those quizzes and put them up!

In the long term, we'll probably be lusting after the goodolddays of taped accompaniment :grinning:

In response to GW's post, I thought I'd try to piece together a touring schedule. The links will take you to the presenter's site; more info there, and often you can buy the tickets there, too. Grand Opera House Wilmington, Delaware October 9, 2003 WORKING REHEARSAL In this working rehearsal, Farrell draws on her expertise to guide a new generation of dancers as they perfect five ballets by Balanchine. Adults $29, $36, $38 ------------------------------------- Ann Arbor, Michigan October 31, 2003 PROGRAM Balanchine/Tchaikovsky Mozartiana Balanchine/Tchaikovsky Pas de Deux Balanchine/Tchaikovsky Meditation Balanchine/Tchaikovsky "Elegie" from Tchaikovsky Suite No. 3 Balanchine/Tchaikovsky Serenade Florida State University 2 NIGHTS 2 REMEMBER The Suzanne Farrell Ballet OCTOBER 17 & 18, 2003 Ruby Diamond Auditorium on the FSU campus The concerts will consist of two different programs of Balanchine choreography. One evening will feature the music of Tchaikovsky, and the second will highlight the unique relationship between Balanchine and his dancers. ------------------ Los Angeles, California 11/07/03 (Friday) and 11/08/03 Time: 8:00 PM - 10:00 PM Description: Suzanne Farrell Location: Royce Hall Auditorium Category: Performance Sponsor: UCLA Live Tickets: $55, $45, $30 no program info yet ------------------------ San Francisco, California presented by Cal Performances Zellerbach November 14, 15 Program: Balanchine/Mozartiana, set to Tchaikovsky's Suite No.4, Op. 61; Tchaikovsky Pas de Deux, set to excerpts from Swan Lake; Meditation, set to Op. 42, No. 1; "Elegie" from Tchaikovsky Suite No. 3. Price: $26/$36/$46 -------------- Washington, DC Kennedy Center Suzanne Farrell Ballet Company Dec 2 - 6, 2003 Tickets: $27.00 - $66.00 In 2002, the Washington Post exclaimed, “…an ensemble that tackles difficult ballets with a fearless zest and makes them seem fresh and alive” following the company’s fall engagement. Under the auspices of the Kennedy Center, Suzanne Farrell’s international company of dancers returns to the Eisenhower Theater for its third full engagement. The company will present a program of Balanchine works as part of the Kennedy Center Tchaikovsky Festival and a second program currently titled “The Balanchine Couple” – exploring the unique relationship between the great choreographer and his dancers. The Kennedy Center engagement will be preceded by a 7-week national tour that will include stops in California, New York, and Pennsylvania, among others. more later!

I'm of the "applaud when you want to" school of applauding. You sound like you have good instincts -- no need to applaud every trick It never hurts to do what others are doing, especially at the beginning, so you feel that you're "fitting in," but if there's a standing ovation, say, and you really didn't like it, you're not obligated to go. When to leave is a controversial topic, too. Some firmly believe one must stay as long as the dancers are on stage, and in the best of all possible worlds -- without trains to catch, say -- I'd agree. But if you have to catch a train, you have to catch a train The dancers can see you leave, though, so it is pretty rude when half the audience stampedes for the exit as soon as the curtain falls. It's also rude, I think, to crawl over people who are enthusiastically clapping, at least for the first couple of curtain calls. This is a very individual thing, so others will have different views -- I'm sure it varies from country to country and house to house, so that will factor in as well.

I don't know the answer to your last question, Hans, but I wish I did! If any of our arts admin folks do, please let us know. I definitely thing there's something to the ticket price issue. I saw it in DC in modern dance. Paul Taylor sold out when he was at Lisner, top price $9 (back in the early 1980s). I think every college dance student in DC went to those performances, and we had a lot of little PT imitators here. They moved to the Kennedy Center -- it was going to be so exciting! Better house, live orchestra! The price went to $16, and there wasn't a student to be seen. The Kennedy Center audience at that time wasn't used to Taylor, the houses were not full. Standing room, too, has skyrocketed. When I started going to ballet in the mid-1970s, standing room was $2, so I could go every night. Now it's half the top ticket price (I believe; that was the last I was told). It's at least $20. I don't think there are many who can go every night. Ballet is built on the donors, but also the gallery. And we don't have a gallery any more. (Gallery being the really dedicated, diehard fans, usually without much money, the kids who stormed up the stairs in "Red Shoes.")

Keep at it, Hans! The record is six letters -- you probably saw that. And there's a thing you can click to report that you've broken the record. Now, what would be the ballet equivalent.....keep those monkeys dancing long enough, and you'll get the entire Petipa canon?

A website devoted to the proposition that if you put a bunch of monkeys typing on a keyboard long enough, they'll duplicate the work of Shakespeare. Click Monkey Shakespeare Simulator to see this in action. Not quite in the same league with Which Russian composer are you? but still....

The only thing I could add to what rg wrote is that in the 1947 book of photographs of the Sadler's Wells at Covent Garden by Merlyn Severn, there is one photo with three pages, obviously girls. (Rodney, we had a thread on this book a few months ago, and I'd uploaded some photos. You might be interested in it: http://balletalert.ipbhost.com/index.php?a...t=0#entry69873) I was struck by the hierarchy in the new/old Sleeping Beauty, too, and I'm sure it was, as rg wrote, because the Sadler's Wells was so much smaller. In the West, we doubled up on everything -- if you were a courtier in the prologue and first act, you had to be a member of the Prince's hunting party, too, etc., but in Russia, they needed roles for the dancers, not the other way 'round. Having different groups of maids of honor, with different costumes, also gives the ballet more texture -- one of the many things we lost, I think, in 20th century neoclassism, when the obsession with classical ballet, as beautiful as it was, pushed aside much of what was visually interesting in the classical ballets.

Interesting point, Kate -- jet set stars can do amazing things, though. As can jet set posters -- I see you're shifting bases! If you're near any ballet performances, please keep us posted And GOOD LUCK!!!!

I'd bet you're right, kfw -- one would think a dancer MUST have favorite ballets, but I can also understand why one might not want to say what they are publicly. It could color how people view you. "Well, she's trying in THAT ballet, because she likes it" -- or it might spawn reverse assumptions; any ballet not named is "hated." I remember reading a comment about Fonteyn, how exasperatingly polite she was: "She wouldn't say her favorite color was pink for fear of offending mauve." Farrell Fan, it was a very serious foot injury - how long was she out? Five years? Seven? It's a credit to her determination and force of character that she made it back, but an injury like that would have to change one's career. Ballet Moms who are reading this -- don't let your daughters put on pointe shoes too early!!!! I'm sure there are lots of topics on this in the YD and Moms forums

I thought it was interesting that she said she got her first toe shoes at eight -- maybe that's why she had such a bad, and early, foot injury!

I'm always glad to see a dancer interviewed, but I have to say in this one, there wasn't anything I hadn't read before. There would be a lot of people, though, who'd never had the opportunity to read much about Kistler, though. (Ari posted this on Links on Friday, by the way. Y'all should check that forum -- lots of good stuff there every day!) What did you find particularly interesting, ballerina1023?

Article in the NYTimes today about a small opera company using a "virtual orchestra" -- and the issues therein. Board Members Quit Over Opera Troupe's Virtual Orchestra

Of course you did the right thing, Kate I can't tell if you'll love it -- reviews of this have been mixed. But if you like even one of the dancers, you'll have a good time. And if you really want to ease your conscience, all you have to do is remember to tell us about it

CARLOS ACOSTA TO JOIN AMERICAN BALLET THEATRE FOR 2003 FALL SEASON AT CITY CENTER Carlos Acosta, a principal guest artist with The Royal Ballet in London, will rejoin American Ballet Theatre as a Principal Dancer for the Company¹s 2003 Fall season at City Center, it was announced today by Artistic Director Kevin McKenzie. Mr. Acosta last appeared with American Ballet Theatre as a Principal Dancer in the Spring of 2002. His repertoire with ABT includes Conrad in Le Corsaire, Oberon in The Dream, Colas in La Fille mal gardée and Prince Désiré in The Sleeping Beauty, Act III. Born in Cuba in 1973, Mr. Acosta began his ballet training at the age of ten at the National Ballet School of Cuba in Havana. He danced with English National Ballet (1991-92) and The National Ballet of Cuba (1992-93), and has performed as a guest artist throughout North and South America, Europe, Russia and Asia. In 1993, he joined Houston Ballet as a principal dancer where his repertoire included leading roles in Dracula, The Snow Maiden, Swan Lake, La Bayadère, and The Rite of Spring. In 1998, Mr. Acosta joined The Royal Ballet at the invitation of Artistic Director Anthony Dowell. His roles with The Royal Ballet include William Forsythe¹s In the middle, somewhat elevated, Jean de Brienne in Rudolf Nureyev¹s Raymonda, Des Grieux in Manon and Albrecht in Giselle. In July of this year, Mr. Acosta made his choreographic debut at Sadler¹s Wells with Tocororo, a 90-minute dance and music show about his native Cuba. American Ballet Theatre¹s City Center season is sponsored by UBS, ABT¹s National Presenting Sponsor, and Movado Watch Company, a leading benefactor. ABT¹s 2003 City Center season is made possible with public funds from the New York State Council on the Arts, a State Agency. American Ballet Theatre¹s 2003 City Center season runs October 22 through November 9. Tickets can be purchased by calling CityTix at 212-581-1212 or at the City Center box office after September 2. City Center is located at West 55th Street between 6th and 7th Avenues in New York City.

We've had several new people register in the past week whose profiles indicate that they're New York-based dancegoers, so I'm bumping this up -- Welcome! This would be a great place to start posting -- what did you see this season? What did you like? Or not ? You don't need to be a Newbie to reply, of course -- where are all the NYCB fans? You've been reporting in all season, but we'd like your summaries, too

We've had several new people register in the past week whose profiles indicate that they're New York-based dancegoers, so I'm bumping this up -- Welcome! This would be a great place to start posting -- what did you see this season? What did you like? Or not ?

I have to say I'm cheered that Wheeldon's vision of "Swan Lake" is the old Royal production! That production was full of new (then-contemporary) choreography, but it was all traditional -- nothing was stood on its ear, especially the swans. It would be wonderful if Wheeldon could achieve something similar.

From the Philadelphia Inquirer, some encouraging news for fans of classical music (ballet and other arts mentioned in passing) and some interesting questions. Classical music for the (older, richer) masses Lots more to the article. What do you think?

Doug, you are a treasure -- thank you so much for that. We're unlikely to have the chance to see the notations (even if we could read them!) and having you compare them so generously is a real gift, and much appreciated.