Alexandra

Yes. And Americans will say "REN ah sahns" and Britons say "re NAY sans." I've always thought that Americans will take a foreign word into the language as a foreign word, where other English speakers adapt the word to fits their own pronunciation rules -- but that's a very uninformed speculation!

Jane, I agree completely. That's why I've said several times that I'm giving acceptable American pronunciations (to American questioners). But those pronunciations won't work (or may not work) in lobbies elsewhere!

In reading over Jorgen's list, I had a few questions. There are several names that seem to "break the rules," such as: Fe'dorova Sofia Go'likova Tatiana Ivano'va Veronika Me'zentseva Galina Can any Russian speakers, or others familiar with these names confirm or clarify? I've always heard Ivanova pronounced EeVAN o va and Mezentseva pronounced Me ZEN tse va

Thanks, carbro -- nice illustrations

I would second everything that Drew said. I think audiences are thirsty for such moments -- not because we love demonstrative curtain calls, but because such demonstrations erupted -- genuinely -- out of the artistic climate of the time. I agree that the Ballet Boom was fueled by BOTH great stars and great choreographers. And great institutions that supported both. And until those conditions exist again, the era of the 45-minute curtain call will remain a memory. I'd say, by that article and these standards, that in London, at least, theater is still alive, with real stars, real plays, and an audience that's drawn to them.

Great debut, Big Lee! Thank you for that. We (D.C.) only got the company in "Romeo and Juliet" without sets (Kennedy Center renovation), so I feel I missed the company this year. You're obviously a long-time balletgoer, and I hope we read more of you (short-time balletgoers welcome too, of course.) It's interesting to me that both posters mentioned Dvorovenko -- is she becoming a general favorite, rather than an occasional spice?

I think of Cerrito as a merry sexpot!

I agree. There's a balance between corporate permission to be sloppy (which I've also seen) and Fear of Failure. I think the stories about Balanchine being delighted when someone fell are related to this -- it's not that he wanted people to be fall, it's just that he enjoyed seeing dancers go for it. One of the things I learned from my observations of classes in Copenhagen in the early '90s was that the dancers were expected to dance cleanly, and told (and given help) working on steps or step sequences -- but not on stage. Go for the point of the movement, work on refining it later. I think that system eventually does produce at least some dancers who give some "perfect" performances -- but there's still juice in their dancing.

Thank you, Manhattnik. You get a for being the first in the class to turn in your paper Seriously, thank you for the comments. I hope you inspire debate, dissent, agreement, and/or comment from other ABTers. Come on ABT fans!

As far as I know, DTH does have a strictly ballet class. I think Solomons is questioning the teaching -- and I don't know who's teaching company class there now. But there's also an issue with contemporary dancers and classicism -- it often doesn't seem like second nature to them. I interviewed one of the ABT balletmistresses the first season ABT did MacMillan's "Sleeping Beauty" and I asked her about this. She agreed, saying, that the instruction would be given to "just be natural" but the dancers WEREN'T natural, or that this kind of strict classicism wasn't the natural language. My take on this is that a company's "natural" language is that of the resident choreographer -- or great teacher or ballet master who dominates the training and performing life of the company. Without that, the classroom steps WILL remain classroom steps, no matter how good or willing the dancers are. Audience members' views are always welcome, BW Y'all got eyes too [quickly] editing to add an afterthought: when DTH was here, what I saw was weak dancing -- the dancers were struggling with "Prodigal Son." They looked their best in the contemporary pieces where line and strength wasn't an issue.

Or perhaps she's using it in the sense of "etoile"? Ideally, Aurora should be a ballerina, and each of the fairies should be "premiere danseuses" -- what that is in Russian, or Russian-English, I don't know.

Thanks, monkeedance -- I know your intentions were honorable (I sent you an email after I deleted the posts.) But we've had so many posts on the order of "I just heard he went here" that it's been a real problem for us, and without sourcing the info, someone else would have read those posts and thought, "Cool! I know where all the dancers in my company went, too!" Unfortunately, our rules have developed through sad experience

I've deleted two posts giving who has resigned, who has joined what company, etc. PLEASE READ OUR GOSSIP RULES. If it is not in print or in a press release, it is gossip. Often what we hear is inaccurate. Publishing it on the internet, here or anywhere, can do harm if a contract isn't signed. Also, both dancers and companies deserve the right to break news on their own schedule. Here's the link to our Gossip Rules I think we're going to have to wait for answers on this one until the fall season, when companies release their rosters.

THANK YOU, Jorgen. That's a big help.

I forgot to say I admire good partnering, especially a man who can take part in the pas de deux, not be a ghost yet not push himself to the fore (Nureyev could do this, when on his good behavior). And clean double tours landing in fifth

Rupert Christiansen in the Telegraph muses about what happened to applause, raucous audience participation, and extravagant curtain calls at the opera and ballet. In his experience, it still goes on at theater performances (he's writing about London). Why the difference? a big hand for the old art of applause I remember the same kind of displays of affection -- and the reverse. We never had it much in Washington, but it certainly went on in New York. When did it die, and why?

Joe, I saw those "Mozartianas" -- and I agree. I thought it by far the best thing I've seen Jaffe do, and she got better each night. Farrell's greatest gift, so far at least, seems to be working with principal dancers, getting them to go beyond what they've done before. Interesting suggestions

Google turned up this page, with a complete libretto and other info: http://www.meyerbeer.com/rob-syn.htm

Very near I think it was a year before "La Sylphide," though. "The Ballet of the Nuns" starred Maria Taglioni. Glebb, I think Knud Arne Jurgensen has a book (a cheaper one!) on this, too, with notation reconstruction by Anne Hutchinson Guest. RG has been studying Robert le Diable and I'm sure will correct me if I'm wrong. And I hope add other info!

I'm sure there aren't dancers whom EVERYONE would agree on! But for me, in a danseur noble or danseur classique, I want beautiful lines. And musicality. And an ability to fill a role and not just do tricks. For a demicaractere dancer, musicality, quickness, deftness and subtlety. But I could name ten, twelve dancers in each category that would possess those vague attributes and who would all be very different! If I'm naming Olympians, I want range, as well, although one of my favorite men was Anthony Dowell, whom I don't think of as having a huge range, but what he did was so perfect (not just technique, but approach to his roles) that I found his dancing completely satisfying. If I were setting up the Dance Cloning factory, I'd pick him because of his line.

I can't answer the DTH at the Met question, but I can say: :hyper: Hello, mussel! Welcome back! Forgive me if I've missed a post of yours, but I don't think I've seen you in months!! :bouncing: It's very good to read you again.

There's an interesting "flash review" on DanceInsider by Gus Solomos, Jr. about Dance Theatre of Harlem. Dance Theatre of Harlem Strains at Classical, Shines for Robbins One of the points Solomons makes is that the DTH dancers now look more comfortable in nonclassical ballets than classical ones -- something that could be said about a lot of companies these days. What is wrong wtih the training and coaching of dancers -- not just at DTH.

Thanks for finding that for us, Carabosse. I'm especially grateful for the first line:

Maybe they could get the Williams sisters to do a guest gig

I see all our Devils are out, with the most angelic notions I think you have a good point, atm.