Alexandra

This thread has been copied from the Teachers forum, because it seemed to be of general interest.

There's always the problem, too, with a less than ideal production, that the audience will think that this is the standard "Swan Lake."

Manon, if anyone wants to talk about De Luz's dancing, that's fine (and I'm going to move this topic over to the Dancers forum) BUT please, no discussion or speculation about his future or his career. Please -- and this is for everyone -- read our gossip rules. This is the time of year when contracts are negotiated and rumors fly. Some are true, some are not. Several years ago, there were rumors that a dancer had signed a contract with another company. This was posted on the net; the dancer had not told his present company. The contract fell through. The dancer was fired. Not that we need a reason, but that's one.

Eek!!!!!!!!!

So it's ANY full-length Swan Lake, not this particular one (the Martins production?) (I'm not trying to be mean, honest. Just precise...)

That's understandable, Kate -- there have been very, very few ballets in recent memory that use the full classical ballet (in the broadest sense of the term) arsenal, and very few of the older ballets in this tradition in repertory, so we don't have the opportunity to see them and talk about them very often. When there is a Ballet Russe era ballet, or even Tudor, I've noticed people writing that "it's not a ballet," and I understand why that's said, but I'd disagree I was interested to hear more, because it is so rare, and I thought it a good sign that Wheeldon was interested in this tradition and could revive it.

Did anyone else see the new Wheeldon? The two reports I've gotten from friends indicate that it's very much a classical ballet, incorporating character and demicaractere, as well as classical dancing, and knowing how to use which when.

Good catch, Patricia! There are also about 310,000 all-female modern dance pieces, of course.

I'm copying this over from Links (thanks, Ari, for finding this) thinking it might attract comments: Robert Gottlieb goes to Paris and does not like what he sees of French ballet: reviews of POB, Béjart, and Les Ballets de Monte Carlo.

Good point, Estelle -- I thought that, too. And then there's Eastern Europe. Gosh, no Russian or Czech or Polish composers that I can think of..... I think, in some American circles, this is a common perception -- the same arguments are used against ballet, sometimes.

Thanks for posting this, Ed. I read the article earlier today and found it interesting, and sobering. Orchestras have been "in trouble" -- losing subscribers, losing donors -- for at least a decade. It's too early to tell whether this is an Arts problem or an Orchestra problem.

Wasn't that a French piece to begin with? Gsovsky worked in Paris (he taught, among many, many others, Violette Verdy) and that was his big hit, choreographed for Yvette Chauvire and Vladimir Skouratoff. I'm sure there are variations -- Cynthia Gregory lit a cigarette, but that's probably not what you're after -- but I'm not sure going for Russian here is ...appropriate? authentic?

Grace, Doug wrote me a few days ago that he would be very busy this summer and not checking the board often, so in case he doesn't see this, Doug, who is a musicologist, has worked with (i.e., studied and staged from) the Stepanov notations.

There's a concern generally now about the use of "apprentices" -- sometimes recently graduated students who need seasoning, but sometimes professionals who take an "apprentice" contract because that's all that's being offered and this is seen as a way for companies to save money. If companies are trying to get into the Big Time "Classics" business by using students on a regular basis, I can understand the concern. It's a jobs issue and an arts issue. Yes, in the big old companies students were often used, but carefully, either in children's parts or, when they were thought ready, in the corps. But they weren't seen as cheap labor. As always, it depends on the situation. Washington Ballet's "Serenade" this season was, I thought, excellent, and I could not tell which among the corps were students. But I've also seen regional companies where much of the whole corps looked like students, and in that case, I do think that truth in advertising might apply. If you're trying to put yourself over as a "major company," you have to have the corps to back that claim. (Not saying that's the case in Pittsburgh, just a general statement.)

From the company: CASTING ANNOUNCED FOR THIRD AND FOURTH WEEK OF AMERICAN BALLET THEATRE AT METROPOLITAN OPERA HOUSE Julio Bocca to Give Final Performance of Romeo on Saturday, May 31, 2003 Casting for the third and fourth week of American Ballet Theatre’s 2003 spring season at the Metropolitan Opera House was announced today by Artistic Director Kevin McKenzie. Highlighting the third week will be the World Premiere of Artemis on Tuesday, May 20. Choreographed by Lar Lubovitch, Artemis will feature Julie Kent and Marcelo Gomes in the leading roles of Artemis and Aktaion. Artemis will be featured on the program “All Around Is Light” an evening of tribute to the art and culture of Greece directed by Costa-Gavras. American Ballet Theatre’s third week will also include this season’s premiere, HereAfter, choreographed by Natalie Weir and Stanton Welch. The performance on Wednesday evening, May 21 will include the debuts of Marcelo Gomes, Irina Dvorovenko and Gillian Murphy in Harmonium, and Ethan Stiefel, Xiomara Reyes, Michele Wiles, Gillian Murphy and Carlos Lopez in Carmina Burana. Julio Bocca will give his final performance of Romeo in Romeo and Juliet on Saturday evening, May 31. Mr. Bocca, who will continue to appear with American Ballet Theatre, will dance the role opposite Alessandra Ferri on Thursday evening, May 29 as well as May 31. Tickets for American Ballet Theatre’s 2003 spring season are on sale at the Metropolitan Opera House box office or by calling 212-362-6000. For more information, visit ABT’s website at www.abt.org. A complete cast listing follows. Casting subject to change. THIRD WEEK Mon. Eve., May 19, 8 P.M. HEREAFTER - Harmonium - H. Cornejo, Herrera, Reyes, Hallberg; Carmina Burana - Bocca, E. Cornejo, Herrera, Reyes, Carreño, Salstein* Tues. Eve., May 20, 8 P.M. ALL AROUND IS LIGHT - ARTEMIS (World Premiere) ? Kent, Gomes Wed. Mat., May 21, 2 P.M. HEREAFTER Harmonium - Stiefel, Kent, Abrera, Belotserkovsky; Carmina Burana - Corella, Tuttle, Abrera, Kent, De Luz, H. Cornejo Wed. Eve., May 21, 8 P.M. HEREAFTER - Harmonium ? Gomes*, Dvorovenko*,Murphy* Belotserkovsky; Carmina Burana ? Stiefel*, Reyes*, Wiles*, Murphy*, Lopez*, Salstein Thurs. Eve., May 22, 8 P.M. HEREAFTER - Harmonium - Gomes, Dvorovenko, Murphy, Belotserkovsky: Carmina Burana - Stiefel, Reyes,Wiles, Murphy, Lopez, Salstein Fri. Eve., May 23, 8 P.M. LA FILLE MAL GARDÉE - Reyes, Corella, De Luz, Peterson Sat. Mat., May 24, 2 P.M. LA FILLE MAL GARDÉE - Murphy, Stiefel, H. Cornejo, Barbee Sat. Eve., May 24, 8 P.M. LA FILLE MAL GARDÉE - Ananiashvili, Belotserkovsky, Lopez, Graffin FOURTH WEEK Mon. Eve., May 26, 8 P.M. LA FILLE MAL GARDÉE - Reyes, Corella, De Luz, Peterson Tues. Eve., May 27, 8 P.M. LA FILLE MAL GARDÉE - Ananiashvili, Belotserkovsky, Lopez, Graffin Wed. Mat., May 28, 2 P.M. LA FILLE MAL GARDÉE - Reyes, Corella, De Luz, Peterson Wed. Eve., May 28, 8 P.M. LA FILLE MAL GARDÉE - Murphy, Stiefel, H. Cornejo, Barbee Thurs. Eve., May 29, 8 P.M. ROMEO AND JULIET - Ferri, Bocca, De Luz Fri. Eve., May 30, 8 P.M. ROMEO AND JULIET - Kent, Malakhov, H Cornejo Sat. Mat., May 31, 2 P.M. ROMEO AND JULIET - Herrera, Gomes, Lopez Sat. Eve., May 31, 8 P.M. ROMEO AND JULIET -Ferri, Bocca, De Luz -30- *Editors please note: first time in a role: Mon. Eve., May 19 - HereAfter - Salstein in Carmina Burana Wed. Eve., May 21 - HereAfter - Gomes, Dvorovenko, Murphy in Harmonium; Stiefel, Reyes, Wiles, Murphy, Lopez in Carmina Burana

Press release from the company plus a statement (from the company) issued by Ms. Gelfand: Boston Ballet Announces Principal Dancer Jennifer Gelfand's Farewell Performance (BOSTON)- Artistic Director Mikko Nissinen has announced that Principal dancer Jennifer Gelfand will retire this Fall after a career spanning nearly two decades. Ms. Gelfand will give her farewell performances during Boston Ballet's 40th Anniversary Season opening production, Rudolf Nureyev's Don Quixote. "Jennifer's dance career has been a phenomenal one. Her talent and grace have enraptured audiences for many years. She has been a very special part of our Company. Boston Ballet is proud of her many achievements throughout her career, which was propelled when she stepped into the role of Kitri for injured Principal dancer Laura Young in 1989. It is fitting that Jennifer end her outstanding career dancing this role," said Artistic Director Mikko Nissinen. She began her formal dance training at Boston Ballet School at the age of six. Her early teachers included E. Virginia Williams, Shanna Bereska, Bruce Wells, and Marie Paquet. Ms. Gelfand performed numerous children's roles with Boston Ballet, including Clara in The Nutcracker. Ms. Gelfand made her professional debut with the Eglevsky Ballet in 1985 dancing the role of the Sugarplum Fairy in The Nutcracker. In June of 1986, at the age of 14, she was awarded a Gold Medal at the International Ballet Competition in Jackson, Mississippi. Among the pieces she danced at the Competition were the pas de deux from La Fille mal gardée, Don Quixote, and Roland Petit's Notre Dame de Paris. She joined Boston Ballet in 1989 as a Soloist, and was promoted to Principal dancer in 1990. Ms. Gelfand has distinguished herself in roles in both the classical and contemporary repertoires. Her principal roles have included Juliet in Choo San Goh's and Daniel Pelzig's Romeo and Juliet, Irma in the Bournonville's Abdallah, the Ballerina in Harald Landers' Etudes, the title roles in Giselle, Coppelia, Ben Stevenson's Cinderella and Cleopatra, Odette/Odile in Swan Lake, Princess Aurora in Anna-Marie Holmes' The Sleeping Beauty, Olga in John Cranko's Onegin, Mercedes in Carmen, Gulnare in Le Corsaire, the Snow Queen, Dew Drop Fairy, and Sugarplum Fairy in The Nutcracker, a stepsister in Michael Corder's Cinderella, Kate in The Taming of The Shrew, Flora in Dracula, Gamzatti and Nikiya in La Bayadère, and Irina in Sir Kenneth MacMillan's Winter Dreams. Gelfand's accomplishments have been noted in Dance Magazine, Boston Magazine, People, The New York Times, and U.S. News and World Report. In 1989, she was named a Presidential Scholar and received a Presidential Medal at the White House. Gelfand received her real estate license in 1999 and will pursue her real estate career with Gibson Domain Domain in Boston's South End. ROMEO AND JULIET, May 8-18, 2003 Jennifer Gelfand will dance the role of Juliet on Wednesday, May 14, at 7p.m., and Saturday, May 17, at 8p.m. at The Wang Theatre, Boston *casting subject to change* * * * [statement by Jennifer Gelfand] Beginning in 1978, I spent most of my pre-professional life and essentially my entire professional career at Boston Ballet. I have worked with every artistic director in its history. For me it has been both an honor and a privilege to grow and develop as an artist with this company. I care deeply about its history, I have witnessed and been a part of its amazing growth. My wish for the future success of the company is genuine and heartfelt. My love of dance has always had two components. There is my sheer love of the moment and artistry, but also the desire to connect with the audience. As important as each performance is to me, it is equally important to me that the audience leaves feeling that I have given them 100%. I wanted them to come back eager to see more. Boston Ballet audiences have given me, and this company incredible support over the years. This has been a source of tremendous pride and also of personal responsibility. My love of dance and this company remain strong. I know that technically and artistically I can still bring an audience to its feet. For me it has been a passion, a love, and a wonderful part of my life. It is with deep sadness that I am announcing my retirement from Boston Ballet. I am looking forward to performing Juliet in Romeo and Juliet at the conclusion of the season. Juliet was my first role as a company member. Then, I think fittingly, will look forward to my final performances at the start of Boston Ballet's 40th Anniversary Season. I will take my final bow where I entered- Don Quixote.

Pamela, I agree entirely

I'm sure every culture, or at least subculture, has a way of dealing wiith those who are "special." I've read of working-class English kids taunting those in their A-level classes as "college puddings" and in my city, teachers often worry about black kids accusing A students of "acting white." Both are ways to say "You're trying to be special, and we don't like it." I read once of a difference between America and Brazil. In America, we'd say, "Who do you think you are?" In Brazil, they'd say, "Do you know to whom you are speaking?" It's a subtle difference, but a difference. I think every society has Jantelov in some sense, but in Denmark it is crushing. Children are drilled not to stand out. "You made yourself look ridiculous" -- going to the front of the line, answering two questions, eager to take on extra work, etc. The emphasis is on the collective. It's a great system for the mediocre, but it's not very pleasant for others.

We have had some very long discussions about this, and if you're interrested in reading them, do a search for "racism" or "black dancers". (It's always good to revisit a topic. I will always post a note when something has been the subject of prior discussion, especially if it's been intense, for two reasons: one, people may be interested in reading them; and two, often when people have weighed in on an issue, they're less interested in doing it again, so if there aren't many responses to a revisited topic, it's not because the topic isn't of interest.)

We've received several email inquiries about when and if, and what, Monique Meunier and Veronika Part would be dancing at ABT this spring. Here's a start, and THANK YOU to the ABT press office: Monique Meunier will make her debut as Queen of the Carriage Trade in Offenbach in the Underworld on Thursday, May 8. Veronika Part debuts as one of the Shades in Bayadere on Saturday, May 10 matinee. Part is also in the Harrison Tribute (My Sweet Lord). Monique debuts as Lead D’Jampé on Monday, May 12. She also debuts as the second Shade on Wed. Eve. May 14. Of course, as always, casting is subject to change.

This just in, a BB press release: Boston Ballet Artistic Director Mikko Nissinen has announced the list of dancers not returning to Boston Ballet next season. A complete 2003-2004 Company roster will be announced in August. Principal Dancers Simon Ball April Ball Paul Thrussell Soloist Tara Hench corps de ballet Li-Yin Chen Brooke Kiser Karla Kovatch Frances Perez-Ball Sylvain Gillet Ilya Kozadayev Nick Mishoe Christine Kelliher Emi Hariyama

Thanks too. It's an interesting article, and I wondered if anyone had any comments on Macauley's assessment of MacMillan, or the article generally?

Line is so, like, yesterday. ;) (I hope it's clear that I agree with Victoria completely and am grateful to her for pointing this out!)

She definitely believed the American type COULD be dancers -- just not ballet dancers During her day, the ideal ballet dancer was short (by today's standards). Fashions change. There were many 18th and 19th century dancers who were criticized for being "too thin."

Better than that. First, before flinging her scarf around her neck so that it caught in the spoke of the car, she said, "I go to glory."