Alexandra

Thanks very much for posting that, Mary. I'm shocked that the local press doesn't seem to have covered it -- if they did, it's not on line.

Thanks, dirac. There's a bit of a nasty undertone to that one -- but that may be unfair. It may be the kind of breezy, "we're in the know but don't take anything too seriously" tone the editors want. I actually think it's good to see speculation about who should take over the Royal Ballet in the press -- even if it's just speculation. It's good to turn a light on the process every now and again. Shows them people care.

Hi, NYC -- no, I'm afraid I can't help. The last I knew he was advising Dallas/Fort Worth, but I gather that is no longer the case. I think he is based in New York now, though.

The two Danish ballerinas who had a shot at greatness have spent most of their careers on the bench during the Terrible Time of Troubles of the past 12 years or so, when there's been a Purge of Artists in Copenhagen. But Rose Gad and Silja Schandorff, both about 32 now -- very different in both body and temperament -- were quite extraordinary. Gad was exceptionally musical in everything she did, and the best under-20 Giselle I've ever seen. Schandorff -- tall and statuesque -- a remarkable, and very wild, Sylph. My nominees for Great International Ballerina -- Asylmuratova, Platel, Guerin -- have stopped dancing (AA completely, EP and IG do still appear as guests). I'll vote with Mel for Ballerina Drought. I admire both Ayupova and Lezhnina, but haven't seen them in enough roles to judge. They certainly had every promise of being great ballerinas -- as did Pankova and Ivanova, IMO. The Bolshoi's Maria Alexandrova has possibilities, too. And Cojacaru in England, of course. I don't think she's the great ballerina of all time yet, as she's often portrayed, but I think there's extraordinary talent there.

No one went to see Within You and Without You? Or any of the other new ballets or revivals?

It was news to me, too, Farrell Fan. Is this speculation, assuming that any artistic director feels "unsettled" when there have been as many changes as at ABT?

Just a gentle reminder....it's a new season, and perhaps it's a good time to reread this post by rkoretzky, "A Word to the Wise." http://www.balletalert.com/forum/showthrea...=&threadid=6041 We try to preserve a distinction on this board between frank opinion and mean-spirited remarks -- even those made in the spirit of dazzling wit. I doubt they would seem so witty if you're the victim of them, and at least five comments on this thread have made me wince. Dancers read these boards. The companies read these boards. And more importantly, even if we're the only ones who read them, dancers are people with feelings. Please keep that in mind. Thanks! Alexandra Tomalonis Director, Ballet Alert! Online

Vladimir, you need to type something in the message box for us to be able to read it. Alexandra

There's a piece in today's NY Times about Michelle Wiles by Gia Kourlas. Ari put it on Links, but I wanted to be sure those interested in Wiles -- or in ABT dancers, or young dancers generally, would see it. She's really coming into her own -- the photo on the Dance Magazine cover was fabulous, I thought. A word to our Mothers: Please note what she says about the Kirov Academy and the Moonie connection The New York Times profiles ABT's Michele Wiles.

Thanks for that link, Vladimir. Unfortunately, I don't think the Estonian ballet is well-known here. Ballet is still such a small world -- we only know what we see So it's great to learn about dancers around the world, and see their photos.

Estelle, "doubling up corps roles" means that a corps dancer may dance in the 1st as well as the 3rd movement, if you don't have enough dancers to go around

Ann Daly was the president of the Dance Critics Association several years ago when I was on the board, and I got to know her a bit then -- though only through phone conversations. I've never met her. I liked her very much -- she was a tireless worker (being president of DCA means you have to lick a lot of envelopes ; it's not a glamour job). She was in the NYU graduate program and, if I'm remembering correctly, had a rigorously feminist view of dance I found it easy to talk to her about dance, even though we oftened differed (I don't agree that Balanchine's ballets are suspect because the man "manipulates" the woman, for example). She wrote several pieces for DanceView -- they may be in this collection, actually, as I had to sign a permission form last summer. One that I was particularly proud to print was about John Singer Sargent's paintings with dancing as a subject. I just got the book as well, but haven't had a chance to read it yet. I'm looking forward to it. Daly is a thoughtful writer. Thanks very much for posting this, Rachel. I'll be eager to see what you think of it -- I'll be eager to see what I think of it, too I've been out of touch with her for a long time, and I don't what her views are now.

OK. My issue arrived yesterday. While I stand by what I wrote on theory and background, in practice, I can't defend that article. To say more would be critic-bashing, so I won't, except that in theory, while it might be kosher, even desirable, for a senior critic to "police" his/her discipline, when you publicly wish that basically someone's career be destroyed -- that, to me, crosses the line.

OK. My issue arrived yesterday. While I stand by what I wrote on theory and background, in practice, I can't defend that article. To say more would be critic-bashing, so I won't, except that in theory, while it might be kosher, even desirable, for a senior critic to "police" his/her discipline, when you publicly wish that basically someone's career be destroyed -- that, to me, crosses the line.

LMCTech, there have been many discussions here about what is an international company -- good hunting The topic of this thread really wasn't to rehash this one more time, but to ask those who saw the company in New York this season what they thought on this question, pro or con.

Monique Meuneier contacted us saying that she "pulled [her] calf three days before city center." No indication of how severe the injury was, nor how long she'd be out.

When a company bills itself prominantly as a "major company" or an "international company" it invites discussion of the question. Touring does not make a company "international." There are very minor companies who appear abroad. There are major companies that do not tour -- i.e., NYCBallet. I would hate to see budget as a measuring stick -- it's like "we have 10 dancers with gold medals on our roster". It's easy, it's American, it's quantitative. It means nothing. Good dancers, good repertory -- able to attract major choreographers. THAT's important. So is a coherent style and a consistent technique. And yes, the company does have to perform well in "the standard classical canon" IF it wants to be considered as a "classical company of international level." That's why an SFB or a PNB does Petipa or Balanchine. And there is a standard of bodies and feet that matters in this regard. And that's why companies tour. Not for fun, or to see the country, but so that the critic for a major paper will say, "Wow! How wonderful. They're a major international company!" One of the reasons that companies travel, too -- and specifically travel to major dance centers -- is to get feedback, to test themselves -- do they measure up? My new dress may knock 'em dead in Myhometown, but if I wear it to a party in Paris, I might get a different reaction. No matter how many writers say it's beautiful. (I always hesitate about ABT as an international level company, despite its roster of stars. If it took its Petipa ballets to St. Petersburg or Paris, I don't think it would come home with good medals.) As I've written before on this subject, when SFB, or any other mid-rank company vaults into the international ranks, we'll know not because the press says so, but because people stop asking the question. When was the last time you heard a debate about whether the Kirov was a regional company or not? When a company has a school/recognizable style, a distinguished, individual repertory, and a roster of talent, it can weather a few bad seasons -- it doesn't have to worry about getting good reviews in London, or Dusseldorf, one year -- Major International Company!!! -- and bad reviews the next. I also think there's a big distinction between the "major international company" question and the worth of a company or its director. I admire SFB, and I admire Tomasson's direction and always have -- the way he turned the company around in a season, his sense of acquiring ballets that suit his dancers (very Danish Yes, I know he's an Icelander, but his teachers were Danes and he spent much time in Copenhagen), and the way he attracts and develops dancers. I'm very much looking forward to seeing the company here in November -- especially since they're bringing "Dances at a Gathering."

Thank you, Kevin!

I can't think of many examples -- perhaps others can -- but one of the prime motivations for writing about dance is that you can't stand what other people are writing

I can't think of many examples -- perhaps others can -- but one of the prime motivations for writing about dance is that you can't stand what other people are writing

You're right, Rachel The 1960s and '70s were very contentious in the NY dance world -- lots of animosity to both Barnes and Walter Terry, who were seen by some to be out of touch with new work -- and a resentment of power. There's indication of this, too, in Arlene Croce's early work that's reprinted in "After Images."

You're right, Rachel The 1960s and '70s were very contentious in the NY dance world -- lots of animosity to both Barnes and Walter Terry, who were seen by some to be out of touch with new work -- and a resentment of power. There's indication of this, too, in Arlene Croce's early work that's reprinted in "After Images."

Actually, the comments I got were from the opening, I think But I can understand the distinction you're making.

I hesitate to post this, since the last time we did, several years ago, it drew blood and some of the most unpleasant posts we've ever had the misfortune to have here. I hope history won't repeat itself BUT I noticed that the NYTimes review called SFB (not THAT SFB, Farrell Fan, the other one) an "international level company." However, friends of mine who just saw the company in NY -- 2 critics, 2 not -- both said some variant of, "They're good -- but regional" or "for a regional company." What do you think, and why?

I'm sure some of my NY friends will be shocked, but I thoroughly enjoyed Ballet Preljocaj. Did anyone else go, or have you seen the company on its current tour? I reviewed it in the Post (please remember that critics do not write our own headlines!) and want to write about it more, as I had very little space, but here's a link for now: Preljocaj's 'Helikopter': A Ballet That Takes Off