Alexandra

Thank you for finding that for us, dirac. I thought it was fascinating. I love articles like this, that really delve into a world.

I can't answer that question specifically, Leigh, but I was once called to fact check a New Yorker piece and the questions were exremely thorough. It wasn't just "was the ballet choreographed in 1955 or 1956" but "do you agree with the metaphor that that section of that city is like Brooklyn"? And when I said yes, I had to defend it as though I had written it. So I'd be surprised if such a statement would have passed such dragons without back up

I missed this one -- it was posted when I was in NY without internet access. Thank you, Kate! What interesting info. And thanks also, Estelle. I'd love to see stats on the Kirov and the Bolshoi -- there are so many dancers, and the two companies often split up into mini-companies (which are still big!) for touring. The Royal Danes are experiencing some turnover now, so it might be more interesting to check them at the beginning of next season. The big news for the past few seasons has been that the non-Danes in the company are now half the company. We won't know whether that will remain the same for a few months.

Sometimes it's also the choreographer. Choo-San Goh loved the sound of toe shoes and many of his ballets had small stretches without the music where you'd hear -- well, not quite patter and not quite clatter of little feet

Just a quick comment on Sonora's last comment, only because we recently did have someone refer to a dancer as a "cheerleader," but it was of a performance and it was not anonymous. Sonora may well have just been using that as a hypothetical example, but I didn't want there to be a misunderstanding. There's probably something in every post that could offend someone else. If we all wrote realizing that anything we say could, and will, be misunderstood, and read giving the poster every benefit of the doubt, this would be a happier networld I don't think we want to censor comments or metaphors, but I do think we can make a rule that says private moments should remain private. That's the distinction I meant to make.

I've read similar comments by Russian dancers -- that they had trouble in their teens from parents and peers. But I've also read, as I gather you have, that there's generally a more positive atmosphere there. I remember reading an article once with excerpts from letters little boys wrote to the Bolshoi, begging to get in. "I will be the next Vasiliev!" Oleg, age 7. Perhaps, as in many instances, it's an individual thing. I don't know whether this is the same fellow, but there was a brief news item the other night on CNN about a 7-footer who began studying ballet as a boy but GREW TOO TALL TO PARTNER ANYBODY!!! I'll bet there's a six-foot girl out there who'd disagree

Boston Ballet press release on Jackson competition: BOSTON BALLET DANCERS ARE FINALIST IN THE USA INTERNATIONAL BALLET COMPETITION Gold, silver and bronze medallists will be announced June 28. (BOSTON)- Boston Ballet dancers Sarah Lamb, Emi Hariyama and Joel Prouty are among 34 of the world's finest young dancers to compete for gold, silver and bronze medals as finalist in USA International Ballet Competition on June 25-27 in Jackson, Miss. USA IBC award winners will be announced June 28. "Sarah, Emi and Joel's success in this world-class competition is an example of the caliber of talent in our ompany," said Boston Ballet Artistic Director Mikko Nissinen. The USA IBC is an "olympic style" event held every four years and is the official international ballet competition in the United States designated by a Joint Resolution of Congress. Dancers from around the world compete for scholarships, medals and cash awards in this prestigious, two-week dance event. This year's events will conclude on June 30, 2002. "The USA IBC is a milestone in many dancers' careers, and advancing to the final stage of competition is an unforgettable experience," said Sue Lobrano, executive director of the USA IBC. "This is when competitors realize that they've endured the process and the rigor of being among the world's best."

Welcome, Stephen! Thanks for posting -- and thank you for this review. I hope you'll post often. We've had people from Seattle here in the past, but no one's been very active this season, and we miss knowing what's going on there.

Katharine Kanter emailed me two quotes today that deal with issues we frequently discussed, and I thought having a "sticky" thread of quotable quotes -- quotes we might often use in discussions, that we could have all in one place, so we could say "see the Bessy quote on injuries on the Quotes thread" might come in handy. I hope Katharine will post hers. Here's one of mine to start off wiith: Ballet is only good when it is great.--Arlene Croce

Thank you for this, Sylvia -- it's lovely. This is a terrific end of season wrap up -- and I'm glad to have your view of everything in one post! I hope you all will be inspired! Short or long, what happened this season?????

Whoops! I missed this thread -- Annika and LEX, could I ask you to continue this conversation in email? (Annika, if you're over 18 and want to post your email address, that's fine.) We try to keep away from "chat" type -- how are you? what are you doing now? -- posts that are just of interest to the two people involved. Members that have more than 30 posts can use Private Messages to keep in touch! Thanks. Back to Ms. Kowroski at NYCB!

Thanks for this, Leigh. I'm going to make it a sticky, and move it into the Rules Forum. (But please, everyone, feel free to discuss it here.) We've addresed this before, but no one can be expected to read, much less remember, all our discussions. I think a good rule for a discussion board -- at least this one -- is that any PUBLIC performance, which could include a master class or an open rehearsal -- can be commented upon. But if it's a private rehearsal open to donors, or "friends," or if you get in because you know a dancer, or are family, etc. I think it's better not to comment, for all the reasons Leigh has mentioned. Also, if what's posted causes a problem, the person who smuggled you into the rehearsal could get in trouble -- and you may not get invited back! In the future, posts about private rehearsals and classes will be edited to delete that material, and the poster (gently) notified

Welcome, Martha! Sometimes it depends where you sit, too. I heard complaints from everybody about the Kirov corps being noisy and I couldn't hear it because I was seated in orchestra front. One performance I was in orchestra rear, and I heard the clatter!

Welcome, Ray! The issue has been raised, as you noted, on another forum as part of responses to Joan Acocella's New Yorker piece, but I think it deserves a thread of its own. This is an interesting question. One might argue that it would be interesting, perhaps even good for, NYCB dancers to work with a choreographer with such a different approach, because they might take something of what they learn/observe from him into their regular repertory (within the bounds of that repertory, of course). If, however, the stories that have apparently appeared in the Russian press are true, that one of these ballets is a biography of Balanchine, then that is another story. (Those interested in this story, see http://www.balletalert.com/forum/showthrea...+AND+Balanchine

Thanks, sneds! Hlinka was one of my favorites.

This is for everybody, anywhere. The season is either over, or drawing to a close. What were the memorable moments? What's new? What trends are you spotting? I hope people from all over will respond to this -- I'd love to have a cross-country view of spring 2002.

Thank you -- that was beautiful, Lou. Has anyone ellse been at a farewell performance, Farrell's or anyone else's?

Great find, Lara! Thank you!!!!

This just in. A live interview with Susan Jaffe is scheduled to air on CNN at 10:45am on Wednesday, June 26. CNN airs in Manhattan on Ch. 10, check local listings

I saw it on TV -- I was in New York, but had to be at another performance that evening. I'm afraid I can't say anything in enormous instructive detail -- I can't judge dances on TV unless I've seen them live, and I hadn't in this case. I was grateful to have seen these ballets, but my overall impression was....dull.

Hi, kb. That would certainly be interesting......not likely to happen, but interesting

[NOTE: I split this off from the original Revivals thread, as that was devoted generally to NYCB rep, and this is more specifically aimed at Balanchine works and how they might be revived for his approaching Centennial.] Back to City Ballet's rep, here's a suggestion that's bound to be popular: invite every living Balanchine ballerina to come in and stage, or at least help coach, a ballet in which she created or embodied a role. A sort of living bouquet for Mr. B.

I know there are two "Variations." I don't know which one they're doing. (Details, as they say, are sketchy at press time.)

As of last week -- and this may well change -- but the Suzanne Farrell Ballet will be reviving Variations for its fall showing in DC.

But Leigh, referring to a comment on another thread, if it drives old people out of the theater, then it's okay Every repertory should have a good geriatric purgative. Get rid of those tiresome donors, not to mention anyone who was around in former times ;)