Alexandra

Robert Gottlieb reviews Fille/Dream in the New York Observer. http://www.observer.com/pages/dance.asp He doesn't pick a winner between Dream and Midsummer (nor set up a contest), but some of his comments on both may be of interest to those who've been interested in this thread.

Robert Gottlieb reviews Fille/Dream in the New York Observer. http://www.observer.com/pages/dance.asp He doesn't pick a winner between Dream and Midsummer (nor set up a contest), but some of his comments on both may be of interest to those who've been interested in this thread.

Hi, Nadezhda! Ms. Leigh is right. And the Black Swan "pas de deux" used to make this clear before it was "improved." It was once a pas de trois, with Von Rothbart, under pretense of partnering Odile -- extending a hand for her to use as a "barre" for balance -- would whisper in her ear and coach her. She's been told beforehand, I'd imagine, that her mission is to convince Siegfried that she's Odette and so might well have been given a few pointers before the ball, too.

Hello, Helen and Xinxin! Fendrock, I understand your point and think it's a good one. There is the issue of "available talent pool" -- and it cuts both ways. In the early days of ballet in this country, companies were made up of people who loved dancing, but did not necessarily have the best bodies and strongest technique. And there's a school of thought that this was our most creative period -- you had artists who gave exciting, thoughtful performances. When the art form became more institutionalized and the companies could be more choosy -- only this certain length of leg, perfect turnout, etc -- we began to get less individualized performances. I do think it's worthy of note that Chinese dancers are doing so well in competitions so quickly. Perhaps they have skipped this initial stage because the state is willing to put money into ballet and provide the train necessary? China also had the historical handicap that, just when their tradition began to develop, political events interrupted it for a generation. So the recent success is all the more noteworthy.

That's an interesting question, too. There is some criticism of Japanese and Chinese dancers as having learned ballet "externally" -- everything is from the outside, not the inside. As if Americans became suddenly enchanted with Kabuki or Chinese opera and wanted to put on a show, but didn't really know what was going on. But, then, there are plenty of dancers in countries with deep ballet traditions who give "external" performances, too. And one could argue that ballet has nearly nothing to do with mainstream culture in Western Europe or America, too. I saw one of the most impressive, thoughtful performances in a ballerina role I've ever seen last spring, a young Korean ballerina (about age 21, if I remember correctly) in the role of Gamzatti in "La Bayadere." So even if the majority of the dancers are learning the steps and enjoying the virtuosity, can there not be individual artists who go beyond that?

We had a similar discussion about dancers from Asia in general and their success in competitions. Someone objected to it as racist and we closed the discussion -- simply, I'm sorry to admit, because that particular week I was on three deadlines and didn't have time to sort it out. I think it's a legitimate question now, and was when Jeannie first raised it. You might find some answers on that thread: http://www.balletalert.com/forum/showthrea...=&threadid=3848 Those who'd like to rejoin the discussion could perhaps do so on THIS thread, which I'm about to move to the Competitions forum where it will catch the eye of those who follow competitions and know the history. Thanks for the question

I'm happy to read that Bystrova got a solo. I saw her at the Kirov Academy when she was 14, and, IMO, she was a ballerina then.

Guess he wasn't really ready to retire This is the press release from FWD Ballet: Ben Stevenson Named Artistic Director, Fort Worth Dallas Ballet Stevenson, Currently FWDB Artistic Advisor, to Assume Artistic Director Position July 2003 (Fort Worth and Dallas, TX?) Robert C. Grable, chairman of the board of directors of Fort Worth Dallas Ballet (FWDB), has announced their selection of Ben Stevenson for the post of permanent artistic director effective July 1, 2003. Mr. Stevenson, the illustrious artistic director of Houston Ballet, will conclude his active tenure at Houston Ballet at the end of Houston?s 2002-2003 season. Mr. Grable made the announcement at a meeting of the organization?s board of directors held on Tuesday, June 18, in Fort Worth. Mr. Stevenson is currently FWDB?s artistic advisor for the 2002-2003 season while serving as artistic director of Houston Ballet, a post he has held since 1976. Mr. Stevenson announced in April that he would assume the position of artistic director emeritus of Houston Ballet at the end of that company?s 2002-2003 season. "Mr. Stevenson?s proven ability to propel the success of a ballet company signals a most promising future for Fort Worth Dallas Ballet," said Mr. Grable at the meeting. "We are thrilled to have Ben take our company to the next stage in its evolution." Ben Stevenson nurtured Houston Ballet from an emerging regional ensemble to one of the nation?s largest dance companies that has performed to critical acclaim throughout the world. With strong corporate and community support of Houston Ballet under his leadership? evidenced by a $12 million budget and 52 dancers? Mr. Stevenson also built a recognized ballet school, trained many of the top dancers in the ballet world, and choreographed some of the best loved and most critically successful ballets of the 20th century. "This is an incredibly exciting opportunity. The Board?s leadership, the energy and enthusiasm of both Fort Worth and Dallas supporters, and the dedication of dancers and staff provide the building blocks for growth as we enhance and expand this company," said Mr. Stevenson from Los Angeles, where he is departing midweek to choreograph a new ballet ? Fountain of Tears ? at the invitation of The National Ballet of China. "With the existing high standards as a point of departure, I hope to enliven the repertoire with world premieres, solidify and strengthen the existing repertoire and corps de ballet, and add exciting new works as time goes on," he said. "And, I love being in Texas!" "Dallas and Fort Worth are both incredible cities with many untapped opportunities in our large metropolitan area," said Ann Woessner, chairman of the Dallas Supporters of FWDB. "FWDB is in a unique position to serve them both equally. "We all take great pride in Ben Stevenson?s proven track record," she continued. "His exceptional talent and creativity will move the company to the next level of artistry and growth." Ben Stevenson, a native of Portsmouth, England, has been dancer, choreographer, teacher, artistic director, and consultant for over half a century. He received his early dance training at the Arts Educational School in London before joining Sadler?s Wells Royal Ballet, London Festival Ballet, Harkness Ballet, and the National Ballet in Washington, for whom he served as director. He was appointed artistic director of Houston Ballet in 1976. Mr. Stevenson has built Houston Ballet into one of America?s leading ballet companies. He received numerous awards for his choreography, including three gold medals at the International Ballet Competitions of 1972, 1982, and 1986. Mr. Stevenson was the first Western choreographer to set a work for the Russian Bolshoi ballet company, and he has staged his ballets for the English National Ballet, American Ballet Theatre, the Paris Opera Ballet, the National Ballet of Canada, La Scala in Milan, the Munich State Opera Ballet, The Joffrey Ballet, London City Ballet, Ballet de Santiago, and many companies in the United States. For his contributions to the world of international dance, Mr. Stevenson was named an Officer of the Order of the British Empire (OBE) by Queen Elizabeth II in the New Year?s Honors List in December 1999. Tim O?Keefe, another Houston Ballet veteran, will also join FWDB as assistant to the artistic advisor, effective this July. He will serve as ballet master and artistic administrator for FWDB. A native Houstonian, Mr. O?Keefe was the dancer for whom Mr. Stevenson created the title role of Dracula in 1997. In addition to working with Ben Stevenson for more than two decades, Mr. O?Keefe has also worked with choreographic luminaries including Sir Kenneth MacMillan, Christopher Bruce, and Jerome Robbins. "I am very pleased that such an opportunity has come at this point in Ben?s career," said Nicholas Swyka, president of Houston Ballet Foundation. "Ben has made a monumental contribution to the success of Houston Ballet. He will enjoy the challenge of working with a new ballet organization. "We will cherish his role as artistic director of Houston Ballet through our next season ending in June 2003," he said. "After Ben steps down from his role with Houston Ballet, both he and the entire Fort Worth Dallas Ballet organization will benefit." Fort Worth Dallas Ballet was founded in 1961 as Fort Worth Ballet and reorganized as a fully professional ballet company in 1985. The company has performed seasons in Dallas since 1994. Fort Worth season sponsors include American Airlines, NBC5, Star-Telegram, and The Arts Council of Fort Worth and Tarrant County. Dallas season sponsors are Brierley & Partners, The Dallas Morning News, ExxonMobil, The City of Dallas Office of Cultural Affairs, and Texas Commission on the Arts. The website is www.fwdballet.com.

Thanks for your comments, justafan, and PLEASE!!!!! write that note. There may be a quick and easy email option on his website: www.charlierose.com As someone who works in the news media, I cannot emphasize enough HOW IMPORTANT IT IS to send such emails. (They really don't care whether you like the show or article or review or not. They just need to know that you saw it or read it and that its existence matters to you.) I thought Jaffe's comments about wanting to do more acting (in ballet) as one of the reasons for her retirement was telling, too. (She apparently feels that contemporary choreography does not offer that opportunity.) I think the older dancers get, the more they want to do more than the steps -- and it's not because their technical facility is failing, it's because they're maturing.

Did anyone else see this? I thought she came off very well -- very likable yet still an artist I was struck, of course, by her story on how coaching had made a difference to her career. Why should ballerinas need to run into old friends in a hallway in order to get good coaching? I also liked her generosity to her favorite partner (Carreno). It seemed genuine rather than dutiful. A very, very graceful exit.

It is odd, isn't it? There's also the little problem with the Kirov that often the names in the program don't match the dancers on stage. As for your three Z tickets, maybe you could switch one at the box office? It's early days. (I don't know the reason.)

Ophelie, your English is wonderful! You're an English etoile You make Le Concours sound interesting -- could you guess the killer?

Welcome, Ophelie! There are several POB fans on the site. I've only seen the dancers you've mentioned on videos (taped off TV), but Gillot and Osta are among the most promising, I think, and I've liked Martinez very much, too. I've seen him in Raymonda Act III and the Leo Staats revival about six years ago -- Soir de Fete. I hope you'll tell us what you're seeing. We cover Paris Opera Ballet a lot in DanceView, and I'm very interested in what that company is doing. So, again -- welcome

They may well make some changes, but I'd be surprised if this were not the new/old Bayadere.

The Charlie Rose site says it's today. http://www.charlierose.com/index.shtm (If you click on the Susan Jaffe link it takes you to the abt home page). The show may be postponed because of news events, but otherwise it's scheduled for today.

Susan Jaffe is taping a Charlie Rose show. According to Reliable Sources, the show will air tonight or tomorrow.

Give us a hint, Lovebird. Where did you see her? With what company does she dance?

Katja, I loved your comment! The company danced Le Corsaire in DC a few months ago. They deliver the goods, but I don't think anyone's told them that this ballet has roles.

Subject to change, but this is the latest from one of our Secret Agents. La Bayadère Monday, July 8 at 8 p.m. S. Zakharova/I. Kolb Tuesday, July 9 at 8 p.m. D. Vishneva/V.Samodurov Wednesday, July 10 at 2 p.m. D. Pavlenko/A. Fadeyev Wednesday, July 10 at 8 p.m. S. Gumerova/I. Kolb Friday, July 12 at 8 p.m. I. Nioradze/A. Fadeyev Swan Lake Thursday, July 11 at 8 p.m. S. Zakharova/ D. Korsuntsev Saturday, July 13 at 2p.m. D. Pavlenko/ E. Ivanchenko Saturday, July 13 at 8p.m. S. Gumerova/ I. Kolb Tuesday, July 16 at 8 p.m. V. Part/ D. Korsuntsev Saturday, July 20 at 8 p.m. I. Nioradze/ E. Ivanchenko Don Quixote Monday, July 15 at 8 p.m. D. Vishneva/ V. Samodurov Wednesday, July 17 at 2 p.m. I. Golub/ A. Korsakov Wednesday, July 17 at 8 p.m. I. Nioradze/ A. Fadeyev

Manhattnik, I think that was one of the steps that 19th century dancers tossed off all the time! There was one of Bournonville's men -- I can't remember who, but it was in the 1850s or '60s, Middle Bournonville -- who had something terrible happen to his kneecap . It's in Theatre Life -- Mr. B I had never heard of that injury. I have no idea if it's related, but.... Malakhov also puts those deep plies into La Sylphide, I've been told -- I've never seen it. So did Peter Schaufuss, but so did Poul Gnatt, the James of the late 1940s and early 1950s. I can't date them before that, but the second solo in Napoli II (Beck, as you pointed out) uses them and about 100 years ago now.

Thanks for that, Jeannie -- who would think of putting a HUNTER in mint (Act I) and lavender (Act II)? Uvarov and Ivanchenko both wore the white costume (the one that's on the program book cover). I tried not to laugh -- I don't think they wanted us to laugh! But the bowing Egyptian priests were a bit much. Several people pointed out that Nikia should not be partnered in Act II, that that variation was originally danced by a slave girl as entertainment. (I'm quoting someone else here; this isn't my observation) Nikia can't be partnered, can't be touched, because she's a virgin. Neither Nikia on view here was particular virginal.

Hi, Odette. The Kirov Ballet is located in St. Petersburg, Russia! There is a Kirov Academy of Ballet located in Washington, D.C. It was founded by Oleg Vinogradov, who was then the director of the Kirov Ballet (which is a very great, and very old, company in Russia.) Here's a link to the Academy's web site http://www.kirovacademy.org/

For reports on this season, see Recent Performances: http://www.balletalert.com/forum/forumdisp...p?s=&forumid=19 When the season is over -- give it a few days to give people a chance to post -- I'll move those posts over to this forum for posterity

The negative reaction here to the Drum Dance is unfortunate, because my sense is that the dancers think they're not putting it over, and so amp it up a few hundred notches, and the More they do the more the audience recoils. I get the sense this is very popular at home, and they don't understand what's wrong with us, or them. One of the things I find very endearing about this company is the way they want us to like them. With one or two exceptions, I don't view this as playing to the audience as much as paying us the courtesy of acknowledging our existence. The silent dialogue between dancer and audience is one of the things I love about Russian dancers. ("I thought you'd like that" Medvedev seemed to say of his sequence of pas de chat in the gala's "Fille" pas de deux.)

There was some very good dancing and a more coherent performance in general Friday night. The KC audience has not taken to this ballet -- people left after the second act near me, and there were lots of grumbles of "kitsch" and "camp" in intermission chatter. But Maria Alexandrovna (as Gamzatti) blew the roof off with her final variation in the second act and during the Shades scene, it was so quiet, it seemed no one was breathing. The leads were Anastasia Volochkova and Evgeny Ivanchenko (the latter a guest on loan from the Kirov). Perhaps because both Volochkova and Ivanchenko are Kirov-trained and grew up watching a production of La Bayaderer that made sense, they pulled the story together more. It wasn't just an excuse to do a Dance of Pain here or a Star Turn there. I didn't expect to like Volochkova in this at all, and she's not my idea of a Nikia. I sensed no vulnerability; her spirituality in the third act comes from -- another surprise considering her Don Q at the gala -- a very pure approach to classical technique. I can't remember when I've seen so many 90 degree arabesques! Ivanchenko was another surprise. I hadn't thought his Don Q (with AV, at the gala) very strong, and so didn't expect his Solor to be so powerful. All three men on view here this week have huge, beautiful jumps and secure turns, but Ivanchenko pays attention to the steps in between the big tricks, too, and, just as important for me, he was alive in the story, unlike Tsiiskaridze the night before, who'd dash out of the wings to do a variation and dash back again, but I was hardly aware of him when he wasn't dancing. It's interesting to listen to all the different points of view about these dancers -- I wish more of our posters had attended so we'd have some of them here. There's a definite Battle of the Ballerinos here. I've talked to several people who'd vote for Tsiskaridze -- best technician, most exciting performer -- and who find Uvarov dull. And others (including me) who prefer Uvarov and find Tsiskaridze self-indulgent and sloppy. And then there's Ivanchenko, brought in to partner Volochkova, and turning out a star performance in his own right. I was interested to read Jean Battey Lewis's review in The Washington Times today. She felt the dancing as a whole was inelegant. I wouldn't use that word, but there's a definite difference in refinement between Bolshoi and Kirov -- and this has been noted for decades. Watching the corps last night, and thinking of the difference betwen Uvarov and Ivanchenko, I think the difference is that the Kirov's goal is to dance while showing the classical positions clearly and finishing steps, while the Bolshoi uses classical technique in expressive ways. (And I don't mean by that that the Kirov is inexpressive, just that you have to be expressive with the arms over your head en couronne in a way that looks like a picture in a textbook.) The Bolshoi Shades will do arms en couronne too, but they slide into it and don't make a snapshot out of the result. But it's done very carefully -- a stylistic choice, in my book, rather than sloppiness. The leg always hits the opposite knee in passe, right at the knee, not above, not halfway down the shinbone, but right on target. But it doesn't get there like an arrow, or snap into position. I've been fascinated by their hands. I'd forgotten that loosely spread fingers were the norm here and it adds to the expressiveness. The Shades are so crowded on the stage that dancing there must be like riding a bicycle home in a European capital at rush hour. One miscalculation and everybody's down. I've overheard many complaints during my intermission prowls about the extreme thinness of the women with "those awful toothpick legs" usually turning up in the conversation. The legs look as though they have no strength, and are so thin that knees look knobby. The current company body seems to have been selected for the nightgown and unitard ballets, and so when a tutu is called for the result is, in my eyes, unfortunate.