Alexandra

Thanks, dirac. No correction from this corner; I don't remember. I like your "it's the little things" I think Farrell did learn a bit about theatricality during her long sojourn with M. Bejart.

I hope you'll see some of these and tell us about them. I'd be very curious to see Paris dance "Don Q." I think of them as being coldly elegant (which I like; I don't mean that negatively), and would like to see how they adapt that to "Don Q."

Melissa, I'm sorry -- I didn't see your post when I was last here. Farrell danced "Swan Lake" with the National Ballet of Canada right after she first left NYCB. She didn't finish the performance. My memory is hazy -- cramp? Injury? I believe she finished the second act but could not dance the third. I hope someone who knows will correct this, or fill in the details. You may enjoy this story about "Swan Lake," though. A couple of years ago, when Farrell was working with the Washington Ballet, she did a question and answer session with the audience after the performance. A VERY small girl -- she was sitting on her father's lap and looked, to me, to be about 5. Asked a question, "Have you ever danced Swan Lake?" Farrell said yes and turned to another question. The little girl wasn't finished. "But what was your very most favorite part?" she said. "The Swan Queen," said Farrell. The child, looking worried, as though she thought there might be another answer, smiled and said, "Oh, that's mine, too."

I'm sure there were a lot of factors. Once Farrell said something to the effect that if she had only a grand battement to do, and had to do it eight times, then she had to figure out how to do them and make them interesting. That goes to Manhattnik's point. But, having seen dancers wither on the vine elsewhere, I can't help but think Bejart had something to do with it. And she certainly has been loyal to him. We'll see some more of his ballets in the future, with her company.

The mystery husband is Cyril Pierre, I think Thanks for posting this, Ari. It seems as though they're all leaving for different reasons so, in an outsider's view, I don't think it portends a crisis. For fans of these particular dancers, though, it must be a disappointment. What do people who actually see the company regularly think?

Thank you, bbfan. (I don't think I'll buy the review, though ) We'll remember to check the Phoenix tomorrow -- that's for that, too. Anyone else out there? 4Ts? Any of our out-of-town Boston fans go up to see it?

There you are! I'm so glad you found us again I hope you realize it's not that we have anything against dance-that-isn't-ballet, it's just that we wanted to have a site especially for those who are interested in ballet -- ballet as ballet, not ballet as a synonym for dance. Your participation is most welcome. Thank you, Paul, for finding the post and answering it [ March 20, 2002, 04:24 PM: Message edited by: alexandra ]

My first season watching ballet was Farrell's first post-Bejart season. (One of the things that's always intrigued me about Bejart is that, if he's really Ballet Satan, then how come Farrell grew so much when dancing with him? Ballet Satans -- no offense to Satan -- generally ruin, or at least stall, dancers. But I digress.) One performance I remember from that season was a transcendentally glorious "Chaconne." It was one of the few performances of a Balanchine ballet I've ever seen that was deliberately -- and appropriately -- bravura, with Farrell doing entrechats six instead (I was told) of the usual quatres. Pamela, I did see her in "Tzigane." It's not my favorite ballet, but I thought she was wonderful in performance. My favorite Farrell performances include in addition to Chaconne: Diamonds, Vienna Waltzes, Davidsbundlertanze, Union Jack, and Mozartiana. I agree that the footage on "The Elusive Muse" is phenomenal. It's as though she's dancing Balanchine's thoughts -- there's no impediment between his brain and her body. I wish I could have seen her half-Swan Lake in Canada

Hmm. I wonder what Vaganova would say about that, Manhattnik I thought the same thing about "adultery" -- the noive! How could he assume that? And I'm waiting to see how long before some enterprising young newnow choreographer describes his next boundarypushing work as "My newest work, "Cloudless Nuances" is adultery in motion....." Brendan, thank you very much for that story -- it's good to know there are some more openminded clergy One of the first dance historians was a Jesuit -- Father Menestrier. I think his book, detailing 450 ballets, came out in around 1469. (I also think it was one of the books the RAD tossed out -- er, put up for adoption -- last year, but that's another story.) He loved ballet, was particularly fond of horse ballets, and actually staged some ballets himself. Tradition

Now here's an interesting definition: quote: Social topics with which priests would one day have to deal were never discussed. Professors assiduously sought to avoid even the mention of sexuality, sensuality, racism and alcoholism. One professor defined ballet for seminarians as "adultery in motion."Interested in what else seminiarians are/were taught to think? Read The sacred and inane at St. Patrick's Seminary

What's right with the ballet world today? What do you think? Are there any good trends? Anything on the horizon, or actually happening, that makes you happy about ballet? [edited to correct a typo, but also to add -- This could also be specific dancers, ballets, companies, company directors -- anything you like about ballet today.] [ March 20, 2002, 03:05 PM: Message edited by: alexandra ]

In re-reading this thread after Paul and then BW raised it again, the general feeling here seems to be that the effectiveness of a work is more related to talent than religion. I think the same thing works with politics. No matter how heartfelt the sentiment, or how noble the cause, if the work can't stand on its own without the content, then I don't think it's a great work. (Now THERE'S a formalist position for you; the expressionist may well be of the opinion that content is all that matters.) One of the great works to spirituals that's still performed, of course, is Ailely's "Revelations." That may well have been an expression of his faith -- I don't know -- but it transcended the personal. Otherwise, I think Jeff and BW have a good point -- it's preaching to the choir. (And thanks for the Bintley as Widow Simone observation, Paul )

So, Giannina, when do you want to go? (With apologies to Estelle. If I lived in Paris I'd undoubtedly be disappointed too. However, there are attractions to the tourist in that schedule )

From today's NY Times: All-Black Casts for 'Porgy'? That Ain't Necessarily So I don't want to excerpt anything from the article, because there are several views presented. Issues include: the opera doesn't get performed often enough because most opera houses don't have enough black singers for the roles (an argument for having enough black singers for the roles, IMO ) yet a prominent black singer -- and honored soldier in the fight to integrate opera -- is quoted as saying that he thinks it's time for the ban on white singers to be raised. I think it's an interesting topic -- what do you think? (This discussion will be far richer if everyone reads the article )

Thank you for taking the time to post this, Estelle. We wouldn't read this news at all for months here -- and it wouldn't be in nearly so much detail. I can see that the repertory would be disappointing if one had seen these ballets regularly. And I totally agree with you about the lack of breadth and the exclusion of mid-20th century works. I also find the early retirement age troubling. There's the thought that we can just bring in one of the retired dancers to do a Coppelius, or another mime role -- they're doing that in Denmark -- but it doesn't work. They need to be part of the company, taking class (at least barre), having some connection with the company, rehearsing, or else it will really look like a guest performance and not be integrated into the whole. We'll see what changes the new management will make. If one can be optimistic.

Thanks for posting that, Allegro. Who were the leading dancers? I didn't see this production, but I did see Holmes' production for Boston Ballet several years ago -- it was a traditional production, very much based on the real thing. Perhaps the different steps you noticed were character steps -- Spanish dancing-influenced steps. Anyway, I'm glad you enjoyed it -- tell us more

Oh, Doug. I want to see that Raymonda (Unfortunately, we'd just see the pep, I'm afraid, without the graciousness and charm that went with it.)

Good question, Dale, and thanks for the responses. There is wit in that role, isn't there? I don't know whether that's because I also associate it witih Danilova (only from photos, alas, but I've seen so many and heard so much about it that, like Fonteyn's Aurora, I think I've seen it) or because of some other reason. It was made for an older dancer -- I believe Legnani was 35, if I'm remembering correctly. And it's a real Ballerina as General role (if you have a ballerina who can carry that off). I remember Semyenaka with the Bolshoi who made it both an athletic and artistic role. Athletic in the sense that you were very aware that she had a LOT of solos (is it seven?) and yet at the end, she looked as though she was just getting warmed up. And artistic because it wasn't Just Steps. I loved Van Hamel's Raymonda. I can't honestly say I remember her that well in the Nureyev production, more in the Baryshnikov condensed version. But hers is the clapping solo that I remember most clearly -- and so I also think of Raymondas as being big and juicy 35 year olds. Quite a way from Legnani and Danilova Warmth. Authority. An autumnal quality. Terrific feat and a supple back.

Thank you, Jeannie. I loved reading about your skiing exploits, as well as the ballets. Keep us posted

Thanks, Marilia. I posted the press release announcing this on the Dancers forum a few days ago and no one has yet commented. (Here's the link to the release) http://www.balletalert.com/ubb/ultimatebb....ic;f=2;t=000462

Kevin, we did our bit There were several reviews (with a wide range of opinions) of the Kirov's "Jewels" in Washington, and I've already moved them into the Kirov's Forum (in International Ballet Companies). Here's a link to the Jewels reviews thread: Kirov's Jewels And here's a link to the Kirov-Mariinsky Forum

Allan Ulrich reviewed "Jewels" for Voice of Dance. Here's a link: http://www.voiceofdance.com/Insights/featu...000000000000070

Thank you very much for posting this, Patricia. Wheeldon is one of the very few people choreographing now who's really neoclassical, so it's good to see his work being performed outside of New York (I know he has an association with Boston Ballet). I couldn't find a review of this program in the Globe. If someone else does it, please post a link. We now have TWO reviews -- any more out there?

Thank you, dirac! I'm very happy to learn that Mindy Aloff is writing for The Nation again. I remember some of her pieces -- especially one on Paul Taylor's "Roses" -- that I loved. I hope you do write a letter to the editor, saying you're glad to see dance again in The Nation.

Thank you very much for posting that, bbfan. I hope other Bostonians will chime in as well. It does sound like an unusual mix of ballets, yet it seemed to work well on stage.