Alexandra

It is astounding. If I'm rememering correctly, the late Gennady Smakov was working on a Petipa biography. I remember reading that around the time his "Great Russian Dancers" and Baryshnikov biography were published. And then he died. I've always wondered if he had begun work on it, and if so, what happened to his research.

I have to say I wouldn't mind a few Carl Van Vechtens. I liked his take on the pop culture/high culture divide. He saw everything, wrote some terrific stuff about the Lindy dancers and Harlem shows, Spanish dance, night club dance and ballet. And he could tell which was which! Isn't that one of the reasons we read writers on the arts? I can look at four painters and say they all look alike. I need someone who knows that art form to tell me, actually, no, they don't. Look, here the dividing lines between the color blocks are straight, there they are smudged. Look at the use of color, etc.

I am going to write a letter, and I'll send a link to this thread, so please keep the dialogue going.

I can't help, I'm a afraid, but some of our New Jerseyites will see the question tomorrow and be able to answer, I hope. If all else fails, you could email the company with your questions. Good luck!

I don't know how the Times works, I'm afraid. At the Post, you could just call Style and ask for Sarah Kaufman. I'd email, I think. He might read the snail mail, but does anyone anywhere answer it any more? Writers usually are genuinely glad to get feedback on something they write, (especially if the letter is polite and well-reasoned) and I think it would be worth writing.

I think it would be wonderful if people wrote letters to Mr. Rockwell, or the editors, or both about the piece. Whether you agree with it or disagree with it, it would be good to let them know that people care about dance and care about how the NY Times covers it. And yes, Leigh is right -- this is why I originally founded the site and the Ballet Alert! newsletter.

Can anyone think of a good reason why Cornejo isn't cast as Petrushka?

Sob! We're not getting "Ballo" down here!!! But it is wonderful to read about it, Michael. Thank you!

Bellieve it or not -- NO! At least, not in English. There are Russian biographies, and his complete diaries are available in German (and two years, I write from memory, at the end of his career in English, in a monograph by Lynn Garafola published by Dance History Scholars. I don't know of anything else. If someone does, please post!

I enjoyed that DVD also, Joseph. As far as I know there is no DVD of the full length Sleeping Beauty yet. I have seen the Raymonda backstage DVD and liked that as well -- lots of footage of POB dancers from the early '80s. There's more on this one about Nureyev than about the ballet (lots of interviews of how important he had been to the company) and he's conducting some of the rehearsals.

Casting update: updated New York City Ballet Principal Casting for the week of January 4 through 9, 2005, please note the following program change: ------------------------------------------- THURSDAY EVENING, JANUARY 6 THE FOUR TEMPERAMENTS (Balanchine) (replaces POLYPHONIA): Arthurs, J. Stafford, Riggins, Ramasar, Tinsley, Orza, Boal, Ansanelli, Hanna, Evans, Reichlen [C] [McDill] ------------------------------------------

Quick note from the Helpful Hostess We never meant to diiscourage someone from posting a technical question on the order of what Amy did above. When we say "no technique questions, please!" that's aimed at dancers or dance students who might ask, "Help! How do I spot???" because we'd like to direct them to the Dancers Forum so there question can be sure to be answered to a teacher. So if there are any "insider dancer" questions like Amy's above, or 'what is a fouette anyway?" questions from viewers please, ask away.

Something new to sell at the concession stands: Elixer d'amnesia. One hearty (and delectable!) gulp wipes away memory, so that you can see "The Four Temperaments" for the first time all over again! I'm jealous

I was surprised no one posted about the Trocks' recent New York season. Did anyone go?

Yes, that's what Nureyev did. Thanks! Apparently when Nureyev came to the West, or when he started doing this (I don't remember whether he came with it or changed sometime in the 1960s) it was a matter of some discussion. It wasn't considered "masculine" by the standards of the day, and so whether to follow his lead or not was an issue.

Marc Haegeman has a review in this week's DanceView Times about three casts of "Sleeping Beauty" -- Myriam Ould-Braham and Christophe Duquenne, Agnes Letestu with Jean-Guillaume Bart, and Svetlana Zakharova wth Jose Martinez. State of the Company There are some gorgeous photos (by Icare) accompanying the review. One of them raised a question for me. One of the stylistic changes Nureyev introduced to male dancing was pointing the extended foot in the grand pas de deux. Prior to him (this is from looking at photos, and also discussing this with dancers of the period) the extended foot was planted on the ground. Christophe Duquenne, in the grand pas de deux, is not pointing the foot. Is this a general change, has anyone noticed? (Another change that I remember is having the Prince partner from a very tight fifth position when he supports Aurora in promenade, or in arabesque. Is that still done?) I don't mean to suggest that if it's not the world has ended, but am just curious

A gentle reminder about board policy. Tempusfugit, there's a difference between "observing what is in their view the sad truth" and attacking someone, be it another poster or a dancer. Please chill Everything you said could have been said politely and without anger (as you almost always do, and your posts are greatly appreciated!). The dancers do read this board. Not only dancers we write about, but young dancers. We don't want to scare them out of the field!

I think it depends on what you mean by "successfully" Ballet dancers hitting middle age have been performing modern dance works since at least the 1960s.

He did change the Sugar Plum pas de deux, especially the coda (and they're not from the Vainonen.) Lots of pas de chat, both dancers doing the same steps in the coda. There's also an unusual lift, if I'm remembering correctly, with the ballerina perched on the cavalier's outstretched leg. I believe, too, that the divertissements are different from the Vainonen. Nureyev did use the Vainonen waltz of the snowflakes, I think, or something very close to it. The idea of having a "psychological" Nutcracker is Vainonen, as far as I know; I don't think there are earlier versions. But I believe that in Nureyev's for the Royal, the family members and party guests dance the diverts, and that, for good or ill, that was his invention. I'd second what Canbelto said about Park. I'm not a fan, in theory, of ballerinas-playing-children, so I think any ballerina looks too old! This version does show off the Royal Ballet at that time, though. Nureyev's Nutcracker is also available danced by POB with (again, from memory) Hilaire and Elisabeth Maurin, both quite young, in the leads. And I think the corps is just gorgeous in the waltz of the Snowflakes!

Updated NYCB principal casting for the week of January 4-9, 2005, please note the following changes: Tuesday Evening, January 4, 2005 DIVERTIMENTO NO. 15: Rutherford (replaces *Borree) Wednesday Evening, January 5, 2005 STABAT MATER: *Ringer (replaces Borree) Thursday Evening, January 6, 2005 DIVERTIMENTO NO. 15: Rutherford (replaces Borree) Saturday Matinee, January 8, 2005 BALLO DELLA REGINA: Bouder, *De Luz (replace TBA) Sunday Matinee, January 9, 2005 SQUARE DANCE: *Fairchild (replaces Borree)

Once bitten, twice shy?

I don't know, unfortunately, Anne, but someone else here may well have heard of this, too. I'm posting really to welcome you to the forum, and thank you for posting. If you'd like, please introduce yourself in the Welcome forum where you'll get a Proper Welcome from our official Greeter

"Ruminations" is the title of ATM's blog. I've asked her to start threads for each of the pieces in her blog (which I love!) and am going to move the copy over to those threads. Then any "Ruminations" thread will be open for discussion.

Thanks to Mme. Hermine for findiing this. I'm copying it over from Links for discussion. The whole review is interesting -- lots of good background info. And Ebert takes the film, and ballet, seriously!!! Roger Ebert with a review of The Red Shoes film in the Chicago Sun-Times: http://rogerebert.suntimes.com/apps/pbcs.d...EWS08/501010301

Hi, TexasKelly! I think you're more likely to get an answer on our other forum Ballet Talk for Dancers This Ballet Talk is for discussion of performances, aesthetic issues, and the like. BT4Dancers is .....for dancers. Technique, class, auditions -- and there's a whole forum called Pointe Shoe Topics. We also have special forums there for dance students.