Alexandra

Thank you, hockey fan! Would you please fly around the country and report on other companies we never get to see? This is the most thorough piece I've read on Ballet Arizona, a company I've been curious about, so I'm especially grateful to you. From the few photos on the web site, it seems as though Andersen HAS taken a company that was, well, not one to write home about and, in a very short period of time, worked wonders. And, as you noted, on a very tight shoestring.

Curious about what the post-postmoderns are up to these days? this is what's new at Article 19 This week on Article19 [ www.article19.co.uk ] Feature Article: "The Recovery Position" by Helen Parlor In this two part feature Helen Parlor discusses injury and illness and the devastating effects on a dancer both personally and professionally and how to find your way back when it seems as though all is lost. http://www.article19.co.uk/feature-recoveryposition.php Interview: Eliza McNeill and Jeni Sutton, Graduate students from Western Australia Academy of Performing Arts Jeni Sutton and Eliza McNeill are students at the Western Australia Academy of Performing Arts in Western Australia. Currently in the graduate company "Link" the pair spoke to Article19 back in March about studying dance on the Australian west coast. http://www.article19.co.uk/interview-waapastudents.php Video Feature: Maresa Von Stockert "Nightmares in Black and Green" The work is described as "an unromantic romance" and features two dancers (Francisco Monteagudo and Roberta Pitre) performing with a table, some roses, a blow up doll, lot's of apples and the funniest dead pan spoken text you have ever heard. http://www.article19.co.uk/feature-maresavonstockert.php Video-Feature: BalletLorent "La Vie" Way back in January 2003 we brought you the first look at BalltLORENTS unique dance work "The Ball". This year we bring you a first look at "La Vie des Fantasmes Erotiques et Esthetiques" or La Vie to its' friends http://www.article19.co.uk/feature-balletlorent.php Video-Feature: Granhoj Dans "8IQ No Woman No Cry" An exclusive feature just for Article19; We bring you the very strange 8IQ - No Woman No Cry a dance piece featuring dance (you don't say! Ed!), singing, live music and some very funny moments. http://www.article19.co.uk/feature-granhoj.php

The company's press release: THE WASHINGTON BALLET ANNOUNCES ITS 2004-2005 SEASON Highlights Include the Classic Ballet Giselle, the World Premiere of Septime Webre’s Nutcracker and World Premiere of Trey McIntyre’s Rite of Spring (Washington, D.C.) The Washington Ballet announces its 2004-2005 season, a line-up of ballet favorites and world premieres with local performances at The John F. Kennedy Center for the Performing Arts, the historic Warner Theatre and its own home on Wisconsin Avenue. “The breadth of this season is unprecedented for The Washington Ballet,” says The Washington Ballet Artistic Director Septime Webre. “From a new production of the classic Giselle to Unplugged, the range of repertoire has never been more demanding on the dancers, and our dancers have never been more ready.” The season begins as the Company takes on the exciting adventure of staging the classic favorite Giselle October 20-24 at the Kennedy Center’s Eisenhower Theater. At the very heart of the romantic era, Giselle is the extraordinary story of absolute love and unconditional devotion, set to Adolph Adam’s poignant score. Audiences are consistently enraptured by this tale’s ethereal, mystical and sublime magnetism – from Giselle’s peasant village and the infamous mad scene, to the supernatural world of the Willis. A true vehicle to exemplify its technical and dramatic mettle, The Washington Ballet wraps its production of Giselle in emotional sensitivity and tenderness. “The first 19th century ballet I ever saw was Rudolf Nureyev in Giselle; it took my breath away,” says Webre. “Seeing Giselle that first time, I was amazed with the beauty of its nuances and subtleties. I am thrilled we can tackle this great work.” Beginning a new tradition for the holidays, The Washington Ballet premieres Septime Webre’s The Nutcracker December 9 – 26 at the Warner Theatre. Set in 1882 in Washington, D.C., Webre’s Nutcracker will be perfumed with references to the nation’s capital as well as America’s rich history: In Clara’s dream, the Nutcracker himself will have an uncanny resemblance to George Washington, the Rat King to George III, the rats to British Army Red Coats and the toy soldiers to a regiment of the Continental Army. Act II will take place on the banks of the Potomac River with the Cherry Blossoms in full bloom; various divertissements will be staged to reflect images of Americana including a duet for two Anacostia Indians, and Mother Ginger’s skirt will reveal a working American carousel with children as circus clowns. See your favorite Washington Ballet stars, together with budding talent from The Washington School of Ballet in a Nutcracker beaming with brilliant, neoclassical energy. It is the must-see of the holiday season. “Washington, D.C. has such a unique character and is a symbol for our collective American heritage,” Webre says. “Threading these elements through the story of Clara and her journey seemed to offer a specific and special point of view that would resonate for Washingtonians for years to come.” Wunderkind Trey McIntyre returns to The Washington Ballet to stage his world premiere interpretation of the scandalous and controversial Rite of Spring, February 23-27 at the Kennedy Center’s Eisenhower Theater. Originally commissioned by Sergei Diaghilev for Igor Stravinsky and Vaslav Nijinsky, Rite of Spring evoked an outburst of controversy when it premiered in 1913. With its scandalous history, Rite of Spring awakens with a new stir of intrigue as McIntyre takes his innovative hand to this story about a primitive sacrificial rite. Barbaric, sexual and powerfully gripping, Rite of Spring witnesses the sacrifice of a young girl for the god of spring. Stravinsky’s angular and unpredictable score, as radical today as it was when it first premiered, builds a ritualistic rhythm as a Neanderthal-like tribe finds complete glory in their annual sacrifice. Rite of Spring will be accompanied by George Balanchine’s steely and sophisticated Stravinsky Violin Concerto and a Company premiere. “Trey McIntyre’s unique sense of the moment and occasionally off-the-wall sensibilities will give life to one of the most powerful scores ever written,” says Webre. “ What a great match for Balanchine’s cool and intellectual invention Stravinsky’s Violin Concerto.” The Company will present The Washington Ballet’s Gala Performance for Kids on February 26 at 2:30 p.m. An entertaining afternoon for the entire family, The Washington Ballet will perform excerpts from its extensive repertoire of family friendly productions in addition to the ever-popular interactive program “Make a Ballet” led by Septime Webre. Balancing the boldness and primitiveness of Rite of Spring is the tender, romantic and tragic ballet Romeo and Juliet April 13-17 at the Kennedy Center’s Eisenhower Theater. Septime Webre’s acclaimed interpretation of Shakespeare’s most revered romantic tragedy brings weighty dramatic roles and impassioned classical dancing to this intensely theatrical experience. Romeo and Juliet reminds its audiences of love, as only youth knows it – consuming, reckless and world forgetting. Inspired by Prokofiev’s expressive score, Webre captures the very essence of this masterpiece, taking us with the young lovers as they rush headlong towards their romantic destiny. “Romeo and Juliet has it all — a fabulous score, cliff-hanging drama and meaty dramatic roles in which the dancers can grow,” says Webre. Completing The Washington Ballet’s 2004-2005 season is Unplugged, May 3-15 at The Washington Ballet’s England Studio Theatre. Unplugged spotlights the thrilling marriage between live dance and live music with a collection of world premieres and Septime Webre’s Fluctuating Hemlines. Mounted by numerous companies throughout the nation, Septime Webre’s Fluctuating Hemlines follows a compelling percussion score and places an emphasis firmly on athleticism. Camille Paglia’s incendiary “Sexual Persona” lays out the premise that, underneath, we are all driven by our animalistic passions. Enthused by this idea, Webre molds it into an abstract, stripped-down work filled with the tense energies and urges of our unrevealed lives. “Unplugged gives dancers an opportunity to tear through new repertoire full throttle and allows the audience to experience the dancing from within,” Webre says. Subscriptions are on sale now and can be purchased by calling 202.362.3606 x 119.

Citing exhaustion and the demands of running the Maryinsky Theater in a difficult year that has included a warehouse fire and major renovation projects, Valery Gergiev, Artistic and General Director of the Maryinsky Theater, has cancelled his scheduled engagement with New York City Ballet to conduct the opening night of the Company’s Russian Music Festival on Tuesday, June 8. For the all Balanchine program, Maestro Gergiev was scheduled to conduct the NYCB Orchestra in Stravinsky’s Firebird and Symphony in Three Movements. Those ballets will now be conducted by Maurice Kaplow (Firebird) and Andrea Quinn (Symphony in Three Movements). Balanchine’s Mozartiana will complete the program. Last summer NYCB traveled to St. Petersburg to perform at the Maryinsky Theater’s White Nights Festival, for which Maestro Gergiev conducted Serenade and Symphony in Three Movements at the Company’s opening night performance. As part of NYCB’s arrangement to perform in St Petersburg, Maestro Gergiev planned to reciprocate by conducting at the New York State Theater during NYCB’s Balanchine Centennial season. “Although I am disappointed that I can not be there for the Balanchine Centennial, this is only a postponement and I will keep my promise and conduct for the New York City Ballet at some time in the future,” said Maestro Gergiev. NYCB’s three-week Russian Music Festival will close the Company’s spring season tribute to Balanchine’s Vision, which will also include a world premiere by Boris Eifman on June 18, and performances by the Georgian State Dance Company on June 25, 26 and 27.

Aw, please.... "Other" please write in!

Hello, Nikolaidenmark -- that is great news! I liked both Hansen and Sakurai very much, from the little we saw of them in DC this past year.

Yes, ballet choreographer -- unfortunately, there's a character/space limit in the subject line -- I had to drop "the" too I just added a sub-headline to clarify -- but this is Ballet Alert!, after all! It's safe to assume "ballet" unless otherwise stated.

I'm the lone (so far) "I can only pick one?" but my thoughts are along the same lines as Hans and Thalictum. I'd put Tudor up there, too. And (on faith, because I haven't seen much of his work) Massine. I'm basically pantheistic by nature

Ballet.co has had a poll asking if Balanchine was the greatest 20th century choreographer. I thought it might be interresting to see what the take is here. If you'd like to comment, please do. (We had a similar discussion once that quickly went off the rails into a shouting match, but that's not going to happen this time, is it? Those who think that Balanchine is the ONLY choreographer are entitled to that view, and those who think that Joe Blow was the world's greatest choreographer are entitled to that view. Reasons welcome, of course.

I'd missed this one: June 3-6: Ballet Arizona: 'George Balanchine's 100th Birthday Festival'

Copied from today's Links: What does a ballerina do when she retires? Yen-Li Chen-Zhang of Ballet Arizona plans to eat.

I saw the Erik Hawkins one too -- all I remember is Hawkins with two men in a boat. But there was no Moby.

Martine Van Hamel! I only saw her Shades scene, but I've never seen anyone better. Her dancing was very rich -- vulnerable and powerful -- and when she was on the top of her form, the technique was breathtaking as well.

cast changes (highlighted in bold): NEW YORK CITY BALLET PRINCIPAL CASTING FOR THE WEEK OF JUNE 1 – JUNE 6, 2004 TUESDAY EVENING, JUNE 1, 7:30 P.M. (Conductors: Kaplow, Moredock) GLASS PIECES: Tinsley, Rutherford, *Krohn, Whelan, Higgins, Fayette (replaces *Liang), Hanna, Tewsley [K] [Chelton] IVESIANA: Tinsley, Fayette, Taylor, Gold, Sylve, Evans [K] pause TARANTELLA (replaces SONATAS AND INTERLUDES): Fairchild, De Luz [K] [McDill] I’M OLD FASHIONED: Rutherford, Körbes (replaces Kowroski), Ringer, Higgins, J. Angle, Marcovici (replaces Hübbe) [M] WEDNESDAY EVENING, JUNE 2, 8:00 P.M. (Conductors: Kaplow, Wachs++, Quinn, Moredock) INTERPLAY: Körbes, Riggins, Tinsley, Mandradjieff, Hanna, Hendrickson, Carmena, Ulbricht [K] [Chelton] pause TARANTELLA: Fairchild, De Luz [W] [McDill] CHICHESTER PSALMS (New Martins—World Premiere): *Körbes, *Seth [Q] pause EROS PIANO (New Martins—World Premiere): *Ansanelli, *Taylor, *Hübbe [K] [Moredock] I’M OLD FASHIONED: Rutherford, Körbes (replaces Kowroski), Ringer, Higgins, J. Angle, Marcovici [M] THURSDAY EVENING, JUNE 3, 8:00 P.M. (Conductors: Kaplow, Kuan++, Gemignani+) GLASS PIECES: Tinsley, Rutherford, Krohn, Whelan (replaces Kowroski), Higgins, Fayette (replaces Liang), Hanna, Marcovici [K] [Chelton] IVESIANA: Tinsley, Fayette, Taylor, Gold, Sylve, Evans [Ku] pause CALCIUM LIGHT NIGHT: Ansanelli, Liang [K] WEST SIDE STORY SUITE: Millepied, Soto, Hübbe, *Arthurs, Ringer, Edge [G] FRIDAY EVENING, JUNE 4, 8:00 P.M. (Conductors: Fletcher+, Quinn, Kaplow, Gemignani+) WHO CARES?: Martins, Weese (replaces Borree), Sylve, Bouder [Fl] [Walters] CHICHESTER PSALMS (New Martins): Körbes, Seth [Q] pause EROS PIANO (New Martins): Ansanelli, Taylor, Hübbe [K] [Moredock] WEST SIDE STORY SUITE: Millepied, Soto, Hübbe, Arthurs, Ringer, Edge [G] SATURDAY MATINEE, JUNE 5, 2:00 P.M. (Conductors: Quinn, Kaplow, Wachs++, Gemignani+) CHICHESTER PSALMS (New Martins): *Abergel, *Ramasar [Q] pause EROS PIANO (New Martins): Ansanelli, Taylor, Hübbe [K] [Moredock] SONATAS AND INTERLUDES: Kowroski, Soto [Chelton] pause TARANTELLA: Fairchild, Ulbricht [W] [McDill] WEST SIDE STORY SUITE: Millepied, Fayette, Woetzel, Arthurs, Ringer, Edge [G] SATURDAY EVENING, JUNE 5, 8:00 P.M. (Conductors: Kaplow, Kuan++, Gemignani+) GLASS PIECES: Tinsley, Rutherford, Krohn, Whelan, Higgins, Fayette (replaces Liang), Hanna, Tewsley [K] [Chelton] IVESIANA: Tinsley, Fayette, Taylor, Gold, Kowroski, Evans [Ku] WEST SIDE STORY SUITE: Millepied, Fayette, Woetzel, Arthurs, Ringer, Edge [G] SUNDAY MATINEE, JUNE 6, 3:00 P.M. (Conductors: Kaplow, Quinn) FANCY FREE: Woetzel, Gold, Orza, Edge, Ringer, Krohn, Veyette [K] CHICHESTER PSALMS (New Martins): Abergel, Ramasar [Q] pause EROS PIANO (New Martins): Ansanelli, Taylor, Hübbe [K] [Moredock] WESTERN SYMPHONY: ALLEGRO: Rutherford, Martins; ADAGIO: Ansanelli, Tewsley; RONDO: Sylve, Hübbe (replaces Askegard) [Q]

I think Leigh's is a good definition. La Sublimova has perfume; "Shalimar," dark and musky (I write this never having smelled "Shalimar" -- she's exotic, perfect for Other Woman or cello roles. La Petite Fleur is lillies of the valley, or baby's breath -- all light and fast and sweet, the jeune fille. And good ol' La Drekova -- well, she buys gallon-sized bottles of Eau de Toilette at the corner drug store.

There had better be Le Tres Grand Ballet Blanc de Whales And I can't resist asking.....is Moby a soprano role?

Welcome brbropus39, and thanks for your response, rg. I'm moving this to Anything Goes and deleting the duplicate post from Dancers. No cross posts, please (posting the same thing on more than one forum). It splits the discussion and can cause confusion.

Oh, I definitely agree you shouldn't go to a newspaper to read how you should do your stuff -- but if you're a choreographer, say, who doesn't know that Sleeping Beauty was originally done for the Romanov dynasty (and they exist) it wouldn't hurt to learn that Interesting that Dutch reviews don't focus on dancers. In America, this is one of the (many) divides between ballet and modern dance criticism, probably because so many ballet performances are of repertory with a performance history, and most modern dance concerts are of new work (obviously Graham, Taylor, Cunningham and others are exceptions to this, but even there, you don't get "the exquisite belly, small, taut, and built for contractions......") I have modern dance friends who .... not complain, exactly, but query why their dancing is never mentioned.

Thanks -- mini cooper, old fashioned, OTHER HOUSTON REGULAR READERS -- what did you think?

Big papers like the New York Times used to have copy editors......

Herman, I think the one similar situation is, "I'm telling you this for your own good. Your husband is having an affair." But I've never known a dancer who didn't read reviews. I think they have to learn early on to put them in perspective: if there's something useful, keep it. If it's not, then the Danes have a saying, "It's written in a newspaper. Tomorrow the fisherman's wife will wrap fish with it."

I had never thought of the possible negative effects of POSITIVE reviews until I started interviewing dancers. Several mentioned how they hated it when a critic wrote something specific about how good they were, whether it was the perfect gesture/interpretation/movement. It may have been something they did instinctively and now they'd been made conscious of it. It may cause them, the next time that moment is approaching, to worry about whether they produce the same effect, etc. Not to mention how they must think when someone writes, "Her virginal Giselle, all innocent, dewy teenaged freshness...." when the dancer was projecting a cheerful, earthy peasant girl with more than one past conquest under her belt I wonder if there really are dancers who don't read reviews?

I think if a critic thinks like that, it's like an air traffic controller who starts to think of the little blips on the screen as "279 souls" and freezes. My rule has always been to write as though you could face the person if you met him or her, but never to think, "I wonder what he'll think of this?" "Did she read what I wrote about her?" I think the point being made is that the critic doesn't write for the performer, not that critics think performers don't read them. All of this said, readers will always think that this or that comment is over the line (not only in Gottlieb's reviews, but others, I'm sure). I think the comments on this thread by writers are meant in the spirit of answering GeorgeB fan's original question, "can anyone explain him to me?" and not to discourage discussion.

Royalties, and the fact that there's not a large enough "market" to justify the expense to those publishers who could do this. But wouldn't it be grand? It's made for the web -- come to a step name, click on a hyperlink, see it demonstrated. Mention four or five choreographers -- once major, today barely mentioned, like Dauberval and Didelot -- and you could click into a whole chapter, with lots and lots of drawings. There could be reconstructions of court dances, so you could see what a sarabande and a courant looked like. When we hit the 20th century, of course, there would be films......I would love to work on such a project!!!

Be sure to stress that to the Moms and Dads, and young dancers, too!