Alexandra

That was beautiful, Victoria! Thank you. I'd like to highlight this for the Moms and Dads board: She could have been a walking advertisement for The Good Effects of Ballet Training. I think it helped her confidence as well.

Oh, Amanda, you've outdone yourself Yes, it will certainly suffice. Thank you!!!!

His father came to his performances, too Lovely to see all the Secret Service men lining the sides of Lisner Auditorium, looking everywhere except at the stage.

I think in this era, no, because she didn't have the standard body, and I don't think she was a medal candidate. I only saw her in roles like the (tomboy) "Favorite Aunt" in Nutcracker, or a lyrical pas de deux, and she could hold the stage. What was interesting is to see how her posture and carriage changed year after year. By her senior year, she looked like a ballet dancer.

Yes. Chelsea Clinton studied at the Washington School of Ballet until she graduated from high school. She often attended performances; her father would attend her recitals.

There's an article in DanceView Times this week by David Vaughan about Pollock's Toy Museum in London. He talks about the toy store, but also about some of the prints they sold, including some used in ballets, likle 'The Triumph of Neptune," and he gave us scans of two prints from his collection that anyone curious about the period might want to see. I just put them up: A NOTE ON POLLOCK'S JUVENILE DRAMA

Well, at least we know people are reading him!!

Andre or rg, is the "glow worm" excpert from Lysistrata the Pavlova glow worm (as in, "glow little glow worm, glimmer, glimmer")? I've been trying to match those two up all day!

Part and Meunier fans, take note: FIFTH WEEK Mon. Eve., June 7, 8 P.M. DON QUIXOTE – Ananiashvili, Carreño, C. Corella, Gomes Tues. Eve., June 8, 8 P.M. DON QUIXOTE – Herrera, Bocca, Meunier, Molina Wed. Mat., June 9, 2 P.M. DON QUIXOTE – Dvorovenko, Beloserkovsky, Part, Gomes Wed. Eve., June 9, 8 P.M. DON QUIXOTE – Murphy, Stiefel, C. Corella, Hallberg Thurs. Eve., June 10, 8 P.M. DON QUIXOTE – Reyes, Corella, E. Cornejo*, Saveliev Fri. Eve., June 11, 8 P.M. DON QUIOXTE – Dvorovenko, Beloserkovsky, Part, Gomes Sat. Mat., June 12, 2 P.M. DON QUIXOTE – Herrera, Bocca, Meunier, Molina Sat. Eve., June 12, 8 P.M. DON QUIXOTE – Murphy, Stiefel, C. Corella, Hallberg SIXTH WEEK Mon. Eve., June 14, 8 P.M. SWAN LAKE – Murphy, Carreño, Gomes Tues. Eve., June 15, 8 P.M. SWAN LAKE – Part**, Gomes, Molina Wed. Mat., June 16, 2 P.M. SWAN LAKE – Wiles+, Hallberg+, Torres Wed. Eve., June 16, 8 P.M. SWAN LAKE – Dvorovenko, Beloserkovsky, Radetsky Thurs. Eve., June 17, 8 P.M. SWAN LAKE – Tuttle, Corella, Radetsky Fri. Eve., June 18, 8 P.M. SWAN LAKE – Ananiashvili, Bocca, Gomes Sat. Mat., June 19, 2 P.M. SWAN LAKE – Murphy, Stiefel, Molina Sat. Eve., June 19, 8 P.M. SWAN LAKE – Herrera, Gomes, Molina -30- *Editors please note first time in a role: Thurs. Eve., June 10 – E. Cornejo as Mercedes in Don Quixote **Editors please note first time in a role with ABT in New York: Tues. Eve., June 15 – Part in Swan Lake +Editors please note: first time in a role in New York: Wed. Mat., June 16 – Wiles and Hallberg in Swan Lake

Just to let you know, I've checked with the San Francisco Ballet press office and they expect to be announcing promotions in July. We'll tell you as soon as we know!

Rarities is right! I'm unfamiliar with several of the selections. Thanks for this, RG. No, it's not cheap (but they have a double deal so you get this -- 15 hours of ballet music! -- AND Glazunov's "Raymonda")

What? No one has been this week? Report! Report!

Every spring Gottlieb writes a column about the NYCB. Every spring, someone (or several someones) take umbrage A few points, since GeorgeBfan asked if someone could explain. Here's a try. 1. The Observer isn't the NYTimes. It's a weekly with a certain tone, and Gottlieb's pieces are always consonant with that tone. (Why does this matter? Because writers understand their audience, and even adjust their tone to the paper for which they write If you read someone who writes for more than one publication, you'll usually note that the tone differs. I'm harsher when I write for DanceView (circulation under 1,000, all ardent, knowledgeable dance fans) than when I write for the Washington Post (circulation slighly more than 1,000, general readers who would be bored with how the second soloist's turnout was less than sufficient, or the long-term ramifications of acquiring this or that choreographer). 2. One could argue that Gottlieb is entitled. He's not only been watching ballet since the 1940s, but when he was president of Knopf, he edited some of the most beautiful, intelligent dance books that any house has ever published. One can certainly disagree with him, but he's not writing out of thin air. If New York has an intellectual establishment, he's been at the center of it for decades. 3. I know there will always be those who think that anyone who says "she's not bad, but she's not Patty," is either a) a Patty freak; or b ) blind; or c) wallowing in romantic nostalgia. History disproves this. There have been similar periods in ballet history -- low points, later seen as "the dead time" (as the Danes called one of theirs) or the time between the Romantic Ballet and the Ballet Russe, whatever. During the dead time there are grumbles from the old timers, who remembered what it was like when Taglioni, Grisi, Elssler, Bozzachi were the stars, and the others who hadn't been around then who were perfectly happy with .....what were their names? And then there comes a time when there IS another Taglioni, Grisi and Elssler, with names like Pavlova and Karsavina and Danilova. When you've seen something -- dancing, choreography -- at the very highest level, you can hold that in your eye as a measuring stick. It's not that you want duplication; you want something of the same level, and you know it when you see it, and you welcome it. (I loved Gottlieb's line about one performance that was so good, "it reminded you that there once was a New York City Ballet.") 4. On the "he's got a grudge against Peter Martins because Martins kicked him off the board." The latter may be a fact, but that doesn't mean that Gottlieb goes around saying, "I'm gonna get that guy", nor that when he writes about the company that that's his agenda. THAT isn't a fact; it's speculation. All criticism is subjective, in one sense (it's one man's opinion); but good criticism, even over-the-top ranting criticism, is also objective. Meaning that one could absolutely detest someone personally (not saying that Gottlieb, nor anyone else, does) and recognize, and write, when they do something that one admires. Not meaning to say that one can't be outraged, or puzzled, or amused, or whatever, by what he writes, just wanting to give some perspective from the writer/editor side. And so, back to the debate. What points in the article did you disagree with, agree with, find outrageous, amusing, etc?

This was a very, very wide second position -- three feet between the feet, say -- with 180 degree turnout. In 1600. A Samurai "Raymonda" would be better. Abderachman could be Perry.

No, no. Carabosse would have to commit seppuku.

I watched parts of a PBS special on Japan, and the Samurai culture (gorgeous costumes. I'd love to see a Samurai Sleeping Beauty.....) But I digress. One of the paintings that they showed depicted a large group of warriors taking a firm, wide second position and brandishing swords. I've always liked the theory that ballet's positions came from fencing stances (with a nod to chess moves), and wondered if anyone knew if second position was a particularly helpful move for fighting (I understand it's a wide base of support). They were perfectly turned out, too, and resplendent in red and black.

Hi, Toe-in -- I've just sent you an email. This forum isn't really intended for competitors, but for fans and others watching competitions. If you're a dance student, you'll want to go to our other forum, Ballet Talk for Dancers, here: http://balletalert.com/dancersforum/index.php I'm going to close this thread, as it's off topic for this forum.

This just in: PACIFIC NORTHWEST BALLET ANNOUNCES DANCER PROMOTIONS Batkhurel Bold and Noelani Pantastico Promoted to Principal and Mara Vinson to Soloist PNB's Season Finale A Midsummer Night's Dream Marks Final Performance for Retiring Dancers Principal Paul Gibson and Soloists Alexandra Dickson and Melanie Skinner Seattle, WA - Pacific Northwest Ballet Artistic Directors Kent Stowell and Francia Russell announced recently the promotion of Noelani Pantastico and Batkhurel Bold from Soloists to Principal Dancers and Mara Vinson from Corps de Ballet to Soloist. All promotions are effective at the beginning of PNB's 2004-2005 Season. Noelani Pantastico was trained at Central Pennsylvania Youth Ballet and attended Pacific Northwest Ballet School Summer Courses as a scholarship student. She joined PNB as an apprentice in 1997, became a full company member in 1998 and was promoted to soloist in 2001. Ms. Pantastico is from Carlisle, Pennsylvania. Ms. Pantastico has danced to rave reviews in many classical and contemporary ballets over the last three seasons, but it was her debut as Aurora in Ronald Hynd's version of The Sleeping Beauty, followed by Odette/Odile in Kent Stowell's Swan Lake, that thrust her and her "1,000-watt smile" (King County Journal) into the international spotlight. Hailed by the Seattle Weekly as "An Egyptian Deity" and "nothing short of mesmerizing" in The Seattle Times, PNB is pleased to include Noelani among its principal dancers. Batkhurel Bold, originally from Ulan Bator, Mongolia, joined PNB as a member of the Corps de Ballet in 1996 and was promoted to Soloist in 1999. He received his training at the Perm Choreographic Academy in Russia from the age of 10. Known for his athletic leaps as much as his silent landings, Batkhurel Bold has been heralded in the press as "a dancer whose bravura can be thrilling but is often expressed in a surprisingly serene way." (Seattle Post-Intelligencer) Mr. Bold has distinguished himself in Ronald Hynd's Merry Widow, Jose Limon's The Moors Pavane and the role of Siegfried in Kent Stowell's Swan Lake. Mara Vinson is being promoted from Corps de Ballet to Soloist. She joined PNB in 1999 and was promoted to full company member in 2000. She was trained at the Palos Verdes Ballet School in California and on full scholarship at the Kirov Academy and Pacific Northwest Ballet School. She is from Redondo Beach, California. Known as a "markedly talented dancer on the rise" (The Seattle Times) amongst the press and ballet fans alike, Ms. Vinson recently received great acclaim for her performances in George Balanchine's Divertimento No. 15, Kent Stowell's Swan Lake, Carmina Burana and the lead role of Clara in Nutcracker. In addition, apprentices Lucien Postlewaite and Laura Gilbreath will be promoted to full Company members as they join Corps de Ballet. Jessika Anspach, Brennan Boyer, Erin Lewis and Sean Whiteman will join the Company as apprentices at the beginning of the season. Longtime PNB Dancers Alexandra Dickson, Melanie Skinner and Paul Gibson to Retire In announcing the upcoming retirements of Alexandra Dickson, Melanie Skinner and Paul Gibson, Artistic Directors Kent Stowell and Francia Russell said, "We are bidding a fond farewell to dancers who have played major roles in the life of PNB. In the order in which they joined the Company: Alexandra Dickson, Melanie Skinner and Paul Gibson, will dance their last performances with us on June 13th. All have been involved in our dancers' transition program, Second Stage, and all have well-thought-out plans for their second careers; but it is difficult to visualize PNB without them." Alexandra Dickson was born in Whitehorse, Yukon. She was trained at the Goh Ballet Academy in Vancouver, B.C. as well as Pacific Northwest Ballet School. Ms. Dickson joined PNB as an apprentice in 1990 becoming a full company member in 1991. Russell recalls, "Alexandra first came into our lives as a tiny, tow-headed soldier in early PNB performances of Nutcracker in Vancouver, B.C. When she was old enough she came to the School and, eventually, when we managed to convince the U.S. Immigration of her outstanding talent, rose through the ranks of the Company." From 1992 to 1994 she danced with Ballet British Columbia where she gained an increasingly diverse dance vocabulary. In 1994 Alexandra returned to PNB as a soloist and has since broadened her repertoire to include works by George Balanchine, Lynne Taylor-Corbett, Kevin O'Day, Donald Byrd and Paul Taylor, among others. Her list of favorites includes leading roles in La Valse, Kammergarten Tänze, Subtext Rage, the Four Temperaments, Flora in Nutcracker, Lady Capulet in the Tragedy of Romeo and Juliet, Mercedes in Don Quixote and Helena in A Midsummer's Night Dream. Stowell and Russell praised Ms. Dickson as "a dramatic dancer and interpreter by instinct." In addition to her role as a dancer, Ms. Dickson has also enjoyed passing on her knowledge and experience through her position as an artistic coach for the young "Claras" in PNB's acclaimed Stowell/Sendak Nutcracker and through her participation in PNB's Education and Outreach program. Ms. Dickson will receive her certification as a Pilates instructor this fall and upon completion begins work in her new position in PNB's Conditioning Program. Melanie Skinner joined PNB as an apprentice in 1990 after completing her training at Pacific Northwest Ballet School on scholarship. In 1991 she became a full company member and was promoted to soloist in 1994. She was trained on scholarship at the School of American Ballet and North Carolina School of the Arts and is originally from Milford, Delaware. Ms. Skinner's extensive repertory includes everything from George Balanchine's Concerto Barocco and William Forsythe's In the middle, somewhat elevated to Marius Petipa's Paquita, demonstrating a versatility that spans classical ballet to modern contemporary. Stowell and Russell said, "Melanie has for many years been an unassuming, quietly strong and highly respected presence in the Company. Although she is a touching and lovely Helena in Midsummer, the neo-classical works have always been her favorites: Concerto Barocco, Serenade, Violin Concerto, Choleric in the Four Temperaments, as well as the Peacock in Nutcracker. She will be remembered for those roles and for stunning interpretations of the Forsythe ballets: Artifact II and In the middle, somewhat elevated." Through PNB's Second Stage career transition program, Ms. Skinner has been taking courses at Seattle University and next fall plans to continue full time in Liberal Studies. She hopes to pursue a career that incorporates her knowledge and love of dance with her desire to help young children with limited opportunities. Artistic Directors Kent Stowell and Francia Russell announce Paul Gibson's retirement as Pacific Northwest Ballet Principal Dancer and subsequent hiring as Assistant Ballet Master, effective immediately. Mr. Gibson joined PNB as a soloist in 1994 and was promoted to principal mid-season in 1996. He was trained at Allegheny Ballet Academy and at San Francisco Ballet School. In 1988, he joined San Francisco Ballet where he was promoted to soloist in 1993. He is from Altoona, Pennsylvania. Mr. Gibson is known for his many roles in the Balanchine Repertory, including Agon, Four Temperaments, Chaconne, Mozartiana and A Midsummer Night's Dream as well as his mastery of contemporary pieces choreographed by a variety of choreographers such as Nacho Duato, Mark Morris and William Forsythe. He has also enjoyed considerable success as a touring artist, highlighted by his April 1997 performance of Val Caniparolli's Lambarena at the Benois Prize gala at the National Theatre of Warsaw in Poland. Recently Mr. Gibson has worked as a choreographer, creating Diversions in 1996 and Rush for PNB in 2002. Mary Murfin Bayley, writing for The Seattle Times said of the premiere performance, "'Rush' had such a high voltage energy level, that the stage still felt charged with the complex movement that had just zapped across it." In spring 2004, Gibson restaged E.R.A.R. for PNB after it's original creation for New York City Ballet's Choreographic Institute. Mr. Gibson's latest work will premiere in PNB's 2004-2005 Season in the American Choreographers mixed repertory program. In addition, he has been an AGMA delegate for the last five years, negotiating dancer contracts for the past two years. ABOUT PACIFIC NORTHWEST BALLET Founded in 1972 and under the artistic guidance of Kent Stowell and Francia Russell since 1977, Pacific Northwest Ballet is one the largest and most highly regarded ballet companies in the United States. The Company of forty-six dancers presents over ninety performances each year of full-length and mixed repertory ballets at Marion Oliver McCaw Hall and on tour. The Company has toured to Europe, Australia, Taiwan, Hong Kong, Canada, and throughout the United States with celebrated appearances in Washington D.C. and New York City. Pacific Northwest Ballet School, under the direction of Ms. Russell, is nationally recognized as setting the standard for ballet training offering a complete professional curriculum to over 850 students. The School also provides comprehensive dance education to the greater Seattle area reaching over 10,000 adults and children each year through DanceChance, Discover Dance, Bravo!Ballet and other outreach programs and activities.

Thank you for that, Doug. Oh, I wish I could see this!! Lots of reports, please.

Daria Pavlenko

There's a new web site up about Daria Pavlenko -- biography, news, and lots of gorgeous photos. Daria Pavlenko

I hope we'll hear from those who do admire Mezentseva -- what specifically do you like about her? What are those who don't missing?

I think some of the questions were what the standard WAS. Saying she's beautiful and dramatic is helpful, but not to someone who doesn't see it that way.

That's it! cargill, you're brilliant! Why bother with those tired, old pique tours when you bail out of the fouettes? Just rip into a can can!!!

Odile has been LONGING to show off her prowess in the Can- Can for more than a century. Now may be her Big Chance!!!!