Alexandra

There are several Veronika Part fans who read this site, and I thought you might enjoy this link. http://www.danceworksonline.co.uk/sidesteps/people/part.htm

This just in! CASTING ANNOUNCED FOR THIRD AND FOURTH WEEK OF AMERICAN BALLET THEATRE AT METROPOLITAN OPERA HOUSE Nina Ananiashvili and Angel Corella to Lead Company Premiere of George Balanchine’s Mozartiana on Monday, May 24 Casting for the third and fourth week of American Ballet Theatre’s 2004 Spring Season at the Metropolitan Opera House was announced today by Artistic Director Kevin McKenzie. The third week of ABT’s Spring Season will feature the season’s second repertory program, a tribute to the centenary of choreographer George Balanchine, set to the music of Peter Ilyitch Tchaikovsky. The program will be highlighted by the Company Premiere of Mozartiana on Monday, May 24, featuring Nina Ananiashvili and Angel Corella in the leading roles. Ashley Tuttle and Ethan Stiefel will make their ABT debuts in the leading roles on Wednesday evening, May 26 and Veronika Part and Maxim Beloserkovsky will perform the roles for the first time on Thursday, May 27. Created for New York City Ballet in 1981, Mozartiana, one of Balanchine’s last works, is set to Suite No. 4 Mozartiana by Tchaikovsky and features costumes by Rouben Ter-Arutunian. The ballet was staged for ABT by Maria Calegari. American Ballet Theatre’s all-Tchaikovsky salute to George Balanchine will also include the revival premiere of Ballet Imperial on Monday May 24, featuring Gillian Murphy, Carlos Molina and Michele Wiles in the leading roles. Paloma Herrera, Gennadi Saveliev and Stella Abrera will dance the leading roles at the Wednesday, May 26 evening performance. Nina Ananiashvili, Marcelo Gomes and Monique Meunier will make their debuts with ABT in the roles on Thursday, May 27. Set to Tchaikovsky’s Concerto No. 2 in G for Piano and Orchestra, Ballet Imperial was last performed by ABT in 1996. It received its World Premiere by American Ballet Caravan in 1941 and first entered ABT’s repertory in 1988. The revival of Ballet Imperial was staged for ABT by Colleen Neary . ABT’s all- Balanchine/Tchaikovsky program will also feature Theme and Variations and Tchaikovsky Pas de Deux. Xiomara Reyes will make her debut in Tchaikovsky Pas de Deux on Thursday, May 27 and Michele Wiles and David Hallberg will perform the ballet for the first time at the Saturday, May 29 matinee. The fourth week continues with ABT’s new staging of Raymonda, choreographed by Anna-Marie Holmes and conceived and directed by Holmes and Kevin McKenzie. Gillian Murphy, Angel Corella and Carlos Molina will make their debuts in the leading roles at the Wednesday, June 2 matinee and Paloma Herrera, Marcelo Gomes and Julio Bocca will make their debuts at the evening performance. Other debuts include Jesus Pastor as Abderakhman on Friday, June 4 and Michele Wiles as Raymonda and David Hallberg as Jean de Brienne at the matinee on Saturday, June 5. Countrywide Financial is the National Sponsor of American Ballet Theatre and Cole Haan is a Leading Benefactor. Graff Jewelers is ABT’s season sponsor of the 2004 Metropolitan Opera House season. ABT’s 2004 spring season is also made possible with public funds from the New York State Council on the Arts, a state agency, and the National Endowment for the Arts. Tickets for American Ballet Theatre’s 2004 Spring Season, priced from $20 to $90, are on sale at the Metropolitan Opera House box office or by calling 212-362-6000. For more information, visit ABT’s website at www.abt.org <http://www.abt.org/> . Complete casting, subject to change, follows. THIRD WEEK Mon. Eve., May 24, 8 P.M. REPERTORY PROGRAM II THEME AND VARIATIONS – Herrera, Gomes TCHAIKOVSKY PAS DE DEUX – Dvorovenko, Beloserkovsky MOZARTIANA (COMPANY PREMIERE) – Ananiashvili, Corella BALLET IMPERIAL – Murphy*, Molina*, Wiles* Tues. Eve., May 25, 8 P.M. REPERTORY PROGRAM I PETITE MORT – Company SECHS TÄNZE – Company PILLAR OF FIRE – Murphy, Molina, Gomes WITHIN YOU WITHOUT YOU: A TRIBUTE TO GEORGE HARRISON - Company Wed. Mat., May 26, 2 P.M. REPERTORY PROGRAM I PETITE MORT – Company SECHS TÄNZE – Company PILLAR OF FIRE – McKerrow, Saveliev, Corella WITHIN YOU WITHOUT YOU: A TRIBUTE TO GEORGE HARRISON - Company Wed. Eve., May 26, 8 P.M. REPERTORY PROGRAM II THEME AND VARIATIONS – Murphy, Hallberg TCHAIKOVSKY PAS DE DEUX – Dvorovenko, Beloserkovsky MOZARTIANA – Tuttle*, Stiefel* BALLET IMPERIAL – Herrera, Saveliev*, Abrera* Thurs. Eve., May 27, 8 P.M. REPERTORY PROGRAM II THEME AND VARIATIONS – Tuttle Corella TCHAIKOVSKY PAS DE DUEX – Reyes*, Bocca MOZARTIANA – Part*, Beloserkovsky* BALLET IMPERIAL – Ananiashvili*, Gomes*, Meunier* Fri. Eve., May 28, 8 P.M. REPERTORY PROGRAM II THEME AND VARIATIONS – Herrera, Gomes TCHAIKOVSKY PAS DE DEUX – Tuttle, Stiefel MOZARTIANA – Ananiashvili, Corella BALLET IMPERIAL – Murphy, Molina, Wiles Sat. Mat., May 29, 2 P.M. REPERTORY PROGRAM II THEME AND VARIATIONS – Tuttle, Corella TCHAIKOVSKY PAS DE DEUX – Wiles*, Hallberg* MOZARTIANA – Part, Beloserkovsky BALLET IMPERIAL – Herrera, Saveliev, Abrera Sat. Eve., May 29, 8 P.M. REPERTORY PROGRAM II THEME AND VARIATIONS – Wiles, Hallberg TCHAIKOVSKY PAS DE DEUX – Reyes, Bocca MOZARTIANA – Tuttle, Stiefel BALLET IMPERIAL – Ananiashvili, Gomes, Meunier FOURTH WEEK Mon. Eve., May 31, 8 P.M. REPERTORY PROGRAM II THEME AND VARIATIONS – Wiles, Hallberg TCHAIKOVSKY PAS DE DEUX – Tuttle, H. Cornejo MOZARTIANA – Ananiashvili, Corella BALLET IMPERIAL – Murphy, Molina, Wiles Tues. Eve., June 1, 8 P.M. RAYMONDA – Dvorovenko, Beloserkovsky, Gomes Wed. Mat., June 2, 2 P.M. RAYMONDA – Murphy*, Corella*, Molina* Wed. Eve., June 2, 8 P.M. RAYMONDA – Herrera*, Gomes*, Bocca* Thurs. Eve., June 3, 8 P.M. RAYMONDA – Ananiashvili, Carreño, Saveliev Fri. Eve., June 4, 8 P.M. RAYMONDA – Murphy, Corella, Pastor* Sat. Mat., June 5, 2 P.M. RAYMONDA – Wiles*, Hallberg*, Molina Sat. Eve., June 5, 8 P.M. RAYMONDA – Herrera, Gomes. Bocca -30- *Editors please note: first time in a role: Mon. Eve., May 24 – Murphy, Molina, Wiles in Ballet Imperial Wed. Eve., May 26 – Tuttle, Stiefel in Mozartiana; Saveliev, Abrera in Ballet Imperial Thurs. Eve., May 27 – Part, Beloserkovsky in Mozartiana; Ananiashvili, Gomes, Meunier in Ballet Imperial Sat. Mat., May 29 – Wiles, Hallberg in the Tchaikovsky Pas de Deux Wed. Mat., June 2 – Murphy, Corella, Molina in Raymonda Wed. Eve., June 2 – Herrera, Gomes, Bocca in Raymonda Fri. Eve., June 4 – Pastor in Raymonda Sat. Mat., June 5 – Wiles, Hallberg in Raymonda

Some have been nagging at him for years to "stop being so nice and normal" and "get edgy." "He's middle-aged already and he's only 26," I paraphrase something I read a few years ago.

From today's NY Times: (Alston was The Choreographer Most Likely awhile back. If anyone goes to see this, please report!) Richard Alston's Second Chance

There's already a comment about Shambards on the Weekly thread (which is fine!) but I thought I'd start a thread for it on its own since it's a world premiere. What did you think? Hit or miss? Details?

If you're looking for a post you made about the spring season, it's probably been moved to the appropriate "weekly thread" so we can keep them altogether. Dale starts a new thread every week calling for comments, and it's nice to have all the posts on that thread; it makes it easier for people to find them. I am going to start a new thread for "Shambards," though. That's a world premiere, and I'd like to get people's take on it.

It's a lovely First Post, Balanchinomane, consider yourself "blooded" and please keep posting. Sounds like an interesting program.

The link to Jennifer Dunning's review is conveniently located on.....Links!

That happens, doesn't it? Some you "get" right away. I had the same problem with Graham, and I started watching her in the mid-70s, well past the glory days, but she was still alive and rehearsing the company actively. A few years ago, I decided I was going to get her I played "Night Journey" on the tape "Dancers World" The fourth time, I got it. Can't tell you why. She was always one of my favorite choreographers on paper, but I'd never seen on stage what I'd read about until then.

A friend of mine had a job, about 20 years ago, that took him to Egypt once a year. Back then, you could buy a ticket from New York to Cairo with two stop offs each way, and he'd leave a few days early and take a few days leave on the return trip to stop off in, say, London and Paris on the way and Vienna and Copenhagen on the way back. Programming was so different then -- none of this "we only do Sleeping Beauty for three weeks" stuff, or even set mixed bills; the repertory was more elastic. He could see 2 or 3 programs in each city. There really were good old days!!!

Yes, thank you -- I hope to read more! Oberon, your account of Divert reminds one of the book title "Dance is a Contact Sport" We used to get the "Vienna program" down here in the wilds of DC and it was always one of my favorites -- I'm glad they've kept the ballets together. Michael, you wrote so many things that were beautiful and incisive that it's not really fair to single out the June and Ward Cleaver line -- but god, that's good! I cannot imagine Nilas Martins, who is one of the blandest dancers I've ever seen, in that role. (It was my favorite Peter Martins role -- not just because of his size and coloring, and the way he could stand on stage and walk and look at a woman. He was one of the few male dancers I've seen who wore a uniform as though he had actually fought in it.) But you're right, it's a fragile ballet. The weak links were perfect for their originators.

I wish you had too, but please stay with us through the summer. We still have lots to talk about. Thanks for your comments. "Sylvia" was written during the Great Decline of the 19th century, so it should be just about perfect for our age So it makes sense that would have been lightweight even in the original. It's such a gorgeous score, though, it would be irresistible to choreography!

Pamela, I'd seen all the Bournonville repertory here, from company tours) except "Far From Denmark" long before I went to Copenhagen (and FFD during its rehearsals and at the 1992 Festival) Actually, I learned a lot from Lay of Thrym -- it's the wing of Bournonville that got axed in the 1930s, and shows clearly that B and Petipa came from the same roots.

There is red, at least -- click on the link to page 2 (I haven't ventured beyond page 2 and I bear no responsibility if things get really dicey!!)

I'm bumping this up -- this is a good question, and I want to read more answers I actually did cross an ocean to see something once -- the Royal Danish Ballet's reconstruction/revival of Bournonville's "The Lay of Thrym". It turned out to be awful, but I saw much else there that was definitely worth the transatlantic crossing.

Good point, Clara -- now, if you're really feeling evil, you could get a pair of these for the end of the year prize for that very special 'unnaturally talented offspring" Wear these every day during the summer dear.....

I agree, definitely. The difference between "I like it" and "it's a great work of art" or, conversely, "I hate it, but it's a great work of art." The difference between taste and aesthetic. That's for when I'm writing. But for when I'm watching, I do think you can "get it" (i.e., understand it) without being caught up in its world; i.e., loving it.

I think you're right -- companies usually wait until contracts are settled. As I wrote above, SFB said it usually preferred to make all anouncements at the same time. Re a send-off, if Ms. Diana is not cast in "Sylvia," is it possible for her to be given a proper send-off? (I realize it could have been done earlier -- I have no idea of what the timing of any of this was.)

I think that was what Mel was gently hinting at, Ed I was quite taken by the "Revenge" number..... I still see a full-treatment Broadway production..... One of the first links I stumbled on in a general search for "ballet" was a site that specialized in ..... odd shoes with the words "ballet" in the title. But they weren't pointe shoes!!!! I do wonder if Froogle realizes what's on its front page.

"Liebeslieder" is a great example for this question. There are a lot of people who, at first glance, say, "this is just waltzes! It's boring! It's not ballet! It's schmaltz!!" And yet I know people who do "get it" in the sense of understanding technically what Balanchine was doing, who don't think that it all looks alike, but who don't like it because they find the music is....schmaltz. Perhaps one of the problems (small lightning bolt) is that "get it" can mean "understand it, figure it out" and also mean "appreciate it, buy into its world."

I'd like to put in a bravo for Martin Bookspan (hope I have his name right), who's been doing these for eons, and always sounds both blase and excited -- I've never heard anyone like him. He always focuses on the music -- and in this case, that was so appropriate. And he pronounced the names correctly

No, no. They're street shoes for the ultra cool. As I said in the first post, I merely clicked on the Froogle link at www.google.com (it's a new Google service) and there they were.....

Exactly

Because Nichols is concrete, and this is a porous role? She was so THERE. Farrell wasn't a dream or a sylph, but there was something unwordly about her, as though this were her dream.

catbrown, it's in the first post -- I think the "she'll be closer to home" reason makes sense.