perky

Lunatick wrote (My question is: how could she possibly write like she danced??) You took the words right out of my mouth! I've read the book several times (in fact the binding is ready to turn to dust), and I find the narrative to be amusing and very down to earth. I suspect that is how Ms. Farrell is in real life. She was so many things when she danced, Goddess, Muse, Gypsy, Chic, Sexy, Remote. How on earth do you translate that to a writing style? I also rather like Toni Bentley as a writer. I've read all four of her books, and find her writing style to be insightful and human, she also has a wicked sense of humor.

Off the AP this morning, the Russian Labor Ministry, after receiving a formal complaint from Volochkova has called her dismissal from the Bolshoi illegal and states that they should rehire her. At least they are treating this as a labor dispute and not a "fat dancer" story.

What is the name of her autobiography? And is this a new book? I would love to read it!

I voted "it depends". If Volochkova does dance again soon (instead of giving dramatic press conferances dressed in long flowing scarves), and she is actually talented, then so many people will be exposed to ballet that normally would not be. I think the press savvy Ms. Volochkova would have the press salivating to cover her next dance assignment, and the worldwide audience could see that a ballerina does not have to be tiny and skeletel to be beautiful. However, all depends on how the Bolshoi reacts to her lawsuit and if the ballerina herself is trying to expand and glorify her art form or is just out for some publicity and worldwide fame(or infamy).

About Kirkland being hard to lift, if I remember correctly in her autobiography after she started to study with David Howard, he taught her that "you have to go down to go up" or something like that. That pushing down to the floor as your partner lifts you creates resistance that results in a more stretched out form or arc. I think that's how it goes. Anyway I've been reading all the comments about Volochkova and I think the Bolshoi is using the weight issue as a smokescreen to hide the fact that she is she is too opinionated for them. They can't fire her for that, but they can if they say she is too fat.

Thanks so much for the information emattdar! I'm thrilled to pieces that Bart Cook and Elise Bourne are staging Jewels. How exciting

Old Fashioned, I just saw a clip of a ballet on TV that featured Cyd Charisse. It was by Roland Petit and the section was I think called "Regine's", maybe someone will know what ballet it is. Anyway, she had on black pointe shoes and a sexy can-can dancers outfit. She was wonderfully chic and elegant and did some pretty fast fouttes. Fred Astaire said she was his favorite partner. I do prefer longer legs on female dancers, and extremely expressive arms and hands. And I loathe stiff backs, a female dancers back should be supple yet strong.

Mark Morris as Frank-n-Furter

Yes Dirac, the Matrix does already seem like a ballet, however in MY version of it, instead of Keanu Reeves, Lawrence Fishbourne, and CarrieAnne Moss, as the leads I would cast Albert Evans as Morpheus, Wendy Whelen (in a short black wig) as Trinity, and Angel Corrella as Neo.

How about The Matrix as a ballet? Whoa!

The summer is almost over but I thought I would add one anyway. I'm reading "An Elegant Madness: High Society in Regency England". For some reason I'm facinated by that era. The Napoleonic Wars, The Congress of Vienna, The Prince of Wales and all of his faults, the Bucks,the Dandies and the Rakes. I love all of it. The book gives you an insight into all of the high society scandals of the day, including Lord Byron having an affair with his half-sister. They eventually fled to the continent. One chapter gives an inventory of all the expenses the Duke of Devonshire had to maintain his lifestyle for one year. It's unbelievable! Horses, carriages and livery for your coachman and groomsman cost the most! The livery for his servants was beautifully made and expensive looking, the better to dazzle the other members of the Ton. This was the time of Jane Austen and other literary greats, yet the pursuit of pleasure(in all it's forms) was the order of the day. Rakes would go the opera, not to admire the music but to ogle and drool over the opera dancers and make bets on who would bed the nubile new dancers first. Oh I love all of it! The books author is Venetia Murray. If you get a chance read this book.

She must have seemed like a big beautiful Nordic goddess desending from Valhalla to live amidst the sylphs.

I've always been curious about the career of Karen Von Aroldingen. When she was dancing she seemed to have inspired alot of dislike and yet Balanchine made many roles on her and she danced alot of the repertory. What was it about her that people did'nt like? She seems to have had a different body type than what was popular at City Ballet at that time, but it had to have been more than that. I've only ever seen her dance on video. She seemed to have a sort of glamorous oddball presense to her. I love her in the Davidsbundlertanze. Such a moving and bittersweet performance. She must have meant a great deal to Balanchine to have inspired such a heartbreakingly beautiful role.

Thanks for the info PleeA! We were actually going to go the see the Suzanne Farrell ballet and Balanchine symposium in Ann Arbor Oct. 31 and Nov. 1, but we have a prior commitment that we can't get out of (loud scream of frustration!). So when I saw that Ballet Met was going to do Jewels it made my mood lighten considerably! I look forward to seeing this company. I've read so many good things about them.

My husband and I are thinking of attending a performance of Jewels in October (that is, if we can find a babysitter!) What's a good place to sit at the Ohio Theater? We've never been there. Also, does anyone know who is staging Jewels for them?

Thank you very much for your reply Farrell Fan, how I envy all of the beautiful dancing you've seen.

Farrell Fan, its sounds like you saw the original cast performing it. Can you or anyone else who saw the original cast tell me what that was like? Also what about Mimi Paul, the other female lead in Emeralds? With Violette Verdy, Mimi Paul (who's mother I believe was French) and Faure, was Balanchine evoking a feeling of France with Emeralds? Rubies seems very American, and Diamonds seems the height of Imperial Russia.

I'm happy to see that Jewels will be back in the NYCB repertory next year. It got me to thinking how each section is so different, how each has it's own "perfume". Emeralds seems so mysterious and fleeting, Rubies is cheeky and modern, and Diamonds is regal and pure. Each section seems to reflect the original ballerinas that danced it so well. So my question is this, which section is your favorite and why? I love Emeralds the best. It's so elusive and poetic. It's such a romantic and delicate world Mr. Balanchine created. Faure's music is gentle and sweet but not cloying. The relationship between the men and women are so subtle and courtly. I just want to heave a big romantic sigh everytime I see it. So please respond and tell your favorite section of Jewels. This is my first topic starter posting, so please be kind to the poor "virgin". Also I'm going thru NYCB news withdrawal with the season over and the new one so far away, that any talk of it is welcome!

I love both story ballets and plotless ballets but I look for and enjoy them in different ways. In a story ballet I need to really believe in the characters and thier motivations. Even if the plot is really goofy [which alot of story ballets are] ,if it is danced with conviction, taste and energy then I can believe and be moved by it. Good plotless ballets offer me a chance to visually "hear the music" if that makes sense. I'm thinking of almost all of Mr. Balanchines plotless ballets. For example, in Agon. If I could "see" sound or music than watching Agon lets me see Stravinsky's music in a literal way, the dancing reflects the music like a mirror. Of course not all choreographers were or are as gifted with an ear for music like Mr. B but you get the idea. Mr. B also said that when you have a man and a woman on stage together, how much more story do you want?

I just remembered, I think Mr. B made dances for Katherine Dunham for a broadway show in the 1930's called Cabin in the Sky.

I am curious as to why it is that no african-american female dancers have ever been promoted above corp members at NYCB? Does anybody have any ideas? I was trying to recall if Balanchine made any roles on any african-american girls and the only ones I can think of are a featured role for Mary Hinkson in The Figure In The Carpet back in the early sixties and Debra Austin as one of the four soloist in Ballo Della Regina. At least she danced it in the video, I'm assuming it was made on her. Are there any others?

I'm George Balanchine yippee! I'm feeling the urge to toast myself with a shot of vodka and wear my western shirt and bolo tie today!

I was wondering why they don't cast Jennifer Ringer for one of the Coppelias, especially as she danced it this spring, then I thought maybe they were saving her for the Russia performances at the expense of poor Megan!

Alexandra, You are right about Baryshnikov being a U.S. citizen. A month ago my husband became an U.S. citizen and during the naturalization ceremony the judge listed famous naturalized Americans, Baryshnikov included included.

I discovered Ballet Alert when I was surfing the web for ballet related sites. I live in a small town in the midwest so I rely on all the posters reviews of performances around the world. Especially reviews of NYCB which is my favorite. It's the next best thing to being there. So a big THANK YOU to all of you reviewers out there and THANK YOU to Ballet Talk for providing such a fabulous forum for all ballet lovers.