atm711

It is truly a crime it has not been cleaned up and released commercially. There is so much more on that tape----Sylphides with D'Antuono and Nagy, Don Q with Makarova and Bujones and Firebird with Cynthia Gregory, plus interviews with Bruhn, Makarova, Bujones and Kirkland. At the very least ABT could revive T&V in place of a "new" ballet---they certainly have the dancers for it.

Perhaps if Mr. Macaulay had to plunk down his own money for tickets he would have noticed it sooner.

It's good to read of the Foundation doing these things--but it is too bad they did not 'tap' Mary Ellen Moylan for her input. She was an impressive interpreter of the role.

Is it the complete Patineurs?

Such a great treat. I'm looking forward to seeing them in a couple of weeks here in NYC

4th ring row B cost $89 per ticket plus fees, so it cost me close to $200 for 2 tick

Is that an inflated price for the 'ocean thing'? I paid $55.00 for a ticket in row E 13 of the second ring for Jewels---plus fees which raised the price to $64. Frankly, I am only going this season because I will be meeting some friends at this particular performance.....unless TDF comes up with discounts.

So the hype is finally over---thank you Mr. Macaulay.

Great!---I actually sat through the whole thing---Mezentseva's Odette is truly marvelous---it's enough to make one re-assess all the Odettes they have seen---although your Somova comment made me wince.

Eileen--you must have been reading my mind

Nice picture, and a nice gesture from Farrell.

Perhaps she can separate the dancer from the Director

what a handsome group they are

I have never judged an 'Aurora' by how long she can hold a balance, an Odile by how many turns she can spin, nor a Giselle's hops. My only regret in seeing the clips of Trinidad Sevillano is that I never saw her 'live'. I can only marvel at her womanly form and the beauty of her lush port de bras---a welcome antidote to today's prevalence of twiggy arms. Unfortunately, she was born too late---she is really a product of the 40's and 50's.

Bart, I doubt Wilma was in NYCB in 1944---she was probably only 4 or 5 years old then. I wrote about Wilma on my blog, and I think it will explain why she did so well with Robbins.

I would love to see ANY photos of Wilma Curley

I was a little surprised the following does not seem to have raised many eyebrows--it did mine:

"Ms. Lopatkina is the Mariinsky’s equivalent of City Ballet’s Wendy Whelan: an invariably intelligent, experienced and purposeful dancer whose style and physicality are seldom flattered by the most exposing high-classical repertory."

It certainly raised my eyebrows---but I chose to ignore it. Ludicrous While I generally enjoy reading his writings on ballet, we parted company long ago on individual dancers.

My favorite ballerina right now is Uliana Lopatkina (Swan Lake dvd and Raymonda on YouTube).

Oh, how perceptive you are (she's my favorite, too) I hope you purchase her complete Swan Lake soon.

Welcome to BalletAlert.

If I may go slightly off topic for a moment, the Balanchine ballet I'd like to see ABT do - not at the big Met, but at City Center where it was first performed - is Orpheus. I've only seen it once, at the State Theater where the stage is said to be too large for it. ABT certainly has the personalities for it.

I haven't joined the nostalgia trip. but this one wakes me up....a perfect fit for the city center.

Lopatkina gave a gripping performance. She was the only Anna I saw (or wanted to see)--I imagine Vishneva's performance was much like her Manon. If it was'nt for her performance I would have regretted paying such a high price for a ticket. What an uneven ballet--it should have been laid to rest. (Some compared it to 'On The Dnieper'---no way! that narrative was concise and lean, "Anna" rambles on--and on--and on) It also had the most ignominious entrance for a ballerina I have seen. Was that Anna in the casket?--no, look closer, she is on the side of the stage on her knees, embracing her son. I had the impression that the audience did not know the star performer was on stage. The very dramatic ending, I am sorry to say, had a comical effect---as Anna was embracing the train, the Shchedrin score seemed to be blasting out 'choo-choo, choo-choo' The ballet brought out the Russian community in full force.

Enough of these Soviet ballets

It was worthwhile to see Kondaurova's Myrtha....The film was too stretched out...very often Sarafanov lost a portion of his head and when the principals were downstage their lower legs were obscured. Luckily Osipova's astonishing small jumps in Act 2 survived, but it was touch and go at some point. I wonder if this will be out on DVD---and if those problems will show up on DVD---or is it just on 3D?

I personally did not see any advantage of 3D.

I was so fortunate to see Petit and Jeanmaire on their first American tour in '49. We, on this side of the Atlantic, had read so much about them in Richard Buckle's magazine "Ballet". They did heat up the stage in Carmen with their unabashed passion. (It was unusual at the time in the pre-MacMillan, pre-Forsyte days to see such passion in a ballet---the closest was 'Pillar of Fire' where it was more lust, or relief)

My sympathy to his family. Rest in Peace.

I'll be seeing it at the noon showing at the Clearview Chelsea on 23 Street in Manhattan on July 12

Great pic...!

I wish someone would have started working at some point to preserve Massine's ballets. The majority of them seem to be lost by now...

Perhaps another Ratmansky will come along and revive them. Le Beau Danube is one of my favorites, and with his interest in Shostakovich ballets, maybe the present day Mr. Ratmansky will do Rouge et Noir.

I'm very curious about the question of whether or not the Prince stays seated next to the Queen Mother to watch the national dances at his birthday party. I love to watch Marcelo and David as they interact with the princesses while their subjects are dancing. It really gives them a chance to flirt with the Prince and point with pride to their countrymen as they dance. But in the same production I've seen now both Bolle and last Thurs Carreno exit the stage during that scene leaving the poor princesses stranded in their chair alone and quite far from the Queen Mother. Makes no story-telling sense to me. Any explanations?

I have always thought it was a good idea for the Prince to exit....better to maintain their warm up.

I hardly agree that Part is miscast---I have seen all of her NY SL's and eagerly look forward each year to her one performance. I fail to see why a Swan Queen of her stature has to have a novice Prince. During the Act 2 adagio Stearns had to scurry twice to catch up with her---he looked like he was in a daze....I would like to believe that he was so transfixed by her beauty that he could not move