atm711

Christian, May 27 is the date....Vishneva, Gomes and Part's Myrtha---it doesn't get any better than that

Thanks for that, Christian. Having been at that premiere the real beauty of that performance was Alonso's 'manner'. I have seen other ballerinas in the role but it usually comes off as a technical competition (the one exception being Asylmuratova).

Have faith!---in 1945 Mayor LaGuardia changed the name of Sixth Avenue to 'Avenue of the Americas'---and New Yorkers know how far that went.

I went Sunday afternoon to see 'Namouna'--having missed it last year. It is a classic pastiche of a ballet. At first it looked like something Diaghilev would have done in the 1920's; then it appeared to be very Bolshoi--with the men dancing in a very virile way. The ensemble choreography rambled from Bayadere to Swan Lake to Corsaire---minus the oppulent scenery and costumes---a sort of leotard Les Sylphides. ---and much 'Bright Stream' humor thrown in. Most of the comments I heard around me were about the smoking. Did I like the work?--somewhat---with some trimming (it is an hour long) it could be part of a triple bill. P.S. I did like Jonathan Stafford's speech---it is a good idea. Not too many people read about dancers or wait at stage doors to see them. It is a good way to connect with the audience.

I don't know how relevant they are today but I would love to see another one performed. I have fond memories of a ballet that one of my teachers, George Chaffee, choreographed; 'Les Characters De La Danse' which was described as an Anacreontic (Cheers!) ballet set to music by Jean-Ferry Rebel. The characters (Cupid, Venus, Zephyr,etc.) wore masks and performed ancient dances--Courante, Bourree, Passepied, Rigaudon, Sarabande, etc. Slow moving, but what charm.

oh, well--Katharina, Lady Capulet and the nurse

In defense of Guillem---there is more to her than high extensions and beautiful feet---there is a wonderfully expressive artist. I can't say the same thing about Zakharova.

Yes, I thought so, too. One of the few things I liked about the film version was the sensitive performance of John Kerr and France Nuyen as Liat.

On Wednesday evening August 18 the Lincoln Center production of South Pacific will be broadcast live with most of its original cast, including Paulo Szot and Kelly O'Hara. I saw this production twice and it is probably the best you will ever see; they are in their last week of performances :clapping:

Imagine, if you will, that Giselle married Hilarion. I think she would have made the poor fellow's life miserable. Here was a girl who liked life's finer things. She was attracted to Albrecht because he had none of the rough edges of the village lads; also loved jewelry and fine clothing. She might have been another Emma Bovary ---but then we would not have that great 2nd act.

Thanks for your reply. The whole episode gets more puzzling---Amazon lists the DVD as NTSC all regions. However,on the box there is no mention of NTSC. As to Danilova's influence on Act 2. I believe it is still there. At the time Danilova was performing Swan Lake the Ballet Russe production was the only one I saw with Benno helping out in the adagio. Ballet Theatre, at the time, also had a few huntsmen open the 2nd act.

Since I last posted the above. Amazon has sent me 2 copies of the DVD--and both did not play on my equipment. I tried the 2nd copy on my computer and it played. Both DVDs were ZYX. The first DVD had a label that s aid 'disc made in Germany'---when I returned it; it was replaced with one that had a label on the front with a large 0. I have watched the first two acts and really enjoying Neumeier's concept--but it needs the large screen TV. I will reluctantly return it (but only after watching the rest of the DVD))

Stephane Bullion

Thanks, so much. Having seen Danilova dance Odette many times (I still compare all Odettes to her) it sounds like something that is waiting for me. I will order it now.

I am considering purchasing this DVD but would like more information on Neumeir's concept...I don't want to run into a 'Matthew Bourne' re-creation.

With all due respect--this is the best part of your review ---But seriously,I enjoyed your comments on your first 'Fancy Free'. You show the same enthusiasm I felt on seeing my first 'Fancy Free'(which was actually only the 2nd performance of the ballet).

Great news...even before seeing the Vishneva/Gomes "Camellias' I was hoping for just such a change. I only hope Gomes' strength lasts until closing night.

A really impressive production staff...Jack Cole, Gwen Verdon, George Martin---and Jules Dassin. It has been a long time since I heard the name Jack Cole...it brings back memories of Sally Kamin, the owner of the famous dance bookshop on Sixth Avenue and 56 Street. Whenever she was pressed to name her favorite dancer it was always Jack Cole.

It's based on the book by C S Lewis and its about Christianity from the point of view of the Devil---I have always loved the book and it was great fun to see it enacted. I also saw a revival of Steve Martins - Picasso at the Lapin Agile---a great comedy about a meeting in a bar between Picasso and Einstein in their youth.

I saw The Screwtape Letters last month in a wonderful romp of a production. I hope it travels so others can see it.

---and keep your eye on newly apprenticed Meaghan Hinkis. She is an expressive dancer with flowing lines and strong technique.

Let Ratmansky 'do something' with Sleeping Beauty.

Such an age never existed, did it? Yes. there was a time when it did exist. I guess you could classify it as the 'age of choreographers'---Balanchine, Tudor, DeMille in full swing and Robbins and Petit starting out. As Alexandra so aptly said --'there was musicality, poetry, acting and richness of gesture.' I have often wondered what BT'ers of today would have thought of Alicia Markova, Alexandra Danilova and Anton Dolin. When I saw them they were 35, 41 and 40 years old. Markova, the youngest, was never famous for her technique and Danilova and Dolin had seen better days--but what they had in abundance were the four attributes stated by Alexandra. Most importantly there was no condescension on the part of the audience to these artists. We were fortunate to have seen them. (I did see some of that condescension on BT about Carreno's performances this season) It's true, the technique is stronger today--what with rock solid balances an ear lobe extensions (not such great batterie, though), but there were strong technicians then--Alonso and Kaye spring to mind. Balanchine created Theme & Variations for Alonso; a ballet calling for a formidable technique. However when I compare Alonso's performance with Gelsey Kirkland's there is something missing in Kirkland's performance---the poetry. No other ballerina I have seen in 'Pillar of Fire' meets the technical and acting demands as well as Nora Kaye. The appreciation of artistry can also exist today but it is up to the audience to nurture it.

There isn't too much I can add about Cojocaru's stellar performance...but her variation in Act 3 particularly enchanted me. Her fine English influence to detail was much in evidence. The port de bras is so important in this variation....I don't know if it is a fact or not, but an old Russian ballet teacher once told me that Aurora was telling a story with her arms---about how she was once small but now is grown. Carreno was a most attentive and warm-hearted Prince--she was fortunate to have him as a partner.

My apologies to Phillips---it's hard to believe that Bluebird was Radetsky.