atm711

I do remember him as a 'corps' member of ballet theatre and he was quite impressive looking on stage.

For me, it is Alexandra Danilova--so much so, because to this day I am still enchanted by Mariinsky ballerinas (most of the time---there are always exceptions). How I loved watching her! A close second is my favorite American ballerina Alicia Alonso (to me she will always be American because she made her mark on the ballet world in the U.S. and became a Prima Ballerina in an American company--my apologies to Cuba, but we saw her first). When I first saw them, one was at the end of her career and the other at the beginning.

I love those ads because they have surpassed the 'feminine hygiene' ads. That is true liberation.

I love those ads because they have surpassed the 'feminine hygiene' ads. That is true liberation.

I. for one, am looking forward to the change. As a long time listener I have been put off these last few years with the quality and frequency of their commercials. I have had enough of offensive seafood restaurant commercials and hospital ads for dreaded diseases, and end of life care. My only hope is that they take most of their staff with them.

How sad. I will greatly miss him and his wonderful Irish wit. He was the quintessential New Yorker---he lived. at one time or another, in all of the five boroughs.

Yes, she has aged well---and that photo does not do her justice. During the summer I usually go to the Chautauqua Institution for a couple of weeks and she and her husband are in charge of the dance program. One of my happiest days there was sitting in on an afternoon rehearsal (in a 5,000 seat empty theatre) and watching her teach a variation to a young dancer. She also became a grandma this year.

I saw Le Combat performed by Les Ballets de Paris in 1949 in NYC with Colette Marchand and Milorad Miskovitch. Marchand was one of those long-legged beauties that are so prevalent today, but rare back then. She later appeared in Hollywood movies. Their PDD with that pulsating music was gripping, to say the least. I did see it later at NYCB but it did not have the same effect on me.

Without hesitation, 'On The Dnieper' is the best ballet I have seen in a long time. I am still mulling over it and can't get it out of my mind---but, then, why would I want to? I saw it with a less than inspiring cast and it still succeeded.

The fall of 1949 was a pretty heady year for ballet in NYC---with NYCB at the City Center on W. 55 Street. Sadler's Wells was making its much touted debut at the Met down on W. 39 Street---plus Ballet Theatre and the Ballet Russe were around. While many BTers are swooning over a roster that includes Tallchief, LeClercq and Hayden, the male contingent listed on the snake was very limited technically---and that includes Robbins---and Hayden had not really achieved ballerina status at the time. The only snake I still have is the one for the Sadler's Wells of that year. A note on those ticket prices----part-time pay for a very good typist was $1.00 an hour.........

Seeing her in that beautiful dress made me wish to see her in 'Emeralds'.

He performed the famous Russian Sailors' Dance (to the Gliere music) and this Englishman was brilliant. He did the deep knee bends (there is a name for this step which I do not know) and then rose triumphantly on his heels with his arms overhead. He regularly brought the house down with this solo. The Ballet Russe did a one-act version (by Igor Schwezoff) of the three-act Soviet ballet. It also included a ribbon dance by a bare-chested Igor Youskevitch (probably on leave from the U.S. Coast Guard during wartime)---and, of course, Danilova as Tai-Hoa. There was grumbling in some newspapers about putting on a Soviet themed ballet---but who could resist such a cast.

Most members of Ballettalk in New York City are familiar with Frederic Franklin in his current appearances as the tutor in Swan Lake or the Friar in Romeo & Juliet with ABT. Few, I imagine, saw him dance in his prime. I had the good fortune to see him during his later years with the Ballet Russe. He had an easy going stage presence, i.e., he looked comfortable on the stage. His charm was irrepressible in roles such as Franz in 'Coppelia' or the Champion Roper in 'Rodeo'--two roles, in particular, I have always felt he "owned". Both of these characters fit him like a glove. There was a cool wit in his interpretations---he was a 'nice guy' who didn't take himself too seriously; he could have gentle fun with the roles. Perhaps his early training as a ballroom dancer contributed to his ease of movement. If ballet hadn't claimed him we might have had another Fred Astaire--such was his relaxation and charm. His persona changed quickly when performing the Favorite Slave in 'Scheherazade'--a commendable performance--ending with the famous Nijinsky spin on-the-back-of-the-neck; and also as Johnny in the controversial 'Frankie and Johnny'. He was not a classical dancer but braved his share of Nutcrackers and Swan Lakes. I saw him once as Albrecht to Chauvire's 'Giselle'. His most well known role is perhaps the Baron in 'Gaite Parisienne'. He was captured on film by Warner Bros. in the 1940's (The Gay Parisien). Before I saw my first live ballet performance I saw this film many times in the foreign movie houses on 42nd Street. There is also a candid version made up of actual performances of the Ballet Russe. Thanks for the memories, Mr. Franklin---and thanks to ABT for giving us the priviledge of seeing him once again on the ballet stage.

I, too, saw the Vishneva/Stiefel Sylvia yesterday afternoon. This was the first time this season I saw them both perform and, yes, Stiefel danced full-out with no holding back, although Aminta is such a scanty role for the lead dancer, I kept wishing for more. Since Ashton had Michael Somes as his first Amninta (not an outstanding technician) I can't help wondering if this influenced the choreography. Vishneva succeeded for me in separating the choreography from Fonteyn. In any of Ashton's ballets made for Fonteyn; her image and style influence performances by other ballerinas. However, Vishneva made the role her own, and if anything, was a pure Mariinsky ballerina. (I don't know what the Ashton purists would think) She was alternately buoyant in Act 1, quite seductive in Act 2 and the sublime ballerina we expect in Act 3. I enjoyed the ballet and hope it sticks around for a while--(enough of the Don Q,s and Corsaires!). Hee Seo and especially Eric Tamm were outstanding as Ceres and Jaseion; the latter exhibiting his beautiful line and jumps.

I have been watching Veronika Part for 10 years, since her NYC appearance with the Mariinsky in 1999. My admiration of her is no secret on this site. I have seen all of her ABT Swan Lakes--in '05 and '06 with Gomes and '08 with Hallberg; her '07 perforfmance was cancelled. If ABT had given her more than one SL a season, I would have seen those, too. What was missing last night was Gomes. While watching Bolle, images of Jeanette MacDonald playing opposite a wooden Nelson Eddy crept into my head. He did not come alive until his Act 3 variation. (I have seen other Princes leave the stage during this Act---I have always assumed they were going backstage for a quick warm-up before their variation. Many is the time I wished I could also leave my seat during the interminable national dances). I was delighted with the many long balances Part held last night--even having to scramble off one to stay on the music. (Take That --all you Rose Adagio critics).....more later, I think.

Hans--the Dress Circle standing room is good advice. I sit in the dress circle and for the six performances I went to this season there have been many empty seats on the upper rows ---so-o-o--you won't be standing for long.

Wow--what a Freudian slip---- In a sense, the poor girl did marry Tudor (it was Hugh Laing she married).

Yes, Amy Reusch, you have made a good point here. I saw Jared Matthews as Gurn Wed Eve and he was very 'danseur noble' most of the time, but did go over-the-top with the lunatic bit--it was very Alain. It also robbed the ballet of its pathos and made it a little hard to take it seriously after that. and Helene--welcome to the club

I was at the Wed Eve performance and if I was 'blown-away' by anything it was Taylor's 'Airs'. What a marvelous work this is--it is much in the same vein as 'Le Tombeau De Couperin'. I have to admit that I really love Taylor's works when they are performed by highly trained classical dancers (my apologies to the modern-trained). Their techniques are finer and they all appear to have a wonderful sense of line. Since I was so taken with the cast, I must name all of them: Kelley Boyd, Luciana Paris, Leann Underwood, Roddy Doble, Joseph Phillips, Sean Stewart. My main problem with 'La Sylphide' is that I don't care for Bruhn's version. The performance on the whole lacked passion. Cornejo was more of a hot-head (or someone afflicted with road-rage) than a sensitive young man in quest of his vision. He appears to save himself for his burst of energy in his solos--and the rest of the ballet can go hang. Osipova was more suited to Giselle than the Sylphide---both performers had their share of technical delights---the marvelous triple grand jetes across the apron of the stage from one wing to the other by Osipova were breathtaking--as were the many Cabriole derrieres in the choreography which she performed with a beautifully upright back. Now on to Veronika Part and Cory Stearns on Sat Eve--and the pleasure of seeing 'Airs' once again.

How come Cory Stearns will be dancing on 2 successive nights???--and V.Part, too---at this point I am starting to panic....what if?? could they possibly be replaced on Sat Eve......I have had my tickets for a long time to see this.

Who performed the Monday eve performance??-Did Osipova dance??--and WHO was her partner. Surprisingly scant information around for such a high profile program. I have tickets for her Wed Eve performance and would love to know who her partner will be---very disappointed in the Hallberg cancellation---hoping and praying it is not Cornejo. Oh, well--foiled again!! I wrote the above before Sealings entry.---maybe they will let Simkin do it---live in hope and die in despair

great photos--let's seei s this goes through....

I do like Macauley's reviews---he does love the art and most of the time I do respect what he has to say--even when I rarely do not agree.---but---it is apparent that he has a bias against V Part. Not mentioning her in the Osipova Giselle review is rather mean-spirited. I looked up his review on Ananiashvilli's Giselle and he devoted a full paragraph to Murphy's Myrtha. Some day I hope he will see the light.

I was at the Osipova/Hallberg/Part Giselle and it was an exciting evening. In their respective roles, Osipova and Hallberg are a work-in-progress--great things will come. The two had a beautiful rapport---astonishing since this was their first performance--it would be easy to believe they had danced the role together many times. Some of the more memorable images of Osipova were the plumb line of her opening arabesque in the Act 1 variation and the entrechat-quatres after the Act 2 PDD---NEVER have I seen them performed better--as light and airy as a souffle. However, I was not 'moved' by her performance--perhaps because the last great performance of Giselle I have seen was still dancing in my head---Vishneva and Malakhov of a couple of years ago. I add my hurrahs to all the other comments about Part's Myrtha. In the Act 2 Moyna and Zulma variations--the girl who did those exquisite renverses should be commented on--was it Hamrick or Underwood?? Just a note--but those two magnificent Russian Wolfhounds in Act 1 are a hard act to follow. --and yet another note--Osipova's curtain call (in front of the downed curtain) was reminiscent of Nora Kaye's Russian Ballerina in Tudor's 'Gala Performance'---she bowed in the center stage---walked far to the right and bowed----then far to the left--she had a hard time leaving her adoring audience.

It was also reprinted in the June 7 Arts Section.