atm711

quoted from NYSusanIgor Youskevitch was a premier danseur with the Ballet Russe de Monte Carlo from 1938 to 1944. He joined Ballet Theatre in 1946, and not in the Corps . Alicia Alonso was a soloist with Ballet Caravan from 1939-l940, soloist with Ballet Theatre in 1941; ballerina since 1943.

For the past week I have been watching my DVD's of La Sylphide---5 different productions....In all of the productions the Sylphide's wings appear to fall off without any human interference...how is this accomplished?...does she push a button somewhere??

I guess I am one of the very few people here who saw 'Waltz Academy' at Ballet Theatre. It did not make a very great impression on me; the best part was seeing one's favorite dancers in one of the roles. Compared to what we saw of Balanchine during the same period with the Ballet Russe (Danses Concertantes, Le Bourgeoise Gentilhomme, Night Shadow, Concerto Barocco, Ballet Imperial...and on....); Waltz Academy was Balanchine minor league. Forget about resurrecting Waltz Academy and give us Danses Concertantes as he originally did it with the wonderful witty costumes by Berman.

In the group scene---I would guess the central dancer is Diana Adams....

Such shocking news to wake up to this morning. I cherish my memories of her as a teen-ager taking classes at Ballet Arts in Carnegie Hall. We were excited for her because she was being auditioned for Ballet Theatre. Rest in peace, Sallie.

no..... it is safe to s ay it is not Berman. I don't recall ever seeing her in that costume with BT---I would guess it's from her early Havana days---she did a couple of ballets with them---"The General's Daughter" and something called "Concerto".

Perhaps it's sitting in the 'rear mezz'--the worst seats in the house. I have been coming to this theatre since the Ballet Russe days, and learned early on not to sit there. (It reminds me of the St. James Theatre; the same long, high crowded seats). In my salad days I sat in the 2nd balcony and had excellent views; I could not understand why the Kirov did not use the 2nd balcony----when I looked at the crowded upper Mezz (I was lucky to be in Row A; slightly to the side since the best part of that r ow was reserved) and saw all those good seats going to waste.

I saw the Saturday matinee and I am finally finding out who I saw in 'Rubies'. The garbled announcement said that "(uninteligible) was replacing Vishneva...who was not scheduled to dance...go figure!. I did like Olesya Novikova, and saw shades of Patty McBride..my highest praise for her. The rest of it?---not so good---where was Balanchine? The men had a problem with the famous running/jogging step that Balanchine uses throughout the ballet; they looked comical in a clumsy way-- THINK Ray Bolger when doing this The women fared much better. Nadezhda Gonchar (I am assuming the program was correct) in the 'tall-girl' role had the demeanor of one performing the Siren in Prodigal Son; a bit too menacing. For me, Ballet Imperial should always be performed in the classical tutu; the 'imperial' is not there in the chiffon dresses (which is the main reason I do not see it at NYCB). The last performance of this I saw was at ABT with Ananiashvilli and Gomes...and now here comes Somova! and she was everything I expected The long suffering look on her face made me wonder what she could possibly be thinking; or what ballet she thought she was performing. She looked like the parody of the Russian Ballerina in Tudor's 'Gala Performance'. Vladimir Shklyarov deserves better and I join the chorus of Hurrahs for him. (I wish ABT or NYCB could entice him to join)

I noticed Vasnetsova on opening night in a demi-solo role but I had no way of identifying her; she was not listed in the program. The Kirov is very skimpy at revealing all the names of the dancers and only list the principals and main soloists.

I attended Saturday's matinee and I must say I was not prepared for the Chopin military polonaise that was used as an overture; the first time I came across this beginning. Unfortunately, the curtain rose while there were still a few bars left of this piece, and it was a jarring beginning to the ballet.....I had no idea the Kirov did it this way....and...the stage lighting was much too bright. That said, nothing can ruin this ballet for me, which is my favorite. The Kirov is really having a problem with the size of the stage at City Center; other 'Sylphides' I have seen on this stage use only 16 corps dancers, and the Kirov had twenty. Of all the dancers I liked Daria Vasnetsova (mazurka &PDD) the best; perhaps because she looks so much like Maria Tallchief. In "Spectre" I wished the girl wore the lovely bonnet with the satin ties instead of a head full of curls and a flower; the girl in the bonnet had a sweet innocense and one could believe that she would dream of a rose coming to life. Korsakov was the replacement for Sarafanov; he has beautiful port de bras and impeccable entrechat-huit; which he did all over the place. Recently, Vishneva's 'Dying Swan' had not received favorable reviews, and I didn't know what to expect....and I thought she was a marvel...no overdone theatrics; she brought the same pathos I have seen in her 'Giselle"; understated and hard felt. I haven't seen "Etudes" since ABT did it and it was fun seeing it again (particularly through my soon-to-be 8-year old budding ballerina granddaughter's eyes). Radiant is the word I would use to describe Olesia Novikova...at one point she did the fastest chaine turns I have ever seen---she was practically a blur. Sarafanov replaced Korsakov and I was glad I would get another opportunity to see him; but it was Vladimir Shklyarov's day. A dancer with a beautiful line and a most handsome face.

The public has to be educated. That's what Balanchine did in New York starting in the '40's. I will never forget my initial shock of seeing 'Concerto Barocco' for the first time in Leotards. I hated it.......but not for long.

We all have enough knowledge of ballet to support our own entrenched opinions but I very much support Macauley's judgment and I, for one, am glad to have him at the Times. I think I know where he is coming from in his recent review of the Kirov's "Raymonda/Paquita/Bayadere" program. I also felt I was at one of those 'Stars of Tomorrow' programs (I only attended once--which was more than enough!); like eating too many sweets---not enough beef? When I recall the marvelous repertoires of Ballet Theatre, Ballet Russe, and the Sadler's Wells I realize what Ballet has lost; we have been sinking back to the 19th century for too many years now. I do get a bit weary of the cult of personality.

The good old days are coming back---Tudor and Company B..... It is gratifying to see ABT going back to its most impressive roots, even for just a few days. What a blessed relief from their Met repertoire.

Lopatkina's 'clapping variation' has been described as 'lighter-than-air'. It's a quality I don't look for in this variation. I prefer it to be more terre-a-terre. While watching Lopatkina I thought back to the first time I saw this variation performed by Danilova (on that very stage in Balanchine's version). I would have preferred Lopatkina's 'melancholy self' to all her smiles. (watch Guillem on youtube in this variation!). Somova deserves all the harsh criticism she has received. Unfortunately the audience goes berserk whenever she raises her leg--and how she does raise it She raises her knee in passe up to her armpit and then unfolds the foot to her ear----. I fear at some point she may wrap the foot around her neck. I will be seeing her in Ballet Imperial--------I hope we both survive it.

Yes, yes, unfortunately. We in NY have been fairly lucky to see the more expressive dancers in the full-lengths. But, that is about to change for us. Ananiashvilli is nearing the end of her career, (I was disappointed in her Nikiya last season) and Part is leaving--and who knows how long Vishneva will be around with her busy international schedule. I do not find the others all that inspiring in the full-lengths. I have long felt this way with NYCB's kiddie korps.

Exactly. She has built a fine reputation and is very successful; my hope for her (and me) is a regular New York season.

It has been a few years since I have seen Ananiashvilli's 'Giselle'. I was never enthusiastic about her 'Giselle' and purposely avoided it. However, since she has always been one of my favorites and is nearing the end of her career I have tickets to see her 'Giselle' during the ABT season in July. She would be a marvelous Myrtha. (Vishneva's Giselle and Ananiashvilli's Myrtha ) Danilova also danced Myrtha at about the same age Ananiashvilli is today and it would be wonderful to see a ballerina of Ananiashvilli's stature dance it today.

During that 45/46 BR season I did see 'Pas de Deux Classique' performed by Danilova and Franklin. She did not wear a black tutu; relying on memory it was pale blue and white (which at the time seemed anemic to me after seeing it performed in a dramatic black tutu). She did not do the 32 fouettes; as much as I loved Danilova it would have been a stretch for her this late in her career. At the time, Toumanova had no peer in this role---it was hers.

My very first 'Black Swan PDD' was with BT in the fall of 1945. I never saw 'The Magic Swan' which was a few years before my time (my time being April 1944). There was heightened expectation in the theatre that night because Toumanova was dancing . The next time I would feel this expectation would be a few years later when 'Sadler's Wells' came for the first time. It was an exhiliarating night and who but Toumanova could put over those 32 fouettes; the first time I saw them performed. Indeed, she wore a black tutu. I don't recall where I read it but I understand it was the first time this PDD was performed as "The Black Swan'; quite apart f rom "The Magic Swan' which, supposedly was the third act of Swan Lake.

the first few seasons I saw 'Graduation Ball', Riabouchinska and Lichine were guests with the company. At that time they only did the classical Pdd mainly with Alonso and Reed. I never saw the 'sylphide' until I saw it with DeBasil.

Take a look at the photograph of Alicia Alonso and Richard Reed in the pdd from 'Graduation Ball' in Grace Roberts 'Borzoi Book of Ballets'. It was beautifully performed by both of them. David Nillo was an original member of BT, but he was in the Service during WWII and as far as I know did not return to BT after the war, but went into musical comedy.

I could not put it any better.....my ABT attendance will seriously dwindle next season...for the coming season I hav e tickets to see Part, Ananiashvilli and Vishneva---the rest of the roster has never measured up for me to TRUE ballerina status.

I would guess Mother Simone is Simon Semenoff--a popular character dancer with BT during those years. The cleft in his chin (if it isn't makeup) could help with the identification. The Alain does look like Ian Gibson. Mel said he didn't return to BT after the war---I did see him dance with BT and that would have to have been after the war.

I was so fortunate to have seen her Phrygia (with Vasiliev). Such sad news--she was far too young to leave us.

Perhaps I shouldn't comment because I did not see it--nor do I intend to see it. I have one of her Cuban Giselles (with Plisetski from 1965) and there is no chemistry between the two of them; he appears to be there just to hold her up. I saw Alonso in her prime with Igor Youskevitch--countless times; and as said in many an old romantic film--'it was magic'. She and Danilova were my early ballet favorites and I hate to see her legacy tarnished by these over-the-hill Giselles.