atm711

KFW, I have many complaints about Swan Lake and the cygnets are the least of it. I was fairly content for years to see just Act 2 and an occasional Black Swan PDD. Then the Europeans came with their 4-act versions and that seemed to be the only approved way of seeing Swan Lake. From the very beginning I had problems with ACT 1 (choose any Company!) and the national dances of Act 3. But because I gained the beautiful Act 4 I thought it was probably worth it. In the intervening years we all know what happened to Act 4---cut to shreds---and I still had to sit through Act 1 and those boring national dances. At this point, I would be happy to go back to my beginnings of just Act 2 and Black Swan PDD. And while I am on the subject--that 4-act Swan Lake was the beginning of the end of Ballet Theatre as I knew it. Slowly but surely they abandoned their phenomenal repertoire for evening long ballets......

What throws me off about it being Dolin is the soft, 'pretty' quality of the face.

It's that chin....and Zoritch had a pointy one---I take back Skibine---he had beautiful line and this fellow is quite muscular---one more guess--Roland Guerard

One of the Georges---Skibine or Zoritch ???

...and, alas, that is the crux of the matter.

Thanks Bart, this clip is new to me. There is so little of Nora Kaye around, that even though it was a stretch for her I was so delighted to see her in anything. (she knew no limits as a dancer, she tried everything---i.e., Swan Lake, Black Swan and Giselle). Most of the ladies were past their prime, Alonso was 40 as was Kaye and Slavenska 46 to Hayden's 37. Alonso's technique held up best--oh, those feet, still so beautifully pointed on every small jump. I was privileged to have seen both Markova and Alonso as Taglioni in their prime. About 10 years before this particular tape I saw a live performance with Markova (Taglioni), Slavenska (Grahn), Krassovska (Grisi) and Danilova (Cerrito).

Golden Door----also, off topic,--I love Crossing Delancey---perhaps because in my youth I knew too many people like the snobbish writer.......

Thanks again, it's a beautiful clip and I was again reminded of what a powerful work it is. When I saw it last season at ABT I was critical---and thought the ballet had run its course. At the time it appeared ineffectual and the group scenes had lost its pungency. But that clip was the Joffrey I remembered.

What surprised me about Macauley's wrap-up of the ABT season was his description of bracing himself to see four performances of Swan Lake---he chose Vishneva, Herrera, Dvorovenko and Wiles.....apparently he passed up what most of us were waiting to see for the past couple of years---Ananiashvilli's return.

In the first version I saw of this work the 'Ave Maria' segment was tucked into the middle of the ballet---and there you might get away with talking 'kitsch' (well, maybe)---the girl was draped on a horizontal pole carried by two men....IMO Balanchine was so overcome with the beauty of the score that he got carried away, no matter which woman was dancing to the music. But I tell you, the highlight of that earlier Mozartiana was the dancing of the pdd at the end by Danilova & Franklin---that's what I miss when I see the latter version.

I must stop gulping my wine......

Getting back to topic---any ballerina worth her salt would have dazzled the Prince in the preceding PDD. The fouettes are the cherry on top of the cake; nice to look at but it has nothing to do with the taste of the cake.

Frankly, I miss the days when the choreographers were the stars. When I go to the ballet today it's to see this, that, or the other one in an old classic and it is not nearly as satisfying. If I could re-live any period in ballet history it would be the 40's to the 60's when the Choreographer reigned.

Yes, Yes, I thought the same---a role made in heaven for her. And Part as the Italian--wonderful choice.

Larger-than-life performing today?---just one, Nina Ananiashvilli---she joins the hallowed company of other larger-than-lifers: Danilova, Markova, Alonso, Chauvire, Fonteyn, Makarova.

Why all the Ashton?---'08 is the Tudor Centennial---certainly he did more to put ABT on the map than Ashton. So far, 'Leaves Are Fading' is set for the fall season and I hope it doesn't stop there. Also, Martins should chuck his R&J and revive Tudor's. (on second thought, I take that back. Lord knows what that heavy hand would do to that delicate beauty of a ballet)

If you can get past the intrusions of Guillem's extensions and feet I think you will find a fine artist there. I did.---as to Zakharova---you have a point well taken.

Yes, I thought so too. Corsaire has always been my least favorite of the old classics--no matter what production I saw. I hope Ratmansky works his magic with this one.

My Thesaurus describes 'mercurial' as 'bubbleheaded'

Rest in peace, beautiful Brooklyn Girl.

For those who did not know her, Sally Kamin was one of the most elegant women I have known. She was always impeccably dressed and made-up. Gracious is the word that comes to mind. Whenever we would ask who was her favorite dancer she would always say Uday Shankar.

I remember it as Sally Kamins bookshop. I spent lots of time and m oney there---I usually bought my books on the installment plan---I would drop off a dollar a week until the book was paid....and about 25 years ago I sold most of it to the Ballet Shop...

Mme. Hermine---since I don't have the necessary skills to do it, perhaps you can also show the cartoon of the Critics---Anatole Chujoy, Walter Terry and John Martin---one knows where they are coming from by the books they are carrying...

All during the Season I was feeling sorry for myself because I could not attend this magic matinee....just as well---or I would be doing this:

No doubt, Nina's Swan is one for the ages---what a pleasure to see a TRUE ballerina dance the role. I loved her demeanor for the Black Swan---she was toying with the Prince and enjoying it immensely--rather than just being villianous. (Ah, the eternal female!). While watching her I couldn't help thinking how I wish there was another recording of her Swan Lake...the Perm recording is from 1992 and she has added so very much to her performances over the years. I also wished she had another Prince---Corella is not danseur noble enough for Nina.....