atm711

the photo of adams shows her, i believe, as Cybele in Tudor's UNDERTOW, a role she created in 1945, which may be the date of the picture.

Isn't that the costume for Medusa?---Nana Gollner originated the role, but Adams danced it later.

I was most impressed with Sorella Englund's Madge. She is by far, the best Madge I have seen. What a passionate performance---she's right up there with Bette Davis and Barbara Stanwyck....

I also love this photoof Tanaquil LeClercq because it's so different from the usual ballet poses

Yes---and it also captures what made her so different from the usual ballet dancers.....that's the LeClercq I saw, with all her quirkiness and wit.

While watching 'Capote' I thought Hoffman exaggerated the lisping quality of his voice; it was overdone and I was weary listening to it. This was brought home to me last night when I saw a film Capote made in the 70's. (it was one of those elegant murder films that took place in a country home, with a large cast of prominent actors) He spoke well and did not lisp every other word. I only saw 'Capote' a week ago; it was the sound of the voice in all the TV ads that kept me away.

One of my favorite early Hayworth movies is 'The Strawberry Blonde' (with James Cagney and Olivia deHavilland) where she played a femme fatale. If I am remembering it correctly, she dances a waltz with Cagney to a lilting old tune.

The photo of Nina with the two affords a look at the ballerina about one month after giving birth. amazing how ballerinas can look like this so quickly after!

She looks a bit wan to me in the photograph---she still has a way to go.

When Morton Baum, president of New York's City Center, invited the group known as Ballet Society to become the New York City Ballet in 1948, it was a great moment in dance history.

Didn't Baum originally want it to be named New York City CENTER ballet, after the name of the Theater?

And Bessmertnova, who was out of this world.

Hmmm...this surprises me. Perhaps I have been too cavalier in dismissing most of what I have seen her perform. During the 70's I saw her Phyrigia to Vasiliev's Spartacus and it is still one of the most memorable performances I have seen. However, I shall go back to see what I may have been missing in her Giselle.

(is this the Makarova/Mackenzie Romeo where he has his warmups on during the crypt scene?)

yes

I am atm711. When I click on My Blog, I get the following error:

Fatal error: Call to a member function on a non-object in /home/balletta/public_html/modules/blog/lib/lib_blogfunctions.php on line 602

Please advise.

I think you've probably noticed that the upgrade has taken place. I need to go through the site to find the new features.

The first thing I noticed was that we lost our logo, and I'll open up a ticket to have it restored.

The second is that the formatting options are more Windows-like, with a great options like numbering and bullets. I'll be updating the site instructions over the next few weeks. But one important note is that the hyperlink icon is the little globe with what looks to me as an infinity sign underneath.

The third is that the Calendar has a list of events which is a link; if you want to see what's playing, you have to click it, and a thread appears. I'm going to check to see if this is an optional setting, and if we can restore the old display.

As promised, the skin modifications are gone, and I'll be working to restore the changes. I think some group permissions may have gone back to defaults, and I'll be checking them over the weekend.

Please let me know if you find any errors, missing posts, etc. by replying to this thread or sending a PM, if you are a full member.

I only want to deal with Bühnentanz (sorry, that I don't know the english expression)

Penitential Dance----

...and on Valentine's Day, too---well done, Nina...

Does anyone know, off chance, what Anthony Tudor told Sally Willson to do in order to help her dance better in the ballet "Pillar of Fire"

Perhaps this is what you're looking for :

"Wilson described one moment with Tudor in rehearsals, 'He placed his finger in the center of my back, and told me to glow, to be alive in the chest, to maintain the stage'. This swift tactile observation helped her capture the essence of Hagar's movements. She added that his choreograph for pirouettes was particularly difficult. 'They mostly have no preparations. He would insist, just go up, wherever your heels are, don't rearrange your turnout. You press as if you are walking'.

Ballets of Antony Tudor by J. Chazin-Bennahum.

I thought the American pair who completed the throw triple axel (can't remember their last names) were undermarked

Yes, I thought the same-- was surprised they didn't end up in the top three. (I can't recall their names, either)

Go with the Vishneva...

I hope this doesn't sound flippant--But to help the Danes 'weather the storm' I bought my 3 year old grandson some Lego's today.....I read somewhere about sanctions against Danish products in the middle east.

Flemming Flindt did the Drummer, he was out of this world - people who saw the original one, Nicholas Orloff, said he was wonderful. I find it hard to believe, Flindt to me was the real cat's pajama - he was just stunning! And Flindt was just a kid in those days and so was I.

My vote goes to John Kriza of Ballet Theatre---wow, was he sensuous---and I, too, was just a kid in those days.

Richard, I was puzzled in Act 1 when the Queen arrived and the Prince and his friends made a big thing of hiding their alcoholic drinks from her. I am presently reading 'The Life and Ballets of Lev Ivanov' by Roland John Wiley and in writing of the first St. Petersburg performance he says: "There is much carousing at Prince Siegfried's coming-of-age celebration when the Prince's mother arrives to tell her son he must choose a wife...."--I guess Wright got it right. I love the book and thought I might like to own it---until I looked up the price on Amazon---$114.00.

I went back and had another look at Nathalie Nordquist, and came away even more impressed with her performance. She was a sweet, youthful Odette, and had no airs or pretension. Her Odile was not evil or vindictive; she seemed like a good time girl out to have some fun. (In physical looks, she reminded me of Mira Sorvino). I liked what Peter Wright did to the Third Act (although, it did seem to go on forever). He spends a lot of time with the Princesses who are there for the Prince's approval, and gives them many variations.---and a jester-free performance.

NYPL has both 'The Sleeping Ballerina' and the technique book, which I have borrowed.

and the first of Ashton’s Cinderellas. 

I was fortunate to see her early in her career as Cinderella. Due to Fonteyn's illness, she got first chance at the role and I preferred her to Fonteyn, although those two august critics, Beaumont and Denby, even when reporting on Shearer's performance, lamented not seeing Fonteyn-----I guess not even Denby is perfect.

Rest in peace, lovely Moira.

Many thanks to all for your input---"It's the Mom" has convinced me, and I will take my chances.

With all the negative talk of Kudelka's Swan Lake that is currently going on, I am getting cold feet about the upcoming production at ABT of his Cinderella this Spring. I am planning to take my six-year old granddaughter to see her first 'real' ballet and I am wondering just how traditional this version is. Supposedly, it's a ballet for children, but having been subjected to a couple of weird Coppelias--I am having doubts.

My alternative performance is to take her to NYCB for a matinee performance of Symphony in C and Vienna Waltzes (ballet just doesn't get better than that).

Input greatly appreciated.

Unless I'm not reading it correctly, it apears that Malakhov is only listed for one performance---and that is Giselle with Vishneva. He was supposed to do this last season but was replaced by Corella---any thoughts on whether he will show up?

But what do the other three acts do to justify a full-length production?

I have been asking myself that question for years. For most of my early years of ballet-going I was content to see Act 2 and an occcasional Black Swan PDD. The first full-length I saw was the Sadlers Wells production which they b rought to NYC on their first tour--attributed to Sergeyev. What I gained was the melancholic Act 4 which I loved, and added so much to the Work, and we all know what has happened to that Act in today's productions. When I watch my SL tapes, I FF Act 1, watch all of Act 2, FF Act 3 except for Black Swan, and watch what is left of Act 4. I don't think I have gained much over the years; I would again be contented with Act 2 and a Black Swan.