atm711

Perhaps that great fund raiser Bill Clinton can help out his neighbors B)

Was Danilova virginal and ethereal, atm?

She was neither, Alexandra. In 1946 she admitted to being 43 years old and she was her mature womanly self---this sleepwalker had an interesting past. And this I can vouch for---she was not on pointe when she held the poet, but it was still amazing to see her carry him a few feet---it was an illusion, very much like the one about Fonteyn's first Sleeping Beauty in NYC. Some people will swear that during the Rose Adagio she did not take the hand of her last cavalier, but held her balance without him.

I always liked the ballet from the first time I saw it. At the time, I think I grasped what Edwin Denby so beautifully described: "It gives you a sense--as Poe does--of losing your bearings, the feeling of an elastic sort of time and a heaving floor". At that first performance, way back then, I was delighted with the Bellini score and the fantastic gothic surrealist (is there such a thing?) headdresses and masks worn by the party guests. Danilova, Magallanes (later Franklin) and Tallchief danced the leads. Maria Tallchief is still my favorite coquette. She had the necessary dramatic persona for the part, and the sleepwalker was fully realised with Allegra Kent. I have seen quite a few poets over the years, but none that stand out. Kronstam understands the poet so well, I wish I could have seen him. However, someone mentioned Peter Boal----he is such an intelligent dancer I hope to see him.

The first full length 'Raymonda' I saw was the Balanchine/Danilova version of Ballet Russe de Monte Carlo in NYC. At the time (1946) its failure was attributed to an audience that was not attuned to "the leisurely panoramic productions of Petipa, and were bewildered by it" (Jack Anderson). A mere 3 years later New York was delerious over the Sadler's Wells 4-act 'Swan Lake'. The redeeming feature of that early 'Raymonda' was the performance of Danilova; and that was repeated, for me, last night with Ananiashvilli's performance. For me, the problem lies in the fact that there is no dramatic core to the ballet, then, as now, it seems like a series of divertissements with a weak story line thrown in here and there. I doubt if I would want to see this ballet again without a ballerina of Ananiashvilli's stature. I have run out of superlatives to describe her 'czardas on toe' and I feel especially privileged to have seen her and Danilova. (I also saw similarities between the two when I saw 'Offenbach in the Underworld' last year) If you have never seen Danilova, watch Ananiashvilli---her manner (grand, if you wish) and her coquettery are very much like Danilova's) I agree with Carbro---Veronica Part and David Hallberg stood out --I couldn't get my eyes off of Hallberg, and I can't comment on Ricardo Torres. I was disappointed in Carreno, granted, deBrienne looks like a thankless part for a male dancer, but he never seemed 'connected' to Ananiashvilli.

Before MacMillan there was Tudor's 'Undertow'---one woman is gang raped and another murdered. :sweating:---so women have made some gains---dragging doesn't seem all that bad.

"Shut up, honey, you're the next Swan Queen,"

It's one of the best lines Gable ever uttered in a movie---it rivals his famous line in GWTW.

I recognized Dolin---but who was the ballerina who did Swan Lake?

Lucia and Balanchine got along tolerably well, and he staged their 1946 production of Giselle.

---which was pretty much of a disaster due to those Eugene Berman sets.

What every girl needs---a little support.

For years, I have been trying to 'get' Martha Graham. I have made an effort to put my prejudices aside---so, I have been trying to 'get it'. I can honestly say that after all my efforts---I don't like it. However, last season I saw my first Paul Taylor concert (I can be a late bloomer) and 'got it', so much so, that I will go to see Taylor the next time they are in town.

I wonder how the postal clerk will take to requests for, say, four rows of Balanchine.  Just Balanchine. 

Just try asking for the 'choreographer's stamp' as I did a month ago at my local post office---the clerk did not know what to make of the word 'choreographer'. :rolleyes:

Duo Concertant and Liebeslieder were the highlights for me. What a treat to see Kistler, Ringer, Nichols and Weese performing together. My disappointment was Korowski's Barocco--she danced this the same way she performs Diamonds--there is simply too much emoting and thrusting back of her head......and I will never get used to those white leotards. Sarah Jessica Parker was certainly the belle of the ball---what with her change of dresses (3 or 4) and her precarious coiffures. I could have done without the 'special guests' and had more dancing.

All those laudatory reviews are right on the mark. A handsome, fast moving production. Simon Russell Beale with his rapid-fire delivery demands close attention of his audience, and Essie Davis is truly poignant as his beleaguered wife. The 'jumpers' are a beautifully coordinated group of gymnasts, and the musical trio of keyboard, drums and bass are marvelous.

Having seen Vladimirov, Obukoff and Vilzak as teachers it is wonderful to see them in their prime.

To quote:

"A grand jete is a grand jete is a grand jete--all we can do is admire it for itself"

Apparently, he never saw a Tudor work.

Florence Rogge--that name rings a bell. She was the director of the Radio City Music Hall's Corps de Ballet for a long time. I wonder if she was the originator of the RCMH bourree. Travelling across that huge stage several times a day, some members of the Corps had a unique bourree. The back foot was off pointe and the front foot on pointe.

Scout's Honor--I did not see her dance --but I do recall the first time I saw the Barre statue of her Sylphide. It was in the home of my teacher at the time, George Chaffee and I could not believe that it was perched atop a staircase post, like an ordinary finial.

Yes . I will add my kudos to the above. Langella gave a breezy, effortless performance. It was a gleeful composite of many ballet 'characters'. $40 orchestra seats can be had from Playbill.com.

Or would he just have been bored seeing an old coot dancing with a woman who was mostly the figment of his imagination?

Very well put, FF. I saw the ballet only once, at the time of its premiere. Aside from finding the work too murky, Balanchine overly made up and Farrell too bland, this comment would fit in well with what I felt. (I wonder when a book about this side of Balanchine's life will be written ---all his former wives skirt , no pun!, the issue)

Ballet Theatre had its first English tour in 1946---from July 4 through August 31 at Covent Garden. Andre Eglevsky, Nora Kaye and Alicia Alonso performed, and while in London Keith Lester staged his version of 'Pas De Quatre', and Ashton staged 'Les Patineurs' for them. They were still known as 'Ballet Theatre' for quite a while after that---I think the name change took place after 1955---why?--I don't know. :shrug:

I would pare it down to five, and let it go at that:

1. Tallchief

2. Farrell

3. Kent

4. McBride

5. Verdy

LeClercq would get my vote as 'the most interesting'.

I shall O.D. on Ananiashvilli this season--(if that's possible :rolleyes: ) I have tickets for her Raymonda, Swan Lake (she is only doing one performance ) and her Ballet Imperial. Enough of the kiddies---I need a REAL ballerina I am also looking forward to seeing Part in Mozartiana and Meunier in Ballet Imperial.

Although I didn't see it, I seem to recall that a young Svetlana Beriosova danced the lead in 'Designs with Strings' with the Metropolitan Ballet----but I can still recall John Taras as a young performer with Ballet Theatre, and his ballet 'Graziana' which was well received.

Shealso had a good role in the film "The Tales of Hoffman"--and I seem to recall a scene she had with Massine in "Red Shoes".

Lest we forget---here's an oldie. Edward Caton as the Prince of Courland (Bathilde's father) in Giselle. He brought to the role something I have never seen again---a PRESENCE. He was a very tall man, and had natural loping walk---his long legs preceded the rest of his body. When he performed the role with Ballet Theatre, he entered most impressively with two Russian wolfhounds---his whole demeanor suggested royalty (not unlike Burt Lancaster in 'The Leopard'). For those who have never heard of him---he was born in St. Petersburg of American parents in 1900; he was a member of Pavlova's company, a choreographer and probably one of the best ballet teachers in New York.

Does the name Baryshnikov ring a bell?

Hal, I am afraid you missed the whole point about John Kriza. He started with Ballet Theater in 1940, in the corps, working himself up to Premier Danseur. The following is a l ist of his most famous roles---Fancy Free, Interplay, Romantic Age, On Stage, Gift of the Magi, Dim Lustre, Facsimile, Les Sylphides, Romeo and Juliet, Lilac Garden, Aleko, Les Patineurs, Gala Performance, Graduation Ball, Billy the Kid, Tally Ho, and lots of PDD. If a program had 3 or 4 works, he invariably had a leading role in all of them. (I always felt they worked the poor fellow too hard, and after a while his technique did suffer from so much overuse.) He was dedicated to the Company, as were many of the principals at that time (Alonso, Kaye, Laing). In c ontrast, I think Baryshnikov viewed the Company as an 'opportunity'.