atm711

Mel, I remember a film about St. Francis called "Brother Moon and Sister Sun", or something like that in which the court scene was depicted. I think Bradford Dillman was St. Francis. Do you recall the film? As to the naked ballerina---well, as they say---as long as her actions don't upset the dogs. :sleep:

My favorite sword-play has always been "Giselle". ;)

I would like to know more about his father! I could not have imagined a latin father insisting that his son become a dancer---or perhaps I am not keeping up with the times.

I am trying to figure out a way to see 'Symphonic Variations'; 'Pillar of Fire'; and 'Raymonda'--and avoiding 'Diversion of Angels'--why are they bringing this back? I guess I can always come late.

I cannot imagine a "young Balanchine...someone that has been anointed by acclaim as A Great One..." Balanchine, himself, was not so anointed. There were not too many around touting his genius. Just consult Beaumont's 'Complete Book of Ballets' published in 1938, he only mentions 5 works: Triumph of Neptune; La Chatte; Gods Go-a-Begging; Prodigal Son and Cotillon. In Beaumonts Supplement to his Book published in 1942 HE DOESN'T EVEN MENTION BALANCHINE!! So much for recognizing young talent. In the meantime, preserve the Institution.

No, not sad. We should all live to 96 as well as she did.

I think there was an American style, but it was never nurtured. For me, it started with John Kriza of Ballet Theatre, a terrific dancer who never received his proper recognition. He was comfortable in the classical and contemporary repertoire. He was the forerunner of D'Amboise, Villela and Mitchell. All of these dancers had an open-ness and lac k of pretense which I loved.

Too bad it wasn't "Pas de Quatre". Quoting Jack Anderson: "...a story about a haughty Contessa , who unsuccessful in her attempts to snare a young man, seeks help from an alchemist who presents her with three wondrous perfumes which cause the young man to swoon to at their loveliness. Ultimately, this gift proves to be of no avail, since the youth rejects the Contess, preferring the fragrances to the woman." Boris was approached by a perfume company (Houbignant, who made a perfume called--you got it! "Quelques Fleurs") to do a ballet. Their only stipulation was that it be called "Quelques Fleurs" Anderson further adds: "When Denham approached Boris about this, she scorned the idea as crass commercialism"-When she was assured that she would have a free hand, she accepted the offer. Anderson continues: "Quelques Fleurs presumably pleased Houbigant, although someone wishing to take its nonsense seriously could have argued that, because it showed that perfume cannot disguise lack of true beauty, Boris' ballet was essentially anti-cosmetic". Boris was too smart to be out-foxed by a perfume company. A prediction of things to come!

Hi Fred---I asked the question about which Company did "Choreatium' in 195l, because I have the book you mentioned (Jack Anderson) and, indeed, it does list each year's repertoire, and 'Choreatium' is not mentioned for 1951. For the '48/'49 season they had 'Rouge et Noir' and 'Seventh Symphony'. I am embarassed to say that the one production I remember for that year was something called "Quelques Fleurs" by Ruthanna Boris! It was sponsored by a perfume company. I must quickly add, though, that I very much liked Boris' ballet for the previous year, "Cirque de Deux". (I always admired her in Serenade and Concerto Barocco, too!)

Fred, do you know which Company performed 'Choreatium' in 1951? Danilova never did the complete 'Swan Lake', as far as I know. It was always Act 2, and something that was called 'Pas de Deux Classique' which was danced to the Act 3 music and, interestingly, she never wore the black tutu for this.

In mulling over the recent posts on ABT's swans I have been thinking much about the one Odette I tend to compare all others. and that is Danilova. I saw Danilova near the end of her career, from 1944 until her retirement. If, indeed she was born in 1903, she would have been in her early 40's. I was fortunate to see a truly mature ballerina ---and make no mistake, she was a Queen!. I have seen a gaggle (really, no pun intended) of Swans over the years who all had admirable technical gifts, and I understand that you have to start somewhere to develop the role, but that s aid, I am grateful that Ananiashvilli is still performing. It appears that some of the ABT Swans have been observing her carefully, especially in her fluid use of her arms. (During Act2, when Ananiashvilli bourees off the stage with her back to the audience and her arms undulating, there is usually a collective gasp that arises from the audience, and one can feel the emotions going through her. Herrera also tried this--but it looked only technical). I am a bit off topic, but getting back to Danilova---she is most famous now for her sophistication and vivacity, but her Odette had a wonderful grandeur, and this combined with her fine line and musical allegro made her irresistible.

I read Terry mainly as an antidote to John Martin. There is a funny cartoon by Alex Gard that explains it all. It depicts Terry and Martin observing a ballerina in an ungainly bent-over pose. Terry has a copy of "Ted Shawn" in his pocket and Martin carries under his arm a copy of "My Life by Isadora Duncan". I am glad for Terry that he survived the War, but I was sorry to see Edwin Denby go.

That article justifies my avoidance of Mark Morris.

During the visit of the Sadlers Wells Ballet to NY in '49, there was a party being given for the Company at the NY Public Library on 42nd Street. Knowing some of the ins and outs of the building, a few of us were successful in crashing the party, hoping to see some of the principals. It was a very c rowded affair. We made the acquaintance of a young man sitting on a marble ledge and had an enjoyable evening with him talking about the ballet 'scene' in Europe and NY, Ashton Vs. Balanchine (even then!) and he was interested in our opinions of the Company. The young man's name?--John Cranko.

I am with the 'negatives', I saw it live with ABT a couple of years ago. It is because of my experience with this ballet, and later 'Pied Piper' that I did not rush into seeing "Herfeafter" this season. (Once bitten, twice shy?) A wise decision, from what I have r ead on this Board. I was happy for the opportunity to see Yuan Tan, a much different interpretation from Sandra(?) Brown of ABT. Tan was very 'Juliet-like girlish', whereas Brown had a more mature interpretation. I liked them both---but the ballet was not worthy of their talents.

I liked Gomes' interpretation. He was a melancholy, Hamlet-like Prince. He also excelled in the lyric solo of Act 3 that is a beautiful addition to the Act. It is my favorite kind of male dancing---none of the usual virtuoso tricks. He also exhibited the emotional attachment to the part which I thought Herrera lacked.

Paul was asking about Danilova in 'Scheherazade', which I saw many times. In those days the Ballet Russe had a program they would repeat and repeat--they called it 'ham 'n eggs'. It was 'Sylphides', 'Scheherazade' and 'Gaite Parisienne'. Danilova was born to play Zobeide--she had all the authority and glamour for the part--very little dancing, but she did it in high-heeled shoes and strings and strings of jewels.--Leigh was also asking about Nadia Nerina--a dancer I started seeing on the first English tour. I cannot remember specifically what I saw her dance, but at the mention of her name one word emerges---sparkle. She had a wonderful aliveness about her dancing. If I saw any of her qualities in today's dancers, it is Michele Wiles. Leigh, after writing the above, I read the comments about Wiles on another thread and I am happy to say I did not read it before writing the above, so my observation of her is one I truly feel.

In the 1940's there were two places in New York where poor dance students would go to eat. They were both located on W. 57 Street, between 6th and 7th Avenues. One was called "Hamburger Hall' (or, Hamburger Heaven?) where they had bowls of pickles, sliced onions, and relish on the table---all free. Two of us would order one special--and omelet with French Fries for 40 cents, and share it with onion-relish sandwiches! Across the street was the Automat which meant we could bring our own food. Alas one day we were eating chicken and we were tossed out because they were not serving chicken that day.

I saw 'Symphony in C' for the first time when it was performed by the POB during their 1947 or '48 tour of NY. As 'Le Palais de Crystal' it was the best new work they brought to NY--a revelation amidst all that Lifar! It had beautiful 'chandeliery' sets and lovely muted colors for each act. I wish I could remember who did the 2nd movement---(I think Toumanova was the original), but I was most impressed with Alexandre Kalioujny and Michel Renault at the time. The ballet was all elegance and lightness---very frothy. A short time later I saw the first performance given by NYCB---a-h-h- what a difference. Suffice it to say that the Company has greatly improved!!! I was not a fan of LeClercq's in this particular role, she did not have the classical line it demanded. My favor ite for a long time was Allegra Kent---and then, finally, the one who it was waiting for--Ananiashvilli.

After seeing McKenzie's 'Swan Lake' a few more times---I am more kindly disposed to it. I like the prologue, although I could do without the 'bird-in-hand' (better it should stay in the bush!) I also like the idea of the two von Rothbarts and especially like what he did in Act 3. Carlos Molina was masterful at this performance--I loved the way he ended his solo, by triumphantly sitting in the chair (next to the Queen Mother) and making himself comfortable in it. I also liked very much what McKenzie did with the Neopolitan Dance--expertly danced by Danny Tidwell and Sacha Radetsky. Now, if he can only do something with the other national dances......... Herrera gave us a sweet, naive, vulnerable Odette. I was hoping for more. The performance lacked passion and depth. She has all the necessary requisites for the part---strong technique and beautiful line, but, for me, she was just one of the girls (Swans?). Her Odile was much more successful, relying on a brilliant technique can sum it up for most dancers of Odile.

In one of the very few Ballet Russe programs I still have, there is one from April 28, 1950 of a performance of 'Paquita' with Danilova and Tupine. He was a fine dancer of elegance and sensitivity. (FYI the rest of the program was 'Giselle' with Chauvire and Franklin; a ballet called 'Birthday' by Tatiana Chamie, a former Diaghilev dancer and teacher in NY at the time with Mary Ellen Moylan and Tupine--you certainly got your money's worth in those days!)

Kurvenal -- you have opened the floodgates of my memory of war-time NY! I am sure we must have rubbed elbows at some point!. I, too, knew the r opes of getting into the City Center---gratis! It really started in earnest when Ballet Society was formed---subscription only--and no one had the money for that! At the old Met I was in standing room--in the orchestra--. We would purchase a balcony ticket for $1.80, which entitled us to enter the House with the orchestra patrons. (the family circle was only $1.20, but it was almost impossible to have access to the rest of the House). Leigh was asking about Harold Lang--the original 'show-off' sailor of Fancy Free. Robbins beautifully captured his personality in that role--also in 'Interplay'. I did see him as Harlequin in "Carnaval". It did not surprise me when he left ballet for Broadway--he had said at one time that he did not like being compared to previous interpreters of roles. He really cannot be confused with Hugh Laing---as unalike as oranges and apples. I was surprised of what you said of Hugh Laing's technique, I've always felt he was marvelous to see on stage and Tudor knew how to use his simple technical gifts to perfection (also, Agnes deMille's 'Tally-Ho). It's not easy to describe what he was like on stage...there was an energy emanating from him that crossed the footlights--in repose, or perhaps a sharp change of direction in his movement, one's eyes were always on him. I don't remember any of Massine's symphonic ballets being performed at that time---during the mid-forties Massine was part of the deQuevas Company, Ballet International.

Hello Kurvenal---it's a pleasure to hear from someone who saw the 40's and 50's performances--it's been a bit lonely here, and I sometimes feel like Methuselah!. I don't know if you agree, but Nora Kaye certainly did stretch herself artistically. Her real forte was in the Tudor and Robbins repertoire, but she did a commendable Odette, and also Black Swan PDD; also she tried her hand at Giselle. Many of the purists at the time criticised her at the time---lack of classical line, etc. I don'tknow if she could get away with it today---too much talk of 'emploi'---a term that was never bandied about back then. I agree with what you said about her performance in "Romeo & Juliet"--she was as good as Markova. I have never been satisfied with any other ballerina dancing 'Hagar'. I have seen the other celebrated dancer in the part--Sallie Wilson--and while I think Wilson succeeded in the final lyrical PDD, she was no match for Kaye's angst in the first half.

I did see one horrific outdoor performance, not of a ballet, but an opera. It was the 'Met in the Park Concert Series' performanc e of "Lucia" on Staten Island. The poor Lucia and her Edgardo (Annick Massis and Jonathan Welch) were attacked unmercifully by a horde of insects that looked as large as moths. (They are known locally as "JuneBugs"). They swarmed around and got stuck in the soprano's hair and sought out her bosom for refuge. She shook the front of her dress (with the help of her Tenor!) to dislodge them. Apparently, the bugs were attracted by the very bright lights on the stage. When it was deemed foolhardy to open one's mouth under the circumstances, the program was halted. After the performers regained their composure, the program continued---without the lights.

My Arts education was similar to Farrell Fan's. 20 records and a wind-up phonograph were shared by all classes. In the sixth grade I had a teacher who loved the old Civil War songs, and to this day I can sing "Do you ken John Peel" But better than any school arts program I had (and still have) an older sister (by ten years) who took me to see everything from her favorite movies to operettas, operas, musicals, and yes, ballet.