atm711

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.

I did not see Farrell in 'The Cage', but I did see Nora Kaye--and she was absolutely frightening in the role. I can still see her astride her doomed prey--with her legs and arms shooting out. But through all this, there was an underlying vulnerability in her performance.

Just last night I saw a program on the History Channel about the "Holy Grail'--and the theory states that it was not a cup---but the 'blood line' of Christ and chronicled His descendants through his union with Magdalen. I am off to the bookstore!.

Siegfried and von Rothbart decide they are made for each other. They pluck both Odette and Odile clean, and start a feathered hat business. ---but, on second thought, this sounds like a 'Swan Lake' I have seen . . . .

Yes, Alonso was a virtuoso---but what I have always loved about her technique was her impeccable turn-out---it was "text-book illustration" perfect. Seeing her do multiple pirouettes were fine---but to see her in the variation of the Bluebird PDD doing echappes was every bit as exciting. I remember a particular performance of 'Giselle' with Youskevitch partnering her. It was in Act II---with Youskevitch supporting her while she was on pointe---she did a developpee a la seconde and Youskevitch released his grip and slowly walked backwards towards the back of the stage--and there she stood--unsupported. I was so caught in the reverie of her performance that I hadn't noticed--until my friend nudged me and said "Look at that!" She made it look easy and natural.

I know I was fortunate to see my first ballet from a 'nosebleed seat'. It was a performance of 'Les Sylphides' at the old Met. Even with Markova and Dolin on that stage, I was thrilled watching the beautiful patterns emerging. That day I was definitely looking at the forest--and completely lost in it. I don't know if my experience would have been the same had I been sitting in the orchestra and concentrating on the principals. Some ballets need scrutiny--also on the program was 'Fancy Free' which benefits from seeing facial expressions.

Perhaps Isadora'a spirit is embedded in American ballet. In 1934 Balanchine established his school in New York in Isadora's former studio. . . . . .

It could be inspirational to work with former great dancers, who might also impart their artistic values to their students---provided, of course, one also has a good technical teacher.

As an admirer of Reagan 'on-screen' but not 'off screen', he was always seen as the 'good-guy' in his movies. However, he got his best reviews in a movie called "The Hasty Heart" in which he played the anti-hero. He was often quoted as saying he did not like the movie.

Rex Harrison was the husband---and the movie had "midnight" in its title--that's all I know.

"Midnight Lace" ???

I wasn't going to reply, Juliet, but here goes.

I saw his latest (?) work "Who's Who" on Saturday. It got a pretty good review from Anna Kisselgoff and I can't imagine why......"the most successful Russian choreographer" indeed! What else is out there?--What is his competition? The humor was very heavy handed and I found it boring and third rate. A real mish-mash of styles, and an overly sentimental PDD to Rachmanimnoff (shades of 'Spartacus'!) His loyal following in New York appears to be the Russian Emigree community from Brighton Beach in Brooklyn (often called Odessa By The Sea). I must admit this is the first time I saw the Company, but I shouldn't complain too loudly---I had special tickets for $10.

My local video station showed a very enjoyable video called "Tales of Helpmann; Life and Career of Robert Helpmann" made by Australian TV. In it was a 1936 clip of Fonteyn & Helpman in the Sleeping Beauty PDD--a very tiny clip--just the fish dives--but it was marvelous to see Fonteyn--all 17 years of her! Laterthere was another short clip of Fonteyn in an Australian production of Merry Widow (1976) and she never looked more glamorous. As if this wasn't enough---there was a clip of Helpmann as Oberon (the play) with Vivien Leigh as his Titania.

I did not see her with Ballet Theatre (a couple of years before my time of ballet-going), but I know she danced "Helen of Troy" and she must have been perfect for the role. I did, however, see her portrayal of Ariel in "The Tempest" and she was quite good in the part. I have seen a f ew 'Ariels' over the years, but no one seemed more suited to the part than Zorina.

BW-- The Degas exhibit was at the Philadelphia Museum of Art. The first time I went to the Barnes Museum I got the following instructions: Fri/Sat 9:30 to 4:40; $1.00 admission; no spike heels. I guess you know you should check with them about their schedule, they seem to set it up for their own convenience.

I, too, had heard stories about how crowded the Manet/Velasquez was, but I had noproblem. However, I went on a weekday morning and arrived at the museum at 10:00 am. The great news is that they do not charge extra for the show. (The Degas show was $20.00!)--and you do not have the nonsense of having to arrive at a certain time. If you get to the Museum by May 18th, there is a great show of photographs by Thomas Struth---hugh photographs that envelop you.

I would guess "couldn't care less". There is a video of Danilova teaching a variation class at SAB and trying heroically to impart some life into the students, who look alternately bored and standoffish. I have the impulse to shake them and say---DO YOU HAVE ANY IDEA OF WHAT THIS WOMAN WAS LIKE ON STAGE!!! A bit of respect, please.

I recently went to Philadelphia to see the 'Degas Dance' exhibit. I am sorry they did not have my favorite Degas--"Dancers Practicing at the Barre" (Bar??), it portrays two dancers in extended positions at the barre; the one on the left stretching in Arabesque and the other on the right, with her back to us, stretching forward in a Developpe---and the ever-present watering can. I have seen much better Degas, but the museum seemed more interested in "Mme. Fiocre". I thought the best part of the show was not Degas---there were wonderful photographs of Paris Opera dancers from that period, and also, the best part, two Jean-August Barre bronzes, of Elssler and Taglioni.

The Metropolitan Museum show "Manet/Velazquez" is one of the best art shows I have seen. The show purports to show us the influence of Spanish painters on French and American painters, but even without this artificial pairing it is a great show. In addition to Manet and Velasquez there is Degas, Courbet, Eakins, Sargent and Whistler. It's worth a trip to see it.

And there is "Days of Glory" which boasts the film debuts of both Gregory Peck and Toumanova---in which she played a ballerina, and I recall the scene where she enticingly handled her pointe shoes--and I could only wish that she would put them on!

Alexandra, in speaking of Alonso, Markova and Kaye, I'm not sure of what you mean by 'especially imitated'. At the time, Markova was the darling of the critics, but all three shared many roles. They all danced 'Giselle' (can you imagine the differences in that!). No one was concerned about emploi back then! Alonso was the most successful in her varied repertoire, she danced the classic repertoire plus Tudor and deMille---come to think of it, I don't recall her doing any Robbins. The Company was also fortunate at this time to have Rosella Hightower who IMO was the best Odette and Myrtha at the time, a genuine 'classical ballerina'.

I always find it ironic that since they added 'American' to their name (how long ago??)--it has become less so. When it was just 'Ballet Theatre', the 'theatre' part was emphasized. Why do I feel it is less American?--probably the influx of the Spanish and Russian contingent---they are not just guest artists (which Ballet Theatre always had)--they are HERE! IMO they have no distinctive style--anything goes.

Rachel, you said..."Ifirmly believe that artistry is as important if not more important than technique"--and I wholeheartedly agree with you, but then you go on to say how a less than clean technique offends you. I am afraid you would have missed the artistry of Alicia Markova, who really was "marking through everything". I also believe that artistry does show up on videos. I never saw Nadezda Pavlova in person, but was awe-struck when I saw a video of her in the Shades scene of Bayadere (from the early 1980's, I think). I wonder what we would think if we could see Nijinsky dance---lousy footwork--or wonderful artistry? Sometimes you just can't have it all.

This ballet-goer of a 'certain age' does not vote for Fonteyn. In 1949 when the Sadler's Wells Ballet awed New York with their evening long ballets, Swan Lake (or Le Lac Des Cygnes, as it was then called) had four performances---all of which I saw---three Fonteyns and one Beryl Grey. By this time I had been watching Danilova's Odette for about 4 years--an Odette I still use as a measure for other dancers, which probably explains why my favorite later day Swans have been Makarova, and to a lesser extent, Ananiashvilli. I did not see any other 'live' performances of Fonteyn's Swan after that initial season---but at the time, I found her too cold and contained--and a 'line' that simply did not flow....

I just loved Alexandra's description of Kirkland as the sleepwalker. How I wish I had seen that second version! Thinking about that it would be great to see a "first Mrs. Rochester" interpretation---it would make a lot of sense---who knows how long that poor girl was up in that tower?--and for good measure, have Hugh Laing as the poet!

Quoting Alexandra talking about Kronstam in La Sonnambula..

"it was obvious that they were having a conversation, not just sitting there like two stones"

In the original production (Night Shadow) Maria Tallchief (the coquette) and Nicholas Magallanes (the poet) were quite animated as they sat on the bench---I know, because for many performances while group dancing was going on center stage, my eyes were riveted to the two principles sitting in the background. Especially Tallchief, playing with that fan! But the ideal sleepwalker was still a few years away--I always felt the ballet was waiting for Allegra Kent.

Thanks, so much Ed---However I can see I was mistaken about Barbieri---the film Azucena was Gianna Pederzini---and her performance stayed with me all these years. Later in the day I did hear a recording of Barbieri as Azucena on our only NYC classical music station--and to my non-educated ear, she was fabulous.