atm711

I have been going over the 'Live From Lincoln Center' old programs from 1978 to 1983 and I was surprised at the number of ballet programs during that time. Are any of them available commercially?

1/31/78 'Coppelia' (McBride/Helgi Tomasson)

5/17/78 ABT at the Met ('Sylphides' ; 'Don Q PDD, Makarova/

Bujones; 'Theme & Variations, Baryshnikov/Kirkland;

'Firebird', Cyn. Gregory)

5/2/79 ABT 'Sleeping Beauty" (Mary Skeaping), (Gregory/

Bujones)

5/28/80 'La Bayadere' (Makarova/Dowell/Harvey)

Note: Tcherkassky replaced Makarova after Act I.

5/20/80 An Evening with ABT: Raymonda Divertissements

(van Hamel, Alex. Godunov) ; 'Scene from

LeCorsaire' (Jaffe); PDD La Fille Mal Gardee

(Tcherkassky/Bujones); 'Sleeping Beauty Act III'

(Makarova/Baryshnikov)

10/4/82 Stravinsky & Balanchine: A Genius Has A Birthday

Apollo (Martins, Farrell, Nichols); Orpheus (Martins,

Luders, von Aroldingen)

10/10/83 NYCB Tribute to Balanchine

Vienna Waltzes (Farrell, Martins)

Mozartiana (Farrell, Ib Anderson)

Dirac writes that it is "NOT necessarily significant that Zorina became completely independent of Balanchine". I think it's most significant. Independence is one quality that Balanchine did not admire in a woman. Also, I am waiting for the day when a more balanced view of his relationships with his muses is written. Most of what women have written about him is glassy-eyed and weepy.

Dirac writes that it is "NOT necessarily significant that Zorina became completely independent of Balanchine". I think it's most significant. Independence is one quality that Balanchine did not admire in a woman. Also, I am waiting for the day when a more balanced view of his relationships with his muses is written. Most of what women have written about him is glassy-eyed and weepy.

My sympathies are with Nikiya. The poor girl had to contend with a weak-willed lover and a lascivious priest. I would only hope it was her curse that brought them down.

Just today, I discovered a 'La Sylphide' tape I didn't know I had. It was performed by the Pennsylvania & Milwaukee Ballet staged by Peter Martins, assisted by Solveig Ostergaad. The principles were Melissa Podcasy and Marin Boieru, and Madge by Edward Myers. (I never like seeing a man in this role--it always seems too campy). My impression was that it was a bit beyond the talents of the aforementioned.

I have watched Tallchief f rom her early beginnings with the Denham Ballet Russe from 1944 on to Ballet Society and NYCB. She was a wonderful soloist then and had an exalted free way of performing--not to worry about positions or correct technique--just dance in an exhilarating way! To this day I can remember with fondness how she led the pas-de-sept in Le Bourgeoise Gentilhomme, the second ballerina part in Ballet Imperial and the Fairy in the Fairy's Kiss. Using the analogy of horses; think of the beauty of seeing a free horse roaming the plains, and then a much in control racehorse. Both beautiful conceptions! Balanchine saw all this talent and turned her into a thoroughbred. As much as I admired the outcome of Balanchine's influence, whenever I saw her dance I would think---just this once, break loose.

As to being a muse---I'm not so sure. Balanchine needed a ballerina for his Company (Maryellen Moylan was no longer around, having left, I think, as early as her Ballet Society days). She filled a necessary need.

As to the list of the 19 would-be muses, I have seen all of them except Geva and Doubrovska. I wouldn't classify the remainder as Muses---of course with the exception of Farrell---I think he waited all his life for her.

I have watched Tallchief f rom her early beginnings with the Denham Ballet Russe from 1944 on to Ballet Society and NYCB. She was a wonderful soloist then and had an exalted free way of performing--not to worry about positions or correct technique--just dance in an exhilarating way! To this day I can remember with fondness how she led the pas-de-sept in Le Bourgeoise Gentilhomme, the second ballerina part in Ballet Imperial and the Fairy in the Fairy's Kiss. Using the analogy of horses; think of the beauty of seeing a free horse roaming the plains, and then a much in control racehorse. Both beautiful conceptions! Balanchine saw all this talent and turned her into a thoroughbred. As much as I admired the outcome of Balanchine's influence, whenever I saw her dance I would think---just this once, break loose.

As to being a muse---I'm not so sure. Balanchine needed a ballerina for his Company (Maryellen Moylan was no longer around, having left, I think, as early as her Ballet Society days). She filled a necessary need.

As to the list of the 19 would-be muses, I have seen all of them except Geva and Doubrovska. I wouldn't classify the remainder as Muses---of course with the exception of Farrell---I think he waited all his life for her.

That is a story about Spessivtseva that I had forgotten. Apparently, she was married to the NKVD man.

I saw the Offenbach twice in a week, both times with Nina A.

For those who have never seen Alexandra Danilova dance, I can only say that Nina A. is her perfect heir in these light-hearted ballets. Although Tudor's ballet called for her to be broad in her comedy, a little bit toning down would put her beautifully into two of Danilova's greatest roles, 'Gaite Parisienne' and 'LeBeau Danube'.

I would also like to add how impressive I found David Hallberg this season. His 'Symphony in C' lst movement with Gillian Murphy, his Grand pas Classique with Michelle Wiles were smashing performances. I also felt he was the best thing in 'Clear'. His duet with Ricardo Torres showed off his beautiful lyricism.

There were two other stand-outs this season---Sandra Brown and Marcelo Gomes in the 'My Funny Valentine' section of "...smile with my heart" and Paloma Herrera and Marcelo Gomes in the 'Sylvia PDD". I don't know when I have seen Herrera give a better performance.

Leigh, most of the performances were either at the old Met or the City Center. I do remember a theatre at Columbus Circle called the Park Theater. It was renamed the International Theater for its new tenant. Ballet International, a Marquis de Cuevas Company. It had some good dancers, Viola Essen, Marie-Jeanne and Eglevsky. I saw it a few times because my teacher at the time, Edward Caton, did a couple of ballets for them. I am sure the wrecking ball hit it well before Donald Trump's new fiasco.

Leigh, most of the performances were either at the old Met or the City Center. I do remember a theatre at Columbus Circle called the Park Theater. It was renamed the International Theater for its new tenant. Ballet International, a Marquis de Cuevas Company. It had some good dancers, Viola Essen, Marie-Jeanne and Eglevsky. I saw it a few times because my teacher at the time, Edward Caton, did a couple of ballets for them. I am sure the wrecking ball hit it well before Donald Trump's new fiasco.

There was also a well known Dance Bookshop run by Sally Kamin which was on 6th Avenue between 55 and 56 Street. Aside f rom the "Gotham Book Mart" down on 47 Street (which had a very limited selection) Sally Kamin's was the only bookshop in New York to have such a wide selection of Ballet books.

There was also a well known Dance Bookshop run by Sally Kamin which was on 6th Avenue between 55 and 56 Street. Aside f rom the "Gotham Book Mart" down on 47 Street (which had a very limited selection) Sally Kamin's was the only bookshop in New York to have such a wide selection of Ballet books.

I think the High School of Needle Trades was in the West 20's (maybe 26 St??). I should remember, I was there for the first performance of 'Four Temperaments'. It was a barren, big barn of a place.

I think the High School of Needle Trades was in the West 20's (maybe 26 St??). I should remember, I was there for the first performance of 'Four Temperaments'. It was a barren, big barn of a place.

I saw 'Clear' and 'Concerto #1' on a program that ended with the Offenbach. For me, having 'Clear' and 'Concerto' follow one another was unfortunate. The two ballets seemed to meld into each other, and if not for the music I might not have known where one started and the other one ended. I welcomed Tudor's wicked parody of 'Gaite Parisienne' I found myself watching two ballets at the same time--one in my mind and the other before me. When I heard the familiar strains of the waltz that Danilova and Franklin danced in such a romantic way in 'Gaite', I found Tudor at his best in depicting his couple as just a fling and only out for what they could get. Tudor really showed us the underbelly of Parisien cafe life with the can-can. While Massine had a 'GiGi-esque' version of the can-can, Tudor's girls looked like escapees from the current New York production of 'Cabaret'. All it needed was Alan Cumming to complete it. The can-can girls were hilarious and each one had their characters nailed down. I can only hope it stays in the repertory for a while and that more Tudor is on the way.

I had just bought a computer and one of the first things I did was to enter the keyword 'ballet' and discovered BA. I was immediately hooked on the 'quiz'. It was great to have found a group of people on my 'wave length' concerning ballet. Not since the days of my early years of ballet going as a standee at the old Met have I met a group of people who feel as I do about ballet. My family and friends listen to me politely but I suspect they think I am a bit daft on the subject of ballet.

I had just bought a computer and one of the first things I did was to enter the keyword 'ballet' and discovered BA. I was immediately hooked on the 'quiz'. It was great to have found a group of people on my 'wave length' concerning ballet. Not since the days of my early years of ballet going as a standee at the old Met have I met a group of people who feel as I do about ballet. My family and friends listen to me politely but I suspect they think I am a bit daft on the subject of ballet.

Aha! Estelle--someone is holding out on you. Quoting from the program:

Rideau (French for "curtain") is dedicated to my good friends Estelle Souche and Philippe Bruhat on the occasion of their marriage.

Estelle, how fortunate you are to have this lovely lyrical ballet, 'Rideau' dedicated to you. This is the first time I have seen Leigh's work and I was struck by how successfully he weds the music to the dance in two very dissimilar pieces, ---the Debussy in 'Rideau' and the comissioned cello piece for the 'Equilibrium' (the Boal solo). My thoughts were with you while watching the 'Rideau'. The set design of the flowing strips of curtain were reminiscent of a wedding.

The set designs of Matthew Mohr in three works were quite good. One final comment,--the Alleluia section of 'Word Becomes Flesh' was very moving. I wish those who have written of Liturgical dance here could have seen it.

I, too, was puzzled by the 'underwriters' listed in the program. All I can say is "SOLD! TO THE HIGHEST BIDDER" . What a disgusting practice.

This New Yorker (born and bred) comes down on the side of my fellow New Yorker Steve Keeley. I am a GREAT admirer of Farrell, but I have often wondered what it would have been like to see her in roles made famous by Fonteyn, Makarova or Toumanova (all who danced a more traditional repertoire.)

My only nomination is for Ananiashville. At this point in her career she has the maturity and the stage presence of a Danilova. I don't see this quality in most of the ballerinas mentioned. (I assume Asylmuratova is not in the running because she is not performing).

I saw Barbara Fallis many times with Ballet Theater. I particularly liked her 'waltz' variation in 'Sylphides'. She also danced in 'Pas de Quatre' and 'Apollo. Richard Thomas (pere) was also a member of the Company at that time, and I remember he had a beautiful classical line.

Approve of him or not, Sol Hurok should hold a high place in the popularity of ballet in the US. For one thing, he brought glamor and excitement in 1933 with a tour of the Blum/deBasil Ballet Russe that had Balanchine and Massine as choreographers and a Company that included Danilova and the three famous baby ballerinas. Apparently he helped the Company survive, for although they had an artistic success in Europe, things financial were not going so well. And the rest, as they say, is history.

The book on Rebekah Harkness is 'Blue Blood' by Craig Unger, also offering an unflattering portrait.

Approve of him or not, Sol Hurok should hold a high place in the popularity of ballet in the US. For one thing, he brought glamor and excitement in 1933 with a tour of the Blum/deBasil Ballet Russe that had Balanchine and Massine as choreographers and a Company that included Danilova and the three famous baby ballerinas. Apparently he helped the Company survive, for although they had an artistic success in Europe, things financial were not going so well. And the rest, as they say, is history.

The book on Rebekah Harkness is 'Blue Blood' by Craig Unger, also offering an unflattering portrait.