atm711

Balanchine's 'Dream' was never one of my favorite ballets. I found much of it tedious and boring. I saw it originally with Hayden but I saw some of its redeeming features when I saw the sublime Farrell. I found Ashton's version very enjoyable and "tight". It moved swiftly and was never tiresome. I saw Ferri and Steifel, but could not get Farrell out of my mind.

P.S. I write this as one who places Balanchine way up there above Ashton---it was not easy!

I certainly hope that Sister Wendy stays clear of the Evangelicals and John Ashcroft. I wonder what they think when she is standing in front of nude female and male bodies and extolling the beauty of the naked form.

Thanks, Estelle. I shall view my tape of the ballet again this weekend and concentrate on Auzely.

A few years ago Ek's 'Giselle' was on TV and I taped it. At first, I was just as shocked at what he did with it, but I was totally gripped by the performance of the dancer in the title role---I can only recall her first name---Ana .......she was so touching and sad, and the mental ward was the only place for her.

Lately, cable TV has been flooded with another Bourne ballet---called "Car Man"---it uses Bizet's score and is set in a garage. Has it made the rounds in Europe yet? There is lots of sex, violence and blood.

Anatole Chujoy in his 'Dance Encyclopedia' has the following brusque entry about Degas:

"French painter of the Impressionist School who painted many and unflattering pictures of ballet dancers......."

I love those two lithographs you are speaking of--but I have never heard the expression "B+"---why is it so named? You have sent me scurrying to my 5 technical manuals and I can't find any answers.

Ms. Homans seems to think that Balanchine received no inspiration from working in the US for 50 years. He might have been surrounded by his 'Russian peers' at his School, but so were other dance studios in NY at the time. She comes to the heart of her article in the last couple of paragraphs, and it comes across as just another 'Martins Bashing', and I'm the last one to defend Martins. Unrelated to the article is the photo accompanying it---the well-known one of Villela and Balanchine rehearsing 'Swan Lake", where they are both posed in fifth pos. with arms overhead. Everytime I see this photo I think Villela should sue to have himself cut out of it. The contrast between the two men is so great. Villela is all tautness, hunched shoulders , tenseness, while Balanchine is all lyricism., and his arms should be the envy of every dancer.

Ms. Homans seems to think that Balanchine received no inspiration from working in the US for 50 years. He might have been surrounded by his 'Russian peers' at his School, but so were other dance studios in NY at the time. She comes to the heart of her article in the last couple of paragraphs, and it comes across as just another 'Martins Bashing', and I'm the last one to defend Martins. Unrelated to the article is the photo accompanying it---the well-known one of Villela and Balanchine rehearsing 'Swan Lake", where they are both posed in fifth pos. with arms overhead. Everytime I see this photo I think Villela should sue to have himself cut out of it. The contrast between the two men is so great. Villela is all tautness, hunched shoulders , tenseness, while Balanchine is all lyricism., and his arms should be the envy of every dancer.

Glebb and Victoria--I still cherish my memories of the early Alonso.Although I still compare all Giselles to her, she was much more than 'Giselle'. She also performed the Italiabn Ballelrina in Tudor's 'Gala Performance' with hilarious results--her impeccable technique was dazzingly exagerated. Her 'Lizzie Borden' was a real c ontrast to Nora Kaye's--Alonso came across as a victim of her uncaring parents, whereas Kaye was the paranoid one--both wonderful interesting interpretations. One of her most interesting performances was in Tudor's 'Undertow" where she originated the role of 'Ate'--an erotic street urchin. I fondly remember her 'Bluebird'--she was every inch the classical ballerina in manner and technique--very unlike most I have seen in the role who usually come bouncing onto the stage in a flirtatious manner. Please forgive my typo errors---I should be out of the house by now.

There are two ballerinas who come to mind as glamorpusses--both on-stage and off-stage---Danilova and Toumanova--but I would never call them "stork-like creations".

I chose Karsavina---one has only to look at those gorgeous photos of her in 'Carnaval', 'Giselle', or 'Petrouchka' to realize what you have missed. As to a non-option, I'd like to see Spessivtzeva.

In commenting on the ballet, Beaumont said it was:

"an ambitious attempt to revive the famous PDD from La Sylphide as it was danced by Taglioni....."

In the 1945 Ballet Theatre revival, Lichine omitted the Sylphide and created a classical PDD for Alonso (according to Chujoy).

I am all for changing the costumes and updating the look. I can't imagine seeing 'Concerto Barocco' in the original Eugene Berman designs. Fortunately, I never saw this production , but I believe they were short blue tutus. I did, however, see it in black leotards--correct me if I'm wrong, but I believe this is the first time Balanchine used the black/white look (a look I still prefer). So many of Balanchine ballets have benefited from costume changes, particularly '4 Temperaments'. The Seligman costumes were truly a disaster. And then there is 'Serenade'--a ballet that has many different costumes. The real poetry of the ballet finally came through with the current costuming. Anthony Dowell has some interesting thoughts on this subject in todays NYTimes. I am sure it is on one of the links.

I have seen many dancers past their prime---Danilova, Markova, Dolin, Ulanova--and I am grateful for these memories. But, if I had seen them in their glory days I don't know if I would be so accomodating. Having seen Nureyev and Alonso in their prime, I felt they should have stopped performing. Since Alonso is at the top of my list for favorite Giselles, I cannot watch the cuban videos of her performances--but, I am sure others who only know of her through videos can detect some of what made her great. When Danilova was performing she had a lot of trouble with supported adagios. When her extended arm held on to her partner's hand, the whole arm wavered like a flag in a breeze. Also, Markova's technique was rather blurry. I had seen her many times as Taglioni (In Pas de Quatre), but it wasn't until I saw the youthful Alonso dance the same role, when I thought "So, that's what the choreography is". I say this, not to denigrade these fine artists, but making a case for their decision to have stuck around. I was enthralled by them.

I have seen many dancers past their prime---Danilova, Markova, Dolin, Ulanova--and I am grateful for these memories. But, if I had seen them in their glory days I don't know if I would be so accomodating. Having seen Nureyev and Alonso in their prime, I felt they should have stopped performing. Since Alonso is at the top of my list for favorite Giselles, I cannot watch the cuban videos of her performances--but, I am sure others who only know of her through videos can detect some of what made her great. When Danilova was performing she had a lot of trouble with supported adagios. When her extended arm held on to her partner's hand, the whole arm wavered like a flag in a breeze. Also, Markova's technique was rather blurry. I had seen her many times as Taglioni (In Pas de Quatre), but it wasn't until I saw the youthful Alonso dance the same role, when I thought "So, that's what the choreography is". I say this, not to denigrade these fine artists, but making a case for their decision to have stuck around. I was enthralled by them.

I saw the Ballet Theatre version with Markova and Dolin (Diana Adams was the princess!) and the Prince did very little dancing , and worst of all, he looked like one of Santa's helpers in the awful red and gold costume. Francisco Moncion was not noted for his technique, however there were many like him in ballet companies at the time. They were considered good partners with a dramatic flair, and looked good on the stage.

I don't think I have ever booed a ballet performance--in fac t, I saw the 'Pied Piper' last year at ABT and did not Boo---I never realized I had that much restraint.

I don't think I have ever booed a ballet performance--in fac t, I saw the 'Pied Piper' last year at ABT and did not Boo---I never realized I had that much restraint.

I am about to order tickets for the Kirov at the Met this summer. On the days that I can make it, I have the following options:

Bayadere---Zakarova/Zelensky or Gumerova/Semionov

Swan Lake---Pavlenko/Korsuntsev or Nioradze/Korsuntsev

I welcome your input.

Dale--I did see 'Chopin Concerto' performed by the Denham BR, but at the time it paled in comparison to the Balanchine we were seeing.

I chose Massine---oh to see 'The Good-Humored Ladies' and 'La Boutique Fantasque' --and while I'm at it--I'll take a couple from the 1930's--'Le Beau Danube' and 'Gaite Parisienne'. NO ONE can do ballets like these today. I've always been intrigued with the photos of 'Rouge et Noir' with Markova and Youskevitch, so I'll ask for that, too.--and one more request---performances by Danilova and Massine.

Leigh---"Balustrade "was a few years before my time---I do remember the marvelous photos of Toumanova in the ballet. Richard Buckle has the following gossipy notes in his biography of Balanchine:

"Toumanova was back in New York with the deBasil Company. One night, after she had danced 'Swan Lake' Balanchine brought Stravinsky and Tchelitchev to her dressing room. 'We want to give you a present--a diamond necklace,' he said. 'This was a figure of speech for a ballet to Stravinsky's Concerto in D for violin and orchestra. The dancers were to be only partly visible, like apparitions, dreams, insectlike or vegetable creatures appearing out of a dark night.

"Will people understand?' asked Balanchine.

"Balustrade opened on January 22, 1941, with the composer conducting. To judge from old and rather bad photographs, the lovely designs of the genius Tchelitchev, not for the first time, ruined a ballet. Brigitta (Zorina) thought so. In retrospect, she wondered if it might have been while watching 'Balustrade' that Balanchine first realized how much his ballets would benefit if costumes were reduced to a minimum. There were only three performances: presumably 'people,' including Hurok and Col. de Basil, had not 'understood'."

Paris 1910--I still can't read enough about those twenty magical years.

Paris 1910--I still can't read enough about those twenty magical years.

Leigh Wichel writes:

"His calves were muscular............It was not delicate or feminine...."

I feel the same way when I see anorexic female dancers...