atm711

I just watched it on the computer. This is one ballet documentary I will never own! I thought it would never end. It seems that ABT is in as much disarray (in their current Met season) as this documentary. Far too much slo-mo and Homans and too much of Alonso talking instead of showing more clips of her dancing. McKenzie appears to be hell-bent on promoting Seo,

Boylston and Copland and barely mentioning Makarova, Fracci or for that mattert Vishneva (forget about Part, he certainly has)

Part is too sophisticated and glam to be Caroline. It's more of a waif part, I think. The designated waifs in the company are Vishneva, Seo and Kent. I would have liked to see Abrera in Part's role in a second cast.

Caroline a waif?? not likely---the best interpreter of the role in the US was Nora Kaye---hardly a waif,,,

I, too am a bit weary of seeing solosits in ballerina roles when they call for a 'grand manner'. Hee Seo

in 'Lilac Garden' might as well have been a young girl at her prom. Good grief! Since it is one of the very few roles that Veronika Part dances---she is one of the best interpreters of the role I have seen---I wish she had a chance at Caroline!. Reyes saved the evening with her charming cowgirl. I will be seeing most of this bill again on Friday...the lure of cheap tickets and orchestra seats! The opera house was pretty empty, I can see why there have been many 'good deals'.

Ah, who could blame her......

Her early ballet career got off to a great start with the Petit company in Paris. We, on the other side of the Atlantic were mesmerized with the wonderful photos of her and Jean

Babilee in "Oedipus and the Sphinx" in Richard Buckles magazine "Ballet". Well, "she could have been a contender" if she had stayed in France and not gone to MGM.

H-m-mm--a great quote. I always preferred her acting to her dancing.......

"the safest way to reset is to click the little little light icon in the upper left corner (over the B button) in the editing controls"

Ha! you lost me already Helene. what light icon? -- what editing controls?

Saw the 'Legacy' program last night---can't quite understand the criticism of Hallberg's commentary. His comments on being a dancer were thoughtful and welcome. Such an articulate

fellow----commentary could be a second career for him. Semyon Chudin was the highlight of the program for me---all I could think was 'WOW'! Kondaurova did not 'pull off' 'Diamonds'--

too much emoting, girl! She was ever the Russian Prima Ballerina......The surprise was an insert in the program for Veronika Part in a Lubovitch contemporary solo to Scriabin. She

was sandwiched between Obraztsova and Kondaurova and held her own Thje Tokyo Ballet in Bhakti while not one of my favorite Bejart's (yes, I do have favorites) had an

interest the other two ballets lacked. It has been a long time since I went to a program of this kind---and it's bound to be longer still before I go back.

I am happy to say I was one of the fortunates---I saw "Kate" with Drake and Morrison---and they have never been topped....... a wonderful interview---she looks great.....

From what I have read of Eva Kistrup's review, McKenzie's ABT version looks better and better but perhaps it is better than the Martins version with the Kirkeby sets

Yes, Amour---I got my trio tickets yesterday

How I wish ABT would film it with the original cast! My real fear is that LaScala will do it with Zakharova

Rest in peace. Carley. I, too, miss you.

It has been said - nothing is perfect --but some things are. Martins R&J is perfectly awful.......I haven't seen it since it was broadcast in 2007 and I will never understand why it

is still shown. What an embarassment -- the dancers deserve a lot better. It is hard to truly criticize any performance given what the choreography is. I don't know which upset me more---

the Kirkeby scenery (and as it has been put, the 'cheesy' costumes of Nielsen) or the empty choreography. I can't believe what Martins did to the Ballroom scene---all those dancers

just standing around in two long lines---'do something' I felt like shouting.---and the little kiddies with the mandolins would have been more at home in 'The Nutcracker'. I saw Lovette and

Taylor Stanley (in place of the injured Finlay.) They are both beautiful dancers and I enjoy seeing them, but the emotional content simply is not there. While watching this fiasco, I

couldn't help thinking that Martin has been in charge of NYCB as long as Balanchine. Go figure!

It brought back so many wonderful memories---I saw them in 1949 when they arrived in New York like conquering heroes.

The only 'tall' ballerina at that time was Diana Adams....no way was Tallchief 5'9"

Oh my! all those 'Sacre' naysayers would have been right at home in that Paris audience of 1913. For the past month I have been engrossed with the ballet---I am doing a talk on

it in a few weeks. There is a lot more to it than a weary ho-hum

I agree, 'Boyhood' could have been cut a good 45 minutes. The theme of the growing boy I found secondary. I was dumbstruck by the mother's bad taste in men!---she had three husbands and gave each of them jurisdiction over the upbringing of her children, much to their sorrow. Perhaps this is why I loved 'Budapest Hotel' so much (saw it twice in theatres

and a couple of times on TV) The droll humor, wonderful sets, and of course, Ralph Fiennes.

I saw Wednesday night's performance and my kudos go to Lauren Lovette in 'The Cage'. It has been many years since I have seen 'The Cage' and my recollection of Nora Kaye's performance still lingers. She was not quite as gut-wrenching as Kaye---but this was her debut performance. Brava, Lauren! The evening got off with Martins' "Symphonic Dances', a ballet with numerous climaxes----surely, it will end here---but No!--it just went on and on--to where I could not fathom. I am still 'on-the-fence' about Sara Mearns. I know she is popular and receives glowing reviews, but stylistically she seems out of place with NYCB---too much facial emoting for me---a bit of cool elegance would be welcome.

I don't like criticizing students BUT---the dive into a penche arabesque in SL---It looked more like a preparation for a fish dive. I guess my real complaint is with the Coach. Also, I--do not agree with the s tatement Kistler made about Balanchine saying---'don't watch any one else--just be yourself'. The student missed out on a wealth of instruction.

Getting back to the Balanchine staging of Act 2 for Ballet Theatre in 1946 (my introduction to 'Giselle') at the point where Giselle throws the Lily over her head in the midst of a grand jete, Albrecht's leaps into the air and catches the flower before it touches the ground---and repeated again...I have often wondered if this was Balanchine's idea...Alonso and Youskevitch were the only pair who did this. It was a beautiful thing to see in the hands of such superb artists.

I do remember her as Edwina Seaver when she was with the Ballet Russe in the mid 40's when Balanchine was with the Company. There was a lovely photo of her in

the souvenir program from Gaite Parisienne. R.I.P.

What a wonderful idea Ballet for the people

Thanks Peggy---it seems I shall soon be out of date and blu-ray is being forced on us. Is it worth $50---I shall never know! In one comment I read it was said that Vishneva looked 'old' and that Shkyarov looked like her son. I shall content myself with seeing her in a live performance.

Is this combination a new trend? (I don't mean the dancers!) DVD and BluRay at a pricy $47.68? Is it possible to get only the DVD?