atm711

I seem to be the only one here who admires Liam Scarlett. I saw 'Acheron' earlier this year at NYCB and just basked in his lyricism. I found "With a Chance of Rain" perhaps the best new work I have seen these past few years. His relationships between and among the couples reminded me of Tudor.

While not in the category of Russian Literature my favorite is "Bronislava Nijinska's Early Memoirs"---it has the sweep of a Russian novel. There was supposed to be a sequel, but her daughter Irina who edited the first volume passed away.

No pity for Mr. Macauley in his free seats......

A wonderful film---something to "chew on"......and, yes ,welcome back Giannina.....

I have always considered it an Art---but too many (on Ballet Alert, alas) view it as a sport, technique is all that seems to matter. Artistry is out the window if a fumbled turn or wobbly balance is seen. I consider myself to be fortunate to have seen many dance icons, none of them technical wizards (with the possible exception of Alonso in her prime) I have often wondered what today's ballet public would think of two of my old favorites--Tatiana Riabouchinska and Hugh Laing with their high degree of artistry and low technical ability.---or Danilova and Markova--no technical wizards. Would their artistry be overlooked? I tend to think so.

For her sake, I hope the Mariinsky does lure her back---she is a likely successor to Lopatkina---and she will finally get the recognition she deserves. {Plus, if Nanushka is right we will get those recordings!)

Yes, yes---I will be there in spirit.... It is galling to think we had her in our grasp all these years...it's really time for McK to go

Another case of taking it "out of its time"---this was New York City during World War 2---and these young sailors could have been our brothers or cousins. Muriel Bentley, the original handbag girl portrayed her as an aloof girl who could take care of herself. Apparently it does not play too well in current times.

Moylan's technique sill holds up so well from a 2014 perspective.....I cannot say that about most of the dancers from her period Such a loss for Balanchine and NYCB when she went to ABT....and yes, she was well suited for 'Agon'---I saw much of Moylan in her Balanchine days, particularly "Ballet Imperial" and "Danses Concertantes"

I saw Program 2 on Sat Mat and was glad to hear that McKenzie saw the program...hopefully it will give him the courage to improve his programming from a week of this and a week of that.....Sym in 3 MM is such a marvelous work that I am happy to see it whoever performs it and always enjoy it immensely...what a master class in how to choreograph! I liked Altan Dugaraa's "Faune"---the sweetest Faune I have ever seen---a charming adolescent. The nymphs did not appear to view him as a threat, but seemed to 'lead him on'. It was good to see Erica Cornejo again. There were a few gimmicks in the décor for the last two works...the large lighted square off to the side in the Elo piece and the 2001 floating dreamers in Bella Filgura...although I could understand why they were there. As to nudity in ballet---some wag has said before me.... "as long as the moving parts don't move too much" I was intrigued by the 'moving curtain' in Bella Figura---what a great way to blot out something you do not like----just move the curtain ever so slowly to eradicate it.

Don't patronize us for not agreeing with you---I would sooner take Liam Scarlett and Justin Peck over Forsythe....I recently saw his "In the Middle": recently and it is NOTHING without Sylvie Guillem......

If ABT is looking for a "Puck" to replace Cornejo I can recommend Alexander Peters of Pennsylvania Ballet---I saw him this month at the Kennedy Center in the Balanchine version and he was a delight---he was also recently promoted to soloist....

Really loved Macauley's review of Program 1----ah yes, "The Emperor Has No Clothes"....Bravo--you said it all.....fortunately I am seeing Program #2.

I am so happy to read all these accolades for Veronika Part....I have been watching her since 1999 when she was a soloist with the Mariinsky ---I saw her Odette for the first time in 2005 and go back every year to see it again (she missed one year!) I loved that first magical performance with Gomes, but I am so pleased that her partnership with Cory Stearns has matured...he partnered her beautifully on Wednesday and I loved those three high lifts in the Black Swan PDD.---and I really do not think Stearns was a 'dull' prince---I thought he was a pensive one.

I also winced at LeClercq being defined by her relationship with R and B. if such was the case with her, I suppose it is easy to be overwhelmed by the attention of two such men. I have long felt that aside from her obvious talent, Robbins interest in her had the overtones of snob appeal--given their very different backgrounds (born in France with intellectual parents.....) I saw much of her in my student days---regardless of the school we went to we students bumped into each other often especially in cafeterias.

The problem with reviving these 'old ballets' is, I suspect, that we think the version we saw was the best! I certainly feel that way about my version by the then named "Ballet Theatre"---the cast included David Lichine, Riabouchinska, Alicia Alonso, Rosella Hightower and the sexiest drummer boy, ever - John Kriza. and I might add - Eglevsky and Tommy Rall were sometimes cast members......

Yes, Abatt-- what you say about the 'head position' is so true....."If others tried the same thing it might just look like over the top-but with V. and G. it was authentic and genuine". I saw something similar in a Alonso/Youskevitch Giselle. In Act 2 when Giselle throws the flower over her head, Youskevitch caught it in his outstretched hand. In the hands of these two superb artists it looked genuine, but in lesser hands it could have been over the top. (By the way, I never saw him miss)

Yes, I will join the chorus in proclaiming it a performance for the ages. She was quite different from her earlier Giselle's...gone was the coltishness of her earlier Giselles (which can be seen on the DVD with Malakhov) in its place was a contemplative girl, a tender-hearted girl. Her concern for her mother in Act 1 was most palpable. There was a very tender moment in Act 2 that stays with me---at the start of the PDD when they are facing each other, I have never seen a ballerina stand so close to her partner--I felt then that she wanted to put her head on his chest before starting.......a lovely moment, which she did in the bows. I thought Lane and Gorak were dazzling---she surely is a Giselle in the waiting. Gorak's clean technique was a joy to watch. I did feel Murphy's expression was a bit too stern but I will forgive her for those gorgeous bourres.

and I, too, just saw this...and happily looking forward to your comments.....

Yes, Christian, I will get around to answering your great topic, but suffice it to say that Markova was not one of my favorite Giselles.

The recent production sent me scurrying back to the Jessen film--and not only for Danilova and Franklin but also for the costumes (I love the costumes worn by the Billiard players) and the very spirited can-can. There are so many of these "light" ballets I would love to see again-----"Gala Performance", "Dim Lustre", "Judgment of Paris" (all by Tudor) along with "Massine's "Beau Danube"---but after seeing the current "Gaite" I am afraid to wish.........Let them stay in my memory.......

It's too bad ABT didn't revive Massine's "Le Beau Danube"---a far better ballet, but without Danilova's sophistication----I wonder how it would turn out. That was the main problem of the current "Gaite"---the glove seller and flower girl (Part and Copland) were more suited to selling their wares in a department store than a casino. I guess I am still regurgitating those awful clownish costumes. The highlight of this Wed Mat program, for me, was Paloma Herrera in "Duo Concertante"---I have never seen it performed better. The Company appeared to need more rehearsal time for "Theme"---especially when the choreography needed more speed from the Corps. Sara Lane is a fine dancer with fine technique----but the role calls for a BALLERINA.

Does Koch have his hand in any ballet companies out of New York.......does anyone know??

Replying to Canbelto's post (#33)...."Agon PDD between Adams and Mitchell as being more clinical than sexy.......maybe it was just Adams' personality" I would go with that last remark. I saw quite a lot of Adams before she joined NYCB when she was a member of ABT---and I recall her in "Pillar of Fire" where she had a small part (lover in experience) and she did not exude sex....she was fairly conservative emotionally in her dancing.

Any one who could get rid of those incessant "week-long" warhorses---the dullest programming ever! Oh! for the glory days of Ballet Theatre......GWTW!!