drb

The Fall issue of ABT's publication arrived yesterday, featuring the Fall City Center season.

Under the heading Pas de Deux three marriages are listed:

Soloists Stella Abrera, Sascha Radetsky, July 22 in Santa Cruz, California

Corps members Kristi Boone, Isaac Stappas, August 19 in Rochester, NY

Corps members Luciana Paris, Hector Matias Montini, Aucust 25 in Buenos Aires, Argentina

Corps member Karin Ellis-Wentz and husband Kipley had their first, a Ballerino, August Sinclair, August 10.

In Company News, Kirk Peterson was named ABT Studio Company Director, and Wes Chapman, Clinton Luckett were named Ballet Masters.

In addition to promoting the Fall Season, there was a feature on high fashion costume designers for the company. In addition to the usual photos of Principals, Soloists, and anons of the Corps, two Corps members appeared in accompanying photos:

Yuriko Kajiya wearing Kamali in Tharp's Upper Room

Sarah Lane wearing de la Renta in Tharp's Sinatra Suite

One Corps member was also identified in the season-promoting photos:

Jennifer Alexander in The Green Table

Two Corps members were identified in the Spring Gala photos:

Misty Copeland and Jared Matthews

Part of what I meant was that baryshnikov became an adjective describing particulary admired male achievement. Hardly a baseball telecast went by where an announcer didn't describe some spectacular play as a baryshnikov move, and early on the basketball moves of the amazing Michael Jordan were so described. This usage still pops up once in a while. Also, announcers would even use "balletic" as a positive descriptor (especially by those who had trouble saying his name...): Baryshnikov's positive image even rubbed off on ballet!

I have faith that there will be another.

I wonder if the presence of Baryshnikov, 20-30 years ago, as a kind of "socially acceptable" superstar (that the masses knew) had any influence on the career choices of the illustrious ensemble at ABT and other circa-40 male stars elsewhere? None in our era has that combination of charisma and acceptability. Perhaps that kind of star is needed to deliver the combination of exitement and "excuse" young men need to give ballet dancing a try...

Maybe the problem is not so much what the schools are doing as who is motivated to go to the schools. Perhaps the true greats are at least as much born as produced.

It's still there, where it always was! You probably have to log in separately, but when I just clicked the Amazon logo on the banner, it tried to sell me underwear, which, I assure you, is not in our mini-store!

But fortunately the suggestion below got me through. I'd never thought to scroll down to find a better way in. Now I can do my Christmas and Birthday shopping in good conscience! Thanks Carbro!!!

If you go into the mini-store to shop, and then you want to buy other items, you can scroll to the foot of BT's mini-store page and click on the Amazon logo there. You're in the middle of the main floor, instead of the little boutique.

I really wish BT still had an option to get straight to Amazon. With that it would recognize me and have my address book and record of purchases, so that I used to be able to buy gifts while crediting BT. But I cannot find a way to do this anymore.

That splendid (and very generous) ballet photographer Gene Schiavone has just posted two brand new photos of Sarah Lane. She looks more than healthy dancing Twyla Tharp and stunningly beautiful in a portrait. They may be found under individual dancers on his site:

http://geneschiavone.com/

Unfortunately, I was not able to enlarge the small screen size, but nonetheless, there's some great stuff! I hope they post more!

For the first couple of years you could see this in any size you wanted, but a few months ago they went to this 2-inch only size. Since it streams at 216KBS it could support a quarter screen size. Does anyone out there know how to bypass this disgusting limitation? Ahhhh, the joys of site upgrades...

It was wonderful to see these dancers' potential then, and I'm sure it must have been instructive for dancer-viewers, that is when one could see the details. I wonder what NYCB is afraid of.

"... Today Peter Martins continues that tradition, having introduced more than 150 ballets to our repertory."

Perhaps this is a carryover from the excitement of last spring's Diamond Project. I think Russian Seasons has legs. In Vento, though very atypical for City Ballet's rep also has a chance. Elo's ballet had quite a premiere, but did seem to lose some zest in a later performance. Wheeldon's Evenfall was certainly inventive, but perhaps uneven. Yet his ballets have a way of changing for the better: Klavier, for example.

Depending on how many Wheeldon's have legs it is quite possible that there could be close to 10 keepers in those 150. Not, of course, the level of Balanchine's .374 batting average (as calculated by Helene on July 1 in the Gottlieb thread).

It will be interesting to see how his Carousel goes in its revival this winter, especially sans Ansanelli.

It might be interesting to tally Wheeldon's NYCB successes. After the Rain, for sure.

... Olga Lepeshinskaya, described as "Stalin's favorite ballerina," dancing an cheesy-arty ballroom number on what appears to be a vast Hollywood soundstage. (Where's Vera Zorina?)...

She may have been Stalin's favorite, she was after all married to General Leonid F. Raikhman, head of the NKVD (said to be responsible for the murder of thousands of Polish officers interned during the invasion of Poland). But he was later "convicted" as a member of the "Doctor's Plot." His life was spared and he was released in 1953.

Lepeshinskaya was famed early on for her 64 turns during the "32." (So she surely could have been a Principal at ABT.)

Last Friday night she was honored with a special Bolshoi performance of Don Q, with three Kitris (Stepanenko, Alexandrova, Zakharova)! And she was seated in the Tsar's Box.

No, as far as I know just in Russian. A little knowledge of the language plus Babelfish will make some of it comprehensible.

Many other topics were covered: Bolshoi's huge success in London; the development of so many young dancers into stars (Osipova et al): the effect of NY and London successes on future touring (many tours announced--not to USA); the Bolt broadcast and dvd; the huge success of Bright Stream and the degree to which it is touring.

Also the addition of a number of male dancers (already covered in these pages); the degree to which the added touring performances will help solve the problem of loss of performances for senior dancers caused by addition of these men, Vishneva, and the new young stars.

Plans for the rest of this season. He has a policy in which he balances the need for new works while still keeping 2/3 of the performances of the classics. Since Ivan Vasiliev debuts on Tuesday, there was much discussion of the "New Baryshnikov."

Concern was expressed regarding his history of moving from country to country. He gave assurance that he would stay by mentioning that his house and family are in Russia.

Alexei Ratmansky discussed the Boshoi's upcoming Valentine's Day Program on American Choreographers, among many other things, in an interview published in Gaseta Kultura:

http://www.kultura-portal.ru/tree_new/cult...5&pub_id=783847

The program will be:

1. Balanchine's Serenade, featuring Svetlana Zakharova.

2. Wheeldon: "a ballet he will set on the Bolshoi" to music by Arvo Part. Dancers will include Masha Alexandrova, Svetlana Lunkina and Nikolai Tsiskaridse.

3. Tharp's In the Upper Room, cast yet to be determined.

Regarding ballet in America, Mr. Ratmansky said

The 20th Century's most important choreographers worked in America: Fokine, Robbins, Tudor, Graham, Limon, Cunningham, Taylor. [This] places America in a special position among the ballet powers.... In the 20th Century, Balanchine became for American ballet what Petipa was for Russia in the 19th, not only for creating a repetoire, but for originating a style (which has been imitated by subsequent generations of choreographers).

He said Christopher Wheeldon is the "most known in the world" classical choreographer of his generation. He feels the Tharp work requires "simultaneously virtuosity and enormous internal freedom."

He also spoke about his experiences with New York City Ballet:

To my happiness, Russian Seasons enjoyed great success, it has already been shown on tours and will be repeated in New York during February of next year. This was interesting work. Inspired by remarkable music of Leonid Desyatnikov. Russian music and Russian theme. Furthermore, the rare for me possibility to one hundred percent renounce administrative concerns... To me it is important to check myself as choreographer, my habits, skill to find common language with different dancers. Yes even to look at how other companies work, [especially] the famous company of Balanchine.... During November at the opening of the season New York City Ballet will dance my Middle Duet.

Carreno and Gomes also are dancing the role. Of the four you would think Sarah would most likely pair with Cornejo, based on size and prior partnering experience (at least I hope, since he's listed for the Gala).

...Lane is one of my favorites and I was ready to buy a ticket based on her...

Lane should be a soloist.

I was ready to buy because of her too. Evidently management thinks that principal names sell more tickets. Quite the contrary, half of their principals motivate me NOT to buy, whereas Sarah and a couple (at least!) of the corps members are instant draws. I hope Ms. Lane gets an Aurora in this Spring's Sleeping Beauty. And I'll second your soloist vote too.

JANIE TAYLOR, of the dancing tresses, graces the cover of the Winter Season brochure that arrived in today's mail. Partnered in Faun by Sebastien Marcovici. Let's hope it signals the return of that beautiful and emotionally powerful ballerina.

Other photos include Fairchild/De Luz Raymonda, Ringer/Martins Sleeping Beauty, Kowroski/J. Stafford/Reichlen/R. Fairchild/Beskow In Vento, Whelan/Evans Symphony in 3 Movements, Rutherford/Higgins Old Fashioned, Sylve/Hanna Stars and Stripes, Sloan/Peck/Dronova Episodes, Borree/Martins Violin Concerto, La Fosse Circus, Ringer/Orza Evenfall, J. Stafford/Carmena/Evans/Suozzi/A. Hendrickson Russian Seasons, Reichlen/Evans (and 12 more) Monumentum, Kowroski/Evans Agon.

Even though there's less Balanchine than hoped, I'm still glad I gave in and bought tickets for the Gala. The reason is Ratmansky's 10 minute ballet Middle Duet. This work, created on Daria Pavlenko and Islam Baimuradov and later danced by the likes of Zakharova and Merkuriev, is said to reflect Forsythe's influence on the then young choreographer. Described as carrying passion to rapturous extremes, this dance of constant movement that emphasizes balance and flexibility, should present a wonderful challenge to Maria Kowroski and Albert Evans!

Hopefully this is yet another step leading to deeper association between NYCB and The Bolshoi (Ratmansky has announced a new Wheeldon ballet for the Bolshoi later this season, and lots of Balanchine).

Mikhail reports that we should not expect to see this internet bridge till November: because of Ms. Zakharova's schedule she has not yet been able to answer all the questions that have been submitted.

http://forum.balletfriends.ru/viewtopic.php?t=1016

I've often wondered about major companies actually "adopting" one or more smaller companies -- a version of the "alliance" sytem among international airlines, auto companies, etc.

This is a great idea, bart, and there's no need for any sort of external governing body to do it.

Consider America's two majors (I know there are other companies that are major also, I'm just referring to companies with the ability to pay big corps bucks). They have a marked advantage in hiring bright young talent ($$$, security of non-trivial union contracts, travel to major dance venues, prestige), but, at least in the case of one of the two, this fine young talent can anticipate spending their stage lives as swans or among the friends of whatever Prima Ballerina. Or at least delaying their time of stardom for quite a few years.

Now it may be seen as risky to pop a corps girl into the role of Aurora (with 4000 tickets to sell...), especially to an AD whose efforts may be pressed into fundraising rather than talent judging (or who may lack this skill). Yet these promising youngsters could be farmed out (to borrow a baseball expression) to associated regional companies (for free of course, so these companies could in fact expand and upgrade at NO COST) to get major soloist and even principal role experience. This could be a win-win-win situation for major-regional-dancer. There might be a problem for a dancer who is a local Prima, perhaps losing a few performances. But the upgrade could translate in a company's selling more tickets, having more performances, becoming more financially viable. At no cost. And some of these young dancers might grow into the company they've been working with and chose to stay.

Well, today rep is on sale on line and I did a test order to see how much attention is paid to what you write in the little comments box.

2007 ABT on the road

ABT's site calendar gives specific ballets for all mixed rep programs. The Euros will get quite a taste of ABT's City Center Fall Season, with just Bayadere Act II added in for the classical niceties.

...It was disappointing that the choreographers were not called out for bows, though I think I spotted Tom Gold at intermission and the string trio acknowledged John Zorn at the end.

Tom Gold's musical collaborator John Zorn has just received a MacArthur Genius Award, so here's a belated extra BRAVO!

http://www.nytimes.com/2006/09/19/arts/19geni.html?ref=arts

ABT's site has now posted the PdD's and their casting. Part/Gomes White Swan etc.

Is part of "thinking like a choreographer" not thinking like other choreographers?

Long ago Carnegie Hall was a venue for Dance. Their site now offers an extensive slide show. While mostly Modern Dance, with patience one can find Mr. Balanchine rehearsing SAB students in 1945. In the same year he is shown rehearsing a Mozart/Stravinsky program. There is also a photo of Cynthia Gregory dancing in a 1981 Gala.

http://www.carnegiehall.org/article/the_ba...exhibits.html##

... he referred to her as "Carlita."

But that is closer than naming by name, it is endearing .

Congratulations to PNB for promoting Carla. Congratulations to Seattle: this is somewhat akin to the Seahawks beating the Jets and the Giants in a football double-header! We sulking NYers know something of the wonders of Carla; could you please tell us something about Mr. Herd? The East-o-centric demographics of BT shouldn't deprive him of his due on such an important day.

Helene, in an earlier post you mentioned that there might be two promotions to Principal and one to Goddess. Any word on the latter? That is the only rank above Assoluta, and there's been only one in the history of ballet.

Apollinaire Scherr's non-review (today's links), aside from a couple of adjectives and an indirect suggestion that the program might have been better enjoyed eyes-closed, was a summary of post-performance statements. The following might well explain why "Fur Alina" didn't push a memory button:

For Liang's lugubrious "Fur Alina" - "I think the dancers are supposed to be dead," offered Steel - pianist Marilyn Nonken worked intensively with the choreographer and dramatic yet unmannered dancers Craig Hall and Wendy Whelan to stretch and shrink the elastic Pärt score. "It doesn't have rhythmic values," Nonken explained. She could play a note as long or short as the movement required.

Does anyone know if that was the composer's intent, and, if so, whether Wheeldon also took such liberties? (bold type added for emphasis)