drb

I think he was mostly interested in entertaining people by making cool patterns to music and putting a boy and a girl onstage together to tell a love story. Would have worked anywhere when you're that good at it.

Yes Perky, alas, selling tickets. Just look at the full houses for R&J at the cavernous Met, and in ABT's "dead time" of mid July too. The "name" and star-turns by the leads sell. Even though reviewers and BTers found so much dull time in it. But it would fulfill some company needs. 1. a lot of the younger men have really improved of late and are in need of consequential roles. A Tyler Angle Romeo? Craig Hall a Mercutio? Or vice versa. And so on... 2. the hope would be that Peter would replace some of that dull stuff with things like his Lake's choreography for the trio of women (how about deleting the boring three harlots with a divertissement for three ballerinas?). Hopefully, it won't be set in Denmark...

Generally, the R&J's currently available are long boring ballets with a few high spots for the lead characters. Peter Martins does have a history of shortening the classics, so that could be all to the good: more ballet, fewer swords, and less posturing. More importantly, NYCB has more natural star-level Juliets than the competition has (excluding guest super-stars). Just for starters: Bouder, Mearns, Scheller, X (he's not afraid to cast a surprise newbie, and the loyal audience loves to see them).

Of course, the same is true for Sleeping Beauty too...

NEW YORK CITY BALLET APPOINTS

FAYÇAL KAROUI MUSIC DIRECTOR

Bravo! A great choice. During the past two seasons the orchestra seemed especially intent on playing well for him. He conducted the extraordinary second Swan Lake of Sara Mearns. Every mention of his work on BT has been highly favorable, and he seems to get the tempo right for the dancers while expressively honoring the composer as well.

Web and phone sales are now on. If you don't like the specific seats offered to you by their site, the phone service will allow you to be specific re row, or centering, in particular. Terribly important for City Center. Also will give you the multi-performance discount. 212-581-1212

See you there!

Diana on her website also reveals that she wanted to be a figure skater as a child. I wonder how the figure skater/dancer distinction is chosen, because many figure skaters (Katia Gordeeva for example) started out as dancers and vice versa.

Another vice versa was Nina Ananiashvili. From her site's biography:

Because Nina was often sick as a child, her parents decided to enroll her in figure skating lessons in order to improve her health. By the time she was six years old, Nina was a ranked skater, and at ten became Georgia State champion in the junior division.

But also at age 6:

In 1969, Ananiashvili entered the Georgia State Choreographic Institute. Tamara Vykhodtseva was her first teacher there. The great Vakhtang Chabukiani also took little Nina under his wing. Her progress was so impressive that it drew the attention of teachers from the Moscow Choreographic Institute, who convinced her parents to allow Nina to continue her studies there.

One wonders what Katherine Healy might have become had she succeeded in joining ABT. The skater/skating choreographer was a principal dancer in three European companies.

The epic poet of ballet has been giving news on her site regarding 2007 NYC performances. "I shall dance in MET in May-June 2007." "Yes, we with V. Malakhov plan to dance in the next year." "Probably I shall dance a Sleeping beauty in MET in 2007."

This third remark does not mention ABT specifically, although it would be so out of character for the MET to risk inviting the Mariinsky for a season (I bet they have no idea that it would sell out a full multi-week run with virtually no adverts), but seems consistent with Bingham's post under Sylvia today: "In the OCPAC announcement for the (mid July) 2007 ABT season, they mentioned that ABT is performing a new "full-lenght favorite direct from it's premiere at the Met".I hope it is Sleeping Beauty."

Ferri/Carreno--closing night

Tonight's reprise of their Romeo and Juliet was much as nmdancer and balanchinomane described the Tuesday performance. There can be little doubt that if you want MacMillan's vision of Juliet you should see Alessandra, who danced it for him as a very young dancer at The Royal. Naturally she has grown in and refined her performance, as both videos and years of admiration for her live performances demonstrate.

I think it possible to ONLY watch her feet the whole performance and get the story. Over time I've done that for intervals and bear witness to the expressive power of those famous extremities. But it would be silly to do that for any length of time, for she is wholly an actress.

Beginning in her chambers, it is a very simple, basic child Juliet. But. At one point she is walking away, back to Paris Saveliev, rising on those pointes and displaying the famous arched feet. They grab your attention, as surely she means them to. For at that point you are shown that she's not really just a child. She flashes the bottom of her right shoe at Paris: of course an iconic Ashton moment, she's interested.

Later, as she dances for Paris, of course for Romeo, watch her hands. Open, fingers poised to grasp, at first naturally as part of her port de bras, but all in anticipation as she and Romeo get near each other. Then not long later, when they meet momentarily alone and approach each other, the right hand is ready for that first clasp. These are little examples of use of nuance by a great actress. Those parts furthest from her heart tell the secrets of her heart.

She is of course famously operatic in her acting as well. It is time for that in the balcony scene. We seem to wait an extra while before she enters onto the balcony, creating just an extra tension. The PdD with Romeo Carreno was danced intimately yet on a grand scale. His solo dancing looked remarkably fresh and youthful, and the lifts, even those that must be shoulder-killers, went smoothly. Of course one misses, however unfairly, the chemistry she shared with Bocca.

The bedroom PdD was agonizing. Early on she constantly avoided his attempted farewell kisses as if a last kiss would would have killed her. Later, as she sat petrified alone on the bed, no look of hope came over her face as she decided to see her priest. It was as if she were going to him for consolation as much as help.

The tomb scene was unusually effective. Some credit to Paris Saveliev. When Romeo and he spotted each other it was Paris who lunged in attack at Romeo, unlike other performances I have seen this year. Thus Romeo's killing Paris was not a gratuitous act, we could more fully feel sympathy for Romeo. Earlier, Saveliev had been a relatively Brutish Paris in the bedroom "betrothal" scene (the obedient Ferri, agreeing, gave him a look of utter disdain). When she stumbled upon Romeo on the tomb's floor, there was no momentary thrill of hope. Only the need to confirm the worst. Ferri's final scream had that operatic dimension of Ulanova's in the old movie. Then, when she stabbed herself she was, unlike others, already virtually leaning on the slab. That way she was able to mount it immediately and then stretch/stop time as she so slowly crawled across it to find Romeo's hand for one last grasp.

What an honor to see her.

Today it was announced that Carla Korbes has joined The Winger, a blog that NYCB dancer Kristin Sloan started and now includes other dancers, including ABT's David Hallberg. The first post is a stunning photo:

http://phontographer.com/winger/archives/carla/

...

It might be arrogance, but I think of it as a sense of responsibility to the public -- not in a pious way, but as the legacy of Pushkin and Vaganova, the determination to put your will and imagination and soul in service, in order to conquer the heroic difficulties of presenting everything the public needs to see and NOTHING ELSE.

Joan Acocella, in her recent New Yorker review of the Vishneva/Corella Giselle mentioned as part of Diana's method the need to find her "secret" about the role. More of Diana's method was revealed in the May 2004 issue of Pointe as Nina Alovert interviewed Ms. Vishneva and asked how she prepared for a new role. Diana replied:

I always have the music inside me, but I begin to work on a role with the first steps during rehearsal. After beginning the rehearsal process, I start to understand what I need to see and read. For me, every step is a word. When I dance, it’s like I’m reading poetry to the people. I discover when to “say” something loudly, when to keep silent, when to make my tone lower—every step is looked at like this. Then, when I start to perform, I have a vast supply of research and imaginings, and I try different things to see what the people understand better. I never stop trying to know more.

Italics mine. As you say, Paul... responsibility to the public.

Just put up a few pictures on my website as well as some thoughts on Romeo and Juliet. The Ranting Details of a Life Uncharted

Thanks! Good to see that the dancers are having fun and to read what they think about the ballet. Also, hope Helene and the other BT Skating fans read about Emily Hughes and Sylvia, about 2/3 the way down on your blog!

I never met Miss Day but a cousin did take class from her. I really want to thank her for Amanda McKerrow, my favorite dancer at ABT for many years. One senses that that apple did not fall far from the tree.

Tricks come and go. AD's create havoc with their creativity. Legs change where they are going to. But the really great teachers are always there to keep hope and continuity and art alive. One is gone.

But I'm sure not forgotten:

"Most of us end up with no more than five or six people who remember us. Teachers have thousands of people who remember them for the rest of their lives."--Andy Rooney (!)

So good to see Stiefel's back! But no Nina Ananiashvili....?

Just noticed the season's also up at ABT's site, and is linked to ticket purchasing. So few good seats at City Center---I learned my lesson last year waiting for casting and the box office to open. With many fine programs this is definitely a "July 17th" season!

Dear VRS fanatic, I find the Lavrovsky very old-fashioned but nonetheless overwhelmingly powerful and moving and brilliant and wonderful. It is my favorite R&J of them all...

Paul how much of this edge for Lavrosky's version has to do with the Bolshoi's performance tradition for Romeo and Juliet, as described by Lavrosky fils:

If you were trying to convey reality in details, you would end up with a chronicle, a diary of events and not a work of art. Art and hope are related, and they show and magnify every image, and then vividly present philosophical and social aspects to the public.

Surely what hurts MacMillan's is all those flatly chronicled details between the romance parts.

How does one compare the L. Lavrovsky choreography to the R&J currently in rep for ABT, MacMillan? ...

Both are readily available on video. I especially like the movie starring Ulanova. The two choreographic versions are locked into the same episodic score, hence story and pacing are very close. Juliet is quite similar in both. It is sometimes said that MacMillan wins the PdD's and Lavrosky everything else... But that is a matter of opinion. I have read, but long ago, an imprecise memory, that Makarova introduced a more Ulanova-like version of the 'sitting on the bed thinking of how to solve the problem' scene to MacMillan's version that has stuck.

...certainly not a part of the Kirov Basketball Team...

Thanks for the image, Canbelto! But in basketball there is a place for a shorter player with long arms and speed, and INTELLIGENCE. I think she's a point(e) guard, that's the player in charge, the emotional leader who orchestrates the attack, who determines the line of play. That is a lot of what Diana does for a ballet performance, that makes it fresh and new and gives it an arc of logic.

(Admittedly it isn't a virtue easy to recognize in NYC: We have the Knicks...)

With this ballet currently in performance at the Met, Angel Corella delivering a thrilling performance (both technically and interpretively) in the first cast, it comes to mind that this role was the first that the great Julio Bocca felt compelled to relinquish.

Today on The Winger David Hallberg, who dances Romeo twice this week, commented that Romeo is

...probably the hardest ballet for a male lead.

We've seen remarks above regarding the interpretive challenges it presents. Could someone discuss the technical challenges? I seem to recall that Romeo's changes of direction had become difficult for Bocca. The many lifts, and final PdD with temporarily deceased Juliet must be physically stressful as well. In a complete performance would the emotional intensity count as part of the difficulty (even recovering from it after the performance)?

At the moment this site seems to be working, but with Varna, you never know. They just don't seem to care...

http://www.varnaibc.org/

It gives rules and programs for the 22nd IBC (this year's) and results for the 21st. Plus some history. So who knows what they may say in the following days... They're Varna, why should they bother, the ballet world is prostrate at their feet.

To be precise, the nine were all promotions from the corps. Three years ago, Balanchine's centennial, nine was the total number of soloists, and now it is 20. I just don't think either company has fixed limits for each rank. More a matter of talent and budget.

A year ago there were 13 soloists at ABT. So maybe there isn't some set in stone ceiling. There certainly isn't a set number for NYCB, they added nine in March!

Interesting that in this supposedly danseur-oriented company none of the suggested promotions (which I endorse!) are men. Obviously recent competitions have had some remarkable male performances. Remember that kid Bocca that Baryshnikov found? Major prize-winners aren't coming in as corpsmen.

Diana and Angel, a Partnership July 10

When Juliet Vishneva meets Paris Hallberg in her chambers she's all too happy to have such a dream suitor. So much so that as he and her mom, Veronika Part, are leaving, mom waves a "you naughty girl" finger at the girl. I think the two daughters of St. Petersburg enjoyed this moment.

Later, during their first meeting alone in the ballroom, as Juliet and Romeo Corella stare into each other's eyes their hands meet. A connection never to be broken. The third "date" for these two virtuosi, and three's a charm. They are now a partnership, each spurring each to greater heights of expressive virtuosity, and with a chemistry that is obviously palpable to each. I have never seen Angel so great and so complete a dancer.

The balcony scene was monumental. So much has already been written of Diana's total use of her body, from legs raising beyond traditional heights yet always in service of her story, to those majestic arms piercing the pure night sky as if to reach the future, and hands which can only write epic poetry, the glorious back, the beauty of her heart-rending face. And Angel enthralled. Juliet stands in perfect stillness. The kiss. And time to leave back up the balcony stairs. She touches her lips, twice. Was it real? And a third time from the balcony. It was. They are.

The bad things happen.

The bedroom scene was overwhelming. She is hopeless, but there's dimension to this Juliet. Paris is less violent in Hallberg's interpretation. I think he's fully happy with this arranged marriage, really likes and cares for her, and is lost for why she's changed. Alone she gathers her inner strength, finding it in the very sorrow that had taken control of her. She'll find a way. She flies, her cape so lyric, to Friar Franklin. He tries to help...

In the tomb Hallberg lingers in true and pious grief. So right an interpretation in this, Diana's version of Juliet. So sad he must die. And Angel, an icon of grief, must follow. And Diana follows, but not before gathering his hand, to complete the circle from when first their eyes had become each other's. Through the first curtain they remain the same, as one in death. But next, transcending death, they are standing together and kiss.

They won.

It was a night of brilliant dancing. Herman Cornejo's Mercutio, as always. Sascha Radetsky a fine Benvolio. Gennadi Saveliev a beautifully measured interpretation of Tybalt. As Act 2 began (Act 1 ending with that balcony scene) the corps seemed somehow more alive.

Unfortunately there was no farewell for Erica Cornejo.

This dramatic ballerina Vishneva, who writes every performance new. Not since Makarova has such a one been with us.

...As Giselle (Xiomara Reyes) descended back into her grave, Julio Bocca began to fumble with the white lillies strewn over the cross. Then he dropped to his knee and began fumbling with something on the floor. As I inched upwards in my seat to see what was going on, I saw that he was taking off his slippers. People around me, all in tears, began whispering in shock- Julio stood up and placed his shoes at the feet of the grave, and walked slowly off stage into the last wing on stage left, in just tights.

The curtain dropped and there was what seemed like an eternal silence before the entire orchestra audience stood up even before the curtain was raised for the first curtain call.

It did not look planned at all- it was almost the natural thing to do. It seemed as if he was doing it for himself, marking the end of an era, not for anyone else. As he walked off, he looked up into the lights and then into the wings....

There is a photo of this at:

http://www.geneschiavone.com/gallery/Principal-Dancers/3_G

One of the best things about NYCB is that audiences really get to know the corps dancers, even, if we're lucky enought to go to the annual SAB performances, before they enter the company. So we know from early on how terrific each one is, and can search the casting sheets to see who is getting a soloist or even principal role each day. The chance to see a given corps dancer in a significant role has often been the deciding factor for me in attending a performance.

It is much harder to find such pleasures at ABT. For one, they only post casting for "major" roles. For another, corps dancers are far less likely to dance soloist or principal parts. Soloists are far less likely to get principal parts. Comparitive stats are posted on the ABT Care and Feeding thread. Maybe because of these greater opportunities, NYCB has five more principal positions and twice as many soloists. From the most recent long list of promotions to soloist we see there are a variety of reasons dancers get promoted. For long and meritorius service, for dancing frequently above their designated level over time, and, more quickly, for stand-out performances above their official level. All reasons are good, just about everyone has the chance to get that very substantial salary increase. We read on dancers' blogs about how rough it is to get through those every-day corps roles in long runs of Nuts and Swans but also of the wonderful esprit de corps our company has.

Thank you dancers and thank you casters. Finally, let's remember that those promotions cost $'s. Hey us, support our company!

...The devil's in the details: my problems are more with his casting and promotions than with his big picture strategy.

So true! Let's compare what goes on in terms of who gets to play what level of role, ABT vs. (slightly larger) NYCB.

Principals: ABT 18, NYCB 23

Soloists: ABT 10, NYCB 20

It would seem there is more hope for promotion at NYCB.

Because of ABT's preference for evening-length ballets, there tend to be more Principal and Soloist roles available on a given night at NYCB. So I picked from this season's pile at random (honest!) two ABT (it turned out to be a Corsaire and a Swan) programs and one NYCB program and counted who played what Principal and Soloist roles. (27 at ABT, 24 at NYCB).

33% of roles considered Principal* at ABT were danced by soloists.

50% of roles considered Principal at NYCB were danced by soloists or corps members.

50% of roles considered Soloist** at ABT were danced by members of the corps.

75% of roles considered Soloist at NYCB were danced by members of the corps.

If you don't get to dance up a level, how do you get promoted?

Now how much of this is due to Balanchine's (NYCB's) policy of casting based on who would interest Balanchine (the AD) in a role, regardless of rank, and how much is due to what ABT might well consider the greater risk in casting a role that runs through a full evening (although most soloist roles don't) is something to consider. Still, it would seem there is less chance to get upward-mobile roles at ABT. I'd bet that more mixed Met bills would help some, but at Met prices there'd better be more than just one that you really want to see...

*As defined by Biggest Type in the program.

**For ABT I did not count as soloist a role which had literally no solo dancing, a queen, for instance. And, had the Cygnets, who have hard, but very short and indistinguishable (hopefully) parts, been counted the percentage would have moved up to 55%.

In fairness to the young dancer, she's already danced a principal role with NYCB last February, the grand PdD in Wheeldon's Scenes de Ballet, to favorable reviews.