drb

I think that perhaps the point being made was that the government blocked NYCB's attempt to hire Mr. Carreno's half brother, a Cuban too.

The current Playbill given to those attending NYCB's Nutcracker has a lengthy preview article on the company's upcoming Swan Lake (Martins) performances. The four O/O's ( Weese. Whelan, Somogyi, Kowroski) were interviewed: Weese now takes (the tape of) Makarova as inspiration. She worked out the story with the help of former partner Peter Boal. She feels that Odette came more easily to her. Whelan had difficulty with her pacing early on, found Odette more natural for her. She too has taken Makarova's performance to heart, especially relying on it for her Odile. Somogyi, who as I recall was successful in her first season with the ballet, felt an immediate affinity for the role, and "tried to let the dancing dramatize the story. I didn't worry about the 32..." Kowroski felt that Odile came to her more naturally, even though it was technically the more difficult part for her. Peter Martins advised her to "forget about the technique and think about the character." When she danced the role at the Mariinsky, coaches objected to the way she had been taught to flutter her arms. She was told there "...long, long arms, long arms, you are not a duck, you are a swan." Lopatkina worked extensively with her. The last time I saw her Balanchine one-acter, I found it very moving. She seemed to have found its (spiritual) story, and I am very curious as to how her recent Balanchine and Mariinsky performances will transform her performance in the Martins version.

Most respectfully, I am not willing to give them benefit of the doubt. The subscription brochure named the lead ballerina in 42 full-length performances. There were 9 changes, over 20%: 1 same day (Mat to Eve) 6 one-day shifts 1 two-day shift 1 four-day shift The ballet stayed the same each time. The same brochure was remailed less than one week ago. The Met is very expensive. In the case of Cornejo, his prior two seasons have drawn strong reviews and met with great audience enthusiasm. By now he is surely a ticket seller. In the case of Part, what is she to think? Two consecutive years of great performances, to exceptional reviews and wild audience reaction. To be 28, with one lead performance, and still not a principal. Of course every principal ballerina is someone's favorite. A change which I don't like will surely make some other fans happy. I will NEVER write anything negative about any dancer. But there are some I won't pay to see. Something is not right.

Those little changes of casts from one eve to another are killers for me: I dumped one subs, only to discover that two dogs were replaced by two winners, and bought another, only to find that they've moved Vishneva to another night! Thank goodness for their exchange policy, but there is a matter of truth in advertising: it isn't that some injuries were involved, instead it reeks of using "names" to sell a subs, then "adjusting" to help sell another subs... That was a fair complaint against ABT decades ago, but had not been the case in recent years. And what is the point to developing young (Lane, Fang) and not so young (H. Cornejo) dancers, and then giving them nothing major to do? The last couple of Springs H. Cornejo actually had some leads. And one lead, a Weds matinee, for their Prima Ballerina V. Part???

Nina's company has had another success as it presented its second Balanchine program. It would seem to be time to list the company under European Ballet Companies, especially given the interest in its ballet master Nina Ananiashvili. Their presentation of their native son's work also, I think, is of interest. The company has been referred to under various names, all involving the word Georgian in the title. But there is another company with essentially the same name. So I have taken the unambiguous name used in the following review. Here are excerpts from a review, courtesy of The Georgian Times, of the company's second Balanchine program (set on the company by Bart Cook and Maria Calegari): To read the entire review: http://www.geotimes.ge/print.php?id=23218 It would seem that Mozartiana, especially, was a success. No surprise, since Nina was coached in the role by Suzanne Farrell.

The Russian photographer Dmitri Kulikov often succeeds in capturing a sense of movement and/or emotional intensity that can be more illuminating than stock poses or "exactly correct" timing. He conveys the sense of movement in Lopatkina's arms-as-wings very nicely: http://www.bolshoi.net/photos/kulikov/page-lopatkina.htm And has some intense photos of Maximova and Vasiliev: http://www.bolshoi.net/photos/kulikov/page-maximova.htm Many more photos of dancers, past and present, may be accessed on his site by clicking on their names in the upper right corner. Clicking on a photo will enlarge it and often expand the view.

While I fully second Farrell Fan's remarks, "...NYCB's is an abomination," I would be curious to see what Maria Kowroski will do since her experience dancing the Mariinsky's version. When she arrived there they were shocked by the little hand-flaps she'd been taught at NYCB and Lopatkina spent a great amount of time preparing her to do the role correctly. So she now has wings, but will she be allowed to use them at NYCB? As for ABT's version, for me the greatest problem is Act 4. However, Veronika Part even brings that act to life, and is definitely a must see. I also have enjoyed Dvorovenko, Murphy (don't be fooled by the dvd, she's usually way better than that) and Vishneva.

Opening Night at The House of BALANCHINE! At last some real choreography... and some great Balanchine dancing by (biases clearly stated) Prima Ballerina Sofiane Sylve as The Sugarplum Fairy and America's Assoluta Ashley Bouder as Dewdrop. Bouder dancing with that wonderful abandon so characteristic of Mr. B's era. La Sylve, with those dancing eyes and everything else, ably partnered by Charles Askegard. Bravo to Peter Martins for hiring, and keeping, one of the great Balanchine Ballerinas. Bravi too, to Coffee Tess Reichlen and Tea Daniel Ulbricht. Welcome home, Mr. B.

For admirers of Diana's Giselle and Swan Lake last Spring with ABT, her site now has slide shows of her in these two ballets (but at the Mariinsky): Giselle (30 photos): http://www.vishneva.ru/eng/photo.php?gal=J&no=1 Swan Lake (19 photos): http://www.vishneva.ru/eng/photo.php?gal=S&no=1 Swan Lake rehearsal (26 photos): http://www.vishneva.ru/eng/photo.php?gal=R&no=1

Georgia Today added a couple of paragraphs today: On form Author: Natasha Warcholack Those familiar with Balanchine as ballet master, teacher and mentor might still feel challenged when it comes to defining the ‘Balanchine Style’ and ‘Balanchine Technique’, which paved the way to a unique approach to dance. Bart Cook and Maria Calegari from the Balanchine Trust explain. “I prefer to say the Balanchine style” says Bart. “Style refers to preference, whereas technique is what it is. What Balanchine taught during his life and his life’s work was to take the ballet technique that he learnt as a student in St. Petersburg, and refine it, make it so that there could be more steps per measure, make it so that the dancers could go faster. It is indeed the same ballet technique, but it’s just his style to be faster and more danced, with the choreography to have more steps. And there are a few classical ballet steps that he prefers to use in a different manner than traditionally.”

And Bravo to Mr. Rockwell who (see today's Links) while attending Farrell Ballet gave the best review of Martins Ballet! If his final wish came true, what a cause for Thanksgiving we'd all have: " Ms. Farrell clearly has something of crucial importance to bring to the preservation of the Balanchine legacy; she has a unique link to him. But for all the real success of much of the program Tuesday, she simply lacks the resources to fulfill her vision. City Ballet has those resources. In utter innocence, I can only wish that Mr. Martins and Ms. Farrell could join forces on terms satisfactory to both. Balanchine would be honored at a level that, right now, neither of them can achieve alone."

Maria and Bart are back in Tbilisi setting a new Balanchine Program on Nina Ananiashvili's State Ballet of Georgia! The weekly newspaper Georgia Today gives the following generous excerpt from their article (more requires a paid subscription). The two former dancers talk about their experiences with Mr. Balanchine: The Balanchine saga continues Author: Natasha Warcholack Bart Cook and Maria Calegari from the Balanchine Trust have been busy with work on the new Balanchine program (‘Chaconne’, ‘Donizetti Variations’ and ‘Mozartiana’ are premiered on November 26). I catch them between the rehearsals to ask what Mr. B was like to work with. “Very demanding but nurturing” I hear in reply. Possessed with an innate ability to sense every dancer’s shortcomings, he devoted a substantial amount of time to help him/her develop them. Once he ‘invested’ in a dancer’s potential though, his expectations were high. “He was very strict and you had to be 100% all the time. He required the dancer’s full involvement and highest standards in the studio and had no time for ‘baby actions’ and ‘diva behavior’” continues Maria. His uncanny skill to perceive dance from an omniscient point of view gave him a deep-seated appreciation of Art, which meant that “you were not dancing for yourself, or for him, but for Art.” That brings some associations with the previous century’s Twenties’ manifesto of l’art pour l’art. “We were all expected to be very professional, which is always hard work. We’re human beings after all, not just bodies; we have emotions, so nervous breakdowns are natural.” Maria recalls when once she burst into tears because she didn’t get the role she had wanted and stormed into Mr. B’s office to complain, but the master graced her with little attention. “Grown up people don’t cry” was his swift rejoinder.

ABT's site reports that their Studio Company will join forces with Ethan Stiefel's Ballet Pacifica for their Nutcracker season. This looks like a great opportunity to see some exceptional young dancers. Quoting Ballet Pacifica's site: "This year’s production marks the beginning of an exciting transition for Ballet Pacifica. With new Artistic Director Ethan Stiefel at the helm, Ballet Pacifica’s “The Nutcracker” will offer new choreography, dazzling young dancers from the American Ballet Theatre Studio Company, acclaimed guest artists and Ballet Pacifica’s own Academy students, who will add a new sparkle to the family Christmas favorite that has been presented to Orange County audiences by Ballet Pacifica since 1967. This year’s Nutcracker will be choreographed by Brian Reeder. A former dancer with American Ballet Theatre, Mr. Reeder choreographs many works for the American Ballet Theatre Studio Company, as well as various other companies across the United States. The production will remain true to the traditional Christmas story of Clara and her beloved nutcracker doll, providing time-honored yet exciting family entertainment for Southern California audiences." Details: http://www.balletpacifica.org/nutcracker.htm

Will the Royal's Christmas Day telecast of "Sylvia" (Darcey Bussell) be released as a DVD? How similar is the Royal's "Sylvia" to ABT's version? I think ABT's has one less intermission.

The Times (Jennifer Dunning) loved Albert's ballet, so I guess it'll make its way into the rep: "Scheduled for this one performance only, it is a small ballet that deserves a larger audience." There is a generously large photo of Wendy and Philip included with the review: http://www.nytimes.com/2005/11/24/arts/dan...llet-extra.html The review also gave subtle support to Oberon's remarks about the Gala crowd: "A ballerina on the floor, not moving? The sound of coughing is heard in the audience."

No. Nor does his Duck Pond. Neither of them count.

Thanks for the report, Oberon. Albert's ballet would seem to be very short, yet from your review seems one worth seeing. Do you think it is a keeper? I know that officially it is not scheduled for the regular season. The program's theme was American music. Could you give the name of the piece and its composer?

Here is an article (in Russian) and four photos of the Don Q part on Maya's Birthday Gala. Click on the photo and get a four picture slide show: http://www.kommersant.ru/doc.html?docId=628343

HAPPY BIRTHDAY, MAYA MIKHAILOVNA! Two weeks late, on Sunday December 4, CUNY-TV will have two programs featuring film of Plisetskaya. 2:00PM - 03:20PM FILM: City Cinematheque: Stars of the Russian Ballet (The best in world cinema is showcased in this regular series. Each film is followed by lively discussion with scholars, film professionals and critics....) (1953/Russia, 81 min., color, ballet) A compilation of the best in Russian ballet. Featured dancers include Galina Ulanova, Maya Plisetskaya, Natalya Dudinskaya, Yura Zhdanov, Konstantin Sergeyev. The solo dancers are supported by the corps of the Bolshoi Ballet and the Chorus and Orchestra of the Leningrad Opera and Ballet Theatre. Distrib.: Corinth Films. This will be followed by 03:20PM - 04:45PM Ballet: The Little Humpbacked Horse (1962/Russia, 84 min., color, ballet) Cast: Maya Plisetskaya, Vladimir Vasiliev, Alla Schcherbinina, Aleksandr Radunsky. Dir.: Aleksandr Radunsky. Music by Rodion Shchedrin.

Suzanne Farrell describing Balanchine's Mozartiana: “on earth as it is in heaven.”

M. Lacroix has quite an intellectual interest in the color red, to the extent that he's mounted an exposition on the theatrical history of the color. As quoted in Le Monde: "J'ai voulu donner une idée de générosité et d'opulence, à la limite du kitsch avec une scénographie un peu dramatique." Maybe that's why the ruffles.... The full article: http://www.lemonde.fr/web/article/0,1-0@2-...1-685059,0.html From the exposition's site: http://www.bnf.fr/pages/cultpubl/exposition_404.htm If you click on "decouvrir" you'll get to a photo of one of his red costumes, click on it , then click again bottom left ("symbolique"), and you get an intellectual slide show on the ancient history of red in France.

Thanks for the great quote, canbelto. Our Russian friends who so generously gave us the Raymonda webcast will show us Broadway the Russian (well, Siberian) way on November 23: http://www.cultu.ru/english/pautina/2005/somelikeithot/ Details: Novosibirsk Musical Comedy Theatre (Novosibirsk) Some Like it Hot Pre-recorded broadcast Wired Broadband Connection November 23, 2005 2:00 am, 4:00 am, 6:00 am, 8:00 am, 10:00 am, 0:00 pm, 2:00 pm, 4:00 pm, 6:00 pm, 8:00 pm, 10:00 pm November 24, 2005 0:00 am Times are (hopefully) for Eastern USA. By the way, was this part of an interview? If so could you give the link?

I love the chickens too! But I'd favor saving them even if I hated them. Look how 20th century A. D.'s have "improved" the masterpieces of Petipa. We don't want to encourage 21st century A. D.'s (many of whom are all too willing to be "improvers" --as recent "Swan Lake" desecrations prove) to do the same to 20th century masterpieces, especially not to the greatest full-length ballet of that century! If need be, I'd rather close my eyes rather than have an A.D. close them for me.

Thanks for the link, Violin Concerto. One typo in the article, however. The dance she is to perform is Bejart's "Ave Maya", not "Ave Maria" (the music to which she dances). You may see her dancing this piece in the November 12 post on this thread. Isn't it strange that there seems to be no event honoring her in this country?

Re: Dr. Coppelius's report above: "Also soon to be released is "Sylvia" with Aurelie Dupont and Manuel Legris in Neumeier´s production for POB." Be advised that it doesn't look a great deal like Ashton's. Agence Enguerand provides photos of a number of performances, the first 18 with the above leads: http://217.167.132.38/agence/general.php?o...rech_crit=titre