cargill

I agree to a large extent with Manhattnik that whichever version a person saw first will be the favorite, and since I was very familiar with the Ashton dream before I saw Balanchine's, that is the first in my heart. But of course, they both have great choreography. I do think, though, that just on dramatic structure, Ashton wins. His story is clearer (we know why Puck is getting the flower), there is no extraneous scene shifting--no "now in another part of the forest, Oberon, too, is dancing", since Ashton's character's so logically are located in one place. And Ashton makes is clearer who the magic creatures are and who the humans are (though Balanchine has the spine tingling moment when one of the women is surrounded by the bugs and thinks she is alone.) It always bothers me in Balanchine that Hypollita is the one to create the magic fog when she is one of the humans, wonderful though her solo is. And Ashton's Bottom is a much more developed character, and has that wonderful mime scene once he has changed back, which can be just so moving.

I agree to a large extent with Manhattnik that whichever version a person saw first will be the favorite, and since I was very familiar with the Ashton dream before I saw Balanchine's, that is the first in my heart. But of course, they both have great choreography. I do think, though, that just on dramatic structure, Ashton wins. His story is clearer (we know why Puck is getting the flower), there is no extraneous scene shifting--no "now in another part of the forest, Oberon, too, is dancing", since Ashton's character's so logically are located in one place. And Ashton makes is clearer who the magic creatures are and who the humans are (though Balanchine has the spine tingling moment when one of the women is surrounded by the bugs and thinks she is alone.) It always bothers me in Balanchine that Hypollita is the one to create the magic fog when she is one of the humans, wonderful though her solo is. And Ashton's Bottom is a much more developed character, and has that wonderful mime scene once he has changed back, which can be just so moving.

But we might be able to see her in Symphony in C, second movement, which would help to justify the repertory she is leaving behind.

In Ivor Guest's wonderful book on La Fille, he includes a contemporary description of Fanny Elssler's (I think of a performance in Russia) mime scene and it sounds exactly like the current one--imaging the wedding, the three children, etc. Fille was performed continuously in Russia, and I think I have read that Karsavina learned it as part of the tradition while young, so it could very well be from the mid-19th century, at least.

As I recall, the old imperial ballet phrase that was often used for detailed footwork is making lace with the feet.

ABT has already issued a press release, at least via email, saying Muenier will be joining that company as a soloist, so it certainly seems official. Unfortunately, it doesn't say that she will be dancing 2nd movement Symphony in C! But I hope that is in the offing.

Unfortunately, I heard from someone that the overnight TV ratings of this were the lowest ever for Live from Lincoln Center, so I think that means it will be a very long time before we see live ballet on television again.

One of the many things I loved about the Fille on Friday was the audience reaction. I was sitting next to a well-dressed middle-aged woman, who, when the ballet started, kept saying "Oh, the chickens!, Oh, the rooster!" and got so excited when they came back. And during the second act, when Colas lifts Lise from the top of the door, and swings her gently to the music, she let out such a sigh of satisfaction. Many in the audience seemed new to the ballet, but there were enough old timers to give Alexander Grant a standing ovation when he took his curtain call. It was, as the reviews has said, a genuine company triumph, as was The Dream. The corps looked beautiful in both ballets (I understand Georgina Parkinson, who was in the original corps of Fille, worked with them) and the character roles were so understated but so clear.

No surprizingly, I think Anderson has it wrong. What we need are good ballets, which can be either chiffon or cutting edge or anything in between. And I hope he realizes that his audience probably liked the dancing chickens because they were doing musical, witty, and impressive choreography, not because they were dressed like chickens.

And then there was the Neumeier take on Traviata, where Violette died at least 6 times.

I suppose it comes as no surprize, but I am appalled at the idea of criticising Firebird because there is no jumping and turning for the Prince. I was lucky enough to see the Royal Ballet's version, with David Wall (not with Somes, unfortunately), and he was riveting. A real Russian--s semi-barbarian--prince. Every step was so meaningful. And Goncharova's apotheosis, where he slowly raised his hand in time to the music, is so powerful. The Firebird doesn't bless the wedding--she isn't the Lilac Fairy. She only saves the Prince because she promised, but she hates him.

To the question of whether a ballet has to respect the intention of the original source, I would say definitely not. Great artists have cribbed ideas and changed them all the time. Making a light comedy of Don Quixote is fine, as far as I'm concerned, as long as it is a good comedy. In terms of dark themes or characters, I think part of the problem is the current all dancing, all the time mentality. There needs to be a contrast between the two types, and earlier ballets found it when the bad guys were mimed, it seems to me. Having Carabosse prance around on point like a Lilac Fairy in black is not nearly as impressive as having a really good mime with heavey, measured gestures. That is one of the reasons, I think, that the ABT Corsaire fails so completely to be convincing. Birbanto dances just like everyone else, and is utterly unthreatening. Echoing of Trumpets is a staggering ballet, very powerful, but not gloatingly salacious like Macmillan's are (at least to me.) To some extent there is a triumph there, because despite everything, there are people who can work together to combat evil. It's not one I would want to see every night, but I hope it doesn't disappear.

I would nominate Nancy Reynolds as Clio, our muse of history, for her wonderful work on the Balanchine archive.

What about La Felix Mal Gardee or Cleopawtra, or Les Purrtimew? Loved Enigma Variations!

Somewhat off the subject, but still cats and ballet, I can offer ballet-influenced cats--one of mine is Manon because she is stupid and greedy and one is Eleanora (from Bournonville's Kermesse in Bruges) because she is so sweet.

I ended up voting for Paris, because the first things I read about ballet were on Diaghilev, and I have always felt deprived because I didn't see the 1909 season, but of course all of the above is much more appropriate.

I ended up voting for Paris, because the first things I read about ballet were on Diaghilev, and I have always felt deprived because I didn't see the 1909 season, but of course all of the above is much more appropriate.

There is a fairly detailed discussion of the ear of wheat in the Coppelia thread in the archives which you might enjoy.

I remember reading that one English title was Naughty Lizette, which the writer pointed out, made it sound like an off-color French farce. I think they should just rename Colas and Lise, and call them Romeo and Juliet and the ballet would sell out every time.

Leigh, I got an email message from ABT a few weeks ago, but I don't remember any formal announcement, I'm afraid. I don't have my program here so don't have names, but it began with a new piece to Mozart by a 17 year old member of the ABT Studio company, for 4 couples plus a lead couple, which was classical, with tutus (slightly elongated in the back which I thought was a bit destracting when the girls turned). I thought it used steps beautifully, lots of little shimmering moves, and no overly complicated virtuosity. What struck me most was the musicality, it really seemed part of the score. At one point the lead man whipped off a series of fast turns which some complicated footwork around the corps girls (if 4 girls can be called a corps), but it didn't seem like a technical feat, and flowed so well into the next part of the music that the audience did not burst into applause, which I thought was the most amazing compliment. The overall structure of the piece was more important that a few technical tricks. He used the mail couple very well too, in that the choreography suited their age--no pseudoemotions, just a very charming dance for two young people. It is a piece I would love to see again. There was a pas de duex by Robert Hill, to live piano, which was not as successful, I thought--a bit alienated and cold, and the middle ballet, too (by William Tuckett to Stravinsky's Pulchinella) was confused and difuse--too many characters rushing around. The final piece was the airplane one which as I said, I loved. Comedy is so hard to do, and it caught exactly the right tone, quirky without being coy. The girl who danced the stewardess was so funny and so vivid, very prissy about the rules, but with quite an eye for the men.

I saw it, and enjoyed it very much. It reminded me of Robbins much more than Balanchine, but without the excessive coyness that he sometimes has. It was a lyrical fantasia on airline flight, and I thought the girl playing the stewardess (I don't remember her name) was terrific, very deadpan and very funny. I have no idea how she managed to keep a straight face with the audience laughing so hard. I never thought of oxygen masks and flotation devices as springboards for pas de deux, but Brian Reeder (the choreographer) must be a hoot to travel with.

While in theory the project sounds good, I don't think it works at all for a number of reasons. First of all, the large number of new ballets means that an inordinate amount of time is spent by the company on the choreography and rehearsals, leaving far too little time for coaching and rehearsing their regular repertoire. (i.e. Balanchine.) The restrictions--not sets, minimal costumes--tend to make them all look alike, the limited time means often they are made for only a few dancers, and it seems the outside choreographers come in and just do "their" ballet. The DB ballets don't seem to be useful in developing dancers or using them in unusual and productive ways. It seems that there is a corps of dancers used over and over again in the same way, mainly sub-Forsythe. If I had Irene Diamond's money, I would subsidize rehearsals and coaching, but I guess there is no glory in that!

Alexandra, I hope no one was thinking I was being critical! The thought just struck me as funny. I knew exactly what was meant.

Or what about Tatania turning up in Onegin looking for that donkey!

Perhaps it was the way I was raised (I still feel taken aback when people I don't know refer to me by my first name), but I feel it is overly familiar to call dancers who I don't know by their first names. It seems like claiming an unwarranted familiarity.