Helene

I've seen Bouder dance Balanchine, and she is restraining her arabesque, which goes higher when she chooses.

Thank you, sandik, for the heads up on the following sad news: Monica Moseley, recently retired Assistant Curator of the Jerome Robbins Dance Division, The New York Public Library for the Performing Arts, died on January 6, 2010. Monica Moseley started work at the Dance Division in 1981 and was the Assistant Curator from 1983 till her retirement in February 2005. She obtained her M.S. at the School of Library Service at Columbia University in 1981. Earlier, she studied the dance techniques of Lestor Horton, Martha Graham and Merce Cunningham. As a founding member of Meredith Monk/The House, she created major roles and danced in many works including Recent Ruins, Chacon, Quarry and Education of the Girlchild. She was editorial assistant at Dance Magazine from 1964-1967, and was on the board of directors for many years of Congress on Research in Dance and Society of Dance History Scholars. She contributed and helped edit the seminal book on collecting dance titled: A Core Collection in Dance. After her retirement she continued to work on many dance projects that included working on the film Lucinda Childs by Patrick Bensard, director of La Cinémathèque de la Danse in Paris and coordinating research for the Leonide Massine screening for La Cinémathèque de la Danse’s program Du côté de Léonide held on 18 January 2010. She was a beloved and valued member of the Dance Division, who would generously share her great knowledge and insight about dance and dance archives with staff members and the public. She is greatly missed. A library memorial service is planned for April 5, 2010, Monday at 11am, Bruno Walter Auditorium, New York Public Library for the Performing Arts. http://www.sdhs.org/index.php?option=com_c...genericcategory

The logistics of bus touring are similar to those of the skating tours, Stars on Ice and Canadian Stars on Ice, although those buses have been outfitted for as much comfort as possible. The poor pay and lack of per diem is miles away, though. I think it's the combination of everything done on the cheap that makes the musicians tour so harsh.

Mme. Danilova: was there ever a greater sport in ballet?

Horiuchi won the Prix de Lausanne and studied at SAB. I doubt he would have been hired at NYCB had he not been at the school. But missing is Peter Martins himself , and Bruhn danced with NYCB for a short while. For a few years though, Martins, Andersen, Luders, and Tomasson danced with NYCB at the same time and constituted the core of the male Principals, since d'Amboise was dancing rarely in that overlap period. Jean-Pierre Bonnefoux danced with NYCB in the 70's. I can think of several non-North American women who did not study at SAB or join NYCB early and that Balanchine hired: Verdy, von Aroldingen, and Kozlova. Thesmar also guested with the company.

National Ballet of Canada has published a video of Rex Harrington coaching Guillame Cote as The Man in "The Four Seasons". http://www.national.ballet.ca/video/video_...0Four%20Seasons Harrington originated the role. There are clips of rehearsal, including Cote and Heather Ogden in the "Summer" pas de deux, as well as of Harrington performing with members of NBoC.

His first Chopin foray, The Concert.I know you knew that, but it's in such a different mood that it's easy to overlook it for this discussion. I was thinking of a third that followed DaaG. I don't put "The Concert" in the same group, since the tone and intent were different, but it's hard for me to watch "Les Sylphides" without thinking about big fluffy powder blue hats when that music comes on...

I wondered if "clone" would feel too judgmental, but I was in a rush. The gist of what I'm trying to say is that as well as being an extraordinary ballet in its own right, "Dances" inspired a lot of other work, some of it not as distinguished. I've always thought that Peter Anastos's "Yes Virginia, Another Piano Ballet" for the Trocks really caught some fundamental elements of the style, loving them as well as poking some gentle fun at them. Robbins choreographed several other Chopin ballets -- "In the Night", "Other Dances", and I think a third -- so he seems to have cloned himself.

Here is the press release: April 15-25, 2010 Marion Oliver McCaw Hall 321 Mercer Street, Seattle Center Seattle, WA 98109 April 15-17 at 7:30 pm April 17 at 2:00 pm April 22-24 at 7:30 pm April 25 at 1:00 pm SEATTLE, WA – Pacific Northwest Ballet pays tribute to the greatest choreographer of the 20th century and its own artistic heritage with ALL BALANCHINE, an homage to the man who revolutionized an art form in ways that have changed it forever. The three works on this season’s ALL BALANCHINE program—Serenade, Square Dance, and The Four Temperaments—exemplify the incredible range of the great choreographer’s work. ALL BALANCHINE runs April 15-25 at Seattle Center’s Marion Oliver McCaw Hall. Tickets to ALL BALANCHINE start at $25 and may be purchased by calling the PNB Box Office at 206.441.2424, online at PNB.org, or in person at the PNB Box Office at 301 Mercer Street. The line-up for ALL BALANCHINE will include: Serenade Music: Peter Ilyich Tchaikovsky (Serenade in C for string orchestra, Op. 48, 1880) Choreography: George Balanchine © The George Balanchine Trust Staging: Francia Russell Square Dance Music: Antonio Vivaldi (L’estro Armonica, Op. 3, No. 10, RV 580 and No. 12, RV 265) and Arcangelo Corelli (Sarabanda, Badinerie e Giga, i.e., Sonatas for Violin and Continuo, Op. 5, No. 9 [Giga] and No. 11 [Gavotta]) Choreography: George Balanchine © The George Balanchine Trust Staging: Peter Boal The Four Temperaments Music: Paul Hindemith (Theme with Four Variations [According to the Four Temperaments] for string orchestra and piano, 1940) Choreography: George Balanchine © The George Balanchine Trust Staging: Francia Russell TICKET INFORMATION: Tickets (ranging from $25 to $160) may be purchased through the PNB Box Office: * By phone, 206.441.2424 (Mon.-Fri. 9am–6pm; Sat. 10am–5pm) * In person at 301 Mercer Street, Seattle (Mon.-Fri. 10am–6pm; Sat. 10am–5pm) * Online 24/7 at www.pnb.org * Tickets are also available 90 minutes prior to each performance (subject to availability) at McCaw Hall, located at 321 Mercer Street. Discounted rush tickets for senior citizens and students (with valid ID) may be purchased 90 minutes prior to showtime. $15 TICKETS FOR AGE 25 & UNDER One ticket for $15 and two for $25 for patrons 25 years and younger at Thursday and Friday evening performances! To purchase tickets, contact the PNB Box Office at 206.441.2424 or visit 301 Mercer Street. This offer is good for April 15, 16, 22 and 23 7:30 pm performances only. Offer is subject to availability and not valid on previously purchased tickets. Each attendee must present valid I.D. upon ticket retrieval. TEEN TIX PNB is a proud participant of Seattle Center’s Teen Tix program for young people 13 to 19 years old. Teen Tix members can purchase tickets to PNB performances and other music, dance, theater and arts events for only $5. To join Teen Tix or view a list of participating organizations, visit their webpage at seattlecenter.com/teentix. FRIDAY PREVIEWS Friday, April 9, 6:00 pm The Phelps Center, 301 Mercer Street, Seattle Join us for an hour-long dance preview led by Artistic Director Peter Boal and featuring PNB dancers performing excerpts from ALL BALANCHINE. PNB Friday Previews offer an upbeat and up-close view of the Company preparing to put dance on stage. Tickets may be purchased by calling the PNB Box Office at 206.441.2424, online at www.pnb.org or in person at the PNB Box Office. (This event sells out in advance.) CONVERSATIONS WITH PNB — FREE Sunday, April 11, 2:00 pm Elliott Bay Book Company, 1521 Tenth Avenue, Seattle* PNB's Sunday afternoon series features an hour-long discussion about ALL BALANCHINE with principal dancers Carrie Imler and Jonathan Porretta in the casual atmosphere of the Elliott Bay Book Company reading room. All Conversations with PNB are FREE of charge. *NOTE: Check back for confirmation on location closer to this event, as Elliott Bay Book Company completes its move to Capitol Hill. BALLET PREVIEW — FREE Tuesday, April 13, 12:00 noon Central Seattle Public Library, 1000 Fourth Avenue, Seattle Join PNB for a free lunch-hour preview lecture at the Central Seattle Public Library. Education Programs Manager Doug Fullington will offer insights about ALL BALANCHINE, complete with video excerpts. FREE of charge. PNB LECTURE SERIES & DRESS REHEARSAL Wednesday, April 14, 2010 Lecture 6:00-6:50 pm, Nesholm Family Lecture Hall at McCaw Hall Dress Rehearsal 7:00-9:30 pm, McCaw Hall Join PNB Founding Artistic Director Francia Russell for an engaging conversation on George Balanchine during the hour preceding the dress rehearsal. Attend the lecture only or stay for the dress rehearsal. Tickets are $12 for the lecture, or $25 for the lecture and dress rehearsal. Tickets may be purchased by calling the PNB Box Office at 206.441.2424, online at www.pnb.org or in person at 301 Mercer Street.

Here is the press release: March 18 – 28, 2010 Marion Oliver McCaw Hall 321 Mercer Street at Seattle Center Seattle, WA 98109 March 18 – 20 at 7:30 pm April 20 at 2:00 pm March 25 – 27 at 7:30 pm March 28 at 1:00 pm SEATTLE, WA—Pacific Northwest Ballet’s March mixed-repertory program features three works by the late Ulysses Dove (1947–1996): Vespers, Red Angels, and the PNB premiere of Serious Pleasures. The program also features the return of Suspension of Disbelief by contemporary dance-fusion choreographer Victor Quijada who credits Dove among those who have inspired his work. 3 by DOVE (and 1 by Quijada) runs from March 18 to March 28 at Seattle Center’s Marion Oliver McCaw Hall. Tickets may be purchased by calling the PNB Box Office at 206.441.2424, online at www.pnb.org, or in person at the PNB Box Office at 301 Mercer Street. PLEASE NOTE: This program is suggested for mature audiences. PNB Artistic Director Peter Boal, who danced in the New York City Ballet premiere of Dove’s Red Angels, said “Ulysses lived in the moment, feeding off the energy of dancers and relishing the fruits of his creation. He pushed and criticized as much as he praised and applauded. He made you want to achieve greater heights and helped you realize potential you didn’t know you had. Ulysses took on classical ballet and knocked it out of the park.” Boal continued: “Ulysses’ works are danced by many companies, but rarely gathered under one roof. His gifts as a choreographer are great enough that he deserves an opportunity to have several seen in one program. He was robbed of a long life, but his choreography deserves to live on.” The program’s lineup will include: Red Angels Music: Richard Einhorn (Maxwell's Demon, 1988-1990) Choreography: Ulysses Dove Staging: Peter Boal Costume Design: Holly Hynes Lighting Design: Mark Stanley Violin Soloist: Mary Rowell Premiere: May 9, 1994; New York City Ballet (Diamond Project) Pacific Northwest Ballet Premiere: September 17, 2005 Running time: 14 minutes Vespers Music: Mikel Rouse (Quorum, 1984) Choreography: Ulysses Dove Staging: Nasha Thomas-Schmitt Lighting Design: William H. Grant III Premiere: October 18, 1986; Dayton Contemporary Dance Company (Dayton, Ohio) Pacific Northwest Ballet Premiere: March 13, 2008 Running time: 19 minutes Suspension of Disbelief Music: Mitchell Akiyama (2006) Choreography: Victor Quijada Costume Design: Mark Zappone Lighting Design: Yan Lee Chan Premiere: November 2, 2006; Pacific Northwest Ballet Running time: 22 minutes PNB Premiere Serious Pleasures - The merciless battle between spirit and flesh Music: Robert Ruggieri (1992) Choreography: Ulysses Dove Staging: Parrish Maynard Scenic and Costume Design: Jorge Gallardo, supervised by Robert Perdziola Lighting Design: William H. Grant III Premiere: March 24, 1992; American Ballet Theatre (Chicago) Running time: 30 minutes Serious Pleasures, Pacific Northwest Ballet’s fourth Dove acquisition, presents an atmospheric view of contemporary urban social issues in a series of athletic solos and duets that feature Dove’s own fusion of ballet and modern dance. PNB Artistic Director Peter Boal saw ABT’s 1992 premiere of Serious Pleasures “and I found it full of signature Dove qualities. The dancers seemed unleashed with a wildness and a daring that one didn’t associate with a company considered the temple of classical ballet. The work was controversial for addressing the shadowy underworld of sexuality at the dawn of the AIDS epidemic. Parrish Maynard was the central figure in the work and turned in career-defining performances. The work was nearly lost, with the exception of a few grainy videos and Parrish’s keen memory. He has brought the work back from extinction for this revival.”

I've never seen any of the "Dybbuk" versions nor "Watermill", but I would rather watch "Moves" three times in a row in a cold room than see "West Side Story Suite" again. Croce described the early Royal Ballet performances of "Dances at a Gathering" as "Dances at a Garden Party". Reading descriptions of the creation of the work by the original cast, Robbins had several dancers learn the same parts, and then would compare them: "Why can't you be more like Violette?" "Why can't you be more like Allegra?". It's not surprising that the roles could morph, based on the group of dancers.

You are right, sidwich: the cast members and pros are now listed on the official site: http://abc.go.com/shows/dancing-with-the-s...st-announcement Aiden Turner and Edyta Sliwinska Buzz Alden and Ashly Costa Chad Ochocinco and Cheryl Burke Erin Andrews and Maksim Chmerkovskiy Evan Lysacek and Anna Trebunskaya Jake Pavelka and Chelsie Hightower Kate Gosselin and Toni Dovolani Nicole Scherzinger and Derek Hough Niecy Nash and Louis Van Amstel Pamela Anderson and Damian Whitewood Shannen Doherty and Mark Ballas

I don't think that review is aptly characterized simply as "criticism of the choreography", because key to Byrd's criticism is the personal relationships between the two dancers and Wevers -- the so-called "gossip" -- and what that represents, not simply the choreography itself. Being caused to "gasp" in itself isn't a bad thing. Does his criticism stand if the dancers had been unrelated to Wevers, or if the work was performed by another company? I don't think Byrd has made that case. The author, Jeremy M. Barker, writes: I agree with his first conclusion, and I while I found the original rape scene a gasper, the final image, of nature being thrown into a trash can, to be more arresting for its casualness. I don't see where earlier reviewers have apologized for this or swept it under the rug. In the blog post referred to in the critique, Catherine Cabeen discusses the historic use of pointe shoes: I think she's right to bring up the underlying assumption when a woman is seen in pointe, whether it's in Robbins' "The Cage", the women in the "Melancholic" section of "The Four Temperaments" or "3Seasons". In her review in The Stranger, Jen Graves takes on four issues: 1. That Wevers' attempts at humor fail 2. That there is a difference in creating dance for women and men, something that Wevers disputed 3. That Wevers is tone-deaf when creating for women 4. That his approach to dance is not something that is part of On the Boards' raison d'etre She does not address misogyny in Wevers' piece. Barker does not agree with Graves' criticism, which he says in the article, and concludes that Byrd's point is elusive. He then writes "But with a few weeks' reflection and discussion, I see the largely fawning critical response to Wevers' work as a dramatic failure to address the questions the work raises." I have no problem with critics changing their opinion after further consideration or after seeing a work a few extra times. However, he doesn't "address the questions the work raises" except to quote other people and then refute what they say, either.

PNB has posted a short video with stager Parrish Maynard in a frank talk with Peter Boal about staging Ulysses Dove's "Serious Pleasures" with a lot of rehearsal footage: http://www.facebook.com/home.php?sk=lf#...5641&ref=nf

Interesting, because Lysacek had already signed up for DWTS before the Olympics: http://www.usatoday.com/life/television/ne...online_ST_N.htm although Cheryl Burke Twittered about him joining the show after he won gold: http://www.icenetwork.com/news/article.jsp...p;vkey=ice_news I'm just bummed they picked Aiden Turner from "All My Children" instead of Michael E. Knight ("Tad the Cad" Martin).

According to this article, Curtis on Tour's performance of Barber's first string quartet at Henry Chapel in The Highlands, Seattle on 2 March at 7:30 will be in honor of Mr. Lorenzo.

It was a total hoot to be there for Closing Ceremonies. I have to watch a friend's DVR version to see the Sochi 2014 presentation, because it was overwhelming at BC Place, and impossible to know where to look. There were dancers, but I was in the third to last row, and they looked like moving ants. I prize the foam antlers they gave us all to wear during the "Made in Canada" bit and the Sochi 2014 snow globe with lights we waved as our hockey jersey-clad mayor -- Luongo's, of course -- passed the Olympic flag to the mayor of Sochi. But I'm easily amused.

According to the Hack Radio commentators, someone in the Norwegian org presented the team with the pants -- they later got both the red and the white versions -- and then Thomas Ulsrud, the Norwegian skip said, "Why not?" after the pants grew on them. However, had this been a Dutch curling team, the results could have been tragic or more tragic. According to this article a man in Rochester, NY started a Facebook Page called The Norwegian Olympic Curling Team's Pants, which had 526,000 members worldwide when the article was written. (The link to purchase the pants is on the "FYI -- Available for Purchase" tab. ) A number of Norwegian fans wore the pants with the matching jackets, which are custom-order and take 45 days to make. I saw several women with the pants tucked into boots. The fans were stopped over and over to pose for photographs. It was quite a scene, and I don't think anyone will forget this team. The curling was very fine. Thomas Ulsrud had two throws that were a little light, and that was the difference between a 5-3 lead and a 3-5 deficit. Kevin Martin's rink, one of the best in the world in this Olympic cycle, got to redeem his loss in the gold medal game in Salt Lake City to none other than Ulsrud's role model, Pål Trulsen. (Brad Gushue's rink represented Canada in Torino.)

In today's links, there's an announcement that Wendy Toye has died. http://news.bbc.co.uk/2/hi/entertainment/a...ure/8541304.stm Just last month, Frederic Franklin had spoken so highly of her when discussing his own career and working with her. Rest in peace, Ms. Toye.

I can't believe I forgot Adam Rippon. He's a beautiful skater, one of my favorites. Sadly, he didn't make the Olympic team this year. His free skate this year was to Barber's Violin Concerto. He's been learning Korean from training mate YuNa Kim, which he tried out during Four Continents, which he won: http://www.youtube.com/watch?v=M2HCNTsz9B8...PL&index=37 Also, there are a couple of young Chinese Men who are a lot more artistic than their predecessor. I agree about Flatt and her coach.

I haven't seen much that I haven't gone to live, between the commuting, the waiting on security lines, and the competitions themselves, not to mention a household where usually two of three people have to be at work at 5am, and it's quiet here after 9pm. But live, I saw two men's curling preliminary games -- 3 or 4 sheets in play at a time -- the men's and women's bronze and gold medal games, the women's gold medal hockey game, and women's 3000m and 5000m and men's 1500m and 5000m speed skating. As far as the figure skaters to watch, Nagasu made a splash, but expect Flatt to fix the underrotations in her flip. Laura Lepisto is definitely one to watch, especially since she managed to land a triple toe/triple toe combination and triple lutz in the same program for the first time. Ksenia Makarova of Russia is a lovely skater. I'm not sure how much farther Alena Leonova will go; she had a stronger year last year, and there are some juniors coming up the ranks that could knock her out of the running before Sochi. For the men, it's a treasure trove: Takahiko Kozuka for some of the purest basic skating around, Denis Ten of Kazakhstan, Jeremy Abbott of the US (late bloomer), Florent Amodio of France, Italy's Paolo Bacchini, one of the finest spinners in Men's competition today, the young Czech Michal Brezina, Spain's Javier Fernandez, and Russia's Artem Borodulin if he gets more stamina for the free skate, along with Canada's Patrick Chan. Sweden's Adrian Schultheiss is also coming along, adding speed each year. For ice dance, Russia's Bobrina/Soloviev, the European silver medlists, Faiella/Scali, Samuelson/Bates -- Emily Samuelson has superb toe-point, turnout, and extension -- both young Canadian teams, Crone/Poirier and Weaver/Poje, and many people's favorites, the young Italian team Cappelini/Lanotte. I've been disappointed with her, but the Olympic Free Dance was the strongest I've ever seen her skate. He's terrific. Maxim Shabalin's knees are beyond repair at this point and they've said that the Olympics are their last competition; I'm hoping Oksana Domnina will continue with a new partner. She's young and as her Tango Romantica showed, she has amazing line and precise feet. In pairs, the Olympics are the last competition for Volosozhar/Morosov, who are an off-ice couple, and Volosozhar will have a new partner next year, likely from a new country, since there are no known pairs skaters in Ukraine at the senior level. Morosov will expand his coaching career, continuing to assist Ingo Steuer, and I'm assuming Morosov/Steuer will be the coach of the new team. Skaters who have skated for one country must sit out a year before skating for another country, and by missing Worlds, she and her new partner can skate at Worlds in Tokyo next year, assuming they qualify for whatever country they skate for. She's a beautiful skater, and one to watch. There are a number of potential retirements and splits in the making, so this is a bit of a "Stay tuned." Evora/Ladwig are a US pairs team that missed the podium before this year, and even in Grand Prix events, fell and/or got downgrades. They held it together this year, placing higher than Denney/Barrett, the US National Champions, in the Olympics. (Evora and Barrett are an off-ice couple, and it was nice that they could share the Olympic experience as fellow competitors.) Among the other young pairs, Vera Bazarova's style is widely lauded, but she needs to get the jumps and a bit more maturity. I think she can grow to meet partner Yuri Larionov's strengths -- he's underrated, in my opinion -- but it may take another year or two. My favorite among the young pairs is Della Monica/Kocon of Italy. They are not pretty or refined, but they had excellent speed, power, and flow in Tallinn and in Vancouver. I love Murhortova/Trankov, but their on-ice relationship has been volatile, and it's hard to know where they'll land in the future.

NYCB initiates its new, three-season year in 2010-2011, so they may be out of the Koch by mid-June. Oh, I so hope so, because the only alternative is City Center...

Thank you so much for the link -- I love his playing.

Thank you, Jane!!! Time to start planning that trip

Is that Dance Galaxy? Yes, and here's a danceviewtimes interview from 1999 with Fugate about the company: http://www.danceview.org/interviews/fugate.html