Helene

There was way too much flash from the audience in San Francisco in the two performances of "Swan Lake" that I saw. Some ladies near me flashed away, and then acted like children doing something naughty and having gotten away with it, without regard to the potential consequences.

I found Kistrup's discussion of the changes in the balance of "Symphony in C" casting fascinating. According to the "Balanchine Catalogue", the original casting for "Le Palais de Cristal" was: First Movement: Lycette Darsonval, Alexandre Kalioujny Second Movement: Tamara Toumanova, Roger Ritz Third Movement: Micheline Bardin, Michel Renault Fourth Movement: Madeleine Lafon, Max Bozzoni I always thought that Darsonval and Toumanova were considered equals at the time, if Toumanova was more famous. It certainly set the precedent for a glamorous dancer in the second movement. The first cast of "Symphony in C" was: First Movement: Maria Tallchief, Nicholas Magallanes Second Movement: Tanaquil Le Clercq, Francisco Moncion Third Movement: Beatrice Tompkins, Herbert Bliss Fourth Movement: Elise Reiman, John Taras This is what Kistrup describes in the original RDB casting, not only by type, but also by prominence: Before I saw NYCB regularly, Violette Verdy was cast regularly in the First Movement. Regardless of who was cast in the Second Movement, she was not a dancer to be overshadowed, and she had a mature and sophisticated quality that held sway. The casting at NYCB that I saw from the late 70's to mid-90's mostly followed was Kistrup describes in the first two movements: the leading dancer at the time danced second movement, without much regard to type: Farrell, who was to type, Ashley, Watts, Kistler, who brought a lightness to the role, and later, Whelan. The exception was Calegari, who I did see dance the Second Movement -- not a great fit -- but who was perfect in the First Movement, particularly in her performances in in the mid-80's. (Calegari, who more physically resembled Leclerq, so great in other Leclerq roles, found a second skin in Maria Tallchief's.) Third Movement casting was dominated by one of the greatest jumpers I've ever seen and a great favorite of mine, Melinda Roy, who was a soloist most of the time I saw her in it. Fourth Movement was almost always an up-and-coming corps member or soloist. I've never seen a Principal dancer in this role at any company; I don't think Averty or Cerruti were in the POB's mid-80's tour with "Le Palais de Cristal". "Symphony in C" was danced so infrequently in Seattle -- I hope Peter Boal heeds Kistrup's words: "In my view it is a basic human right to see 'Symphony in C'" -- that it's hard to find a pattern: in 2004, Carrie Imler and Louise Nadeau were cast in First and Second Movements, to type and to equal strength, with Principals Kaori Nakamura and Jonathan Porretta in the Third Movement, and Mara Vinson in the Fourth, about the most balanced cast I've every seen, all cast to their strength. In another performance, Imler switched to Third Movement with Batkhurel Bold (nickname: "Air Bold") and Jodie Thomas danced First Movement, and Thomas couldn't match the impact of Nadeau and Imler. Bold, with his height and long limbs, couldn't be more different than Villella or Porretta, and gave the movement a very different character. In yet another performance, the up-and-coming dancers Mara Vinson and Maria Chapman were cast in First and Second Movements, both to type, but I think they would have been move successful switching roles. There's something about Chapman that reminds me of Calegari in this ballet. Kistrup also notes, The Fourth Movement is not an equal movement in the work, and even if cast with a major dancer, which I've never seen, it's a much smaller role. Likewise the Third Movement's roles, which can be cast equally, are jumping roles, done mainly in mirror or parallel, with the dancers separated, and it doesn't have the gravitas of the strongly partnered roles in the first two movements, nor does the music support it. But the casting can even out the "imbalance" in the roles, the imbalance that makes it so theatrically satisfying. Balanchine always knew when to give the audience a change and room to breathe.

"West Side Story Suite" was the final work on the program. In the movie, I never thought that Russ Tamblyn's Riff was the central character of the Jets, let alone the movie. I always felt that Tony was supposed to be the One, but there was a void in the Jets when he decided to go straight. Riff, at least when played by Seth Orza, is the Alpha Male, and he is the central character of this work. For one, he's given a voice. (Tony's music to "Something's Coming" is sung from the pit. Maria is a pretty girl, not much of a dance or dramatic challenge for Sarah Ricard Orza.) What was most powerful about his performance was his constant awareness of the pack: it was as if every nerve knew where every one of his Jets was, even if those who weren't in his sight lines, and he was clearly the leader. (Lawrence Brownlee had a similar quality in "I Puritani" at Seattle Opera last year, the Gretzsky-like 360 degree sight.) Orza's fellow Jets and Karel Cruz's fellow Sharks were another matter. The characters in the movie had too much time and testosterone on their hands; apart from gang land, their lives were going nowhere. The men who danced the Jets and Sharks here are among maybe 300 men on the planet who can do what they do at the highest elite level and make a living at it, the polar opposites of the characters that they play. Most were more boyish than lethal. I can see why Postlewaite, the Tony in all performances so far and cast for the run, was eager to perform Riff; Riff is even more unlike Tony than Bernardo is, and, according to Peter Boal in the Q&A, he has a great voice. Carla Korbes was a smash as Anita, almost unrecognizable in a short black wig. She had flair and bite in the same phrase, and she rocked it in "America", a singing and dancing role, with Leanne Duge as a sweet foil. A real standout among the women corps was Rachel Foster, intense as Orza's partner in "Dance at the Gym".

2nd Intermission Cliff Notes: Rachel Foster was very touching in "Carousel, a Dance". Jerome Tisserand wasn't remotely Billy Bigelow-like: he was sweet, if not innocent. It was as if he were the French exchange student who was in love with Louise and didn't know the backstory about her parents. His dancing was a dream. Sarah Ricard Orza was spectacular as one of the demi women, with great energy and beautiful legs. "Take Five..." bores me, despite gallant dancing by Brunson and Lesley Rausch, cast against type. Maybe there's a Girl in Green in her future?

It's 1st intermission and we just saw "Slaughter on 10th Avenue". I couldn't wait -- Kari Brunson just danced and acted Striptease Girl like a Broadway Stah! She was glamourous and fabulous in the best sense, and she can act, in the best sense. Jordan Pacitti was Hoofer, and he had some wonderful stage moments, especially when he spotted Seth Orza's Gangster, and pleaded for his life. Such a young Brandoesque moment. And many bravos to Anton Pankevitch, who played Morrosine almost completely straight, a formidable rival.

A press release from Ballet West: SALT LAKE CITY – Ballet West will celebrate the 100th anniversary of the famed Ballets Russes with Treasures of the Ballets Russes, March 27, 28 and April 1-4 at the Capitol Theatre. Performances will also take place on April 7 and 8 at the Val A. Browning Center on the Weber State University Campus in Ogden, Utah. Established in 1909, Ballets Russes created a sensation in Western Europe, encompassing an amazing collection of some of history’s greatest choreographers, composers, artists, and dancers. This landmark artistic collaboration set in motion an influence that, in one form or another, has lasted to this day. “The Ballets Russes redefined the art of ballet,” said Ballet West Artistic Director Adam Sklute. “Through Serge Diaghilev's vision of dance, some of the greatest composers, artists, choreographers and librettists of all time were assembled, creating a new form of ballet that was complete theater. From that point on, ballets were no longer looked upon purely as vehicles for dance but as works of art.” For Treasures of The Ballets Russes, Ballet West will showcase the glamour, drama and dynamism of the Diaghilev vision with a program that features three unique works by a sampling of larger-than-life choreographers, designers and composers. In the September 7th edition of The New York Times, Dance Critic Alastair Macaulay called Ballet West’s “Treasures of the Ballets Russes” ‘an adventurous triple bill.’ This must-see program opens with the Ballet West premiere of Les Biches, Bronislava Nijinska’s chic and funny (and slightly scandalous) look at the 1920’s flapper scene. Set to a commissioned score by Francis Poulenc, with costumes and sets by Marie Laurencin, it is an early collaboration between women artists and considered by many to be the first feminist ballet. “Les Biches is a miracle of early 20th Century choreography,” said Sklute. “It poses huge technical demands on the artists, but the real challenge is to present it with absolute nonchalance and a sense of humor and chic.” Next is the Ballet West premiere of George Balanchine’s The Prodigal Son, a startling early work by one of the world’s greatest choreographers. In 1929, this exciting and moving tale danced to the music of Sergei Prokofiev, and with sets and costumes by the expressionist artist Georges Roualt, opened what was to be the last Paris season of Diaghilev’s Les Ballets Russes. The piece is a narrative ballet telling the Biblical parable of the prodigal son who snubs his father, is exploited and abandoned by his insincere friends, and then, left destitute, must return to his father in shame only to be embraced and welcomed home. “It is remarkable to think that Balanchine was only 24 when he created The Prodigal Son.” Sklute noted. “And already the choreographic invention just pours from him. The last scene is perhaps one of the most moving in all of ballet.” Finally, the revival of the ballet that “set Paris on fire” in 1909 – the fabulous Polovetsian Dances from Alexandre Borodin’s opera “Prince Igor” will end this spectacular program. Michel Fokine, one of Ballets Russes’ most innovative choreographers, incorporated the vigorous and athletic style of the Russian folk dance tradition into this work. With an emphasis on powerful male dancing and dramatic expression, Polovetsian Dances features highly recognizable music, including the tune that was later used in the musical “Kismet” for the song “Stranger in Paradise.” “It’s no wonder that Polovetsian Dances excited the cool Parisian audiences as it did in 1909,” said Sklute. “The build of the score is tremendous and there is almost animalistic abandon that builds to the finale of this dance.” Treasures of the Ballets Russes will be accompanied by the Utah Chamber Orchestra, conducted by Terence Kern. Evening performances begin at 7:30 p.m. March 27, 28 and April 1-4, with a matinee performance at 2:00 p.m. on April 4. In conjunction with the performances of Treasures of the Ballets Russes, Ballet West offers Warm Ups. These fun and informative discussions are free of charge to ticket holders and will begin promptly one hour prior to each presentation of The Tempest. Get the inside scoop on the evening’s program including background on the ballet, information on the choreographer and other interesting behind-the-scenes facts. At Warm Ups, members of the Ballet West artistic staff are available to answer any questions that the audience may have. Tickets range from $18 - $72 and are available through ArtTix by calling 355-ARTS (2787 or 1-888-451-2787, at www.arttix.org, or at the Capitol Theatre ticket office.

I agree with Leigh. There are so many "pros" for each of the pairs. You can't go wrong with any of them, and each will have high points unique to them.

What is really remarkable about the building is that it blends into the waterfront as if it's a working ship. In our mini-tour of Gothenburg our guide, a native of the city, did point out the old Opera House, but didn't say what it is being used for now. I always have the best intentions when attending figure skating events. I didn't take the tour because I was so sure I'd be there for the Saturday night "Macbeth", but it started at 6pm, and had I left right after the Men's Free Skate, it would have been cutting it close if everything went perfectly. After Jeff Buttle won the gold, I couldn't pry myself away from the medal ceremony. But I will be back!

That description just made my day!

Will this take place in the beautiful opera house by the water? I wasn't able to see the inside, but I loved the building, and hope to hear a performance there one day.

Liang has been choreographing a number of works recently for different companies and projects, and it's good to hear that his career is progressing. Thank you for your report and the musical note: it's a lovely piece.

Are they shared, though? I thought every choreographer wanted to put his/her individual mark on the subject, with the full array of $$$ costumes and sets. I haven't read the "Twilight" books, but now that Bollywood has allowed kisses in place of five minutes of two faces getting close and then tilting away at the last minute, ballet might be the appropriate medium for frustrated love and eroticism. Oh, wait, Tudor already did that.

Even when there's an explicit threat -- to choreograph if donors don't fork up the $$$ -- Boal manages to do it with humor and class I'd love to see some trading and borrowing among ballet companies whose directors choreograph for their companies. Works don't have to be masterpieces, structurally or any other way, to be challenging to dancers and/or be great vehicles for them, and several I've seen over the past few years have been excellent on their own. A lot of new ballets are in the same boat as contemporary classical music: seen locally once or twice, only to die out, no matter what their quality is. The ones that have multiple companies producing them are the ones that have a chance to survive. I think of works like "Doctor Atomic". Of course, classical music recently has a advantage with broadcasts, often over the Internet, where someone halfway across the world can hear and enjoy the works without having to travel.

emilienne, I hope that the next work you see merits the detailed, descriptive, and well-written and argued review you've posted here. It sounds like a disappointment.

Now I understand

(Ruing that I can't be in three places at once...) I have never seen a version of "The Concert" where the pianist begins to play before the ballet as part of the entrance -- it sounds like a scream!

Thank you so much for this wonderful review, chiapuris, with its vivid depiction of both characterization and dance. It sounds like a delightful ballet.

Did anyone see this production?

This summer, Miami City Ballet will be in Vail for two performances: 1 August: Rep TBA 3 August: Up Close: Edward Villella with Miami City Ballet This program is described as:

Ballet Talk is an audience site. What the audience knows about the Company is either public information, like descriptions of their season on the Joffrey website, which usually includes tours, the labor agreement on the AGMA site, or newspaper and magazine articles, or a review by a member. Any reviews of the Company would be found in the Joffrey Ballet sub-forum of the American Ballet Companies forum, like this thread, as would most news, although some might be in "Ballets & Choreographers", "Aesthetic Issues", or "Ballet News & Issues". You can use the "Search" function at the top of the page to look for site information on "Joffrey" or "Joffrey Ballet". We have a specific policy about news: it must be official. When we read or hear anything official about next season, it will be posted in one of the forums listed above. I'm closing this thread.