Helene

Here's a link to the story in The Saratogian: http://www.zwire.com/site/index.cfm?newsid...64109&rfi=8 According to the story, the people were by the concession stand near metal that conducted the electricity, and They were not on the lawn.

The Costa Mesa casting is listed as: October 7, 2008 7:30PM Don Quixote Novikova-Sarafanov October 8, 2008 7:30PM Don Quixote Vishneva-Fadeev October 9, 2008 7:30PM Don Quixote Tereshkina-Lobukhin October 10, 2008 7:30PM Giselle Vishneva-Fadeev October 11, 2008 2:00PM Giselle Osmolkina-Shklyarov October 11, 2008 7:30PM Giselle Nioradze-Korsakov October 12, 2008 2:00PM Giselle Lopatkina-Ivanchenko (Just a note that casting has a tendency to change around the closer it gets.) I'm not a big Vishneva fan, but there are many on Ballet Talk who are and who've seen much more of her at ABT, and I suspect you'd get a lot of advice to see her if you have a chance. Novikova reminded me a bit of Kay Mazzo when she danced "Rubies' at City Center this spring, and I could see her as Kitri. I really liked Tereshkina's dancing, but none of the roles I saw her in was similar. For the Kirov watchers, is Lopatkina a Giselle? For that matter, is Vishneva? I wish I could see what Shklyarov does as Albrecht. (Hopefully someone in Chicago or So Cal does and writes. Or that I get sent there on business during the run ) From what I've seen of Korsakov, I like his dancing but he's kind of mellow. He's not cold or distant, but I've never seen him be excitable. And Albrecht needs to register something. If I had to choose one of each, I'd pick the Tereshkina/Lobukhin "Don Q" and the Osmolkina/Shklyarov "Giselle" but I'm not sure anyone else would.

Has to be grape.

I'm very excited for Polunin -- he's a gorgeous dancer with wonderful, clean form: a real classicist. Revie's Carabosse was one of the best performances in a theater I've seen in ages, and I'm glad her talent is being recognized.

From the articles in Links: Summer performances (ex: PNB in Vail) Teaching at summer residencies Guesting (ex: Ballet Arizona dancers performing with Novaballet, a contemporary company) Choreographing Also in August some companies are back in rehearsals for September performances and/or to learn roles from stagers who are available then (for programs later in the year).

I'm afraid my movie going these days is limited to planes, but while I always admired Glenda Jackson's portrayal when it aired on PBS, I loved the last scenes of "Elizabeth" after Cate Blanchett banishes Essex after finding out he is married and transforms herself into the portrait.

And I'm getting back just in time for it! Three days later rg will present Ballet 101!!!!!!!!!!!!!

"Elusive Muse" was Farrell's own voice. "Holding on to the Air" had Toni Bentley's authorial voice over Farrell's.

I always forget about this book until this thread is revived. I think all of my anxiety is focused on Robert Caro's progress on the volume about Lyndon Johnson's presidency.

No, but there's a reason the curse in China is "May you live in interesting times."

I love Besmertnova's. But with a few exceptions, I much prefer the Kirov version, and love Kolpakova's dancing to death.

Some others off the top of my head: Le Palais de Cristal/Symphony in C Gounod Symphony various Raymondas: Pas de Dix, Raymonda Variations, Cortege Hongrois Caracole/Divertimento No. 15 A Steadfast Tin Soldier Divertimento on Baiser de la Fee Hybrid tutu: Stars and Stripes Romantic tutus: Liebeslieder Walzer, Part 2 Emeralds

Thanks to the heads up from Arizona Native for the link to the 2008-9 Season: http://www.balletaz.org/eoffice/taf/_balle...p;vurl=balletaz A Midsummer Night's Dream Oct 31-Nov 2 The Nutcracker Dec 12-28 Romeo and Juliet Feb 12-15 Masters of Movement Apr 3-5 Mother's Day Celebration May 8-10 The Best of Balanchine Jun 12-14

Just this morning I read a small article about how Nicole Kidman canceled a dinner engagement after seeing "Breaking the Waves", because she was so upset by it she went home, crawled into bed, and cried. I then had a momentary flashback about that movie, which I had hoped to never think about again, I found it such a waste of time. I agree with all of your adjectives for his films, to which I would add "pretentious".

"Perfectly Normal" (1991), from Canada. I suspect it opened in just a few US cities. It did get a very nice review in The New Yorker when it played in NYC, which was the first time I saw it, and it co-starred Robbie Coltrane, but a movie about an opera-loving hockey goalie was unlikely to appeal to the zeitgeist in the US.

Not dancing, but according to a PNB email newsletter I just received, Jordan Pacitti is launching his fragrance line, Jordan Samuel, on 17 July from 7-9pm at Polite Society (1924 1st Ave., Seattle). This is a page from his website: http://www.jordansamuel.net/about.html

I'm never sure what moderate means without a price range, but Leigh and I stayed at Des Trois Gares hotel, which was a 10 minute walk from two Metro stops and a 7 minute walk to Opera Bastille. The standard rates are 75-100 Euros, depending on the room type. The rooms were plain, clean, and comfortable. The people who worked there were very nice and very patient speaking English to me, even after I figured out how to say my room number in French without a melt down. I would stay there again in a second.

This morning I opened up today's Deccan Chronicle, and there, on the arts page was not only an article on "The Big Dance" in London -- expected in an Indian newspaper -- but at the top of the page in "World" a listing that and a photo.Halfway across the world: how cool is that?

I hope she's dancing with the angels.

Batkhurel Bold and James Moore will guest tonight (28 June) with Ballet Theatre of Indianapolis at the Zionsville Performing Arts Center. http://www.indystar.com/apps/pbcs.dll/arti...47/1023/LOCAL04 PNB alumnus Oleg Gorboulov is co-director of the company (with Oybek Tashpulatov). Also guesting are Brooklyn Mac, Janessa Touchet, and Ronnie Underwood.

I beg your pardon

Phillip Otto is the new artistic director of Huntsvillle Ballet Company, and Rachel Butler-Otto is the school's new director. http://www.huntsvilleballet.org/stories.ph...8/05/01/5150259

As much as I love Taranda -- and I have all three DVD's, so luckily, the only thing I have to choose is the sequence in which I watch them -- the Kirov version with Kolpakova is my favorite ballet DVD. The dream sequence is sublime, as is Kolpakova.

I found some links to reviews and discussions on the three versions, but it would be great if more people weighed in: Kirov: Natalia, EAW, atm711, Cygnet, and I weighed in on this thread (scroll down for reviews vs. delivery schedule ) http://ballettalk.invisionzone.com/index.p...monda&st=15 Bolshoi: http://ballettalk.invisionzone.com/index.p...st&p=162457 http://ballettalk.invisionzone.com/index.php?showtopic=20488 http://ballettalk.invisionzone.com/index.php?showtopic=20437 Two words for either Bolshoi version: Gedeminas Taranda

Dancers learn steps almost always by having people demonstrate. The people from the Balanchine and Robbins Trusts, who are sent to stage works, are often called repetiteurs. (I've never seen "repetituese" in a program.) In Russia, most, if not all, of the dancers, at least the promising and established ones, have a mentor, who coaches them in their roles. For example, in the "Sacred Stage" video, you can see Yulia Makhalina being coached by her mentor, and then coaching a promising newbie. For a work brand new to a company, unless there is someone in the company who knows the work -- for example, Peter Boal has staged a number of works at PNB that he danced -- someone is hired from the outside. That person (or people) teaches the ballet. Often second and third casts, schedules permitting, will watch these rehearsals and learn from the sides. Sometimes a choreographer, like Maillot for his "Romeo et Juliette" this year, will send a stager(s) ahead of time, and then will come to work further or fine tune the work. Another alternative is that a company may have done a piece before, and an internal Ballet Master will set the corps and demi-soloist work, but some of the Principals may have additional coaching sessions. For example, Suzanne Farrell was in Seattle for a few days a couple of years ago, and worked with at least some of the Principals in "Diamonds". Each stager works differently. Some have muscle memories like elephants. Francia Russell relies upon her notes. A number of stagers who have been at Q&A's, like Russell who used to moderate them, are wary of using video as much more than a memory aid, because they to a last person have said that mistakes creep in, and there's too much risk in following a video blindly. Not many stagers seem to rely on notation, which is often remarked upon as being more appropriate for modern dance, but Doug Fullingon is an expert in Stepanov notation, and has done beautiful reconstructions from them. Ballet biographies are full of descriptions of being taught from one dancer to another, from Primas who sought out Karsavina, to corps members who teach each other the roles just before the curtain goes up to cover for injured colleagues. For re-working, often the company Ballet Masters are responsible for teaching and re-teaching, and there's a lot of peer-to-peer teaching as well. Of course, when there's a Balanchine around, and no one remembers the steps, he might just toss the old version and make a new one In nearly every pre- or post-performance Q&A I've seen, this question comes up. So you're not alone in wondering. I'm sure some of the people with professional experience could comment further on their experiences.