Helene

Thank you for bringing this up, Farrell Fan. I apologize -- I knew there was something I wanted to mention in the announcement. Although the name has changed from "Anything Goes" to "Everything Else Ballet," the link to the forum remains the same, and for anyone who has it bookmarked, you'll go straight to the forum.

Matthew Murphy's Blog Ranting Details has a new location: http://www.rantingdetails.com If you've bookmarked this site (added it to your "Favorites" list in your browser) or linked to it in any way, please be sure to update your bookmark/link.

When I saw La Sylphide in Denmark a few years ago in Hubbe's staging, I thought Tina Højlund was a fantastic Effy. She's not a "stop the ambulance" beauty, but she had spirit and was a very well-defined and fleshed-out character. (And her dancing was to die for.) Unfortunately, the Sylph, Gutrun Bojesen, didn't strike me as an Ideal, although the production itself was very clearly based on this notion. She seemed to me a more upscale version of Effy: more polished and with better pearls.

In Dancing for Mr. B, I think Kistler was trying to make a different point, and that was about acting or, as she specifically says, "mannerisms." She said that when she first danced Odette, Balanchine told her she was not in love with her partner, and her reaction was that this wasn't possible. She says that Balanchine knew she didn't have the experience to call upon as the basis of such an interpretation, and what he allowed her to be "was [her]self," something she repeats several times.

Thank you so much for posting this, Figurante It kept coming up on my Links search this past Saturday, but the actual link was broken on the El Paso Times site.

We apologize that our software is missing the feature that suppresses the "Reply" and "Reply

Welcome to Ballet Talk, Barbara. We're glad you found us, and we thank you for the compliment.

Since there won't be any changes to the Archive forums -- they are read-only -- there won't be any more subscription notifications for them. Your subscriptions will be dormant. To be notified when a new topic opens in "Ballet News and Issues," "Recent Performances," or any other forum, click on the forum name, and from the right-hand drop-down box called "Forum Options," click the bottom option, "Subscribe to this Forum." Then choose how frequently you'd like to be notified: immediately (default), once a day, etc. You'll receive an email telling you the name of the new topic. There's a link in the email that allows you to subscribe to the thread with "Delayed Notification" (periodically, usually that day). If you want "immediate" or "once a day", click on the link to the thread, and click on the "Options" drop-down box. From here, select "Subscribe to this forum" and you'll be able to choose frequency.

Is there notation specifically for this dance?

But is this really a tribute to ballet? Or a tribute any more to ballet than any of the other dance traditions that Morris has absorbed and transifigured into his own style? Ballet training is a staple of most modern dancers, and certainly more of this generation of Morris' than his original dancers. I've always found Taylor's and Cunningham's dancers to show more refinement in line, posture, and toe-point, although I don't think ballet was on their minds. In fact, one of my least favorite of Morris' company is Julie Worden -- one of the most popular dancers in the company -- particularly because she has more ballet in her than the rest of the ensemble. (She's always reminded me of a Taylor dancer.)

I read DanceWright's comment with interest: One argument for the great classical and Romantic ballets is that all great stories are universal. Dance Theatre of Harlem's Creole Giselle showed the same issues of caste and class that any setting in Europe does. The pain of betrayal Giselle feels is the same regardless of race. At the other end of the spectrum, clever girl wraps dumb boy around her finger and shows him who's boss, sometimes making great fun of the town's old weird guy, also transcends race. I think that's in pretty stark contrast to "decorative" elements that telegraph, "You only let us in at our own expense."

Welcome, to Ballet Talk, Deanna. We're happy to know what you've been these past few years.

We appreciate this, jeff-sh.

Out at PNB, Lucien Postlewaite.

Here's the thread! It branched off from the Nureyev and Demi-Pointe discussion. Enjoy!

The last time I checked the membership list, Lewis Segal wasn't on it, so I think we're safe

(Sorry)

The age of the computer isn't relevant here; the same thing happened to me within the last hour when I copied some quotes from the "Suzanne Farrell Spring 2007 Season" thread in Archives on my three-month-old Dell laptop running Vista. It has something to do with rich-format text. I'm trying to do some more research on this to see if there's a work-around.

It's not Firebird, but Suzanne Farrell Ballet performed "Scene d'Amour" from Bejart's Romeo and Juliet duirng the Spring 2007 season at the Kennedy Center. From the thread in our Archives, kwf wrote: tutumaker wrote: and Jack Reed responded: For many, these performances were the first live performances of Bejart they had seen. (A short excerpt of Farrell and Donn in R&J is shown in the Elusive Muse documentary.) Thinking about it a few months later, is there anything people who attended Suzanne Farrell Ballet performances would add?

Sometimes the best search engines miss news and reviews about professional ballet companies, dancers, and choreographers. If you find a link to an English-language article that we've missed, please email the URL to us using the "Contact Us" link at the top of the page. If we use it, we'll thank you for your contribution, unless you ask to be anonymous. Sometimes articles are published multiple times, and if we already have it in a different day's thread, we'll leave the original stand. Added 28 August 07: Links are posted in the morning Monday through Saturday Pacific Time (three hours earlier than Eastern Time) and Sunday Eastern Time. It takes a while to organize and make the posts. Please give us an hour after what looks like the last post in the day's thread has been posted -- we might find the link in the meantime.

Thank you for the link, jeff-sh! I hope you'll post your impressions when it appears onstage in our "Recent Performances" forum. I thought this particularly interesting: I'm sure Huys is doing a great job with the piece.

Welcome to the "Recent Performances" forum. We hope you'll post your impressions of the live performances you see. There are two guidelines for performance reviews and comments: *Please use a single thread for each week (ex: NYCB Spring Season, Week Two), program (ex: Royal Ballet Sleeping Beauty) event (ex: Fall for Dance), and if a company is performing on tour or a special venue, please tell us where in the title or subtitle (ex: Bolshoi Ballet, Bright Stream (London)). *Please use dancers's last (or first and last) names in reviews. I've received a lot of feedback that there's a lot of interest in trying to follow non-local companies, but it's difficult when first names are used. There are also generational associations with names; for me, I immediately associate the name "Ashley" with "Merrill," not "Bouder" (whom I love), and when they're in the same performance of Sleeping Beauty... Think of this as an opportunity to learn how to spell Nina Ananiashvili's last name (which took me ages)

The site is back up, and we've made some significant changes to Ballet Talk. First is that Alexandra and Leigh Witchel will take a more active role on the board again. Just as my job started to send me to another continent on a regular basis, technology opened a new window of time for Alexandra, and I am very grateful that she will share it with us. The look of the board has changed, too. If you look down the homepage, the most significant change is that we are going back the original forum structure, combining all reviews into a single forum, "Recent Performances," and we've moved the Company forums into "Archives." News from all companies have a home in "Ballet News and Issues." We've moved the recent threads from the Company forums to the corresponding threads. Ballet is a small world, and much of what affects one company will have impact on the other side of the ocean or globe. You can still read the threads in the Company forums. They've been made "read-only," but they are visible and searchable. If there are discussions that you'd like to revive, please create a new thread in one of the discussion forums. You can either link to the original thread, or PM or email us through the "Contact Us" link at the top of each page to do it for you. We hope that with the consolidation, forums are easier to find and use, especially for newcomers. Thank you for your patience during the downtime.