Helene

Cast SFB: Marshallin: Muriel Maffre Sophie: Elizabeth Miner Octavian: Yuri Possokhov Ochs: Helgi Tomasson Italian Tenor: Gonzalo Garcia Cast PNB-1: Marshallin: Patricia Barker Sophie: Carla Korbes Octavian: Olivier Wevers Ochs: Uko Gorter (but if he did the role, you'd feel sympathy for Ochs) Italian Tenor: Jonathan Poretta Cast PNB-2: Marshallin: Jodie Thomas Sophie: Mara Vinson Octavian: Jordan Pacitti Ochs: Flemming Halby Italian Tenor: Lucien Postlewaite Cast Arizona Ballet: Marshallin: Natalia Magnicaballi Sophie: Lisbet Companioni Octavian: Astrit Zejnati Ochs: Ib Andersen Italian Tenor: Michael Cook

Just a reminder that Saturday is the last day to post questions for Anna-Marie Holmes.

I just got the SFB 2006 Repertory Season Brochure in the mail, and the photography is simply stunning. On the cover is a gorgeous photo of Elizabeth Miner in the wings in warm-up togs, stretching out her left quad. Talk about Vogue cover material. That's just the beginning; there isn't a bad shot in the bunch. About half are attributed to Lloyd Englert, Morty Sohl, and Chris Hardy. The rest are by Erik Tomasson.

That may be the case for your local company, but while there was a trend in the early 80's to make arts management more corporate, thinking that MBA's could do a better job, the relationship between the board and artistic management varies widely among companies. The extent to which board membership is used for social purposes, including business networking has an impact, whether the board is run by a member of a company that is a key funder, the trust the board members have in the artistic team, the financial viability of the city/area where the organization exists, and how important the org is in the area's social life.

I can't believe I left off Balanchine's "Waltz of the Flowers."

The last section of Vienna Waltzes was performed to the Rosenkavalier waltzes.

Pennsylvania Ballet corps member Meredith Reffner is on the cover of the Fall 2005 Discount Dance Supply catalog. The "cover girl" link on the site hasn't been updated yet, but when it is, it should appear here: http://www.discountdance.com/cover_girl.php As of today, the profile is on Principal dancer Amy Aldridge.

It's located here: http://ballettalk.invisionzone.com/index.p...topic=20395&hl= If you can't find a post you made, click on your name, and then when the profile page opens up, click the "Find member's posts" link. A list of your posts will appear. I'm going to close this thread, since there are many replies on your original.

Kingdom of the Shades. Concerto Barocco. The end of Theme and Variations. The semaphore section at the end of Union Jack. The maypole dance in Ashton's La Fille Mal Gardee. The umbrella section in The Concert.

From Sleeping Beauty, the transition after the Vision Scene where Desiree looks for Aurora, the beginning of the Grand Pas de Deux, and the Apotheosis music at the end. Too much from Raymonda to list, but especially the Coda from the Grand Pas Classique. From Swan Lake, the second part of the Act I opening Waltz (from about the 4'30" mark); the brooding "Andante sustenato" that on the Slatkin recording is the second part of the Pas de Trois, but is often given to Siegfried; the Coda from the White Swan Pas de Deux; the Big Theme whenever it appears; and the entire "Scene finale." The Midsummer Night's Dream passage that Balanchine used for the Titania/Donkey Pas de Deux, and Ashton used for the Titania/Oberon Pas de Deux. All of the music from Ballo. Dance of the Blessed Spirits and the Pas de Cinq music from Gluck's Orfeo ed Euridice. There are some beautiful passages from Sylvia, too, but I don't have a recording of the ballet to name individual sections. If I listed all of the music that Balanchine used that wasn't written for ballet, this would be a very long post.

The lead male variations in Chaconne and Mozartiana. Oberon's Scherzo in Balanchine's A Midsummer Night's Dream. The female soloist in the Grand Pas Classique and the two female soloists in the Dream Sequence in Raymonda. (I've only seen the Bolshoi/Grigorovich production, and I'm not sure whose choreography they are.) Aurora's variation in the Vision scene. The piano solo variation from Harlequinade. The Four Seasons variations in Kent Stowell's Cinderella. The "jumping" variation from Ballo. One from Divertimento, but I'm not sure if it is Adams' or LeClerq's. All of them from Balanchine's La Source.

Merrill Ashley has tiny feet in proportion to her height, too.

That explains why they look so similar. Karz and Kathleen Tracey were similar in looks and build and were often cast in "bookend" roles, like in the first pas de trois in Agon.

I'm glad Dansuer85 brought up "Alice in Wonderland," because I would choose David Del Tredici for the music. I loved his music for "Alice," and I think if he did "Snow White," it wouldn't be too sugery.

Battle's voice is very lovely, but her voice type is not the rarest, and the type of roles written specifically for it are the ones that require voice quality, great technique, and taste. However, in my opinion, these roles don't require great artistry to be effective, as do the more varied characters sung by a Wagnerian/Strauss soprano or the more dramatic Mozart or Verdi roles and the majority of soprano roles written in the 20th century. There are few great lieder singers from her voice type, Elly Ameling being one of the exceptions. I've never thought Battle had much artistic range, which is why it has always surprised me that her ego was tolerated as long as it was.

Most of the out-of-print books that I've bought from Alibris.com are ex-library copies.

Because of copyright issues, we can't allow links to private servers. (Sorry, Giselle05 ).

Welcome to Blogs II: The Blogs Are Back! Over the past few months there have been several special events -- The Bournonville Festival, The Moscow International Ballet Competition -- that made us think that blogs would be a good option to have. So we've reinstated them for Senior Members in good standing. (100 or more posts). What Is a Blog? A blog is an online journal. You can think of it as a combination of a mini message board and a diary. Blogs are a great way to define your own space, as long as the entries and photos follow the guidelines listed below. A seasonal diary, ballet memories, essays, a year of ballet side trips, great stages, competitions, festivals are just some of the possibilities, and a single blog can span different "categories." Blogs are self-moderating as well as being moderated by the Ballet Talk board moderators, and you can decide whether or not you want others to comment on your blog itself or to comment on Ballet Talk. On Ballet Talk, blogs are in a separate "module" that in many ways works like the board itself, and there is a link to Blog at the top of each Ballet Talk page, between "Calendar" and "Ballet Talk for Dancers." There are different types of blog software, some standalone and some part of other software packages like ours, and blogs can look a bit different. Here are some sample dance blogs from other sites: Tobi Tobias' blog on ArtsJournal.com: http://www.artsjournal.com/tobias/ Rachel Howard's blog: http://www.rachelhoward.com/ Before you blog, here are a list of Rules and Policies: 1. Blogs topics are limited to ballet and other arts. That doesn't mean that you can't mention that the day you saw La Bayadere in Paris you visited Notre Dame, or that you saw a wonderful production of The Tempest at the new Opera House in Copenhagen, where the Royal Danish will perform large productions. But a blog shouldn't be a travel log or a cooking blog with a little ballet, film, or sculpture on the side. 2. All of the board policies -- including our policy that all news must be in print or announced officially -- are in force for hosted blogs, and they will be moderated. 3. For links to blogs that are hosted externally, those blogs should follow board rules. This is a handshake agreement, as the moderating team will not read every entry of every external blog listed. However, if we are alerted that the link is to an all-purpose blog, a political blog, an "All the Gossip All the Time" blog, or an attack blog, we will delete the link without notice. >Please remember there are members who are between the ages of 16-18 on this board. 4. You must be a Senior Member in good standing to create a blog on ballet and other arts from the audience point of view. Any other ballet-related topic (teaching, technique) must be pre-approved by a member of the Adminstrator team. You must be a Member in good standing to comment on the blog itself (where the blogger allows comments) or on the Board. 5. All blogs are self moderating, as well as being moderated by Ballet Talk moderators. That means that the blog owner may edit any comment made by another poster on his/her blog, may refuse any comment up front, or may delete any comment from the blog retroactively. >Bloggers may choose to refuse all comments or any comment for any reason, except where a moderator comments on policy. 6. Please note:: If we need to remove a blog because of policy violations, it may disappear without notice, and there is no archive. Please click any of the following links to go to the instructions: How to Set Up and Configure a Blog After First-time Set-up How To Manage Your Hosted Blog (includes posting entries and moderating) How to Notify People of a New Blog Entry How to Goto a Blog To Comment on a Blog (on the blog or board) Additional Options Please click the green link to go to the Ballet Talk Blogs Home Page.

The Pittsburgh Ballet Theatre board decided that to balance next year's budget, they were cutting live music. The orchestra has filed a grievance, saying that this was a forced decision, not a negotiated one.

It's perfectly fine to edit your post. I'm going to send all of the questions to Ms. Holmes via email on 21 August. Please feel free to add more over the next two weeks

Anna-Marie Holmes has graciously agree to answer questions about the production of Le Corsaire she staged for ABT and Boston Ballet. You may post your questions to the following thread until 20 August, and her answers will be published on the same thread. http://ballettalk.invisionzone.com/index.php?showtopic=20337

Anna-Marie Holmes has graciously agree to answer questions about the production. You may post your questions to the following thread until 20 August, and her answers will be published on the same thread. http://ballettalk.invisionzone.com/index.php?showtopic=20337

Anna Marie Holmes has graciously offered to answer questions about the staging of Le Corsaire she did for Boston Ballet and ABT. If you have a question for Ms. Holmes, you may post it to this thread until 20 August. She will review the questions and send us her responses, which will be posted here. There are some simple guidelines: 1. The questions must be on the topic of the staging and version, including music. 2. No questions about casting, unless they are about whether the version the dancer(s) performed was the correct one. 3. We hope you'll understand that it may not be possible for all questions to be answered. There was a rousing discussion on the ballet in the ABT forum, and we hope you take this opportunity to ask the questions you still have about the production.

I think it depends on the viability and marketing of his current product. When he first went public -- after he had established steam -- he got an IPO lift until the value settled. However, it's fairly clear that the ballet market is rather bearish at the moment, with everyone waiting for a Google choreographer, someone whose IPO price can increase by many factors because of the strength of the product in the post dance boom .bomb environment.

The friend who initiated me into the cult of Squat told me that by the late 70's, it had already been established, and he suspects the origin is in the hippie era.