Helene

This is such sad news. She was one of the greats among Paul Taylor's dancers, and her reputation as a teacher and mentor is stellar. From the end of the NYT obituary, Rest in peace, Ms. Cochran, and my condolences to her family, friends, and students.

Rebecca King Ferraro and Michael Breeden interviewed Isabella Boylston for their podcast "Conversations on Dance": http://conversationsondancepod.com/2017/10/16/isabella-boylston-american-ballet-theater-principal-dancer/

Rebecca King Ferraro and Michael Breeden interviewed Patricia Delgado from Vail, her first venture after retiring from MCB, about Vail, her transition to New York and as a stager of Justin Peck's work for their podcast "Conversations on Dance": http://conversationsondancepod.com/2017/10/10/patricia-delgado-former-miami-city-ballet-principal-dancer/

Rebecca King Ferraro and Michael Breeden interviewed Gonzalo Garcia for their podcast, "Conversations on Dance": http://conversationsondancepod.com/2017/10/02/gonzalo-garcia-new-york-city-ballet-principal/

Rebecca King Ferraro and Michael Breeden interviewed Gonzalo Garcia for their podcast, "Conversations on Dance": http://conversationsondancepod.com/2017/10/02/gonzalo-garcia-new-york-city-ballet-principal/ (I'm cross-posting in the SFB forum.)

Dissing the discussion is against our policy. If you think that a post has crossed the line of our policy, use the "Report post" option at the upper right of the post, and we will review it. The vast majority of injuries are not detectable by the audience, whether the dancer is injured before the performance starts or during the performance.

While it is not a given that [choose a minority] is low-income, coming from a low-income family usually means that the resources are most often not there for dance training, and parents are skeptical about dance as an opportunity for college or career. Margaret Mullin interviewed Diane Jacobowitz, the Executive and Artistic Director of Dancewave in NYC, for her podcast "Beyond the Barre": http://www.premierdancenetwork.com/interview-with/ Dancewave provides dance scholarships, training -- including in the NYC public schools -- consolidated auditions for colleges and universities, multiple performing companies, and it involves parents. It may be the most holistic approach to education I've ever read about, and it's dedicated to, what we love to talk about in the IT world, continuous improvement, except they also walk the walk. If I could, I'd nominate Jacobowitz for Secretary of Education.

I think there would have been serious hating on Martins had he not recognized Whelan's talent after being with and creating for Heather Watts for so long and had he rejected her because she wasn't orthodox. I found it interesting watching early Whelan that the first thing she did that floored me was a Watts specialty: Novice in "The Cage." I don't remember what rank she was then, but she owned it. I'm also so glad he gave her Aurora. Except for Fugate's "Vision Scene," which I loved equally, Whelan was my favorite Aurora at NYCB in "Sleeping Beauty"'s first seasons. (I've only seen it once since.)

From Houston Ballet's Facebook: and I hope it's transportable and can be brought on tour if needed. It might open up opportunities for additional venues in the future.

In North America and much of Europe, the trend in opera has been to restore cuts that are centuries old, including those made by the composers. (Different versions of "Don Carlo" for example.) The only exception has been to continue to leave out the cut ballets, like in "Don Carlo," which, having seen enough dance in operas, is a blessing in disguise, in my opinion, and many of them were added for convention only, ie, a premiere or run in Paris. The Soviets not only made cuts to the Petipa classics, they added characters, the superimposed a happy ending on "Swan Lake." that changed the meaning of the ballets. That over-three-hour Le Corsaire that the Bolshoi premiered in 2007 restores cuts that made the ballet a lot longer than the Soviet version.. My understanding is that the reconstructed "Sleeping Beauty" the Mariinsky did in 1999 was quite a bit longer than the Sergeyev from the early '50's. It's not always a one-way-street In home theaters, and it has little to do with the attention spans of young people. it may have had to do with a change in the audiences from aristocrats with time on their hands to working people who had to get up in the morning. For touring, there are financial constraints of the presenters -- and I'm sure they would accept a big fat check from someone who wanted to pay for those additional costs -- as well as companies that create touring productions on their own. For example, I saw the Cuban National Ballet's touring production of "Don Quixote" that looked to me to be missing sections that cubanmiamiboy has described or provided links to along with stripped down scenery that worked for touring logistics, including having to be adaptable to many size theaters and technical configurations and capabilities.

The Bolshoi's "Le Corsaire" was a co-work of Ratmansky, who choreographed in the style where the notation was missing, and Burlaka, who was using the Stepanov notations. Ali wouldn't have appeared in the original sources that Burlaka used. It's a stunning production, and I only saw it in the truncated version that toured the US, cut down to three hours so that it didn't go into overtime.

Ballet Arizona just tweeted a link to a new promo video:

News from today's Links about Nutcracker run venues: http://balletalert.invisionzone.com/topic/43016-monday-october-9/?tab=comments#comment-388528

It made me get out of bed very quickly and not have to rush to work, as it was ~8:05am. No, ~8:10: Morning Music started after the top-of-the-hour NPR news summary.

That wouldn't be impossible for a defile, but that's abiut it. It used to be the theme music for Morning Music on WNYC. Once during a fundraising drive host Steve Post played it over and over and droned to it like a kid making fun, and he threatened to continue until the show's daily goal was met. I always had to stop myself from calling in, because the station took that as a vote on the show, and I needed to "vote" for Tim Page's or John Schaeffer's afternoon new music shows.

She also danced in Rubies corps. She was listed in last year's Pacific Northwest Ballet School graduation program as one of three apprentices at PNB, along with Genevieve Waldorf and Christopher D'Ariano as apprentices, but only he has been listed in the roster as an apprentice, and both Waldorf and Ruf Maldonado are marked as members of the Professional Division in the "Jewels" programs.

Crystal Pite is in da house (to workshop, then cast, then teach):

There are also composers who've had collaborations with specific choreographers, like: Willems with Forsythe Talbot with Wheeldon Muhly with Millepied After not hearing the Poulenc Concerto for Two Solo Pianos since Peter Martins' ballet for Watts, Soto, and Andersen, two young choreographers are using it: Troy Schumacher and PNB soloist Ezra Thomson, who will make his company main stage choreographic debut with that ballet next Spring. In addition to composers, some pieces are used for multiple works, like Part's Spiegel im Spiegel.

I don't remember who choreographed the "Bolero" that Pennsylvania Ballet brought to BAM, but I was just happy to be able to see Debra Austin in it. I think that the best rendition of "Bolero" that involves movement, but not dance, is Stairway to Lenin.