Helene

"Seattle Weekly" doesn't give sandik enough space to go into great detail, but she is able to give contrasting descriptions of the two casts, if you're curious and/or still need to make a decision: http://www.seattlewe...eo-et-juliette/

From a link posted to PNB's Facebook Page, a new video of short interview with Noelani Pantastico and Lucien Postlewaite on coming back to dance R&J:

Not only that, every small Russian touring company brings "Swan Lake," if it's not "Nutcracker" season, and the Mariinsky tours with it often. (I can't remember if the Bolshoi does as well.)

Juliette in Maillot's "Romeo et Juliette" wears pointe shoes, but that doesn't make it ballet. Pointe shoes are a clue, but ballet was an art for centuries before pointe shoes were invented and pointe technique became developed and prominent. Or as Marc Haegeman posted over a decade ago, Since we're a site whose mission it is to discuss classical ballet and its development into neoclassicism, here are some links that address the question: Classicism forum Classicism #2 - definition and uses

PNB published a video of Carla Korbes dancing the Act III solo:

I see Nikiya as being happy twice: in her PPD with Solor, at least in part, and where she receives the basket. If she doesn't show that she thinks it's from Solor, then there's no way of making sense of why she embraces it, as opposed to it being a dance prop, and it's the only way for us to see what it represents: her assumption that Solor will remain true to her, even through she's just learned he's engaged to Gamzatti and has been behaving like an engaged man, if publicly, like Radames in "Aida." She dies before we see whether he'd have put his money where his mouth is, like Radames, or whether he's a weasel, like Albrecht, at least Act I Albrecht.

Since this poll isn't about anking a pre-deined list or choosing "favorites" or "bests" where additional info would affect the choices, there's no limit to the number of poll threads you can create to capture what we've seen.

According to the Balanchine Catalogue: About the two-act/full-length version that premiered in 1965 it says, About the earlier Pas de Deux, the Catalogue states: According to "Repertory in Review," Reynolds wrote (p. 232): She notes on p. 233 that, "n 1973, restored some music that he had previously omitted, now using the complete score," and that 32 children replaced the small group of children in the original. The new choreography included a polonaise for the children and a tarantella in Act I, the "cortege des invites." She quotes Shaun O'Brian (p. 234),

For me that was "Napoli." I don't know what happened to my folder of PNB programs before 2001, but I found Jack Anderson's review from PNB's 1996 performance of "Paquita" during the company's last tour to City Center: I didn't check this off, because I hadn't seen the Lacotte reconstruction.

From Joseph Mazo's "Dance is a Contact Sport," (pp. 136-7) where he describes a rehearsal where Jacques d'Amboise and Melissa Hayden's shoulder sit lift doesn't start out so well: Generations of male dancers were likely nodding when they read this. I love that Mazo describes it as "economy of movement."

Michael Popkin conducted this interview with Robert Fairchild last year, and it was published in DanceView Magazine, a Quarterly Review of Dance, Vol. 29, No. 2, Spring 2012. It's now online in Michael's blog for danceviewtimes. http://danceviewtime...ts-young-s.html I was particularly struck by this: I had guessed wrongly that there were a few competitions a year, like YAGP and Prix de Lausanne, with local qualifying rounds, but I had no idea there was a circuit that was this organized and that the judges were so hands on, and that there was such an opportunity to work with choreographers and meet people outside the ballet world: I know that judges at competitions can be scouting for talent for their own schools and/or companies, but it's a bit scary that a 16-year-old competitor could get world-class coaching and mentoring that might not be available from the company that hires a dancer. There are also some fascinating things about partnering. Today I listened to David Hallberg talk about the importance of the scholarship that's been created in his name, because often male dancers are the only one in their studios that aren't strong enough to give them the support and instruction. I know it's important for boys to be in classes with each other, but Fairchild describes the opportunity of being the only available partner. Among other things he talks about dancing with his sister and a number of his NYCB partners, being taught by Peter Boal and being coached/mentored over the phone by Boal, working with Ratmansky, his role models in ballet, his dog, and the highlights of his career to date. Fairchild is thoughtful and articulate, and Michael's questions are the important ones. It's a fascinating read.

But they're OUR abbreviations!

In general, no, but due to common usage, sometimes they slip out as part of other writing. I can't tell you the number of times I wrote "ETA" and had to go back and change it to "Edited to add." I do promise to make any post that reads, "R u going to SL?" invisible, unless it's from another kid in the Welcome thread that announces that she's here to learn about pointe shoes.

Here are the photos of Muravieva that Marcmomus has sent to us . Giselle Act 1 (1863) Giselle Act II (1863) Giselle Act II (Guest)

For anyone who wants more opinions and descriptions, Nakamura and Moore danced opening night last Friday, and they were reviewed in "Seattle Times." sandik saw both couples performing in NYC, and her review should be published in "Seattle Weekly" by Wednesday.

David Hallberg was in Arizona for a short feature in which he talked about the new David Hallberg Scholarship at the School of Ballet Arizona; it's a scholarship for male dancers. There are some short clips of his Bolshoi appearance in the Sleeping Beauty HD and one of him as a student in the studio in a solo to "Dance of the Blessed Spirits." http://www.azfamily.com/video/?id=189698501&sec=507182 (There's a mandatory commercial at the beginning.)

ITA = "I totally agree," but I think, as used, it meant "in total agreement."

I moved seven posts from this thread to a discussion of comparing generations: It's a great topic in itself.

I found this on YouTube; "Grand pas Classique. Different generations of dancers. Choreography. Technique. Dance.", a compilation of five ballerinas performing the same variation, was posted yesterday. The five ballerinas are: Oksana Skorik. Diana Vishneva. Elisabeth Platel. Gabriela Komleva. Marina Kondratieva. First impressions: I particularly loved Komleva's version; I found it charming and evocative of Petipa female characters. Kondratieva didn't charm me as much, but in that fiendish diagonal of turns from plie/attitude front/plie/turn, the way she went up and made each turn bloom following the music phrase was great. I can't bear the extensions that Skorik and Vishneva do in this, but I hadn't realized how strong Skorik's feet were before. Platel is very proper, but I prefer a little more salt and pepper.

Balanchine did one full-length "Raymonda" for the Ballet Russe de Monte Carlo, which had its premiere in 1946 in City Center, according to the Balanchine Catalogue, At the Franklin 95th birthday program at Works and Process at the Guggenheim in 2010, members of ABT II performed excepts from Franklin's staging of "Raymonda." The attribution in the program is "Choreography by Marius Petipa...Staging by Frederic Franklin after Marius Petipa." I don't remember him saying anything about the influence of Balanchine's production as a source of his Petipa; I think if he had, David Vaughn would have mentioned this in his detailed description of the evening for danceviewtimes. He was to be Balanchine's Jean de Brienne in the premiere until he was injured, so he'd know the production well. The excerpts performed at the Guggenheim were the Czardas, and a male and female variation. Unfortunately, I don't remember which variations, although I think the Female Variation was the Act III solo, and Balanchine did original choreography for one male and one female solo, which may have been the ones performed, but there's no indication that Balanchine ever re-choreographed the Czardas. There maybe people here who saw the Ballet Russe version in NYC. After that, all of the others were one-acters. To have seen the Balanchine three-act version...

His face looks amazing for someone whose attacker tried to destroy him. Let's hope his eyesight continues to recover.

If you are going to see one of the evening R&J's, Saturday night is the only time to see Carrie Imler on ths tour, as Nurse, which is a more prominent part than in other productions. I haven't seen Foster's Nurse, and I'm not comparing them.

Congratulations to Mr. Losada! How tall is he? He looks to have a similar body type to Karel Cruz, who's well over six feet tall. They could boost the Cuban economy if they could export what makes their women into core machines. I hate the extensions that Losada's partner does as Diana, especialy when her 90-degree arabesque is so alive, but the core is so strong that she doesn't look greatly out of alignment.

I just scrolled to see that they're offering a 20% discount for buying tickets to both programs: http://www.nycitycenter.org/tickets/productionnew.aspx?performanceNumber=6711

There's still nothing like live theater.