Helene

kfw, I had forgotten about the toad. I don't think that I've ever seen a production live where the toad didn't get laughs. I wouldn't be surprised if that was intentional on Wagner's part, pride coming before the fall and all. It also reminded me that practically everyone I knew in NYC had that copper wine cooler/Duralog/NYT holder from Pottery Barn that served as a Tarnhelm/toad holder.

Sadly the volume issue was similar last summer in Seattle: I thought Kobe von Rensberg's Loge was beautifully crafted and a highlight, but I don't think I read a review that didn't complain that he was underpowered.

I loved the production, but I saw it in HD, where the director did plenty to break up what might have been a tedious set in the house, and where close-ups eliminated the static quality of singing from the platform. I'm fine with realistic productions -- Seattle's is as realistic as they get -- but I'm agnostic as long as the production makes sense. My favorite sets of all the Rings I've seen so far are those for the State Opera in South Australia's production in Adelaide in 2004. (Only one miss I could see and great stuff for the rest.) From the viewpoint of a movie goer, I loved the set so much I'd like to live in it; only the rainbow looked weak on screen, but might have been more impressive live. Moving around the set and climbing it would guarantee excellent core strength within a month. I could also see how Bryn Terfel could look squat in the theater when he didn't on the broadcast. It isn't the first production I've seen in which the Alberich was more attractive than the Wotan, but I thought Terfel smouldered. Flying in the Rhein Daughters wasn't original, but having them swim and gather on the rock shelf was beautifully done. They were luscious. Lepage should get a standing ovation just for their costumes. The rest of the costumes that didn't have breastplates looked a bit Cirque du Soleil-ish to me. They worked really well except for Erda -- Patricia Bardon looked like a platinum blond Morticia Adams -- but at least she wasn't a green-faced torso. Too many of the wigs were right out of "Anne of Green Gables", although I loved that there were a number of redheads. I would lose the falling/sliding entrances for a handful of characters, and I agree that the death of Fasolt lost impact when people giggled as he slipped off the set. Vocally it's hard to judge because the mikes don't differentiate between strong and weak voices, but for timbre, Eric Owens' voice was velvet. The giants (Franz-Josef Selig and Hans-Peter Konig) sounded like equals. Mime's voice was clear; I hope Gerhard Siegel sings the "Siegfried" Mime next season. Almost all of the women sounded wonderful: Blythe, Harmer, the Rhein Daughters; I was least impressed with Bardon, whose tone sounded thin from where it was miked. I heard Terfel last year in recital, and his vibrato was a lot bigger than then. I was very impressed by how he took an intimate, text-driven approach, and if the Entrance to Valhalla wasn't as grand as I've heard, it was a great relief after hearing years of bellowing and strutting. I can't wait to see his "Die Walkure"; the foreshadowing was there at the end of "Das Rheingold". Donner really is a twit. I think "Das Rheingold" is mostly Alberich's show, and I wish Alberich would get the final bow, not Wotan.

More films from yesterday: "The Strange Case of Angelica": This film by Manuel de Oliveiras, about a photographer who, because of a chance encounter, is summoned in the middle of the night to photograph Angelica, a bride who died a few days after her wedding, has the feel of a Bunuel film, by the way it treats time and in the trapped quality of repeated social interaction. (In Portuguese) "Cell 211": This looks like a big-budget movie, but without the booming, silly soundtracks of most of them. In order to make a good impression, a newly hired prison guard tours the prison the day before his start day and is trapped inside during a prison riot. An unknown, he then pretends to be a new prisoner. While it is a stretch of the imagination to think that he can suddenly be inseparable from the bad-ass who runs the prison, it's worth the occasional roll-eyes to see the politics and maneuvering on both sides. (In Spanish and Basque) "Ugly Duckling": I'm not sure what the technique was for this movie by Gari Bardin: the only animation is the soul/spirit of the Ugly Duckling, while the rest of the characters were three-dimensional but didn't look like claymation to me. Set to music from "Swan Lake" and "The Nutcracker", with lyrics added!, this take on the Hans Christian Andersen tale was a delight. Although not the brightest bulb in the chandelier, it's a great take on social conformity and bullying, and although most of the kids in the audience squealed with delight for the first hour or so, as a warning, it has a scene worse than when Bambi's mother is killed. It's beautifully done in every way, and it's the most astute movie for kids I've ever seen. (In Russian) "The Arrivals": A documentary about workers at the CAFDA immigration center in Paris and their clients/potential clients who seek asylum in France. It focuses on the work of two social workers and a legal person and three families and one pregnant woman who are their clients. What's striking is the contrast between the behavior of a traumatized clientele and the needs of the CAFDA workers for the clients to behave as, at most, normally stressed people in order to follow to stringent rules of the various bureaucracies and law enforcement agencies. What's clear is that the only thing between them and the millions like them who might qualify is the ability to get to a country where they are then scrutinized by the system. (In French) Now off to the opera HD!

Since ViolinConcerto may be online sporadically while overseas, I'll answer: the V&A is the Victoria and Albert Museum in London.

Thank you for the report, ViolinConcerto, and enjoy the rest of your trip!

I've been attending the Vancouver International Film Festival this week -- it runs through 15 October -- and it's a wide mix, as always. I usually try to see foreign films that aren't likely to get a theatrical release, but it doesn't always work out schedule-wise, and some, like Breillat films, I don't want to wait for. This is what I've seen so far: I posted on a film version of Angelin Preljocaj's "Snow White" in the Modern and Other Dance forum. "Rio Sonata" is a wonderful documentary on the Brazilian singer Nina Caymmi. She's quite a character and easily carries the film, and there's plenty of her splendid singing, from earlier footage and as she records live during the filming. There are some short interviews with her father and brother, song writers Dorival and Dori Caymmi, Gilberto Gil, Milton Nascimento, Antonio Carlos Jobim, Maria Bethânia, Joao Donato, Mart'nalia, Erasmo Carlos, Sueli Costa, and Miùcha. It's a big love-fest, but her singing justifies it. (In Brazilian Portuguese) "Sleeping Beauty" is Catherine Breillat's latest movie, her take on the fairy tale. Like with most of Breillat's films, it will take me a while before I digest it, and chances are, it will be in tonight's dreams. It's full of ambiguity and an undercurrent of danger, and while there isn't the repetition and regression of dreams, the jolting cuts and instant changes are reminiscent of dreams. The main character, called Anastasia, is under the spell at six, and will sleep 100 years and wake up at 16. She is six for most of the film, and Carla Besnaïnou plays her smart as a whip. (In French) "Family Tree" is a fascinating story which opens with the aftermath of a funeral for a 50-something son, which his father does not attend. "Why" is answered in a very surprising way. It was beautifully acted, and the score is Wagner -- the patriarch blasts Wagner early each morning -- and a Mozart adagio. (In French) "Palimpsest" is a documentary that follows the nonagenarian daughter, Marina, of Gustav Spet, a philosopher and professor who once studied in Germany under Husserl and was arrested and sent to Siberia in 1935 and executed in 1937 for allegedly promoting a pro-German fascist organization in the Soviet Union. She and the filmmakers tell the story of both sides of the Spet family, and Marina Spet's journey to help the filmmakers understand her family, what Moscow was like when she was growing up, and her father's importance as a teacher and philosopher. Although his work "disappeared" after his arrest, some of it has been recovered. The film feels a bit unedited, and is at times plodding, because it lets Marina tell the story at her own pace and what's important to her, and after a while, that almost becomes the point. (In Russian) "Princess of Montpensier" is a big, long (over two-hour) costume drama directed by Bertrand Tavernier, based on a story by Madame de la Fayette. I'm still shaking my head with disappointment that this was a Francophone "BBC Goes Hollywood". The lead could just as easily have been played by Keira Knightley, although Mélanie Thierry has fuller lips and breasts, both well highlighted. Her husband (Grégoire Leprince-Ringuet) looked and moved like a yuppie lawyer, her charmless true love (of sorts, Gaspard Ulliel) was little more than randy, and the Older-Man-Who-Spends-Most-of-the-Movie-Treating-Her-With-Scornful-Disapproval-While-Pining-Away-for-Her (Lambert Wilson) could not have been more bloodless. (Ben Cross would have smoldered properly.) The only interesting men in the movie -- the women were few -- were, predictably, the rakish Duke d'Anjou (Raphaël Personnaz), and the piece-of-work father of the yuppie Prince, who was, at least, smart. It came complete with a big, blasting Hollywood score, and a number of bloody battle scenes. I do have to give Tavernier credit, though, for keeping up the tension in the last half of the movie. Otherwise it would have felt 10 hours long. (In French) "Curling" is a quietly wild movie about a man who raises his 12-year-old daughter in close-to-isolation in Quebec, directed by Denis Côté. The way he treats her is brutal, but not in the obvious way, and her ways of coping are surprising. Father and daughter are played by Emmanuel Bilodeau and his real-life daughter, Philomene. In a Q&A an audience member said the movie reminded him of "Fargo", and Côté said he'd heard that a lot. Apart from the landscape, which Côté felt was the obvious parallel, "Curling" does have something in common with "Fargo": its unexpected tone in handling the material. (In French) "My Joy" is meant to be a parable of modern Russia, which unfolds from one narrative of corruption and abuse of power to the next in an almost fairy tale-like way. Of all of the films I've seen so far, this is by far my favorite. (In Russian) "The White Meadows" is also meant to be a parable, in this case of modern Iran; it was directed by Mohammed Rasoulof. The main character is a man who gathers people's tears in ceremonies ranging from funerals to sacrifices to confessions and more. Although lighter in tone than "My Joy", the themes are similar to those in "My Joy". (In Farsi) "Russian Lessons" is a documentary by husband-and-wife filmmakers Olga Konskaya and Andrei Nekrasov about the media coverage of the 2008 war between Russia and Georgia and the earlier conflict in Abkhazia, drawing connections between the two. Konskaya and Nekrasov piece together original photos and film footage -- examples of Georgians killed or wounded identified by the media as South Ossetians -- and timelines and show contradictions to what was reported, from Russian to German to BBC coverage. The eyewitness reports they filmed are stark. (In Russian and Georgian)

A film version of Angelin Preljocaj's "Snow White" played tonight at the Vancouver International Film Festival. It isn't even a question of whether or not this a ballet: the majority of it isn't dance. It is more a work of theater, and while its high points were gestural and movement-based, its low points were his attempts at dance. The score is a pastiche of Mahler symphony excerpts. The opening, which portrays the death of Snow White's mother in childbirth, was beautifully done, and if the dance of her father with Snow White at three different ages was cliched, it was short, sweet, and would have been an appropriate set-up for the story if it weren't followed by one of the ghastly, repetitive group dances. The entrance of the Evil Step Mother with her two cats was wonderfully campy, and decked in Jean-Paul Gauthier dominitrix drag, Celine Galli could have been in any chichi "Vogue" fashion ad. Galli's preenings in front of a large mirror were some of the more effective scenes. In a temperamental, but equally effective contrast, there was a charming scene where Snow White encounters polyamorous green rock people. A brilliant and beautifully executed idea was the entrance of the seven dwarfs as rock-climbers, repelling and climbing the steep cliff of a set. Their earthbound, Busby Berkeley-like dance with Snow White was nicely shot from above, showing the back and forth circular pattern. The scene in which Evil Stepmother first entices Snow White with the apple and then forces it on her was brutal and powerful. A lovely aerial sequence followed, in which Snow White's mother is flown in to her prone, sleeping daughter, and lifts her high, and then puts her back down on the ground. While most of the dance segments were mind-numbingly dull, one was striking: when the Prince kisses Snow White, she doesn't wake immediately, and he, in his grief, dances and extended pas de deux with her seemingly dead body to the Adagietto from Mahler's 5th Symphony. I could only think of Lynn Seymour's description of how she wanted to appear ugly dead as Juliet. It was only after the pas de deux that Snow White awakens, slowly, with several starts, and their reconciliation was moving. Jean-Paul Gauthier must have hated the Prince, though: he gave him the ugliest two peachy/pinky costumes, the definition of twee. (Plus he had one of those thin mustaches that are required for creepy Matthew Bourne heroes.) I was tickled that at the end, the dwarfs (and the nymphs) got the Amazon girls in a slow walking scene. Too bad the dancing had to start again, but we were saved by the capture of the Evil Stepmother, whose punishment was to wear a smoking hot (temperature) pair of a cross between clogs and Crocs and to thrash dance herself to death. The filming was fantastic. Kudos to the camera people and editors.

I'm looking forward to seeing this on HD this Saturday. I experienced Lepage's "La Damnation de Faust" very differently in the house and from the broadcast. I'm interested in seeing what the director does with this one.

That's great news, JmCN

(And feel better, Farrell Fan!)

I thought "Jennifer Beal" I didn't find the colors that jarring, but the cuts of leotards have become a lot more sophisticated since 1983, and it's been a long time since I've seen one of those poofy tops. I miss the power headbands.

Here's the press release: Pacific Northwest Ballet Principal Dancer Ariana Lallone to Leave at End of 2010-2011 Season Seattle, WA – Pacific Northwest Ballet Artistic Director Peter Boal and Chairman of the Board Aya Hamilton have announced that principal dancer Ariana Lallone will be leaving the company at the end of the 2010-2011 season, following a 24-year career with PNB. The announcement was made during this evening’s Board of Trustees meeting. “On behalf of the board of PNB, it is with mixed emotions that we acknowledge Ariana's final season at PNB,” said Ms. Hamilton. “Ariana is an extraordinary dancer, an earnest PNB advocate, and a true friend. We hope all of her many admirers will be with us throughout the season as we look for ways to honor Ariana’s glorious career and celebrate her truly unique imprint on PNB.” Ms. Lallone joined the PNB company in 1987 (after a year in Pacific Northwest Ballet School), and very quickly made her mark as a dancer with a “singular style,” as former Seattle Post-Intelligencer writer R.M. Campbell noted in a 2007 profile. “Start with her height – 5-foot-11, rising to 6-foot-5 on pointe – then proceed to her intensity, dramatic temperament and individuality as she speeds across the footlights. She operates on a scale different than most dancers – larger, longer, more expansive. Her profile could have been sculpted in marble, and her line is so extended, it seems to stretch to infinity.” “Ariana Lallone is at the very core of Pacific Northwest Ballet,” said Mr. Boal. “As perhaps the most admired and identifiable presence onstage and off, we know that no one will match her contribution to our company. Personally, I am proud to call Ariana a friend and to have worked so closely with her, bringing over 20 new roles to her repertoire during the past six years. At home in both the lyrical romanticism of Balanchine's Emeralds and in the grounded pathos of Duato’s Jardí Tancat, Ariana’s range as an artist has been tremendous. Looking back on a career filled with memorable performances in the finest classical and contemporary roles, it was difficult for me to make the decision to have this be her farewell season. Over the next nine months, Ariana will dance roles which she defined for PNB in works by Kylian, Duato, Tharp, Morris, Stowell, and Balanchine. Her career as a unique and accomplished ballerina is one for us to celebrate: Her fans are many for her onstage contributions, but she also deserves recognition for her tireless offstage advocacy and devotion to PNB. We will savor her performances this season and salute the extraordinary career of this powerful artist.” In a letter read to the Board, Ms. Lallone said "Although it was my wish to take my final bow during the 2011-2012 season, I am extremely grateful for the 24 years that I have been able to perform with PNB. You have provided me with the opportunity of a professional career that has been more of a fairy tale and dream-come-true than anything I could have imagined." Ariana Lallone is from Woodland Hills, California. She trained at the Rozann-Zimmerman Ballet Center (now known as California Dance Academy) in Chatsworth, CA, and on scholarship at Pacific Northwest Ballet School. She joined Pacific Northwest Ballet as an apprentice in 1987 and was promoted to corps de ballet in 1988. In 1993, she was promoted to soloist and became a principal in 1994. Kent Stowell created the title role in Carmen for Ms. Lallone in 2002 and roles for her in Carmina Burana, Cinderella, Fauré Requiem, and Silver Lining. Ms. Lallone also originated leading roles in Stephen Baynes’ El Tango, Donald Byrd's Capricious Night and Subtext Rage, Val Caniparoli's The Bridge, The Seasons, and Torque, Dominique Dumais' Scripted in the Body and Time and other Matter, Nicolo Fonte’s Within/Without, Kevin O'Day’s [soundaroun(d)dance], Ton Simons’ The Tenderness of Patient Minds, and Twyla Tharp’s Afternoon Ball and Opus 111. In a 1998 profile of Lallone in Dance Magazine, choreographer Mark Dendy, who created leading roles for Ms. Lallone in Les Biches and Symmetries, is quoted as saying “Right away I knew I wanted to work with her, because her spirit is there. I was struck by her face and her eyes. She's got that marvelous bone structure, that beauty that comes from many incarnations – you've worked to acquire that beauty. There's an old spirit there with some deep knowledge. She's a very mature performer, very much at home onstage. In the Nacho Duato piece [PNB's Jardí Tancat] she's an individual, yet becomes one of the ensemble. That's not anything I had thought of using her for – as a member of the group – and yet she does that equally well, and that's stunning for me." In the same Dance Magazine article, Francia Russell (PNB founding artistic director) described Ms. Lallone succinctly: “She dances with her heart and soul as well as her mind and body.” In 1997, Ms. Lallone performed the solo from Val Caniparoli’s Lambarena at the Benois de la Danse Gala in Warsaw. She also performed the role of Hippolyta in the BBC’s 1999 film version of PNB's production of George Balanchine's A Midsummer Night’s Dream, filmed at Sadler’s Wells Theatre, London. In 2005, she performed with Peter Boal and Company. Other Leading Roles: George Balanchine's Agon, Brahms-Schoenberg Quartet, Coppélia, Emeralds, The Four Temperaments, A Midsummer Night's Dream, Prodigal Son, Rubies, Serenade, La Sonnambula, Stars and Stripes, Stravinsky Violin Concerto, Symphony in C, Western Symphony, and Who Cares?; Todd Bolender's Souvenirs; Val Caniparoli's Lambarena; Merce Cunningham's Inlets 2; Ulysses Dove's Dancing on the Front Porch of Heaven, Red Angels, Serious Pleasures, and Vespers; Nacho Duato's Jardí Tancat and Rassemblement; William Forsythe's Artifact II, In the middle, somewhat elevated, and One Flat Thing, reproduced; Ronald Hynd's The Merry Widow (Hanna) and The Sleeping Beauty (Lilac Fairy); Jiri Kylian's Petite Mort; José Limón's The Moor's Pavane; Jean-Christophe Maillot's Roméo et Juliette (Lady Capulet); Peter Martins' Fearful Symmetries; Mark Morris' A Garden and Pacific; Jerome Robbins' The Concert, Dances at a Gathering, Fanfare, and In the Night; Kent Stowell's Delicate Balance, Dumbarton Oaks, Hail to the Conquering Hero, Nutcracker (Peacock, Flora), Swan Lake (Queen Mother), Time and Ebb, The Tragedy of Romeo and Juliet, and Zirkus Weill; Richard Tanner's Ancient Airs and Dances; Lynne Taylor-Corbett's The Ballad of You and Me and Mercury; Paul Taylor's Company B and Roses; Glen Tetley's The Rite of Spring; Twyla Tharp's Nine Sinatra Songs; Rudi van Dantzig's Ginastera; and Hans van Manen's Five Tangos. ------------ Wow. Wow, wow, wow.

Rest in peace, Mr. Penn and my condolences to your family.

Thank you, volcanohunter, for the heads up about the new mobile capability, and richard53dog, for your impressions of the opening night "Das Rheingold", which I missed. I am looking forward to the HD broadcast a week from Saturday.

[Admin beanie on] If it's not available commercially, it's off topic for Ballet Talk. We have a strict "No Tape/DVD Trading" policy on the board. [Admin beanie off]

Agreed! I thought it was funny when someone in the Q&A asked a question about how it affects relationships when one partner is promoted and the other isn't, and Boal replied that, so far, he's avoided the problem, since he's only promoted married couples together He was is very funny form last night, including when he scooted out in a "Petite Mort"/"Sechs Tanze" dress around his black tie to announce that tickets were still available for the post-performance party.

Reading this thread I was trying to imagine which native English-speaking actress would be right for Lea, and Kathy Bates was the first actress who came to my mind. I think she could have done the role justice, but it's a hard sell for film audiences to accept any woman with flesh and lines as a romantic heroine, regardless of how much charm or intelligence she can convey.

I just finished a remarkable book by Edmund de Waal, "The Hare with Amber Eyes", which tells the history of his mother's family, the Ephrussi's, after they left Odessa as very rich, successful grain merchants and established greater fortunes in finance throughout Europe. The memoir/history centers around a vitrine of netsuke purchased by Charles Ephrussi, one of the models for Swann, a collector, critic, and editor of the "Gazette des Beaux Arts", and given as a wedding present to a favorite cousin, Viktor, and his new wife Emmy, who lived in one of the great buildings on the Ringstrasse. The description of the Nazification of Austria was especially vivid; the author's mother, Elisabeth, an accomplished lawyer, was responsible for holding as much of the family together during the 30's and 40's.

Thank you, Rosa. Congratulations to all three dancers

PNB has just published the (too short) "All Tharp" trailer, with excerpts from "Afternoon Ball", "Opus 111", and "Waterbaby Bagatelles": Jodie Thomas (now at Royal Danish Ballet) is wonderful in the final clip. I think the clips from "Opus 111" look much better to Martynov's music for "Afternoon Ball" than they do to the Brahms.

Thanks to a Heads Up () Casting is up for Week 2 -- there's another cast for Jardi Tancat, and Laura Gilbreath and Karel Cruz perform the "Facades" pas de deux in the last performance. Thursday, 30 Sep 7:30pm Petite Mort Carrie Imler Kiyon Gaines Chalnessa Eames Benjamin Griffiths Kylee Kitchens Josh Spell Rachel Foster Lucien Postlewaite Laura Gilbreath Olivier Wevers Carla Körbes Jeffrey Stanton Sechs Tänze (Six Dances) Margaret Mullin Sarah Ricard Orza Abby Relic Brittany Reid Barry Kerollis Jerome Tisserand Kiyon Gaines Ezra Thomson Jardi Tancat Lindsi Dec Karel Cruz Maria Chapman Jonathan Porretta Kylee Kitchens James Moore Glass Pieces Rubric Lindsi Dec Seth Orza Lesley Rausch Lucien Postlewaite Chalnessa Eames Jerome Tisserand Facades Carla Korbes Batkhurel Bold Friday, 1 Oct, 7:30pm Petite Mort Carrie Imler Kiyon Gaines Chalnessa Eames Benjamin Griffiths Kylee Kitchens Josh Spell Rachel Foster Lucien Postlewaite Laura Gilbreath Olivier Wevers Carla Körbes Jeffrey Stanton Sechs Tänze (Six Dances) Margaret Mullin Sarah Ricard Orza Abby Relic Brittany Reid Barry Kerollis Jerome Tisserand Kiyon Gaines Ezra Thomson Jardi Tancat Carla Körbes Seth Orza Lesley Rausch Lucien Postlewaite Chalnessa Eames Kiyon Gaines Glass Pieces Rubric Rachel Foster Benjamin Griffiths Sarah Ricard Orza James Moore Margaret Mullin Kiyon Gaines Facades Maria Chapman Jeffrey Stanton Saturday, 2 Oct, 7:30pm Petite Mort Sarah Ricard Orza Seth Orza Carli Samuelson James Moore Maria Chapman William Lin-Yee Margaret Mullin Jonathan Porretta Ariana Lallone Batkhurel Bold Lindsi Dec Karel Cruz Sechs Tanze Carrie Imler Chalnessa Eames Rachel Foster Kylee Kitchens Benjamin Griffiths Josh Spell William Lin-Yee Andrew Bartee Jardi Tancat Ariana Lallone Jeffrey Stanton Rachel Foster Batkhurel Bold Carrie Imler Olivier Wevers Glass Pieces Rubric Lindsi Dec Seth Orza Lesley Rausch Lucien Postlewaite Chalnessa Eames Jerome Tisserand Facades Carla Korbes Batkhurel Bold Sunday, 3 Oct, 1pm Petite Mort Sarah Ricard Orza Seth Orza Carli Samuelson James Moore Lesley Rausch Jerome Tisserand Margaret Mullin Jonathan Porretta Ariana Lallone Batkhurel Bold Lindsi Dec Karel Cruz Sechs Tanze Carrie Imler Chalnessa Eames Rachel Foster Kylee Kitchens Benjamin Griffiths Josh Spell William Lin-Yee Andrew Bartee Jardi Tancat Lindsi Dec Karel Cruz Maria Chapman Jonathan Porretta Kylee Kitchens James Moore Glass Pieces Rubric Rachel Foster Benjamin Griffiths Sarah Ricard Orza James Moore Margaret Mullin Kiyon Gaines Facades Laura Gilbreath Karel Cruz

I'm distracted by the guy on the right, who shifts over each time he does a tendu.

According to this entry in the NYPL catalog, Heather Watts and Ib Andersen danced the leads in the "Dance in America" broadcast, while Martins introduced the broadcast. I thought there was a picture of Martins dancing it with Kistler in "Far from Denmark", but I'm probably imagining it. I saw the ballet twice in April 1983 with Katrina Killian and David McNaughton in the leads.

The .pdf file from the NYCB website for the fall season shows: Tuesdays and Wednesdays, 7:30pm Thursdays and Fridays, 8pm Saturdays, 2pm and 8pm Sundays, 3pmd