dirac

No apology necessary, not trespassing at all, and the book absolutely deserves a thread of its own. We rarely have the time to post both a link and a new thread on the same link, so new topics are always welcome.

True, but Balanchine wasn't altering the designs because Les Sylphides reflected dated attitudes, but still had much worth preserving. (if I may quote from l'histoire earlier in the thread): These are things that can be addressed. If a leotard experiment doesn't work --there are other options and it can always be dropped.

Thanks for starting the topic, mnacenani, although I do feel the need to clear my throat and point out for the record that this link went up several days ago in our ever-helpful Links, where we regularly post Ms. Landgraf's invaluable articles. Looks like a great book.

Interesting. If you look at the old videos of Balanchine's company and compare them to how he is danced now you see something like this, too.

Thanks for the post, AshtonFan. A link to the Foundation's webpage here.

Von Aroldingen led "Emeralds" with Merrill Ashley in one of the Dance in America Balanchine programs - she was featured prominently in the series, so along with Davidsbundlertanze her dancing is reasonably well represented on video. The "walking" pas de deux with Sean Lavery was striking but I thought she came off much better in the roles that Balanchine custom-built for her. I'd love to hear more from people who saw her dance in person. What was she like in "Kammermusik No. 2"?

I'd suggest that it's embarrassment felt at the coy Orientalisms in the ballet - those little bows, for example. I'd be embarrassed indeed if I had to wait for an Asian friend to point such things out to me before I noticed them! As observed above, you do want to be careful when retrofitting a ballet, so to speak. But that's better than having to banish it from the stage because it's beyond saving. I don't think that's true of Bugaku, but there are issues....

My sentiments exactly. Thanks for the memories and bon voyage!

Robert Garis actually wrote something very like that in his book. He said that he thought Balanchine didn't want anyone but Farrell to dance her role in Liebeslieder (originally Diana Adams' part), but also didn't want to hurt von Aroldingen by taking it away. If so, it would be a measure of his personal regard for von Aroldingen, since he had no such compunction with some of his other principals. I think von Aroldingen staged the first revival of Liebeslieder at NYCB after Balanchine's death. A very unconventional and controversial favorite of Balanchine's in her day - almost every year a new role for Karin in the seventies - and an invaluable resource in later years. She was born in 1941, I believe, so this isn't really an untimely death, but it certainly feels like one. And just when the company would need her the most. Condolences to her friends and family. I remember reading, I think it was in the Taper bio, that Balanchine in the hospital could tell von Aroldingen's footsteps from those of anyone else and he would say happily, "Karin!"

That's a fair point and I hadn't thought of it that way. I agree it's a path to tread with caution.

Schoenberg at this concert? Heaven forfend. Yes - in the past I seem to remember excerpts from Der Rosenkavalier, which would fit right in. This year was even more reliant on the warhorses - "Roses from the South" and "Tales of the Vienna Woods," as well as the traditional first encore, "On the Beautiful Blue Danube." Riccardo Muti kissed the hand of the lady who played the zither for TVW. The cameramen seemed to assume we are fascinated by chandeliers and pillars, as usual......

His recent posts do seem to hint that he is, well, qualified and available. But I'm willing to give him the benefit of the doubt with regard to his statements about Martins.

Absolutely, sidwich. However, in Martins' thirty years of running the company no such lawsuit ever occurred. We have no evidence at present that Martins was singling out minors for sex, apart from Martins' liaison with Watts and marriage to Kistler, both of which were conducted openly and public knowledge, occurred long ago under Balanchine's approving eye, and were obviously long and significant relationships. IMO abatt's characterization of "sideshow" remains applicable.

No worries, l'histoire, and may I say I'm delighted that you delurked. I have enjoyed reading your posts here. Leotards are an interesting idea for Bugaku and certainly worth a try. I think that the costumes could be reimagined as well. Casting may also make a difference here. Kent has some valuable observations to make about the ballet, and how she felt and looked dancing in it, in her book. As she noted, the "court" aspect is important and is something that would need to be preserved in any practice clothes staging - this very private act is taking place almost in public, with all the courtiers knowing what is happening and going to happen.

Thank you for posting, mnacenani. Would love to read your report about the new production when you see it!

I agree. I don’t think the DUIs should have anything to do with it. While it’s true that most people go through life without even one alcohol-related run in with the law, much less three, it’s also true that his have taken place nineteen years and six years apart from each other, and that this last occurred at a time of undoubtedly great stress. To me, that doesn’t signal that he has a problem that’s out of control. Even if it did, if alcoholism is a disease, he shouldn’t be fired for manifesting that disease off the job. The abuse is another issue obviously, but I feel for the younger dancers who see him as a father figure and haven't seen him act badly (possibly because he'd reformed). Thirded. Although as mentioned earlier, this most recent DUI probably ended any chance Martins had of returning to the company, relevant or not. (Also, comparisons of Martins to Roy Moore are absurd. The most damaging charge against Moore was that of Leigh Corfman, who was 14 years old at the time she claims that Moore approached her, initially with her mother, and then later alone, and then took her to an isolated place near his home to grope her.)

And also "A Christmas Gift to You from Philles Records" with special mention of Darlene Love's fiery vocal on "Christmas (Baby Please Come Home)." People cover the song from time to time, I have no idea why they bother.

Come on, people, speak up. What are you listening to?

That doesn't make the original reasons for the investigation irrelevant (or the results of that investigation, which of course we may never learn). The assault charges made and dropped by Kistler didn't look good back then, either, and caused controversy within the board. Martins is hardly responsible for the press. As noted previously in the thread, the latest DUI was indeed the straw that broke the camel's etc.....

Anthony_NYC, just curious -- do we know that ABT were overreacting, or is that your surmise? The fact that Gomes' actions took place outside the company isn't necessarily relevant to whether an investigation was called for within the company. I'm not saying they couldn't have acted out of panic, or even that it's unlikely that they did, but it's hard to say without knowing all the details, it seems to me (?)

From Silvey's post:

Debatable, to say the least. Her administrative experience seems quite limited and, well, she doesn't seem to have much instinct for when a senior dancer needs to begin considering next steps. However, going by this new WaPo piece, she doesn't seem to have any qualms.

The old Karajan recordings of J. Strauss and the other J. Strauss, his brother, are splendid and worth a listen any time of the year. This program is also broadcast over the radio, I believe. I like to see the Vienna State Ballet get some major airtime, but I admit there are times when I'd just as soon watch the orchestra instead......

That seems to be true for the press' investigation, at any rate. (And Vanessa Carlton again?)