dirac

Thanks, Maxi3D, for forcefully expressing another view. I suspect that I may be unconsciously biased against the ballet, if only for so signally failing to live up to Shakespeare and Verdi. (Yes, I know, Lubovitch went back to Cinthio and not Messrs. S or V, but much as I try, comparisons are unavoidable.)

Let me reiterate Francis' excellent point about arriving early. It can get very hairy. I won't be one of the people seeing it -- it's just a bit much for me nowadays. Maybe next year I'll have more stamina.

But your legwork is greatly appreciated, Mark. To return to the topic: Acocella is just calling it as she sees it, I think. Her reference to "the chief critic of The New York Times" without mentioning Kisselgoff by name can be considered tactful or coy, depending on your perspective. (Such niceties weren't always considered way back when, when Croce was whaling away at Barnes and vice versa. Those were the days.)

The magazine lets her out all the time. Her byline appears with regularity, as far as I can tell. I was looking at it in general terms, not merely an article or two. Acocella is great, and but any dance writing would be welcome. It's unfortunate that The New Yorker's dance coverage isn't required to be as comprehensive as the movie coverage, where two critics have been the norm (the same has also been true, in the past, for the theatre). Acocella also reviews books and film and has done some general interest articles. I've read these pieces with profit and enjoyment but wish someone else could be brought in to do a dance piece or two while she's off exploring other territory.

Thanks very much, Mark. I almost feel sorry for Peter Martins. He can't do anything right. He does something nice for the company – hires a promising young choreographer and encourages him in spite of the fact that the P.Y.C. consistently gets raves from most critics while Martins gets the back of the hand – and somehow receives no credit. And in addition: he gets blamed for apparent flaws in the Young Genius' work. Sheesh. However, I'm grateful that a ballet review has appeared in The New Yorker at long last, and hope for more, soon.

The movie will premiere in Toronto this fall as part of that city's film festival. Report from Etan Vlessing in the Hollywood Reporter: http://www.hollywoodreporter.com/thr/artic...tent_id=1920691

Geraldine Farrar. Mary Garden. Frederica von Stade. I don't know that I would rank Tebaldi along with della Casa, Moffo, et al. here. Beautiful voice, yes.

Thanks, socalgal, for your post (and you too, Mike and Arak). Cabriole, I think you're right about a certain undercharacterization in the pas de deux, but I suspect the fault, dear Lar, lies not in our stars.

I didn't see any of them, but there was an obit in the Times, by Kisselgoff. If memory serves, it was in April, on the 12th, I think. You could find it on the site, although at this point they may charge you.

Thank you, floss. How could I have forgotten Taylor Caldwell? "Dear and Glorious Physician" would be an excellent choice, I think.

BW, although Richardson was ABT's first African-American principal, I don't know that you would call him a ballet dancer, strictly speaking. Although he's studied ballet since his mid-teens, I think we have to classify him as a modern, not classical, dancer. He was with the Ailey company for, I think, eight years(and then the Frankfurt Ballet for several years after that).

I am sleep-deprived this week and passed out somewhere in the second act. I saw this particular performance live and it was interesting to compare and contrast. Tan was indeed lovely, and the camera puts a little meat on her bones, a plus IMO. Maynard also benefited from the close up treatment, but Richardson comes off better live; he looked great but bland in the first act, and I don't recall thinking that during the performance. I'm sorry you all didn't get to see Possokhov, although I have nothing against Richardson. I agree with Victoria about the first pas de deux, although I still think it odd that Othello and Desdemona dance in such an intimate mood in front of the entire court; but the choreography has a nice flow and Goldenthal's music less grating than elsewhere. Drew, did you happen to see this? Curious to read your thoughts. Now, now, kfw......

I read that plans are underway to produce "Billy Elliot" as a musical for the West End. Daldry will direct, again, and Elton John is to do the music.

I don't think you've crossed any lines, grace.

I read today that the opening night galas for the Philharmonic and City Opera will not be televised on PBS, the reason supposedly being pique on the part of Lincoln Center management ("Just remember, it's 'Live from Lincoln Center, fellas!")

Update. In the June 16 issue, The Nation printed a letter from Suki Schorer, making some of the objections mentioned above (including the Vaganova timeline question). Rafferty, sounding a trifle huffy, denied making any errors of fact.

You're not mistaken – Denby did fill in for Terry. I have Terry's Ballet Guide, which I found in a used bookstore, at home and have found it useful. His stuff is mostly out of print, I believe, but I've seen copies used and in libraries. In addition to the volumes Paul mentions, there is a Denby collection, "Dance Writings and Poetry" edited by Robert Cornfield, that includes the material -- can't recall offhand if it's all the material -- in Denby's books along with some miscellaneous pieces. Denby was a poet, in every sense. But that's for another thread.

It will be shown at 9:00 p.m. (PDT) on KQED Channel 9 on Wednesday night in the Bay Area.

I don't have the issue handy, but there was a very nice article in, I think, the June issue of Opera News (with Susan Graham on the cover) that described Zorina's involvement with music in Santa Fe and her contributions there. I'm sorry I can't recall the author's name offhand.

In the current issue of W (with Sarah Jessica Parker on the cover), there is a one page item with brief quotes from Michele Wiles, Xiomara Reyes, Alexandra Ansanelli, and Janie Taylor, with a picture of all four of them.

It is "Magister Ludi," grace. Ed's comments remind me of high school, which is when I remember seeing all those Hesse paperbacks, although the vogue for him started much earlier. I didn't get him, but I give myself no credit for precocious good taste. I remember being wowed by Henry Miller at about the same age. I'm glad we were able to guide you to Karen Kain's book, Justdoit. I had never been specially interested in her and initially went to the book looking for Nureyev info, but I found the whole book a good read. Great pictures, too. I wish more publishers would realize how essential those are to a successful dance book.

Autobiography recommendation: Claire Bloom's "Leaving a Doll's House." Bloom is very smart and well read, writes well, and combines intelligent commentary on art and life with some yummy gossip. I also recommend "Midnight in the Garden of Good and Evil," which I realize almost everyone has read, because it's one of the few books I know of that seems to please everyone, no matter what their usual tastes or the level of their brow. I'd suggest "The Joy Luck Club" if Ari hadn't already. I would add Bette Bao Lord's "Spring Moon."

Yes, indeed. No detail is too small. I would also be interested in hearing more about Hugh Laing. What was his Romeo like? Did you see him when he went to NYCB with Kaye and Diana Adams? We don't mean to drop questions on you like hail, but you catch my drift, I'm sure.....

Very true, carbro. He was obviously an exceptionally intelligent and public-spirited man. I wish he had decided to run for office -- I'd have voted for him in a minute, given the opportunity. I must also be honest and admit that his performances, for me, were occasionally on the, uh, colorless side. He was never bad, you could always see that care and thought had gone into his acting, but he did lack that extra spark. (It's why he didn't quite work as Captain Ahab.) I admired him in The Gunfighter. He probably wouldn't appreciate this, but my favorite all time Peck performance is his Lewt -- I still can't get over that name -- McCanles in Duel in the Sun. I never would have believed he had it in him to play a leering homicidal hunky number, but there you go.

I'm upset. I had been planning to go last weekend -- it was playing in San Francisco -- and couldn't get up there. Now it's been bumped for the Gay and Lesbian Film Festival. Bummed out.