dirac

I got a copy of the book from the library and am dipping into it now. Given the many minor errors that reveal themselves even in a casual reading, I’m glad I didn’t buy it and will wait for another, cleaned-up edition. Along with the errors pointed out by others, I would add that it’s Barbara Milberg, not Barbara Millberg, and before Homans’ book I only ever saw the diminutive of Patricia McBride’s first name spelled as “Patty” not “Patti.” Minor, but distracting. Preliminary comments: Even allowing for the fact that Balanchine’s sex life and eroticism were central to his life and art, the sex gossip became tedious, especially in the latter part of the book. TMI. When Balanchine saw Seligmann’s costumes for The Four Ts, he asked Seligmann, “Where is Mary Ellen? I can’t see Mary Ellen.” I ask the same question. While I realize that Homans couldn’t possibly mention every dancer who featured in Balanchine’s life, it seems to me that to omit any comment on Mary Ellen Moylan’s career with Balanchine leaves an important gap. I was also sorry to see no mention at all of Marnee Morris, although it’s a lesser omission. I am more familiar with some periods of Balanchine’s life than others, and unfortunately Homans’ descriptions of ballets and interpretations of events are sufficiently puzzling to me for the parts of his life that I know better that they make me untrusting of her account of matters that I don’t know as well. “Plain-faced” Diana Adams? I should be so plain as Diana Adams. Yeesh. I echo the thanks of AnthonyNYC for this book, however. I’m finding out a lot I didn’t know and a major comprehensive biography of Balanchine is long overdue. I would like for this book not to be the last one, but it’s probably the only one we will get for a long tme to come, so thanks to Homans for undertaking the project and staying with it.

Thanks, Anthony_NYC. I remember Arlene Croce writing that while both Ashton and Balanchine were both inspired primarily by women in ballet, the difference in their sexual orientation could be discerned in Ashton's emphasis on the upper body and Balanchine's with the lower.

La Scala announces its 2023-24 season schedule.

A review of the Ural Opera Ballet by Ilona Landgraf in her blog, "Landgraf on Dance."

A feature in Harper's Bazaar on the Australian Ballet's first performances of "Jewels."

A photo gallery of "Coppelia" performed in Venezuela.

A review of "Chita,"below.

The School of Ballet Arizona and Phoenix Youth Symphony Orchestras present Raymonda.

An interview with Kiyon Ross.

Ballet Kelowna celebrates its twentieth anniversary.

Richard Bonynge, who will be 93 this year, recorded many ballet scores, including rarities, but if I recall correctly he did not conduct ballet live.

An appraisal of New York City Ballet's season by Gia Kourlas in The New York Times. Leigh Witchel reviews the company for dancelog.nyc.

A preview of Aspen Santa Fe Ballet School's student recital.

An interview with Cathy Marston.

The Grand Kyiv Ballet visits Australia.

The New Jersey Ballet Company presents its final program of the season.

The chief operating officer of Birmingham Royal Ballet is stepping down after almost thirty years on the job.

A preview of Ballet Manila's 'Don Quixote.'

This year's Telstra Ballet Awards are presented.

Joan Acocella has reviewed the book in a two-part article for The New York Review of Books.

A preview of Houston Ballet's final performance of the season.

What a gorgeous venue.

Thank you for the heads-up, FPF. Interesting choice of title.

The Pennsylvania Youth Ballet presents "Cinderella."

The Dutch National Ballet will perform at Jacob's Pillow.