dido

Wait, is the dancer facing straight out toward the audience? And is the jump straight up--no lateral moevement? That's the only thing I can think of, if it really isn't a jete. Not that I know what its called.

I think the only dancer I don't like is the kind I'm afraid for. Watching someone wobble or almost fall gives me an unpleasant feeling in the stomach. I can't name names (cause I don't remember) and wouldn't want to. This seems like the kind of thing that could happen to anybody on a given day. On the other hand I'm not crazy about dancers who look bored by what they're doing either. I watched the ABT Mixed Bill video last night, and was really struck by M. van Hamel in Sylvia. The first time I watched it I wasn't crazy about her, but this time I noticed that she seemed almost surprised at times, "Hey, did I just do that? Ooh, lemme try again!" She seemed so spontaneous and joyful, and yet totally secure.

If it's snowing, I'd avoid Riverside. The Green Line has been even more bizarrely unrealiable with the snow than usual.

A few years ago (I can't even remember what performance it was) a woman and her husband sitting directly in front of me continued their talking and snuggling (complete with sloppy fake kissing noises) into the beginning of the overture. I leaned forward and with what I thought was complete restraint and politeness asked them if they could please be quiet, as the performance was beginning. The woman turned around and said, Well, ex-CU-ze me! and proceed to talk for the entire rest of the performance, making remarks about how rude teenagers are, and how disgusting and offensive blue hair and tatoos were (both of which I had at the time). I was practically weeping with rage and frustration by the first intermission and then I moved. Whew. I have to admit, the kiddies drive me nuts too--when I'm there, but I can always make allowances. Plus, I've never seen the kind of flat out rude-meanness in a child that I see in some adults at the theater...

Mel, I think Cayuse comes from the tribe of Native Americans, they lived in Idaho/Montana area so would be near the Nez Peirce, a horse people if there ever was one. Not that that has anything to do with Elssler.

Ahem, 1-2-3-4 k.o. punch. Martinez , Schilling , Lowe and Wakefield . I'm woozy just thinking about it, maybe someone who doesn't have a terminal case of the disease can respond to the content of your message better.

I think it's because of Ballet Alert that any time I have a problem (can I substitute lemon juice and milk for buttermilk to make pancakes? How many people did the Theater of Dionysus in Athens seat) this is my first thought, appropriate or not. I get to "see" performances around the world. Thanks everybody, especially you moderators, do you ever sleep?

I feel like a dope always posting here to ask about casts for certain nights. I scoured the BB website, but could find no casting information. Where do you people who always come to my rescue find it?

Can I just echo Thaliticum and say I pounce on all of your posts, rg? I always know I'm going to read (and especially see!) something totally new and wonderful. Thank you SO much! ps Sorry to derail the intellectual discussion a bit, Alexandra. Isn't there a picture of Nijinsky as Sigfried with his arm draped over his head, forearm crossing his brow? Or maybe I'm confabulating that with the Spectre picture...

Hey silvy, If I remember correctly (I don't have the book and it's been a while) the book perky mentioned (The Great Russian Dancers) classed Osipenko as one of the beautiful ballerinas (I'm sure that's not the words that were used) along with Tamara Karsavina. Since seeing that I've been wildly curious about her myself. Thanks for bringing her up here. I've been enjoying imensely people's personal knowledge of her.

The book by Margeurite Henry about the Lippizaners is called White Stallion of Lipizza, illustrated (beautifully as always) by Wesley Dennis. Like most of her books, it's about a historical "character" and gives a lot of the background and philosophy of the Spanish Riding School. One of the things that impressed me most about it, is the kid going to see the farm where the foals are born and seeing the babies try to cabriole and piaffe, just from watching their mothers. I think it's safe to say that the horses like it, or at least don't mind. Most of this training is called haut ecole, and if you're really in the know it's not so much the airs above the ground, but the "corps" work, so to speak. Getting even one horse to collect itself, or step out in an extended trot is hard enough, but to get many of them working in the same way at the same time is really impressive. That said, there really isn't much "art" in it, though there used to be a big fashion for equine ballets, even as recently as the 19th century. (Can you tell I like horses? :rolleyes: )

Oh Georgia, I forgot about the Schubert :green: . Last time I was there was for Escape from the Seraglio, and boy were we up high... and as someone with a pretty largish frame I thought I might cry before the evening was over. Worse than an airplane. I still think Jordan Hall is the worst, even though it must be the shortest theater in Boston, because it's so crooked.

Both Jordan Hall and the Wang in Boston give me vertigo... Once I make it to my seat I'm there for the duration, can't even stand up during intermissions. The worst though was going to baseball games at Camden Yards. You can't even see the numbers on unforms from the upper decks. I'd just close my eyes and hang on to the jacket of a friend and trust him to pull me to the right spot.

Hi, If I remember correctly (it's been about a year since I read it) Ballet Bug actually deals specifically with Boston Ballet's Nutcracker, so it should be perfect. I was recently at the Wang at the very back (or top) of the balcony, and was surprised at how much detail I could see. I don't recommend it of course, but even if your seats are far away you'll be able to see more than you'd think. I think maybe the mezanine seats are best, you can look down on the stage, but you're still close enough to see all the details.

I'm glad bbfan mentioned the overtures (though we'll have different things to say). I appreciate an overture without "business" going on, because as I understand it, the overture frequently introduces musical themes that will recur during the peice, and as someone with absolutely no musical memory whatsoever, I appreciate all the help I can get. I must be in a minority, because I noticed that many around me seemed to think of it as an equivalent to the previews and credits in a movie... it's not a great idea, but still okay to talk and move around and stretch... Is this a cultural thing? Most of the more recently choreographed things I've seen lately all have things going on during the overture: people walking through the streets in Nutcracker, etc. Not dancing usually, just setting the scene. I also had moments of feeling as if I were looking at Nijinksy, and the monsters also reminded me of those creepy things in Prodigal.

Just got back from tonights performance, and I wanted to report before I forget what little I still remember (how do you others do it?). Oh, and this is the first time I've seen any of these ballets, just so you know. Chopiniana: This was even better than I'd imagined. I really am not a big crier, especially at ballet, but this had me welling up a few times. It was just perfect. Mostly I noticed the arms and how the corps looked, so unified and together with each other and the music, but not at all precise (if you know what I mean). Then, the arms in general, but especially here. I was trying to thing of a Paul Parish-worthy description, and finally decided that it looks like their arms are moving either a) of their own volition or B) as if they aren't really attached to the dancer at all. Now I know both of those descriptions could be very bad things, but I think I was responding to how effortless everything seemed. OK. Sheherazade. Maybe it's my unformed artistic vision, but I have to say I thought it was really boring, for the most part. Interestingly it was the ensemble stuff that I really liked, and I've always been a die-hard ballerina watcher. In this case (Irma Nioradze was Zobeide) I'm not sure if it was the choreography or the role or what, but she didn't catch my eye, and I found her eroticism unconvincing. Danila Korsuntsev did those pirouettes with dash, balance and ease. Firebird: I'm sorry to say that I almost wish I'd missed this for some reason. I think I've seen too many pictures of Karsavina, and thought about the story too much. Again, I liked the ensemble much better than any of the soloists. I thought the princesses ball game with the apples was really lovely (and admired the calm aplomb with which they danced around all those apples on the floor), and the monsters were nifty. Tatiana Amosova was the Firebird, and again, I was not disappointed, but somehow unconvinced. Finally, I was in practically the last row of the balcony (Marc, thanks for the shove to go, didn't really miss a thing, I think!) and I could hear the shoes when ONE person boureed. In fact, everything was incredibly loud. This itty bitty woman would jete and land with an audible crash. I really don't think it's the dancers.... Oh yeah. And people who pay $45 and up for tickets should either get to their seat on time or wait in the lobby, and definitely not agonizingly block my view for what seemed like hours. (Sorry. Had to vent just a bit.) I'm sure I've left a ton of things out, but hopefully the more experienced will supplement. I'd like a better educated view of what I saw.

When I was in college about 5 years ago I took classes (with the 12 year olds ) at the school of Annapolis Ballet Theater (as my mind persists in remembering it). The only performance I ever saw was Mr Stewart's Dracula, and I don't really remember the show. I remember my two teacher's first names (with Ms attatched). Mostly I remember what an excellent grounding I got there (as subsequent teachers have confirmed) and how much care they took over an oversized beginner with no ballet prospects. I have nothing but good memories attatched to the name. Probably not what you're looking for, but it's what I got!

Moe, the Homer Simpson's bartender has defined it as Weird for the sake of weird. Currently in graduate school, and a question irritably asked on many an occasion; in the field of classics it seems to mean, Someone who does not have a firm grasp of philology, history or philosophy and yet is required to write things. As an old school philologist both of these definitions suit me just fine. :rolleyes:

I am definitely a winger. I guess I "plan" that I will see Stars and Stripes or Don Q or whatever, but that just means I intend to see it. Usually I decide at the drop of a hat that I want to go tonight/today and head down for rush tickets and spend a few hours eating soup in Chinatown and rummaging through the Brattle bookstore. Therefore I frequently end up not seeing certain dancers for ages, but I kind of like treating it like a movie or something. Then I don't feel so extravagant when I have to pay real money to see the Kirov.

Yes, I was actually thinking about the particular ballets in this Fokine program (I don't think they're doing a Balanchine here ). I had guessed that Chopiniana would be fine from the upper balcony, but wasn't sure about Firebird and Sheherezade, and after looking at ticket prices, upper balcony is definitely where I'm going to be! Thanks for the iinformation.

I've been showing installments to my beginning Latin class to off-set the boredom of memorizing demonstrative pronouns and the passive voice conjugations. Ended up having to re-read the books as well! I'm going to be very sad when Livia finally dies, Ms Phillips is wonderful, just like an elegant snake.

Hi, I have a question for all those who have seen the Kirov lately (I've read all the previous reports on the Fokine problem). I can tell that it will be well worth going to, and spending the money (no student rush tickets as far as I can tell ) and so what I'm wondering is: How necessary is it to be reasonably close? I think even the "cheap" tickets are going to strain my budget...

I remember going with my sister (a professional musician) to see the 4 Seasons a few years ago, and she was horrified at the clapping, because so much of the transitional music gets lost. I was never one for clapping until the curtain came down anyway, but the more I go see Boston Ballet the more I feel myself becooming unhappy, instead of just puzzled. I do understand wanting to show admiration and appreciation for a particularly beautiful pas of whatever kind, but it seems more and more distracting. BB has one of the most outstanding orchestras I've heard, and it seems a shame to drown them out every 15 minutes. (And yes. Clapping during Mozartiana seems all, all wrong to me.)

Oh boy Mel, you aren't kidding about that "flex your foot, wiggle your tusch" demi-character. I forgot to add: The Dryad Trio had the prettiest tutu's I have litterally ever seen, although Kitri's dress for the Gypsy/tavern part was awfully pretty as well. The Dryad trio's bodices were just a slight bit darker green than anyone else's, not really irridescent, but almost, with very light green skirts. Sigh.

I saw the Nov. 2 matinee (last performance) with N. Madrigal and L. Ponomarenko (suddenly I'm unsure about every single last one of those vowels). I really enjoyed the whole thing, although I definitely noticed all those rond de jambes pointed out in another thread. They started to look awfully absurd by the end. Posters from the first weekend seemed to notice a lack of enthusiasm or attack, but I didn't get that impression at all. Larissa was gorgeous and funny and bang! (Though she did almost lose those 32 fouetttes ) as always. So glad to have her back. I still haven't gotten any strong impression of Nelson Madrigal. Sarah Lamb as Queen of the Dryads was beautiful, and Romi Beppu as the Maid (Matron? Lost my program already) of Honor was, as usual, my favorite dancer on stage. There's just something about her. I noticed that one of Kitri's friends had significantly higher elevation and extension than the other, which I found distracting. Not caring at all whether the E's are high or low, but wishing they weren't so different. Only real criticism of the show: the shoes seemed horribly noisy. To the extent that I wondered whether the stage had been miked. Looking forward to the rest of the season and maybe actually getting to see Ms Feijoo! (Grading interfered.)