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They usually hand those out in a booth in the Hall of States. However, while I wasn't there, the commentary is usually on a casual fan's level, so you may not have missed much.

Fifteen of the umpteen musicians Seeger influenced talk about him in this NY Times article: ‘Loud, Strong, Committed and Always in Search of America’. I've been listening to a wonderful concert Pete did with Big Bill Broonzy in 1956. It's easy to find online.

Photos 104 and 105 in B.H. Haggin's Discovering Balanchine show McBride (with Villella) in this hybrid outfit.

Yes, and yes, thank you, and from my point of view also that he so evidently loves the art form. His enthusiasm gives vicarious pleasure.

The sets for Jewels have been redesigned twice now, if I'm not mistaken. Were they really worn out? Perhaps the next time Martins wants a fresh look for sets or costumes he could commission copies of the originals, which were good enough for Balanchine, and which fewer and fewer people in his audience have ever seen.

Great questions, fadedhour. Thanks! We’ve discussed some of them here before, so in order to take advantage of that discussion, I’ve posted your questions here in this old thread.

It's been awhile since I sat in the orchestra, but I have a ticket for seat K-19 later in the season. It was only $62, whereas one seat towards the center would have been $135. There can't really be $73 worth of difference. ??

Now would I, and one wishes he would have cut Ringer some in this case instead of zinging her, since as he told Pointe magazine a couple of years ago, she was “only a fraction overweight.” If Angle’s weight gain was more significant, that’s another story although, again, tone is an issue. A hundred years from now, people will probably laugh at his words. Not so much now, while the dancers are alive to feel their sting.

Most definitely! And thank you, Alexandra and dirac and carbro and rg and Mme. Hermine!

Thanks! Thanks very much for the links, and also for your Ring commentary here and elsewhere.

Interesting. I don't read her that way, and I think that would be a very inappropriate and thus unlikely attitude for her to have taken, since the children are at the heart of the ballet's story. What canbelto reads as chilly and aloof and forced, I read as 1950's formal and mannered - not unlike, though to my taste much more pleasing than - June Lockhart's manner as hostess and narrator. It may also reflect what Adams described as her difficulty in letting go and relaxing on stage.

That clip is just fantastic, isn't it? Clicking on Show More lists the dancers in order of appearance: Carol Sumner, Patricia McBride, (both very young) Jillana, Violette Verdy, Jonathan Watts, and the incredible Patricia Wilde.

I didn't know that, but now I better appreciate Balanchine's version. One thing I love about that recording is Balanchine's hammy Drosselmeyer.

And in the brief time that NYCB was Ballet Society, Betty Nichols. She died in 2010, but the current Ballet Review has an interview with her from 1983.

Ideally, perhaps, Martin Duberman would have been given the honor of speaking, in gratitude for his yeoman work in writing that biography. Still, the medallion's the thing, not the ceremony. Kirstein's not exactly a household name. I'm just glad he's being remembered in a way that will introduce him to people who've never heard of him.

The Historic Landmarks Preservation Center will place a medallion on Lincoln Kirstein’s home today. I remember how thrilled I was, when viewing the papers related to an Elie Nadelman sculpture at Harvard’s Busch-Reisinger Museum, to find Kirstein’s address on a piece of his correspondence. I made a point of going by his house when I was in New York on vacation a few days later.

It would turn my stomach to hear it in an ad. But I think the reason it's being used is that America already knows and loves this wonderful score.

After reading strong praise for her by Washington Post music critic Anne Midgette - titled In world of divas, she's got harmony in the print edition - I'm really pleased.

So would I! And then I'd go to Gagosian Gallery downtown for recent Richard Serra work, and Gagosian Gallery uptown for late de Kooning. And speaking of Falstaff, Die Fledermaus and Tosca, the Metropolitan Opera House offers a 90-minute backstage tour.

I'd like one of Santa's art loving elves to put together another museum show, like Dancing Around the Bride in Philadelphia a year ago, that brings together former Cunningham dancers to perform his work. And I'd like the Cunningham folks to put online, or release a DVD of, the video of How To Pass, Kick, Fall, and Run shown at the Cunningham exhibition at the Lincoln Center branch of the NY Public Library in 2007.

I'd love to see Suzanne Farrell Ballet dance three Balanchines I've never seen: Ivesiana, Variations pour une Porte et un Soupir, and Le Tombeau de Couperin. Farrell has already staged The Unanswered Question, so I have some ground for hope that we may get the full ballet some day. Variations, weird as it apparently is, falls into the novelty Balanchine category that she's dipped into a few times in the past. From what I've read of the ballet, I can envision Elisabeth Holochuck in it. Since Tombeau requires, or at least is generally danced by, 16 corps members, and her company is small, she may be least likely to stage that, though perhaps she could supplement it with local students.

According to Kent Stowell in an interview excerpted in Remembering Lincoln, when Stowell showed Kirstein Sendak's Nutcracker sketches, his reaction was whereupon Stowell asked him to write PNB's board chairman and Kirstein wrote a note that said Stowell goes on to say that he took Sendak backstage

You mean not acceptable by our standards. They are apparently acceptable by 21st century Russian standards. It's one thing for Womack to complain about improper sexual advances made to her. But it's not our place as outsiders to protest their system. It's only our place to support Russians who do. I wasn't aware we were governed by the prime directive. By this reasoning, it is not our place as outsiders to criticize such practices as female genital mutilation. While I agree it is much more productive for such criticism to come from within a culture, that doesn't mean we have to say or feel that practices that we find morally objectionable are fine because we are outsiders. If we thought they were fine, we wouldn't have different standards ourselves, but having to pay if you want to advance in your career is nowhere near the level of being subjected to female genital mutilation.Good roles aren't basic human rights. Money isn't one's person. As I said, sexual advances made to Womack herself are another matter.She has a right to proclaim her own standards. In any case, in general it's teaching by example, not preaching, that effects change, especially across cultures.

You mean not acceptable by our standards. They are apparently acceptable by 21st century Russian standards. It's one thing for Womack to complain about improper sexual advances made to her. But it's not our place as outsiders to protest their system. It's only our place to support Russians who do.

Telling her story serves as a warning all by itself. Choosing to withhold certain details for the sake of someone she respects is honorable in my book.