jimmattimore

I was at "Giselle," 7/13 with Paloma, Gomes and Michelle, and it was an amazing evening.

Paloma was magnificent, Gomes exhiliarting, Wiles just superb.

The applause was bountiful, and sustained.

Yes, I love Allessandra too.

I'm so jealous of you New Yorkers.  Sometimes I wonder whether living in beautiful, sunny, southern California is really worth it. 

It's not. :rolleyes:

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I agree. Our friends live in sunny Manhattan Beach, CA,and desperately want us to move there.

NEVER.

First , to buy a decrepit shed with no running water on 1/16th of an acre, you need a million.

That is no place for a balletomane. I'll take Manhattan......

I had a "Swan Lake " day on Wednesday the 6th.It was a great way to beat that oppressive humidity.

I found both performances to be wonderful, but Julie Kent outdanced Michelle Wiles.

Now as we know Michelle is young and I assume this was her first Odette/Odille, and she will work herself into it I am sure. Julie hit I think even more than the 32 fouettes, while Michelle did not , but did a lot of doubles.

Bocca and Acosta were fine.

The swans were brilliant in both performances, and the final tableau is magnificent.

I love Paloma, and will see her in "Giselle." What faults do her negative critics find in her?

balanchine's MISUMMER NIGHT'S DREAM has been released on DVD w/ pacific northwest ballet, it was filmed by the BBC on tour in england.

the 'oberon productions' film w/ farrell/villella/mitchell etc. was released briefly, in the UK i think,  on videocassette, but is no longer on the market anywhere that i know of.

the PBS telecast with calegari & andersen was not released commercially.

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RG: Thanks. JIM

Is there a version of "Midsummer's Night Dream?"

How about with Suzanne?

JIM

Thanks

I see that Amazon has Repertory in Review. They are offering new and 10 copies used at $39.99.

I hope this helps seekers. JIM

poisson. Always tingles me-----and scares me too.

JIM

I agree that the programmes were often not that interesting; several evenings included ballets I don't really like so I ended up going less often than in the past.

Actually, the two MIDSUMMERs I saw were among the most satisfying performances of the entire season. I very much enjoyed the new Liang, Evans and Millepied ballets and, after finding it a dud initially, came to like Peter's TALA GAISMA. The less said about Wheeldon's AMERICAN IN PARIS the better. There were many individual contributions by the dancers which provided alot of pleasure. I hesitate to start listing them because my lists always become very long.   

Injuries are maddening and are costing many wonderful dancers enforced down-time in the middle of careers that are all too short to begin with. This is a very unfortunate situation and if I could have one wish it would be that all the dancers would be injury-free, healthy...and happy!

The departures of Korbes, Soto & Boal mark the loss of three favorite dancers for me. Luckily, there's about 90 more on the roster to help keep me from getting too depressed.

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Your last line sums up my view of the season. MND was the best. I missed Jennie and Janie, and I look forward to seeing them in November.Can we (I'm sure he's a nice man.) get a new resident choreographer to replace Wheeldon? My new rule: if he has a ballet on the program, I'm staying home unless it's his "Carousel."

I like Pauline Golbin. Where was she this season? I didn't see Kyra until MND.I am not a person who looks back to rue. I always look to the future, and this company will live as long as there is life and dancers as great as the entire NYCB company. I will be now going across the plaza for "Corsaire" and "Swan Lake" and "Raymonda." I thank you and Alexandra and Carbro for your goodness and excellence and encyclopedic knowledge of ballet. Where's Leigh, another ATTTTTTTTTTTTTTTTTTTTTer?

JIM

Reading through Boston Ballet's agreement (under agreements on the AGMA website, URL posted above by Major Mel), provided this information on page 25 (if you go by the Adobe Acrobat page numbers and not the numbers printed on the pages):

Boston Ballet, Pay per week:

New Dancer  $697.52 (lowest pay)

3rd year principal dancer  $1300.56 (highest pay)

and to quote the mastercard commercial-living your dream-priceless!

Salaries for all other levels of the company are posted as well.

Houston Ballet, pay per week, from AGMA website, p. 13 of HB agreement:

First year corps $685

Principal dancers $1125

Both companies also include extra pay for extraordinary risk, which is defined by each.

I just posted companies that I'm interested in, not the specific ones mentioned.

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Wonderful wonderful. Thanks you

I went to last Saturday's Royal Ballet triple bill performance (which was brilliant), and as I exit I unintentionally stumbled across the stage door as I followed the crowd back to Covent Garden.

Then I realised I could be running into the dancers themselves! So I took out my programme and realised.....

I didn't have a pen on me.... 

So I walked along and thought "Ah well...."

But I'm going to another performance of the RB on Wednesday, and people like Darcey Bussell and Tamara Rojo are dancing.

My question is, is it worth going to the stage door after the performance to ask them to sign my programme? As in I'm kind of scared of the people who will be leering at me... hm.....

Any opinions greatly appreciated.

Cheers,

Fish

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one of the joys I have during the spring season-----------I hate the cold, and wouldn't be wait at the stage door if Godot were coming---------is hanging out on the entranceway to the stage. I find that if I see a principal, they smile if I wave to them-Jock, alexandra, kyra. albert Evans is great. He always speaks with the SaB kids and they love him.

about two weeks back, I was hanging there, and I noticed a dancer reading a book.

I asked-"are you a dancer?"

"yes," she replied. I asked her her name and it was Savannah Lowery. I had just seen her dance in "Rubies" a week before and I said-"You're terrific." She loved the revue. So we chatted for a few minutes, and that was wonderful. I am not an autograph person, but I am a collector of signed ballet slippers. Years back I wrote to tell Susan Jaffe how much I loved her and she sent me her shoes, and she invited me to her dressing roomafter she danced. That was spinetingling. Her dressing room was cluttrered with discarded slippers and panty hose and cigarettes.

They're human, and they're often very gracious.

I also correspond with Paloma herrera, and Janie Taylor.

so, yes, go to the stage door.

JIM

To all-------

I wonder what dancers earn.??

They're so great, and they work so hard.

Here's what I hope-----principals 100K, soloists, 80K, corpsmembers 60K

I am hoping someone will know.

Thanks, JIM

I think you saw one of Lindy's last NYCB perfs., Paul (Spring 2003, right?).  She  blossomed in the last few months -- dancing on a larger scale, just letting the music carry her.  It made her departure all the more regrettable.

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oh no, carla is leaving.

I'm already depressed after having seen the last NYCB performance until November.

We loved the 2pm Saturday matinee ,and my wife felt it was never funnier.

I could not get two tickets for the 19th , and envy all of you who were there.

Does that magnificent man/dancer Jock know that being a restauranteur is even more difficult than being a primo danseur.?

Jennie is back, and Janie is back.

The pas in "MND" with jennifer and Charles was beautiful.

We are trying to manipulate a trip to Saratoga for an NYCB fix, but the logistics are cumbersome.

To the balletomanes starting with alexandra and carbro and oberon and bobbi and leigh, I send much thanks for your knowledge. I left out too many others and I apologize, but we just arrived home at 11 p.m., and I am off to bed.

Ciao.

jim

Jimmattimore, could you please let us know how Ann Sophia Scheller did as Hippolyta on Thursday?  I'll see her on Sunday but was wondering whether she fulfilled my expectations.  It's such interesting casting because she is pint-sized, but I hope she danced big enough to fill the role.

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Rest easily- a dynamo. Beautiful. Very fast in her turns. You would have loved her as did I; she will continue to soar. Tiny from my fourth ring, but large in execution. She made me very pleased.

I am just home from Thursday's "MND," and I think it is a perfect ballet.

There isn't one dead or dull moment in two hours. I've seen it 40 times, and yes, it makes me feel good about possibilities. Talk about mise en scene--- the music, the brilliant choreography, the magnificent dancers, the minimalist, but beautiful secenery, the singing, the Sab girls. What more could I ask, and yes, I love a lot of other George Ballanchine ballets.

I just absolutely love the ballet, and my wife and I will see it on Saturday.

There was, as you all know ,a great review of the ballet in the Times this week.

Bittersweet

That's all folks until November unless you can do Saratoga which we have never been able to do for many reasons.

My latest new loves --------Lowery, Hiltin, Reichlein and a 16 year old sab-er named Kathryn Morgan who danced with the company the week after the sab recital.

I am a very happy balletomane, and I love to learn from the incisive comments of all who come on. I am just learning-and loving it.

JIM

a memorable Hippolyta--------------- Monique

The final week of rep.  Already??? 

Somogyi, Taylor and vanKipnis all return to the stage!!! And Jock takes his final bows. 

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Report from the Fourth Ring Thursday June 16.

Is there any way we can eliminate "Carnival of the animals " from the rep?

It is awful and stupid and pretentious and a waste of the dancers' talents.

You know how Great Ballanchine is when his "Symphony in C" follows that interminable --45 minutes---piece. I watched abiot 35 seconds of it and spent my time productively reading a novel.

Good piece in Times today about ideal casting for "Swan Lake" at abt.

JIM

The final week of rep.  Already??? 

Somogyi, Taylor and vanKipnis all return to the stage!!! And Jock takes his final bows. 

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Brava and Bravo.

I feel with Carbro the sad face at Jock's departure.

jim

Carbro-- Brilliant commentary as always. Next Thursday. I'll rush home to miss "Carnival of the animals." I do not love "Double Feature," but I sure do love Tom Gold and Sofie and ashley and alexandra. I was thrilled to see Kathryn Morgan from SaB dncing tonight since I found her to be the star of the workshop of June 4. Brava Kathryn.

WOW. Oberon what a review. I agree 1000 %.

Never never did AA look and dance better.

Wendy, Jock: No words.

You are right in every word.

And three curtain calls. Brava.

JIM

To Tewsley watchers:

He danced tonight as a guest artist.

I like Sterling Hyltin a lot.

Wendy is incredible; she danced two pieces and appears to be about 21.

I love that woman, but : How does she do it? still? She dazzles me.

Jock is dancing again; it'll be sad when both he and Peter will not be with us in 2006.

Bouder danced magnificently in "Polyphonia," another Wheeldon piece I do not love, but oh how I love what those dancers can do with their bodies.

Monday, my wife and I will start walking and going to our condo's gym. These dancers have inspired me.

Best to all, and thanks for teaching me with every one of your posts.

JIM

Carbo wrote, "There's an underlying question, though: If NYCB were dancing its Balanchine rep with the appropriate elan, musicality and spontenaiety, would it attract that "lost" portion of the audience? "

This latest negative statement by Gottlieb doesn't make any practical sense I just laughed at it. 

For how many years has he been attacking Peter Martins? Either Gottlieb is not very intelligent or he doesn't truly care for the well being of the Balanchine rep at NYCB, otherwise he'd still be on the NYCB board and he'd have a good personal relationship with Martins. Gottlieb doesn't have any idea how to be effective or helpful.

It's too bad Kisselgoff retired she was very nice and had an encyclopedic knowledge of the dance.

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I love NYCB, and I love also ABT whick Kisselgoff hates; she is brilliant and knows everything, but she can be nasty too. She will never retire.

How do you guys like Rockwell?

JIM

I realize it'a a bit early, but can I nominate Carbro's reporting of this interview  for Ballet Talk's "Best of" 2005? 

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Yes, yes: Cabro, Plie, and we will throw rosebuds to your wonderful self. Thanks, JIm

We all move on, eh?

This is a topic that I could write about at length, but it boils down to these few remarks:

To see the Balanchine rep on a daily basis year in and year out, you have to go to NYCB. No, they are not always perfectly executed.

The same may be said of the Robbins repertoire.

I cannot think of any other Company that is so dedicated to the creation of new works. They are not all great pieces by a long shot.  They do extend the range of the dancers and bring new/different music into the repertoire. You can always skip them if they're not to your liking.

The dancers. I love every last blasted one of them.

The feeling of continuity: knowing Merrill Ashley or Karin von Aroldingen are hovering backstage; seeing Nicholas Fokine onstage in the NUTCRACKER.  An ongoing sense of ballet as a family affair, spanning back to Diaghilev who in turn links back to Petipa.

The theatre: ideal for dance. The Met's too big, the Joyce too small for larger pieces and has no pit.  City Center is not comfortable and the stage is oddly proportioned. But the NY State Theatre is just right. It feels like home.

Balanchine's ghost: he's in the air.

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Oberon: What a magical epistle to the greatness of NYCB. You -and I'm jealous-have seen many more ballets and many more dancers than I have, but, like you, I love them all.

I cannot imagine the pain in their beautiful bodies as they perform these wondrous ballets. I can barely do ten pushups, much less catch a 99 pound ballerina leaping into my arms. And those pointe shoes and their tender toes.

I never bemoan the present with that roster of dancers.

YES to Oberon 100000000000000000%, JIM

Never have I see Alexandra A. dance as superbly as she did last night. Thank the Lord she is fully recovered from her horrendous injury.

I sadly note three missing principals: Jock, jenny, Janie.

"Harlequinade" was just a delight. A romp for all.

And oh what a good fairy was Tess R.

And as the lead aloutte, Sterling Hyltin was wonderful.

I could see "Jewels," and "Serenade" and "Themes and Varioations" and "Tschaikovsky Suite Number 3 " every night of my life.

Kudoes to all the dancers In "T 3" of 5/12: Korbes, Hanna, Rutherford, Fayette, Bouder, Ulbricht, sylvie and Askegard.

I know Gottlieb hates Peter and seems also to hate NYCB, but after reading his article on the gala in the Obserever, I agree wuth him---for a rare time. The Wheeldon grows worse in my mind with each day.

Give me Ballanchine-please.

jim

I haven't seen this posted elsewhere, but I justed noticed this on the Repertory and Dancers section of the NYCB site:

Dancer on Dancer

Pauline Golbin is doing a series of pieces (with interviews) on NYCB dancers. Her first piece is on Dena Abergel.  It's a great and interesting piece (you'll learn new things!).

-amanda

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Amanda: Thank you. I loved the Golbin piece. I never know why some wonderful dancers never rise from the corps? Seems very unfair, but The dance masters and mistresses know far more than I.

JIM

Carbro, when they wheeled the lectern out before AMERICAN IN PARIS I was dreading the usual "gala" speech but I thought Mr. Gioia's remarks were wonderfully sincere and moving. It was actually a highlight of the evening!

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I totally agree. And Gioia is a very good poet, and I feel he's doing well at NEA.

I am with Cabro's analyses most of the time, but I liked the new Martins less than she did.

I would only want to see the Liiang again.

I felt last evening that I was watching great dancers in a great company who proved thay can dance anything: what I did not see much of was :beauty

Yes, where did Milliped find that music? It hurt.

Best, JIMMATTIMORE