Cygnet

Hi

I have been reading "Balanchine's 100 stories of the great ballets", and read that he describes some of them as "classic ballets" (like Symphony in C, for instance).

I wonder what he really meant - I always thought that his works were "neoclassical", because they were created after the classic period in ballet (i.e. after Petipa).

Is someone able to clarify this for me, please?

thanks a lot

silvy

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Leigh I agree with you. Everything he created was classic, period. I've heard and read that he rarely (if ever) explained the meaning of his ballets. I guess if you could ask him the question, 'what does it mean?' he might come back with

'Well, what do you see?'

For me, 'neoclassical' would mean the collected works of 20th Century choreographers who IMO line up behind Balanchine: Fokine, Ashton, Cranko, MacMillan, Forsythe etc. Balanchine's NYCB was a laboratory. It was a genius' workshop. Ballets such as "Ballet Imperial," Diamonds from "Jewels," "Symph. in C," "Nutcracker," "Coppelia," Theme & Variations," etc. I guess, were hommages to the memory of his Maryinsky heritage.

On the hand, ballets such as "Concerto Barocco" "Agon," "the 4 T's," etc. are visual manifestations of the music. Here's some quotes I found which state the case better than I can. "Dance is music made visible" (Balanchine): He was always concerned that the music be seen. This is why he favored no costumes save leotards et.al. for his modern works. "Dancing can reveal all the mystery that music conceals" (Baudelaire). No one could visually interpret Stravinsky's most abstract ideas other than Balanchine. "Good choreography fuses eye, ear & mind." (A. Croce). "Dancing is silent poetry." (Simonides). Just my .02. I hope this helps.

I'd do these:

Adam Cooper - the Marquise de Merteuil and Madame de Torvel in his new 'Les Liaisons Dangerouses.'

Forsythe - Steptext & Middle Duet

Ashton - Symphonic Variations(3x this one), and Cinderella

Balanchine - Diamonds, Theme & Variations , 'T' in Apollo and Concerto Barocco

MacMillan - Manon, Juliet, and Mary Vetsera

Cranko - Tatiana in 'Onegin' and his Juliet too

Petipa - Raymonda (Sergueyev's version), Aurora w/Zelensky, Dowell, Fadeychev and Vasiliev, Odette/Odile w/Bujones, Tsisarkidze, Kuznetsov,

Kitri w/Vasiliev

Bournonville - the Sylph

Giselle w/Bruhn: He lifted Fracci like a toast and handled her like a souffle.

^^BTW Makarova Fan, ditto on your casting: I'll take that for me too - Nikiya vs. Terekhova's Gamzatti !

[ Terekhova did do fouettes in 'Backstage at the Kirov.'

Roger that! It was in Kurgapkina's class.

Like Gina, I landed right at the midpoint, and I opted to click "greater than . . . "  Must have chosen right, because

Sanguines are characterized by the element of Air, . . .

and I was born under Libra, an Air sign.

If I had come up Choleric, it would have been proof of a glitch -- either in the interpretation or the software.

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I love the Sanguine segment in TFTs the best. Hi Cabro, fellow Libra! I thought I was phlegmatic. I turned out to be Choleric too! I think my true persona is san-choler-phleg-neurotic. Realistically, doesn't everyone have a little bit of all of these characteristics in them? My reaction depends on my mood and the situation.

Hi Sylphide! No: Virginia Johnson isn't my Sorority sister; Judith Jamison the AD of Alvin Ailey Dance Co. is. She was initiated into Delta Sigma Theta Sorority, Inc. as an Honorary Member several years ago during one of our national conventions. Other illustrious members from the opera world are

Beverly Sills (also an Honorary Member), and Leontyne Price who pledged

as an undergraduate.

I do not believe this is a racially based criticism, it's a criticism that the company is not using English trained dancers or dancers that suit the style of the choreography.  I don't think it serves the discussion to label it as such.

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Leigh, we agree on this point. Please don't misunderstand me: I don't mean to imply that what they've written is racially motivated. I certainly hope it isn't. Why isn't RB using English trained dancers that 'get' their Ashton heritage? I think this trend, and the fact that RB has integrated to some degree in recent years answers their question. Are they willing to wake up and smell the coffee regarding the answer?

[Administrator's note: This is in response to sylphide's post. Cygnet originally quoted the entire post, which I've deleted. It can be read above. Ari]

^^^Well said, excellent post. Virginia Johnson, the first and founding prima

of DTH put it succinctly," . . . in order for a black woman to be a ballerina, she has to be a Super Ballerina," ie. better than the best. Arthur Mitchell began DTH as a response to the lack of opportunity for Black youth in Harlem in general and ballet in particular. He had to deal with the Southern audiences not wanting to see him period, let alone dance with Allegra Kent. At that point Balanchine put his foot down: "If Mitchell does not dance, NYCB will not dance."

Years ago, there was a dancer whose name I can't recall, who studied at White Lodge and Baron Court, where she was considered very talented. However, she wasn't considered suitable for membership in the RB corps. Of course, that could 've been for any number of reasons: budget, available openings, or simply she just wasn't good enough to join. Subsequently, she joined and thrived at DTH. And, like someone has already pointed out in this thread, the AD doesn't have to justify his/her hires.

Today, because of the variety of ethnic talent at Covent Garden, some British dance critics have dared to imply in some of their columns that the RB is gasp no longer 'English.' Many classically trained Blacks have chosen modern dance and its companies over classical ballet, such as Alvin Ailey Co., whose AD Judith Jamison is my Sorority sister. I think other ethnic groups such as Latinos, Asians etc., and yes some Blacks have proven that hard work and perseverence, in any endeavor, especially the field of classical ballet knows no color and that success is not a guarantee. I could be wrong, but IMO I've noticed that many continental European companies ie Hamburg and POB and others have been more egalitarian toward Black males than Black females. Has anyone researched that?

Thanks for all of the insights. Sorry, I've been away.

re. the shorter ballerinas:  It's a shame that Margarita Kullik's career coincided with the beginning of the 'craze' for the tall Glamazons.  One of the 'purest' students of Dudinskaya, she was very much appreciated at home but was never included on official tours of the Kirov Ballet to the West.  We did see her on one or two independent-soloist tours, towards the end of her career. What a shame & waste.

Thus, I am delighted to see that today's shorter ballerinas -- the Elena Sheshinas and the Evgenia Obratsovas -- are being given substantial touring opportunities.

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Natalia, I totally agree. Kullik definitely got lost in the shuffle. She was

was one of Dudinskaya's best products. She did however participate in the Kirov's 1988 UK tour. She danced the first shade in Bayadere's Act 3 pdt at the London Design Center. At that performance, Makarova danced for the first time in (then) 18 years with her original company in the SL Act 2 pdd. Kullik's shade had such speed in that solo . . . and the elevation of her grand jete!

Fedotov slowed the music down at that second for maximum effect ! As for Margarita being considered overweight - (what?!) no way!! Her legs may have been big boned with broad hips, but they were chiseled muscles with no fat, and she had feet that were both strong and powerful. The MT's ideal standard has changed so much that I daresay dancers like Kolpakova, Sizova or Komleva wouldn't even be accepted into the company today.

I may be wrong, but IMHO the flash point of the "Glamazon" Age, (and what some of us in this thread have lamented, currently passes as 'acceptable artistry' at the MT), had its genesis during the final decade of the Vinogradov Regime. Besides Rita Kullik, other petite "pure ones" who were mistreated and/or sidelined during his reign were Lezhnina, Zhelonkina and Tchistyakova - (the latter two in particular, never really getting "lift off" in their careers, going no further except to be used primarily as reliable variationists). Irina Sitnikova was another petite and exceptionally pure dancer who also experienced Z & T's fate. Lara, left for DNB and has done very well in Amsterdam. The three Irinas chose to stay and languished. Others from that missing-link generation (late 80s early 90s): Polikarpova, Pankova and Schapsits, decided to go to greener pastures in Germany and Finland, and they freelanced. Promising men such as Alexander Lunev, (Soloviev risen from the dead), and Vitaly Tsvetkov were left on the shelf too, in favor of guys such as Ruzimatov, Daukayev and Neff. Of that transitional generation, the only women who stayed and became principals were Ayupova and Makhalina. Furthermore, other less favored principals were sidelined too. Asylmuratova and some others didn't fare well at the end of Vinogradov's tenure either. Too bad.

I think its great news that M. Mason's excellent work as A.D. is being

affirmed with an extended contract. She is very deserving.

Its also great news that the Royal is going back to the original Messel/Sergueyev production. I suspect there must be alot of anticipation for this revival,

(much like it was when Madame staged the back to basics 1977 Walker production). Thank you Monica!

The question is which of the current coaches are proving most effective?

Re the modern works, particularly Balanchine's rep, where's the proper oversight? If some of the coaches can't get the necessary results, where

does that leave the ballets, the company and the audience?

Re classics, there's a trend of too much premature casting of youngsters who aren't adequately prepared. Maybe its a mix of perception and personal opinion. Its the "We think she has talent; therefore she does have talent," mentality of the mangement, when in reality 'she' is not another Vishneva, Lopatkina or Pavlenko. (This goes for some of the men too). Anything can happen to the best of dancers in live performance: Lopatkina may falter for a moment but she's able to recover and come back strong. She can do this because of the years of preparation and the experience of a prima.

There are a few that have been mentioned in the recent festival and this past year who were not yet able to shoulder the responsibility of Odette/Odile, Nikiya, Aurora, Raymonda et al. Therefore, they shouldn't have taken center stage until they were ready. Also, popularity at the box office trumps good casting - such as Nioradze in Manon: (BTW Natalia, I can't imagine that either). Hopefully with the White Nights coming up, the Class of 2005 will give Gergiev the vintage year he's been pining for.

Does anyone know who coaches Tereshkina? I read that her Raymonda

was very promising last night. Thanks!

I heard that Maximova's memoirs, "Madame, Nyet" has been released. Does

anyone know approximately when (or if), it will be published in the U.S.?

Compare the way Natalia Makarova or Maya Plisetskaya use their arms in Swan Lake -- now THOSE are wings.

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But Fonteyn wasn't trying and failing to use her arms like Plisetskaya or whoever - she believed strongly that Odette was not a swan, she was a woman, and would have no reason to have arms looking like wings! I don't think I've ever seen this video, and maybe her arms weren't at their most expresssive - but it's not for this reason.

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I've seen the Vienna Opera Ballet Fonteyn/Nureyev SL tape several times. I wouldn't compare Fonteyn, Plisetskaya or Makarova's interpretations of Odette/Odile because 2/3 of this trio were Soviet products. Both Makarova and Plisetskaya were exemplars of their respective company's different styles and temperament. For example, when I saw Margot and Rudy's Romeo tape, her acting and lyricism was, IMO very subdued. Whereas Makarova's Juliet was the Mt. Everest of passion and lyricism. Margot was the last in the line of what I would call the Imperial ballerinas. For me, she was the missing link between two eras.

Natasha's approach to SL was always "think out of the box." Whenever she did SL you couldn't tell what she was going to do from one performance to the next. You couldn't pin down her interpretation. The evolution never ended. Margot's Odette wasn't more feminine than theirs' but it was, at that stage of her life, old school simplicity. Does anyone know of any tapes made in the early-mid '50s of Margot in SL before Nurevev? If there's one that exists, it would be a good gauge of her Odette in her true salad years. Perhaps then I could make a better comparison with the Vienna tape, and Maya and Natasha. Maya and Natasha were over the top dramatic, Maya's being the most physical interpretation of the three. For me, Maya's wings beat the wind the strongest! Re Odile: I cut my teeth on live performances of ABT, Bolshoi and Kirov SLs as a kid. Compared to Maya and Natasha, and the 80s & 90s generation of O/Os, Margot's was bland, IMO.

Yes, Natalia, I think California is going to be up in arms about getting the 1952 Beauty, which they weren't crazy about in 1989, and not the Vikharev.  The 1952 production has started to look very tatty -- if they bring it they must at least refresh the costumes and scenery, IMO.

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Hi Thalictum! You're right. When they came to L.A. in 1989 the Sergueyev production (scenery & costumes) looked upgraded and 'refreshed.' But that

was then. If they bring the new/old version, I will be front row center. If not,

I'll watch my Lezhnina/Ruzimatov/Makhalina tape.

"Whoever cast Alina Somova in this most classical of roles should be put on trial for torture of audience," & "...then she flails her right arms into a 'Heil Hilter' salute towards the conductor before performing her pirouettes."

Natalia this is UNBELIEVABLE!!! Somova really mated the poodle last night!

'Whoever' cast her? You're very diplomatic Natalia !! I could be wrong (?)

by my guess would be The Coach and her husband The Aritistic Director.

Merde, merde, merde.

We know that Petersburgers adore their classical heritage. But is it possible

that Petersburg's connoisseurs choose to ignore special talents? By special talents I mean dancers whose versatility, variability and giftedness are overwhelmingly evident in both the classical and neo-classical repertory (ie. Western & 21st century Russian not Soviet choreography). I hope not. It's always been about peronal taste, public opinion and the box office.

It seems to me that there's a pattern where certain 'think out of the box' artists are treated as an afterthought by the MT and its public. For example, Alla Shelest. I site Fyodor Luphokov's memoir in which he laments the stunting of her career and treatment by the MT's management ("Sixty Years in Ballet"). I'll site others as well: Dolgushin, Ossipenko, Asylmuratova, etc. There are others who are coming up, and others who are trying to, but continue unsung and unexposed.

Those who have artistic personas, talent and abilites that aren't pigeonholed by 'emploi' just aren't appreciated. Therefore, what we've had are three benefit galas: Two full houses, one night under capacity, one bad premiere, a new version of "Daphnis," two great ovations, a mass exodus, and polite

applause by the remnant "faithful few" for a gala with no apparent mistakes.

Hi Natalia!

Thank you so much for your wonderful reviews of Diana and Dasha's galas!

I'm glad to hear that both Dasha and Diana gave splendid performances.

I agree with you: Dasha deserves much credit for dancing new choreography.

Pavlenko is the 2/3 of the trio that had a new ballet choreographed specially for her; in the M Theatre that's significant. I hope you can find someone who saw

Diana's new ballet, and give their impressions of it. Artistically, Dasha didn't

(and doesn't) play it 'safe.' IMO this is what makes her such an interesting Maryinsky ballerina. As a result, with 'Reverence' and the new 'Daphnis' she's staked out new territory with two new ballets in this year's Festival, regardless of the audience's response last night. Good job!

In addition to her Kitri & Gamzatti her Myrtha is magnificent. You must see the Kirov's "Giselle" with Mezentseva & Zaklinsky (1983). The ensemble is excellent, Mezentseva not withstanding - (it depends on your taste in Giselles), and Selyutsky's aged Hilarion, acted as if he were Inpsector Clouseau choking on cotton, IMHO. Terekhova was a vampire Wili Queen - one long cold drink of revenge, with seamless bourrees, great elevation, sweeping power and total weightlessness. In both Acts, the corps is flawless. Finally there's the added bonus of the then 22 year old Asylmuratova's Moyna, whose presence in the corps, along with Terekhova, upstages Mezentseva.

IF she had a ballerina's build I'd cast Catherine Zeta Jones as the adult Margot.

The supporting cast:

The child Margot - Dakota Fanning (with hair colored black, and brown contacts).

Margot, the early years - Natalie Portman, or Alyssa Milano of "Charmed."

BQ, Margot's mother - Diana Rigg

Ninette de Valois - Helen Mirren

Constant Lambert - Colin Firth

Robert Helpmann - if he were still alive, Jeremy Brett

Sir Frederick Ashton - Kenneth Branagh

Michael Somes - Ralph Fiennes

Moira Shearer - Julianne Moore

Who are your favorite Manons?

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Natalia Makarova

Jennifer Penney

Viviana Durante

Altynai Asylmuratova

Los Angeles isn't a ballet city, - we don't have resident company and this fact explains alot. IMO, the problems here are priorities, facilities and sightlines. We don't have a suitable venue for world-class companies. The Shrine Auditorium isn't used as a venue anymore, and it was like sitting in a huge barn with no acoustics. The Los Angeles Opera and the L.A. Philharmonic (with its new Disney Concert Hall) take precedence in the city's artistic life. The Music Center's Dorothy Chandler Pavillion, (the L.A. Opera's home), is adequate for its opera productions, but not ideal, for example, ABT. The OC (Orange County) Center for the Performing Arts is okay, sight lines are somewhat more reasonable, but also not ideal IMO. Also, the OC is a major commute depending on where you live in Southern California.

Other local stages like the Pantages and Ahmanson are better, but designed for musical productions and plays. The Pasadena Civic Auditorium is the same. The Hollywood Bowl (the Philharmonic's outdoor summer home) is also no good: Its in the flight path of planes coming in from the Pacific. Cerritos Center for Performing Arts' main stage is for pop music concerts. When the Perm Ballet danced "Cinderella" and "Romeo and Juliet" they were very cramped on that stage. When the Kirov brought "Bayadere" to the Kodak Theatre, (designed and built specifically for the Oscars), they were cramped as well. 50% of the outer wings were onstage. In Act 1, the temple scene looked like my neighbor's backyard, the palace looked like an ante-room, and the shades scene looked like it was being performed in an elementary school auditorium. So, if I'm really compelled to see a particular dancer or company, I'll break out the passport, by a plane ticket or simply enjoy the latest DVDs.

vrsfanatic -

Actually, I always felt a bit sorry for Daria Pavlenko because she was the 'star' of the class as she grew up, only to have the 'outsider' Zakharova step in & become the unofficial Queen of the 1996 Graduation Class. That's life, though.

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I agree with you vrsfanatic. At the '96 graduation performance, Pavlenko missed her chance to dance Nikiya in Act 3 because she had fallen ill, so her performance went to V. Part. With great respect to Zakarova, IMO I find Dasha and Veronica to be much more versatile artists than she. Certainly, Dasha's rep is already varied, and at least comparable to Sveta's. Part is also a very fascinating dancer. With few great exceptions, you can't get around this fact: These characteristics are nurtured on the foundation, guidance, discipline and experience one gets when spending a minimum number of years in the corps. Both Sveta and Diana were aggresively pushed by the management, by-passing the corps. Indeed, Sveta and Diana are more travelled and well known than the two Ps, but in the last few years life seems to have balanced everything out. Today each of these ballerinas more than hold their own in their respective theatres. Re the lawsuit - V Academy has the final say, as they should. Like someone mentioned earlier in this thread - acceptance, graduation and a career are not guaranteed.

Gabriela Komleva

See her Esmeralda tape, for an example.

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Oh yes Natalia, G. Komleva's bourrees were simply in 'Esmeralda.'

My list: Semenyaka, Farrell, Dame Merle Park (mentioned earlier in

this thread), Terekhova (esp. as Myrtha), Kolpakova, Fonteyn, L. Collier, Kirkland, Kistler, Maximova, T. Lander, Fracci, K. Nichols, Ananiashvili and Ferri.

No changes to the schedule today, so far.

Just a thought:  The stars of the April 2 Swan Lake performance have not been announced yet. Perhaps we could begin an unofficial 'betting pool' on who will be the lucky Odette/Odile? I place my $100 on someone whose initials are "AS"! 

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I bet double or nothing on that one. The odds are better than 2 to 1 'AS' will

take another dip in the lake.

I remember seeing Tchyentchikova live 20 years ago in SL and taped her

Wolf Trap SL two weeks later. I thought she was wonderful. Her Odette wasn't delicate; she was of the heroic mode. Her Odile was technically magnificent and overpowered her Odette IMO. Her Swan Queen was truly a queen, not a princess, and her presence dominated the corps. Still, I think her greatest role was the lead in Paquita. RE her coaching abilities, I think Plisetskaya said it best (and I'm paraphrasing): " . . . Some ballerinas are great dancers, and not necessarily good teachers; and for others the reverse is true. She (M. Semyonova), shines equally in both areas." I guess with the exception of Vishneva, the former is true of Olga rather than the latter.