fandeballet

I was informed by someone with the front-of -the -house staff at the MET. The ushers were informed Saturday nite at a meeting that Monday's Gala is probably on. But, they were given a special number for the following nites(Tues. on) to find out if there will be a performance that nite. Sorry about the brevity of my opening comments. The ushers were also told that the chances for a strike are not suppose to be that great. But I hate to write this, because was that an educated guess or based on some actual info from negotiations?????

Just to let everyone with tickets for the first few shows for ABT at the MET, there is a slight possibility of a strike by the ABT orchestra. So keep your eyes

and ears open!!!! Pray for a settlement !!!!!!!!!!!!!!!!

Dear Dansuer85..... You must also understand that while managements have different degrees of enforcing the rules, all tickets bought are licences that entitles you to your spot, whether you have purchased a seat or standing place. The Met feels that its ushers must enforce the licensing agreement, and unsold or empty seats that are sold must be kept that way!!!!! Believe this , the ushers' strings are pulled very hard by Met management!!!!!

To give you the perspective from the "other

side":

1) In the early90's, the Met allowed the standees to sit in the last two rows of the Orchestra. The hitch to this was that not many of the standees honored the stipulation that they could only use those last two rows. In fact they even took some of the seats that belonged to the administrative heads of ABT!!!!!!! So that got the managements of both ABT and the Met rather ornery. And it was up to the poor ushers to enforce the rule "if you paid for a standing room ticket, you have to stand." For several years ABT even paid for an extra usher on each side of the orchestra- to help keep standees from taking seats that they did not pay for. And if the ushers did not do this they could have been sent home or suspended. And over the past several years computer printouts have been given out to the ushers showing where the unsold seats were!!!!!! You cannot understand what goes on behind the scenes. But, it is a stressful situation to be caught between management and patrons.

Here are my choices................

Fernando Bujones dancing the male variations from the Black Swan Act3. Oh! That 1st jete from the wing(2nd variation)......he would stay up there forever!!!!

Nureyev in his 1 act Bayadere("Shades") with the Royal- time warp back to 1964. I saw him live in alot of things, but not in Bayadere or Corsaire. But. at least we have a tape of Corsaire. I can't get over the fact that there is no tape of him doing Bayadere.

Soloviev, Rudy's roommate on the road with the Kirov. I would practically sell my soul to see him do a Bluebird Actually I would sell it to see him in anything!!!!!!!!!!!!

Carreno & Acosta.......I could watch them do the Diana & Acteon solos FOREVER!!!!!!!!!!!!!! Actually, I would travel the world to follow them whereever they dance!!!!!!!!!!!!!!!!!!!!!!!!

Does anyone have any info/update on Carlos Acosta's injury????? It would be greatly appreciated

When I saw her at ABT during the late 70's(and looking back now), she had the potential to be one of the great Odette/Odile, Giselle etc.

She had all the physical and interpretive gifts, but was mentally fragile. Her legacy as a teacher will probably impact the world of Ballet much more than her performances. And that makes me very sad. When she had her "A game", she was one of the best I ever saw.

She really did not have a long career with ABT, and the more classical rep.

There was a report about 12-15 years ago that for every dollar New York City/State contributes to the arts, 9 dollars of commerce is generated. It would be interesting to see what the ballet/dance contribution is to that ledger.

Two dancers who were constantly good with their balances have been: Cynthia Gregory and Meryl Ashley. Any other choices????????????

Rudolf is the perfect example of artist overcoming technical flaws, due to his late start in taking formal ballet classes. His all-round technique was never the best during his prime. But what steps he did well, he was superb. But most of all he was, quoting Clive Barnes, "God"s Jumper"! He was never the best turner, yes. But he was still a pretty incredible dancer. And people still loved to watch him dance more and more. Esp. since he introduced alot of evolutionary dance passages. For example: Act one of Swan Lake, Siegfred"s "Brooding Solo", and Giselle Act 2, Albretch's 2nd solo, Rudy would do a series of entrchats, and you could understand his utter exhaustion. Both passages were revolutionary when they were 1st done

by Rudy. But because they actually made dramatic and artistic sense, Rudy was then known as an innovator!!!!! A Supreme Artist !!!!!!!

Mr. Parish. How about asking our friends which dancers had the best blend of artististic and technical abilities?

Most of the dancers I listed, also were known for their interpretive abilities!!!!! I think it is possible to talk about technique, apart from the artistic side.

What was the best cast you saw in any ballet, when each dancer was at the top of their games. The most magical evening, ever!!!!

I will start it off with a performance of La Cosaire from July 17, 2002, with ABT.

The cast included Malakov, Corella(Ali), Acosta(Conrad), Herrera, Reyes, De Luz,etc., and company. It is not the greatest ballet, but ABT made it seem like the best ballet ever, that night!!!!!!! :hyper:

My list is...........

Retired: Bujones, Barishnikov, Dowell, Cynthia Gregory, Merrill Ashley, Natalia

Markarova, Gesley Kirkland, when she was on her "A" game.( even though she fell a bit too much for me, and her career was shortened considerably by various problems) Peter Martins. He did the best James(?) in La Sylphide I ever saw...........(underrated???)

Active: C. Acosta, H.Cornejo, A.Corrella, J.M. Correno,Alina Corciecu, Gillian Murphy, Jenni Semogi(NYCB), Tamara Rojo, Laurante Hiliare(POB).

I agree with the comments on Cranko. I loved the Stuggart Ballet and

Cranko's ballets. Especially R&J and Onegin. And Taming of the Shrew

with Haydee and Cragun was great!!!!! Not as great with any other couple though.

Dear GeorgeBfan..... you gave me/us a great list to use. Thankyou so much, and I will look out for companies in the future, who may be dancing these works!!!!! :yes:

By ballerina, I meant the lead female.......Odette/Odile, Nikiya, Giselle, etc.

What are the toughest ballets in terms of pace and stamina, for the two lead dancers? I think we should separate this into two sub-groups: full-length and one-act ballets. You can also pick a particular segment, part or passage

that is particularly fiendish

Here is my list: Full-Lengths : La Bayadere- The Shades' Act(esp. for the lady lead); Giselle Act2 PDD(esp. for Albrecht. After his 2nd variation, he has to partner Giselle, and make her look light like a Willi!

One-Act: Theme & Variations; Tetley's Rite of Spring; and Etudes.

We can also talk about difficult stuff for soloists and corps. For example, the female corp's work in the Shade's Act in Bayadere must be pure torture!

Like alot of other posters, my first ballet was a Nutcracker(N.Y.C.B-1969) But my first ballet that I wanted to see was anything with Nureyev. In 1973, my mother

wanted me to see Rudi at the Met with the Canadians. Of course, being a teenager

and "very dumb" and young, I told my mom that "I dont want to see those fa---ts dance". Well, several months after I made that stupid statement, I saw pictures of RN in Life magazine, in lower outer-space. ( God, that man could jump!!!!!) So I asked my mother if he used a trampoline to get up so high. :blush:

She said, "No dummy! That was the dancer I was going to take you to see! He jumps like that on his own!! I then said that I had to see him the next time he came to NYC. Well, I saw him in 1974 in Sleepng Beauty with the Canadians and Veronica Tennant!!! I have been hooked ever since !!!!

I do hope that Nina comes back for a few performances in 2006 She has ALOT of fans in the US, who would come from far and wide to see her one last time and say brrrrrraaaaaaaaava Nina!

Are there any of Victor Castelli's performances on video???????????????

You're right Hockeyfan, he did have terrific forms in the air, along with

elevation.

I saw him in a few things, especially Mozartiana. A great loss. When someone like him passes, we lose that direct tie to Mr. Balanchine, that

tie is broken.

He was a fine dancer, and probably was at least a valuable teacher too.

If you can only see/have only the top 1-5 works for each choreographer,

which pieces would you pick?

The only "rule" is no more than five(5) works!!!!!

Any choreogrpher is appreciated. A brutal process, especially for some of the masters!!!!!!!

:grinning-smiley-001:

And its name should be changed from New York. And this is supposed to be one of, if not THE Dance Capital(s) of the World.