bart

It's good to hear that there's so much dancing. We wil be at the Encore performance on January 23. I'l be looking for Mr. Otto.

I saw this company's Giselle in 2009, during one of its tours, and was impressed by the quality of the dancing, especially the partnering in Act II pas de deux. They were so much better than I expected ... or than we here in the sticks generally find with unfamiliar Russian touring groups. I just checked my original Ballet Alert post and find that the Giselle was Tatiana Frolova, but she is not listed in the promotional material below. Good luck with this, Cristian. From the promoter's website:

From Sjeng Scheijen, Diaghilev: a Life: The story of "Leili and Medzhum" (Amy's second clip) is interesting all on its own, having its origins in 7th-century Arabia, and moving to 13th century Persia and later to what is now Azerbaijan. Goleizovsky seems to have been one of those Russian artists fascinated by the glamour and exoticism of the Caucusus region and Persia. (Some of the gestural style reminded me of bits of Fokine's Scheherazade, The man's part, in particular suggests something Valentino might have done in a 1920s silent film. I was interested to read, on Wikipedia, that L&M -- a tragic story of young lovers thwarted by their families, resulting in separation and death -- has been compared to Romeo and Juliet. The music was by a teacher at the Moscow Conservatory, S.A. Balasanyan, whose name suggests he came from Armenia. Based on that clip, danced in practice clothes, you can almost imagine something by Balanchine, who would of course have omitted the overt emotionalism. L&M was first performed in 1964. The year prior to that, Balanchine had choreographed his own quite different but even more striking example of orientalism -- Buguku. http://en.wikipedia....ayla_and_Majnun Googling also turned up a Azerbaijani opera about these lovers (1908) which is said to have had more than 10,000 performances in the Russia and the now-independent republics to the south.

I was responding to the part of her statement that I have put in boldface in the quote box, especially the statement that sharisng emotion"makes female friendships." Yes, I agree that this is open to interpretation.. That is definitely another way to read what she says. Perhaps we are both making too much of what is, in reality, a very brief comment.

Woops! I was hoping for a Macaulay review and so deluded myself that this was indeed the case. I have edited the post to make it right. Thanks for the correction, abatt.

[EDITED TO CORRECT AN ERROR -- I originally typed Macaulay instead of the name of the actual writer, Roslyn Sulcas. Thanks to abatt for catching this.] A mixed but mostly favorable review by Roslyn Sulcas, in today's New York Times: Fangs, Zombies and Other Stuff Tchaikovsky Never Dreamed Of When describing Bourne's revisions of plot and music,Sulcas struggles a bit, especially with a game efforts to explain the plot twists. In her wrap-up she focuses on the issue of whether this version of SL works as a piece of dance theater, concluding that it does.:

ViolinConcerto, we were both posting at the same time. It's Kolnik. Steve Caras was shooting the company at the same time, as was Costas, Portrait of Mr. B (p. 124) does have a Caras photo of Balanchine rehearsing Karen von Aroldingen (her upper body swooning backward in cambre) and Adams Luders in Hungarian Gypsy Airs. As in the Kolnik, Caras observes Balanchine from behind -- arms outstretched, body full of motion. Unlike the Kolnik, the lighting allows us to see the texture and shadowing of Balanchine's suit and trousers, and his silver hair. It's a fine shot.

From Paul Kolnik's website: http://paulkolnik.co...seups/bal1.html This isn't the photo rg is describing, since Farrell is point en arabesque, both hands holding the hands of a partner. However, this second photo is obviously from the same shoot. In the photo described by Anthony_NYC, Balanchine is shown as dancer, coach, dance master . Balanchine in this other Kolnik shot always makes me think of Leopold Stowkowski, shot in silhouette and from the back, in Disney's Fantasia. It is an untypical image of Balanchine, but one which captures his qualities as, literally, a giant ... and a sorcerer.. That's why I love it. http://www.google.co...,r:10,s:0,i:121

Rojo does seem to feel that women relate more emotionally than do men, and that she is comfortable doing so only with a couple of female friends. I wonder how much this affects her relationships with female colleagues -- and now with women in her company. I wonder how her attitude compares with that of other women who have headed major companies: Mason, Franca, Lefevre, Haydee, Fracci, etc. Lefrevre, in her appearances in Wiseman's film, certainly projected a degree of coldness (in the sense of no-nonsense, business-comes-first). Whether this was facade or something essential to her personality I don't know. I must say that I identified strongly with one example of emotional vulnerability in Rojo's personality -- .

I do exactly the same, most recently for several works -- Ballet Imperial and Concerto Barocco especially -- which I had not seen in years. Nancy Goldner's two books are essential for anyone planning to look carefully at the Balanchine works covered. Her second in the series was published in 2011. But I read it in 2012. So -- in the interest of keeping this thread "on topic" -- my nomination for Best Ballet Book of 2012 -- Nancy Goldner, More Balanchine Variations (University of Florida Press). Goldner -- like Macaulay, imo -- is at the top of the heap when it comes to writing about ballets and dancers in a way that allows you to visualize and experience something you may not actually have seen. Absolutely.

Clearly an articulate and passionate artist.

Nicely put, Shiraboyshi. The original mission of the Trust was to protect the work, and those in charge were vigilant about what they did. The world has changed since then, and this includes technology and the nature of the global "audience." Just about everyone else in the world has managed to find ways to settle conflicts over "rights," fees, permissions, union contracts, and that sort of thing. Alll the evidence shows that making the work available, far from harming a legacy, tends to enhance it.

About the Balanchine Trust -- What California said. __________________________________________________________________ Most of my live ballet viewing is with MCB nowadays. It is only with MCB that I get to see and compare multiple performances of the same program. This this is reflected in my "Best" choices. Best News Story of 2012. Miami City Ballet's triumph in at the Theatre du Chatelet in Paris; 3 weeks of performing 12 challenging ballets -- heavy on Balanchine. Saddest News Story of 2012. The infighting that led to Edward Villella's resignation as MCB Artistic Director, on his 25th anniversary.. Most Gracious Public Statement of 2012: Villella's resignation letter, which paved the way for Loudes Lopez to take complete charge a year earlier than anticipated.. Happiest Ending of 2012. The grace, confidence, and sheer competence with which Lourdes Lopez has moved into her new role as MCB Artistic Director. This has had a most positive impact on dancers, staff, audience, donors We can breathe -- and hope -- once more. Best performances by a female dancer: Mary Carmen Catoya in Ballet Imperial , Coppelia, and Apollo.. Best performances by a male dancer: Renato Penteado in everything he did, from Balanchine to Tharp and Taylor. Most fun in 2012:: Jeanette Delgado and Renato Penteado, Mambo-ing their hearts out in "Almendra" from Mambo No. 2am. American Dancers I've seen only on video and would most like to see live, preferably in Balanchine: Tiler Peck. Sarah Mearns. Best writing about ballet in a major newspaper or magazine: Alistair Macaulay. Best on-going resource in ballet history: DanceView's series of reports about the taping sessions of the Balanchine Foundation's Interpreter's Archive series. (Most recent review, Leigh Witchell: Suki Schorer Coaching La Source; Jillana and Conrad Ludlow Coaching Liebeslieder Walzer. Winter 2012.). Honorable mention: Ballet Review. P.S. I'd like to second Shirabyoshi's nomination of Violette Verdy as "Best Person Ever." Long may she flourish.

Rojo's manner of addressing all the topics in the interview is remarkably direct, succinct, no-nonsense. She seems the sort of person who has made her own life and therefore sees almost everything as a matter of personal choices. This new freedom extends even to subjects -- like the current situation in Spain -- that are not directly related to her new assignment for ENB. I like confidence in leaders, male or female, but only up to a point. I suspect that Tamara Rojo (or, indeed, "Tomas Rojo") might need a little help in toning things down as she spends more time on the job.

I wasn't able to sit down in front of the tv watch this until tonight, though I've loved reading everyone's posts on this thread. I remember vividly the time of Makarova's defection and her first appearances in New York, and had the chance to see her dance several times a year with ABT. I was also able to catch her West End On Your Toes. What a story; what a career. The highlight for me was, more than anything, the opportunity to watch this remarkable artist being honored in such grad style by the country of her adoption. For me, the most striking image came at the end, when the dancers swept on stage, faced the audience, and joined the audience in the applause. It was like something choreographed by Balanchine or Robbins, a really great moment. In terms of dancing, Tiler Peck's jewel of a solo was close to perfection.. The Kent-Hallberg pas de deux, despite the intrusion of closeups, conveyed the feeling of the real thing. That is more than can be said for the selection from Giselle.

Wishing all of us much peace and joy this season and afterwards. Esteban Salas is a new name, and a new listening experience, for me. The brief Wikipedia article leaves me with more questions than answers as to the sources of his musical influences and the culture of the colonial society in which he composed. Strangely beautiful music -- and very interesting to listen to. http://en.wikipedia...._Salas_y_Castro My sense of holiday tradition is a little free-floating nowadays. Our Christmas Eve dinner was hosted by two friends, one of whom comes from a southern Italian family whose tradition it was to serve a variety of fish dishes. So fish it was. How people living in the mountains of southern Italy obtained fresh fish for this celebration a hundred years ago is something I don't quite comprehend. Sometimes I think that old family traditions may not be all that old. But the fish dishes were excellent.

Thanks, innopac. I've often wondered about this -- not only the "how" of it, but also the "why." I looked forward to reading the article but-- @ $18.00 for a download -- this goes a little beyond my budget in the "idle curiosity" category. Has anyone read the article? If anyone would like to start a discussion thread on this topic, please feel free to do it here. If necessary, we can change the title, or even move the thread, later on.

Thanks, JMcN, for the tour dates and for your comments. It seems like a very extensive tour.. I can understand why they are not using an orchestra (something complained about in one of the reviews). Belated thanks to Cygnet for those links to the British reviews. The piece is prominently described in the advertising as "A Gothic Romance," which confirms that they are going for a market that isn't traditionalist or purist about the art form. Mark Monahan, in The Telegraph, was quite forthright in expressing his ambivalence about the "real" Sleeping Beauty": I would still love to see it, but -- now that I've read the reviews -- perhaps more out of curiosity than anything else. Maybe it's "the ballet to see with your friends who don't like ballet." We all need one of those every once in a while.

This sounds like an echo of what happened in Miami last spring-summer, though the departure of Stowell comes early in the season. Since the company may be headed towards a seriously different configuration and repertoire, you have to wonder who will be doing the planning for next season. And how they can do it, since interim AD's rarely have that kind of power. Good luck to all.

Re the digression concerning Karl Paquette -- the new BALLET REVIEW (Fall 2012) contains a long interview with Paquette, conducted by Joel Lobenthal.

It's good to hear from you, Jack and Cristian. Was anyone else at one of these these performances, or the earlier performances in Miami or Naples? If so, please chime in and add your voice. I'm taking a breal from Nutcracker this season, but I'm enjoying reading your reviews as a kind of vicarious substitute. Just want to comment on a couple of things. It's good to see that you both enjoyed Tricia Albertson's Sugar Plum Fairy, which I've never seen. Albertson is having a good season so far, based on my viewings of her in excerpts from Duo Concertant, her beautifully modulated Polyhymnia (Apollo); and some untypical casting a tango-hall vamp in Piazzolla Caldera. She seems more comfortable, and dancing with greater clarity, than I recall from the past two seasons. I'm glad you liked Arja's Sugar Plum Fairy, Jack. I saw her dance this two years ago, when she was possibly still an apprentice. It was a promising debut. I think you are right about the delicacy she brings to this. Of all the MCB women, Arja and Catoya are the Sugar Plum Fairies I am most sorry to have missed. Arja, like Albertson, is having a good season. Her vamp in Piazzolla Caldera was possibly, imo, the best single performance in this work from either cast. Her Girl in Blue in Les Patineurs -- paired with an equally good Callie Manning -- was a knockout.

Alistair Macaulay (NY Times) mentions Rex Tilton in a review of several Nutcrackers:

This sounds like an extremely prestigious (and well-deserved) engagement for Ballet West. Is Nutcracker an annual tradition at the Kennedy Center? Is this a first for Ballet West?

I had only seen the second (the one from Vicar of Dibley). These are marvelous, and funny on several different levels. You don't have to know something about ballet, and feel affection for it, to find this funny. When since the days of Nureyev's celebrity did U.S. television attempt something comparable concerning real (as opposed to comic-book) ballet? Other than the Muppets, I mean? There's so much to think about in these videos. For example, from the first clip: -- Am I insane, or is Dawn French's positioning of her head actually quite beautiful at times? (She's absorbed a bit of "La Sylphide," I think) Not to mention those assemblees performed WITHOUT LEAVING THE FLOOR. (Later on, Saunders critiques Bussell is critiqued for attempting air-borne sautes "I can't believe it, she's still leaving the ground.") -- Is the "good toes/ naughty toes" line actually used in ballet classes for children? The instruction to ... "Paint the ceiling"? -- Have you ever seen someone think (as Saunders obviously does) that "marking" hand gestures are actually choreography? -- Is Saunders right that Busssell is "too bendy and jumpy." -- Have you ever been told in class to "start at the barre" and thought they were suggesting that you all go downstairs to the pub? -- Saunders says, "I'm not happy with [bussell's] demi-bras." What's demi-bras? Is that Cecchetti or something? _______________________________________________________________ French says: "I mean, sometimes, I wish I COULD be ungainly. But unfortunately, that's not for me at all." What a great line.