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Today's LINKS includes two articles about the resignations of the 2 founders of Maximum Dance Company in Miami from its recent merger with Ballet Gamonet. Mentioned in the article below is the defection of Miami City Ballet's most (IMO) charismatic male dancer, Isanusi Garcia-Rodriguez, to the Gamonet company. I will personally miss Garcia-Rodriguez, who added dramatic impact and stage presence to a technically accomplished but occasionally bland male line-up at MCB. In addition, Maximum has at least one other striking and powerful male dancer, Paul Thrussell (formerly of London City Ballet and Boston Ballet) whom I saw this spring when a group from the company guested with Ballet Florida) as well as Spencer Gavin and Cristian Laverde Koenig, whom I liked a lot. I'm not familiar with the Miami dance scene (attending MCB performances here in West Palm Beach). Any comments from Miami? On the change-over? Gamonet's influence (I know he's controversial abut has a big following in Miami)? Last season? Plans for the 2005-06 season? Here's the article that mentions this aspect of the story: http://www.southflorida.com/sfl-maxdance0a...0,6310682.story

Welch's statement -- "Maina is from a different generation." -- may say a lot. But about what? Aesthetic vision? people management styles?

First things that comes to mind are memorable melodies (not to say, old chestnuts) and guilty pleasures: 1) The part of Tchaikovsky's Suite No. 3 that is used in Elegie. 2) Stravinsky, Firebird -- the pas de deux after she's been captured by the prince; the dance of the young women 3) Debussy, Afternoon of a Faun, all of it 4) Stravinsky, Apollo: main melodic theme (is this Apollo's theme?) 5) Tchaikovsky, Swan Lake: Act II pas de deux with violin solo 6) Katchaturian, adagio pas de deux for Spartacus and Phrygia 7) the formal dance at the Capulets' ball; balcony scene; Prokofiev, Romeo and Juliet

MinkusPugni's question about favorite variations got me to thinking about choreography for the corps de ballet. Which ballet and/or choreographer was best (in your opinion) at creating for the corps: steps, interactions, moving and massing the corps around the stage, etc.? And how important is this aspect of dance (as compared to the solos) when you go to the ballet? I need time to come up with my own answers, though I know that Balanchine will be top of my list (just have to think of the best individual ballets). P.S. Some effects only emerge when you are sitting -- or the camera is positioned -- high up. Nureyev's POB Romeo and Juliet has stunning corps patterns at the Ball and in the Market Place scene, but maybe this is only because the camera angles let you see the larger patterns, unlike some versions where you are thrust right into the action. Same is true with parts of Bolshoi's 1987 video of Raymonda. I like seats higher up (and don't like the Orchestra) precisely so I can see this aspect of the ballet.

Thanks, Hans. I was thinking first of all of The Four Temperaments. Melancholic, Sanguinic, etc., are described as "First Variation," "Second Variation," etc., though I would have considered them extended solos. Sanguinic as one of my all-time favorites -- especially since it is the only one I can visualize quite clearly in memory. I was just looking at the Merrill Ashley Ballo della Regina (to compare with a DanceView review of the Miami City performance. Her "solo" (especially as Ashley dances it) has always been a very big favorite of mine. There are also smaller parts for 4 women, where the dancing of each flows into the dancing of the next. I guess these are "variations." I like the total effect very much, though the individual parts aren't much outside the larger pattern of four, each dancer's movements flowing into the movements of the dancer who replaces her. I was also thinking of several of the variations involving Raymonda's 2 female friends -- and, the 2 lead spirits in Act I, scene ii -- and how each variation relates to the next. Each time they appear, one dances adagio and the other alegro or alegretto. They complement each other. And how about the two Wilis who are Myrthe's seconds-in-command. Sometimes given names, sometimes not. Wonderful dancing -- and they provide a transition in scale and individuality between the dominatrix Myrthe on one side, and the anonymous corps of Wilis on the other. I've always liked the steps they do and where they are moved about the stage in relation to the others. Only once, however, in a long-ago performance by a company I can no longer recall, did I think that they were differentiated (touchingly so) as to personality as well as steps. Great topic, and one which will make me look more closely and thoughtfully at the soloist and demi-soloist dancers who appear briefly (but often to mavellous effect) while the principals are taking a breather off-stage.

Dumb question: how does is a "variation" distinguished from an ordinary "solo"? I was thinking of some solos in Balanchine, but suspect they are not variations. (On the other hand, the music in some of the dances listed above is not what I'm used to think of as "variation" music in the sense of "variation and fugue," for instance. Help!

I kant buleeve it. Sounds like that basball playur who sed he didnt no there wur steeroyds in his injekshuns. Or the Palm Beech County commishiner who didnt no she was taking cheks from lobbiests and peeple doing bizness with the County. Whats "artistic lisence"?

As a follow-up, I recommend Carol Pardo's review of MCB's 2004-05 season: "Building a Repertory Museum, One Ballet at a Time," in the Summer 2005 issue of DanceView. Her comments about Edward Villella's long-term strategies for developing the MCB's rep both interesting and praiseful. Here's an example that relates to some of the comments above: QUOTE: "In his pre-performance discussion of La Valse , Villella threw out so many things to think about -- the New Look, the perversities of the port de bras, the possibility that the three women who cover [their] eyes know what is in store -- that the imagination of performers and audience alike could not help but be stimulated. As a consequence, evereyone on stage seemed to understasnd their importance and their relation to the work as a whole. Consequently, La Valse grew in stature, suddenly a great work, multilayed and beautifully constructed, not just a chic and beautifully costumed one."

Ditto.

Cllick the Amazon link above and type in "Library of American Choreographers" in the "Books" category. You'll find several. Publisher is listed as Rosen Central (variously, Rosen Publishing Group). 48 pp. each. Release 5/05: Fosse Release 8/1/05: DeMille, Balanchine, Graham, Robbins, Ailey Relese 9/1/05: Tharp Thanks, miliosr, for your brief review. Has anyone else seen one or more of the series and care to comment?

Pamela, the situation you describe seems to reflect what is happening to "ballet" in too much of Europe and North America I got curious and looked up the Goteborg Opera site (which has an excellent English translation). The Goteborg Ballet is performing the work of a number of contemporary choreographers I've not heard of -- only Jiri Kylian and Nacho Duato were familiar names. They also have a production called "Aurora," which is descirbed as "Merly Tankard's very personal interpretation of the fairy tale of Sleeping Beauty." Photos of the company in one of their programs have a completely modern -- in fact, bare-foot -- look. Those interested in what opera, ballet and theater look like in one of Europe's small cultural centers might want to check Goteborg Opera (and Ballet)

I'm confused. Can someone explain what this debate refers to -- and which is correct?

A belated thanks, Doug, for your summary of scenes in the 1898 Raymonda. I printed it out a while ago, waiting for the chance to re-visit the DVD of the Yuri Grigorovich revision (Bolshoi, 1987, Semenyaka, Mukhamedov and Taranda). I'm glad I did this. It was very illuminating to compare the original with the revision. Here are a few thoughts: (1) I'm not one of the big fans of extended mime scenes (rather the opposite, in fact), but the elimination by Grigorovich of almost every bit of mime made it very difficult to "place" Raymonda, her friends, the court, etc., and to follow the story. (2) Raymonda's famous entrance is obliterated in this version. Jean de Brienne has already been leaping around the stage, when suddenly Raymonda appears at the bottom of a very short flight of stairs. No roses that I could see. No sense of who this woman was or anything special about the occasion. No drama -- and nothing of the joyful girlishness of the original. (This may partly be due to camera angles.) (3) The decision to have Jean de Brienne appear in Act I, scene i, as Raymonda's boyfriend (I think) BEFORE the vision pas de deux in scene ii made little sense, since the scene i dancing didn't allow for much characterization or show them as being especially romantically enaged with one another . The only hint one had that Jean was going off to war was that he put his helmet back on before striding off. (Great costumes !) 4) The interpolated Act I, scene i, adagio pas de deux -- danced to what? -- was beautiful. But it was not really significantly different from the pas de deux at the end of Act II. After all that has happened, you'd expect some development in R and J's relationship during the course of the ballet. (5) The Countess is reduced to one of those slightly vestigial royals seen walking around or sitting on big chairs during ballroom scenes. All you can think of is how boring it must be to have such a meaningless, stripped-down role. 6) More seriously, there was no statue of the White Lady; her first appearance in the vision scene was as a white blob floating around the rear of the darkened stage. So little was made of her that I couldn't figure out why she was not eliminated entirely. This figure could not possibly have made sense unless one had read the libretto before the performance. 7) The usual reappearance of the White Lady during the second act duel -- complete with brief reprise of her theme -- was omitted. I imagine that the White Lady is supposed somehow to save or encourage Jean. Instead Raymonda ran across the stage. Why did she do that? Frantic? Cheering him on? Silly and undignified, rather. On the plus side -- the wonderful dancing by principals, and Grigorovich's ability to move the soloists and corps around that huge Bolshoi stage in a manner that makes the patterns as beautiful, energetic and fascinating as the individual steps. P.S. I wish I could see Balanchine's Raymonda Variations and Cortege Hongrois again to make a comparison. Question: did Balanchine ever do a full-length Raymonda in his early days?

As I recall, Diana Adams was even more beautiful on stage. Almost too beautiful, if that is possible. Her classic and serene face was almost a distraction from her classic and marvellous dancing.

Currently there's a very scholarly Ballet Talk thread on reconstructions of the 19th century ballet, Esmeralda. There's also an interesting thread on possible ballet versions of Snow White and the Seven Dwarves. These two threads have several things in common: -- both stories have been cartoonized by the Disney studies -- and both have been transformed into pop ballets fairly recently. An entirely different search took me today to the website of Milwaukee Ballet, where Artistic Director Michael Pink's version of Hunchback is in the repertory. Pink originally choreographed this for Northern Ballet Theater (UK), and it been performed here by Boston Ballet as well as Milwaukee. Has anyone seen this ballet? Or other contemporary ballets based on stories which also appealed to Disney? And what did you think? I've not seen this version. But Google led me to a reviewer who opined: "It's choreographically impoverished, sentimental baloney. Can high art survive by aiming low? Perhaps. But aim to low and you shoot yourself in the foot."

Kfw's paradox suggests that these people may lack the capacity for empathy. At it's most intense, this is is the failing of the sociopath. It's one thing to feel deeply one's OWN suffering -- or even to capture and project it on others for the purposes of art. But it's quite another thing to care about (and participate in) the way other people feel.

Agreed on range. But what's done WITHIN one's range is important, too. And knowing one's limitations. Battle knew how to select repetoire that suited her voice. And suited her (stage) personality too. Interesting point about Ameling's voice type, Helene. I never thought of the connection, but I guess it's no coincidence that Ameling was one the few singers whose lieder/aria recitals I tried never to miss when I lived in NYC.

I found an interesting website for a "danceperformance" called Turbulence that premiered at the Gothenburg Opera in 2004. The text is in English and includes a brief biography of Leblanc, who is listed as "repiteteur." Turbulence

I love the euphemism "de-accessioning."

Pamina, Naneta, Adina, Despina: all nice girls. (Alright, Despina isn't entirely nice.) The early images of Battle smiling beautifully and singing with apparent joy, intelligence and effortlessness. She was always delightful to listen to and watch on stage or tv screen. I admit, though, I can't listen or watch now without thinking of the personality problems that surfaced later. And that's sad.

The Ballet Florida company roster now lists the following new members of the company: Rogelio Corrales (formerly principal with Minnesota Ballet) Yumelia Garcia (formerly principal with Milwaukee Ballet) Fernando Moraga (formerly soloist with Houston and Pittsburgh Ballets) Biographies are not yet up on the website, but a brief Google of all three suggested that they will be fine additions. I'm especially intrigued by the variety of new choreography and productions they've each danced in their former companies.

Super topic, Farrell Fan. I'd go with something small in scale and rather meditative. How about Balanchine's solo, Pavane (Ravel, Pavene pour une infante defunte). Is this still performed? Or Elegie (Stravinsky), another woman's solo. (Indeed, a Farrell solo for a Farrell Fan.) Or -- as a back-story for the Giselle we are about to see -- how about showing a couple of young dancers who might be preparing the evening's performance of Giselle and Albrecht: Balanchine's version of Afternoon of a Faun? EDITED TO ADOPT MEL'S CORRECTION ON AFTERNOON OF A FAUN. Sorry !!

I enjoyed your thoughts on this topic, Ed. I saw the paper as combining TWO slightly different topics: a) a discussion of the difficulty of bieng "male" (and especially a gay male) in the closed world of ballet schools and companies; b) the larger issue of gender as it involves acquiring power (top jobs) within the ballet profession. I don't know much about the ballet business, but you seem right on target as regards (a), especially since you can relate your own experience both within and without the ballet world. I have found that that most Americans tend to dismiss or deride ballet as a career (or even hobby), especially those who have never seen a ballet performed seriously and well. A young man in the community I lived in in Long Island had a rather difficult solitary road to follow among his peers and even teachers until he won a regional competition. This led to his performing at a school assembly and becoming the coolest thing on two legs for the rest of his high school career. About (b): I am not familiar with the Williams book, but it seems to be fairly typical of a certain type of critique. My question is: when it comes to the power structure of American ballet (I mean company directors primarily) does your analysis of female domination in the field still apply? My impression is that relatively few women reach the top levels of artistic decisioin-making and company management in ballet as compared with their numbers in the profession generally. And those that do have been often have shorter tenures than their male counterparts. Contrast this with nursing, another "female dominated" profession in which women tend very much to dominate the top jobs. Maybe the glass ceiling still applies to women in the ballet business, despite their "domination" in terms of numbers and public image.

It could be worse, Hans. I bring all the skills necessary to perform in the Party Scene at a suburban school production of Nutcracker: I'm male, I'm breathing, and I'm vertical most of the time.

Would like to see an all-Balanchine program (or two) cast with the best possiible choices from companies that make Balanchine a priority. Daners would come from NYCB, Miami, San Francisco, Pacific Northwest -- possibly someone from the Kirov and Ib Anderson's company in Phoenix. Any others? This rep would tour the US and Europe annually as an INTERNATIONAL BALANCHINE FESTIVAL, performing in each city that provided a dancer. Now THAT would be a way to spread the beauty and power of the Balanchine repertoire. Few of us have seen dancers from all these companies on anything like a regular basis, so I don't know whom I'd choose with the aexception of Miami. Can you name ONE OR TWO from each company to do, let's say, Four Temperaments or another Balanchine work of your choice?