Paquita

I am a big fan of Angel Corella, to me he embodies the pure joy of dance. Malakhov is another one of my favourites, gorgeous lines and ballon, he makes everything look so easy! For the women Nina Ananiashvili is a phenomenal dancer, from what I've seen on videos. Irina Dvorovenko was also amazing in the Tchaikovsky pdd she danced here in Toronto a couple months ago. Actually, all the principals at ABT are world class and have something unique to offer. I also must say that I was very impressed with Michele Wiles and David Hallberg's performance at this year's Erik Bruhn Prize, and I will be keeping an eye on them! I'm glad to hear that they were given lead roles in Symphony in C and that Wiles will dance Medora soon.

I haven't come across any videos either. It's a shame because I'd love to see the Stuttgart's 1977 performance. I had the chance to see Voluntaries twice recently, at the National Ballet of Canada as part of a triple bill that also included Apollo and Intermezzo. I enjoyed both casts that I saw. I thought it was slightly uninspired the first time- perhaps the dancers were too busy/exhausted from rehearsing Kudelka's world premiere of 'the Contract'. The dancers just seemed to be jumping all over the place. However on a second viewing it was quite powerful. The pas de deux conveyed a yearning for release from grief. It was a very suitable choice for the company's 50th anniversary, as both Tetley and Cranko had a profound impact on NBoC. Poulenc's score is not exactly a favourite of mine, however the organ music does seem to capture the reverent and anguished nature of the choreography well. I'm not sure what other companies have the ballet in their repertoire... but I don't think it is performed very often in North America.

Thank you for the information! It's a wonderful score, very suited to dance. I hope NBoC will perform it again soon.

Yes, I thought of that- except I have never seen Balanchine's Symphony in C! Are there any other ballets to the same music? If not, then maybe I saw an excerpt on a video or had an excersize in class to the same music and that's where I know it from...

My video ran out just after the first intermission:( I wasn't home so I missed the rest of the program. Do you think it will be released on video? I'm coming to NYC in late June, maybe I could check their gift shop or the Ballet Company boutique? From your posts it doesn't sound like it was the greatest program, but I'm still curious... would I be better off just buying a Balanchine library video instead?

This is really bugging me! I just heard Bizet's Symphony in C on the radio and the music is so familiar, I'm positive I've heard it from a ballet before- but I can't remember which! I can almost see the dancers in my head... Can anyone help me out? Thanks so much;)

Congrats to all of the dancers that were promoted, not many surprises there. It's also great that Jillian Vanstone received that award, she is very talented and has amazing technique- in an on-stage class she was throwing quintuple (sp.?) pirouettes!! I haven't seen much of Nehemiah Kish this season, but he was good in Intermezzo.

I once borrowed the book from the library, but I think that it is much easier to follow a video than a book (though there are some great photos in that book!). I bought the video about a month ago, and do the workout around once a week on top of my regular ballet classes and occasional yoga or pilates. I've found it to be helpful and fun. Since I am a dancer, I like how it's focused on the muscle groups important in ballet (abs, calves, etc.) and most things are done in a turned-out position. I didn't find any of the choreography difficult, but I can see that it could be, because the narrator doesn't really explain for example, balancés (warm-up part). And he doesn't tell you ahead of time when the combination changes in speed or steps ( the 'little jumps' section), like they do in aerobics class- "four more! three more!..." But I find the workout easier to stick with, because I usually feel stupid doing aerobics videos, but this one is more like ballet class. It's definately easier when you have a ballet background, since as I said before, the video doesn't go into detail explaining tendu (ex. how foot should not sickle) and other basic ballet steps. However, I have a friend who is a tennis player but has never gone to a dance class in her life, and she is positively addicted to NYCB workout! She does it many times a week and has noticed improvements in her posture and balance. So, I would say it is also good for non-dancers, as long as they are fit and coordinated. The little features on the 4 dancers at the end is nice too!

Thanks for your input Saveta:) Well, I believe Kudelka said something about it as "comparing apples and oranges" which really was the case. Esepcially in the contemporary repertoire, there was such a range from very modern (NBoC) to quite classical (ABT). I was also extremely impressed with Alicia Amatriain, and the two men from ABT and Stuttgart respectively. Our dancers, Odgen and Cote also did a great job, but to me the ABT and Stuttgart dancers stood out. Michele Wiles level of technique was IMO, unparalleled though. Which brings us back to the technique vs. artistry debate, and why arts just aren't suited to competition! It's just too subjective. The companies have very different styles, making judging very difficult. But, I still think it's a wonderful event, and one of the better and friendlier ballet competitions since the dancers are already in companies and used to performing (not vying for scholarships etc.), and it's not so much about scores but about maintaining a good relationship with these other companies and of course, pleasing Erik.

creativejuice, thank you for your review. I agree with a lot of what you said, although I'm not sure if "The Contract should be about creativity and how education educates the creativity out of us." The more urgent message seemed to me to be one of moral conflict rather than the suppression of creativity (though that too was one of the themes, the sets and costumes reflecting a rigid and unforgiving community). The ballet points out that children learn from adults' actions rather than words. Though the adults tell them Eva is a sinning whore, they quickly see the elders' own hypocrisy. It addressed the problem- when do children turn away from adult convention and dictatorship and begin to make their own judgements when the adults do not make good examples? I also believe it deals with the inherent problem that comes in trying to shelter our children and keep them pure- children, by nature, are not pure to start with. They posess a dark side that society has always had difficulty in confronting. Getting a little Jungian, one might argue that the rats in "The Pied Piper of Hamelin" are a symbol of the unconcious mind. But by trying to rid the town of the rats (or, their unconcious) the adults must sacrifice their children because the children, too, represent that part of the mind. Another interesting issue in the ballet is collective paranoia and xenophobia, our actions as manifestations of our fear of uncertainty and instability. I think it is quite relavent today, with recent hysteria over AIDS, Ebola, anthrax and other epidemics. It's intersting how audience members can each get something so different from the same performance, but Kudelka did say "ambiguity is essential" (in narrative ballet). Perhaps the only message that was clear, not ambiguous, was that broken promises have serious consequences! I found it a bit short too, but loved the lighting. Tanya Howard is really a lovely dancer, and very talented. I saw her as a gypsy in Romeo and Juliet. The only thing that bothers me about her is her 'broken wrists', but that can easily be corrected. I watched her a lot during their on-stage class, and she has a lot of spirit in her dancing. A pleasure to watch. Oh yes, and the most *gorgeous* feet!!! Yes, I was thinking the ballet could be shortened to 1 act. That way there wouldn't be any intermissions. I though the first part, with the children putting on the play was cute, but not essential- or maybe it could be condensed a little. The only thing is, what other ballet could you present this ballet with? I think they are touring in Ottawa soon, and wonder how it will be received there... It's not a crowd-pleaser, but I think Ottawa would like to see what new stuff NBoC is doing these days. Usually, they only get the Nutcracker, or maybe Swan Lake.

This was my first time attending the competition, so I don't know who the previous participants have been (other than the winners). All I know is that in 1999, NBoC's female representative was Bei-Di Sheng (lovely, talented dancer- but she is currently on a leave of absence from NBoC). Also, in 1988 or 1989, Martine Lamy competed. Anyone interested should read the Globe and Mail's review (Links section). I was a bit surprised that they would have chosen Alicia Amatriain and Guillaume Cote...

Jeannie- Since there are only 5 couples competing, there is only 1 winning pair ( male winner and female winner are not necessarily from the same company), no silver or bronze. The winners each get $7,500 CND and a trophy. Actually, it's probably better this way. If they had to rank 1st, 2nd, and 3rd, the judges would have a hard time and those who didn't get medals would feel pretty bad! Well, it was a very long, but most enjoyable evening hosted by NBoC principals Chan Hon Goh and Rex Harrington. Them, along with James Kudelka and Lennart Pasborg (director of the film on Bruhn) said a few words about the competition and Bruhn himself. Following that, was a screening of the film "I'm the Same- Only More", which was shown at the Toronto International Film Festival 2000, in the "Real to Reel" section. It's not a documentary, but provides an intimate portrait on the artist's life. There was some excellent footage of his performances in La Sylphide (both as James and Madge) , Don Quixote, Coppelia, Sleeping Beauty, Swan Lake, Etudes, Carmen, and more. I heard that a lot of this footage came from fans who secretly brought videocameras into the theatre. Bless them! ;) Some say "There's good, there's great, and there's Erik Bruhn." From the film, I could really see why. Btw, he had great pirouettes- he seemed to do the first one slow, and gain momentum (on multiple pirouettes). It looks very different from the way male dancers do them today. Also, great commentary on his relationship with Nureyev (no rivalry, but if Bruhn had been the same age as Nureyev he "probably wouldn't be able to stand him being there"). The competition began with the classical repertoire- the gruelling technical displays. After that came the contemporary repetoire, where stage presence and dramatic ability became more important. After the classical portion, the two clear leaders were the dancers from ABT and the Stuttgart. ABT The performance of Michele Wiles and David Hallberg in Grand Pas Classique was near flawless. Both seemed right 'on' last night. I can't believe they are hiding Hallberg in the corps! He seemed to be an excellent partner, and his variation was wonderful. His extension is impressive, especially for a male dancer. All the grand jetes en tournant and sissones were fully stretched with lots of height and quiet landings. Good batterie too (brise-voles in the coda). Wiles is certainly one to watch and I predicted her win. Her balances in the adagio, and her pirouettes and fouettes show how technically sound she is. In her variation, she did a long, controlled diagonale (ballote devant twice, small develope a la seconde, plie, fouette- know which one I mean?), with complete ease and perfect placement. Both looked very comfortable on stage and with each other, not nervous at all. They move as one. I didn't think the grey costumes were very flattering though. I prefer the while ones POB wears. In the Manon bedroom pdd, again, they both looked excellent and proved to be good dance actors. One felt like they were watching a performance, not a competition. Out of their 2 numbers, I think I prefered Grand Pas. It was really outstanding and had the audience gasping at many points. Still enjoyed Manon very much though. STUTTGART BALLET Alicia Amatriain and Friedemann Vogel are also 2 incredibly talented dancers. Like the couple from ABT, you could've told me they were experienced principals and I'd have believed you. They were just beautiful in the Act 2 pdd from Giselle. Amatriain's pointe shoes are a bit distracting. They remind me of Evelyn Hart's, with a very short shank and a somewhat distorted line. Nevertheless, her portrayal of Giselle was sensitive and heartfelt. It was also nice to see a couple doing a more romantic piece, instead of a flat-tutu virtuoso piece (the other 3 companies did Petipa). But they managed to sneak in some brilliant footwork and 180 degree extensions! She is extremely flexible- in supported penchee, her foot was hitting her partner's head! It made for gorgeous lines in the adagio when it was appropriate, what an arabesque she has! She looked a bit worn out after the long series of travelling entrechat quatre's though. Friedemann Vogel was to die for as Albrecht. Really. He has such a classical line and presence. Nice line, lovely ballon, batterie and backbends. He also finishes multiple pirouettes (4 of 5 I think) in a perfect passe position, totally balanced, like Baryshnikov used to. Vogel is a musical performer and the judges were obviously impressed his dazzling technique! In In the Middle Somewhat Elevated, both dancers pushed themselves to the limit and gave an exciting performance. Amatriain especially threw herself into the piece and style, and I could barely recognize her. That is, until I saw her over 180 degree extensions to the side. Vogel was also stunning in his little solo part at the beginning, but he still carried himself a bit like a prince. I can't decide if I prefered them in this, or in Giselle. Both were amazing. I think Amatriain was a little dissapointed that she didn't win, but I think Wiles is a slightly more well-rounded dancer. ROYAL DANISH BALLET Amy Watson and Ask La Cour opened the competition with the Black Swan pdd. They looked reeally nervous, understandably. Unfortunately, I think they were 'miscast' in the roles. Watson seemed tense in her upper-body and not quite suited to the choreography. La Cour doesn't have the look or carriage of a prince at all (strange costume too, all black with bright blue back). I would have liked to see them in something Bournonville, and perhaps they would have been more comfortable in that. Watson's wrist movement were a bit distracting, though her variation was quite enjoyable. La Cour was shaky in his variation, his weight seemed to pull him back when landing double tours. In general, they didn't seem to be very much at ease with each other. The coda was fine, Watson did about half of the fouettes before switching to a manege of pique turns. La Cour's working leg needs to be higher on tours a la seconde. They were better in the contemporary piece, Adagietto from the 5th Symphony of Gustav Mahler, choreographed by Neumeier originally for Erik Bruhn and Natalia Makarova. Watson looked much less tense, and her dancing was soft and lyrical. Overall though, these dancers seemed too restrained. NATIONAL BALLET OF CANADA Heather Odgen and Guillaume Cote danced the Black Swan pdd- right after the Danish dancers did. Kudelka's choreography varies slightly from RDB's version by Peter Martins, and having them back to back made it easy to compare- but I feel bad for the orchestra having to play it all over again! I prefered these dancers' performance to that of Watson and La Cour. And I don't think I am being biased! They were not technically perfect either, Guillaume probably very nervous, a lot of pressure was put on him and many Canadian balletgoers I spoke with expected him to win. However, I thought they danced with much more style and attack. I was especially impressed with Odgen, who I thought was beautiful in Intermezzo and as Juliet, but I didn't think she would be much of an Odile. I was pleasantly surprised with her interpretation. Beautiful penchees in the adagio, effortless looking- what my teacher calls "easy legs". She also had some lovely turns in her variation, seemed very secure. She completed almost all the fouettes, but her working leg was a bit low. Cote danced well too, but had a few hops and wobbles here and there. He had a big smile on the whole time though, and both of them had a lot of support in the audience, which was on it's feet at the end. (NBS students, NBoC company members, volunteers, and Celia Franca herself were there). I thought they were great in the world premiere of Dominique Dumais' CollectiveSontataForTwo, set to the music of Giuseppe Tartini and with french and english voiceovers, sometimes overlapping. The voices talk about des epreuves or trials, and some other things I didn't catch. This was the most 'modern' of the contemporary repertoire: lots of contractions and 'modern arms', No ballet tights, just tight green shorts and tank tops. They danced with, and on a stool. Moving it away from each other, creating a comic effect. It showed their versatility and both dancers really let themselves go. Very exciting to watch. SFB Lots of Spanish flair in Clara Blanco (looks very young!) and Gonzalo Garcia's Paquita Grand pdd. This couple was so charming, not the most flashy, but really graceful. They seemed to enjoy being out there. Blanco is a superb turner, with some triple pirouettes en dedans in her variation and nice fouettes (single, single, double with hands on hips). She is very petite and is not as flexible as Amatriain, creating a different line. I liked her a lot though, she is very expressive with her face and draws the audience in. Garcia is a solid dancer, with big, lofty jumps and lots of charisma. Technically though, he is not quite at par with Hallberg or Vogel. I liked him more in Continuum. I also really liked Wheeldon's choreography. It's looks like it's fun to dance. Blanco was sharp and musical. They looked good together here, one's movement complimenting the other's. After a long wait (the orchestra played a bit of Michael Torke's score for 'The Contract', James Neufeld and Penelope Reed Doob gave a summary of the Past-Present-Future Ballet confrence, Rex Harrington sang his own rendition of 'I love you forever'- "Musical Theatre here I come!" while the results were being tabulated), the winners were announced: Michele Wiles and Friedemann Vogel. They both deserved it. Flowers, hugs and kisses, and a shower of balloons followed. My special awards;): Best chemistry- Guillaume Cote and Heather Ogden Most versatile dancer- Alicia Amatriain I wonder when the next Erik Bruhn Prize will be? It's not exactly every 4 years or anything like that. Previous competitions were in 1988, 1989, 1993, 1995, 1999. Maybe the Royal will join in next time!

I've seen some fashion photo shoots with models wearing pointe shoes... except they were definately NOT dancers! The ribbons were all sticking out, and when they tried to stand up en pointe- not a pretty sight! I think the ballet flat is a nicer look for non-dancers. Btw, did Fonteyn always wear Repetto pointe shoes?

I attended the performance last night, to see what all the hype was about! I don't have much to say that the newspaper critics didn't cover, so if anyone is interested you can read the Globe and Mail and Toronto Sun's reviews on the NBoC website: www.national.ballet.ca, along with an interesting article on the creative process. The set is really quite interesting. Michael Levine created a replica of a gymnasium, complete with exit signs, pipes, plastic chairs etc. There were no wings, and it created a real, closed in atmosphere. There is no curtain, just a black, sheer layer with a door in it that goes down at intermission. Kudelka originally didn't want any breaks, but settled for 1 intermission. I can see why he wanted the ballet to be continuous. There are no pauses, and the dancers are more or less on stage for the entire thing. There aren't any good parts to stop the action. After the intermission the ending seemed a bit abrupt. The original score was composed by Michale Torke. The music was varied, and sounded a bit like a movie soundtrack, but without a clear and repetitive theme. Some segments including singing, by soprano Jennie Such. At one point her voice sounded very ugly and screeching, and I'm not sure if it was intended, but she sang beautifully elsewhere. The story (by Robert Sirman): A small, rigid community (all dressed in dark green- almost black) gathers in a community hall. The children give a performance of "The Pied Piper of Hamelin" (this segment of the ballet has no music, just a narration of the poem). The stage within a stage idea is not original, but always seems neat. A celebration with dancing follows. Suddenly, Will, returning from a trip enters. He brings with him a movement disorder, a sort of twitch that spreads to the young people he dances with. The adults and elders look on in horror as all the young people are infected. Dot is Will's fiance. Her mother tries to interfere and catches the disease too. Everyone stops dancing. Chaos insues (an amazing dance number here with lots of jumps). Eva, an outsider (dressed in beige) enters, claiming healing abilities. The citizens make a contract with her, so she will cure the infected people. One by one, she heals all the victims. Writhing in agony on the floor huddled together, it looks like some sort of hell, and slowly each person crawls up a ramp where Eva lays her hands on them, and they stand up and walk down the other side of the structure which has steps. This is repeated many times, building up to a musical climax, and creates a very strong, memorable image. Exhausted, Eva lies down on the stage. The men and women go to sleep, on opposite sides of the stage, in curtained-off sections of the hall. (brief intermission here). Eva wakes up and dances a heartfelt solo. Will enters and watches in secret, finally approaching her. They dance a passionate pdd that ends with Eva taking off Will's pants and lying on top of him. A child peers in, and sees it all. An elder follows, outraged. The community decides to break the contract. The children side with the wronged saviour and follow Eva out of the city. All in all, I am not much of a Kudelka fan. The only ballet of his that I really enjoy is the Four Seasons. I find that he is often too literal, and that was one of the weaknesses in the Contract's choreography, IMO. Some of the actions and gestures, i.e. pointing, hands on head, covering eyes, Eva reaching to her heart just seemed too blatant and ruined the subtle effect of an otherwise outstanding creation. The obvious connection between Eva and the Pied Piper did not need to be further accentuated with Eva running off with the kids wearing the exact same cape that he wears in the play at the beginning. He is also very literal with the music. It's hard to express, but each beat has a rigid movement and I feel like saying 'not every single beat has to be a separate step!' i.e. a slow sweeping movement can cover a bar of music, etc. It's more important to capture the essence of the music and phrasing... but I know choreographing, while simmultaneously driving a narrative is an extremely difficult task. In all fairness, there were some magical segments of the ballet. The beginning has a full stage of 3 generations of dancers ( incl. NBS students), doing chasses and swaying side to side. The steps are simple, stripped of excess, and quite powerful. The grief of the citizens after witnessing the incident between Eva and Will is strongly conveyed in the dancing. Kudelka also uses some imaginative formations. As for the dancers, they all did an excellent job. The children were together, and the corps were excellent. As the unforgiving elder, Rex Harrington was quite a presence. As Will's parents, Xiao Nan Yu and Aleksandar Antonijevic combined technical ease with dramatic interpretation. Will was danced by the young Guillaume Cote, who also gave an extraordinary performance. However the show really belonged to Martine Lamy, whom the role of Eva was created on. She danced with openness, sensitivity, and raw emotion. The entire audience was on it's feet at the end, and I was happy that the ballet was well received. I think, more than ever, Torontonians want to embrace something new. Certainly, Kudelka should be commended for an incredible effort and unique concept. This is a huge landmark for the company. A lot of collaboration and work has gone into it, and I believe it is a successful attempt at a ballet for the modern times. It addresses themes of moral responsibility, betrayal, redemption, social anxiety... oh yes, and Kudelka's favourites: love, sex, and death (the ballet was 'PG-14'). I spotted Kevin McKenzie, Peter Martins, and Reid Anderson in the audience (in town for the confrence hosted by NBoC amongst other artistic directors). Interesting to see what they thought...

My favourite tutu is the one I wore for my Paquita variation (I think my photo is still in BalletAlert's studio section), it's a flat tutu with a gray/silver tulle overlayer and a satin-y bodice. My other favourite is a romantic tutu that reminds me of Karinska's costumes for Bourree Fantasque. It's navy and deep green tulle with scattered jewels, with a navy velvet bodice with gold princess seams, and nude, sheer sleeves that slip on, with little jewels on it... costumes are so hard to describe!

NBoC: Guillaume Cote and Heather Ogden- black swan pdd, dominique dumais new work ABT: Michele Wiles and ?- Grand Pas, Manon SFB: Clara Blanco and Gonzalo Garcia- Paquita, Wheeldon work (forgot name!) RDB: black swan pdd, Neumier work (again forgot name!) Stuttgart: Sleeping Beauty Act 3, In the Middle Somewhat Elevated The information was not publically released, but I volunteer at the NBoC and managed to glance over the list. The evening also includes a screening of the documentary on Bruhn "I'm the same, only more" and possibly a brief summary of the PPF (Past, Present, Future) Conference that is being held today and tomorrow. The Confrence involves artistic directors of NBoC, RB, RDB, ABT, NYCB, SFB, POB. Looking forward to the event! Will report as soon as I can!

Though I enjoyed Voluntaries (again, more on 2nd viewing), it is very busy, and at times, it can seem like just steps. It is the first Tetley ballet I've seen (I'm still young!), how does it compare to his other works? La Ronde, Sphinx and Alice are on my 'ballets to see' list. I think it's interesting how he sought relief from the pain of death through choreography. I found it quite powerful, but I definately could not listen to that organ music repetitively! Of the 3 ballets, Apollo seemed the most 'perfect', Balanchine is so imaginative, and I will have to find the CD this weekend! The Contract continues this week, and I will see it on friday. I'm excitied about the Bruhn competition, and have my tickets. NBoC is doing black swan and a work by Dominique Dumais. ABT is doing Grand Pas Classique and Manon. Royal Danish is also doing black swan, and a work by Neumier. SFB will perform a Wheeldon ballet, and I'm not sure about their classical pdd. And Stuttgart will bring Sleeping Beauty pdd (Act 3) and In the Middle... All I know is that ABT's female dancer is Michele Wiles. Looking forward to it!

Michele Wiles will also be competing in the Erik Bruhn Prize, held here in Toronto's Hummingbird Centre, this monday. I can't remember who her partner will be, but they are dancing Grand Pas Classique for the classical section and Manon pdd (not sure which) for the contemporary. She certainly is busy these days!

I saw 2 performances of Apollo, Intermezzo, and Voluntaries. I rarely get to chance to see 2 different casts, and enjoyed both nights greatly! APOLLO On opening night (May 8), Rex Harrington danced Apollo. He gave a energetic and exciting performance, though he has lost a lot of his technique (line and turns), he still has that charisma and presence that audiences love. The choreography is not too gruelling, and it's a good role for him. The 3 muses were Chan Hon Goh, Greta Hodgkinson, and Sonia Rodriguez- one could not ask for a better cast. Each brought life and uniqueness to their variations, Hodgkinson was especially charming as Polyhymnia, nailing all the double pique turns while keeping the arms still and contrasting quick, sharp movements with smooth, flowing steps. As terpsichore, Goh was elegant and moving. Perhaps her working with Farrell's company has influenced her dancing of Balanchine? Her dancing was seamless and musical. The pdd was beautiful, actually, the entire ballet is really a masterpiece and has become a favourite of mine. I saw it 3 years ago in the All Stravinsky program, but on second and third viewing I really appreciate Balanchine's genius so much more. The music is both powerful and playful, and after seeing Apollo, I've decided I must find a recording of it! When the ballet ended, I was left wanting more! It seemed to go by too fast! On the following evening, Geon Van der Wyst danced Apollo, and also looked great (and he's blond, which just seems fitting for the god of light). He really gave his all in the performance, even when the top part of the costume fell off near the end (it was hanging around his waist like an Egyptian skirt!). This time Hodgkinson danced Terpsichore, and also was exceptional in the role. However, overall, the muses were less in sync (Brenda Little and Rebekah Rimsay). INTERMEZZO This is a goregous, romantic ballet- with no real plot, but more focused on moods and relationship between 3 couples. Andrew Burashko should be applauded for his sensitive rendering of Bach's music (the familiar Intermezzi opus 117, No.2 and opus 118, and Waltzes opus 39). He paid a lot of attention to the dancers, especially in the final waltz, slowing down the tempo so the dancers weren't rushed ( there was a lot of intricate footwork, and lifts). Eliot Feld's choreography is delicate and at times imaginative, though I found the piece a bit long (watching it again though, I found it more enjoyable... is everything better the 2nd time around?!). Still, as the leading couple, Aleksandar Antonijevic and Sonia Rodriguez were excellent interpreters of the steps and music, creating a warm and intimiate feeling, and moving with the greatest of ease. Stacey Shiori Minagawa and Piotr Stanczyk led the trio of couples on thursday. They did not seem to me to have the same level of comfort with each other, or the same understanding of the style, but they were nevertheless a pleasure to watch. The other two couples (on both nights) were Heather Odgen & Nehemiah Kish, and Tiffany Knight & Patrick Lavoie. I felt Ogden was most suited to the ballet. Her dancing was soft, never rushed or tense. The latter couple was enjoyable, yet not very memorable. Overall, a lovely ballet and performances (and very nice costumes!), but it looked a little bit dated. VOLUNTARIES This ballet was Glen Tetley's tribute to John Cranko for the Suttgart. The images and feelings of the ballet are those of grief, yearning, and loss. The mood is sombre, and the music (Poulenc's concerto in G minor for Organ, string, and timpani) is reverent and dark. The leading couple was Geon van der Wyst and Greta Hodgkinson on opening night, and Aleksandar Antonijevic with Martine Lamy on May 9. Both men looked a bit tense in their partnering, granted though, the lifts are very difficult and demanding. Van der Wyst has become a very interesting dancer, and he is becoming a wonderful dramatic actor. Antonijevic seemed more secure in the attitude turns and jumps though, as always, a picture of technical perfection. I slightly prefered Hodgkinson, because she has a stronger attack and more pliant back (important in this ballet)- but Lamy also had a lot to offer, and has a beautiful upper-body that highlighted every sorrowful contraction and port de bras. Both casts of the pas de trois were wonderful. Xiao Nan Yu, Patrick Lavoie, and Ryan Boorne were dramtic and conveyed a message of hope and release from pain. Both men partnered Yu very well. The other cast was Jennifer Fournier, back at NBoC after having a baby and touring with Suzanne Farrell's company, Etienne Lavigne and Piotr Stancyk. Fournier looked great, in better shape than I've ever seen her (before she left). Finally, the corps were quite good. The men in particular were very together and completely threw themselves into the complex leaps and jumps. As the Globe and Mail stated, the ballet has a new relavence with it's themes of sadness and hope. While the trio embody hope, the couple personify enduring anguish and realism. The work is filled with many powerful enduring images, as the NBoC pays hommage to not only Cranko, but Tetley as well- two choreographers who had a enormous impact on the company. This season was a real success for the NBoC, remembering their past and embracing the future (in the Contract, Kudelka's first original full-length... haven't seen it myself yet, but it did receive an excellent response from critics and balletgoers alike). The Erik Bruhn Competition coming up on monday should also be very exciting!

I am not personally a witness to Baryshnikov's great career, but I think he is a dancer that knew when to quit. I think it was wise of him to move towards contemporary/modern dance, instead of quitting altogether- Karen Kain has done the same, and I think she looked great in her final performances. I think a large part of it, is knowing when to drop certain ballets ( i.e. Swan Lake, Sleeping Beauty, Don Q). Rex Harrington is starting to realize that he is losing his line and turns, but he can still look wonderful in the right repetoire. It's very hard for ballet dancers to quit- cold turkey, and it's generally better when leaving the stage is gradual, IMO.

I am not personally a witness to Baryshnikov's great career, but I think he is a dancer that knew when to quit. I think it was wise of him to move towards contemporary/modern dance, instead of quitting altogether- Karen Kain has done the same, and I think she looked great in her final performances. I think a large part of it, is knowing when to drop certain ballets ( i.e. Swan Lake, Sleeping Beauty, Don Q). Rex Harrington is starting to realize that he is losing his line and turns, but he can still look wonderful in the right repetoire. It's very hard for ballet dancers to quit- cold turkey, and it's generally better when leaving the stage is gradual, IMO.

Sorry this post is a bit late. I attended this ballet gala on April 28, 2002. The show has toured many international cities, and came back to Toronto after 5 years. It was truly a remarkable programme, with dancers of a calibre that Torontonians rarely have the opportunity to see. From start to finish, the evening was a real treat for balletomanes. First on the programme was Le Corsaire pdd, danced by 2 exciting young dancers: Daniela Severian of the National Ballet of Portugal and Marcin Krajewski of Ballet Opera Wiesbaden. These were the only dancers on the roster that I was not familiar with, and they turned out to be a surprising highlight of the evening. Severian is a petite Brazilian with sharp technical precision, and enough confidence to open this gala of stars with style. She reminds me a bit of Paloma Herrera, except she has a more beautiful port de bras and upper body carriage. She throws off 32 fouettes with ease- and a few doubles and triples too! Not to be outdone, Krajewski pulled out all the stops in his solo and the coda. His energy and the height of his jumps were incredible. His double tours with one leg in passe (don't know what to call it), were flawless. He overrotated on a few jumps, but it was refreshing to see a talented young dancer not holding anything back. They did look a bit hesitant in the adagio though, probably because they are from different companies and maybe haven't danced together a lot. Severian and Krajewski each performed later their own solos. Both choreographed by Ben Van Cauwenberghe, and to French music with a Parisian feel. Krajewski's "Les Bourgeois" was one of my favourites. He combined his strong, virtuosic technique with superb comedic style. His facial expressions, mime, and costume (complete with fake cigarette) made for a complete performances that brought the house down. Severian danced to "Non, Je ne Regrette Rien" in a long black dress, and showcased her dramatic range, maturity, and... more fouettes! She also did fouettes in the finale, where dancers each had a turn to do a last diagonale or a few steps to the music of Diana and Acteon. What a turner she is! Desmond Richardson's modern solo, Fauvre was also a huge hit with this audience who seemed focused on "tricks"- clapping after every jump, spin, and extreme extensions ( later, by Lucia Lacarra). He is very talented, and moves with fluidity and energy. One of the biggest delights for me was Irina Dvorovenko and Maxim Belotserkovsky dancing Tchaikovsky pdd. They look great together, and Irina especially was really "on" that night. She had some gorgeous extended balances, perfect turns, and great speed and lightness in her variation. Belotserkovsky also has an elegant line and clean technique. Later, they appeared in Farewell. I enjoyed bits of this modern pdd, but they were much more memorable in their first appearance. The audience didn't seem to appreciate as much the more subtle and less flashy performances from Jaimie Tapper and Johan Kobborg, but I thought they were both excellent. It was nice to see Tapper back in Canada after so long! She looked beautiful as Giselle (Act 2), and has such a lightness in her jumps. Of course, Kobborg was impressive in Flower Festival- such ease in his batterie. And in Giselle, he was really acting the part, even though it is sometimes hard to do when just dancing an excerpt. We saw Bolshoi's Svetlana Lunkina and Dmitri Gudanov in La Sylphide and in the Black Swan pdd. I am running out of superlative adjectives, but they were beautiful in La Sylphide, and I felt they achieved the Bournonville style very well- though sometimes a bit too showy. In Black Swan, Lunkina slipped during the adagio and later fell on her behind after the first few fouettes of the coda. She recovered well, immediately getting up and finishing the turns- though travelling to the side. Nonetheless, she is obviously a wonderful dancer and reacted very professionally to what seemed to be slippery shoes! In spite of the slips, she danced with character and self- assurance. She did a series of gorgeous grand jetes in the finale, her legs are so long! Gudanov was brilliant in both his solos (Sylphide and Siegfried), finishing everything in perfectly placed positions. The other Svetlana, Zakharova, was ethereal in the Dying Swan- beautiful arms, and such a supple back. Evelyn Hart and Rex Harrington danced a pdd called Impromptu to the music of Shubert choreographed by Derek Deane. Though they were the oldest performers and didn't have the technical virtuosity the others did, they certainly had a lot to offer. Their artistry and musicality was unmatched. With rumours of Hart's retirement, I am glad to catch any of her performances in Toronto! The apparent stars of the night were Lucia Lacarra and Cyril Pierre. I say this because they receiving the most enthusiastic applause, Lacarra is on all the posters, and in the final bow they were places in the centre, gave flowers to the artistic director of the programme, etc. Like Dvorovenko and Belotserkovsky, they dance well together and have a strong rapport that lets difficult lifts and positions look easy. In the Light Rain pdd choreographed by Gerald Arpino, Lacarra's amazing extension was pushed to extremes. The music by Douglas Adams and Russ Gauthier is repetitive and hypnotic, and the pdd is mostly a series of poses instead of continous movement. Though I found Lacarra's oversplits and hyperextended legs impressive and beautiful, the pdd left me wondering what else she has to offer. For this reason, I prefered the Adagio for Strings which had a little more depth and drama. Obviously, I thoroughly enjoyed the gala and am looking forward to it next year (they said that next years programme is already underway). It was also my first time seeing all of these international dancers live, except for Eveyln Hart and Rex Harrington. So it was really great to be able to see these wonderful dancers that I read so much about in magazines, newspapers, and of course, right here on BalletAlert!

I saw it at the bookstore Indigo. It's very expensive, but there are some incredible photos. It goes through every year of his career, from his defection up to his performances with the White Oaks Dance Project. It's a quite thick, hardcover book, and of course, should be on the coffee table of every Baryshnikov fan!

I forgot to mention that I found the NYCB workout video at BMV bookshop for $4 last week:) Most of my ballet books come from used bookshops, I bought Suzanne Farrell and Gelsey Kirkland's autobiographies from one in Oakville. Both are excellent reads. I also read Kirkland's 2nd book "the Shape of Love". I have "Classical Ballet Technique" by Gretchen Ward Warren. As a ballet student, it is my most useful book. I had to get it at Indigo though, for around $60. I bought "Tributes" too. "ABT: a 25 year retrospect" has some of the most beautiful pictures. That was an expensive book, but I love looking at it. I have an old book called "Ballet for All" that has the history and synopsis of many ballets. I have a few other books, but I mostly borrow from the library ("The Pointe Book", "Private View (ABT)", "People who Dance", Frank Augustyn's autobio, many books on Nureyev, Fonteyn etc. etc. plus lots of good videos!). And as for magazines, if you can find it, "Dance International" (www.danceinternational.org) is based in BC and published quarterly. They have some good articles with a Canadian slant.

I bought that book recently too! At the U of T bookshop, for $10. I guess all the bookshops decided they needed to make room for new books or something! If you're ever in Toronto, check out BMV (books, music, video) for used ballet books. There are 2 locations, 1 is on Edward St. and Yonge, and the better, bigger location is on Yonge and Eglington. I've found books on Karen Kain, Evelyn Hart, ABT, and "Stravinsky in the Theatre". I've also been meaning to check out the bookshop "Friends of Terphiscore"... tigger, do you take classes at Dance Teq?