Paquita

I was wondering if anyone here has ever attended the RAD solo seal awards and whether they're worth going to? They are being held in Toronto on May 2 and are open to the public. How long do they normally last? How many dancers usually participate? Thanks in advance!

I actually just bought the Ferri/Corella version from La Scala on DVD (only $28 at HMV downtown Toronto!!). I'm not finished watching it yet, but so far (Act I and II) it is excellent:) There are a few parts where the corps or soloists are a little weak, but it is generally a solid performance and the leads are both superb. I'm not sure how much on stage (or on screen, I suppose) chemistry the two have, but still, this is a very worthwhile purchase!

Here is the press release. I think this is great for the NBoC! Apollo and the Four Seasons are both strong ballets for the company. I think Kudelka could have chosen better ballets than the Firebird and there, below though. THE NATIONAL BALLET OF CANADA TO PERFORM IN BERKELEY AND DETROIT IN FALL 2004 Toronto, Ontario…March 23, 2004…National Ballet of Canada Artistic Director JAMES KUDELKA today announced that the company will be touring to the United States in the fall of 2004. The company has been invited to perform as part of the Cal Performances series in Berkeley, California on October 1-3, 2004 and at The Detroit Opera House, in Detroit, Michigan on October 7-10, 2004. The National Ballet of Canada will open the Cal Performances season with four performances of Kudelka’s masterpiece The Four Seasons, there, below and George Balanchine’s Apollo from October 1 to 3. Cal Performances is the performing arts presenter and producer of the University of California, Berkeley and presents internationally renowned dance companies such as The Kirov Ballet, American Ballet Theatre, Dance Theatre of Harlem, Mark Morris Dance and Suzanne Farrell Ballet. The National Ballet of Canada last performed in California in 1991 at The Orange County Performing Arts Centre. The company will perform The Four Seasons and Kudelka’s The Firebird at The Detroit Opera House with four performances October 7 to 10. This is the company’s debut at The Detroit Opera House, which has a dance series featuring international and American companies. "I am delighted to have the opportunity of touring this wonderful company to both Berkeley, California and Detroit," said Mr. Kudelka. "The depth of talent deserves to be seen and we are hopeful that this is just the beginning of taking the National Ballet artists to world stages."

Thanks for posting that link! The video of Karen and Frank dancing Fille is great:)

I missed it! But when I went to see "The Company" at the Cumberland theatre, they showed a short film by Veronica Tennant that sounds like "Shadow Pleasures". It was narrated by Michael Ondaaje. Tennant is doing some very interesting experimentation with dance and film. One of the smoothest transitions from ballerina to second career that I've ever seen.

I also saw "Triplets" recently, and quite enjoyed it. The film is refreshing because it doesn't rely on dialogue like most animated films do today. The music is great and the colour palette and animation style are very distinctive.

Blonds at the NBoC: Heather Ogden Jennifer Fournier Lisa Robinson

Hodgkinson will be dancing at the Marinsky Theatre this month with Roberto Bolle. They will perform the summer pdd from Kudelka's Four Seasons, as well as a second pdd which I can't recall at the moment.

Great news:) There couldn't be a dancer more deserving of the promotion.

Thank you for your comments, Marga. It's too bad that Yu was having a bad day:( I think she could make a lovely Aurora. She must have been distracted by her injury... Regarding Rodriguez, I also found her a very serious Aurora. She was more convincing in the 3rd act than the 1st. It's such a shame that Boorne had to struggle through the prince's role. I can fully understand, I saw him in Swan Lake opposite Yu. Actually, part of the reason I saw Rodriguez/Cote is because I knew Boorne would have difficulty in Sleeping Beauty. NBoC simply needs more technically strong male principals. They should not have to cast someone like Boorne as Florimund. I saw Lisa Robinson in "pussycats" last time the company performed Act III alone as part of a mixed program. I completely agree with you, she stole the show! It is one of the roles I associate with her. Well, it was Rudolph Nureyev who insisted on the lavish sets and costumes which cost quite a pretty penny, especially in those days! As some have mentioned, they are showing signs of wear and tear but IMO, they still look spectacular. When Nureyev mounted his production the company was very strong. Today, the company can still perform a great Sleeping Beauty, but there are not enough dancers for 4 good casts.

I am always very tempted to read the last page or last sentence, but I never do. Instead, I read the first few pages to see if the author grabs my attention. If I like it, I'll read a random excerpt from the middle. Another consideration is chapter length! I tend to read books with short chapters faster.

There was another article about van der Wyst's resign in the Star yesterday: http://www.thestar.com/NASApp/cs/ContentSe...d=1077232209801 The article also discusses dance injuries in general among NBoC dancers such as Johan Persson, Veronica Tennant, Jaimie Tapper and others. It is really sad that he has to end his career so early. When you've been devoted to ballet for such a large part of your life, there is usually little else to do. Of course, Persson and Tennant have been able to use their creativity in other ways- photography and film/TV, but it is nevertheless a difficult transition. Van der Wyst did do some modelling on the side back in Australia, maybe he might look into that? I also found his comment, "20th Century choreographers put a lot more strain on the body" interesting. The classics are certainly demanding, but the contemporary works do put stress on different joints and the strain on the body is different from what most dancers are used to from their classical training.

Chan Hon Goh now has her own website with a bio, repertoire, photos, and information about her line of ballet/pointe shoes, Principal shoes: www.chanhongoh.com Greta Hodgkinson also has a website in the works, but the link isn't working yet, it will be: www.gretahodgkinson.com

Thank you, mom2. Re: traffic jams, it is always a slow drive home when the Leafs/Raptors games end at exactly the same time as the ballet I also read Paula Citron's review today (as well as Michael Crabb's in the National Post). Her mention of Michael Jackson made me laugh... I agree with Crabb, Tetley's "Alice" is extremely ambitious. I enjoy its complexity, as it renders the work so much more interesting than a simple Disney-like retelling of the storybook tale. Yet, as I said earlier, it's not a ballet that I'm too keen on seeing again. I think my taste runs towards either full-length narrative ballets or neo-classical "pure" dance, such as Serenade, rather than hybrid narrative/abstract, stream of consciousness-like ballets. It deffinately gives one a lot to think about though... At its premiere the critics loved it, most notably Anna Kisselgoff (NY Times). It proved to be NBoC's ticket to touring the US and Europe, this time without the umbrella of Nureyev's name. I wonder why it was not performed for over a decade, and how this generation of dancer compares to the original cast. The only remaining dancer is Rex Harrington. As for Martine Lamy, I haven't seen her in a lot of Balanchine. She was stunning in Emerald's last season though. She's very well suited to the romantic style. She has also danced Theme and Variations a few years ago, but I didn't have the chance to see her. NBoC is doing Theme again this May, but I'm not sure if she'll be cast this time (it's so technical!). In the past she has danced in Symphony in C, Sylvia pdd, and Tchaikovsky pdd. I have seen Lamy in person before, and yes, she is quite petite. Perhaps she seems taller on stage because she dances "large"! She is certainly not one to get eaten up by the scenery! Here's the link for the Globe's review as well as the Star's: http://www.national.ballet.ca/Performances.../alice-serenade

I attended last night's performance (opening night). Prior to the show there was a Ballet Talk with Glen Tetley which was very interesting. He spoke mostly about "Alice" and the creation process. He was very open in the choreographing process, allowing dancers to alter steps to suit themselves. I remember reading in Karen Kain's autobiography that she enjoyed working with him and Alice Hargreaves "fit her like a glove". Kain wanted to be in Tetley's new work when Erik Bruhn comissioned it, but she knew she was too old to play the young Alice. What original began as a cameo appearance from the mature Alice turned into one of the ballet's leading roles. Tetley spoke about the dancers he created "Alice" on, describing Kimberly Glasco as "a dream to work with... a revelation" while understudy Martine Lamy "could be as tough as nails". Lewis Carroll was danced by a young Rex Harrington (then, still in the corps) in one of his first major roles. Current ballet master Peter Ottman was the first Hargreaves and caterpillar. Tetley also spoke more generally about his experience as a choreographer and dancer. Sort of a rarity in American dance, he equally enjoyed working in modern and classical idioms. He found the divide between modern and classical dance in the US gaping, while in Europe the two were more synthesized and this was part of the reason why he chose to work with the Hamburg, Stuttgart Ballet, and Netherlands Dance Theatre. One audience member pointed out that Tetley's style changed from more modern and Graham influenced to more balletic after he began working with the Stuttgart. Can any posters here elaborate on this observation? The only other Tetley ballet I have seen is "Voluntaries" and next season NBoC will do "La Ronde". "Alice" however, seems to be unlike any of his other works, and unlike anything else in NBoC's repertoire. Unfortunately, Alice failed to meet my expectations. While the ballet should have a universal appeal, it seemed to be too dismal for younger viewers, yet too ridiculously absurd for an adult audience. If a choice had to be made though, it is more appropriate for adults. The non-linear narrative is complex and layered with recurring motifs like a rabbit's glove or a white fan and themes of memory, aging, illusion and life. The ballet's conception is inventive and fantastic, the choreography includes acrobatic elements and modern influences. Yet the piece lacks direction. Like Alice, the audience may feel puzzled and frustrated by the chaotic mess of Wonderland. Whether that is Tetley's intent, I don't know. However, it does not urge one to see the ballet again. IMO, the music (David Del Tredici's Child Alice Part 1: In Memory of a Summer Day") is problematic and not suitable in part because it is not very "danceable". Though hints of whimsy can be heard in the music, there is an underlying eerie feel to it. The music is dissonant with a hypnotic, repetitive theme (that I *still* have in my head right now!) building up to dramatic climaxes which are not completely matched in choreography. The costumes and sets were quite imaginative and evoked a surreal, outlandish atmosphere. The dancing was excellent however. Sonia Rodriguez gave a believable portrayal of the child Alice in all her girlish naivete and innocent curiosity. She danced with lyricism and a sense of spontineity, virtually carrying the entire ballet. Jennifer Fournier played the mature Alice effectively. As Lewis Carroll, Aleksandar Antonijevic displayed superb technique and conveyed a feeling of unsettled contemplation in the eccentric mathematician. Guillaume Cote was a delightful white rabbit, hurriedly hopping along and then freezing completely for a moment much like real rabbits do (Tetley mentioned teaching the role to the new dancers and asking them if they had ever observed rabbits. Then he asked if they had read the books. "No, but we're familiar with Disney", to which Tetley responded, "this is worlds away from Disney!!"). Patrick Lavoie danced 2 roles; Alice's husband, Hargreaves and the caterpillar. Stephanie Hutchison was a comically feisty queen of hearts. One of the most effective and humourous scenes is the Mad Hatter's tea party. Yesterday the Mad Hatter was danced by Jean Sebastien Colau. Balanchine's "Serenade" which opened the evening was very different with its unified grace and innately beautiful choreography (in Alice I felt that much of its beauty came from the dancers rather than the actual steps). Both the ballet and the music are favourites of mine. Despite a few bobbles (one of the corps girls tripped, which momentarily detracted from the effect) and shaky pirouette landings, the ballet still maintained an almost dream-like quality. Earlier, in Tetley's interview, he described his definition of "classical" as "pure". The enduring appeal of Serenade is its purity. It feels like distilled ballet, movement stripped to its essence- uncluttered by sets, free from narrative. Spontaneity dances with a primary structure. Although Balanchine improvised as ballerinas arrived late and male dancers were limited, each element of Serenade looks like it belongs. I felt that the classical tradition was not ignored as there seemed to be references to Giselle (corps' hops in 1st arabesque plie) and Swan Lake (the 5 girls with linking arms reminded me of the dance of the baby swans). The ballet is filled with lasting images that remain imprinted on the mind long afterwards. Such is the final scene, with the waltz girl lifted up and the corps in their bourees, arched backwards to face the heavens. Chan Hon Goh danced the waltz girl with great freedom of movement and poetic flow. She was partnered by a confident Rex Harrington. As the Russian girl, Martine Lamy lends a different line with her muscular upper body. There is an infectious joy in her dancing, coupled with a consistent serenity. The dark angel was danced by Stephanie Hutchison who is quickly making the role her own. She dances "big" and her technique is strong and clean- not a wobble in the supported arabesque turns. She can come off as cold in other ballets, but her somewhat phlegmatic temperament works to her advantage here. Did anyone else go? Impressions? Also, if anyone saw Alice the last time it was performed, I would be interested to hear your thoughts (or any opinions about Tetley's work).

Casting has been revised: SERENADE CHAN HON GOH, MARTINE LAMY, STEPHANIE HUTCHISON, REX HARRINGTON, PATRICK LAVOIE (Feb. 18 at 7:30 pm) XIAO NAN YU, BURNISE SILVIUS*, JULIE HAY REX HARRINGTON, JEAN-SÉBASTIEN COLAU* (Feb. 19 at 2 pm/ Feb. 21 at 7:30 pm) JENNIFER FOURNIER, SONIA RODRIGUEZ, LISA ROBINSON ALEKSANDAR ANTONIJEVIC, PATRICK LAVOIE (Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm) XIAO NAN YU, MARTINE LAMY, STEPHANIE HUTCHISON REX HARRINGTON, JEAN-SÉBASTIEN COLAU (Feb. 20 at 7:30 pm) CHAN HON GOH, MARTINE LAMY, STEPHANIE HUTCHISON ALEKSANDAR ANTONIJEVIC, REX HARRINGTON (Feb. 22 at 2 pm) ALICE Child Alice Child Alice SONIA RODRIGUEZ* (Feb. 18 at 7:30 pm/ Feb. 19 at 2 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 7:30 pm) GRETA HODGKINSON* (Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm/ Feb. 22 at 2 pm) Alice Hargreaves JENNIFER FOURNIER* (Feb. 18 at 7:30 pm/ Feb. 19 at 2 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 7:30 pm) XIAO NAN YU* (Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm/ Feb. 22 at 2 pm) Hargreaves PATRICK LAVOIE* (Feb. 18 at 7:30 pm/ Feb. 19 at 2 pm and 7:30 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 2 pm at 7:30 pm / Feb. 22 at 2 pm) Lewis Carroll ALEKSANDAR ANTONIJEVIC* (Feb. 18 at 7:30 pm/ Feb. 19 at 2 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 7:30 pm) REX HARRINGTON (Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm/ Feb. 22 at 2 pm)

Great to hear all your impressions! I attended both opening night (saturday) and sunday's matinee. It was exciting to see Marcelo Gomes in Toronto, and I agree with the comments from tigger and Millie. There is such ease to his dancing and his jumps fill the music and move through space in a perfect arc. He has a clean line and every step is "finished", every arabesque reaches up and away. But I was also extremely impressed with Cote's debut. It's the best that I've ever seen him. He has always been an excellent performer, but yesterday he seemed to have renewed confidence, dancing with style and polish. I noticed a real improvement in the amplitude and line of his jumps- not that they were ever lacking, but now they are breath-taking and Nureyev's choreography gave him several opportunities to showcase his refined technique. In the grand pas coda he finished a dizzying number of pirouettes (I didn't count) in a perfectly balanced retire. I'm sure that he took a lot away from his training sessions with Manuel Legris in Paris. His performance was not flawless, there were a few tiny hops on the very difficult pirouette combinations (e.g. series of pirouettes where he cannot plie in between turns), but he is such a giving dancer it doesn't matter. As for the Aurora's, both Hodgkinson and Rodriguez were stunning. The latter's approach being slightly more restrained than the former's. Hodgkinson was convincingly youthful and spirited in the first act, truly looking as though she was "shot out of a cannon". Her rose adagio was strong and assured. I especially enjoyed her presentation in the grand pas in Act III. Even at the end of such a difficult marathon-of-a-ballet, she manages to infuse exuberance into each step. Rodriguez' more reserved approach was perhaps a little less exciting, but more aristocratic. Her grand jete en tourants were smaller and daintier and her cambres did not go as deep. Her Act III solo was nicely done with neat and tidy pointework. She made it through the gruelling rose adagio, although not without showing some of the effort. In the final series of promenades, she hesitated for a while before lifting her hand each time, but Ormsby Wilkins adapted very well, slowing down to orchestra appropriately. Xiao Nan Yu made a regal principal fairy, and her italian fouettes en dedans (??- I'm not sure what they're called!) were solid. In the 3rd variation in the prologue, Rebekah Rimsay showed fine technique and effortless hops en pointe. In the third Act, Burnise Silvius of the South African Ballet Theatre dazzled in Diamonds (partnered by Piotyr Stanczyk). She is a secure and charming dancer. Both the bluebirds I saw, Keiichi Hirano and Patrick Lavoie were spectacular. Keiichi was more weightless but Lavoie has a soft, deep plie. Both merely skimmed the group in the brise-voles. Minagawa's Florine was articulate and precise. Vanstone's was similarly delicate. The corps looked generally well-rehearsed, especially in the vision scene. Karen Kain has paid special attention the the placement of the arms and head in keeping with stylistic tradition. The sets and costumes still looked great and my only peeve was with the "thunderstorm" sound effects in the prologue which sounded so fake and were especially jarring as my seat was very close to the speaker! Otherwise, the Sleeping Beauty is in fine shape and all the dancers gave their all- they seemed truly inspired by the legendary Nureyev, whose gifts to the company can be seen so well in this ballet.

It has just been anounced that Geon van der Wyst is resigning due to a chronic knee problem: http://www.national.ballet.ca/Media/showPr...ease/20040213-1 No news as to what he will pursue next. I will miss him especially next season in Madame Butterfly. I think Pinkerton was the first role I saw him in.

I have tickets for saturday:) I also want to go on sunday to see Odgen and Cote, so I hope rush seats are available. Phew! That would be two Sleeping Beauties in less than 24 hours!

I agree that it depends on the critic. If it's one whom I've read and usually agree with, I would probably go see the ballet. If it was a critic that I'm not familiar with, my interest and curiosity would deffinately be piqued... If it was a critic that I don't really like, it would have the opposite effect.

Next seasons repertoire is up on the website now! HARBOURFRONT CENTRE – Altamira Ballet By The Water Musings / there, below / Theme and Variations August 24th - 26th, 2004 FALL 2004 – HUMMINGBIRD CENTRE The Four Temperaments / Stravinsky Violin Concerto / Désir November 17th - 21st, 2004 The Contract November 24th - 28th, 30th, 2004 THE NUTCRACKER – HUMMINGBIRD CENTRE December 11th - 29th, 2004 WINTER 2005 – HUMMINGBIRD CENTRE Madame Butterfly February 19th - 20th, 22nd - 27th, 2005 Les Sylphides / Opus 19, The Dreamer / La Ronde March 2nd - 6th, 2005 SPRING 2005 – HUMMINGBIRD CENTRE An Italian Straw Hat May 1st, 11th - 15th, 2005 Musings / Spring Awakening / Études May 4th - 8th, 2005 I'm looking forward to seeing Stravinsky Violin Concerto and Opus 19, the Dreamer. It's too bad the only full-length ballets are both Kudelka's. This season is kind of weak on the classical side. Madame Butterfly is not a full-length ballet. Last time they presented it with Serenade. I'm assuming they will add another short ballet to that program.

Thanks for the report dancemomCA! It sounds like it was a wonderful evening! I saw Evelyn Hart and Rex Harrington dance together in the fall at the National Ballet. It was a pdd from "Gazebo Dances" (Kudelka). I wasn't crazy about the choreography, but they were stunning together. I'm sure their "Lady of the Camellias" was beautiful. But yes, I also noticed she has become very thin. I don't find it as distracting as her pointe shoes though. They look like they are very wide in the box, and narrow in the heel. Sometimes it looks like the shank is completely broken. Of course, I can never be really distracted. She is captivating in whatever she dances and I hope we see her in Toronto again soon. I would *love* to see her Dying Swan.

This just in... (Burnise Silvius is a guest artist from the South African Ballet Theatre.) SERENADE Waltz Girl CHAN HON GOH (Feb. 18 at 7:30 pm/ Feb. 22 at 2 pm) XIAO NAN YU (Feb. 19 at 2 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 7:30 pm) JENNIFER FOURNIER (Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm) Waltz Boy ALEKSANDAR ANTONIJEVIC (Feb. 18 at 7:30 pm/ Feb. 22 at 2 pm) REX HARRINGTON (Feb. 19 at 2 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 7:30 pm) GEON VAN DER WYST (Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm ) Russian Girl MARTINE LAMY (Feb. 18 at 7:30 pm/ Feb. 20 at 7:30 pm/ Feb. 22 at 2 pm) BURNISE SILVIUS* (Feb. 19 at 2 pm/ Feb. 21 at 7:30 pm) SONIA RODRIGUEZ (Feb 19 at 7:30 pm/ Feb. 21 at 2 pm) Dark Angel STEPHANIE HUTCHISON (Feb. 18 at 7:30 pm/ Feb. 20 at 7:30 pm/ Feb. 22 at 2 pm) JULIE HAY (Feb. 19 at 2 pm/ Feb. 21 at 7:30 pm) LISA ROBINSON (Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm) Elegy Man GEON VAN DER WYST (Feb. 18 at 7:30 pm/ Feb. 19 at 2 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 7:30 pm) PATRICK LAVOIE (Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm) REX HARRINGTON (Feb. 22 at 2 pm) ALICE Child Alice GRETA HODGKINSON* (Feb. 18 at 7:30 pm/ Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm/ Feb. 22 at 2 pm) SONIA RODRIGUEZ* (Feb. 19 at 2 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 7:30 pm) Alice Hargreaves XIAO NAN YU* (Feb. 18 at 7:30 pm/ Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm/Feb. 22 at 2 pm) JENNIFER FOURNIER* (Feb. 19 at 2 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 7:30 pm) Hargreaves GEON VAN DER WYST* (Feb. 18 at 7:30 pm/ Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm/ Feb. 22 at 2 pm) PATRICK LAVOIE* (Feb. 19 at 2 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 7:30 pm) Lewis Carroll REX HARRINGTON (Feb. 18 at 7:30 pm/ Feb. 19 at 7:30 pm/ Feb. 21 at 2 pm/ Feb. 22 at 2 pm) ALEKSANDAR ANTONIJEVIC* (Feb. 19 at 2 pm/ Feb. 20 at 7:30 pm/ Feb. 21 at 7:30 pm)

Interesting to see so many nominations for "City of God" (although it was not nominated in the foreign film category... is there a reason why it could not be?). I've seen it twice and think it's an excellent film. But I was just surprised as it's not exactly typical Oscar fare... it's strange to see it in the same category as the Lord of the Rings in many instances! Glad to see the "Les Invasions Barbares" got 2 nominations. I've heard that "the Triplets of Belleville" is amazing. It opened in Toronto last weekend and I'm excited to see it soon! But I doubt that it will win for best animated feature with "Finding Nemo"'s huge success.

-Words that refer to states of matter- "solid" technique, "fluid" dancing, "light as air" or "weightless"... - "buoyant" jumps is deffinately overused - "sumptuous" used to describe scenery, or "a feast for the eyes". Actually, I try to avoid anything that sounds like it belongs in a food column, like "deliciously [insert adjective]" - "promising" dancers/choreographers - I've been reading "matinee idol looks" frequently lately... Just as an experiment I searched google for Rex Harrington + matinee idol and got 35 hits... I'm sure I've used them all in my posts... It seems most of these cliches come from positive reviews. I think it's easier to come up with original, scathing criticisms than it is to describe the kind of viewing experiences that leave one utterly speechless.