GeorgeB fan

Maxim Beloserkovsky! Mr. Beloserkovsky is far too often overshadowed by his more well-known and publicize virtuoso fellow principal male dancers. Because while he is technically a strong dancer, his best asset is his sense of nobility and lyricism. And this season he had two ballets - three actually but I didn't see him in Les Sylphides - that gave him the opportunity to demonstrate his wonderful qualities Apollo - I've only seen three performers dances this neo-classical masterpiece live - NYCB's Peter Boal, Nikolaj Hubbe, and Nilas Martins. Boal will always be the standard in which I will judge other Apollos, but Maxim is now second among the other three. Regal and noble, Mr. Beloserkovsky's Apollo is clearly of aristocratic birth. Very much in command of his surroundings, his presence dominated the ballet. He wasn't always sharp or crisp in his movements, but its obvious he will as he continue developing the role. he also had a air of aloofness, but seeing that he is playing an immortal god and that all royals seem to have a aloofness about themselves, for me it just added to his characterization. He partnered his marvelous muses, Veronika Part - a terrific Terpsichore, Michele Wiles - a strong Polyhymnia as expected and Melanie Hamrick - a promising Calliope, wonderfully well. Maxim and Ms. Part could develop a interesting partnership. Everytime I've seen them dance, they perform with such harmony, they seem to understand each other very well. Afternoon of a Faun - I have to admit, I wasn't expecting much from him in this ballet, in fact I thought he was miscast. Afterall when I think of the boy I think of someone with the allure of senuality about them. Its ashame that Marcelo Gomes' injuring prevented him from performing this season, he would have made a very seductive boy. But Mr. Beloserkovsky brought an interpretation I never thought of before: He was a gentlemen! The best way I can describe what I'm talking about that is the moment after the girl arrive in the studio and she is at the bar performing her workout. So often when the looks as if he is about to leave, I've always interpreted that moment as if the boy was leaving because he resented that his privacy was being invaded. But with Mr. Beloserkovsky, I got the a sense the boy was leaving not so much his privacy was being invaded but being gentlemenly enough to give the girl her privacy. As he did with his muses in Apollo, Beloserkovsky was a attentive partner to Maria Riccetto's lyrical girl. Speaking of Riccetto, I couldn't help notice the resemblance between Riccetto and Tanaquil LeClercq. I remember seeing a old photography of LeClercq and Francisco Moncion, the original dancers of Faun and was strike at how much Riccetto reminded me of that photograhy. Its not so much they looked the same in the face but prehaps more to do with the same length in their hair, and the slendorness of their bodies, especially their arms. Whatever the case for the first time I got a sense of how LeClercq may have danced the role. Back to Beloserkovsky. He his dancing was crisp, sharp, lyrical and very detail. Its the detail of his dancing that marks another hidden treasure of Beloserkovsky: intelligence. You got a real sense that at all time he knew exactly what he was doing. That was a knowledge working within his brain but it didn't override his performance but simply gave an much added dimension to it. This was also apparent in his Apollo. A most revealing performance both!!

With so much excellent performances from the City Center season and with so many golden opportunities for dancers during the up coming Spring season at the Met, does anyone else believe that before or maybe during the Spring season we will be hearing announcement of promotions among the rank? I think its long time a coming that David Hallberg and Veronika Part are given principal statue! If this season at City Center is any evidence, Melanie Hamrick, Isaac Stappas, Zhong-Jing Fang should all be seriously consider being promoted to soloists with maybe Craig Salstein, Melissa Thomas and maybe Sarah Lame not far behind from their strength as dancers over time!!

.....and don't forget the beauty of his line, and the elegance of his carriage. IMO he was the dancer who most resembled Peter Martins when he was young. <{POST_SNAPBACK}> Boy both you Violin Concerto and Helene perfectly described the Ben Huys I recall watching performing Scotch Symphony a few years back with the Farrell Ballet. Gallant, noble with a strong technique and a marvelous partner. Here's a dancer you would have think Peter Martins would have done anything to keep in the company.

My biggest problem I have with Peter Martins is the fact that he seems to have a unwritten rule at not allowing former stars to come in and coach current stars at NYCB and I'm still trying to understand that reason. While the company clearly has some talented "experts", let's face it if they was truly strong and completely knowledgable at what they are doing, so many in the world of ballet from fans, critics and so forth wouldn't have such a problem with the direction of the company. Afterall where there is smoke there must be fire somewhere. I can't see how so many people could think the same thoughts and not have some truth to it. Why isn't that so often people are saying that the Suzanne Farrell Ballet, the Miami City Ballet, the San Franciso Ballet, Pacific Northwest Ballet among others are often dancing Balanchine better then his own company? Does it has something to do with their artistic directors? I don't think so. Afterall Martins clearly was a dancer that was very much in Balanchine's inner circle and I'm certain was give much insightful knowledge of Balanchine's works by the master himself. No I think in many cases, not all of course, but in many those directors have no problem inviting other "experts" into their company and coaching their dancers in Balanchine ballets and who could blame them? When you have people like Farrell, Verdy, Patricia Neary, Villella, Helgi Tomasson, Allegra Kent, Francia Russell, McBride, Hayden, Tallchief to just new a few, who are regarded by many as being the very best at staging Balanchine ballets and getting out of dancers a better understanding at dancing those roles. While Farrell, Villella, Tomasson and until recently Russell may not be available because they have their own company to worry about, what about the others? I sure those people along with others I haven't mention has truck loads of knowledge that they are eager to past on to other dancers - afterall of the great art forms, ballet is the most fragile because its the only one that is hand down more or less from one generation to another. When you have so many superb individuals who has proven themselves brilliant repetiteurs in the works of Balanchine, I simply don't understand why Martins, even with the wonderful ballet masters working at NYCB, isn't using them! Those individuals can bring a different spin to teaching these ballets, they maybe could bring a new insight, a new way at having dancers understand these roles in a way that maybe the current ballet masters can't. This is not to say that the ballet masters are untalented - NO!! I'm just saying that sometimes one individual can do something in one instant that another can't and that isn't saying that one method is better then the other, and when going hand to hand it only be beneficial for all involve. Does anyone has a reason why Martins doesn't invite former stars to coach on a more regular basis as many other artisitc directors around the world? I can think of a reason, but for me its too small minded and I'm sure it's more to it!

Just recieve the new in the mail and on the cover is Saskia Beskow, Taryn Wolfe and Ellen Bar at the Cloisters in NYC in their costumes from Balanchine's LaValse. I just have to say is "GO HEAD DIVAS!!!" They are seriously striking the pose!! A fantastic photograph by Heimo Schmidt! It's just strikingly beautiful. Also in the brochure it has the current listing of dancers. Ansanelli and Fayette are no longer listed.

Boy, Maxim Beloserkovsky is certainly being use alot this fall season! Who knows maybe finally he may come into his own spotlight!!

atm711 you forgot Fred Astaire 1978 and Ginger Roger 1992

I am really excited about Suzanne Farrell being honored!! Well-deserve!! Happy about Julie Harris, Tina Turner and Robert Redford as well. But Tony Bennett? I know he has million of fans and everything, but is he really Kennedy Center Honor material? I personally don't think so. But back to Farrell! I'm wondering what ballet excerpt will be perform for her during the telecast? For me it should be the Diamond Pas de Deux. In my mind that is the purest example of Farrell's genius! But seeing how her company ever danced that and I'm sure her company will represent her at the tribute, most like we will see excerpts from Balanchine's Don Quixote. Opinions!

I just recently purchase American Ballet Theatre in San Francisco on DVD. I brought it for sole reason to finally have on tape Antony Tudor's classic Jardin aux Lilas! While the performance was marvelous and certainly worth having on tape, the real big surprise for me was watching Cynthia Gregory perform the Black Swan Pas de deux with Fernando Bujones! OH MY GOD!!! THIS WOMEN IS AMAZING!!! Not that I haven't seen her on tape before - I also have ABT at the Met with her dancing a fantastic Paquita - but not even that performance perpare me for her performance as Odile! First from a purely technical view point she is unbelievable. What are her legs made of? Because it's not of flesh and bones, more like steel and iron! The calm control she has, the ease in which she uses her technique, the way she just suspend herself slowly on point was fabulous! She really does give you the illusion that what she is doing is effortless!! Then there is her theatrical presence and how she uses her technique to add to the excitement at watching her on stage! Her Odile was pure evil seductress. She was haughty, cold, confidence in her power at seducing Siegfried - Bujones was wonderful, but boy did Gregory overpowered him - but was intelligent enough to add touches of Odette in her phrasing to make Siegfried believe he is dancing with his white swan. I finally understand that quote I've read somewhere in where Rudolf Nureyev once called her America's Prima Ballerina Assoluta. Because that is exactly how she danced. She is very much the star, the diva, the queen bee!! She is very much in charge, grand and larger then life! Norma Desmond once said famously, "I am big, it's the pictures that gotten small!". While after watching Gregory it can be said that Cynthia Gregory was big it's the ballets that has gotten small! So tell me people what was she like performing live? I need to hear stories!! This is the sad thing about coming to ballet so late; you miss so many great performances by great artists like Gregory. The only pleasure you get is seeing them on tape, but of course that pleasure is nothing compare to have been able to see them live!!! Give me your memories!! PLEASE

MEN Conrad's in Le Corsaire Albrecht's second act in Giselle Male Solo in Balanchine's Square Dance The Melancholic section in Balanchine's The Four Temperaments Basil's solo in the Grand Pas de Deux from Don Quixote Apollo's variation after the Muses The Blue Blue solo in Sleeping Beauty WOMEN The Violette Verdy's solo in Emeralds Suzanne Farrell's solo in Tzigane Fascinating Rhythm solo from Balanchine's Who Cares? Odette's second act solo in Swan Lake Odile's solo from the Black Swan Pas de Deux Polyhymnia's solo in Apollo All of Kiti's variations in Don Quixote Giselle's mad scene (not sure if that could be called a variation, but she is dancing by herself) The Mazurka variation in Les Sylphides The Prelude variation in Les Sylphides

I like Martins' SLEEPING BEAUTY mainly because it's the only live performance of this ballet I've ever seen. But I do have some problems it. The sets and costumes are beautiful, however they do have a kind of broadwayness to them. They don't truly capture the grandeur and opulence I feel every production is needed for staging SLEEPING BEAUTY. But more importantly the sets take up too much space. The dancers, especially when they are making their entrance seem cramped. Maybe that is the reason Balanchine never staged his own verison, because he knew the State Theater stage wasn't big enough. But my main problem with Martins' production is the fact he compress a four act ballet into a two act production. I don't have a problem with that it's just that I believe he made the cut off at the wrong place. If you are going to compress a four act ballet into two acts it does stand to reason that the end of your first act would come at the end of the original production second act. Which means The Prologue and the Spell would make up the first act and the Vision/Awakening and the Wedding would be the second act. The way Martins currently has it the first act ends after the vision scene which in a way throw off the balance of the ballet. Suddenly the ballet feels rush, especially with the vision scene. It also doesn't truly allow the characterization of the prince to fully develop. He does not have the chance to truly express his loneliness nor his complete enchantment with the vision of Aurora before his off to awake her. To me that's an important development. It's almost as if the Lilac Fairy is standing around and saying, "OK, OK, hurry up Desire stop looking at the vision, the hundred years is almost over and its time for you to come and kiss to break the spell so I can move on to something else!" It doesn't seem to be that important for Desire to love the Aurora as it is for him to simply break the spell. That said I think Peter Martins should be rightly proud of his achievement because the choreography is wonderful - the best he probably ever done!

I think you are correct lampwick. Every dancer from principal to soloist to corp fills an important position in any company they are in. Not every dancer need to be a standout virtuoso to be a valuable member of the the company. Sometimes just being a great and reliable partner to a ballerina can and should be just as important a position as dancer who can executed amazing steps. bart I sometimes feel that Peter Martins, perhaps unintentionally, limits his dancers to roles he is sure they can perform well. That of course is the main function for any ballet master - to show his/her dancers to their best advantage. But it may limit the dancer's growth and the opportunity for them to stretch themselves in roles that would generally be viewed as roles suited for them. I mean NYCB has one of the largest rep in any ballet company, it would be great to see more dancers given roles that would challenge them, roles that at first may not be viewed as roles they would usually be associated with. I think also the audience would enjoy it, watching a dancer they have come to view in one certain matter and then one night going to the State Theater seating down opening the program and finding the name of a dancer listed for a ballet that they never thought they would see them in. I would love to read in the program one day that the role of Apollo with be danced by Albert Evans or Philip Neal instead of always being Nikolaj Hubbe or Nilas Martins; The Agon pas da deux with be perform by Stephan Hanna and Miranda Weese instead of always Albert Evans (with Jock Soto gone, it seems that Evans so far is the only male who I know of who dances this role), Wendy Whelan or Maria Kowroski to give two examples. Of course they will not all succeed in performing the ballet. Heck after the first performance the dancer may never dance that role or ballet again. But it would be interesting to see them try and stretch themselves. For all we know Jennie Somogyi could a beautifully lyrical in Symphony in C second movement. Benjamin Millepied could be the greatest Prodigal Son of his generation. Daniel Ulbricht could being a totally different prepective to the Melancholic section in The 4T's and so on. These may not be the best examples, but I sure you all get the idea of what I'm talking about. It may never work out, but it would be thrilling to watch!!

Just finish reading the article dirac posted. You people in Seattle are such lucky dogs!!!! It's clear, at least to me, that Peter Boal is going to do your company and your city proud!! If none of you seen him perform in Duo Concertante you are in for a wonderful treat!!! Oh Mr. Boal you left us New Yorkers far too so!!!

Alexandra Ansanelli as Giselle! Now that is a performance I would love to see!! I first mention PNB, but SFB is also a choice. There is alot of good companies in this country that would love to have Ansanelli, but I think we maybe limiting ourselves. Y'know Ansanelli could just as easily join a European company. The Royal Ballet, The Royal Birmingham Ballet, The Royal Danish Ballet, etc. All of them have Balanchine in their rep and of course they dance the classics. I'm not certain if Ansanelli has an international reputation but seeing that she was one of the promising and exciting young ballerinas at one of the world's leading ballet companies, I'm sure she wouldn't have a problem going into talks with them.

While me heart is certainly breaking - Alexandra Ansanelli was one of my favorites - if it's true that she wanted to spread her wings and perform the classics I do wish her the very best. Although I do find it strange that she would leave a secure position with one of the world major ballet companies without a solid position somewhere else. But seeing how Alexandra is one of the top young stars at a major company, I'm sure she won't have a problem at finding a company that is very interested in her. ABT would seem the most likely choice, for purely selfish reasons I hope that is the company so I can continue seeing her perform. But I think another strong choice could be Pacific Northwest Ballet. Peter Boal already successfully got Carla Korbes and seeing how respected Boal is, I could see Ansanelli thinking about going to Seattle and performing for him. Afterall not only does PNB perform a great deal of Balanchine and Robbins, but doesn't they also perform the classics like Sleeping Beauty and Swan Lake? If that's the case then Alexandra Ansanelli could have the best of both worlds!

The thing I think we all need to remember is that a great dancer doesn't have to be a great virtuoso. James Fayette was never a dancer you would see cast as Oberon or in RUBIES or STARS AND STRIPES. However to watch him lift the ballerinas in the third section of SERENADE is to watch a man totally transfixed by the ballerinas he's supporting. With him you felt as if these female humans are in fact heavenly spirits who are as weightless as air, he's overwhelm by their beauty. The same can be said in the step duet in EMERALDS. I'm certain for the ballerina that is a very difficult pas de deux, but to have Mr. Fayette there to lean support must be something the ballerina is so grateful for. And to show Mr. Fayette dance that role with Jenifer Ringer is to watch a man clearly in love with his wife! In fact the thing James Fayette brings to his performance is that old school of male dancing. By which I mean a sense of protectiveness for his ballerinas, to present them for and foremost, to give the illusion that these women are not of this earth but beautiful sylphs to perform for our enjoyment. It isn't so important for him to be in the spotlight as it is for him to present her in the spotlight. And because of his natural physical strength and his strong partnership, I sure the ballerinas in the company feel that with him they are able to push their technique and performances to more heights because they know that Mr. Fayette is there to protect them no matter what. This is not to say that Mr. Fayette was a partner on the same level as the recent retired Jock Soto, Mr. Soto of course was in a class by myself, but given a rank among the company I'm sure Mr. Fayette would have rank among the top five. He brought a everyman gentlemanness to his performances that was wonderful to watch. I think I can really say this, in all the performances I have seen of James Fayette, he never disappointed me and I think that in it self is amazing! Whether it was in Elegie or Valse Melancolique sections of TSCHAIKOVSKY SUITE NO. 3, DANCES AT A GATHERING (who's going to be there to catch the girl in the final severals of jumps), the cavalier or as Bottom in A MIDSUMMER NIGHT'S DREAM and especially in CONCERTO BAROCCO - you know in the eight and a half years I've been going to NYCB I have never seen many other male dancer perform that ballet other than Mr. Fayette! Next winter is going to be very strange seeing someone else dance a role that I regard as one of Mr. Fayette signature roles. He was wonderful in all of them. Of course there was roles I would have personally wish to seen him perform and if given the opportunity I think he would have excel in them. Ballets like AFTERNOON OF A FAUN. With is quiet strength, calm protectiveness and large presence (the guy always did look as if he was a light-weight boxing champion), I could have easily seen the ballerina in the role of the girl completely melt in his arms especially if danced by a small ballerina like Janie Taylor. I also would have like to have seen him try performing the second act pas de deux from A MIDSUMMER NIGHT'S DREAM. The role isn't that techincally difficult it seem to me and to have seen him danced it with say his wife would have been beauiful. There are moments in that pas de deux in where his natural protectiveness and gentleness would have been magical to watch. I'm certainly going to miss James Fayette, his placement in the company was a very important one indeed and he filled that position wonderfully well!

My God!!! In just the last two months we are seeing some very significent and important departures of key dancers! First Boal, then Soto and Fayette and now Ansanelli!!! Not to mention Korbes, Flynn & Jerome Johnson. NYCB is truly losing their very best. If they lose anymore they may find themselves very soon on life support!!! WHAT THE HECK IS GOING ON THERE!!!! :blush:

Thanks Mashinka and Marc!! I'm going with Alexandrova for DonQ. Still not sure about Spartacus but I just hope which ever performance I pick they don't disappoint because this might be my one and only change at seeing Spartacus perform live with the Bolshoi Ballet and I would like to be ability to keep a happy remember in my mind for sometime to come!!

I think it's safe that Albert Evans and in some cases James Fayette will indeed be taking up the majority of roles of Jock Soto and it will be interesting at seeing their take on the roles because all three dancers are obviously very different in styles. Happy to see Peter Martins bringing back Robbins' Mother Goose. I never seen the ballet before so I'm certainly looking forward to seeing it. I just wish Martins would revive more of Balanchine's older works that hasn't been seen for years. Ballets like Bourree Fantasque, Danses Concertante and Gounod Symphony for example. I never seen them but from what I've read about them I certainly would love to see them perform. Does anyone remember them and are they worth revisting?

Since everyone was so helpful with dufay choosing which performance of The Bright Stream that would be best to see I was hoping that all of you would do the same for me about the which performance I should see of DonQ and Spartacus. I was going to get tickets for DonQ with Zakharova - afterall she's the only dancer I know, but after reading some reviews of Maria Alexandrova performance as Kiti I'm confuse. Usually I just buy tickets for both. But as everyone rightly mention, the ticket prices are outrageous. As for Spartacus I have no idea which performance I should see and it these prices I definitely want to get my money's worth!! You help would be greatly appreciated! Thanks

YOu have no idea how disappointed I am!! I have never seen Ferri dance Giselle in person and this was going to be the year I finally see her. I'm sooo sad, but of course I hope Miss Ferri injury isn't too serious and that she has a fast recovery.

I can't really add anything to the debate because everyone so far has wonderfully discuss all the points I like and dislike about the program. But I will say two things: 1. For Murphy and Corella dancing of the Black Swan pas de deux is the best film performance of that set piece I have ever seen so far. That alone is worth buying the tape for. I also think everyone who mention that Murphy overwhelmed Corella was right. Notice when they finish dancing the pas de deux, that shoot of Corella looking at Murphy was something, as if he was amazes that this woman is in fact human. It was almost, "Oh my God! What was that and how did you do it!!" 2. Gomes reminds me of that guy in high school you know you should not have anything to do with. He is just pure bad and you know nothing good would come of it!!! Yet you find yourself spread eagle and on your back saying, "OK he's bad, but he just an misunderstood soul!" This guy has mastered the art of sly seduction to perfection!!

Thank you Farrell Fan!

You see this is the reason I hate the fact that I came to the ballet sooo late. Boal and Jaffe dancing together? Being coached by Suzanne Farrell in two of her signuature roles created for her by Balanchine? OK Farrell Fan give it up - what was the performance like? Give as much detail as you can remember.

Oh God I couldn't agree more!! I remember that performance so well and truly feel lucky to the fact that it was the only full-length performance I have ever seen of that ballet. Peter Boal is the only Apollo I have ever seen in where I truly understood why the ballet is regarded as a masterpiece. I've seen others danced it, but that's the point - they've danced it. Peter Boal was the only one who gave me the illusion of a moral who touch by art became a powerful and noble Greek god. He is going to be sooooo miss!