GeorgeB fan

Alicia Alonso & Carlos Acosta Julie Kent & Wayne Eagling

To anyone in particular, is there a current dancer at NYCB who have yet perform APOLLO you would like to see perform? For me it would be Albert Evans. I think he has the innate noble and regal quailities to restore the premier danseur noble status that Michael spoke about.

Reading all these description of NYCB's Conrad Ludlow I can't help but think of NYCB current James Fayette. Like Ludlow I doubt that technically speaking we will ever see Fayette dance Rubies, Theme and Variations or Oberon but like Ludlow, Fayette has this wonderful ability to showcase his ballerinas to glorious effect. I think another important aspect that makes a great partner is the sense of protectiveness. A ballerina must know her partner is completely there for her. Something I think Fayette excels at. Ballets like Concerto Barocco, Emeralds, the Elegie or Valse Melancolique sections of Tschaikovsky Suite No. 3, and Serenade, the cavalier in A Midsummer Night's Dream to just name a few Fayette gives the audience a feeling that the ballerina is not only the loveliness creature he has ever seen, but is totally in safe hands. Something I think all the ballerinas at NYCB must feel when they dance with him. I think that has a lot to do not just with his technical skill but also his physical strength - it's safe to say that he is, physically speaking, the strongest male in the company. There is something very wonderfully at seeing a powerfully strong man being very attentive and gentle to a delicate looking women. I would love to see him dance Afternoon of a Faun or Duo Concertant.

Boy I hope you are right Carbro. There are a great many solo roles in the big ballets that wouldn't be listed in the casting. I'm sure Part will be used more often. If nothing else she has an evening performance of Swan Lake with Gomes. I'm more worried with Monique Meunier. I'm surprise she isn't listed with Ballet Imperial. There are four performances that list TBA for the second lead. For me she fills the role like a glove. Surly she could have been listed at least for two of the performances. I hope she will perform in Les Sylphides - I think she would be very good dancing the Mazurka section. I hope we see her in Sylvia. But then again I maybe just jumping the gun concerning Meunier. Kevin McKenzie may finally begin to realize what a talented ballerina he has in her and in the spring season begin using her more often. I could always hope.

For someone who is making their debut here, who've gotten off to a great start. Because like Oberon, everything I wanted to say about the promotions, Tomatonose you already said it. Welcome to board! As for all these promotions I'm happy but totally surprise. I think mainly because Peter Martins is very well known at taking his time in promoting his dancers. Then he does this. Completely out of left field. 23 principals not including Jock Soto and Peter Boal. Seem rather top heavy for me. Which makes my worried nature starting to think terrible thoughts. Does Mr. Martins knows something we don't know. Like more retirements in the not so distant future.

I can't even begin to say all much I am grateful to you Alexandra for creating this marvelous website!!! From my first post you have help me so much with your intelligence and knowledge. A superb job and the most deepest bow from a grateful fellow ballet lover!!!!!

Seeing that many of us are somewhat concern about John Rockwell new post as chief dance critic at NY Times, and I for one would be happy if it turns out our concern was unfounded, I just was wondering of all the dance critics, present and past, the world over who is your favorite or the one you most respect. For me it's Joan Acocella. While there are many others I totally respect and certainly love reading their opinions, Ms. Acocella is a reviewer I simply enjoy the most. Her writing is vivid, knowledgable (I always feel I'm getting a mini history lesson - which I love), and highly intelligent. Even when I find myself disagreeing with her opinions, I clearly see her point of view. She's great.

Y'know when I wrote this post I was sure someone would write and tell me that their is a worldwide biography of Petipa. The reason why it was difficult in finding it was maybe because it was out-of-print and they would be able to direct me or anyone else to a website in possibly purchasing a copy or going on a waiting list. So imagine my surprise in finding out not only is there not a biography but of the few pieces of information written by or about him are in languages I cannot read. I just hope some biographer (Alexandra - ) come along and undo this unjustise. But seriously I do hope that someday someone will write about life of Petipa - a fascinating subject I'm sure would be a fascinating read.

Why do I feel that the New York Times just handed over the top dance critic post, arguably, in the United States to someone who will not be an objective observer to all form of dance? I think atm711 is right - serious shades of John Martin. Scary! I also don't like the fact he could really believe that dance does not have an important richness in its 400 year history. No important richness! In that 400 year history, formal dance was given a style, vocabulary, a grammar in which emotions and feeling can be displayed through dance. For most of its history dance went through several important innovations that would have a profound and long-standing importance to several generations of artists to follow. From Taglioni going on point for the first time, the French Petipa's journey to Russia and creating Classical Ballet, to Fokine's decision that ballet should be an artistic unit combaring dance, music and design in a more realistic way, to Balanchine's neo-classical style and so on and so forth and the hundreds of ballets that were created because of them - several of them masterpieces. For him to think that ballet does not have a rich and extraoridinary history is in a word: crazy!!

Has there ever been a biography written about the creator of Sleeping Beauty, Swan Lake, La Bayadere, Raymonda and in general the style that has become know as classical ballet. I've been looking but I could not find a book about him. I would find it strange that no biography has never been written of this great man of ballet.

Sylve in Theme & Variations! Boal in Square Dance! Sorry can't write anymore! Got to get to the box office and like quick!! Bye!!

OK I'm seriously hating you right now Oberon ! I knew someone will start a post writing about the first night performance of the new winter season. And here you come alone a write a vivid description of what was obviously a wonderful evening - which I knew it would be judging from the casting. I had tickets but an emergancy prevented me from coming. I was so looking forward to seeing Divertimento #15 - it's one of my favorite Balanchine's, seeing Sofiane Sylve in Cortege Hongrios, but most importantly I was looking forward to seeing, prehaps for the last time, Peter Boal in the Melancholic section of the 4T's. And just when I got myself psych up thinking, "All well I just wasn't meant to see it - no big deal", you come alone and write a beauifully detail review which makes me what to kick myself for missing it!!! And don't think I'm leaving you out Nysusan and Charlieloki! Your reviews and thoughts also makes me regret not being able to go :rolleyes: You lucky dogs!!! But seriously, if I couldn't make it, I'm glad I was able to read about it from individuals with intelligence, taste and knowledge who all has the ability to write intelligently about the art form we love so much. Talk about stoking egos!

OK know I'm feeling bad about writing what I wrote about Borree! I don't like talking about people in a negative light when they are down and out! If she is injured I hope she gets well soon. That said, do anyone think Megan Fairchild can pull off the role in Square Dance?

I unfortunately I also have to add my displeasure at seeing Borree cast in Square Dance. I was goint to buy tickets for that performance, but after seeing the casting I say no. I think in the correct roles Yvonne Borree is a very good dancer, but this role just seem to be too out of her reach. Seeing that Whelan and Weese are in Polyphonia, two dancers I think would be very good in Square Dance, Peter Martins should have given Sofiane Sylve a try at the role. I think she has what it takes to dance the role beautifully.

The apparent ungentlemenly firing of the wonderful Ashley Tuttle by Kevin McKenzie at ABT.

NEW YORK CITY BALLET AGON as danced by Wendy Whelan & Jock Soto; Sofiane Sylve and Stephen Hanna & Arch Higgins; Peter Boal and Dana Hanson & Jennifer Tinsley. Of the performances I have seen of this Balanchine masterpiece this June 17th performance I believe came as closest to what I think Balanchine had in mind when he created over 40 years ago. Superb. JEWELS. I now know this is my all-time favorite Balanchine ballet, or at least at the present moment. I just love everything about it. I've seen it three times this past winter season and I plan to see two more times this coming season. LIEBESLIEDER WALZER. After years at wondering what was so great about this ballet, I was finally able to truly understand the beauty, the poetry and romanticism of this beautiful ballet. Exquisite. KYRA NICHOLS. She remind me of the Stephen Sondheim lyric, Good times and burn times I've seen them all and, my dear I'm Still Here! And indeed she is!!! She was the first prima ballerina I fallen in love with and she is still the one I love the most. The day is retires is going to be a very sad day for me. SOFIANE SYLVE in Agon. Don't tell me that dancers doesn't fed off of other dancers. Sylve performance in the second pas de trois was so great I'm sure Wendy Whelan and Jock Soto - great dancers in their own right of course - fed off the energy Sylve left on the stage after her performance. ALEXANDRA ANSANELLI in Afternoon of a Faun. I was there that afternoon when someone from from the audience throw flowers on the stage for Ansanelli and boy I could understand why! She was magical, underworldly. TERESA REICHLEN. The new "IT" girl at NYCB. Here's hoping she continue on the strong path she is currently dancing on. If her performance in Rubies can be use as a measuring stick, her future is very bright indeed! ASHLEY BOUDER. She has always been a dancer who gives out the pleasure of dancing, but since she has been promoted to soloist, her dancing has become even more joyous to show. MIRANDA WEESE. Always a technically strong dancer, she has also been called a cold dancer who only perform the steps. Well this year Ms. Weese seem to let her hair down and warm up. For suddenly she began to dancer with more abandon and more feel of the music. Always a favorite, she was never more wonderful to watch this year. AMERICAN BALLET THEATRE NINA ANANIASHVILI in anything!! Ballet Imperial she was grand and regal, every pit the prima ballerina as queen. In Don Quixote she was a spirited thoroughbred dancing with complete abandonment and strength. In La Bayadere she was classical ballerina at it's finest. HERMAN CORNEJO in Le Spectre de la Rose. From his entrance to his exit, I have never seen a dancer hold the audience so completely in the palm of one's hand as Mr. Cornejo had at City Center this past fall. It's time Kevin McKenzie to start casting him in the big classical roles. I know he is short, but isn't Xiomara Reyes small enough for him to dance with? THE BALANCHINE RETROSPECTIVE AT THE MUSEUM OF TELEVISION & RADIO It was a wonderful treat to watch legandary dancers from the past performing at the height of their powers. Highlights: Patricia McBride in Who Cares?, Apollo perform by Peter Martins, Suzanne Farrell, Karin von Aroldingen and Marinee Morris, Patricia Wilde in Square Dance, Gesley Kirkland and Mikhail Baryshnikov in Theme and Variations, and Farrell in Variations for Orchestra. THE ASHTON CELEBRATION AT LINCOLN CENTER After so many years of just reading about this brilliant choreographer it was such a wonderful pleasure finally able to see his brilliance in person. The whole celebration was a highlight for me. Fantastic!! THE JEROME ROBBINS AND MARGOT FONTEYN BIOGRAPHIES The new and for me the best biographies of two of the towering titans of 20th century dance. BALLET TALK You truly have no idea how thrill I am at finding this message board! To be able to express my feelings about this glorious art form with fellow lovers of ballet with knowledge and intelligent is wonderful. And also everytime I log on I learn something new. I love it!

Kyra Nichols Jenifer Ringer Miranda Weese Irina Dvorovenko Alessandra Ferri Svetlana Zakharova Paloma Herrera

I of course have never seen this glorious lady of dance perform, however I have read enough about the history of 20th century ballet to know that Dame Alicia Markova was not only one of the towering titans of classical ballet, but also one of it's most historically important figures. The first British-born Prima Ballerina Assoluta to enjoy international fame and love from an adoring audience, she along with Dame Ninette de Valois, Sir Frederick Ashton and Dame Margot Fonteyn set the foundation of what became the British ballet style. She was to many one of, if not the, greatest Giselle that ever dance. I wish I could have seen her perform it!! I also understand she was a gracious and lovely human being who was always giving of her knowledge and love of the art form she cherished so much. And from evidence of her autobiograhpy a wonderful storyteller. Her passing truly marks the end of one of the most extraoridinary, significant and magnificent eras in the history of ballet. MAY THE GRACE OF GOD BLESS AND KEEP YOU, DAME ALICIA

I just finish rewatching my videotape of Swan Lake staring Makarova and Anthony Dowell. After watching it I started wondering did Makarova and Nureyev ever perform together? If they did, which ballet did they perform in? What was performance like, if anyone saw it? If they never perform together, why do you believe they didn't and what ballet would you like to have seem them in. Thanks!

I just got my new issue of Dance Magazine in the mail. Inside the magazine is a two-page article by Joseph Carman of NYCB new apprentice Kaitlyn Gilliland. This isn't the first article I've read about Ms. Gilliland, a dancer Mr. Carman compare to legends like Gelsey Kirkland, Allegra Kent and Maria Calegari. Awesome names!The New York Times wrote a sunday art and leisure article, Dance Spirit Magazine wrote a series of articles about her and other up and coming dancers. She seems to be all over the place and talked about as if she is the second coming of a new era in ballet. This is base mostly on her School of American Ballet workshop performances last June. My question or questions is did anyone see her performance, what was it like, what special if any gifts she has, is all the press being given to her deserve, and why do you think everyone is so excited about this new dancer who in reality haven't even started her career yet? Thanks.

Like purelyballet, I totally agree with you charlieloki about artistic development is more important then just knowing how to do the steps. This is what we will be losing when Soto retire and especially if Boal departs. But in away this maybe a blessing in disguise. With the loss of these important dancers as well as Tewsley it may finally give some of the remaining male dancers the real opportunity to come up to the plate and stretch themselves in ballets they are not usually given the chance to perform in. Fayette - a excellent partner who I always felt could be much more if given the opportunity. I truly believe he's much more stronger technically then given credit for. Neal - another wonderful dancer who I believe is just thought of as a reliable partner and is too often given ballets that dosen't require him to stretch himself to much. Evans - he may not wish to dance the "princely" roles but he know may have no other choice and beside it's time to see him in ballets like Apollo and Bugaku. Liang - every ballet I've seen him in I've enjoyed. Strong technique who seem to have a real understanding of phrasing and musciality. I think he will benefit greatly with the departure of Boal, Soto and Tewsley. So will Hanna, Angle, and Arch Higgins a dancer no one else have mention yet. I could go on. But the main thing I think such happen in order for NYCB to survive the departure of so many of their top male dancers is that the remaining male dancers such be given a great deal more guidance and nurturing in order for them to stretch their technique to bigger heights. I think that can only happen if more is demanded and expected from them artistically and technically. And of course the only person who can demand that is the Ballet Master in Chief. It is mainly all in Peter Martins hands to make sure NYCB survive this. The materials are already there, he just have to concentrate more fully on sculpturing them.

Talk about a textbook definition of the word bittersweet. If this really come to past it will be a very bitter pill for us New York City Ballet goers. Peter Boal is more then just one of the strongest male dancers at City Ballet but more importantly is currently the greatest male interpreter of the works of Balanchine and Robbins. His possible departure would be a major, major lost to NYCB! However if it is true that Boal will become the next AD of PNB I couldn't be more happy for him as he starts a new chapter in his extraoridinary career in dance. I think he will do a very fine job. Its very sweet.

I just receive the individual ticket brochure and I must say - WOW! The photograph of Rachel Rutherford on the cover is awesome. The compensation of the lighting, the movement of the grown (I believe it's the costume from Robbins' I'm Old Fashioned), the position of the arms, Rutherford profile (she looks alot like Cate Blanchett from that angle) and the calmness the picture depicts all come together to make a beautiful photo.

This maybe a blessing in disguise. If Arthur Mitchell simply give up some responsible mainly in the business aspect of the company and simply work on the artistic aspect of the company maybe, just maybe someone will come along and successfully restructure the business part and DTH will be able to continue to do what they have always done best: extraordinary performances of extraordinary ballets as only DTH can.

OK, color me ignorant, who is Afshin Mofid and why when he danced Faun he simply own the role? :shrug: