GeorgeB fan

I would love to see the husband and wife team of James Fayette and Jenifer Ringer dance in Afternoon of a Faun.

I remember someone suggesting that Wendy Whelan and Albert Evans would be a great cast for Bugaku and boy I do agree! I think it's amazing that Peter Martins never cast him together in this ballet.

Miranda Weese is making her debut in Serenade? I can't believe it! I was sure she would have already dance in this rite of passage ballet years ago. I am certainly looking forward to reading reviews of Sofiane Sylve performance in the second movement of Symphony in C. Does anyone have any information on Jennie Somogyi's recover from her injuries and how much longer she will be out? Looking at the casting of Serenade, Symphony in C first movement, Agon, Concerto Barocco and Tschaikovsky PDD, all roles she excel wonderfully in just makes me miss her even more !

I think the Aussies will have more than a little objection to Sutherland being called English -- she's one of Down Under's cultural jewels. And if we're going to honor Joni Mitchell, we have to include all of the 51st state, that big land to our north You know when I wrote that Sutherland was from England I was thinking she maybe she's from Australia but I wasn't sure. And I had no idea that Joni Mitchell was born in Canada none which so ever. Thanks hockeyfan228 for point this out for me! :sweating: dirac, I would say that Tandy and Cronyn was a star team the public knew very well. Yes, they didn't appear together in films until late in their careers, but in the world of the American theater their names are as link together as Lunt and Fontanne are to theirs. If Lunt and Fontanne was American Theater greatest acting couple in the first half of the twentieth century, it can be argued that Tandy and Cronyn could be called American Theater greatest acting couple of the second half of the twentieth century. And like dirac, I also wondered why there was no one from the world of dance. Suzanne Farrell, Patricia McBride, Cynthia Gregory all great choices. But right now I'm thinking about Helgi Tomasson, one of America's great male classical dancers as well as being argued that he more than anyone made The San Franciso Ballet into not just one of America's great ballet companies but a company that is regarded as one of the world's very best as well. I believe he was born in Iceland which makes from a foreigner, but a foreigner who's entire career is base in America.

Boy the Kennedy Center Honors is becoming more and more European! Not that they haven't always honored great foreign artist who have had huge success in America, but c'com. Sutherland and John? Great artists, no question and both have had huge success in this country. But when I think of them I think England, not America. If the Kennedy Center Honors wish to honor a great opera star why not Shirley Varrett or Grace Brumby; if they wish to honor a pop star why not Billy Joel, Joni Mitchell, Bruce Springsteen or Berry Gordy the founder of Motown Records? Hollywood is always represented, but Warren Beatty? He's a great star - but that's the point, he's just a great star. Al Pacino, Dustin Hoffman, Meryl Streep they too are great stars but they are also great artists. So may say that Beatty is more then a star, he's a producer, writer and director as well! Well then what about Woody Allen or what about Barbra Streisand? Their contribution along with Pacino, Hoffman and Streep is far greater then anything Beatty has done. Love John Williams' film scores but to call him one of America's most influential composers of the last four decades is stretching it abit! Phillip Glass, Elliott Carter could have been better choices. I have always love the Kennedy Center Honors and will continue to show it. But with the exception of Ossie Davis and Ruby Dee this year's honorees could have been alot better and more American. And yes Watermill both Jessica Tandy and Hume Cronyn was honored together back in 1986 along with Lucille Ball, Ray Charles, Yehudi Menuhin and Antony Tudor. Now those was honorees worthy of the Kennedy Center Honors!!

Now that's a performance I would love to see! Especially if Verdy herself coach them in their roles! In fact with their unique qualities - Weese with her subdue glamour and technical strength match with Neal's expressive elegance and if they have the proper guardian and nurturing from Peter Martins and others, I think Weese and Neal could make an interesting partnership. Have they ever dance together?

YES, YES, YES!!! ABT won't be the same without my Nina!

Tchaikovsky Pas de Deux Sofiane Sylve (She would be fantastic!) and James Fayette (I'm guessing the beneath this strong partner beats a strong technician beating to get out.) Alexandra Ansanelli and Peter Boal (They may have already dance the roles, but I've never seen them.) Megan Fairchild and Daniel Ulbricht (Not sure of Fairchild, but I think Ulbricht would be great.) Ashley Bouder and Damian Woetzel (I know, I know Woetzel almost own the role, but I think he would be great in a performance with Bouder who I'm sure would tear down the house with her performance!)

Thank you, Thank you, Thank you, Brioche!!! I did what you suggest and I think I'm really going to enjoy Andrew Mogrelia recording of Giselle! I also order Richard Bonynge recording as well. With him conducting the Royal Opera House Convent Garden Orchestra my thinking is if there is one orchestra that would do great justice to Adam's magnificent score it this orchestra!! Once again thank you so much!!

You are all my last hope! I've being looking for sometime and have spent alot of money on finding a decent recording of Adolphe Adam's Giselle. The recordings I have for the most part are worthless. The tempo is either to slow, to fast; they bring out none of the beauty, lyricism, heartbreak or drama in the music. It's almost as if the conductors and orchestras doesn't feel as if this "merely ballet music" is not worthy of their time. BULL! I would love to have the recording of John Lanchbery conducting the Orchester Der Deutschen Oper Berlin from the ABT motion picture production of Giselle starring Carla Fracci and Erik Bruhn, but I don't believe that recording has ever been on CD. Bottom line is I need some serious HELP!!!!! Any suggestion would be most GRATEFUL!!!!!!!!! THANK YOU!!!!!!!!!

A few years ago at NYCB during a performance of Stravinsky Violin Concerto. Alexandra Ansanelli who was dancing the Kay Mazzo part was perform the final Capriccio section. In the final the prinicpal ballerinas are wearing tiny black skirts and as Ansanelli was dancing it was coming very apparent that her skirt was becoming undone. As she was spinning into a brief pose just become she was to run off stage her skirt was clearly about to fell off. If it wasn't for Jock Soto - partner par excellence - without missing a beat catching the skirt as they ran off the skirt would have been laying on the floor! I also remember a performance of Serenade perform by The Bolshoi Ballet at Lincoln Center. Just after the first movement of the first section of the ballet is perform, the dancer performing the first solo started to dance across the stage. Just as she is about to do what I guess you would can call a swimming arabesque because of the movement of the arms, she fell face first on the stage - HARD! The sound was so loud I would have been surprise if people outside on street didn't hear it. But without missing a beat the soloist jump up and continue dancing. When she left the stage we in the audience gave her the most thunderous applause of approval I ever heard.

This is fun! I had no idea that my simply suggestion of using Jerome Robbins' ballet The Cage as the second act of Giselle would created such a discussion! But since it has let me explain my reasons. I think that Albrecht is one of classical ballets all-time creeps disguising as a hero. His a nobleman disguising himself as a peasant so he can get himself some - y'know - from an unexpecting peasant girl. A peasant girl with a bad heart. That's why her mother Berthe is so worried about her doing so much dancing. And Albrecht knows it - he's right there when Berthe mimes her concerns for her daughter, but that doesn't stop him! Nooo! And here we have Giselle, a sweet, gentle, innocent highly trusting person who allows herself to completely fell in love with "Loys". And if that is not bad enough - hello, Count Albrecht is engaged to be married to another women, which makes the creep a two-timer! And he's a coward too. When his future father-in-law and his daughter shows up for the first time he couldn't runaway fast enough. And his insensitive. When Bathilde and her father The Duke returns he quickly acknowledge them and for a few moments completely disregards Giselle. This is of course done in a very public place. Giselle is embarrass, humiliated made a complete fool of by Albrecht - it's no wonder the poor girl goes off the deep end and dies. Which makes me always wonder why is it that Hilarion is viewed as the villian in the ballet. Yes he's gruff, rough around the edges but I also felt he truly loved Giselle. Some views his actions as selfish when he expose Albrecht. And that's maybe true. But I also feel he was trying to protect Giselle. I admit that alot of my feelings about Hilarion comes from former ABT's soloist John Gardner's performance as Hilarion. He always played him as a man truly in love Giselle and not so much as a villian. When he's killed in the second act I feel disappointed.

I still say that Giselle should have killed the jerk.

What about a Giselle that uses the Jerome Robbins' ballet The Cage as its second act. After all The Cage is basically the second act of Giselle. The only differences is the Wilis are now insects and instead of Giselle saving Albrecht, which I never truly understood why - afterall it was his deception that drove her to madness and death, she kills him.

Good for him!!!

What happen to ABT soloist Carlos Molina? His name no longer appear on ABT list of dancers on their website.

A great topic! And for me a very easy answer. Serge Diaghilev is in my opinion unquestionable the most important and influential individual in 20th century ballet. Just a few reason way: The Western reintroduction of ballet as an art form Before the his historical Paris season in 1909, ballet was long forgotten as being a great art. The Romantic Era that gave us dancers like Taglioni, Elssler, Grisi, etc. and the ballets that was created for them Giselle and La Sylphide was long over and audience forgotten the genius and beauty this art gave the world. Ballet had become nothing more than a light form of entertainment not to be taken seriously. Diaghilev and his company the Les Ballets Russes remained the west of the artistry and brilliance in the art of ballet. The reintroduction of the importance of the male dancer In the west the male dancer was also completely danced off the stage. They long stop being important and in some cases females made-up to look like men danced in their place. Then Diaghilev came and reminded the west of the strength, importance and excitement the male dancer bring to ballet. Dancers like Mordkin, Bolm and of course Nijinsky. Classical Music Igor Stravinsky, Claude Debussy, Maurice Ravel, Serge Prokofiev, Eric Satie, Manuel de Falla and Darius Milhaud just to name a few, all wrote some of their most important music composition that has had an huge influence of 20th century classical music from commission by Diaghilev for his company. My God in the case of Stravinsky his three first ballet scores The Firebird, Petrouchka and The Rite of Spring are the foundation of Stravinsky status as agruable the most influential classical composer of the century. Painters Plan sets just wouldn't do for Diaghilev! Some of the most important painters of his time he commission works for his company and in the progress gave the world some of its greatest art. Benois, Bakst, Matisse, Braque, Picasso, Derain and Rouault not only created great art, but in some cases thanks to the commissions from Diaghilev was able to make a living before they became famous as painters. The introduction of Russian choreographers and dancers to the western world Fokine, Nijinsky, Pavlova, Karsavina, Kchessinska, Lopokova, Massine, Nijinska, Spessivtesa, Danilova, Woizikowski, Trefilova their names along with others has past into legend. Their choreograhy and dancing set a standard of which choreograhers and dancers today try to live up to. They showed the world that artists lived within the world of ballet at a time that dancers was viewed as less then Vaudeville. Balanchine, de Valois, Rambert, Lifar To me these four are Diaghilev's greatest legacy. I strongly believe without Diaghilev's guidance and tutelage I don't think it would have been possible for these four to have the courage to go out on their own to the four corners of the world to create their on destiny. And thank God they did! Without Diaghilev, Balanchine might not have given us The New York City Ballet. Without Diaghilev would we have British ballet thanks to de Valois and Rambert? Would the Paris Opera Ballet be the world famous company that it is today if Lifar didnot come aboard back in the 30's and basically re-energize a company that was in near disarray? Something to think about. To me the world of classical ballet should all be paying respect and honor to the man you reminded the world the beauty, the artistry to one of the oldest and graceful art form the world has ever known.

The only way Peter Martins will leave NYCB is feet first. As for Peter Boal, for selfish reasons I hope he doesn't leave NYCB anytime soon! In my opinion the company it this point can't afford to lose him.

If you can travel back in time, what original or famous ballet production or dancer(s) that you've never seen perform but wish you had, would you go see and why? For me it would be the original Petipa and Ivanov production of Swan Lake. I would have love to see exactly how much of today's performances actually comes directly from the original choreography. I also would love to finally see if the 50 year old Pavel Gerdt (Siegfried) truly needed assisted from the younger dancer who played the original Benno. Finally I think I would have enjoy watching prima ballerina assoluta Pierina Legnani, the first ballerina who successfully executed thirty-two consecutive fouettes. I would love to have been in the audience at the Theatre de Champs-Elysees in Paris in May of 1913. I would love to have been part of the passionate reaction of Diaghilev's Ballets Russes production of Vaslav Nijinsky's Le Sacre du Printemps. I wonder just how much of a negative reaction did Igor Stravinsky's masterpiece really got from the audience. Of the performances I would have like to have seen, George Balanchine's Jewels is just one of them. I wish I had seen the dancers would inspirited him to create this wonderful work. Violette Verdy and Mimi Paul in Emeralds, Patricia McBride, Edward Villella and Patricia Neary in Rubies, Suzanne Farrell and Jacques d'Amboise in Diamonds. Performances I understand that has never been surpass.

No question in my mind the very best Swan Lake currently on video is The Royal Ballet's production starring Natalia Makarova and Anthony Dowell. WOW! If you wish to introduce someone to the art of ballet and show them why its so beautiful, and if you can't get them to a theater, this video is the next best thing. I love the fact that it is a straight forward production that paid due respect to Petipa and Ivanov while at the same time opening the ballet enough to add original choreography by Frederick Ashton and Rudolf Nureyev. The sets and costumes by Leslie Hurry are beautiful and sumptuous and gave you a real sense medieval Germany. Anthony Dowell dancing can be sum up in three words: regal, glamorous, elegant. As for Natalia Makarova, she is as close to perfection as I have yet seen of the characterization of Odette/Odile. Phrasing, musicality, heartbreaking, its all there. They dancing the lakeside act pas de deux is one of the most hauntingly expressive performance of that extraoridinary pas de deux I ever seen. And every Swan Lake production should have Ashton's choreography of the Neapolitan Dance. Joyous, inventive, creative and high-flying fun. Rosemary Taylor and Wayne Sleep are terrific. The television direction wonderfully capture the stage production for the video audience. Close-up, wide angle, over head angle, editing, fantastic job. From the best to the worst. The State Perm Ballet video production is in a word awful. First there is the noise. When the swans started dancing on point you can hear them coming a mile away. Clunk, clunk. The choreography with the exception of the standard set pieces are weak. The sets and costumes are chessy and cheap looking. The dancing was reliable at best. I understand that Aleksei Fadeyetchev is regarded as one of the best male dancers of his generation. You won't understand that base on this video. He's a wonderful partner, but he is to expessive with his mine dancing. Arms and head waving to much, he makes to big a production in declaring his love for Odette when touching his heart with his hands. Overall a terrible production. The only saving grace was Nina Ananiashvili. In fact she was the reason I brought the video. The first live production of Swan Lake I saw was Kevin McKenzie's new ABT's production starring Ananiashvili and Julio Bocca. I was so rapture by her performance I brought the tape, thinking I could have the beauty of her dancing capture on tape. Big mistake. I like McKenzie production. Zach Brown's set and costumes are beautifully sumptuous. Some people have said overly beautiful. I like the prologue showing how Von Rothbart trick Odette and change her into a swan. But I can also see why some people have problems with the production. Why is it that American productions of Swan Lake always seem to cut the ballet by combining the four acts into just two acts. Do they think American audience are incapable at seating though four acts? When the swans are dancing in the second act of McKenzie production after the ballroom scene in front of a backdrop, it is so obivous they are dancing mainly so the sets can be change. And boy you can hear the stage crew changing them. But overall I love the production. I also love the Kirov current production as well. They have authority written all over their production.

I was wondering, have Jennie Somogyi or Maria Kowroski ever dance the ballerina role in Theme and Variations. I seen Wendy Whelan, Miranda Weese and even Abi Stafford the year she was promoted to soloist. But I've never seen Jennie or Maria, two dancers I believe would be wonderful in the role. If they have danced the role what was their performance like? If they haven't am I they only one who think that Jennie and Maria would be wonderful in the part?

Excellent suggestion all! Especially Choura by Alexandra Danilova, I read her autobiography 5 times and still enjoy reading it. Wonderful book. Winter Season: A Dancer's Journal by Toni Bentley is a wonderfully informative book about the hard work it takes being a dancer in a world famous ballet company. In this case New York City Ballet. She speaks about Balanchine, Farrell and Martins among others. I just finish reading Henning Kronstam: Portrait of a Danish by Alexandra Tomalonis. A wonderful book with lots of informations. I think you would enjoy it.

I've never seen Spartacus, so I would love to see them bring that with. Pharaoh's Daughter - was this Petipa's first ballet? What is the ballet about?

Nina Ananiashvili and Julio Bocca are terrific together at ABT. Swan Lake, La Bayadere, whenever ballet they perform in you can expect an evening of great partnership in dancing because it is so obvious they are enjoying dancing to together. The trust they have in one another is made very clear in the way they dance together.

I just finish reading the article and I must say I agree with all of you. It was a wonderful read and informative - I had no ideal that Ashton was basically fired from his post as artistic director of the Royal Ballet even though he was planning to leave the post.