GeorgeB fan

With so much debate and discussion from critics and audience about Peter Martins' skills as a choreographer, which ballets of his do you think will survive after him in the repertory of New York City Ballet? My picks: Calcium Light Night Morgen Sinfonia To be truthful my picks has less to do with my belief of their survival, although I enjoy them very much, then with the fact they are the only ballets of Martins I have ever seen. With the exception of his staging of Sleeping Beauty of course.

Like GWTW, I'm curious about the Wheeldon ballet myself. It's ashame that ABT didn't ask him for a new ballet. I also notice that Amanda McKerrow won't be dancing. It seem to me she is becoming the forgotten dancer in this company. Isn't City Center stage to small to stage Mozartiana? To me it seems to be a ballet made for a larger stage. I look forward at seeing again Pillar of Fire and for the first time Le Spectre de la Rose. But I say this: If ABT does not give a spectacular performance of Les Sylphides after denying Alicia Alonso's Cubia ballet company to perform it last year they will be getting a great deal of flack!

Leigh I know there was a reason why I respect your opinion. After reading your latest post I can see where you are coming from. NYCB may not be able to pull off the necessary lines and style its needed to perform Monotones. But I would still love to see them try! By the way speaking of NYCB performing Ashton are any other choreograher's work, isn't there, or it seems at least, an unwritten policy in where they don't perform ballets that was not created for their company. Does anyone know if this is true or not?

Leigh, I'm surprise you don't think NYCB don't have the line or strength to perform Monotones. I think they could perform it. Granted I don't think they will perform as brilliantly as The Royal Ballet or The Joffrey Ballet for example, but I do think they could carry it off. But I do respect and in a way understand your opinion.

The first Ashton ballet that comes to mind when thinking about NYCB performing is Monotones I & II. Its a ballet that is plotless and abtract. I could see say Janie Taylor, Edwaard Liang and Stephen Hanna in part I and Wendy Whelan, Sebastien Marcovici and Robert Trewsley in part II. I remember someone writing here about Kyra Nichols qualities as a dancer as being of the earth. I think they were right and because of those qualities I think Five Brahms Waltzers in the Manner of Isadora Duncan would be a magnificent showpiece for Nichols. But the ballet I would really love to see NYCB try to perform would be Les Patineurs. A joyous and fun plotless ballet with a touch of characterization that would give City Ballet dancers an opportunity to let their hair down and have some fun. But that's not to say this ballet would not challenge them technically - this is not a ballet easily perform. This ballet I think could stitch them both technically and in term of character development. The Blue Boy is a happy go lucky virtuoso; the Couple in White are charmingly sweet; The Girls in Blue are dazzling show-offs; and the Girls in Red are deliriously goofy. The Boy in Blue: Damian Woetzel, Peter Boal, Joaquin DeLuz The Girls in Blue: Sofiane Sylve & Maria Kowroski; Jennie Somogyi & Miranda Weese The Couple in White: Jenifer Ringer & James Fayette; Yvonne Borre & Stephen Hanna The Girls in Red: Alexandra Ansanelli & Ashley Bouder; Amanda Edge & Carla Korbes

I'm a huge history buff. I love reading about the knowledge of subjects and people and their past. So when I discover the beauty of the art form of ballet I quickly involve myself in its background history. The one aspect I most enjoy reading about ballet is the individuals who create them. From Petipa to Fokine to Nijinska to Balanchine and so forth. Sir Frederick Ashton was of course among those choreographers I've read about. But with the exception of American Ballet Theatre's productions of The Dream, La Fille mal gardee and Symphonie Variations, I was limited in seeing first hand the full scope of the works of the man generally called the father of British ballet. So imagine my joy upon hearing that Lincoln Center will be doing a large scale Ashton Celebration in honor of the centennial of his birth. I was overjoyed and waited with anticiaption at seeing the works of this great 20th century genius. Reading about Ashton, I became aware of the signature qualities that are the hallmark of his works. The elegance, refinement of detail, strong characterization, lightness, precision, humor, lyrical and a touch of showmanship. All of these qualities was on display of the ten ballets and divertissements I saw, but what truly astounded me was those qualities was find in such a large range of ballets. That is what amaze me the most of the celebration. The unbelievable diversity find in his ballets. I was not prepare for this delightful surprise! No style of ballet seem to be out of his reach: From plotless (Scenes de Ballet) to lyrical calmness (Monotones I & II) to razzmatazz showstopper (Rhapsody) to character study (Enigma Variations) to charming love story (The Two Pigeons) - the second act gypsy camp dancing was the mark of true showmanship and craft. If Ashton never stage Don Quixote he definitely had the power to do so! to darkness (Dante Sonata) to tragic melodrama (Marguerite and Armand) to confection inventiveness (Les Patineurs) to drawing room humor (A Wedding Bouquet) to solo works (Five Brahms Waltzes.....) the spirit of Isadora Duncan filled the stage and of course creative and lyrical pas de deux (Divertissements) A deep bow must be given to the four ballet companies who graciously participate in the celebration. The Royal Ballet, Birmingham Royal Ballet, The Joffery Ballet of Chicago and the K-Ballet Company of Tokyo. All did superb tribute to Ashton in their exceptional dancing. The only sadness I have is that I won't be able to see the new production of Cinderalla, which I know I will regret, and the fact that this maybe my last chance I will ever see those wonderful ballets. Unless ABT require the rights to perform them or hopefully one of the four companies will travel back to the New York area once again. But whatever the case I will be forever grateful to Lincoln Center for giving me the opportunity to seeing first hand the extraordinary genius of Sir Frederick Ashton.

I saw Wednesday's evening performance and for the most part had a wonderful time. Scenes de Ballet was marvelously perform, especailly by Alina Cojocaru. Speed, sharpness, quick feet, she was just wonderful and makes me regret even more that I missed her in her guest appearance with ABT in LaBayadere last year. Leanne Benjamin - WOW. Her dancing in Voices of Spring pas de deux was filled with a spirited abandonment that was exciting to watch. And talk about mutt 'n jeff. Inaki Urlezaga towered over her and when he lift her in the air she looked as if she was 12 feet in the air. They were terrific. Mara Galeazzi and David Makhateli was mysteriously romantic in Thais pas de deux. As for Darcey Bussell in Birthday Offering pas de deux, I think the large ovation that was given to her had not so much to do with her performance, although she along with partner Thiago Soares was excellent, but more to do with her fame. She is after all the most famous England born and trained prima ballerina currently dancing in the world today. Its been a number of years since she've perform in New York and I think the audience just wish to express to her how much they missed her. As wonderful as the Divertissements was it was disappointing. Disappointing in the fact that I would have much rather prefer a performance of another full-length ballet of Ashton's. Instead of just having the pas de deux from Birthday Offering they could have just stage the entire ballet. From what I understand it a large ballet the offer several virtuosic roles. I would have love to have seen Facade which I believe is his oldest ballet that is still being perform. A Month in the Country, oh how I would have love to have seen that. I have a videotape of Natalia Makarova and Anthony Dowell performing the pas de deux from the ballet and base on that small glimpse, I would have paid almost anything to see what I'm sure is one of his great masterpieces. As for Marguerite and Armand, I think Michael was right on the money about the creation of this ballet. This was clearly created at the height of Nureyev's powers and at the twilight of Fonteyn's. But that does not take away the power of the ballet. This was my first time seeing Sylvie Guillem and it was a revelation. All these years reading about her being a supreme technician did not perpare me for what a dramatic actress she is as well. Superb. And after a slow start, Massimo Murru prove himself to be her equal. The Insult scene was especailly gripping. There was a danger in their dancing. The way Murru, through his brilliant angry, rip the necklace off of Guillem, the way he literally threw her on the floor and the force of which he slapped the money in her face was overwhelming. And Guillem match him in her suffering intensity. The entire ballet was heartbreakingly tragic.

To me, the American dancer and the Balanchine dancer are one and the same. Speed, clarity of movement, sharp attrack, extreme muscial and athleticism are all the basic qualities find in both dancers. That has to do in large part, I believe, with the fact that Balanchine created or at the very lease cultivated the art of ballet in American. His influence is huge and still felt across this country. Many of the dancers he train to perform in his manner are know artistic directors to most of the major ballet companies in American today. It could be argued that those artistic directors are now most likely training their dancing in the manner that they was taught by Balanchine. And even if the artistic director of a company was not train by Balanchine, most of American companies had a large repertory of Balanchine ballets, which in order to perform them, dancers must have or at the very least be able to achieve many of those qualities that I mention to perform them. I could be wrong, but that is what I feel.

Alexandra I get the strong feeling you are talking about my posting for Wednesday night performance. I was writing my post I guess during the exact same time eabook wrote his/her new topic about the second program. It was only after I finish mines did I become aware of it. I couldn't figure out how to change my post to go under eabook topic. Thanks for redirecting it to the right place.

I saw Wednesday night performance and I must say the thing that struck me the most about the evening was the large diversity. The only thing they had in common was the genius of Sir Frederick Ashton. K-Ballet perform Rhapsody This ballet is pure virtuosity - its completely understandable this ballet was created for Baryshnikov. Tetsuya Kumakawa had the audience in the palm of his hand from the start. He did a series of split kick turns in the air that I have on idea what the ballet term you would call it, but it was awesome. But I must admit I didn't think the ballet really didn't come alive until the pas de deux and everything that came after. It was lovely to see Viviana Durante - I was wondering where she was dancing. Her footwork was clear and sharp. She and Kumakawa danced well together. The corp was also good. The audience clearly enjoy the performance. On a side note I think ABT would be very wise to get this ballet for a showcase for Herman Cornejo. Birmingham Royal Ballet perform Five Brahms Waltzes in the Manner of Isadora Duncan and Dante Sonata Obviously I never saw Isadora Duncan dance, but Sir Frederick brought the spirit of her alive in his marvelous choreography. Ashton was clearly moved by her performances. Molly Smolen as Duncan was a fantastic. Every movement she made from dancing, jumping, running or simply standing still gave you an idea of what it must have been like at a dance concert of Isadora Duncan. And I like the fact she remain in character during her curtain call. The piano soloist was Kate Shipway who perform the Waltzes in perfect harmony with Smolen dancing. My favorite performance of the night. Dante Sonata was totally unexpected. A ballet that can almost be looked it as a modern dance. In the playbill it was noted that Ashton created this ballet somewhat in respone to World War II. In his choreography you can see that. The warring conflict between the Childern of Light and the Children of Darkness was made very clear in their interaction with one another. First the Darkness over took the Light but then the Light counterattack. I love the moment when the Light capture male members of the Darkness and pile them on top of one another and the Darkness began moving there legs. The effect made them look like dying bugs. Creepy. The ensemble work of the dancers was perfect. I can understand why many regard this as one of his masterworks. The Joffey Ballet perform A Wedding Bouquet This was the only disappointment of the evening for me. Not because of the choreography which was lively and fun. Non wasn't the dancers who characterization was right on the money. It was the narration. This is a comedic ballet and the choreography reflect that, but I think that most of this humor comes from the spoken narration. Christian Holder, the narrator, voice did register over the orchestra. Making it nearly impossible to hear him. Which made him a distraction to the ballet. Hopefully he will be wired with a microphone for Thursday night's performance. And if he was wearing a microphone the technical problems will be fix. But overall I had a wonderful evening.

Alexandra, I read the article and it was wonderful. I love the why they talk about the creative process of Sir Frederick and how much he loved American audience and how we love him and his works. If I didn't already have tickets for the performances and certainly would have gone to Lincoln Center and buy me some after reading the article. I'm looking forward to the festival.

I think that one sentence perfectly sums up Joan Acocella entire article. With the exception of the two dancers Acocella mention and a small hand full of others, many of the dancers perform with no real sense of individuality. In term of body type of course they are all different. But I'm talking about that certain, also undescribable quaility the seperate most dancers from other. I don't mean lyrical, muscial, technically strong. Almost all dancers have that. I'm talking about: The Americana openness of Patricia McBride; The rise-taking regalness of Suzanne Farrell; The coquettish chicness of Tanaquil LeClercq; The bubbling french champagne of Violette Verdy; The subdue elegance of Diana Adams; The boyish charm of Jacques d'Amboise; The noble elegance of Arthur Mitchell; The premier danseur noble of Peter Martins; The intense passion of Edward Villella and so forth. I don't think many of the current dancers can be describe like that. Mainly because I think the dancers are not being ask to being their own uniqueness to the stage. That's not to say they are robots program to perform steps - not at all. They all have given me great enjoyment. Just this season I wrote hear that I think the company danced better then they have in some time. And I still believe that. But they do dance much to often with no life in their eyes. And I really believe that if Peter Martins would simply allow former dancers train and taught by Balanchine himself to come and coach the present dancers, I truly believe we would see more individaulity in the dancers as well as seeing the ballets of Balanchine perform in the way the great choreographer intended for them to be perform.

I know some maybe thinking "Oh Lord, GeorgeBfan is asking another topic question." But I couldn't help myself. This is my first day of summer vacation (I'm in the educational profession) and I'm presently bore. So with kindness please humor me. :sweating: But I'm curious, with the exception of Kyra Nichols and Darci Kistler, who among the current principal and soloist ballerinas at NYCB do you believe would inspire Balanchine to create a ballet for her. Explain her quailties. Of course there's the chance that no current ballerina have any quailtites that could inspire him. Explain that too. This could be a stupid topic also. I'm sorry, as I said I'm on vacation, but I won't be traveling away for another two-week, so you maybe hearing from me quite alot.

Drew after reading your post I started thinking how wonderful it would have been to see ballets that I've ever seen but only read about or seen pictures of them. Ballets like Danses Concertantes, Bouree Fantasque and Minkus Pas de Trois, which I did see perform nicely by Miami City Ballet a few years back. Sylvia Pas de Deux is another ballet I would love to see NYCB perform but they don't. ABT perform it but City Ballet for some reason don't. I understand Balanchine never like the costumes and sets created by Kurt Seligmann for The Four Temperaments and had them quickly remove. It would have been interesting if for just one performance NYCB would have recreated the costumes and set so we could have seen the ballet in its original concept. A few years ago on a television program, possibly on PBS, a ballet company - I can't remember the company maybe the Joffery Ballet but I'm not sure - reconstructed a early ballet of Balanchine's called Cotillon a ballet he created for Tamara Toumanova to great sucess. It would have been nice if Peter Martins ask the stagers of that ballet to stage it for the Balanchine Celebration. Speaking of reconstructing is there some way they can recreate The Seven Deadly Sins - that is a ballet I would love to see. From everything I've read about it, it was a highly theatrical ballet. I think that would have been a major event.

Now that the spring season of NYCB is over I'm curious to know what all of you like or dislike the most of the season and do you think Peter Martins and company did justice in their tribute of the centennial of Balanchine's birth. For me I most enjoyed discovering the beautiful and romantic Liebeslieder Walzer; guest artists Aurelie DuPont and Manuel Legris dancing Sonatine; Alexandra Ansanelli in Afternoon of a Faun; the rise of Ashley Bouder; Wendy Whelan's Mozartiana; The entire Thursday evening of June 17 (Agon, Monumentum pro Gesualdo, Movement for Piano & Orchestra, Duo Concertant, Symphony in 3 Movement) Balanchine and Stravinsky would have love it; Kyra Nichols performing in anything; Miranda Weese's new abandonment and musicality; But in general the overall execellence in dancing by the whole company. The only disappointment I had was not seeing Jennie Somogyi dance due to injury. I hope she recover in time for the 2005 Winter Season. I think overall Balanchine would have been proud.

To me NYCB still very much belongs to Balanchine. His ballets still dominate the company more then any other choreographer. I'm more worried about Jerome Robbins. It seems to me we are seeing the same ballets of his over and over again. Where's Other Dances, The Goldberg Variations, In Memory of.... (which I understand some people think was created in memory of Balanchine), Brandenburgs, Les Noces and other ballets his created that hasn't been danced by the company in a long while. I've also talked to some people who thinks that Robbins ballets are not being as well preserve as they should be. I don't know if that is completely true, but I do know that in that moment in Dances at a Gathering when the men are throwing the ladies in the air with one man catching them it's not perform with the same abandonment or sense of danger as it was when Robbins was alive. Sometimes I strongly believe Robbins is becoming an after thought with the company. I notice in the repertory notes that are handled out in the lobby, that Balanchine's and Martins' ballets are given a little background history but Robbins ballets are not. Robbins could have written some where that he wish to have no description of his ballets, if thats true I stand corrected. But it does seem to me that when it comes to importance in the company Balanchine is first, Martins come second and Robbins is not only third, but is becoming a very distance third.

Nanatchka, you're right you did mention Baryshnikov. My mistake.

Jose Manuel Carreno - a very beautiful man. Mikhail Baryshnikov - a name I thought would have been mention by now. Very handsome and sexy. James Fayette - a handsome man in a Norman Rockwell, boy next door type way. And seeing that no one said this was only limited to male ballet dancers: Alvin Ailey - a strong masculine presence.

bobbi your description of Saturday's afternoon performance was right on the money. I said it on an early post - NYCB is dancing this season better then they have been in a long time. All the dancers seem to be going above and beyond! While their performance was not as sharp as it should be, it obvious with time Jenifer Ringer and Sebastien Marcovici will surely come into their own in Allegro Brillante. I loved Veronika Part in Mozartiana so much at ABT I created a topic about ABT dancing in more Balanchine ballets, not realizing the strong debate I would create over it. But after seeing Wendy Whelan's brilliant performance in the ballet I'm beginning to have second thoughts. Whelan is clearly one of the cornerstones of the company. And let's not forget those four little girls - WOW! Alexandra Kassidis, Tara Sorine, Beatriz Stix and Isabella Tobias danced with speed, sharpness, clarity and their jumps was high. The SAB is doing a great job. Miranda Weese. If I wasn't already in love with this ballerina, I surely would be know. For me this is her season. Every ballet I've seen her in from Who Cares, The Four Seasons, Symphony in 3 Movement to this afternoon performance in the Theme & Variations section of Tschaikovsky Suite No. 3, Weese has been down right flawless! Always a technically strong dancer, she seem to finally allow the music to take over her body as well as dancing with more abandon. In my eyes, she's easy one of the top ballerinas currently with the company.

Michael you are so right about Miranda Weese! She has always been one of my favorite ballerinas. But this spring season she's been out doing herself. You used the word abandon and I can't agree more with that description. She seem to be allowing herself the freedom to put her whole self in the dancing and the music. And if its possible this lovely dancer is becoming even more lovely to watch and I think that has alot to do with her new find abandonment in her dancing. If fact the entire company seems to be dancing better then they have been in some time. This is turning out to be a fantastic dance season!

Seeing that this is the centennial year of the birth of George Balanchine, I was wondering what ballets of Mr. Balanchine do you regard to be his 10 greatest? Those masterpieces, if God forbid all his other masterworks would some how become lost to time, would remain as extraordinary examples of the scope, range, brilliance and his unmeasureable contribution in the changing of 20th century ballet. Here's my picks (in alphabetical order) AGON APOLLO CONCERTO BAROCCO THE FOUR TEMPERAMENTS JEWELS LIEBESLIEDER WALZER ROBERT SCHUMANN'S "DAVIDSBUNDLERTANZE" SERENADE STRAVINSKY VIOLIN CONCERTO SYMPHONY IN C

Mel doing Scotch Symphony would be a great ideal. I remember in the American Masters documentary Balanchine part 2 the program talked about how Scotch Symphony was a variation on August Bournonville's La Sylphide. But were Bournonville's ballet was a "full novel" on the subject, Balanchine's was a "poem". Imagine both ballets on the same program.

While I personally don't see any reason why ABT can't bring more Balanchine into their repertory, I would love to see NYCB perform Giselle. Oberon your casting in fantastic, but I don't think Peter Martins would cast his wife in the second lead of Myrthe - she'll be Giselle no matter what. And carbro, your right, Peter Martins choreographing the ballet: double Maybe one of the great Giselles of the recent past can come and stage it for the company. Does anyone have any suggestion?

Legs: Alexandra Danilova (the Marlene Dietrich of ballerinas), Kyra Nichols, Darcey Bussell, Svetlana Zakharova Feet: Alessandra Ferri, Suzanne Farrell Arms Natalia Makarova, Maya Plisetskaya, Judith Jamison (I know isn't a ballerina, but her arms was great) Hands: Nina Ananiashvili, Darci Kistler Profile: Suzanne Farrell Face: Alexandra Danilova Eyes: Julie Kent, Alessandra Ferri, Viviana Durante

"She's good, but she's getting old". That comment was made by some old dried up raisin seating behind me at the end of the first act of Don Quixote about Nina Ananiashvili Monday night. Apparently I was not the only one shock about that statement because when I turn to look at her the women seating next to me also turn to look at that woman. Well that raisin must have been eating those words at the end of the performance. Because Ms. Ananiashvili as always was at her most joyous and glorious best! In fact the entire company seem to having the time of their lives. Nina is that rare prima ballerina - a consummate artist technically who haven't forgotten the simple joy it is to dance. And boy does she convey that to her audience. A light is in her that glows whenever to performs. You just can't help but not love her!! She would be enough for one evening, but as I said the company perform at the top of their game tonight. Jose Manuel Carreno as Basil was as smooth as ever. The repartee between Carreno and Ananiashvili is wonderful to see - they truly love dancing with one another and brings out in each other the very best. Maria Riccetto and Erica Cornejo was as light as air as the flower girls. Their dancing as clear, sharp and spirited. What's up with Herman Cornejo! He seem to be trying his best to jump through the roof as the gypsy. And the fact he can do it with such apparent ease makes it even more amazing to watch. Vernoika Part as the Queen of the Dryads was marvelous. As I said before about her a true ballerina - I can't wait to see her as Odette/Odile. Anne Milewski as Amour was delightful and spirited and who was clearly enjoying herself, I hope to see more of her. Marcelo Gomes - you got to love him. He oozes sensually and love to shower it on his audience to comic effect. He bow at the end of his solo in the second act was full of comic timing and sensual confidence. All in all a wonderful first night performance of Don Quixote