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chiapuris

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Everything posted by chiapuris

  1. The report talked about several years' recent history as if it were up-to- the-minute news. It also gave a not-positive impression of Ratmansky's directorship more by implication (Tsiskaridze's comments) than by statement. What I found inaccurate is the impression that the company is on a downslide. I think the opposite is closer to the actual facts. The company, in my view, is a testament to the health and well-being of classical dance.
  2. Thanks coda and drb! I ordered a copy of Pique Dame from (American) Amazon.
  3. Unfortunately, Coda, I am missing Pique Dame and Tsiskaridze. And Go for Broke with its stellar cast, and Symphony in C. It's just a matter of time constraints, since I'm also seeing the Mariinsky Shostakovich ballets on the 27 and 28 of July,
  4. Thanks for the posting Coda. I just bought tickets by first registering for the E-mail list of Victor Hochhauser, and then using the provided password for ordering from Royal Opera House on the internet. I also ordered by phone if I didn't like the seats offered on the internet. The ROH has a nice feature of letting you see the stage view you'll have with a click from a selected seat. So I look forward to Pharaoh's Daughter with Lunkina, Bright Stream with Lunkina/Alexandrova, Swan Lake with Alexandrova, and Cinderella with Krysanova!
  5. canbelto, I'm a great admirer of Ms Vishneva's talents. I think her Nikiya is a magical interpretation. But I don't think she is equally effective in everything she performs. You seem to feel she offers everything there is to offer in Carmen. My view is different, based on her 2003 Carmen pdd at the Mariinsky Festival. She offered all you described, but without a trace of the wit and wry humor, I for one, associate with the Carmens of earlier interpreters. Vishneva gave us a 'hot' number. Petit's choreography, created in mid-20th c. seemed to be a commentary on femme fatale 'numbers', a refreshing innovation in ballet at the time. For me, Ms Vishneva's Carmen was devolution of the choreography.
  6. Let me bolster my 'choice' with some translations from SP reviews of the 'New names' young choreographers program: Tatyana Kuznetsova in Kommersant 3/23/06 "The Best Russian is a Foreigner" ...."Gogol's Overcoat became Mariinsky's third, and most valuable acquisition. It was staged by American Noah D Gelber on the music of Dmitry Shostakovich made for the films 'Alone and 'Hypotheically Murdered'. ....""the new name" has emerged, after all. And it doesn't matter that the name does not sound Russian- -the Gogol ballet of Noah D Gelber became the most Russian of all original ballets, created by M ariinsky over the past years. After all, Marius Petipa was not a native Russian either." Anna Gordeeva in Vremya novostei 3/23/06 "Russians are nostalgic for deconstruction, Americans dream of a dramatic ballet" ..."And then, the Overcoat came like a thunder...Here is a choreographer who works in Forsythe's troop, transfers his ballets to other stages......But in the meantime, he dreams of clearly understandable plots, having variations like everyone else, and having someone to jump around in a circle. So, on the year 2006 AD, Noah D Gelber came up with a real dramatic ballet for Mariinsky, with a 1.5-page libretto and clearly developed roles rather than just dancing parts." Anna Galayda in Vedomosti 3/23/06 ......."Noah D. Gelber, to the contrary, ostentatiously declined to compete against his boss. having created his Gogol's Overcoat on the basis of Shostakovich's high-affect cinemusic, Forsythe's assistant showed an unexpected regard for the Russian ballet traditions. In his play, he synthesizes, as if under a microscope, the Russian acting school with Western choreographic sophistication. And he finds a dozen of people in the troupe who are capable of implementing this synthesis on the stage."........
  7. I voted for the Mariinsky's Sergeyev version (over POB, ABT, NYCB, and Bolshoi) because of its satisfying 4th act IN SPITE of the happy ending. PS Haven't seen Perm's or RB's current version.
  8. Marc, the Light, Colour and Movement photographs advance the art of dance photography by evoking ballet's thrilling, evanescent moments on stage. Congratulations!
  9. Thanks Buddy for your lyrical reviews, which seek, and find, profundity in movement. I really enjoy them.
  10. I agree with Natalia's report on the Gala program of 26-03-06. She covered the negatives and the positives, I think, very accurately. My personal disappointment was greatest with Ayupova's non-appearance. Also, I viewed Pavlenko's gala performance in Diamonds much more positively. She seemed to me stronger in the Gala of the 26th, than in the Zelensky Gala (which I liked a lot and found thrilling moments in it). But I had not seen her in pre-injury performances of Diamonds; so Natalia may be perfectly right that she is not up to her pre-injury performance levels. I did speak with Pavlenko to congratulate her at a party, after the Gala, and she did mention the long road of recuperation and its costs. The Mariinsky building may undergo some cosmetic changes and essentially stay open for its regular future schedule. Nothing seems definite or definitive.
  11. coda, thank you for your full appreciation of Narcissus. I learned a lot from your post. I also agree with you that "Tsiskaridze is..... interested in choreography which is new for him and he has a full right to do so". Did anyone challenge that right?
  12. Swan Lake 25-03-06 Mariinsky Odette-Odile Ulyana Lopatkina Prince Siegfried Jose Martinez (POB) Jester Andrei Ivanov Rothbart Ilya Kuznetsov Swan Lake was certainly planned as the culmination of the Festival; the pre-performance theatre atmosphere was full of anticipation for the event. Ulyana Lopatkina as Odette-Odile remains a standard by which others are measured. To me, she seems the definitive Swan Queen. The reason is that she ‘nails’ her performance with clarity of motion, precision of means, and command of space. In the supported adagio of the first lakeside scene, every ‘pas’s line design was brought to completion with a definitive placement of the head. The overall effect of the completed design became expressively powerful; that, in turn, translated into emotional content. The partnership with Jose Martinez was serendipitous. Martinez, a tall and elegant dancer, commanded the opening party scene with natural mime and an easy manner. The first scene of K. Sergeyev’s version is rich in detail. I particularly enjoyed the ballabiles of the corps couples, looking handsome in the costumes of Galina Solovieva. The jester of Andrei Ivanov was outstanding. (Sometimes I find the jester part overwhelms the goings-on that animate the party). The pas-de-trois, with Nadezhda Gonchar, Yulia Kasenkova, and Vasily Shcherbakov, had choreography with lots of batterie; it was very well-danced. Unlike some other productions, I found Sergeyev’s first scene and the last lakeside scene extremely watchable. In both cases, I think it is the presence of the elegant corps couples or swans that vivify the proceedings. In the lakeside scenes the big swans were Ekaterina Kondaurova, Yulia Bolshakova, Xenia Ostreikovskaya, and Elena Vostrotina, all of them impressive. I am not sure whether there were substitutions or not. In the fourth scene at the lakeside, Yana Serebriakova ended up dancing a solo variation—when in the program it is described as: Two swans: Serebriakova and Ostreikovskaya. Lopatkina’s Odile created a brilliant silhouette in her black tutu decorated with red stones. Her Odile, while etching in space a sharp presence, had the illusive quality of a phantasm. It was, for me, a very interesting characterization because of the profound contrast with the emotionally packed portrait of Odette. Her fouettes, incidentally, were faultless; all thirty-two of them. Martinez in the ballroom scene was an ardent partner and danced with high jumps and an altogether winning presence. The swans and cygnets both in the second and fourth scenes provided the core of the fantasy world of Tchaikovsky’s music and Ivanov’s choreographic vision that endures in Sergeyev’s fine production, which, against artistic ‘reality’ has a happy ending. It was altogether a beautiful evening of dance at the Mariinsky.
  13. Ruzimatov Gala 24-03-06 Mariinsky Ruzimatov’s gala was the first one that forewent the classical academic tradition for forays into other traditions, such as the ‘new’ ballet of the 20th c. (Fokine’s Scheherazade, 1910’s?), the American modern dance (Limon’s The Moor’s Pavanne, 1940’s) and the Spanish classical dance/flamenco tradition (appearance of the Compania Suite Espanola, with dancers, guitarist, singer, percussionist) a tradition that covers, very likely, centuries of development. The theater was packed. Extra seats could be seen in the aisles. At the end of the performance there was a very modest number of early departures, compared to other evenings. Applause after each work brought endless numbers of curtain calls. This seemed to be a deeply appreciated gala. Scheherazade featured Svetlana Zakharova as Zobeide, Ruzimatov as the Golden Slave, and the indispensable Vladimir Ponomarev as Shah Shahriar. The demi-soloist Odalisque roles were enticingly filled by Yana Serebriakova, Ti Yon Riu, and Xenia Dubrovina. This Fokine work is one that is now seldom seen outside Russia. Zakharova’s, and for that matter Ruzimatov’s, dancing was passionate and large-scale. Both were accorded enthusiastic receptions. The recreations of the sets and costumes of Leon Bakst were opulent and vividly colorful. Limon’s Moor’s Pavanne has survived times and tastes by the formality of its dance structure. Purcell’s music, conducted by Valery Ovsyanikov, was appropriately stately. The role of Iago was filled by the now director of Ballet de Bordeaux, Charles Jude (formerly etoile POB). Two Bordeaux dancers, Viviana Franciosi and Stephanie Roublot, performed the roles of Desdemona and Iago’s wife. The third section of the program was a most satisfying ending to the evening with its lively rhythms of Spanish guitar and percussion and….violin (Pavel Sakuta) and the songs of Nieves Diaz Ortiz and the entrancing dances of Rosario Castro Romero and Ricardo Romero. Both were absolutely magnificent in their solos – she with a fringed shawl and a gorgeous white-orange costume, he with his heel work on a tabletop. [i’d love to elaborate but my web time is running out]. In the final section Ruzimatov joins for a strong Spanish-ballet solo and, then, a trio with Rosario and Ricardo, sort of a ménage-a-trois story. The Spanish section had wonderful lighting effects. The audience was wildly enthusiastic. Deservedly.
  14. Zelensky Gala 23-03-06 Mariinsky Zelensky’s Gala evening was one of the best evenings of the festival so far. The Balanchine/Stravinsky Apollo was a magical performance. Everything went right. The music under Boris Gruzin’s baton, sounded great. The cast led by Zelensky, with Victoria Tereshkina as Terpsichore, Maya Dumchenko as Polyhymnia, and Olga Yesina as Calliope was well nigh perfect. The cast was so attuned to the musical pulse, one and all, that I have to repeat the only word that seems to say it all: magical. If only the mood had not been repeatedly broken by applause—in a work that has no place for pauses. I felt this was one of the very special performances of this work. Which is another way of saying, I was very touched by it. The solo titled Concerto Grosso (after Handel’s Concerto Grosso, op.6, recorded) provided Zelensky with a fresh platform of steps, gestures, and poses framed in a background of a novel set and a lighting design created by the choreographer (Alla Sigalova 2006). A somber and elegant solo, well applauded. The closing work was Balanchine/Tchaikovsky’s Diamonds with the regal Daria Pavlenko, and Xenia Ostreikovskaya, Yana Selina, Daria Vasnetsova and Yana Serebriakova as demi-soloists. What a treat of glorious dancing! Pavlenko and Zelensky were thrilling in the adagios, with swooning falls that were breathtaking. There was a jarring moment when Pavlenko looked unsteady as if dizzy, before falling. She exited and came back quickly and danced gloriously for the rest of the work. The stately and swelling finale of Tchaikovsky’s 3rd symphony brought to a glorious close a thrilling evening of dance. Flowers abounded at the bows and glittering confetti fell from above, as applause continued, calling for many, many curtain calls.
  15. Tsiskaridze Gala 22-3-06 Mariinsky I had expected somehow a different program from Tsiskaridze: one that displayed pyrotechnic virtuosity and so on. Instead we got a Balanchine/Stravinsky (Rubies), two solos, and a Forsythe/Willems (in the middle.....). In sum, a very well-danced evening, highlighting important works rather than charismatic personality displays. Rubies featured Olesia Novikova and Maya Dumchenko in the leads. Both looked sensational in the work, and the music, led by Boris Gruzin, sounded wonderful. To me what was missing was the zest of a fast reading. The pace seemed somewhat leisurely. The first solo, Narcissus, by K. Goleizovsky (1960) with music by N. Cherepnin seemed like a bland piece for Tsiskaridze. The second solo, choreographed by R Petit in 2003 (Carmen.Solo) was a much better vehicle for the charismatic Tsiskaridze. Wry and witty, it provided the performer with the opportunity to create miniature portraits of don Jose, Carmen and the toreador. It seemed, deservedly, an audience favorite. The evening concluded with Forsythe's In the middle.... , in which exceptional performances were given by Novikova, Kondaurova, Sheshina, and Mikhail Lobukhin. Others in the cast included Ekaterina Petina, Yana Selina, Xenia Dubrovina and Alexander Sergeyev. Tsiskaridze as a performer often surprises. This time he surprised by his thoughtful choice of works.
  16. New Works March 21 2006 Mariinsky In order: Nikita Dmitrievsky's Bourgeois Gentilhomme with music by Richard Strauss, is, according to the choreographer's notes based on Moliere's play. It has a cast of 16 dancers including principal Igor Kolb and princ. character dancer Islom Baimuradov, as well as E Obraztsova as the maid Nicole, and four dancers listed as Dancers that included Olga Esina and Xenia Ostreikovskaya. What a waste of talent. The goings-on were reminiscent of provincial operettas rather than the gestural translation of a classical play. If the choreographer intended to do a dark satirical ballet in the mode of Paul Taylor, I beg to disagree with him, he did not accomplish his task. The costumes (esp of the maid and Dancers)and the gestural language used were vulgar and unclear in intent. The word misogynism comes to mind. The written notes were much more interesting. Alexei Miroshnichenko's Du Cote de Chez 'Swan' to music of Leonid Desyatnikov (1995) is a duet that deconstructs Saint Saens Cygne and also refers to Proust's character of Swann. The dancers, Olesia Novikova, and Alexander Sergeyev were clad in black and offered sleek silhouettes. Ms Novikova was in Louise Brooks black wig, while Mr Sergeyev had his hair combed to a V point between the brows, suggesting M Bourne's male swans. The choreography, intense and vertical to the 2-piano musical score, offered pointe work (unlike the first work), percussive power and original phrases of port de bras. The work reached a level of hypnotic intensity. The background scenery was a stark black and white enormous universal number code, like what cashiers scan to record price. The dancers were also tagged on an ankle with their UNC. I thought this an original contribution to classical dance. I look forward to seeing more from the choreographer. The third work was by far the most impressive in accomplishment, dance power, and narrative flow. Noah Gelber's Overcoat' After Gogol with music of Shostakovich made for silent films tells the story of Akaky Akakievich (Andrey Ivanov) and adds an afterlife postlude. The cast of 10 dancers contribute to the story in clear, wonderfully sketched episodes that carry the story to its sad conclusion. The tale of the overcoat is told with passion, focus, and clarity. A wonderful start for one clearly destined to become a maker of classical dances. Bravo to Gelber and to the strong cast, led by Ivanov, who realized his vision. The impressive sets were created by Samuel Gelber, a New York artist, and father of Noah.
  17. Sleeping Beauty (reconstructed version) March 19 2006 Mariinsky Aurora Alina Cojocaru Desire Andrian Fadeyev Lilac Fairy Daria Pavlenko Florine Xenia Ostreikivskaya Bluebird Maxim Eremeyev Diamond Victoria Tereshkina The reconstructed SB is a leisurly paced telling-of-the-story that recalls something of the setting considered necessary for the presentation of classical dance. Even the fairies, in the Prologue, enter with their retinues walking rather than dancing; only when they are in place do they rise on pointe to dance. The principals for the peformance were simply ideal. Ms. Cojocaru is simply incadescent on stage. In her coming-out party as a twenty-year-old in the Rose Adagio, she radiated youth, and promise, and a modest decorum, that seemed true for the role and the artist. Technically, she followed a line of descent from Fonteyn, where correct port-de-bras and communication with the partner were part of the choreography's three-dimensional design. It was for me an astonishing performance of purity of style and delight. In the vision scene, the Lilac Fairy carries a mime part only; her staff is used as support by the vision of Aurora. Actually, the vision scene is much clearer in its intent when the Lilac Fairy is not involved in the dancing. If Aurora radiated youth, Daria Pavlenko as the Lilac Fairy radiated beauty. Her mime scenes were riveting. It didn't matter that she didn't dance with her every appearance. She won your attention with her every appearance. Andrian Fadeyev as Prince Desire has a fairly limited role; a fact that 19th c. traditions dictated for male dancers. In the pdd he partnered with distinction and danced his variation with elegant virtuosity. In the hunting scene, he wore a large hat over a wig of blond curls. That meant he never took of his hat during the entire scene. [in the wedding adagio he wore an appropriate pony tail]. I will not say anything about the fairy variations because I am uncertain of who danced what. In following the program, I suspect a substitution, so I'll leave for other viewers (maybe Natalia) to enlighten us. As Diamond, Tereshkina truly sparkled. The Bluebird pdd had impressive costumes of cobalt blue for the bird, and a white tutu with cobalt traceries for Princess Florine, I really liked them. I also liked the dancers: the delicate Ostreikovskaya, even though she sometimes strayed from the musical pulse, and Eremeyev who had a satisfying demi-plie. I still wonder about the original choerography of the pdd. Are all the grand assembles supposed to be without beats? [Excluding the brises vole and the entre-chats-six]. Does Doug know? The ballabiles and demi-solo parts were as usual the crowning glory of the Mariinsky ballet; here's a note of thanks to all the dancers who remain anonymous but are the essential artists of ballet.
  18. Don Quixote March 18 2006 Mariinsky Cast: Kitri Olesia Novikova Basil Mathieu Ganio (Paris Opera) Espada Alexander Sergeyev Mercedes Galina Rakhmanova Queen of the Dryads Alina Somova Don Quixote Vladimir Ponomarev Sancho Panza Vladimir Ivantsov Gorky's Don Quixote at the Mariinsky is a work fiiled with tableaux vivants, that are teeming with life and anecdotal details. The sets and costumes are bright, full of color, and suggesting Mediterranan sun-soaked days. It's a ballet that bears repeated viewings, before the various incidents going on simultaneously on stage come into focus. (This is my first viewing of it). The leading parts are certainly well-cast. Olesia Novikova, sharing the privileges of youth with her guest partner, has a phenomenal command of academic technique. She promises to become a Kitri to remember as she accumulates the benefits of exposure and artistic confidence. As I noted of her in another 3-act work (SB), her first scene was the one in which she made the least impression; then, gained in artistic expression in the second, and finally put it all together in the third. I feel the same about her Kitri. Her first scene had the bravura in all her 'elements' but without the sense of non-chalance and carefree joy that we see in the best of Kitris. She looked too focused on getting everything 'right'. That she certainly did. Ganio was an attractive and likeable Basilio, charming and attentive to his partner, a stage-natural personality. It's impossible not to mention the contribution of the Vaganova School students, boys and girls, who populated the production throughout its scenes, and carried out their assigned tasks impeccably. I especially enjoyed the 'Flower sellers', Yana Selina and Xenia Dubrovina, for their vivid personalities. Alexander Sergeyev made a dashing figure in white as Espada--and in black in the fifth scene, when he danced with the sinuous Galina Rakhmanova (Mercedes). In the dream scene, Novikova, I thought, came into her element as a classically pure impersonation of Don Q's ideal Dulcinea. Somova as the Queen of the Dryads had a series of grand jete de cote where she landed en fondu each time very noisily. On the fourth one with the loudest landing, she could not achieve a releve on pointe with the landed leg. My companion thought that the enormous height of her jumps accounted and justified(?) the noisy landings. My question to Ms Somova's coach is: Where is the notion of silent landings? The wedding pas de deux was the climax of the ballet and the most impressive section of Novikova's performance. Both Novikova and Ganio were at their best in the adagio got better in their variations, and then somehow better in each part of the coda. Ganio's variation was very formal, with what I can best describe as a POB sense of reticence. All the bravura steps were performed impeccably without an air of bravura. Novikova's fouettes were simply impeccable. The extended leg 'whipped' at exactly 90 degrees each and every time. The sense of security was astounding. Altogether a wonderful evening. Boris Gruzin conducted; never has the music sounded better.
  19. Ondine 3/17/06 Mariinsky IV Intern'l Ballet Festival The cast prinicpals for the 2nd night Lacotte's Ondine were the same as 1st night, save for the role of Giannina danced by Ms. Osmolkina. Stellar cast indeed. It was disappointing at a festival not to have the chance to compare interpretations of a 'new' role, but, given the direction's predicament, the cast was very fine indeed. For my part, I had the chance to notice nuances in Obraztsova's and Sarafanov's performances that I missed on the first night. As Natalia already noted, the short episode of Ondine en travesti as a musician was a charming moment, easy to miss when not expecting it. Comparing first and second nights, I found the second night more cohesive than the first night, partly because technical transitions worked much more smoothly. Corps de ballet segments had greater precision on the first night; overall, the second night's 2nd act adagios of Obraztsova and Sarafanov were so cleanly articulated, that it made them, to my eye, more emotionally touching. Osmolkina's Giannina gave us a fully developped portrait of the 'good' bride-to-be. I did feel that Serebriakova's harmonious and classically 'correct' port de bras as Giannina added dimensions of meaning to her interpretation, that I appreciated as much. Ondine's second performance reinforced for me what the first viewing suggested. This reconstruction works on the level of providing divertissements of a high quality that may not advance the story line but hold interest on their own. Pugni's music and the vocabulary selected by Lacotte of ballones and terre-a-terre ballotes and permutations thereof, and eschappes a la seconde saute, and entre-chat-six, and pirouettes a la seconde (for Sarafanov)and variations of steps ending in elegant 5th position provide the dancers with expressions of the classical canon that are ignored by 'modern' choreographers. Bravo Lacotte! Bravo Mariinsky! End of performance applause the second night seemed even stronger than the first night. M. Sinkevich conducted with distinction.
  20. 3/16/06 Ondine Mariinsky IV Intern'l Ballet Festival Ondine opened with the scheduled second night cast: Evgenia Obratztsova Ondine Leonid Sarafanov Matteo Yana Serebriakova Giannina Victoria Tereshkina Queen of the Sea My personal synopsis: A stellar, brilliant cast in a work full of divertissements that please and make aesthetic sense but tell a story, at best creakily, and at worst poorly. The work described as in two acts and six scenes has a story that serves to pin the dances together. Need happy dances? A wedding! Need sad dances? Forebodings of a death. Be prepared to recollect any 19th century work with underwater scenes or fairies and any queen of an otherworldly society that does gorgeous sauts de basque. I feel I need to see the work a second time (the 17th) before saying any more about it. Now for the dancing: absolutely first rate. Obraztsova created a portrait of refinement, mischievousness, and innocent love that was very moving. Serebriakova, as the fiancee, was equally convincing as the good and beautiful Giannina, pained by the inconstancy of her intended husband. [One viewer felt that the sameness of physiques and coloring between the two dancers blurred the role contrasts between them. The viewer told me: "They could have exchanged parts without a loss to us".] I took that to be a compliment to the two dancers, but think I understand the point. Tereshkina was superb as the severe and powerful monarch of her underwater kingdom. The surprise of the evening for me was the portrayal of Sarafanov as Matteo. He seems to have undergone some physical and artistic transformation that made him totally convincing as a young man, without his earlier look of a precocious boy playing a man's part. Secondly his partnering skills are reaching a level of competence expected of artists of his level. His adagio work with Obraztsova was in my view exemplary--including an anachronistic overhead lift. His solos showed a degree of unforced accomplishment, a buoyancy and form in high jumps, and understated and secure landings that were breathtaking. In demi-soloist parts, Olga Yesina, Ekaterina Petina, Nadezhda Gonchar, Olesia Novikova and Maxim Khrebtov, and Anton Pimonov were all of them outstanding. The choreography seems to have a thematic content, perhaps promoted by thePugni music, that to my ear, providesa better ballet score than the one for Pharaoh's Daughter. Pugni's Ondine is listenable and furnishes a good platform for the academic divertissements that fill the ballet of Lacotte. I think most ballet lovers will rejoice. Mikhail Sinkevich conducted.
  21. I'm overjoyed to see that Zhanna Ayupova is participating in the Makarova Gala--March 26, the closing night of the VI Intern'l Ballet Festival at the Mariinsky. What a treat. Sixteen participants, including Makarova, are now listed on the Mariinsky website.
  22. Paul, I fully concur with your eloquent expression of why extension(s) applied willfully (on the belief that more is better) become sometimes a wrong artistic decision. Recent viewings of the Kirov's SB Rose Adagio had budding ballerinas using extensions in a way that diminished the three-dimensionality of the rotating attitude--which seems to be the point of Petipa's choreography. I look forward to reading more of your thoughts.
  23. I'll report (from St P) on the performance of Mar. 16th (Vishneva) and 17th (Obraztsova), if all goes well. All I know now is what's in Beaumont's book of ballets.
  24. Dick Button used to take Leon Danielian's ballet classes at the Ballet Russe School (NYC in the fifties).
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