Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×


Senior Member
  • Content Count

  • Joined

  • Last visited

About richard53dog

  • Rank
    Platinum Circle

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    avid ballet goer
  • City**
    nyc area
  • State (US only)**, Country (Outside US only)**
  1. I got a huge chuckle out of this. It works amazingly well. I'm guessing that Nora responds to hand gestures. At one point you see a human hand in the corner of the screen opening and closing. Nora may be prompted by that. She also seems to have a little performance anxieties with the other cats milling around on the floor. I'm out of practice seeing a cat playing. My guy is currently 18. He's still very sweet and good natured (except with the dog) but he doesn't play anymore. He basically just eats and sleeps and purrs when he gets attention. But he hasn't done any playing in a while.
  2. As far as From Petipa to Balanchine is concerned, it is published by Routledge, and unfortunately a lot of their books run for prices comparable with this. Ohhhhh, Routledge. That explains the price. They are primarily a publisher of textbooks, research books, and other academic type publications. That market has it's own price structure and it's not at all like the consumer market. I work in a college library and see all the books that come in and what they cost . And all the Routledge titles are pricey. But then a lot of what they publish is within their own niche. Gale Cengage is sim
  3. Yes, I've noticed that too and found it a plus. Aside from the fine research and a convincing way of explaining it she places in in the political/social/cultural context of the era. This makes for rewarding reading. But the transitions are sometimes a problem. She moves from one topic to the next and sometimes there is a noticeable "bump" , almost as if the parts were all constructed in their own universe and then arranged in a smooth or not so smooth sequence. This is were I think an editor should have been more active. The overall flow is not always fluid and the juxtaposition of section
  4. Kathleen, hmmm.... interesting comment. I'm sort of struggling with the Homans right now. It's taken me almost a week to read about 150 pages and to be fair I've had a lot of distractions this week. But I'm finding that the actually writing itself is maybe part of the problem. It doesn't flow smoothly and does wander off on a few too many bypaths. So what you wrote was a little bit of an aha moment for me. I'll continue with it, to be sure, but agree it could have used a stronger editor. Going a tiny bit, has anyone any comments on Ballet in Western Culture by Carol Lee? This just came in
  5. And to add another bit of information that some may recall and others may not, Markovsky was Siegfried in the 1968 Kirov Swan Lake film with Evteyeva. There was a short thread on it some years ago:
  6. It's a very dramatic photo, but I just can't help noticing that the 180 degree line only runs from the top of the toe of the working leg to the knee of the supporting leg. That last segment skews forward on a slant and the knee is caved in. So instead of a 6 o'clock image you have something more like a 5 o'clock image with the hour hand bent part way from the center. This kind of distortion takes away from the other, much more lovely aspects of the photo
  7. Thanks a wonderful way to describe it!!!! I've watched this several times this week. It's a bit addictive. I can only hope that this ABT program sees a commercial release one day. They have already released a few of their mixed programs but this one seems much stronger. I'd love to have it in some version better than one of the fuzzy old copies of people's VHS tapes
  8. Indeed. Thanks from me too!
  9. I looked up some info in Wiki on the source for the libretto E T Hoffmann's The Nutcracker and the Mouse King . There Clara is described as Clara Stahlbaum. I don't have a feel for how conclusive that info is though. And whatever the original story contained it's pretty much fair game for change in the process of adaptation into another media. Names particularly are very much changeable. I like to see what the original source material shows. To keep this somewhat in the bounds of this forum, I was reminded that the same Hoffmann "Tale" is the source material for Coppelia as well as the Olym
  10. Hear, hear! Bergsma was my first Lilac Fairy and she seemed just majestic to me. I was slightly familiar with Sleeping Beauty from the usual childhood fairy tales but also from a 45PRM record telling the story. This used excerpts from the Tchaikovsky score so when I first saw the full length ballet, I already knew the major "themes". My favorite was the one associated with the Lilac Fairy and when Bergsma came on stage, it was just a perfect match!
  11. Oh, if anything, he is certainly very STRAIGHT. And you're right...it is definitely a particularity of the Cuban male dancers... That's SO comforting to know!
  12. richard53dog

    Julie Kent

    I really enjoyed the interview. Julie sounds like a charmer.
  13. A "me too" post. As a newbie, young ballet goer, the role that Gelsey first caught my eye and made me a fan was the Dewdrop. I thought she was simply sensational in this and then started following her career
  14. Svetlana has been coming many many times as guest dancer at La Scala.It was supposed to happen.In the last two years she went for Swan Lake,Sleeping Beauty,Don Chisciotte,Giselle and every gala.We saw her many many times.Something had to happen.The real question is whether she will stay and accept the contract or gets back to Russia and refuse the opportunity.She can't be at the same time principal dancer at Bolshoj and at Scala.... I think it all depends on the wording of the position. A lot of dancers have multiple positions in different companies. I'm most familiar with the ABT arrangem
  15. I think of this time to time and find that it is a shame so many great performers are not captured in action. Lynn Seymour is a good example. What is left behind on film or tape? Just a too late version of Giselle and an unlikely appearance as the Sugar Plum Fairy with Nureyev on one of those multi-episode shows like "Magic of the Dance". Oh, an appearance on the Met Centennial Gala as Isadora Duncan. I saw her as Juliet, Anastasia, and Giselle and wish I could remember more of what I saw. But I was very young at the time. I do remember that her Giselle in the early 70's is not well served
  • Create New...