ami1436

Yes, I love doing the same! Unfortunately, I've been reading way too much for work these days, and not enough for my own enjoyment. I haven't gotten that far in The Agony and the Ecstasy, but far enough to really enhance my trip - I wish I didn't have to come back! I'm hoping to finish it this week. I work in India and Nigeria, so I often preface a research trip with a novel regarding the localities I work in. I started this with Wole Soyinka's Ibadan: The Penklemas Years which is a remarkable account of Soyinka's life in post-Independence Nigeria, particularly around the time of the Action Group crisis. Esther David's The Walled City is not necessarily brilliant, but nonetheless insightful to the cultural-religious mish-mash of life as an Indian Jew in Ahmedabad. Two of my favourites: Salman Rushdie's The Moor's Last Sigh. Some find this tedious; I loved it. His description of old Fort Cochin in India is astounding in its details and accuracy - when I finally was in Cochin, I remember thinking to myself: 'I have seen this before'.... I also find the global connections fuelled through the spice trade interesting, so this book spoke to that interest as well. As the story moves to Bombay, it perhaps relies more on knowledge of Bombay/Indian history/culture for the bits of satire to really hit home. (And speaking of satire, if one knows histories around Indian independence, as well as bits of The Mahabharata, Shashi Tharoor's The Great Indian Novel can be down right hilarious at times). The second one of my favourites is Amitav Ghosh's In an Antique Land. Part fiction, part autobiography, and part history, based on Ghosh's research in completing his PhD in Anthropology. It is mainly set in Cairo, and again deals in part with early international trade. Well, most of my knowledge/reading of 'Indian' literature is literature from the diaspora!... but still, there are some true classics that really deserve reading!

Mukhamedov and Yoshida? For reals? Wow. Thanks chrisk217 - I'll have to get searching!

Devdas is a Bengali novel - a lot of Indian literature and artistic films are Bengali. I believe the date, however, would probably be closer to 1920. The 1955 movie, directed by Roy, is a treasure (not the first movie of the book, but fabulous). Roy also directed one of the first Parineeta's, which has recently be redone as well. And I must say, Parineeta was redone much better than Devdas. Both absolutely beautiful stories. Which reminds me, I've been meaning to re-read Parineeta. I've just been gifted The Agony and the Ecstasy, in advance of a trip to Florence.......... So, I guess that's what I'll be starting soon.

Sorry for bringing this back up - besides the Villela/McBride Tarantella, are there any others on film (available outside NYC?). ? I don't mind the wrists at all.... the thing that got me the most was the turned-in secondes in place of 'arabesques'. But this was not a trait that was uniform across the company whatsoever - it just seemed that some could keep up *and* get an arabesque, and some... well... couldn't.

Thanks Carbro - I'm surprised. Yes, there was a singer who sneaked around the arch for 'Something's Comin'. And at the end of the ballet, four singers (I'm guessing) were called onto stage to bow. I was near the back of the house though, so.... it seemed to me that there were interplays between the dancers singing and some mic-ed singers from off stage/the pit? Who knows! By the way, thanks to everyone for their thought/responses/impressions/suggestions etc!

Wowsers, folks. Saturday was Holi, so I hope y'all got some dosa.... These are just some quick last notes... I saw Programme 4 again, Saturday matinee. This time around, I disliked Thou Swell even more, although still impressed by Faye Arthurs, and had the delight of Janie Taylor in this cast. Tyler Angle also dance opposite Sarah Mearns. And I hate to say this and I don't feel that I should name names, but: DANCERS - when you are 'not dancing' and sitting at your tables in the back, you are still on stage, performing. Sitting slumped over, fast gestures, turning upstage to yawn, obsessively playing with your costume/accessories, etc... well, WE SEE IT, and it is distracting and really unprofessional............................................... Tarantella: this time with Hyltin and Garcia, so a very different bag from Weds night... Very clean, very enjoyable, and Hyltin demonstrates great musicality... but just not the same. I do feel that the matinee audience was also really subdued, which didn't help the overall aura in the house. Western Symphony - Tinsley-Williams in the first movement, was loads of fun, and Megan Fairchild was adorably ditzy (I don't think that's the word I want, but it's all I got right now...) in the adage. Woetzel, however, in the Rondo - fantastic. Is he really retiring? Le sigh. West Side Story... don't have much to say here - a fun piece of dance theatre, especially for those of us who love the musical. Again Faye Arthurs stood out as Maria, and the head of the Jets (Veyette) did as well. I'm assuming the majority of the songs were lip-synched? There were teary-eyes all over the back of the balcony. That's it from me - again, hopefully someone posts on the other two programmes. I do hope they return to London with greater frequency, and perhaps with better prices (and different ballets). I'd especially like to see them bring Jewels, and some Balanchine narratives. Please, leave Thou Swell at home! eta: carbro: I don't think it makes them seem more 'real-people' at all! but that's just me....

Yup- an appalling lack of Ashton, I think.... But *loads and loads* of debuts already announced, on the full release....

Did A.A. say *why* they didn't pointe the foot? Thanks for the video info Leigh (although curious as to why you find it ingratiating!); I will need to fly to NYCB, see this again live and on video, and sample your sambhar. I am able to make dosa from mix. I don't think Bouder needs prep for anything. She was just born ready.

I guess I'm asking if it is a stylistic choice 'on purpose' - and what purpose it serves? I'm trying to remember if I've seen Ansanelli do this here. I don't remember this from other companies like DTH, SFB, PNB...

Unfortunately I do not have as much time today to write as I wished! At the last minute yesterday I decided that seeing this Tarantella might be a once-in-a-lifetime thing, and as I was in London, I should see if there were tickets... lo and behold. Yes, I missed the RB I had been scheduled to see.... but I'll be seeing them again soon! Thou Swell.... Um. Yeah. Unfortunately to me, this felt like it would never end. The waitress girls seemed really under-rehearsed to me, and should they have really been carrying trays, well, some of them were very funnily shaped, and somehow managed to have superhero abilities in fighting gravity regardless of the angle at which they were held! Sarah Mearns began the piece and seemed to be dancing similarly to her Symphony in C... this changed though and she became sassier - I think this more blatantly jazzy style suits her well. And to Ramasar's credit, despite his rising shoulders, he was totally acting the part, looking seriously smitten. But the biggest thing this piece seemed to lack was the sense of real chemistry between the couples. And that sense of chemistry might be the only thing that saves the ballet! I think Kistler danced the main pdd in it (to Bewitched...?), and Faye Arthurs is the one who goes for the 6'o'clock secondes? I was a bit surprised (not because of her extensions) that she is only a corps member - she had some lovely lines overall. I don't know what more to say though... by the end of this, I was more than ready for it to be over. I didn't stay for West Side (and am seeing this bill on Saturday matinee), but overall I enjoyed Western Symphony. Although I'm distinctly aware that Albert Evans may be approaching the end of his career, I dare say the other men have a lot to learn from him, especially in terms of stage presence/gravitas/acting. He acted from beginning to end while he was on stage, which made everything the more enjoyable. Poor Martins seemed to act for a second when it was choreographed, and then slip into 'it's time to concentrate'.... hmmm. I was impressed by Hyltin, his partner, in the second movement - and especially by her arms. She had a nice lyrical quality to her, which makes me wonder what she will be like in the Tarantella on Saturday. I'm afraid I'm not necessarily moved by the Staffords, but suitably enjoyed Reichlen and Hanna. Again, however, I thought some of the corps looked slightly under-rehearsed... and some of the arabesques were not even secondbesques... but very clearly turned in secondes attempting to be arabesques.... really unsightly. Alright, enough for the bread, time for the meat: Tarantella. I'm so glad I went. I was scared, because I think 2 years ago now we had a local performance to Gottshalk and there were 4 boys and a girl in the Tarantella. The Tarantella was the most over-rehearsed piece in our little performance, and I was seriously haunted by the music and felt that it was too long (I wasn't in it!). Literally, a few of us would have nightmares to the music. I was hoping I could put it aside - and now I could listen to the music quite happily! I think Daniel Ulbricht stole the show, and upstaged Bouder. He worked his tambourine so hard that the little metal discs went flying off, and he and Bouder danced with so much attitude and cheek - again, so nice to see that kind of presence! (Side note - Bouder actually looked fab in that little tutu - work it, girl!). Ulbricht can't really be that tall? But he could jump so high! His first jump I was like (my speak becomes all teenager-y when I'm in awe) 'What, huh? No way!'. But as it went on, I continued to be surprised by everything he did. I've never seen such slow, clean, articulate jete entournant entrelace before. Such fast grand jetes en menage... Really spectacular. Boy could school Acosta in ballon. Bouder... well... she just makes it all seem so fabulously fun and easy. It goes without saying that these two are real virtuousos (sp?), but underneath that bravura is so much lightness, quick and accurate. Does this girl *need* a preparation to jump? It's like she just thinks 'up' and she's there. Wow wow wow. I'm still rather inarticulate. I'm looking forward to see what Sat's cast make out of it. Question 1: Is there a video of Villella and McBride in Tarantella? Please please please say yes! Question 2: Re: the women's curtsies. This has been bothering me since last week. But when the women bow, they stand as usual, in a b+ position, with the gesturing foot pointed. Most dancers I've seen, when they bow in this position, regardless of whether they go down to the knee or not, keep the foot pointed as it slides along the floor. This is also how I've always been taught.... But the women of NYCB seem to swithch their foot to a demi-pointe... ? Is this something that's always been? It's a small detail I know, but something that was so blatantly obvious to me... Right... I'm off to find a tambourine... editted to add: Unfortunately I'm only seeing Programme 1 and 4... hopefully others will comment on 2 and 3! eta, part 2: Hyltin was Evan's partner, not Martins'! and changing the second question 1 to question 2....

More later - but I took all of your advice and saw Tarantella last night!!!!!!!!!!!!!!!!! Will write more once I've collected my jaw from the Coliseum's Orchestra Pit......

Agreed - to an extent. I think the best of what I saw on Weds were those dancers who danced big and accurate - Whelan especially. And although it's all from video, I never thought of the 'original' NYCB ballerinas as *not* dancing big - in fact what was so fabulous about them was their use of space regardless of tempo. To some extent, what I've liked about some Balanchine ballets (or shall I say, casting for Balanchine ballets), is a bit of the challenge to usual senses of dancer 'types' - here we see some tall, leggy dancers whipping through quick allegro. When done right, it can be absolutely brilliant. But again, I don't know enough about NYCB or Balanchine performances writ-large! Your comments on music, Ray, are fascinating! Thanks.

Thanks carbro and klavier, for your suggestions. I am going to London on the 19th, but to see the Royal! I might see if I can convince my friend to switch times for the 22nd (we have matinee tickets, I wonder if we could now get evening ones?). It might be tough (she has a sweet little baby at home, so matinees are best....). I might even stay in the evening just through Tarantella if I can find a ticket.... A shame, as the evening casting is the same except for Tarantella. Overall I do think I prefer the casting of the 19th... I would try to run between the Coliseum and ROH, but I don't think it woudl work! I am very glad about the programming for the first bill - Serenade, Agon, S. in C. - I heard some moans about it, as these are not new ballets to the London audience, but I think it was fabulous to be able to compare and contrast. RB is doing Serenade next month, and having done Jewels last year, I would love to see NYCB in Jewels... Considering NYCB's over-all quickness, I also wouldn't mind seeing Theme and Variations, or Ballo.... along with the other recommendations above! I guess I should move to NYC for a while!

Leigh - I was typing as you were demanding! ;) I've got a good coconut chutney recipe for your sambhar and dosa, bhaiya.

Okay, some more coherent thoughts, as promised to some of you. Let me preface this by saying this is my first time seeing the entire company - I saw Danses Concertantes at the Wells a few years ago, but previously all of my knowledge of NYCB has been based on old books and videos that I could access in my small-town's public library. I've wanted to see NYCB since I was about 10. Thus last night's all-Balanchine programme was a special treat for me.... I thus put forth my thoughts very timidly, as most of you know the company very well. It was also my first time seeing Serenade, led by Janie Taylor, Ashley Bouder, Kaitlyn Gilliland, Philip Neal, and Ask le Cour. I knew there was 'long hair coming' - but I must say I am impressed by the ability to make beautiful, big, ballet buns with just a few pins, and remove those pins so quickly! Here, I thought the musicality of the corps in general was fabulous - they were very together. However, as would also be evident in the later ballets, I noticed that some of them looked especially frantic in faster tempos - particularly their arms. Taylor is a wisp of a dancer, in the best possible sense, and the ending tableau emphasised this quality. Bouder was impressive - am pleased to have seen her live - although wish there was more of her dancing last night! Agon. As I stated above, Wendy Whelan owned the night. What a marvelous technician, brilliant and exacting, accurate in her placement, use of space, and sense of purpose. Yes, you can dance that fast (or that slow) and be just so fabulously ON and perfect - no frantic arms here, but rather a magnificent commanding of the music and of the space. It was a majestic performance... I might get shot for saying this, but I think a great display of the clean, classical training that helps shapes a dancer's ability to move in non-classical ways. Albert Evans was her solid and reliable partner, but perhaps lacking the purpose of movement that Whelan displayed. I last saw Amar Ramasar in London with Danses Concertantes. He's grown a lot as a performer, and in his flexiblity. At one brief moment at the beginning of Agon, I felt that he was dancing as if he had just rehearsed West Side Story - but thankfully that moment passed! The first pas de trois was danced by Veyette, Krohn, and Tinsley-Williams. Unfortunately our programmes only had photos of principals, so I'm unsure who was who of the girls. Whomever the blonde was - stage right - was astounding in her command of the music, and again clear and accurate in presentation. Reichlen was equally as watchable in the second pas de trois with Ramasar and T. Angle - overall I feel that last night we really saw the strength of the NYCB women. The evening ended with Symphony in C. As Mashinka noted - the costumes are not what we're used to seeing here with the Royal and the Russian companies. I was actually shocked by the women's costumes. What is the history of the different productions/what is used where? The S in C costumes were so lacking in grandeur that I felt it actually took away from the dancing to some extent... the first movement was led by the Stafford siblings, the second by Mearns and Askegard. While they were beautifully danced, to me, there was something rather bland about the presentations. The second movement was quicker than the Royal does it for sure, but somehow lacking dynamism of any sort. I do think it ends in a slightly different tableau than the Royal does - can anyone confirm? For me, the ballet really started in the third movement with a suitably perky performance by Megan Fairchild. Unlike Mashinka, I thought Fairchild wiped the floor with him! (ETA: I mean wiped the floor with Garcia!) She is so alive and radiant on stage, and he didn't seem to match her presence by a longshot. Tiler Peck's beginning of the fourth movement was the fastest I've seen - and again brilliantly executed - with no sense of franticness. Overall, I'm glad I finally have seen NYCB dance live, and especially dancing Balanchine. While I was excited and provoked by some outstanding female dancers, none came close to Whelan - and the men, to me, were far behind most of the ladies. But then, these ballets don't really show off the men as much as the women! I do think there was a great distinction between most of the women who were dancing soloist/principal roles, and the rest of the corps - perhaps a worrying one. This isn't necessarily a clean distiction - I think some dancers who were in the corps last night fabulous, and vice versa... but with the few signs of franticness, and some signs of affected dancing (dancing in what you may think the style is/it should look like as opposed to dancing the style - if that makes sense) may be a bit worrying. But who am I to judge - I'm sure other NYCB watchers/knowers out there have many thoughts on that.... (or may want to take me apart for saying it as well...!) That said.... I only have tickets for one more programme - the Broadway one (without Bouder in Tarantella, unfortunately). I might try to sneak in another one or two - but they are expensive and I don't live in London... but still... am tempted. Any suggestions if I could only go to one more?

Surely others were there last night.... I think Wendy Whelan was the highlight, in Agon. Breathtaking! (more later).

Well, I won't be on tour, but I'm hoping to see a series of RB Juliet debuts in June (Ansanelli, Lamb, and Nunez).

Hi - not quite sure where to put this. I'm shortly on my way to Portugal for a conference, and just remembered the company there. I've found their website and there are performances this upcoming weekend - does anyone know if they have an website in English? Or, more importantly, if it's possible to buy tickets the day of or so? Any recommendations for this company, or any others performing in Lisbon, quite welcome as my evenings are quite open, schedule-wise. Thanks!

These reviews are making me wonder if I should give Somova another chance. Note I only say 'wonder'.... hmmm. Hopefully no long fingernails as Nikiya....

Oooof - anyone who has seen me in Covent Garden is obviously excluding me from their description of classy dressers in that theatre! That said, I usually am standing, or sitting towards the back of the Amphi. If I'm sitting further 'forward', I do dress better, and now that I have 'graduated' (kind of) and am usually coming from work, I look bit more respectable. Still, travel and weather dictate. It's about a 15-20 minute *cycle* to the bus or train station - then the journey to London, tube to Covent Garden... and then back, with that darn cycle ride at the end. I'm imagining the cycle ride in a sari. SO not happening. ngitanjali, at some point, take your Amma to see La Bayadere, and then let me know what she thought.... it was a Big Event for my mum.

Has anyone else booked their RB tickets? I've booked the 23rd.... I've also booked both Sleeping Beauty's on the 26th... but might change these IF I can get to Paris... It's during term time and I don't know yet what my work schedule is going to be at the time... so I'm going to have to hold out... If need be, is it possible to get day tickets for POB?

ntgitanjali, The oldies are the goodies, for sure. I grew up in a small town and if someone got hold of a vhs of an Indian movie, it would make the rounds. When I got to college I realised that our movie watching was at least 10 years behind the times! But yes, Pakeezah is amazing. (By the by, when I was in Uni I was also apparently in a top party school... this stunned me! I had no clue where most of said parties were... I think those lists are rather flawed, for a variety of reasons!) cubanmiamiboy, thanks for the recommendations! I'm going to see what I can find over the Christmas holiday... and start brushing up my Spanish as well. I admit that I've never really gotten into French films... Anyone care to recommend a good first one? I'm also going to have to dig up some Nollywood examples for you folks...

As another Indian-American (slowly becoming Brit?) can I join in on the Bollywood stuff? My fave of the Mehta trilogy is Earth... I love Lagaan, and Salaam Bombay is amazing. I also really did like Parineeta. Salaam Bombay is a Mira Nair film (she did Monsoon Wedding).... I'm going to have to sit an dreally think about others to sort them out.... ..soon we're also going to need a thread on documentaries!

I was just about to post the same, cygneblanc, as my Swiss friend has emailed me with the news. It seems to have not yet made it into the English press. Sad news indeed. ETA: this came up as soon as I finished posting: http://www.reuters.com/article/peopleNews/...229366220071122

Thanks Cygneblanc! An interesting spread of schools/nationalities/countries this year. Is this the first year they are accepting straight from YAGP and Seoul IDC?