Dale

Let's use this for the second week reviews....

From the ABT press department: AMERICAN BALLET THEATRE AND METROPOLITAN OPERA GUILD PRESENT STARS OF AMERICAN BALLET THEATRE, AN EXHIBITION AND SALE OF PHOTOGRAPHS BY NANCY ELLISON, MAY 7 – JUNE 7, 2003 5/1/2003 - American Ballet Theatre, in partnership with The Metropolitan Opera Guild, will present Stars of American Ballet Theatre, an exhibition and sale of photographs by Nancy Ellison, at The Gallery at Lincoln Center, May 7 through June 7, 2003. The exhibition will feature a selection of color and black and white images of American Ballet Theatre available in a limited autographed and framed edition. The photographs feature ABT’s leading dancers, including Nina Ananiashvili, Maxim Belotserkovsky, Julio Bocca, Jose Manuel Carreño, Angel Corella, Irina Dvorovenko, Alessandra Ferri, Paloma Herrera, Julie Kent, Vladimir Malakhov and Ethan Stiefel. Additionally, the exhibit and sale will include ABT posters and a selection of costumes designed for the Company’s dancers. The exhibition, Stars of American Ballet Theatre, will coincide with the May release of The Ballet Book, with photos by Ms. Ellison, published by Rizzoli. The Gallery at Lincoln Center is open to the public, Monday through Saturday from 10 A.M. to 8 P.M., and is located on the lower level of the Metropolitan Opera House at Broadway and 65th Street. For more information, please call The Gallery at Lincoln Center at 212-580-4673.

For those of us who follow these sort of things, ABT.org has a new look (with some new dancer photos) for the Met season.

Ringer will be out next week.

I think it was Terry who originally posted the thread. Then Alexandra wrote to say it looked as if SAB was going back to their roots. Cargill write that SAB indeed was going back their roots and Balanchine the next year. Oh, and that Chopiana was going to be performed in the short white skirts as had been done when Danilova first staged it in the 70's. I said that I had been hoping to see that ballet brought back and that the whole program should be very good for the dancers' technique and very cleansing. I made a mention of needing more "Balanchine Godess-type ballerinas" and that this program should reveal one or two. Somebody asked what I meant and I explained. After that I don't know what happened to the post. But that brings us up to date a little bit

MAY 6-11, 2003 TUESDAY EVENING, MAY 6 AT 7:30PM [Kaplow] Chaconne: NICHOLS, MARTINS, EDGE, CARMENA, NATANYA, BESKOW, FOWLER, RIGGINS, ABERGEL, GOLBIN, J. STAFFORD, la COUR Intermission Interplay: RUTHERFORD, RIGGINS, ASH, MANDRADJIEFF, HANNA, HENDRICKSON, ULBRICHT, J. STAFFORD [Chelton] Pause Sinfonia: MARCOVICI, KÖRBES, TAYLOR, FAIRCHILD [Grant, Nikkanen] Intermission In G Major: KOWROSKI, NEAL [Grant] WEDNESDAY EVENING, MAY 7 AT 8:00PM [Quinn] Swan Lake: Odette/Odile: *RINGER Pr. Siegfried: NEAL Von Rothbart: FAYETTE THURSDAY EVENING, MAY 8 AT 8:00PM [Kaplow] Swan Lake: Odette/Odile: *SOMOGYI Pr. Siegfried: MARTINS Von Rothbart: *la COUR FRIDAY EVENING, MAY 9 AT 8:00PM [Moredock] Swan Lake: Odette/Odile: KOWROSKI Pr. Siegfried: ASKEGARD Von Rothbart: SETH SATURDAY, MAY 10 AT 2:00PM [Kaplow] Swan Lake: Odette/Odile: WEESE Pr. Siegfried: BOAL Von Rothbart: SETH SATURDAY, MAY 10 AT 8:00PM [Quinn] Swan Lake: Odette/Odile: WHELAN Pr. Siegfried: WOETZEL Von Rothbart: FAYETTE SUNDAY, MAY 11 AT 3:00PM [Quinn] Swan Lake: Odette/Odile: RINGER Pr. Siegfried: NEAL Von Rothbart: FAYETTE APRIL 29 - MAY 4, 2003 TUESDAY EVENING, APRIL 29 AT 7:30PM Donizetti Variations: RINGER, WOETZEL Intermission Symphony in Three Movements: WHELAN, van KIPNIS, A. STAFFORD, SOTO, GOLD, HIGGINS Intermission Chaconne: KISTLER, MARTINS, EDGE, *CARMENA, NATANYA, BESKOW, FOWLER, RIGGINS, ABERGEL, GOLBIN, J. STAFFORD, la COUR WEDNESDAY EVENING, APRIL 30 AT 8:00PM Donizetti Variations: RINGER, WOETZEL Intermission Agon: WHELAN, SOTO, BOAL, McBREARTY, HANSON, SOMOGYI, HANNA, FOWLER Intermission In G Major: KOWROSKI, NEAL [Grant] THURSDAY EVENING, MAY 1 AT 8:00PM Chaconne: KISTLER, NEAL, EDGE, CARMENA, NATANYA, BESKOW, FOWLER, RIGGINS, ABERGEL, GOLBIN, J. STAFFORD, la COUR Intermission Interplay: *RUTHERFORD, RIGGINS, ASH, MANDRADJIEFF, HANNA, HENDRICKSON, ULBRICHT, J. STAFFORD Pause Sinfonia: MARCOVICI, KÖRBES, TAYLOR, FAIRCHILD [Grant, Nikkanen] Intermission Symphony in Three Movements: WHELAN, van KIPNIS, A. STAFFORD, SOTO, GOLD, HIGGINS FRIDAY EVENING, MAY 2 AT 8:00PM [Quinn] Swan Lake: Odette/Odile: WHELAN Pr. Siegfried: WOETZEL Von Rothbart: FAYETTE SATURDAY, MAY 3 AT 2:00PM [Moredock] Swan Lake: Odette/Odile: KOWROSKI Pr. Siegfried: ASKEGARD Von Rothbart: *SETH SATURDAY, MAY 3 AT 8:00PM [Kaplow] Swan Lake: Odette/Odile: WEESE Pr. Siegfried: BOAL Von Rothbart: SETH SUNDAY, MAY 4 AT 3:00PM [Quinn] Swan Lake: Odette/Odile: WHELAN Pr. Siegfried: WOETZEL Von Rothbart: FAYETTE

I will look into Ringer. I don't have time to elaborate but I second what Carbo wrote about Agon. It was one of the better performances of that ballet I had seen at NYCB in a long time. A major reason was that it was performed more like Balanchine and less like Forsythe, especially by Whelan in the pas de deux. Boal was his usual excellent self but I really appreciated McBrearty's use of epaulement (in the first trio) - it made her dancing really come alive.

This was brought up in the "Magazine" section of the board at the beginning of the month. Here's a link to the discussion: http://www.balletalert.com/forum/showthrea...&threadid=10684

Now I might not be sure about it being Home Box Office Video or Home Vision. But I'm pretty sure it was out because I was in a Balanchine or Bust time and was annoyed it wasn't the Farrell/Villella/Balanchine version.

I remember (from my days as a clerk at Tower Records during the 80s) that there was a commercially released video of The Dream from Home Box Office Video. It came in a hard plastic box and the label was gray. I'm angry at myself now for not getting it but I was not into Ashton at the time. Dowell was definitely in it.

I think one of the wonderful things about Balanchine's work for children is he treated them as dancers first, just small ones Even though he had been quoted as saying by having children in ballets you have a built-in audience, his choreography never has them just simper and act out. I haven't seen the Royal's new Sleeping Beauty, but many of the objections to the Cupid is that the character distracts from the ballet and also takes away from the Lilac Fairy's role as a mistress of ceremonies. In addition, the cupid Balanchine played came on at the end of the ballet. He did not scamper about throughout the entire ballet. I think Crisp is fun. His notions and style of writing were formed at a time before political correctness. When he jokes about the children in the ballet, it is with an exaggeration many have used. But I'm sure it is not to be taken literally. It's like when a parent says, "Oh, I'm going to kill that kid when I get my hands on him!" About 99 percent of the time, the parent is just using that phrase as a figure of speech out of frustration. And I have to say I'm pleased that adjustments have been made to the Sleeping Beauty and that the critics are going back for another look.

I remember reading at the time of the 1993 Balanchine Celebration (In think in New Dance Review, but I'm not sure) that things were done in typically frantic style. In some cases, ballets were rehearsed by the usual people from the company and the former ballet stars (for lack of a better word) were brought in only for a last look. Whether that was because of the company or the guest coach's schedule, I don't know. But in many cases when the company said, for example, Tallchief coached X ballet, she only looked at it and the end and offered a few suggestions. There were other cases where the former dancer had more time or she owned the ballet and it was more than that. Carbo, there are some conspiracy theorists out there who think your reaction ("This ballet was so wonderful?") is why the company brings ballets back this way. That's why I'm not looking forward to such a big festival next year. I know how it's going to be done and how it will look. I'd love for these ballets to be lovingly restored, with time and care. When Martins first took over, he (and Von Aroldingen) did bring back Leibeslieder that way (although he had two ballerinas who knew their parts from Balanchine's era in Farrell and McBride). He had the Tallchief part mostly restored in Firebird and reconstructed Gounod Symphony. I'd rather seen that - a ballet brought back as the highlight of a season.

I don't think Ansanelli ever did Haieff Divertimento at NYCB. She was not yet in the company when it was brought back and it had already retired when she arrived. It's a shame. I liked the ballet but I agree with Cargill, it was not cast right. Although not my first pick, Whelan was not bad but Nilas Martins was all wrong. The ballet cried out for Peter Boal, who has the right mix of classical and jazzy. This might sound strange - but he has very jazzy hips that are perfect in 4Ts, Agon and Square Dance. I guess I'd like to see Ringer in the woman's part. According to the Fall 1985 issue of Ballet Review, Francisco Moncion reconstructed the ballet for Kansas City, at the urging of Todd Belender, who also was in the first cast. Tallchief and Le Clarcq contributed as well. It wasn't in Marilyn Hunt's article, but it would make sense if Una Kai was involved, as she was the ballet mistriss during the 50s. As far as it's life now at NYCB, the current administration appears not to be interested in many revivals. Maybe Divertimento will be done for a Balanchine Celebration in 2004. There was some criticism of some of the revivals (Bourree Fantastique and a few others) and the higher-ups seemed to go, "See, we told you. Balanchine didn't want those ballets back for a reason. They weren't good." I liked the revival of Bourree Fantastique (both at ABT and NYCB). And today, it would make great use of Maria Kowroski's comic abilities in the first movement. Somogyi in the 2nd and Bouder in the third... Maybe another company will do Divertimento, such as Miami or the Joffrey

From nycballet.com: Following New York City Ballet's annual summer residency at the Saratoga Performing Arts Center, the Company will depart for a week of performances in St. Petersburg, Russia, in celebration of the city's 300th anniversary and the upcoming centennial of the birth of George Balanchine in 2004. Performances will take place from July 30 - August 5. At this time it is expected that tickets for NYCB's Mariinsky performances can be purchased online after mid-April at THE MARIINSKY THEATER. Ticket buyers may also choose to contact the Mariinsky Theater box office at: Mariinsky Theater 1, Teatralnaya Square St Petersburg, 190000 Russia Phone: tel. +7 812 114 1211 Fax: tel. +7 812 314 1744 In early September, New York City Ballet will travel to Copenhagen, Denmark, for seven performances at the Tivoli Theater. Tickets for this visit can be purchased online at BILLETnet, or by mail or fax by writing to: Tivoli Theater 3 Vesterbrogade P.O. Box 233 DK-1630 Copenhagen V Denmark Tel: +45 33 15 10 12 Fax: +45 33 75 03 81 Complete tour programs are listed below and are subject to change. MARIINSKY THEATER, St. Petersburg, Russia July 30 - August 5, 2003 July 30, 2003 ALL BALANCHINE Serenade Symphony in Three Movements Symphony in C August 1, 2003 ALL ROBBINS Interplay Dances at a Gathering Glass Pieces August 2, 2003 Matinee ALL BALANCHINE Serenade Symphony in Three Movements Symphony in C August 2, 2003 Evening ALL ROBBINS Interplay Dances at a Gathering Glass Pieces August 3, 2003 ALL BALANCHINE Serenade Symphony in Three Movements Symphony in C August 4, 2003 Concerto Barocco Hallelujah Junction Agon Western Symphony August 5, 2003 Concerto Barocco Hallelujah Junction Agon Western Symphony TIVOLI THEATER, Copenhagen, Denmark September 2-7, 2003 September 2, 2003 Serenade Agon Tschaikovsky Pas de Deux Symphony in C September 3, 2003 Jeu de Cartes Carousel (A Dance) Sonatas and Interludes Glass Pieces September 4, 2003 Square Dance Piano Pieces The Infernal Machine Symphony in Three Movements September 5, 2003 Carousel (A Dance) Herman Schmerman Pas de Deux New Adams Ballet Serenade September 6, 2003 Matinee Square Dance Sonatas and Interludes Herman Schmerman Pas de Deux The Infernal Machine Glass Pieces September 6, 2003 Evening ALL STRAVINSKY Agon Jeu de Cartes Symphony in Three Movements September 7, 2003 New Adams Ballet Piano Pieces Symphony in C

Monday, May 5, 5:30-6:30pm A conversation with NYCB Resident Choreographer Christopher Wheeldon, who will discuss his new ballet, Carnival of the Animals. NOTE: Program time has changed. Please note new time above. For Seminars information, call (212) 870-4074 or email education@nycballet.com. Please note: All topics and speakers are subject to change. Spring 2003 Ballet Insights programs: Friday, May 9, 6:45-7:30pm NYCB dancers will discuss the role of Odette/Odile in Peter Martins' production of Swan Lake. Sunday, May 18, 1:45-2:30pm A discussion of NYCB Resident Choreographer Christopher Wheeldon's new ballet, Carnival of the Animals, and his incorporation of dance, music, and the spoken word. Thursday, June 5, 6:45-7:30pm A NYCB Principal Dancer and Ballet Master will discuss the introduction of new ballets into the repertory and the factors that determine which ballets ultimately endure and go on to influence future choreography and programming. Saturday, June 14, 6:45-7:30pm A NYCB dancer who trained and danced earlier in his career with other ballet companies will discuss his experiences dancing the choreography of George Balanchine, Jerome Robbins, and Peter Martins. Programs are moderated by New York City Ballet staff members. For Ballet Insights information, call (212) 870-4074 or email education@nycballet.com. Sunday, May 4, 1:45-2:30pm NYCB dancers will discuss dancing in the corps de ballet of Swan Lake. They will demonstrate how dancers express their individuality and work cooperatively as a group. Children from the audience will learn different techniques dancers use to perform movements in unison and create spatial patterns and formations. Sunday, June 15, 1:45-2:30pm NYCB dancers will demonstrate how music and movements work together to convey emotions in Jerome Robbins' Glass Pieces and George Balanchine's Robert Schumann's Davidsbündlertänze. Programs are moderated by New York City Ballet staff members. For Family Insights information, call (212) 870-4074 or email education@nycballet.com.

It's the May issue of American Vogue. I was just happy they had ballet in the issue - that makes two in a row. Twenty-25 years ago (probably longer), two beautiful international soloist guesting with ABT in New York would bring about spreads and interviews in many glossy magazines.

Opening Night Gala Opening Night Swan Lake, Act I Waltz: Maxim Belotserkovsky The Leaves are Fading Pas de Deux: Amanda McKerrow, John Gardner Esmeralda Pas de Deux: Paloma Herrera, Marcelo Gomes Swan Lake, Act II Pas de Deux: Julie Kent, Angel Corella Diana and Acteon Pas de Deux: Gillian Murphy, Gennadi Saviliev La Bayadère Pas D'Action: Irina Dvorovenko, Ethan Stiefel Don Quixote Pas de Deux: Nina Ananiashvilli, Jose Manuel Carreño Romeo and Juliet Pas de Deux: Alessandra Ferri, Julio Bocca Within You, Without You - A Tribute to George Harrison: Company

Thank you Marga. I wonder how empty the house would have been if the company had performed the mix (Kudeka, Ashton, Balanchine, classics, Cranko etc...) it performs at home.

Radetsky seemed to be getting several solos to dance a few years ago. In addition to the ones Alexandra mentioned, he was very nice in the pas de trois in Swan Lake and was OK in fourth movement of Symphony in C (I say OK because he was partnering a dancer who was a little bit too tall for him). He even did the "swinging" Rothbart character (I believe, my memory might be wrong). However, he got injured at the end of the season he was dancing so much (maybe the year before last at the Met) and that appeared to slow his progress. In addition, I have to second what Alexandra said - doing solo parts doesn't always mean a dancer has the right stuff (yet) to be a soloist at a major company such as ABT. Radetsky also has a higher profile of a dancer in a similar situation due to his staring role in Center State. That might give his fans an inflated view of where he should be in his ballet career.

According to an article in Ballet Review, Louis B. Mayer used to drive by the house Zorina and Balanchine were renting in Hollywood just to see her come out of the door. In trying to find something more about her than just her love affairs, I found this is John Gruen's book "The Private World of Ballet," Zorina speaking about her live after ballet: "I'm now doing the long-delayed job of living. I never fret over somthing that's done with. I think my life is marvelous. I'm so happy. I'm plain old happy. I have two beautiful housees. I have a good marriage. I do things that most women do in their twenties. I do gardening. I'm interested in cooking. I lead a sort of leaisurely life. When you're in the theater, you work incredibly hard. You can't do anything. your life is regimented and you must store up your energy for that one burst of light. I've worked very hard. I sweated. When you're young, you don't know how to be afraid. That only happens when you are older...you know more. Now, my work is being alive. It's lovely just to live." From what I understand, Zorina, who having become a star in musicals first with Dolin and then in Balanchine's On Your Toes while still only in her teens, had trouble living up to that star billing in ballet. She told Gruen about her time at ABT, "I also danced in Apollo, and the Ballerina in Petrouchka. Stravinsky conducted his own music. I thought that I danced better than I had ever danced before of after. But I remember with pain that people were quite bitchy about me. I was a `Star.' Hurok brought me in. I was getting top billing. I was making twice as much money as anybody else. I didn't ask for any of that. Hurok was busy making a business out of it. So, `Zorina came back,' and then a critic came - I forget his name - and said, 'Anybody who calls herself Zorina can't be a dancer.' It was cruel and unintelligent. You see, the ballet world didn't want you to go into any other medium. They get nasty. You're supposed to stay poor and in the background. Still, I loved that time." She described what sort of dancer she was: "Dancing meant a great deal to me. I suppose I was what you could call a legato dancer. I was never very good at little, fast, birdlike steps. I do regret never having danced all the great roles that one should have danced. I never had the great title of prima ballerina. I didn't stay with one company long enough. I always wanted to dance in Les Sylphides. I would have developed in George's ballets. You know that long-legged thing. Dancing in Apollo was like a dream. In fact, anything George did would have been right for me. But, to tell you the truth, I've never been interested in standing still in one medium."

I have all of her film appearances on tape. She was said to be a limited dancer, although she danced many leads with the Ballet Russe and Terpsichore in Apollo at ABT. From the films, she was very beautiful with long legs and a good figure. Technically, she seemed to be a good turner and Balanchine had turn combinations for her in Goldwyn Follies, Louisiana Purchase and I was an Adventuress. I had been flipping through Sono Osato's book "Distant Dances" just the other day. Looking at it today, here's what she said about Zorina (whom Osato became close friends with) when she first arrived at De Basil's company: "Summer was over and Zorina was the color of gold. Long, lithe legs, intensely blue eyes, and soft blonde hair falling to her shoulders a la Garbo made her a dazzling beauty. She was the first girl I ever saw who didn't wear a brassiere. The men surrounded her, like flies around honey, barely able to hide their lust. The women, particularly the balleras, eyed her more cautiously from a distance. I was struck by her composure. Despite our relentless inspection she remained poised and cheerful throughout the whole trip." Before her marriage to Balanchine, she was involved with Massine. Later, she was married to one of the heads of Columbia records and worked on the Stravinsky collection.

We've also had terrible weather in New York. That might have slowed tourism. Has anybody been to Eifman Ballet and noticed the attendance? I haven't or won't be able to go because of work and the holidays, but the Russian community in NY usually supports the company. I agree that a better mix between established rep and new ballets probably would have been more inticing. When SB performed at NYST it brought Cranko ballets and had a big draw in Vladimir Malakhov as a guest star. At least 10 years ago, companies used to come with their calling card, as Alexandra put it. However, several of the last visiters to City Center have wanted to show how avant garde, cutting edge or at the forefront of new choreography they are. Australian Ballet brought new ballets, but they also did "In the Middle...," which is a known quantity. SFB this past October did mostly newer work, except its third program which had Rubies and Paquita on it, but Morris and Wheeldon can be considered draws and the company was very popular from its last visit. National Ballet of Canada visited a few years ago and danced Kudelka. I didn't go so I don't know how they drew, but I would have gone if they had performed the attractive mix they perform at home.

While sales at most venues are down (due more, I think, to the economy than the war), I and many of my ballet-going friends were not that interested in what they were dancing this visit. I have a friend who went to both programs during their State Theater visit a few years ago during the Lincoln Center Fest. and their last engagement at NJPAQ. But looked at the program and the prices at City Center and decided to pass. I'm adding to note my disagreement with one of Reids saying that SARS is a major reason for poor ticket sales. While people are concerned, I haven't spoken to anybody here in NY that hasn't gone out because of it. The major outbreaks have ocurred elsewhere. As I said before, ticket sales have been down since 9/11. But Reid points out that tickets can be had for all the musicals....that's because Feb. and April are down times for tourism. Ticket sales for those event usually go back up in May, June, July. I think he's using the war, SARS etc... as an excuse for the lack of interest that has been shown for his company in NY.

Christopher Wheeldon, along with Carla Korbes and Jenifer Ringer, has a photo and sidebar in the May issue of Vanity Fair. Laura Jacobs writes about Wheeldon's "Carnival of the Animals" for NYCB's upcoming spring season.

Jane, I agree totally. Regarding Apollo, that change to | | | did not come about because of the Kirov, although it might have got its world-wide viewing that way, it's been performed that way or close to it possibly as early as the 60s (w Farrell). According to Haggins' book of photos, Apollo as done by Diana Adams and at ABT during the 40s and 50s, did not look that way. Nor did it when it was first done, according to photos of Danilova etc... The point of lack of subtlety is a good one. I saw a Don Q with Dvorovenko that, at first, was exciting because of the high extentions and big jumps, but then there was just more of the same thing. There was no building up of a climax, especially if every developpe is the same height. In Diamonds, Balanchine put a devloppe in the middle of the phrase and the climax was really at the end. The way Zakharova did it, the real climax (where the music reached the climax) became a let-down because she had already made it with her wishbone move. Mary, I think the tour you allude to is the 1995 tour. Makhalina had lost this goofy happiness she showed earlier and became more of the "grand ballerina." And she danced all the time (I remember the poster for the tour was Makhalina in Swan Lake). But at an earlier tour (I think 1992), she was praised by some critics, I think Anita Finkel mainly, as being a new bred of dancer who could blend the Kirov style to the new Balanchine they were doing (Apollo).