Amy Reusch

Looks a little more like Wendy Whelan...

Carley was perhaps the most altruistic balletomane I ever met... She will be so very missed....

His partnering was so expressive, so in tune with the ballerina's intent musically... not competing with her for the audience's attention.. Never distracting... No wonder they loved to work with him.

White Swan pas de deux...

The film looks a little better without the aspect ratio distortion... You may wish to start at 3:26

There doesn't seem to be a Don Quixote forum, so I'm guessing this thread is it?

I'm wondering about this production. Does anyone recognize it? Is it Tetsuya Kumakawa's own K-Ballet Company? I thought I could find some photos via google, but I am not having any luck.

I hope they bring Laurencia!

I believe this is Angelina Vorontsova.

I would rather like to see her, despite all the things said about her during the recent Bolshoi tragedy, because in this video she looks quite lovely and deserving of an audience.

Quite possibly... Isn't this the outfit that sometimes sends out a group called "Russian National Ballet" and sometimes called "Moscow Festival Ballet" (perhaps sending both ensembles out simultaneously to different part of the globe)? If so, the quality of the dancing is often quite good but the production values are a bit shoestring, and both in a state one might expect from a whirlwind tour of one night stands throught the college & regional venue arts presenters. Please correct me if I've confused them with someone else. Generally they present better ballet than one might usually expect to see in these venues though perhaps not as well put together as one of the top regional American companies. These venues can get in the top modern dance ensembles but ballet seems to pose different problems... Not sure why... I wonder if it is that the unions protect American ballet dancers better than the Russians? But if so, why do we get such top quality modern dance? Perhaps it is because of the repertory offered by the Russians... Or the lure of the name? Baffles me. But I must say some of the dancers are beautiful and well worth the ticket. Just don't imagine the sets and staging to be as good as the dancers' technique.

Thank you!!!

Also, isn't there something about keeping a work in rep affecting the permissions? I remember hearing once about it , something about three years, but can't remember the details. Perhaps someone here could refresh my memory?

I agree... Wouldn't it be fun from the audience perspective to put the regional company's Nutcrackers in rotation? I suppose the realities such as sets designed for particular theaters and a myriad of behind the scenes headaches would prevent this.... But one could return each year to see this year's manifestation... Has there ever bern a ballet with more variations? And the Stowell-Sendak rendition wouldn't vanish into oblivion... Perhaps a ressurection could be found for the Ruth Page Nutcracker and Kirk Peterson's Nutcracker, both productions boasted stunning costumes and some charming numbers... The old Boston Ballet Nut could return and one could see Ballet West's Nut without having to find a reason to fly to Utah at a busy time of year. I'd love to see Joffrey's and Ballet Arizona's production.

Oh my god... Did I just say I'd love to see The Nutcracker?

I guess I would still like to see it once to see what Calder references she cme up with. I suspect a straight forward video would be about as interesting as a flat video of an actual Calder.

Saw the film today and enjoyed seeing the Le Clercq footage... Such a beautiful dancer. Seeing the iron lung brought home the terror, and there were aspects of the story I had not considered... such as the fear among the other dancers that they might have caught it, and living in Balanchine's world no longer able to participate.

The talk about the partnering in Agon left me a little unsure. Was that the first time Balanchine used that kind of manipulation? Is the tall girl in Rubies more of the same? It is interesting but do I buy it? Not sure... What do others think?

I thought I had heard something about Balanchine not wanting La Valse to be performed for a long time because of Le Clercq, but can find no mention of this and it seems Le Clercq coached McBride in a 1962 revival. The film brought up La Valse over & over but made no mention of this either, so I'm wondering if the rumor was baseless?

There was a close up of a pointe shoe worn with an elastic segment in the ribbon... Were dancers doing this already back in Le Clercq's day? I thought it was a more recent development.

It was lovely to walk past Lincoln Center plaza lit through the snowfall this evening and see only a single frozen strip across the stairs' digital readout... "Afternoon of a Faun: Tanaquil LeClercq"

Ray, isn't this the Calder piece?

I've never seen the Sappington piece but distinctly remember a long time fan of the PAB rapturously describing it from memory. It sounded cool. I'm sorry to hear the reality has not withstood the test of time. Perhaps it is like certain pop groups; years later no one can remember why they liked it. Structuralists seem to win out in the long run.

I didn't realize Danny Esralow was involved... Certainly explains the Momix link...

http://www.latimes.com/entertainment/arts/culture/la-et-cm-sochi-opening-ceremonies-choreographer-ezralow-20140208,0,6254467.story#axzz2snciFCRh

Link with NY Times Momix review with image of the costume in question. http://www.nytimes.com/2011/12/16/arts/dance/momixs-botanica-evokes-four-seasons-at-the-joyce-review.html?_r=0

I hear it was created for and premiered at the Fire Island Dance Festival benefiting "Dancers Responding to AIDS"?

Lets hope someone puts together a great plan for this... It is truly worth the effort.

Also, there is this bit here about his experiences during the Nazi occupation...

http://books.google.com/books?id=J4vtdJWJlfIC&pg=PT214&lpg=PT214&dq=jean+babilee+jean+gutman&source=bl&ots=-wMVl-sxXE&sig=QG-BR6X5ik2kyGqi_m0Yy5L-XKo&hl=en&sa=X&ei=iyrrUuDSD8nCyAH4hYCQAw&ved=0CDgQ6AEwCQ#v=onepage&q=jean%20babilee%20jean%20gutman&f=false

And of course...

Perhaps this? http://www.telegraph.co.uk/culture/theatre/dance/10597060/Royal-Ballet-faces-new-revolt-from-dancers-over-overwork.html

Hmmm... Looks the same... But it is the link displayed when I get to the article by googling "Telegraph Royal Ballet". I tried using the email link on te article page and got this: http://fw.to/I2neVaI

Anchorage Ballet is trying to raise funds for a production of Chopiniana.

https://www.kickstarter.com/projects/72067232/anchorage-ballet-creating-the-backdrop-for-chopini

Anchorage is not an area that many ballet companies pass through, and it would be nice for the community to see this ballet staged with a woodland backdrop.

It probably tracks dirt in to the studios and wrecks the floors. I don't know what they put on the sidewalks in Russia, but here a mixture of salt and sand would come in on the boots and then be tracked from the hallways into the studios via the ballet slippers... Such a rule does not seem odd.

One goes through difficulties on the way to it becoming easy, that's what all the hours of practice are about: to gain technique!

They hide that they're getting out of breath and they hide their uncertainties...

Otherwise they give give give instead of hiding...

After all, in the words of Martha Graham, movement never lies.

Some people maintain that performance art cannot be restaged, but Robert Wildon's work is not of that genre I think... It was too staged to begin with to not survive restaging. But, is a film remotely the same thing as being in the space? Seems like coming and going from a room is very different, just as staring at a screen for several hours would be much harder than staring at a stage. Did they shoot it in 3D by any chance?