Amy Reusch

But my understanding is that the original ballet followed not the Hoffman story but the Dumas adaption of the story.....

https://en.m.wikipedia.org/wiki/The_Nutcracker_and_the_Mouse_King

So I,m not sure I understand the wording of the first two questions...

Christensen Nutcracker ran from 1944 to 2004.... Balanchine's premiered in 1954 and is still running, so hasn't it overtaken Christensen's "longest running" crown?

Would that I could be a fly on the wall with a time machine...

Does it seem odd to anyone besides me that costumes and production design and music are not under Artistic?  Is it because of the unions?

I hope Clifford writes that book... better yet, I hope he illustrates it with video...  i'd like to hear what and where the differences are... it would be a resource for the future, when the dominant version has become cliché

Is the movement dated, or is it the music?  Perhaps a new score for the existing choreography would liven it up.

Personally, I'm appalled at Spielberg's timing.

Perhaps I am looking in the wrong place, but I see no thread for World Ballet Day.  Please move this post if necessary.

 Tuesday, Oct 2, is 2018's rendition.

 I've enjoyed much enjoyed the look inside these  presentations have offered.

Does anyone know why there is no North American host this year?  Why no SFB or NBC?

3 hours ago, Pique Arabesque said:

Also, NYCB is an enormously powerful arts institution with a large endowment. If it survived the death of Balanchine and the departure of Martins, it will survive this. No one person is going to "bring them down." 

Any performing arts institution without State or Royal subsidy is a house of cards.  

Tell me again where NYCB's longtime co-tenant  at the State Theater, NYCO, is these days?

2 hours ago, On Pointe said:

The Finlay affair seems to have morphed into a referendum and condemnation of Peter Martins.  Those who don't  like him seem to think this situation is all his fault.  (Toni Bentley's piece suggests to a casual reader that Alexandra Waterbury is a member of NYCB.)  Bentley may be correct about the "soft-core porn" influence which permeates many aspects of media.  But does she think that Balanchine or Kirstein would have found all of her writings laudable?  Her work is part of the wave.

Thank you for saying this...  While many of us no doubt have been contemplating  some of the famous Balanchine & Kirstein quotes Bentley mentioned, Bentley seems to have an axe to grind against Martins, and having written "Submission" seems the wrong person to be throwing stones.

5 hours ago, Marta said:

Amy Reusch, 

I don't know if Baryshnikov ever coached the PdD you refer to from Other Dances for the archives, but this spring he coached OD with de Luz and Peck.  Haven't heard that Makarova was invited to coach at City Ballet though. 

I hope they archived that! (If they shot it)

That sounds fair

2 hours ago, minervaave said:

NYCB has already shown for decades they didn’t care enough about a man physically assaulting his wife

1 hour ago, minervaave said:

I would add that the true mark of a sincere apology where the person should be forgiven is if the person who is being apologized to forgives them. 

I find these two statements contradictory, if you are referencing the assault situation I think you are referencing.    Or does the apology and acceptance not count as far as what NYCB cares about?

I was watching these two clips and wondering if Baryshnikov & Makarova have ever coached this pas de deux for the  estate's video archives?  

I would like to thank the volunteer administrators of this board, and Helene in particular, for the time she has recently donated keeping up with this thread.  I am so grateful to you for making this and all the other discussions possible, despite the amount of oversight a thread like this requires.  I hope this is not considered discussing the discussers.  Thank you.  

10 minutes ago, AB'sMom said:

The silence from the dance community outside of NYCB is deafening as well, though. People who posted during the first wave of the #metoo movement seem oddly quiet now. 

The situation is horrific.  On top of that,  a treasured institution  is at considerable risk.  These are times when the situation leaves one aghast.  Even saying the institution is at risk implies there is something worth more than human lives.  I don't know how to express both my disgust and my concern at the same time.  

23 hours ago, DC Export said:

 

Very much agree. I think Martins' vice grip....{snip} 

Surely you meant "vise",  unfortunate typo given the behavior allegations...

yes... and how many generations away from Balanchine's dancers can that legacy have influence...  how do we keep what happened to Petipa's legacy from happening to Balanchine's?  Pretty soon all the dancers start to look alike... is there an artistic director with a strong enough vision to shape the identity of the company that won't erase that legacy?  Where is our "forward to Balanchine" candidate as Balanchine was "forward to Petipa"?

I guess the issue with both Watts & Andersen is age... Lopez is only a couple of years younger...  perhaps they want the same person in place for 15 years... before they reach 70... that  disqualifies all three.  Boal was born in 65.  Lopez in 58, Andersen in 54, Watts in 53.

It is a problem.  It takes a certain number of years to distinguish oneself as enough of an experienced director... and if birth year is a problem, we are getting further and further away from artists who knew Balanchine.

Hubbe is an interesting idea.   He would perhaps be less contoversial at NYCB han he was at RDB, at least artistically.  

I have not seen Ballet Arizona in person, but  to judge by the promotional material put  out over the years since Andersen took over, he has done a good job with artistic vision, drawing talented staff to a small company.  It is not the same thing as seeing the company live though.  

It a shame Tomasson has aged out, SFB seems a very well run company.

Perhaps Clifford is just mourning his lost youth.

Wendy Whelan?

4 hours ago, miliosr said:

As for a potential Ethan Steifel candidacy -- why would he want it when the top prize at ABT is within reach? A Steifel regime at ABT would see him at the top with Sascha Radetsky as his second-in-command and consigliere and Gillian Murphy replacing Kolpakova as ballet mistress to the top ballerinas. With Marcelo Gomes out of the picture, the only other plausible scenario I can see is for the Julie Kent-Victor Barbee duo to return to ABT. (I discount Ratmansky because I don't think he's interested in running a company again.)

I suspect Angel Corella is also eyeing that ABT position... not sure if he would be a rival or not.

Did Ethan Stiefel prove himself in New Zealand?  He did not stay very long.  I would say Ib Anderson has done more to prove himself as an artistic director with Ballet Arizona, or Colleen Neary with Los Angeles Ballet.  3 years does not seem like a very long time..., one does not even come away with a Bachelors degree in three years... NYCB is the largest company in America.

12 hours ago, Marta said:

Artistic Director reporting to a Chair of the Board.

Of course, how thoughtless of me.

Are they artistic positions in that they choose the head artistic personnel?

10 hours ago, Helene said:

I don't know of any current Artistic Directors of any significant small-to-large company who are impresarios and only do the first; 

Yes, I was thinking of the various Ballets Russes... and earlier.  I wonder if agents have somewhat moved into the impressario slot... 

what about the director of the Bolshoi Theater, Voadimir Urin... isthat considered an artistic or an executive position?  He is listed as General Director, but didn't he sack Filin?  That seems an artistic decision?

9 hours ago, Kathleen O'Connell said:

Note, however, that Peter Martins' title at SAB was "Artistic Director." 

I agree that on the face of it, Program Director makes more sense. 

 

Ha!!  Thanks!  I had missed that!  How funny!  Any insight on how the director of a school would be an artistic director?  Do you suppose it was based on deciding which artistic style the technique would train dancers for?