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Nanatchka

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About Nanatchka

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    Bronze Circle
  1. Jamie Bishton, with ABT from 1985-1999--you can see him in the film of The Upper Room, in the sneakered men's trio. And in our citing of great Danes, we should have mentioned Nicolai Hubbe....
  2. You rang? Sorry, I apologize. I got carried away. But GeorgeBFan, I did mention Misha....
  3. Greek God: Peter Martins Soulful: Baryshnikov Hot: Edward Villella Beyond divine: Igor Youskevitch Handsomest Choreographer: Paul Taylor (he guested with NYCB, so I am grandfathering him into the ballet thread) The Handsomest Man in the World: dancer Rob Besserer I am not including people I did not see in person, though I met Villella and Youskevitch after they retired from the stage. From the photographic evidence, the Danes have consistently populated dance with the handsomest of the handsome.
  4. IT's important to remember, sitting in the audience, that we can see something go wrong, but we can't always know why. That's why phrases such as "it appeared" and "it seemed to me" are not merely filler. Perhaps a dancer "appears" out of control because her partner is not reliable, and not because of personal excess. (I just remembered how much I miss personal excess, of the technical kind, writing that. I don't mean tossing one's head towards the wings, I mean tossing one's leg to one's beautifully bent head. ) What I am getting at, not too directly, is that criticism is opinion, and that we
  5. Fonteyn was my first Giselle,--my grandmother took me-- and she sets the standard for me. The part of the performance I can still see in my mind's eye--and at the time I went, it didn't occur to me that I might be interested in remembering it more than thirty years later--is the mad scene. The break from decorum, the letting down of the hair, the circling with the sword, those little desparate runs and leaps, the breaking down in her mother's arms, the onset of real madness. She was marvelous. Nureyev was Albrecht, about which I recall nothing. ... In response to a previous post: As it happen
  6. This begins a list of modern dance links: merce.org Merce Cunningham Dance Company ptdc.org Paul Taylor Dance Company trishabrowncompany.org Trisha Brown Dance Company twylatharp.org Twyla Tharp and Twyla Tharp Dance mmdg.org Mark Morris Dance Group
  7. Way back on this thread, the poster asked if anyone had seen Kyra Nichols in Peter Martins's Swan Lake or Sleeping Beauty. I saw her do Aurora and Lilac Fairy, and her Lilac was one of the most beautiful and sublime performances I have ever seen. In particular, that boat trip--all port de bras--was magical. One of the most wonderful things I have ever seen at the ballet.
  8. When you search, you can put quotation marks around a phrase, so the search will be for "exact phrase," rather than "both words" but not in order. For example, "modern dance," "ballet biography."
  9. My Best of every year is always the Merce Cunningham Dance Company. This year I was especially happy to see Robert Swinston's marvelous revival for the 50th Anniversary (he did the work of putting it together; Merce of course looked at it before it was presented)of a dance from the 1960s called How To Pass, Fall, Kick and Run, which was on the first Cunningham bill I ever saw. THe company's Events across the street from the World Trade Center "pit" at the gallery of the American Express Tower were beautiful, and moving.At NYCB, I adored Ringer, Ansanelli, Somogi (was worried about Kistler,
  10. What a nice thing to think about. So in thinking, I got to choreographers. Thus while he's no ballerina, for a humble, true curtain call by a choreographer, I submit Paul Taylor (grandfathered, if Alexandra permits in, via being invited to join NYCB by Mr. Balanchne).
  11. I miss Maria Calegari, the beautiful NYCB redhead. As for partnerships--what about Farrell and Martins? Lately I find myself missing dancers even while I am watching them, but that's another story.
  12. I was humming "Springtime for Hitler" right from the top of this one. Meanwhile, you know what really depresses me? That the art people have these arguments over is so incredibly crappy.It reminds me of Salmon Rushdie and that unreadable book called The Satanic Verses. You might say the fatwah did him a favor, from a p.r. point of view. But to return to the topic at hand? I haven't been to Brooklyn, and thus cannot venture an aesthetic appreciation (or not) of the latest art to offend our Mayor. However, the photos of the art didn't bother me--not that I would want them censored if they did.
  13. Darci Kistler is the last of the Balanchine ballerinas, but was never a muse, pe se. That is,someone who inspired the work. By the time she came into the company, the muse days were pretty much over. Of course there were many, tucked in and around the marriages, or meta-marriages: to Tamara Geva, Danilova (never officially married), Vera Zorina (called Brigitte offstage), Tallchief, LeClerq. And Farrell, the never wife. The last great meta wife was Karin Von Aroldingen, Balanchine's last great consoler. The great take over artists in the muse roles have been Maria Calegari, Kyra Nichols, Kist
  14. In the Sleeping Beauty performance I saw with the substitions, Kyra Nichols injured her **foot** in the first act, in which she was Aurora. She in the first intermission **switched** roles with the Lilac Fairy and did the journey through the mist in the boat scene, which is all port de bras (and beautiful ones at that), and then went home. A member of the corps or a soloist, I don't know who--if this is really part of the story above, it would be that dancer--then danced the last part of Lilac, not in the Lilac Costume, but with the wand. Meanwhile, the former Act One Lilac Fairy, who was I
  15. Thank-you for your interesting recasting of your "yucky" remark, Steve. I think it illuminates two different ways of writing criticism.(This being a public venue. In private conversation, anything goes, of course.) Were the ballerina in question to read your first post, she would simply have to regard herself asyucky. Were she to read your amendment,she would understand something about how she appeared in performance to a seasoned eye. I personally will say anything about a choreographer that I feel impelled to, ditto about theater directors and artistic directors. They are their ship's captai
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