Giselle05

Alessandra Ferri did Dewar's Scotch in her first few years with ABT. I've also seen Julie Kent in some Coach ads.

Well, Julio Bocca has always been my favorite dancer...no comment for now...

If you visit his site, www.juliobocca.com and wait about a minute on the home page, in the section with the countdown to his retirement in Argentina in 2007 there will appear a very heartwrenching video clip of him with Ferri in the Manon bedroom pas de deux that announces his retirement (in Spanish)...make sure your volume is up.

I wonder if anyone saw Saturday's matinee? I'd love to hear how Tyler Angle and Stephanie Zungre's debuts in Romeo and Juliet went.

I went to see Sara Mearns. I had promised myself I wouldn't go, having seen it some years ago...but the casting was irresistable. She was beautiful. She brought glamour to the stage, she has that "star-power" thing going that not everyone does. Her face conveys so much emotion and she has some hints of the "russian back". Her first jump onto the stage was the highlight of the performance for me. All of a sudden, she just soared onto the stage out of nowhere, like this swan in flight, startling yet beautiful. I found the pas de deuxs much stronger than her individual variations, especially in Act Two- or rather- the scene of the White Swan. But that will surely come in time. Mearns is the next big thing!

Afterwards, I thought to myself that since I was already there I'd love to see Sylve...but I wasn't able to.

The Pas de Quatre would be a great gala excerpt, with, of course the Bouder/Fairchild, Peck, Scheller, and de Luz cast. Quinn conducted at inhumane speeds, it was almost ridiculous at the end but somehow they pulled through and were indeed more syncopated than the Rockettes on their best nights. These four are like matching firebolts, the power quatre.

Other standouts were Tyler Angle in the Hungarian Dance and Rebecca Krohn in the Russian dance, though I am still utterly bewildered by their costuming- the choreography is quite russian-ized in some parts and just listen to the music! Not to mention the name...but then again its unnecessary to point out the many bewildering aspects of the Martins Swan Lake...

I won't make this another bashing of the production comment, so I'll just leave this by saying Mearns made the 2 and a half hours worthwhile enough.

beck_hen, Ferri unfortunately does not dance the role with Bocca anymore, who retired Romeo in 2003- and that is what you'd want to see.

That was a legendary interpretation, IMO.

I'm sorry about the link, it must have expired. Unfortunately I didn't save the article in its original Spanish format but I do have it translated. :-)

bart, if you click on the calendar that is located on the top right of his home page, it gives you his schedule by month (in Spanish but very much understandable) His ABT appearances in Chicago and New York are already noted.

Bocca is an idol in Argentina, second maybe only to Maradona, and his retirement will be a huge event. He regularly dances for audiences of 20,000+ people (in stadiums, etc.) So, yes, they are counting down day by day! As am I, being one of his greatest fans :rolleyes: . That countdown makes me so sad!

First thing that came to mind was Whelan as Giselle. Or Bouder.

Gillian Murphy in Petit's Carmen is another good one.

I noticed this a few months ago, around the beginning of October, when I happened upon an article from the Argentine press with an interview with Julio Bocca, where he says something along thesame lines:

http://www.gda.com/consulta_noticias.php?idArticulo=28678

(Bad google translation from Spanish):

"The artist trusts: 'Nothing is going to replace the applause and the affection of people. That is impossible. What happens is that also it moves my school to me in Buenos Aires, the foundation with which I give scholarships to people of the interior of my country so that they come to study. In addition, I am going to follow as of the American Ballet masterful and have the possibility of directing it '."

However, I don't really see how this is possible since he is clearly passionate about his Ballet Argentino and ABT AD is not a part-time job! I'm sure he's one of the contenders...but far into the future.

NO BALLET- just an hour special on floral arrangements and gingerbread cookies at the white house :-(

What channel is HGTV on Time Warner Cable?

Thanks

Editing: Answering my own question- its channel 64.

nysusan- I fell back on old habits. :-(

ABT RETURNS TO CHICAGO WITH DUAL DELIGHTS:

CHICAGO PREMIERE OF LE CORSAIRE, PLUS GALA OPENING NIGHT MIXED REP PROGRAM, AT THE CIVIC OPERA HOUSE, MARCH 29-APRIL 2, 2006

2005-06 Marks Julio Bocca and Julie Kent's 20th Anniversary Season with ABT

12/1/2005 - Returning to Chicago for what has become an annual rite of Spring, American Ballet Theatre (ABT), America's National Ballet Company, will present two separate programs at the Civic Opera House, 20 N. Wacker Drive: A Gala Opening Night of mixed repertory, Wednesday, March 29, 2006, followed by five performances of the full-length swashbuckling adventure, Le Corsaire (The Pirate), March 30 - April 2, 2006. This engagement marks the Chicago Premiere of Anna-Marie Holmes staging of Le Corsaire for American Ballet Theatre.

The full-length story ballet Le Corsaire is an exotic Turkish fable of a dashing pirate's love for a beautiful harem girl, with a story line traveling from the Pasha's dazzling palace to a spectacular shipwreck on a windswept desert island. Le Corsaire is considered the perfect platform for daring and explosive dancing. Principal roles of Medora (the harem girl), Conrad (the pirate), Ali (the slave), Gulnare (Medora's friend), Lankendem (owner of the bazaar), and Birbanto (Conrad's friend) will be cast in Chicago as follows: Julie Kent, Julio Bocca, Angel Corella, Xiomara Reyes, Herman Cornejo, and Carlos Lopez (Thursday, March 30, evening); Michele Wiles, David Hallberg, Jose Manuel Carreno, Stella Abrera, Gennadi Saveliev, and Jesus Pastor (Friday, March 31, evening); Irina Dvorovenko, Maxim Beloserkovsky, Angel Corella, Maria Riccetto, Sascha Radetsky, and Herman Cornejo (Saturday, April 1, matinee); Gillian Murphy, Ethan Stiefel, Jose Manuel Carreno, Stella Abrera, Gennadi Saveliev, and Jesus Pastor (Saturday, April 1, evening); and Paloma Herrera, Marcelo Gomes, Angel Corella, Xiomara Reyes, Herman Cornejo, and Carlos Lopez (Sunday, April 2, matinee). All casting is subject to change.

American Ballet Theatre will open its Spring 2006 program in Chicago with a Gala Program on March 29 showcasing pas de deux galore, including Jerome Robbins' Afternoon of a Faun (Kent, Stiefel), George Balanchine's Tchaikovsky Pas de Deux (Dvorovenko, Beloserkovsky), Pas de deux TBA (Alessandra Ferri, Bocca), and the Black Swan Pas de Deux from Kevin McKenzie's Swan Lake (Herrera, CarreЯo). Also on the program will be Agnes de Mille's Rodeo (Reyes, Radetsky) and a suite from Le Corsaire (Wiles, Murphy, Gomes, Corella, Cornejo).

American Ballet Theatre Principal Dancers Julio Bocca and Julie Kent are both celebrating 20-year anniversaries with the company in the 2005-2006 season.

We are delighted to have Chicago as a regular stop on ABT's tour, said American Ballet Theatre Artistic Director Kevin McKenzie. With the prior success of Swan Lake and Giselle, the Company is proud return to the Civic Opera House with the acclaimed production of Le Corsaire, as well as a program of repertory which showcases the scope of ABT's artistry.■

This production of Le Corsaire, with sets and costumes by Irina Tibilova and lighting by Mary Jo Dondlinger, was first staged for American Ballet Theatre in 1998 by Anna-Marie Holmes, after choreography by Konstantin Sergeyev, after Marius Petipa. The ballet was filmed for broadcast by PBS Dance in America in 1999. American Ballet Theatre's 85+ member company will be accompanied by a live orchestra performing a score by Adolphe Adam, Cesare Pugni, Leo Delibes, Riccardo Drigo, and Prince Oldenberg.

The Chicago Opening Night Gala, to benefit American Ballet Theatre, takes place Wednesday, March 29, at 7 p.m., and features a pre-performance Gala reception, post-performance champagne toast on stage with the dancers, and prime seating. Opening Night Gala tickets are priced from $400. For more information on the Gala Opening Night program or to purchase Gala tickets, please call 212.477.3030 ext. 1105. Performance-only tickets for Opening Night are available from $98-$20, by calling TicketMaster at (312) 902-1500.

Performances of Le Corsaire at the Civic Opera House are as follows: Thursday, March 30, at 7:30 p.m.; Friday, March 31, at 8 p.m.; Saturday, April 1, at 2 and 8 p.m.; and Sunday, April 2, at 2 p.m. Tickets for American Ballet Theatre's Le Corsaire, and the Opening Night program, which range in price from $98 - $20, can be purchased by calling (312) 902-1500; visiting the Civic Opera House box office; or online at www.ticketmaster.com. Groups of 15 or more can receive discount pricing by calling (312) 922-2110, ext. 357.

Countrywide Financial is the National Sponsor of American Ballet Theatre and Cole Haan is a Leading Benefactor. For more information on American Ballet Theatre's presentation of Le Corsaire at the Civic Opera House March 29-April 2, 2006, please call (312) 902-1500 or visit www.civicoperahouse.com.

I want to add Ananiashvilli to the crop of Russians in ABT's Swan Lake! She'd be my first choice.

Thanks so much everyone!

I need help finding a recording of the music from Manon (by Massenet). Is there one available, and does anyone know how I can go about finding it?

Legs: Alessandra Ferri

Feet: Alessandra Ferri, Julie Kent, Sylvie Guillem, Paloma Herrera

Arms: Nina Ananiashvilli, Darci Kistler

Hair: Darci Kistler, Carla Korbes

Face: Alessandra Ferri, Julie Kent

Eyes: Nina Ananiashvilli, Gelsey Kirkland, Alessandra Ferri

Smile: Alessandra Ferri (yes I'm a big fan)

Back: Natalia Makarova, Svetlana Zakharova

Profile: Julie Kent, Suzanne Farrell

Glamour: Veronika Part, Maria Kowroski

In the Upper Room in general, but especially Herrera, Stiefel, Hallberg, Cornejo, Murphy...in fact that entire cast!!! (I saw the Dvorovenko cast as well, and while it was great, I felt it was incomparable to the other)

Hallberg in all his roles- Death, Afternoon of A Faun, In the Upper Room, etc.

Veronika Part and Maxim Beloserkovsky dancing together.

Veronika Part emerging...finally! When, when, WHEN will Part and Hallberg's promotions be announced??

Thanks nysusan! I can see it perfectly, I knew they'd be wonderful together! It seems odd, but I bet they look beautiful. I wish they'd be scheduled for something together in the MET season!

Did anyone see Kent and Hallberg together in Kaleidescope? I wanted so much to make it, but couldn't. Could someone please report? Thanks.

I have been searching for some time for photographs of my favorite dancers and have been building up quite a little collection, but Google Images, Yahoo Images and even Corbis stock photography can only do so much. I was wondering if anyone knew what other websites or venues existed with good (and prominent) ballet photography, or if any of the photographers mentioned on the "Who are your favorite ballet photographers?" thread have their own websites? I know Rosalie O'Connor does. Or perhaps other photographers affiliated with major companies..(ie. ABT..)?

Thanks very much

Thanks so much bingham! Now I can go to sleep! (Carreno is dancing with Reyes in Giselle, correct? )

PHEW!! Thanks!! Is Bocca scheduled?

And...Is the Howling Cat scheduled? I remember in one article about the city center rep, it said something along the lines of "The Howling Cat was excerpted as a preview of the Spring Season"

Any farewells? *PLEASE NO PLEASE NO*

I also generally fall into the ABT camp, and I must say that my overriding idea was that I didn't like it. I think that the Balanchine style is really unnatural for the ABT, the performance was very reserved, very..classical. Apollo looks better at NYCB because the style is just so much more fitting- the huge daring steps, not as quiet, a little edgy. IMO, its like Bouder in Giselle... hard to imagine (for me, at least.. ) Anyone who went to last February's Stars of the 21st Century Gala could see Ansanelli was having a hard time in Le Corsaire. At NYCB, the style is a bit more explosive, daring and messy, and that is what people love . ABT should get repetiteurs from NYCB for Apollo.

However, for a ballet like Les Sylphides, there is no excuse!

I went Thursday and Friday.

Thursday night opened with Les Sylphides (AGAIN!), and for me the only thing that made it bearable was Hallberg, who was absolute perfection. With his Roman God looks, and long lines, and expressions of longing, I didn't take my eyes off him even for a second. :-) I agree that the "sylphides" arms looked extremely stiff and wooden, and very un-sylph like! Everything looked too calculated and not inspired, just as it did to me during the Spring Season.

I didn't think Afternoon of a Faun was too bad, however it most definetely could have been a better interpretation. I always think Julie Kent is beautiful, and she was very faun-like, delicate, and fragile, but I think it'd be be better with more raunchiness, some more sexual appeal. I would have liked to see this with Corella. Since he is appearing only for the last week, perhaps he was not there to rehearse these ballets? Stiefel and Kent definetely don't have that daring, instinctual, interesting chemistry at all, which is so necessary for this ballet. I dont think it has to do with age, because Faun could be successful as either virginal or mature/experienced (IMO), but with familiarity---> abandonment.

Paquita PDD - Jose Manuel Carreno was fantastic, all the turns and jumps were perfect, he looked to be in great form. I thought Herrera was a bit dead. It was missing that Spanish spunk....one review said something about Irina Dvorovenko's "faux spanish flair"...Well, Paloma's could have been genuine Spanish..errr Argentine... and I missed it. Fouettes were spot-on as always, but something was lacking, I felt. She looked regal, yes, but sometimes she can be both regal and lustrous, and she wasn't.

About Kaleidoscope- I felt it was impressive, giving how many decent tutu ballets are being choreographed (close to zero), and how young Quanz is, and how much experience he has had. I disliked Murphy and Stiefel, and strangely, didn't see any chemistry between them at all. Part, however, was in a class of her own, to me it was like a breath of fresh air. She is such a natural dancer, all her lines are so exquisite, and she can just stand there and command your attention. She is just captivating! I liked her with Beloserkovsky, and I agree with both Dale and Michael about this partnership. They look "damned good together", and seem to enjoy dancing together. Both have great smiles, are tall, and beautiful! However, perhaps with time and experience, it could evolve into something more, I didn't see Part with Gomes, but perhaps she and Beloserkovsky have the potential? I'm very excited to see this piece with Kent and Hallberg dancing together, during the Spring Season I made a mental list of improbable couplings I'd love to see...imagine my surprise when I saw casting for Kaleidescope!

Apollo with Carreno, Kent, Abrera, Dvorovenko.

Dvorovenko as Calliope was the strongest, IMO. She is not one of my favorite dancers (that faux thing pops up everywhere) but the others had a similar effect on me as the corps of Les Sylphides, especially Kent, who while <again, still> looking beautiful, looked nervous and unsure, and didn't have the right aura to Terpischore. Her movements were not big enough and she seemed tentative. Abrera was solid but something that I cannot identify was missing. However this Apollo was interesting, here was a cast of four gorgeous people and actually almost exactly (if not exactly) the cast I had proposed for Apollo earlier when the city center schedule first showed up on BT. :-) I liked Carreno, again. I would have liked everyone to be larger, more daring, electrifying.. :rolleyes:

Gong was awesome, I remember seeing it some years ago (I think with Ananiashvilli) and it was nice to refresh my memory. The costumes are great! The standouts for me were the Cornejos and Xiomara Reyes, who infused it with energy. Great balances from Erica, and those jumps!!

I'll wait for someone else to report on the Green Table first. :-)