vrsfanatic

Living in a suburban beach town has meant that I have had to keep myself busy with non-dance related activities. One can find me in the Auction houses searching for antiques at ridiculously low prices. It has become most addictive I must say. Has inspired a lot of reading as well as kept me up with my passion for history, any history I am not particular.

Perhaps I am mistaken but I think the Vainonen Nutcracker was choreographed in 1934 or there about. Therefore Balanchine would not have seen it. Unless it was seen while on tour in Russia. Or maybe he had heard of it. Maybe he took this idea from Rose Adagio?

Mind you I am far from an historian, but could not L. Chase and R. Harkness be considered in this realm? And as far as Foundations go, what about The Ford Foundation?

Mind you I am far from an historian, but could not L. Chase and R. Harkness be considered in this realm? And as far as Foundations go, what about The Ford Foundation?

Perhaps L. Jacobson could be add to this list. His work is not well known is the US, so perhaps this could influence the selecton, but the few pieces I was able to see were remarkably inventive with very cohesive format, structure, artistry and drama.

Otherwise I agree with Alexandra's list. I find Fokine perhaps the most interesting on this list because I never saw two Fokine pieces that were the same. He was quite true to his 5 principles I believe they are called.

I am not sure if this qualifies or not, but I started out as a New Yorker and have lived in many cities in the US as well as internationally. For me I find it difficult to separate my childhood, adolecent and young adult memories of Balanchine and the reality of what it is today. Choreographically, a few changes, but that also existed when I was younger. What has changed for me is the way it is being danced. I just do not know any more. I have not seen NYCB since 1987. I ran out of State Theater, Symphony in C, my first Balanchine ballet to perform. My own student standing there in my place in 2nd movement. I must say I was astounded. I have seen ABT, Kirov, Maly, CPYB, MBC, and the list can continue. Certain pieces are very good, but not all and I would have to say I had to leave the US to be able to see other things. Not that the opportunity was not here I just could not see I was so brainwashed by the Balanchine marketing machine.

Thank you for this topic. These concerns are of the utmost importance to a field which struggles to survive in our culture. It does need to be discussed, rumor or fact, we should all think before we speak of things which perhaps interest us but of which we know not enough. Many peoples livelyhoods and the development of classical ballet could be effected due to ignorance,fear and perhaps just plain sensationalism.I enjoy freedom of speech, but we must respect the rights of others.

The last I heard he was still Director of the pedegogy/choreography/ballet master program at the St. Petersburg Conservatory. There also is a performing group which he directs.

While working in Osaka I was very fortunate to see an all female theatre company by the name of Takarazuka doing The Great Gatsby. Is this the same company of which you speak? It was quite a surprise since I knew nothing before going and only figured it out at the end of the 1st Act. Saw a great show, they could sing,dance and act but this was not ballet. Would go again in a heartbeat.

Lovebird, Pyotr Gusev and his wife, Valentina Rumyanseva, from Kirov helped to found the school in Beijing in 1954 and Shanghai,1960. There also was someone from Bolshoi involved, Viktor Tsalpin I think.

A decidedly different crowd for the Saturday, May 5 performance. Did anyone see the performance of Russian Hamlet in Miami? My only point of reference is Tchaikovsky from 1993. I had not seen Eifman on tour before. One show tonight, well worth the trip.

Again, thank you Andrei. I know this version from school. Watched children's rehearsals and performances in Mariinsky. I thought maybe there was a different version, since I learned a different piece, different music from original Russian Don Q score. I learned it from a Bulgarian/Bolshoi teacher in the US.I cannot figure out what it is.

Andrei, Please clarify which choreography used the Dream Scene in Don Q with the children doing the cupid dance. I have heard of this version, actually know what I was told was the choreography, but unfortunately have never seen a version with this in it. Where may this be seen? Thanks so much.

It is of great interest to me, this subject of character and training. All though ballet masters such as Kurgapkina, the late Zubkovskaya and Zelyutzky are definite personalities with tremendous knowledge and professionalism a teacher/coach is only able to guide a dancer so far. I heard many times from ballet masters, " you can only trick dancers into believing , so far. The rest is trust and talent."

Dumchenko and Vishneva are two very different people. Glad to hear Saknovskaya was in Amsterdam. Do you know where she is teaching now. Last I had heard she left Vaganova School after 1995.

It is also very interesting to read the opinions of others regarding the different performances of the Kirov internationally, since they have not been to Florida in a number of years. Wish I could see more.

Mr. Haegeman, perhaps the differences between Vishneva and Dumchenko have something to do with their schooling as students in school. They had different teachers, both being at the top of their respective classes upon graduation in 1995.

Vishneva did her final three years with L. Kovolova and Dumchenko with Zaknovskaya. Who coaches a dancer in a company is only part of the story.

Originally posted by AngelinaBallerina:

I probably won't get many replies to this, but I was just wondering...

How well known is the Australian Ballet and it's dancers overseas???

It has been quite a surprise to me how little is known in the USA about many ballet companies outside of the US, not just dance in Australia. After having spent two months in Australia visiting the Australian Ballet and its very fine school in the early '90's, I was quite impressed with the standard as well as the government support given to develope this company and school. This of course was a different time and how things have developed since Gielgud's departure, Gailene Stock's departure and now Stretton's departure is unknown to me. I hear more about Sydney Dance than Australian Ballet. I do know Danilo Radoievich {sp}is there as ballet master, but that is about it.