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About Roma

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
  • City**
    New Brunswick, NJ
  1. Mozartiana (1981 version) is among Balanchine’s greatest masterpieces, and, I think, one of the greatest masterpieces in any art form. But it’s a delicate work. Not in architecture, which is superb and breathtaking, but in musical phrasing and the tonality, the intention given to the steps. There have been some impressive readings of the ballerina role, though none that I saw ever came close to the wonder that Farrell was in it. The prayer gestures sometimes look positively domestic.
  2. Congradulations! Long expected and well deserved.
  3. All of Bournonville, the 4th variation in Divert.
  4. I think that in this instance it has more to do with Martins wanting to say "twenty years later--my company--deal with it". This is anecdotal, but in my experience all-Balanchine programs tend to nearly sell out, while at programs leaning more heavily on Martins, and even Robbins, one tends to see a sizable number of empty seats, sometimes a third or more.
  5. Dancers often say that in order to develop fully they must have new works created specifically for them. Do you feel that your dancing benefits more from discovering older masterpieces or from working with choreographers on new ballets? Why is it so important for a dancer to have ballets made on them? Could you talk a little bit about the difference between the technique required to dance Balanchine’s and Petipa’s ballets? Do you feel that it is possible to combine the theatrical flamboyance which is the Bolshoi’s trademark with a very clean technique, or does one necessarily exclude the oth
  6. It somehow doesn't seem likely that Conrad would have been so little dressed. The last name, as far as I can make it out, reads Lisnevsjuk.
  7. Raffaello Giovagnoli's "Spartacus" was written in 1874. It was enormously popular in Russia in mid-twentieth century, and is still in print there.
  8. Thank you, perky . I have, of course, read Gottlieb's Vanity Fair article, and was by no means suggesting that he is incapable of depth or originality or of anything else .
  9. I understand that the book is written for the general reader and wasn't expecting to be astounded by a flood of new information. I just wish, since the labor was undertaken, for the finished product to be a bit more than a summary of quotes from other sources.
  10. I read Gottlieb's book last week, and was a bit disappointed. It seemed to be little more than a brief regurgitation of everyotherbook about Balanchine, full of "in her book, great dancer and ex-wife # N says..." followed by a memorable quote from book XYZ. I expected somewhat more depth from a person who has been associated with the company for many years in one capacity or another. :rolleyes:
  11. I am a little confused on why Davidsbundlertanze was not released on DVD along with the rest of the "Balanchine Library". It was on tape already
  12. it is possible to divide a track into chapters and titles when transferring from tape to DVD, but only if the DVD recorder has a hard drive.
  13. I think the three ballets are Le Tricorne, Les Prйsages, and Gaite Parisienne.
  14. Well, I just returned from viewing "Musagete" and have only one question. Why, oh why couldn't they wait till next year to mount it?! A steamy pile of trash like that practically screams "Diamond Project".
  15. Eyes: Ananiashvili/Ayupova/Farrell (alphabetically ) Arms and hands: Ananiashvili (exquisite and completely expressive)/Ayupova Face: Farrell Legs and feet: Farrell and Maximova
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