Roma

I sincerely hope it's not Petit's La Chatte, because it's part of the "Balanchine and Diaghilev" evening with Apollo and Prodigal Son :sweating:

Apparently, the Mariinsky has La Chatte on their White Nights Festival schedule. Has it been "found"?

I am not sure that all the ballets will be shown in one evening, though. I understood that either Barocco was to alternate with the divertissment, or it was Barocco+ one of the pas deux (alternating which one). Clifford is teaching the steps for Tchai Pas, and Violette Verdy is suppose to join him in a couple of weeks to polish it up.

Von Aroldingen and Leland also staged the POB's version. Perhaps something got lost in translation:) But we are talking a 100 years from now--the present stagers will be dead, and mercifully so will I, and will not have to suffer through hand-me-downs of Yvonne Borree's stagings of Barocco, Serenade, Apollo, and/or Square Dance. editing to add: Stowell did dance in Liebeslieder. I have a beautiful photo by Martha Swope of him and a very young Suzanne Farrell in the "whispering" duet.

I would choose Liebeslieder, but I know that if it is the only one left, there isn't anyone around who can stage it properly (even now, over at the POB it looks quite, quite dead), so I cast my vote for 4T---it could survive on construction alone, and it is a wonder.

I couldn't find the same photo on line. Raymonda's tutu is bright lemon with lettuce-color piping and white ruffles, and Abderakhman's getup has to be seen to be believed.

If the the pictures in the spring season brochure are any clue, the full-length Raymonda promises to be, well, blinding.

Hi I am looking for a copy (preferably a good copy ) of Theme and Variations telecast with Kirkland/Baryshnikov. In exchange, I can offer recent Kirov/Bolshoi/POB recordings --from Vikharev's reconstructions to Balanchine, and the Paris "Paquita", and others. Theme and Variations is the priority, but any Balanchine would be enourmously appreciated. Thanks

"Roma" and the Met "Orpheus" get my vote, though really, it would be easier to name the ones I wouldn't be at least curious to see-- there aren't any.

Thank you both, that's very interesting.

I am wondering if anything has ever been written about the biblical allusions in the title and in the choice of the heroine's name. It's not clear to me if there is any relationship to the action of the ballet.

Thank you so much, rg. These are marvelous.

Gashlycrumb Tinies the first time. Lavender leotard the second.

"Balanchine's legacy as an artistic leader of 20th-century modernism ideally reflects our Movado brand heritage of innovation and iconic modern design." Oh, good. :green:

Oh, god forbid. I can just see it, and with Dvorovenko and Belotserkovsy as the leads. There is a cast to see for all the wrong reasons.

I heard, that the Balanchine evening will consist of Ballet Imperial, Symphonie Concertante, and Mozartiana. :jump:

She doesn't dance Raymonda. It's true though, there is no clapping at the Kirov, only a strong brush of the fingers.

Wiles did more with Raymonda than anyone else this season, she just needs to work on the arms a bit. Dvorovenko was hysterical last night, though I am not sure that was her intention. The staging looks like a reduction of the Kirov version (including the long shoulder sojourn). The female variation was doubled up, to what end, I can not tell. I thought it blurred the effect.

peppermint, thank you so much for this. When Souritz gave her talk, was it mostly pre-1924 stuff?

Thanks:)

glebb, what Kshessinskaya/Balanchine connection?

I just came back from the matinee. Perhaps ABT should consider acquiring "exclusive" rights to Canto Vital as a companion piece to Welch's Clear--all that naked glory. They do dance underneath themselves and ON THE BEAT, which is very tedious, but there is also a directness and honesty in their movement that is winning, as is the nonchalant softness of their rock solid technique. May be the program could have been better chosen. The Black Swan pas de deux a trois with Rothbart looking like a security guard at a Renaissance Fair did not work for me, and much as I love the Gades "Blood Wedding" film, it is not exciting theater and doesn't show the company to best advantage--they lacked the economy and weight of gesture to give the piece needed force. The music for the prince's variation in Act 2 of Swan Lake seemed unfamiliar (sort of a bad Strauss imitation orchestrated by Minkus). Does anyone know what it was?

Thank you, Mikhail The debut was long overdue, and I am especially glad to hear that Alexandrova did so well in the adagios.

Thanks, carbo!

The Mozartiana information was from a very reliable source, though as has been said, things do sometimes change.