ViolinConcerto

There is no formal obit in the Times, but Ballet Society and NYCB have posted in the paid tributes. This is from NYCB:

Bart, thank you for posting that story. Mr. Bigelow was a kind, faithful and hardworking person. I also spoke with him at times, and found him shy, but happy to talk. In reference to Mr. B's funeral, in Suzanne Farrell's book, ("Holding On to the Air") she talks about the day of the burial: She had not been "officially invited" but Eddie Bigelow drove her out to Sag Harbor -- they missed the others in the funeral party by a short time. But she did get to throw a white rose into Mr. B's grave (pages 266-267).

I was saddened and shocked to read that Edward Bigelow, who was 93, was killed tragically in a car crash in CT. Here is the link. I hope that the Company will pay tribute to him in some way. He worked with and helped Balanchine in many capacities, starting as a dancer. Anatole Chujoy first reports Mr. Bigelow's association with Mr. B. in the fall of 1943, with "American Concert Ballet," organized by Mary Jane Shea, William Dollar, Todd Bolender and Douglas Coudy (page 149.) Edited to correct age.

I don't think so. The date is 1936, so that would have been at Madison and 59th Street. They moved into the 83rd St. school many years later.

I found a series of LIFE Magazine Photos of SAB in 1936 -- all in white tutus, by Eisey, as he was called. There are about 8 pictures. I've seen many but not all of these. Any identifications? This was the period of "On Your Toes" and the season at the Metropolitan Opera (just leafing through Chujoy). The male teacher might have been Vilzak. http://images.google.com/hosted/life/l?q=ballerinas+source:life&prev=/images%3Fq%3Dballerinas%2Bsource:life%26hl%3Des&imgurl=6d58880bf8ca0706

George Jackson's perceptive and informed descriptions/criticisms of the "Maximum India" Festival are excellent for their content, writing and point of view. I was especially grateful for his request that this kind of "Festival" be repeated, as there is a significant audience in the D.C. area. The same is true for New York, and it would be great to have performances of Indian dance at great venues in NY as well. Thank you, Mr. Jackson! (And DanceviewTimes for featuring his work on this much ignored topic!)

Yes, I've had the same experience of people thinking I would LOVE that clip because it looks (to them) like ballet. (Haven't been able to invite them to ballet because they live elsewhere.) I don't want to offend them, so I just say it's amazing, which it is.... BUT , first of all it is not ballet, second of all they look like they are being tortured! For some reason, when I watch that film, I feel as if the acrobats have been forced to do what they are doing! There is no love or joy -- or, for that matter, true beauty -- in what they do.

New review in the Christian Science Monitor. She's very enthused. (Sorry for my original entry saying it was from the WSJ)

Just found a series of photos from the Works and Process performance at this Flickr site:

WNYC had Jacques on this a.m. and on this page you can listen to the interview, plus link to other related events (including the Symphony Space event, tonight) and book signings.

Through a link, I stumbled upon information and links about a graphic memoir for children called "To Dance." It is from 2006, by Siena Cherson Siegel with illustrations by her husband, Marc Siegel. From what's available of the text and illustrations on Amazon, it looks lovely. Siena Cherson Siegel studied at SAB, danced briefly with NYCB until she was injured. This is a link to the Amazon Page, It got very nice reviews from Peter Boal and Terry Teachout among others. I found it very indirectly, through this page, from "The Daily Cross Hatch" which has this wonderful quote from Siena's husband, Marc Siegel, about how he came to love ballet:

...and in the Wall Street Journal!

That's a sweet, sad reminder.... Thanks.

I just read the excerpt on Mr. B's funeral at this website. Yes, it's anecdotal, but it's 100% Jacques. We're practically THERE!! It has a lot of insights into the people that surrounded Mr. B. Jacques is the one who has always been willing to "tell all" (or almost all) and take us behind the curtain, behind the door. I look forward to reading it. Jacques has done amazing things for dance, for NYCB and for Mr. B. during his entire career. There have been a few articles recently (in the NY Times) about how physical activity improves memory -- and I guess Jacques is living proof!

There are two more Palm Beach articles on the documentary. This one, from Palm Beach Pulse is the best, in my opinion, and another one from the South Florida Gay News. Someone mentioned that he ought to publish a book. In fact, he did, in 1985, a memoir of Balanchine and the NYCB. I also recall a book of photos only of Peter Martins, but since Martins contributed to the 1985 book, I may be confused.

There are two more Palm Beach articles on the documentary. This one, from Palm Beach Pulse is the best, in my opinion, and another one from the South Florida Gay News. Someone mentioned that he ought to publish a book. In fact, he did, in 1985, a memoir of Balanchine and the NYCB. I also recall a book of photos only of Peter Martins, but since Martins contributed to the 1985 book, I may be confused. Sorry for the duplicate posting.... and yes, Steven did publish a 2nd book of photos of Martins.

I and the entire audience agreed with bobbi. Tremendous cheers for both of them, and especially for Stanley's solo. "Flow" is the exact word I used as well. His line is perfect, his footwork is light, elegant and precise, and one of the things that I think makes him stand out is his épaulement, and a very slight tilt of his head. Not like Helene Alexopoulos, but that's one of the things that made her stand out, and it works similarly for him. He was extraordinary. Great Promise. Beautiful dancer. Here's a review by Leigh Wichtel that confirms what bobbi and I just said: http://www.nypost.com/p/entertainment/theater/city_ballet_it_hip_to_see_square_3H6w4ffFWx7emTIZZOd43H

That's interesting. Without having searched through all my Balanchine books, I'm wondering if this was in the original text. In the Biblical parable, God's grace to the wastrel is dramatized by the fact that the father runs to meet his son. I've always been a little sorry Balanchine didn't include this element in his ballet. But if the father in the ballet is blind, that provides a different explanation. I recall from either an interview with Danilova or from "Chura," [and I may have mentioned this on the board previously] that in their hotel room, Balanchine was considering the ending. He was at his wits end about how to deal with the very long (lyrical) stretch of music from the time the sisters drag the Prodigal in through the gate until he is taken up in his father's arms. The Prodigal's long, slow, hobbled walk with his hands behind his back (a sign of shame???) was his solution as to how to fill those bars.

I just watched "A Portrait of Giselle" on videotape (got it on Ebay-- passed up the one for $299.00 and got it for about $25.00), and Dolin mentions that Spissetseva, in her early London performances added a solo in Act 1. He says that it has been used frequently since then. He also said that no one knew where the music came from. (That film is from the 1980's I believe, didn't make a note of the date.) I would assume that since PNB is going back to the earliest sources that her solo is not being used, but I am curious if anyone knows the origins of her solo, and who the choreographer and composer were.

Plus she was a wonderful person and dear friend. Betty (and Larry, her husband) kept in touch with my father, who they knew from NY theater in the 30's all their lives. A beautiful, accomplished, honest woman of the theater.

Quiggin, please --- elaborate on this juicy-sounding seminar!

Everyone, including MacAuley, is in agreement that the set and costume designs are the worst ever seen. I agree. It makes it so difficult to look at the stage. So far, everyone, including MacAuley, is in agreement that Sarah Mearns is astounding. I also agree. My two or three cents will add nothing to the interesting comments above. Sadly I get nothing, nada, zilch, less than zero from Jared Angel. His line is decent, his energy, commitment, expressions -- blank. I hope there are reports later telling of better, more exciting Princes. But I (like MacAuley) have to add that I feel Karoui's tempi were cruelly fast. In particular, the delightful pas de quatre in the lakeside scene (as opposed to the one in the divertissments) was turned into a torture for the four dancers, and I think that they and the choreography suffered for it. But Mearns, long may she reign.

Marina Harss has published a very thorough review of "Apollo's Angels" in The Nation. I've only been seeing and reading Harss recently, but I am very impressed by her writing, thinking and her vision.

I was looking at the page on the NYCB website that says "Repertory at a Glance - 2010-2011." It has ballets that will be performed during this year's repertory, with dates, but also ballets that are NOT part of the 2010-2011 season. But it does NOT have "Symphony in C." The ballet has not been performed by NYCB for quite a while (can't be exact). I was thinking that it would be perfect (though a contrast) for the May "Balanchine Black and White" week plus. After all, the NYCB version IS black and white. Does anyone have any ideas or (better) information? It's one of those ballets that every once in a while I have a palpable craving for. And it's very difficult when that craving goes unfulfilled.

In the Spring, 1998 issue of Ballet Review there is a long profile of Osipenko by Joel Lobenthal. It has many mentions and photographs of Markovsky.