ViolinConcerto

The following tickets are available for NEW YORK CITY BALLET. These are the tickets of the late Miriam Pellman. If you are interested, please PM me ASAP! I will get back to you with the name and phone number of the person who is selling them. It might be fastest if you include a cell phone number, but not necessary. GOOD LUCK!! If you want two tickets to a performance, since they are subscriptions, he might be able to do a swap so that you can have two together. The ($100) tickets are front row orchestra, the ($60) tickets are front row 2nd Ring: Sat mat Feb 12, 2p ($100) Sat eve Feb 12, 8p ($100) Sun mat Feb 13, 3p ($60) Sat mat Feb 19, 2p ($60) Sat eve Feb 19, 8p ($100) Sun mat Feb 20, 3p ($100) Sat eve Feb 26, 8p ($100) Sat eve May 7, 8p ($100) Sat mat May 14, 2p ($100) Sat eve May 14, 8p ($100) Sun mat May15, 3p ($100) Sat eve May 21, 8p ($100) Sat eve May 28, 8p ($100)

I've only seen it since 1978 - and I've noticed that the pinks have gotten brighter each time it's revived. The pink in each Principal's leotard is always slightly different from the others. Other than that...

Don't know the answer to that, but you might enjoy this page of photos from their London Season. Looks great!

I did a Google search for mention of the film "Mort du Cygne," (which is NOT available on Nextflix, although the Delouch film is), and came upon this article by Anna Kisselgoff. It contains a review, and notice of 1998 film series and panel talk at the Alliance Francaise. The panel discussion was lead by our very own rg. A brief quote: Here is a description of the panel: Ms. Slavenska was one of the dancers featured in the excellent film "Ballets Russes." I believe she passed away since the film was made.

Good thing that they do that so those who know it are not forced to stay 'till the end of the night waiting for a third favored one. I think they suspected this practice down here at MCB and now they are presenting the contemporary piece right in the middle. I used to do the same as you, but I couldn't in this program... BUT when time comes to the Broward performances, I'm DEFINITELY getting out on the lobby with a book to wait out there for the third ballet. I don't know, Christian, you might enjoy it! I've seen it many times and always find it funny and delightful. I'm not the only one, either, The times when I saw it sitting in the first ring, theater left, it would be crowded with company members who weren't in it, and they would be howling with laughter!!!

I checked the Trocks website and they give great credit to Marius Petipas, and that must be what is behind their acuracy. Their ballet master used to be Paul Boos from NYCB, but now I don't recognize the name of the ballet master. He must be someone with a great deal of training.

Kurt Froman is coaching one of the traveling "Billy Elliot" company boys: http://www.tampabay.com/features/performingarts/success-of-billy-elliot-the-musical-depends-on-four-boys-who-share-title/1149094 Diana McBrearty is alive and well and living near Charleston: http://www.charlestoncitypaper.com/charleston/deanna-mcbrearty-dances-her-way-from-the-new-york-city-ballet-to-the-fitness-world/Content?oid=3050307 --

I'm pleased to see that the list (and the one for the following week) includes some dancers that really shone this past weekend: Scheller, Suozzi, Krohn, Scordato, Perira, Tworzyanski, Applebaum, Alberda and Finlay. I hadn't thought, for example, that Krohn could be soft and lyrical and musical (I didn't like her performance in Cortege Hongrois), but she was really lovely and soulful in Dances at a Gathering as the girl in Lilac. It was also great to see Megan LeCrone back (and great to see Symphony in 3 Movements back, too!) I had noticed Scordato in Concerto DSCH, but didn't know who he was, until I figured it out the next night. I don't see Dances at a Gathering again... too bad, Hyltin was sunny and bright: just perfect for the girl in Apricot.

And Tallchief comments on the "throw" in the video Dancing for Mr B". She speaks of how nervous the toss made her, "there were four boys throwing me and only one boy catching me".... Sean Lavery, speaking before the panel with 3 young dancers (as discussed in the NYCB January 22nd thread), talked about having to learn the ballet in one day (after some earlier coaching with Jacques d"Amboise), and Balanchine being very casual about the catch.... then going off to make his birthday dinner. So it's not just the "Sylph" who gets nervous.

A notice from the Henry Kravis Center for the Performing Arts: It is directed by Deborah Novak, and talks about the 1950s, Even while still dancing Steven began a second career as a photographer, and much of that career is shown in the film. Lucky Floridians:

In addition to the above, for many years she was one of the NYCB Volunteers who coordinated groups of NYCB supporters to afternoon rehearsals, usually from the first ring. She would caution each group to make sure no one made any noise, would give background information about the ballets (as mentioned earlier, she was full of anecdotes!) and "translate" what was happening on stage for anyone new to seeing rehearsals. As one of the articles describes, she was an informed, enthusiastic and fun docent for the "Fourth Ring Society" talks before and during intermissions at many performances.

She has her own company I believe. Check out her blog, "the Winger". I don't have the link handy. She may still be doing the videos.

Thanks for that link, CM. It's like a swallow of champagne! I wish I had the time to check through all the memoirs and see if anyone mentions it. For some reason, I have only now come upon Ballet magazine's October Issue, focussing on the exhibition. For all other late-comers, it's full of information and links, including an article about the latest by the Hodson/Archer team. Here's the link.

The quote she put in the times was from a Broadway song.... "Every Time we Say Goodbye" By Cole Porter. Here's a section of the song, with the quote highlighted:

I have an extra 4th Ring ticket for NYCB Sat night. The program is WALPURGISNACHT BALLET, DANCES AT A GATHERING and SYMPHONY IN 3 MOVEMENTS. It's a 4th R. Society ticket, so it's just $15.00. It's a "AA" seat, right along the ring, but close to the center. Jan 27- It's been sold!

That's a great idea! More of us should do it... I fear we take it for granted, but we should not. I don't remember the women's class, but the men's was Advanced Men's.

Miriam Pellman, an avid balletomane and volunteer for New York City Ballet and the School of American Ballet, died in New York on Monday morning. There will be a memorial service at the Riverside Memorial Chapel, Amsterdam Avenue at 76th St. on Friday, January 28, 2011 at 2 p.m. This article in the NYTimes, with a photograph, captures her love of ballet, her intelligence and wit, and her ability to convey her enthusiasms to others. Jennifer Dunning also interviewed her, when her husband Ed, was still alive. (I don't have a link for that article, published June 16, 1986," THE LIVES AND TIMES OF A COUPLE OF BALLETOMANES," but I do have the text. If anyone would like a copy, please PM me) They were unique, now they are both missed.

Austin Bachman, perhaps? You can see a beta version of Austin (corps dancer Callie's brother) on this video from 2005. No, (that video was cute but the wrong kid) the young man I was watching had dark-ish, curly-ish hair. He seemed very self-contained and had a quiet confidence. I was impressed.

I am vague about these details, but there must be references somewhere -- I thought that the church Ms. Farrell attended was on 71st St, and that Mr. B. traces the pattern of the cross (the one at THAT church) in the stage patterns in the "Preghiera." I will try to get more information.

I put this up before, but it disappeared! Apollinaire Scherr has a review of the day in The Financial Times, that has some interesting observations.

Yes, (I believe it's reversed though) and the filmed Balanchine bio-pic shown on Saturday cuts from that image (of God creating Adam) to Apollo and Terpsichore. My late aunt often spotted images from paintings in Balanchine's work, but I do not remember what they were. Some of his tableaus recall certain painting styles. "La Source" comes to mind, I'm not sure why.

Wow Violin Concerto, you really socked me in the gut with that statement about Balanchine. It made me realize why I love his ballets so much. I've always been drawn to mystics. They vibrate to a higher tune than the rest of us. They have the ability to transcend normal human needs and wants in order to communicate and draw closer to the Divine. I think that's how Balanchine lived, loved and created. He did say he was a cloud in pants after all. Did he really say that? ViolinConcerto, I also started going to NYCB in 1978, but I did not appreciate the leotard ballets and stripped down aesthetic at that point - I was too young and callow. I wanted frou frou and scenery and stars like that other company. As time went by and I saw more, Balanchine convinced me of his way. I became a worshiper. No, Balanchine didn't say any of the above.... that was what I felt his ballets showed.

In the discussion of the on-stage class at Saturday's Balanchine's Birthday bash, they talked about the NYCB bow, and how it differs from others. I don't know how to put in a link to a specific entry, but #29 on this page: has a bit of discussion.

When Sean Lavery brought up the question about how the dancers' compared Balanchine to Robbins, I remembered that when I first began carefully watching the company in 1978, my feeling (epitomized by "Liebeslieber Walzer" in 1983) was that in Robbins the dancers were talking to each other, and in Balanchine, their SOULS were talking to each other.

It's available on Netflix -- with a short wait indicated.