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:

A 12-year-old student at the Paris Opera Ballet school fears that her idol, the company's star, will be replaced by a Russian ballerina, and she causes an accident that ends the visiting rival's performing career.

This brief synopsis carries only a hint of the magic and depth of ''La Mort du Cygne,'' the legendary 1937 film starring Yvette Chauvire (then 20 years old), Janine Charrat (then 12) and Mia Slavenska (then 23), which the French Institute/Alliance Francaise has made the centerpiece of a blockbuster screening of French dance films. The series begins on Sunday.

Here is a description of the panel:

Living legends will be on hand. Ms. Chauvire, who gave her farewell performance at the Paris Opera Ballet in 1972, is one of France's greatest ballerinas, and Ms. Charrat, one of the most interesting French choreographers, was a leading dancer in the 1940's and 50's in various creative French companies, including her own. Both will join a panel moderated by the critic Robert Greskovic at 8 P.M. on Monday between two screenings of ''La Mort du Cygne,'' at 6:30 and 9 P.M. at Florence Gould Hall.

Ms. Slavenska, the Yugoslav-American ballerina who starred in the Ballet Russe de Monte Carlo and later in her own Slavenska-Franklin Ballet, will participate by conference call from Los Angeles, where she still teaches

Ms. Slavenska was one of the dancers featured in the excellent film "Ballets Russes." I believe she passed away since the film was made.

The Concert. Thank goodness that NYCB usually programs it at the end of a triple bill. I just leave at the 2nd intermission.

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!!!

1-Le Lac des Cygnes-(Act II).Ivanov/Tchaikovsky

They did the old fashion Pas de Deux-a-Trois. I don’t think I’ve ever seen it performed this way before. The original choreography- (just as with every one of those presented)-was completely respected. One of the things I kept thinking while watching was: “Great...…Miami is watching the real deal”. Odette’s solo was beautiful. I noticed that in many segments they decided to show just minimal bits of parody...…probably like a 5%, and…just enough to get some laughing here and there, but the other 95% was the real stuff.

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.

longtime NYCB watcher Edward Gorey recalled that the once-famous 'throws' - that is, when the sylph, originally Tallchief, was passed from the hands of small group of the corps de ballet Scotsmen by means of throwing the ballerina through the air into the arms of her swain/partner(originally Eglevsky) - were changed to a kind of pass-off from the men's arms into those of the leading male dancer when Tallchief went crashing to the floor in a cast-change performance that involved Erik Bruhn.

i have no way of checking the accuracy of the recollection or just what he, Gorey, recalled during the 1970s as what happened earlier, presumably around 1960.

my copy of Goldner's BALANCHINE VARIATIONS is not to hand, but if mem. serves, she addresses the ballet in one of her essays.

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:

Kravis Center for the Performing Arts To Host World Premiere of STEVEN CARAS: SEE THEM DANCE February 24, 2011

Documentary About Ballet Dancer/Photographer Will Begin Airing on Public TV Stations in March

WEST PALM BEACH, Fla.--(BUSINESS WIRE)--The Kravis Center for the Performing Arts will host the world premiere of the new public TV documentary STEVEN CARAS: SEE THEM DANCE on February 24. . . the film concerns the life and work of Mr. Caras, a former New York City Ballet dancer, who transformed his career to become one of the world's most renowned dance photographers.

It is directed by Deborah Novak, and talks about the 1950s,

when men did not readily pursue a career in ballet without escaping unscathed. In spite of the bullying he endured, Caras persevered, receiving full scholarships to the Joffrey School and the School of American Ballet in New York City. At 18, with only three years of training, he was personally invited by the legendary choreographer George Balanchine* to join his company, the New York City Ballet.

Even while still dancing Steven began a second career as a photographer, and much of that career is shown in the film.

Lucky Floridians:

Both director Novak and Terry Teachout, Wall Street Journal drama critic and author of All in the Dances: A Brief Life of George Balanchine, will engage in a conversation with Mr. Caras onstage at the Kravis Center's world premiere of the documentary on February 24.

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:

Every time we say goodbye

I die a little

Every time we say goodbye

I wonder why a little

Why the Godss above me

Who must be in the know

Think so little to me

They allow you to go

When you're near

there's such an air

of Spring about it

I can hear a lark somewhere

begin to sing about it

Theres no love song finer

But how strange the change

From major to minor

Every time we say goodbye

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.

...there was one young man, on the short side, in the center, who I felt was quite good and Martins completely ignored ...

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.

In "Apollo" before the Pas de Deux begins, Terpsichore's and Apollo's fingers touch each other. Isn't that from the Sistine Chapel?

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.

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.

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.

the filming in question here is most likely that which ended up as follows below, it should not be hard to find - it's been released variously on videocassette and dvd. (the suggested identification of the shade-wearing fellow as John Hart seems a good one as he's credited as having assisted Ashton in this project.)

An evening with the Royal Ballet / British Home Entertainment Ltd. in association with the Royal Opera House Covent Garden ; produced by Anthony Havelock-Allan.(87 min.) : sd., col.

Filmed at the Royal Opera House, Covent Garden, London, 1963, under the supervision of Frederick Ashton, assisted by John Hart. Danced by the Royal Ballet.

Music performed by the Orchestra of The Royal Opera House Covent Garden, conducted by John Lanchbery.

Le corsaire [pas de deux] / film directed by Anthony Havelock-Allan ; choreography, Rudolf Nureyev ; music, Riccardo Drigo ; danced by Margot Fonteyn and Rudolf Nureyev.

La valse / choreography, Frederick Ashton ; music, Maurice Ravel ; danced by the Royal Ballet.

Aurora's wedding (Act III of The sleeping beauty) / film directed by Anthony Asquith ; choreography, Nikolai Sergeev after Marius Petipa ; music, Peter Ilich Tchaikovsky ; sets and costumes, Oliver Messel ; cast: Fonteyn (Princess Aurora) and David Blair (Florimund); Graham Usher, Merle Park, Georgina Parkinson (Prince Florestan & his sisters); Antoinette Sibley, Brian Shaw (Bluebirds); Douglas Steuart (Puss-in-Boots) & Virginia Wakelyn (White cat); Ann Howard (Red Riding Hood) & Ronald Plaisted (Wolf); Alexander Grant, Keith Milland, Lawrence Ruffell (Three Ivans); Leslie Edwards (Cattalabutte); Ray Powell (Carabosse); Deanne Bergsma (Lilac fairy); Derek Rencher & Gerd Larsen (King Florestan & his queen).

Les sylphides / film directed by Asquith ; choreography, Serge Grigoriev and Lubov Tchernicheva after Mikhail Fokin ; music, Chopin, arr. by Ray Douglas ; danced by Margot Fonteyn and Rudolf Nureyev, with Merle Park (valse), Annette Page (mazurka), and members of the Royal Ballet.

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