ViolinConcerto

rg, thanks as usual. I'm hoping that all connections will be working and I'll be able to see it on Sunday from my remote post!

I recently saw the bio-pic, Fonteyn, that others have mentioned here, and there is a discussion on her careful make-up application, plucking of her hairline, and other techniques to change her appearance, so what you have said about her altered cheekbones, etc, does not surprise me.

A link in the aforementioned blog (have to look at that more thoroughly...) with links to Australian National Gallery exhibit, about Le Bal.

I'd love to see her in "Liebeslieder Waltzer" -- any role.

I understand, and, as you can see, we are all "stimulated to further thought!" I am still curious about the references she's made, and wonder if anyone has come across answers to my questions. And, HAPPY NEW YEAR TO ALL.

I posted most of the program on the NYCBallet thread.

I too was puzzled by some of her utterances. Violin Concerto, you used the term "mysterious." As I read the piece, I found the word "oracular" popping to mind. Croce has always had something of the Sybil in her style. From time to time, as I read this piece, I found myself asking: What can she mean by this? Will she develop the idea in future writing? That said, it's great to see Croce publishing again. She reminds me that dance has a cultural resonance far greater, and much deeper, than many critics think.

What both troubles and amazes me (and makes me want more answers and information) are statements like this: Where is that "damning testimony?" What was it? Her piece is not really a double book review: it's an interesting and mysterious essay that leaves us as much in the dark as enlightened. I happen to be very interested in the lives of Diaghilev and his minions, and drank up her review, hoping for enlightenment... and ended up more confused than ever, even though I've read quite a bit (but obviously, not nearly enough). It seems to me that she launches into Scheijen's work, briefly praises Jane Pritchard's but spends most of the essay giving her own point of view on Diaghilev without giving her sources. Am I over-reacting??? Or just ignorant?

...and Delia Peters is one of the children! I also see Rosemarie Dunleavy, William Weslow, another Culkin (Candace), and Nancy Reynolds are among the other small print names. I see a Susan Borree, who I assume is Yvonne's mother. That is so fascinating, thanks loads!

I'm posting this because I'm surprised no one else has mentioned it -- and it's a very important event. JANUARY 22, 2010 - NYCB is celebrating Mr. B's birthday (he would be 107) with an entire day of events at the Theater-formerly-known-as-the-New-York-State-Theater. This is on the website:

A brief article and a few photos about her career and final performance: online here

I printed it out to read over the weekend in NYC, and it's 8 pages, single spaced! Here is a portion of the first paragraph and the 2nd one:

Yes, Christian, especially in comparison to the awful one I just saw filmed in Santiago, Chile, in 1982 with Bujones. He was truly beautiful and the only, the ONLY good thing about the production. Thanks. Last week there was a discussion about MacAuley's observations in a long interview of Fonteyn in the Grand Pas de deux. That discussion, and now this clip reveal an incredible wealth of video clips on You Tube. Will I ever have time to do anything else??

I've been getting every S.B. on Netflix for a few months now, and this week I saw that fabulous Durante/Solymosi/Dowell version. I loved all three of them, and yes, the mother as well. The sets were fascinating. I had seen photos of it when the production was done originally, and didn't understand them... now I do. I've also seen the more recent Royal production with Cojucaro (help if I've misspelled her name1), who I thought was divine as well. I really liked that Carabosse as well. Tonight I watched the S.B. with Bujones (beautiful) and the ballet co. of Santiago, Chile. It was a shame. Slow tempi, abbreviated choreography, slow, unfinished footwork, even some cutting of music (and the addition of a section of "Nuts"). Bujones, rest his soul, was the only good thing in the production. I'm eventually going to make a little chart for myself of all the S.B.'s I'm seeing. I'm trying to make up for lost time... Martins' S.B. at NYCB was my first, and I realized what I'd been missing.

Well, I remember that column with great glee, and it's wonderful that we'll all be reminded of that wonderful spoof. Maybe someone can post it, from the NY'er website. Of course, when I first read it, I took it seriously, and was SOOOOOO envious of all those people, especially, as she mentioned, the waiters and bartenders at O'Neals' (I hope I'm remembering the name correctly). Croce deserves (IMHO) one huge monument.

Some of the photos (Mark Morris, Darci and Rob La Fosse) were beautiful works of art. Some revealed more than I want to know about the PHOTOGRAPHER'S soul/desires, to the point of overkill, obscenity, obsessiveness, silliness and irrelevance to dance. That's not what a photograph of a dancer should be.

what a joy to watch, especially with so many spiral shots from my old 4th ring perpective. I don't like the close ups though. I spotted a young Delia Peters, dont recognize others. I didn't start going until 1978.

Thanks yet again, CM. For those, like me, who don't have a TV, this is a wonder. An intelligent, well rounded documentary on art.

CM, THANK YOU, AGAIN! The two films are quite amazing. (I also got connected to the publicity film from the Het Ballet showing preparations for their Ballets Russes tribute, and audience anticipation. Some of the women in thee audience are wearing clothes that could have been used for the Ballets Russes!) First is Australian news coverage of the major exhibit in Canberra has much information about the exhibit on company, and film of their costume collection, showing details of the workmanship and colors. They certainly have MORE costumes than the V&A has. (I wonder if they were purchased at the same auction that Buckle purchased the ones now at the V&A for the National Arts Counsel.) The other, longer film, ("The Art of the Ballets Russes") has information/closeups about the costumes and includes footage from 1936 - 1940, the Ballets Russes de Monte Carlo (de Basil) by Joseph Ringland Anderson when they toured Australia. Some are in color, so I am not sure if all the clips were from that time. Since Diaghilev would not allow filming of his productions, this is probably the closest we can see (along with the on-the-sly made films of Danilova and Franklin, again, after Diaghilev died) of what Diaghilev presented. From these clips we can get access to even moe You Tube riches. Australia has a right to be proud of their preservation of the legacy of the Ballets Russes, which toured three times in the thirties. I now look forward to your gift of the PBS special, which I fretted about not being able to see (no TV).

Because it keeps "popping up," and people make new comments, I got to see the thread for the first time, so thanks for the renewed questions, etc. I looked at the YouTube clip of Fonteyn posted by Hans in 2008 in color (I have a DVD of the black and white TV version) and noticed at the bottom of the page that Keith Money (who posted it) responded to someone's remarks and said that he has films of the entire first act. Now, THAT is worth waiting for. Wouldn't it be great to have a seminar and look at the many "Rose Adagio's" in sequence (with a good connection) and have open discussions!

Now you know. Well, Amazon has him a writer, and now the New Yorker reveals he was a dancer!!! What an incredible life. And so much was secret from us.

I received a link to this obituary from a North New Jersey paper. She had a very full and interesting life. She was born in Russia: Her involvement with ballet was lifelong as a dancer, choreographer and teacher. Here are two more quotes:

Didn't see this posted, but here, Ashley Bouder responded to the ballet and to MacAuley's catty remarks on the Huffington Post. Girl has a good brain. I take a different position about "girlish" voices. I found many dancers I met had quiet, DEMUR voices. Just think of speaking in class to a demanding teacher.... and they spoke well and intelligently. Just my 2cents.

Well, I must say Doug is quite an amazing being. "Renaissance Man" doesn't even come close to a full appreciation. A gentleman and a scholar, and a wrangler -- an incredible combination.

Connie Hochman, a former dancer who studied at the School of American Ballet, is making a film called "IN BALANCHINE'S CLASSROOM." The film will consist primarily of interviews about Balanchine's teaching methods, with dancers who studied and danced with Mr. B. The list is very long and inclusive. The Dance Films Association has it listed as a film in progress, and is assisting in funding by asking for contributions. Here is a link to their "Films in Progress" page, where you can read more about the film, and make a donation. The film is also on Facebook, where you can see umpteen photographs of the many dancers Ms. Hochman has interviewed, classes given by many teachers trained at SAB (from Jillana to Diana White) and the wonderful fund raising reception given for the film. There are many positive comments by dancers past and present. There are even photos of Martha Swope herself!! I don't know how to provide a link to facebook, since I am not a member (but somehow, I got onto the page, go figure!) but if you have access, this is a MUST SEE! Here is another link to the film, and a clip, which uses Quick Time. I urge anyone who is able to donate to the completion of this film to do so.