ViolinConcerto

I am copying some links to articles and WEBCASTS that I and others have been collecting on the JUST OPENED exhibition at the Victoria and Albert. I am just inserting the links as I received them, seems too complicated to do otherwise: http://www.ft.com/cms/s/2/47dc09f6-c76a-11df-aeb1-00144feab49a.html by Clement Crisp (this, to me is about the best, of course) http://www.thejc.com/arts/arts-features/38474/the-designer-a-century on Bakst http://blog.visitlondon.com/2010/09/diaghilev-and-the-ballet-russes-at-the-va/ The BBC interviews will only be available for about three days. They are highlighted below. Financial Times - Front cover and eight-page feature on Diaghilev, including exclusive photographs: http://www.ft.com/cms/s/2/42096638-c06a-11df-8a81-00144feab49a.html Evening Standard - Double page feature on Diaghilev, focused on London's role in the Ballets Russes: http://www.thisislondon.co.uk/theatre/article-23880428-sergei-diaghilevs-debt-to-london.do Evening Standard - Five-star review by Philippa Stockley, who says: "Bravo to the V&A for capturing the thrill of performance in an exhibition": http://www.thisislondon.co.uk/arts/review-23881747-a-dance-through-time-with-diaghilev-and-the-dazzling-ballets-russes.do Country Life - Exhibition preview by Philippa Stockley, who says: "This is a very important show...because it does what one wants from an exhibition, but so rarely gets: it tells the complete story, reflected in a wonderful, sensuous parallax" The Guardian - Five-star review by Judith Mackrell, who says: "It's the emotional power of the little objects that hits you": http://www.guardian.co.uk/stage/2010/sep/23/diaghilev-golden-age-ballets-russes-review International Herald Tribune - Suzy Menkes' round up of London Fashion Week kicks off with the opening of the exhibition and the continuing influence of Ballets Russes on the catwalks: http://www.nytimes.com/2010/09/22/fashion/22iht-rsuzy.html?scp=1&sq=a%20ballet%20of%20colour&st=cse The Guardian - Exhibition highlighted in a piece about a newly identified painting of Kasarvina: http://www.guardian.co.uk/artanddesign/2010/sep/19/painting-art The Lady - Melanie Abrams explores the world of Lady Juliet Duff - a key funder of Diaghilev The Jewish Chronicle - Feature on Leon Bakst who created the look of the Balllets Russes: http://www.thejc.com/arts/arts-features/38474/the-designer-a-century Visit London Blog - Hannah Collingbourne has posted a fabulous gallery: http://blog.visitlondon.com/2010/09/diaghilev-and-the-ballet-russes-at-the-va/ Vogue (Russia) - Four page feature on the exhibition. In Tune on Radio 3 - Jane Pritchard talks about the exhibition with Sean Rafferty and Millicent Hodson: http://www.bbc.co.uk/programmes/b00ts2h9 Nightwaves on Radio 3 - Siobhan Davies joins Anne McElvoy to give a choreographer's view of the exhibition http://www.bbc.co.uk/programmes/b00ts2kh Front Row on Radio 4 - Mark Lawson talks to Richard Alston, Javier de Frutos and Shobana Jeyasingh, who pick out their favourite objects from the exhibition. http://www.bbc.co.uk/programmes/b00trlbr

I'm in the midst of re-reading "In the Wake of Diahgilev" by Richard Buckle, downloaded notes from the V&A and a guidebook to London, in preparation for my trip, and and running to other related books now and then. The newly-purchased catalogue to the exhibit and new bio of Karsavina go unopened, and it's a bit more than a week before I leave. I have noticed real problems reading for long periods of time since I started using the internet in 1994. But I'm also looking at documentaries: "Doubrovska," by Virginia Brooks (beautiful but too, too short) and "Once at a Border" about Igor Stravinsky, by Tony Palmer. Maybe a return to "The Red Shoes" would be a good idea, as well.

I wanted to post a link to an article about ANOTHER former NYCBallet dancer, about whom a documentary has been made. In this case it's Steven Caras. Here's the link and here is a quote:

I knew there was another documentary I'd just heard about, thanks for reminding me, Bart: Steven Caras. I will add the info and link (to an article in a Huntington, LI paper about a documentary about Steven) as a reply to the information I posted about NYC Ballet dancers in Williamstown MA. which reveals an upcoming documentary about Karin von Aroldingen.

An article in iBerkshires.com announces that a group of dancers will perform "Robert Schumann's Davidsbundlertanzes" at Williams College. If you read the whole article, the most interesting thing, to me, is that there is a documentary on Karin van Aroldingen in the works. Here is the link, and here is a portion of the article:

Good to have confirmation. I couldn't imagine Martins, at that time, dancing his own choreography. Isn't it interesting to see that casting, in light of everything that has happened since.

I can't answer that, but it's very interesting that they chose the name, "To Dance," as the name of their group. That is the title of the autobiography of Valery Panov, who fled the Soviet Union and (I am not sure, but may have touched down in the US) settled in Israel.

Lady Macbeth might be able to offer some helpful (or not) tips on how to sanitize the name that is currently used to refer to the "Building Formally Known as the New York State Theater" I choose to call it "The Theater Formerly Known as The New York State Theater."

I may be wrong, but my recollection is that Martins did not dance it himself, but that Soto and Ib Anderson alternated in the male lead. I remember Heather Watts dancing the female lead, with Darci alternating.

I got to see performances on Thursday, Friday and Saturday evenings. I saw the pre-performance talk Thursday and Sat. They were pleasant and friendly, not truly informative. Daniel Ulbrecht on Saturday was very articulate, and overshadowed the shy Tess Reichlin partly by the force of his personality, partly with what he had to say. He's going to be a great teacher someday. His ambition for doing great things, spreading the word about ballet, and sharing information practically oozes out. On Thursday, Karoui's pre performance performance was excellent, he overshadowed the orchestra and Martins, who was, as someone pointed out, kinda condescending with his clapping. Faroui connected his own (love for) smoking with the "Cigarette" sequence (the teasing, etc.) with subtle humor, a bit of sly cynicism and intelligence. Performances on all three evenings were very good, especially The Four Seasons, both nights. The ceremonial roles were done with great dignity, which is always a kick. Both nights "Winter" and "Fall" were the standouts. I got the feeling that the young company is finally growing into the shoes left behind. Amar Ramasar seems to be maturing (his face looked thinner and more sculpted) and improving in technique, which I previously felt was a bit weak. And for me, Ashley Bouder is head and shoulders above the rest. She gave a little curtain talk (very little) on Saturday, mentioning the press' take on de-mystification, and insisting that the mystery will always be there, coming from within the performers. I think that for me, she shall soon equal Farrell and Nichols in beauty, technique, interpretation reliability, and, yes mystery (though in a different part of the forest from Farrell). I hope she will soon be given more roles that don't need cuteness. Maria Korowski, as always, was pure elegance, musicality, accuracy, calm and flexibility in Monumentum/Movements. I was happy to see my fave rave ballet (guess which), but felt that Sebastien Marcovici, Janie Taylor, Rebecca Krohn seemed to be doing it by rote, and did not inhabit the music as much as I have seen it, and would wish it. Maybe after a few more performances they will get there. La Cour seems to be on the way. Taylor looked too pale, especially with bright red lipstick that emphasized her expressions of terror and frequent contortions of her mouth, as if it was very painful for her. It put me on edge. But that was a small complaint and did not diminish my joy in seeing such beautiful ballet.

from Kathleen O'Connell: Very good, agreed, and for the record, I was totally anti-tutu for years. Only loved the leotard ballets, but in my case it was a TV (and live) version of, what else, the Stravinsky Violin Concerto.

Talking about souvenir books --- how long has it been since one has been published? They were an important means of marking the passage of time, the changes in the Company, the maturing of the dancers, and yes, the changing styles. However, I don't know if we can really compare the new brochure with old Souvenir books. The brochure and ads are outdoors, in papers, bus stops, etc. They are everywhere, unavoidable. The Souvenir books were purchased AT a performance, usually because an audience member wanted to "remember" their night/s at the ballet. The Elgort souvenir books (they were in two colors, red and blue that year) were nearly all in costume in the first section, where the dancers were listed by rank alphabetically. Many, especially the groups, are photographed doing the choreography from the ballets their costumes show. Even Kay Mazzo, whose portrait looks as if it could have been taken in rehearsal clothes, is in a pose and pretty much the costume from "Stravinsky Violin Concerto." It is the group photos where the dancers are in rehearsal clothes. Most of the photos were posed in the then-new studios in the Juilliard building, and everyone was excited at the time about the wonderful light there. However, not one of those outfits is ripped, nor are they wearing half a leg warmer, etc. things which really really set Mr. B off. I still feel that the new brochure's costumes are disrespectful of ballet. Call me old fashioned..... If that look is what draws someone to the Company, what will that person think of the often challenging, often classical, ballets, the abstract ballets, the "fru-fru" ballets, etc.that don't have the contemporary sexy, sultry look. There are very few ballets that look the way those photos look. Will the young people who are attracted only by the "look" in those photos continue to come season after season? Plus, why should there be the focus on "getting to know" the performers? Part of the draw for many years was the mystery and elusiveness that was cultivated by the Company! And how does anyone know that the personalities portrayed are true? After all, they are "performers." Actors, in fact, in this context. I am grateful that Kathleen O'Connell brought me back to my 1980 Elgort souvenir book. Each face sets off an avalanche of memories, some very sad, like Joseph Duell and Victor Castelli. Some happy, especially for those former dancers who I know have gone on to do wonderful things both within ballet and otherwise. It's really a shame that the Company is not publishing Souvenir books anymore... those of us who have stayed loyal and interested treasure having the sequence of books.

The trick is to recycle the paper there as you finish using it -- leaves more space in your bag to bring the exhibition catalogs home! :clapping:

I shall try, and thank you very much!

I hate, hate, hate ballet costumes with men in those wide, elephant-pant-like skirts. The first I saw was I think (and forgive me if I'm wrong) a production of Les Noces by Les Grands Ballets Canadienne de Montreal back in the 80's. Peter Martin used a similar design for (I think -- it's 5 a.m.) Chichester Psalms. Come on!!

They're BIG, They're BEAUTIFUL, They're FUN, They're really good sports, but are they ballet dancers? I commend them for being real troupers and tolerating a floor that could do in a more delicate company. It does look a bit threatening in the splinter department. Seriously, though, I wanted to add that in some parts of India, the extended dance dramas using classical Indian techniques (for example, Bharata Natyam or Odissi, Kuchipudi, etc) are often referred to as "Ballets." Just to throw in a red herring.

In her review of the Karsavina book, Pritchard mentions that The Hampstead and Highgate festival for the arts is having a photo exhibit about Karsavina. It is tied in with the V&A Ballets Russes exhibition. The exhibit will be shown in the London Jewish Cultural Center -- which just happens to be IVY HOUSE: Pavlova's lovely residence. Here is the website, and some quoted information: http://www.hamandhighfest.co.uk/visual.htm

I just happened on the Chujoy book at the New York Public Library for the Performing Arts back in 1978, when I first returned to NYC and got sucked into NYCB by a force stronger than myself (there are no 12 step programs for it). It was especially exciting because many of the people talked about were still alive and there for the bumping-into at Lincoln Center. I'm sure you can find it, even sometimes on eBay, and since I managed to find 2 copies of it just wandering around used book stores. There is always hope. Good luck!

OK. I've seen that P&P -- and look forward to M.F.L.! Thanks.

Who is Carey Mulligan?

Well folks, they were swooped up in one fell swoop. I'll take this topic down as soon as we are confimed.

Hi, I have 5 used books -- duplicates in my collection -- that I would be happy to give to someone who would really enjoy them. I would only ask that you pay for postage, and not sell them for profit. Helene has OK'ed this. If you would like any of these books, please PM me and I'll be happy to send them, though knowing me, it takes a while to get to the P.O. The books are: "NIJINSKY" BY Richard Buckle (a ratty old paperback that came apart in the middle - so it certainly couldn't be sold for profit!!) "BUCKLE AT THE BALLET," 1980 Hardcover "ONCE A DANCER" by Allegra Kent, 1987, Hardcover "THE NEW YORK CITY BALLET" by Anatole Chujoy - kinda beat up Hardcover, 1953, first edition. This is a really great look at the first years of NYCB. 'THE PRIVATE WORLD OF BALLET" by John Gruen, Penguin reprint of the 1975 book.

Thanks much for the alert about the blog. I have a practical question. I tried (from the States) to purchase a ticket to the exhibit, on Oct. 6, so that I can attend Jane Pritchard's Curator's Talk..... and the purchase would not go through. Does anyone have any suggestions????? Please???? And thanks.

Why do they show the brief sections of Glass Pieces using the wrong music? I wouldn't think Mr. Robbins would be any too pleased. It seems very misleading.

THANKS!