ViolinConcerto

I got a sweet reply from Carrie Lee, but couldn't respond..... Carrie Lee, I also hope you are doing well on the "Left" Coast.

I'd say that's a pretty good deal. Here's the link:

Good luck!

(I just saw another copy there, too.)

So far no luck locating notes, but the Library says they have a searchable database..... I didn't find anything searching for Sapphires + Balanchine.... but I shall continue the search.

I remember Peter Stark as a reliable, intelligent, attractive corps member of NYCB. I'd like to hear how you think he is doing with his company, and where this company is located. Has he done any choreography?

Oh, I'd love to know.... it's one of my favorite dishes, and when I was first in France (not eating meat....) one of the few things I could order without problems.

Good points, Amy. I'm still interested, however, in what "sapphire" connotes to people. We can all relate to "diamond" and its emotional symbolism. But sapphire? I guess I'm thinking here more about speculation or even fantasy, not necessarily serious plans for the creation of a new work for NYCB, or reasons why not to do one. Violin Concerto, did that Harvard Theater Library exhibit give us an clear idea of what was originally planned, at least in terms of look?

I am looking for my notes, but I do remember at the end of the exhibit, at least one small mock-up of a set. Will keep looking.

At the Diaghilev/Balanchine celebratory exhibition at the Harvard Theater Library in Cambridge in 2009, there were mock-ups of sets, and several descriptions of designs for "Sapphires." So there was considerably more than "talk."

Thanks for the link abatt! The figures the NY Times provides are illuminating:

City Ballet board members are expected to contribute or raise at least $100,000, and generally more for chairmen.

City Ballet is trying to pare down deficits that reached $8 million in 2008 and have dipped to a projected $1.4 million on a budget of $62.4 million this year.

I also looked at the annual report on the NYCB website:

http://www.nycballet...ny/reports.html

For the year ending June 30, 2010 (the most recent available), the company received about 25 million from ticket sales, and (among other sources) about 3.6 million from special events, 2.3 million from Guild memberships, 2.7 million from foundations, 1.2 million from corporations and 7.5 million from individuals.

Yesterday I received an email saying in part:

"The end of our fiscal year is June 30 and we have yet to hit our goal. We need your help… We have been closing in on that target [$150,000], but are not there yet. This is the bottom line: your gift today, matched by the [named] Family on a dollar-for-dollar basis, will help the Company end the year in its strongest fiscal position in years."

This is all very interesting considering the near total secrecy surrounding Board contributions and financial matters that NYCB maintained well into the 1990's. Fund-raising letters often mentioned targets, matching funds, and the like, but NEVER revealed the amounts that were expected from potential Board members.

Great article on Heather Watts and her work in dance education, right now much focussed on the Vail Festival:

http://www.huffingtonpost.com/adria-rolnik/heather-watts-on-the-powe_b_1615703.html

Here is a link to an obit for Ms. Ludlow, from the Salt Lake Tribune:

http://www.legacy.com/obituaries/saltlaketribune/obituary.aspx?n=joy-feldman-ludlow&pid=158045461

...and a brief quote:

1937 ~ 2012

Passion, a word not nearly powerful enough, helps describe Joy's dedication to classic ballet. Her career began with the legendary George Balanchine when she was a 16-year-old dancer with the New York City Ballet ("Symphony in C," "Swan Lake," "Firebird," and many others). It continued with nearly four decades of teaching aspiring young dancers in a score of schools. She was founder, manager or director (or all three) in local and regional companies from Oklahoma to California to Utah.

Joy Feldman Ludlow died Saturday night (June 9, 2012) in her home in Salt Lake City, surrounded and embraced by her loved ones. She hadn't smoked in 25 years, but the cause of death was lung cancer. She was 75.

I am also glad it's happening, but we have to consider that this film will be putting out the hat to raise funds, and right now, there's really not enough to go all around. I hope that films like "In Balanchine's Classroom," will not lose out.

http://www.shopgoodwill.com/auctions/New-York-City-Ballet-1964-1965-THE-COMPANY-Book-10224544.html#des

http://www.ebay.com/itm/New-York-City-Ballet-Anatole-Chujoy-Acceptable-Book-/300727877328#ht_626wt_907

I had not gotten around to checking the programming for Fall--and this thread did not leave me feeling optimistic--until tonight. I'm rather excited. If there were ever a block program I could live w. (speaking as someone who usually has to arrange a weekend trip to see any ballet and wants to see as many ballets & dancers as possible) it's Stravinsky Violin Concerto/Monumentum-Movements/Duo Concertante/Symphony in Three Movements.

Actually I would under any circumstances want to see that program more than once since it's pretty intense to take in so much at one go...And if I can't make that weekend there is also an Apollo/Orpheus/Agon block which will decidedly repay repeated viewing. I'm not a fan of block programming per se...but I'm pretty pleased about my options in the Fall (assuming circumstances permit travel etc.).

I'm afraid to say that it will also be interesting to see if these intense Balanchine-Stravinsky modernism programs really do sell much better than Martins-Millepied or Double Feature--or for that matter than Wheeldon-Ratmansky or Sleeping Beauty. My guess is that the Apollo/Agon one will do well--not so sure about the Violin Concerto program...In any case both are programs decidedly aimed at the "old time" NYCB audience...

Like me!

Thanks, as always Leonid and Helene, for the information. When I went to London last year for the Diaghilev exhibit, I managed to get to Ivy House for the last day of the exhibit of portraits of Karsavina.... (ironic, yes?), and through the finagling of a very assertive photographer friend got to walk in the gardens, right up to her pond. I felt very, very priviledged.

any idea when and where this was?

I saw "Double Feature" several times when it first opened and enjoyed much about it: the historical references, the costumes, hair, mime, story, moving sets, characterizations, and more. I even loved to "hate" Kyra Nichols as the original mean mom in "Blue Necklace." Also, there was that unbeatable point when Ashley Bouder bounded out from behind the couch in her teen-aged incarnation: it was a true "star is born" moment, and it stuck. What I particularly LOVED about it was Tom Gold in "Makin' Whoopie" and I was hoping they'd get him back as a guest artist for this run.... but no such luck. He was such a perfect Buster Keaton that it brought it all up a few notches. And don't forget Damian Woetzel as THE perfect matinee idol, and the mobs of brides in part II. And of course, the Boston Terrier was a perfect match up. I miss that particular pup. I just let myself "go" totally with the corn and silliness and loved it.

Those are all great suggestions,and I'm familiar with some of them. (There are also great book trading opportunities online.) I mentioned New York because they don't accept donations anymore (and they don't even have the great sale they used to have!!). I visited Kaatsbaan once, and talked to them about books, and donating. They had noticed that young dancers aren' t interested, but later they begin to appreciate the importance of history. I haven't noticed that. I would leave all my books to Kaatsbaan, because their hearts are in the right place, they are starting a great collection, lots of young dancers are aware of them. My fingers are crossed that the organization will survive.

Thanks! Very handy. This relates to Jane Brody's column in today's New York times about "de-cluttering."

I have a small collection, maybe about 100 -200 books, mostly about Diaghilev and Balanchine. I love them, and read them irregularly. Mostly I dive in to check facts, remind myself about an incident or person, or compare versions of the same event.

Right now I am very behind in reading them due to the recent spike in Diaghilev and Balanchine books published. I vascilate between wanting to get rid of all of them, and just going out and grab everything I can get.

Because, in the future, what will happen to them? Who would want them? libraries in NYC turn them down repeatedly according to my friends, as the libraries have enough. People in small towns have no desire or knowledge about the topics.... universities don't seem to want them. SAB students don't want to read about dance history, they just want to dance.

Thank you so much for your efforts and sharing this event!

I too remember his handsome, dignified presence in the orchestra pit and on the stage -- the dancers clearly loved him. In his long and productive life he influenced generations of music and ballet lovers. An aunt of mine, who was a pianist, and often came with me to the ballet, remembered him from the 1930's or early 40's when he taught at one of the neighborhood music schools in Manhattan.

Someone sent me this obit. Since I don't know where it comes from, I can't provide a link, but I hope it's OK to post:

Hugo Fiorato

Hugo Fiorato, Principal Conductor and Conductor Emeritus of the New York City Ballet Orchestra, of Southport, CT and Martha's Vineyard, died peacefully at age 98 in Boston. At the time of his passing, he was surrounded by family.

Born 1914 in New York City, Hugo Fiorato was the son of accomplished sculptor Noe Fiorato and singer Anna Kress of New York City.

Maestro Fiorato actively performed with New York City Ballet for 56 seasons since NYCB's inception in 1947. He retired from his full-time position at New York City Ballet Orchestra at age 90, becoming Conductor Emeritus.

He was a close friend of the company's founder, choreographer George Balanchine. During the 1940s and 1950s, along with his duties at the New York City Ballet, Mr. Fiorato conducted the radio orchestras of the NBC Symphony. He also founded the nationally esteemed WQXR String Quartet, with which he performed for more than 20 years. Conducting ballets through five decades for different generations of dancers, Mr. Fiorato always kept in mind how Balanchine originally wanted the music played.

For 20 years, Mr. Fiorato was a summer resident of Martha's Vineyard, at a small house overlooking Lambert's Cove in West Tisbury. He was an avid fisherman and an accomplished water color artist, finding much relaxation and inspiration on the Island.

Maestro Fiorato was predeceased by his wife of 35 years, Joelyn Scott Fiorato, and his daughter, Jan Fiorato. He is survived by his son, James Fiorato of Block Island, his stepsons, Christopher Scott of Edgartown and Jonathan Scott of Boston, and his stepdaughter, Stephanie Hunt of Stowe, Vermont, their spouses and six grandchildren.

In lieu of flowers, contributions may be sent to: Joelyn's Family Home, Victory Programs, 965 Massachusetts Ave., Boston, MA 02118.

Tobi Tobias published a short comment on this book in her web column. Here is the link.

(Quiggin)

I always wonder how different Balanchine's works must have looked when they moved from City Center to the voracious stage of State Theater.

In the video biography of Balanchine, he says that he always envisioned a large theater and large stage and had composed with that in mind.

A great memory, carbro. Thanks. And not Off Topic at all, I think (considering how exceptionallky far-ranging this thread has became.

Lopez, like Villella, is a former dancer who will be in charge of dancers. Memories of her own career on stage are very relevant, it seems to me.

Do you have any more such memories? Helene? How about others who followed NYCB in those days?

For example, am I correct in thinking that I remember her in Firebird? Wouldn't THAT be an interesting Balanchine addition to the MCB rep, assuming that there is a dancer who can carry the part.

Yes, she did Firebird several times -- but was 3rd cast, as I remember: Merrill Ashley was 1, Valentina Kozlova was 2. I never cared for Merrill Ashley in that. To me, Lourdes channelled Maria Tallchief in looks and style, especially because for the 1985 (?) revival they used a copy of the tutu from the NYCB original production. I felt that Lourdes was very solid and firm in her approach.

One of the things I liked Lourdes in was Concerto Barocco when she danced with Merrill Ashley: they were very much in synch, and to me seemed like sisters when they did the duet. I also especially loved her in the Mozart, and Stravinsky's Symphony in 3 Movements, more than in the Violin Concerto, obviously my favorite ballet.

But I can't completely concur with those of you who have said that a dancer's style will be transmitted to a Company when they become director. I don't think that Peter's style of dancing (perfect, cold, icy) has predominated NYCB these past nearly 30 years.

After Christopher Wheeldon's first exposure to Ballet -- seing Ashton's "Fille Mal Guardee" on TV, he fell in love with the chicken dance and got his parents to take him to see more ballet, and then to study.

His first choreography was a "prequel" to Swan Lake, with the birds hatching. There is much about this online. ALSO.....

A costume sketch of canary chicks for the ballet " Trilby" drawn by Viktor Hartmann inspired Mussorgsky's "Ballet of the Unhatched Chicks" section of "Pictures at an Exhibition." First performed at the Bilshoi in 1871. Choreographed by Petipa

http://www.stmoroky.com/reviews/gallery/pictures/hartmann.htm