ViolinConcerto

I, too, was disappointed in Maria's Firebird -- and whereas drb felt she was like an eagle, I felt that she was too large for the role, literally. As a result, Ivan Czarevitch, as played by Charles Askegard, did not seem capable of capturing her. I also felt something was missing in her Bercuse in terms of her response to the music and the meaning of the section. For my taste, Lourdes Lopez has not been equalled in that section since 1985). Ashley Bouder runs a very close second.

Megan Fairchild was lovely, and Joquin deLuz was very strong, but did not overwhelm with either bravura artillery in his first, nor pensive sensitivity in his second solo. And let's give credit (where due) to the lovely and serene Carrie Lee Riggins, in her role as a soloist.

Charles Ives' The Unanswered Question: was Balanchine's ballet to the music called Ivesiana? When was the last time NYCB performed it? I don't have a good reference.

Thank you!

I believe that IVESIANA was also performed during the 1993 Balanchine Festival. It was the first time I saw it, and the performance consisted of the four pieces Marga refers to:

Complete Stories lists the 4 sections as "Central Park in the Dark", "The Unanswered Question", "In the Inn", and "In the Night".

I'm intrigued by a potato and leek souffle -- I shall have to look for this.

...acompanied, of course, by vichysoise!

For further information on dark chocolate, try http://www.chloechocolat.com/

What a yummy discussion.

SZ is absolutely right about today's Brahms-Schoenberg! It must have been a first to have someone -- Askegard -- "double" in it. As for luck, I'd say that the entire (though sparce) audience was lucky to see Sylve pull out all the stops and be well-supported by Askegard. She just totally sizzled, while in absolute control. At times like that, I wish I could make those loud basso "bravos" that ring out through the theater. It reminded me of the days when Sean Lavery and Merrill Ashley set the stage on fire in the finale. (Of course, the lighting helps!)

Reichlin and (especially) Krohn were excellent in Monumentum/Movements. Krohn really reminded me of Suzanne in her line and her smoldering reserve.

Opus Jazz was a fun way to end the performance -- I love the youthful energy, and the time-machine perfection of the 50's "cool" moves.

"Eva Natanya's no longer with the company - I think she left a couple years ago to study theology from what I read in this forum. "

Duh -- I knew that......but forgot. So thanks, Sylvia for the reminder, and for the information about Ansanelli. That's really good news

Does anyone know if Eva Natanya or Alexandra Ansanelli will be dancing in this production in London or on tour?

The costume reconstruction in 1985 was done by Dain Marcus (I believe that is his name). It was very similar to the one created for Tallchief. When I saw it, in 1985, I had a memory "flash" that Tallchief had worn red tights. In 2004, at one of the Guggenheim talks, I asked her about that, and she said, "They were ORANGE!!!"

Thanks Helene. Since I was pretty sure that there was some Correlli in Square Dance, I checked the Repertory Notes for Square Dance:

Music: Concerto Grosso in B minor, Op. 3 no. 10; Concerto Grosso in E major, Op. 3, no. 12 (first movement) by Antonio Vivaldi and Sarabanda, Badinerie e Giga (second and third movements) (Sarabanda added in 1976) by Arcangelo Corelli

Choreography by George Balanchine © The George Balanchine Trust

Premiere: November 21, 1957, New York City Ballet, City Center of Music and Drama

I was fairly sure it was pretty straightforward, not easily imaginable that Balanchine would have cut pieces out of either of these, but definitely not 'La Valse' itself.

I am very glad you got connected to your answers and an old friend!

Well, Mr. B. - much as he held music in great reverence - has done some editing in his career. He switched movements around (SERENADE), deleted movements (CONCERTO BAROCCO), stitched several pieces by one composer together (A MIDSUMMER'S NIGHTS DREAM), and made a collage of different composers (SQUARE DANCE). He served Terpsichore above all other muses.

On the New York City Ballet website, in the "Repertory" section, the Repertory Notes that the volunteers have created (and I believe the staff edits) often has a complete list of the order of pieces in the music. You might try that as well.

Let us know!

Still in my proselytizing mode to excite you about the beauty of dance from India---

I posted information recently about Nrityagram (May 12 and 13 at Skirball Center) to sell an extra ticket, and -- irony of ironies -- got sick and couldn't attend! This links to that thread, which has a link to Leigh Witchel's earlier review:

http://ballettalk.invisionzone.com/index.p...o=new_post&f=48

A friend went in my place, and he loved it. There is an excellent review by Joel Lobenthal in the New York Sun, http://www.nysun.com/article/32700 that might provide extra incentive for action next time this company comes around.

Here's an excerpt: "The first half of the program consisted of three pieces for the superb ensemble. Ms. Sen's choreography expertly interwove solo figures with ensemble so that the five members seemed like a microcosm. With chains of two and three dancers, she established a call-and-response dynamic between them. All five would combine, hold hands and freeze in a tableau, and then an outrider would again emerge."

I hope anyone else who has seen it (Leigh was going as press) will join me in my missionary zeal and spread the word.

Just to note that on Friday's performance, in Symphony in C, the ever-lovelier Wendy Whelan not only touched her forehead to her thigh, but continued to curve her incredible neck!

When she did, some of the audience responded with startling, mood-killing applause.

Yes, that wouldn't have happened even about 5 years back

Just to note that on Friday's performance, in Symphony in C, the ever-lovelier Wendy Whelan not only touched her forehead to her thigh, but continued to curve her incredible neck!

I haven't been able to attend more than just that performance yet, and miss everyone's reviews!

Let's hear what you think. Thanks.

I think if you were going to select just three, then Leonid has chosen the best to give you the insight you seek.

To quote Bette Davis (in "All about Eve"), "It's going to be a bumpy flight!"

Wonderful! Thanks so much.

Wonderful photos, Amitava! Thanks so much for making them available.

I always thought the purpose of the American Music Festival and Diamond Projects was to seek out current choreographers to stretch the repertoire and to challenge the dancers, stylistically and artistically.

I was wondering about this -- I found it very curious that both Martins and Wheeldon are making pieces for the Diamond Project, when they seem to have many other chances to work with the company.

I had always assumed that Martins and then Wheeldon (like Balanchine) want to keep producing each year, and sort of wrap their new pieces in the moniker of the Diamond Project.

.....and I have often wondered why some of the wonderful pieces that the Diamond Project have produced (Chris d'Amboise's piece, "Circle of Fifths" and Albert Evans' piece to Cage spring to mind first) have NOT entered the rep, where some very mediocre pieces have. But that's another story. Or thread

Morris continues: "For example I will never work with New York City Ballet because Peter Martins has ruined the company. ... And if they can't take care of [George] Balanchine's work, they're sure not going to get a piece from me!"

What a jerk. Thanks, Mark, for refusing to work with NYCB. That'll make it easier for me to avoid you!

I'm not sure his style, which I've never much liked, meshes well with the company anyway.

Morris' attitude is not without basis: Martins clearly snubbed him in the American Music Festival in 1988. There are many choreographers that PM has used that don't mesh with the Company's best abilities and qualities -- I feel that Morris should have been included in that 1988 group. He might have done better than several of the choreographers who were included. At least we could have made a decision.

As you said: "I'm no Martins apologist - he's promoted some terrible dancers, let talent rot on the vine and perpetrated some truly awful choreography, in addition to a few gems. But the company is here and dancing, and I'm very grateful to him for that.'

I second that.

I think that in this, as in nearly every other aestheic issue relating to Balanchine, there are many correct answers.

Through the years I've heard people with all kinds of responses to Balanchine's port de bras: "I don't like the broken wrist" to "He lets the dancers do what they please." At various talks, I've heard how in class he emphasized holding your had as if you were holding a small, fragile ball, or how in the waltz that the men would just hold the women by three fingers, very delicately. Dancers nearly always show a hand with a graceful curve, the index finger higher than the others, and the others arranged something like a fan, the thumb nearly touching the other fingers.

So I just flipped through a few of the 100th Anniversary books and some other books of photos, and you can see a wide range of port de bras: angular in the black & White leotard ballets, soft in the more romantic ballets.

Take a look, you'll see that most of the time the style of port de bras matches the style of the ballet.

VRS, I was fascinated to learn about Luigi's teachers. I watched a few of his classes back in the 70's when a close friend was studying with him -- wonderful and dynamic. I didn't have the vision to see the basis in ballet. Thanks

Like many of you, I gasp when the curtain goes up on Serenade, and Symphony in 3 Movements.

But in the past few years, I've also been thrilled when the curtain goes up on some of Wheeldon's work: MERCURIAL MANOEUVERS, AFTER THE RAIN and POLYPHONIA for example. He has such a strong graphic sense.

I'm not very familiar with the classical repertory, but to go back to a previous thread, I remember the (late) young, delightful Edward Stierle as Alain in FILLE. He had it all -- technique, acting ability, musicality, charm, lack of self-consciousness and understanding. And more. A wonderful memory. A sad loss.

How was the seminar? I had to miss it. Did Maria say anything about re-appearing in the Spring Season? Did Jason discuss how he felt about his promotion?

Could one or two of you post the link again, so that I and others (like Mel Johnson) could try to respond?

I only get the very top of the page when I use the posted link.

Thanks.

re: the film of the first cast, more or less in tact, yes, linc.cent.lib. has a copy, as follows:

La fille mal gardée 1962. 88 min. : sd. b&w. NTSC. ; 3/4 in. (U-matic)

Telecast on BBC-TV, London. Produced by Margaret Dale.

Choreography: Frederick Ashton. Music: François Joseph Hérold, arranged, re-orchestrated and augmented by John Lanchberry; conducted by John Lanchberry. Decor: Osbert Lancaster. Performed by the Royal Ballet.

Cast: Nadia Nerina (Lise), David Blair (Colin), Stanley Holden (Widow Simone)

RG, did Stanley Holden also do theater? I seem to recognize the name and vaguely attach it to something I read done in theater in England in the 60's. Of course, I could be confusing him with Stanley Holloway.....or...??

for some reason, the full page did not load for me. anyone else have that (extremely frustrating) experience?