ViolinConcerto

Back to the topic of Premieres, new ballets, etc.

i scanned the data given for each ballet.

not sure what you mean by 'production credits'.

production crew, whoever else was associated with the tour.

Does your program include production credits?

No ballet company has every operated at a profit. The great companies of the French and Russian courts were supported by the rulers and the ruling classes. Our patronage, membership, private, corporate and government grant support are merely attempts to copy that system of backing.

If the NYCB were to sit on its creative butt and perform only "oldies but goodies," well, we might as well stay home and watch our videotapes of Merrill, Suzanne, Sean and Peter (not to mention Margot, Rudy, Eric and their ilk).

Risk is part of creativity, and creativity is the name of the game, not complacency and security. Not everyone doesn't like the new choreographies -- there have been torrents of cries of audience approval for every premier that the critics and older fans (myself included) have panned. That's OK with me, we need new audiences, and they will grow and learn to love more and more IF they continue to come.

But, again, the Artistic Director has diverse groups to please, and just as important as pleasing the Board and the critics is pleasing the dancers. At the risk of breaking Board policies momentarily, I'll say that I recall speaking to several corps dancers, at least 20 years ago, about a new work that I thought was awful (though I didn't say). Their response was that they loved dancing it. That means the choreographer had "fed" them, and they enjoyed the meal. Those are the dancers who will enjoy and love their work, and that transmits to every one of us, connecting at a subconscious, gut level and keeps us coming.

This is wonderful, but what about Violette Verdy?

I think she already coached her part: Distinguished Professor Violette Verdy to tape video series for Balanchine Foundation.

Yes, thank you for that link. I cannot resist inserting one of her, as usual, beautiful and intelligent quotes from that article:

This documentary is now available online in its entirety. Here is the link.

I have only looked at the beginning, and though I believe that Cox's impulse was good and his sources and resources are excellent, it's a little too "self conscious" for my taste. However, I will look at the rest, and hope that all those who do see it will comment here.

This is wonderful, but what about Violette Verdy?

Mr. Balanchine, who used food images frequently in his descriptions, said that his job was to "FEED" his dancers*, specifically by creating new works. He also recognized that not all his own works were masterworks (see the many references on this board to PAMTGG), although I think that all of us can agree that he had a considerably higher percentage than most choreographers. But if you look back at the history of NYCB, and its repertory, you'll see that from its beginnings, Mr. B invited others to contribute to the care and feeding of his dancers. Tudor, Bolender, (Ruthanna) Boris, are just the ones that pop into my head at 5 a.m.....

Since Mr. Martins took over, soon after Mr. B's death in 1983, the whole idea of adding new works to the repertory has been of utmost importance, for reasons that many of you have already cited. Mr. Martins has tried many approaches. He realized that he could not supply the Company with all the works it needed, and until 1998 he, like Balanchine, shared the bulk of the responsibility with Jerome Robbins. Mr. Martins has also brought in outside choreographers, several times creating "Festivals" to quickly increase the number and scope of new works. Mr. Martins is, if nothing else, a great "showman," and the Festivals -- some of which exclusively celebrated Mr. B. -- were always well put together and well attended. Each time he had to have the Board "on board" so to speak, because these events had to be budgeted. Personally, I can't imagine being able to stand in front of the Board to propose yet another Festival -- I'm sure not all of them truly understand the importance of creating new works. When Mr. B was alive, he didn't have to ask permission, he just spoke to Mr. Kirstein, and off they went (but he knew what was coming: Mr. B. is also quoted as saying "Après moi, le Board").

The first really ambitious Festival was the American Music Festival, in 1988, just 5 years after Mr. B's death. Martins invited many outside choreographers -- from first timers to experienced (like Paul Taylor) and gave them their chance. He also gave them buckets of money, and the lesson of that festival became the guidelines for future events: no sets, only variations on leotards for costumes, because some of the 1988 premiers were such visual turkeys. The "Architecture of Dance," with its five (?) ballets designed by Calatrava was the first time since the 1988 endeavor that he bent those guidelines on a large scale.

Mr. Martins has also attempted to foster the choreographic talents of past and present members of the Company, at workshops and for main stage productions. That was the way that Christopher Wheeldon got started choreographing for NYCB (he had been choreographing since age 8). Among others were Miriam Mahdaviani, Christopher d'Amboise, Bart Cook, Robert LaFosse, and Alexander Proia. The New York Choreographic Institute (for which Justin Peck has just been named Resident Choreographer [not sure of the title]) is another attempt at stimulating young talent. I personally feel that this area is where Mr. Martins has not pushed hard enough, or given enough dancers enough opportunities. We should have seen more from those dancer/choreographers, and seen more individuals given their chance.

Using "names" like Strohman, LuPone and MacCartney (and now, Millipied) is a great opportunity to enlarge the audience while building the repertory. We're lucky we have the status and draw to appeal to those artists, because hopefully the people that come to see those new works, will come again -- unlike "Nutcracker" audiences. (How many times has someone told you, "Oh, I just LOVE ballet, I've seen 'The Nutcracker' twice!!")

Whether or not the resulting work is a hit, or masterpiece or flop and does or does not enter the repertory is not the only issue. The issue is the "feeding" of the dancers and the commitment to creativity, in the hopes that both the dancers and the audience end up feeling "full" and hopefully, satisfied.

*The 1984 video biography shows this statement.

i moved to new york because of city ballet! What is martins doing!? i too, i think, will have to boycott or move to miami or something. can't buy third ring tickets. makes me so sad and mad. thought maybe seats would open up now that single tickets are on sale. no.

We can all, including Macnellie, breathe a sigh or two of relief. A letter has gone out to former 4th Ring Society members stating that "Society NYCB" will be opening up. There is a $20 membership fee and you can buy two tickets (they don't say where) at $15 each. The seats will be released Monday, two weeks before the performance week. It's quite complicated, and I can't copy it all, but I'm sure it's available online. Maybe a Press Release.

All tickets (ALL TICKETS) will have the $2.00 facility fee, and there will also be a $7 Service fee on the phone (maybe online, too) but if you say you are a "society" member, they will waive it.

The letter is from Karen Girty, Director, Marketing. The membership is available until Oct. 31, 2011 Marketing office phone is 212-496-0600. ( I guess they used up the 870-5--- numbers!)

They were the Big Featured Wedding on the right hand side of the page in a box, like Bushnell and Askegard. I just love reading these things, especially bearing in mind what the couples do to get listed and what they want the NYT readership to know about them. Vanessa Zahorian and Davet Karpetyan were also featured in today's listing.

To get into the Times listings, you submit your own story, etc. They fact check like crazy. To be in "Vows" probably requires going through another few selection levels. So nothing gets in that they wouldn't want the NYT readership to know.

Also Henry Seth behind Andrew. There was a similar photo in a Westchester paper last week, and Henry was the only identifiable other Company member.

Remember that Garfield was a student in New York of Maria Ouspenskaya, who taught the entire Stanislavsky System (not just "the Method") to her students. Stanislavsky's comprehensive training for actors contained dance as an integral part of the skill set. Mordkin, being a fellow Russian, would have been a logical choice for an Ouspenskaya student to take class from.

Oh yes, Maria Ouspenskaya was from the Moscow Art Theater and Stanislavsky, et al.. Mordkin, or Adolph Bolm would indeed have been logical choices for some ballet training for actors. There was an old ballet film on TCM several years ago. Forgot the name of it (maybe The Mad Genius) but it had.John Barymore as a Diaghilev type figure who turns a young boy into a great ballet dancer. Nijinsky? Adolph Bolm did the choreography and there is a ballet in it, ending with on stage murder of Barymore. The ballet used a real dancer in long shots but as it was around Garfield's era, perhaps it was what he was thinking of as a vehicle. Early 1930s I believe. I had it on tape but disappeared long since. Interesting to see ballet choreography of that era..

I saw that, (although I couldn't watch it to the end) and was going to mention it when I referred to Garfield's original name, but couldn't remember the name of the film. it was THE WORST, WORST, WORST film I ever saw. The acting was... how can I put it... worse than amateur. The choreography in the rehearsal scenes, with Bohlm, was also atrocious.

Good for laughs, if you can stomach it.

Do you think it was all dance, or part dance, part dialogue? I notice Stanley Holloway listed as the third lead. He was a comic actor (wasn't he Mr. Doolittle in "My Fair Lady?"). Maybe he played "Bottom!"

I think I posted this link on another thread about "Raymonda," but it's worth a read. It's called "The Petipa Code," and it has an exhaustive background -- geneology of the real characters included. Wikipedia has a very complete structure of the ballet -- I guess it's complete, I really don't know. Doug is the expert here.

I did a little "Googling" and came up with some sad news about Ms. Curley (that some of you may know):

Wilma Curley, 62, Ballet and Broadway Dancer, By JENNIFER DUNNING (Published: October 23, 1999)

Wilma Curley, a ballet and Broadway dancer who became noted for restaging works by Jerome Robbins, died on Oct. 16 at St. Luke's Hospital in Manhattan. She was 62 and lived in Manhattan.

The cause was liver failure, said the dancer Christian Holder, a friend.

Here is a link to the obit in the Times.

MRR, I apologize for assuming that the fall described was the one in the ballet -- you mentioned it near your description of Janie Taylor letting down her (glorious) hair, which "happens" after the choreographed fall.

And thank you, MRR for your very detailed descriptions and critique!

MRR, I'm not sure if you've seen "Serenade" before, but in case you haven't, there is a choreographed fall, which precedes the dancer taking down her hair. Like the girl coming in late, it is based upon an incident during the early rehearsals. You can read about the fall and the incidents during Mr. B's choreography of "Serenade" in a number of books including "Balanchine Variations" by Nancy Goldner and "Balanchine's Stories of the Great Ballets," by Mr. Balanchine along with Francis Mason. The 1984 PBS filmed biography of Balanchine shows him discussing the creation of "Serenade" as well.

rg, as usual your research, finds and insights are priceless!

Here's a summary of the season in Paris from the Miami City Herald.

This is a brief quote:

A feature this week in Le Monde, one of Paris’ leading newspapers, cited MCB as a prime example of Miami’s cultural explosion, and praised the troupe’s “sophisticated elegance, with a je ne sais quoi of modesty and generosity that makes all the difference.” London’s Financial Times described the audience’s reaction as “rapturous,” noting that “the dancers’ exuberance and faith in the steps are infectious, and theirs is an all-American musicality that sheds new light on ballets that have grown formulaic and dull on this side of the Atlantic.”

I'm sure Mr. V. is bursting with pride, and that Mr. B. is smiling as well.

In the book, "Dance and Photography," by William A. Ewing, Henry Holt and Co., 1987, (Published in England as "The Fugitive Gesture") the Forward and Introduction are essays on that very subject. I cannot vouch for the essays (very historical) because all I do is look at the photos. By the way, there are NONE by Martha Swope, Fred Fehl, or Paul Kolnik! Serious omissions.

puppytreats, you might try Jonathan Weinberg's "Substitute and Consolation: The Ballet Photographs of George Platt Lynes" in the book "Dance for a City: Fifty Years of the New York City Ballet," edited by Lyn Garafola and Eric Foner. I don't know if Amazon has it, but as you may know, purchases made through the Amazon link at the top of Ballet Alert pages help keep this site afloat.

It is available at the NYCB Gift Bar, and perhaps online.

Happy to share news of the promotion of Chase Finley and Anthony Huxley. It was just posted on "Broadway World."

Congratulations to them both!

The Sydney National Herald has posted an obituary for Marina Berezowsky.

She was born in St. Petersburg, and through her long life, studied, taught, spent time in a displaced persons camp and emigrated to Australia:

During the German occupation of Ukraine, the company was conscripted to travel entertaining German troops. After the war, the Berezowskys spent four years in a displaced persons camp near Hamburg, before they moved to Perth. There, with Kira Bousloff, she co-created the West Australian Ballet.

In 1956, the family moved to Melbourne, where they befriended Xenia and Edouard Borovansky in the heyday of the Borovansky Ballet. Berezowsky became a talented, intelligent teacher, involved in the development of performers, characters, actors, stagecraft, and choreography.

When the Australian Ballet School opened under Dame Margaret Scott in 1964, Berezowsky, by then aged 50, joined her as one of the original four teachers

Read more: http://www.smh.com.au/national/obituaries/great-leader-and-teacher-of-dance-20110712-1hc2h.html#ixzz1SBlVFNpj

Her early beginnings were equally fascinating:

Born Marina Narbut in St Petersburg, her family had moved there from Kiev in Ukraine. Her father, Georgij Narbut, was a famed graphic artist, and she was brought up in The World of Art circle of artists including the legendary Serge Diaghilev, Leon Bakst, Alexander Benois and Michel Fokine. She learned painting, drawing and classical ballet at an early age.

Read more: http://www.smh.com.au/national/obituaries/great-leader-and-teacher-of-dance-20110712-1hc2h.html#ixzz1SBkYZBnn

As a result of not renewing my third ring subscription I got a call last week from a volunteer at the NYCB. He was very pleasant and tried very hard to convince me that a far off center seat in the 2nd ring would be a great seat to view the ballet at an affordable price. I did not buy it. He finally said that NYCB was restructuring its prices to be more in line with other entertainment venues in NYC and was way behind in doing this, and later on that they had a $6m deficit and had to deal with it by increasing ticket prices. I pointed out that the new subscription price structure and the various strange "turn off" mailings sent to me as a subscriber said to me that NYCB was looking for a different level of clientele (i.e. richer) than those who occupied the center seats in third and fourth ring, and while I do not like the new policy, they are certainly free to do as they wished, but it now excluded me. The gentleman was very pleasant and spent quite some time on the phone trying to convince me to resubscribe. Now NYCB prices have increased over the years but I always felt that they kept the prices in line so that NYCB was affordable all round and kept to the original aim of bringing ballet to as wide an audience as possible. Now there is a new policy in place. I hope it works for the sake of ballet in the spirit of Balanchine and for the dancers. I look forward to seeing NYCB maybe once or twice a year depending on what is on and whether I can get decent seats at affordable (probably discount) prices. But this is also an opportunity to see other ballet companies that visit NYC with the $ I would have used for NYCB. When I hear the music on the radio I am already nostalgic for the ballets to these scores I will probably no longer see after 20 years of subscribing but I am sure that this, too, will pass with time.

Cheers!

Trini, I am curious, did the caller identify himself as a volunteer? I doubt very much if this is a task that volunteers would be assigned to. A friend of mine got a similar call (they spoke for over an hour late at night!) and the caller said he was in the the marketing department. He also made arrangements for what my friend thought was a very reasonable location/price, and then, CALLED BACK THE NEXT DAY TO RESCIND! He said he'd made a mistake. Do you think my friend is renewing? No. And he's had his subscription since the 1970's.