ViolinConcerto

I feel that nearly ALL robbins' late ballets that are not costumed In white use those same earth tones and olive-ish green.

His "Faun" has at least two poses that are direct quotes from Nijinsky.

And Balanchine, in "Apollo" quotes Nijinsky's "Spectre de la Rose. " Right after he raises both arms with flat palms, He brings his arms down and raises them again -- elbows first -- and briefly holds that with wrists down, hands on either side of his face.

I just spotted this book at a NYCB performance. I haven't heard of it. Has anyone read it? What did you think??

Regarding Chase in "Apollo," I felt more of the character and story come out this time. I also felt that his problems partnering were related to Maria Korowski's size. I loved what she did, but felt she was too big for him. The same issue--size--affected the ending of "Sonnambula.". This time it was Marcovicci overpowering Whelan.

I agree with the previous poster about Lowery, as I mentioned about two weeks ago. On the other hand, it was lovely to see Rachel Rutherford on stage again.

Marga, that was wonderful of you to quote so extensively from Villella's book. Much information about the ballets can now be found in the programs, and in the "Repertory Notes" distributed by volunteers at the "Info" booths. Also , the "First Position" talks before many performances on the 4th ring right.

Thank you, Leonid -- when I was a little girl (emphasis on "little"), my favorite uncle, knowing that I loved ballet, gave me a short biography of Beryl Grey, which I enthusiastically read until I came upon the fact that she encountered problems being accepted, because she was "too tall." I closed the book. How could being "too tall" be a problem, I wondered.... being far too short myself. (Still am!)

"Broadway World" has announced that Ellen Bar will be the new Director of Media Projects. Here is the link to the announcement.

Her work (with Sean Suozzi) producing "New York Opus Jazz" is cited.

The article also mentions that:

" In addition to her work with NYCB, Bar has been a Dean's List student at Columbia University's School of General Studies since 2006. She also serves on the Advisory Committee for Dance/NYC."

Kristen Sloan was the originator of this new initiative by the Company.

this is on ebay:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=280672329036&ssPageName=STRK:MEWAX:IT#ht_3282wt_1136

I tried to PM Mr. Cubanmiamiboy, but it was verbotten!

I second and third those opinions.

Here are very scattered impressions:

I got to see the Friday night performance in addition to the two matinees. Obviously, "Violin Concerto" is my favorite ballet, and "Symphony in 3 Movements" is my #2, so I was in heaven. I agree with many of the previous commenters, including gratitude for the lovely, well-danced and elegant "Tombeau." On the whole, I was very happy to see not only all these ballets combined, but danced well, with strong energy.

I liked Fairchild and Finlay in "Duo Concertant" for both performances - they really brought it back to life. In "Violin Concerto" I feel that Korowski is perfect, La Cour is really growing stronger and deeper, and I also feel (not backed by any documentation) that Ramasar is not deeply committed in his work. Maybe I'm taking the message from the Strohman a little too far, but that's the impression I'm getting. To me, Hyltin is a little lightweight for the seriousness of that "Aria," and for "Apollo," as well. She's lovely, with a beautiful line, but I feel as if she's about to float off the ground. Her phrasing in the beginning of her solo in "Apollo" (where she paws the ground) in the performance and at the discussion later seemed a little off to me. I agree with other posters that Finlay is beautiful, but needs to be more mature. And he will be soon!

I liked Janie Taylor and Tiler Peck in "Symphony in 3" (on Friday) but Lowery is just out of place in this Company to my mind. The long chain at the start and finish of the first movement was beautiful, especially on Sunday. Stafford, Hyltin and LeCrone on Sunday were outstanding. I was glad to see Andrew Scordato in a prominent role -- and was very pleased that Daniel Applebaum was featured in Agon. Those two men, and several others (including Henry Seth, Vincent Paradiso, Devin Alberda, andTroy Schumacher, who I adore) were in just about everything this weekend, and looked superb. I had been missing the lovely Maya Collins last season, and was delighted to see her again. Lauren King, Amanda Hankes and Lara Tong were also standouts.

Reichlin was excellent in M/M -- first time I've really liked her (I'm way behind you guys). I also agree that Mearns and Korowski were a mis-match in "Barocco." Mearns looked like she was flailing her arms around. Korowski is really turning into an artist: she was phrasing things in a way similar to Kyra Nichols, with that slight rubato.

Bouder and Stanley in "Square Dance" were just as good as they were last season, and I was very happy to see them partnering again. He is capable of the extremes that this role demands.

In the film "Ballets Russes," the first shot of Maria Tallchief shows her rolling her eyes saying (something like) "George Zoritch, Oh, George Zoritch, oh he was just the handsomest man ever!.... "

George Zoritch, who died in 2009 at the age of 92, was premier danseur of the Ballet Russe and other ballet companies, Broadway musicals and Hollywood films.

Since his death, his house, which had been on probate for a year has been remodled and is currently for sale. His furniture was put on auction.

During his lifetime Zoritch collected a vast amount of memorabilia of the ballet world including autographed pictures and paintings by mostly all of the famous dancers of his generation as well as contemporary. He knew them all! During his latter years he made regular journeys from his home in Tucson, Arizona to Perm, Russia and the estate of Serge Diaghilev, to judge ballet competitions along with Yuri Grigorovitch, Vladimir Vasiliev and other great dancers and choreographers of the Bolshoi and Maryinsky theaters.

His collection also includes statues, the Nijinsky and Diaghilev awards and many other artifacts and mementos.

The entire collection has been given to Kaatsbaan; a dance center in upState New York where it is my understanding they will eventually be put on exhibition.

I have been a friend and neighbor of Mr. Zoritch since retiring here to Tucson, but as a boy I knew him from his movies.

Richard Holden

KAATSBAAN is the perfect place for these items!!! Thank you for the heads up!

As part of the "Satellite Ballet" Troy Schumacher (of NYCB) has choreographed a series of short pieces.

I learned about his work in a column by Marina Harss in The Faster Times:

http://thefastertimes.com/dance/2011/04/21/some-thoughts-on-a-new-dance-collective/

Looking back over various posts, I see I can now be counted as a "Troy Schumacher booster."

I am not sure but believe that

shows the dedication ceremony (or some such event) for the Vail Festival.

It introduces new choreography to (Anna Pavlova's famous solo, )"The Dying Swan!" The man dancing is Lil Buck, and the man who introduces Lil Buck (for those who don't know him) is Damian Woetzel, former principal dancer at NYCB. He is now the director of the Vail Festival of Dance, and will have Lil Buck there!

Thank you ViolinConcerto for posting this link.

I think it is extraordinary and I would like to see other examples of Lil Buck. I thought it a more interesting a piece of choreography than that offered by many present day choreographers.

PS

Not meaning to be too picky, but Pavlova never danced "The Dying Swan", she danced "The Swan."

Always happy to get more information!

Marina Harss in "The Faster Times" her most recent blog entry:

http://thefastertimes.com/dance/2011/04/21/some-thoughts-on-a-new-dance-collective/#comment-35

I am not sure but believe that

It introduces new choreography to (Anna Pavlova's famous solo, )"The Dying Swan!" The man dancing is Lil Buck, and the man who introduces Lil Buck (for those who don't know him) is Damian Woetzel, former principal dancer at NYCB. He is now the director of the Vail Festival of Dance, and will have Lil Buck there!

Thanks, Leonid, and welcome back!!!

Yes, the critics seem to be in agreement about the impoverished attempts to reproduce the glories of the Ballets Russes.

Here are two other reviews, which agree:

http://www.bachtrack.com/review-blue-god-firebird-ballets-russes

http://www.thestage.co.uk/reviews/review.php/31893/diaghilev-festival-programme-1-the-blue

Here is a link

to a video showing details of Nijinsky's costume in "Le Dieu Blue," now in the National Gallery of Australia

http://www.youtube.com/watch?v=VBeDSOEzVsE

Miss Farrell had retired by that time.

I received links to several articles about "Les Saisons Russes du XXI Siècle" -- performances in London, coordinated by Andris Liepa. They are presented at the London Coliseum. First, from The Express:

Friday April 15,2011

By Neil Norman

BRINGING together dancers from the Kremlin Ballet theatre company, plus guest artists from the Mariinsky and Bolshoi, Andris Liepa's dream project - subtitled Les Saisons Russes du XXI Siècle - delivers an unprecedented number of ballets created by Serge Diaghilev's Ballets Russes between 1909 and 1929.

also:

http://english.ruvr.ru/2011/04/13/48897669.html

http://www.thestage.co.uk/reviews/review.php/31893/diaghilev-festival-programme-1-the-blue

That position of the hands is often used in Balinese and Javanese dance -- possibly other forms of Indonesian dance. Often with extended artificial metal fingernails.

After I looked at these comments I went back to several of the threads on the ballet, trying to figure out if anyone has attributed Spissetseva's solo to a particular choreographer. There are so many threads and so many comments that I really couldn't untangle the mystery.

So who choreographed her solo?

I brought this post from the "Portray of Giselle" thread, thinking more convenient to have it here. This topic has been widely discussed on this board, being the general idea for the music to be by Minkus and for Spissevtseva to be the first ballerina to dance it. Ivor Guest's notes for Bonynge's recording of the full, un-edited 1841 score states that Minkus likely composed the variation for the ballerina Emma Bessone's 1887 debut in Petipa's production. Rodney Stenning Edgecombe's article "Notes on Giselle and Paquita"-(which a friend gave me in a photocopy, published in Dance Chronicle, Vol.22/No.3, 1999)-also agrees with Guest about Minkus being the composer. However, there's another name attached to the dancer who created the pas, and is not Bessone, nor Spessivtseva. I wrote down from an article-(can't seem to find the source...sorry about it)-stating that the orchestral parts used by the Royal Ballet title the variation as "Variation for Elena Cornalba" )-, while the Sergueyev Collection-(from the same article)- also mentions a "Variation for Elena Cornalba" among its Giselle materials. The main reason to doubt of Minkus as the author of the piece is the simple reason that he had already retired almost 2 years before Cornalba came to dance at the Mariinsky Theater in 1887, at a time when Drigo was in a full working stage, so could Drigo be the choreographer...? I think that Spessivtseva was merely the way for which this variation reached the west.

As always, Christian, thank you for your research and information!

After I looked at these comments I went back to several of the threads on the ballet, trying to figure out if anyone has attributed Spissetseva's solo to a particular choreographer. There are so many threads and so many comments that I really couldn't untangle the mystery.

So who choreographed her solo?

I'm not sure if this is the correct place to post this, but here goes:

Ebay has a copy of the January 25, 1954 TIME Magazine for sale (not auction) with Balanchine on the cover.

Here is the link.

The 4 T's is usually a closer. The final coda sequence with the traveling lifts is very..... uplifting!!

I have this tape and would love to hear other people's responses.

Here is a link to A. Kisselgoff's review in 1982.