Buddy

Mention was made elsewhere of George Balanchine’s “Who Cares?” as one example. I wrote this response and would like to post it again to highlight what a genius, I feel more than ever, that George Balanchine was. "I think that if there’s any doubt that George Balanchine was a genius, “Who Cares?” alone would prove that he was. In one performance, Sean Lavery, the male performer in all the duets, has a remarkable resemblance to Fred Astaire in his dancing. The three women, as is usual I guess with George Balanchine, have the most prominent presentations. They could be seen as a highly crafted combination of Ginger Rogers, Cyd Charisse and perhaps others. Sean Lavery, as Fred Astaire, is dressed in black, which fades him into the background, and lets the women dominate. Yet, regarding him carefully, in an almost concealed but brilliant manner, he has all the presence, charism, appearance and dominating qualities of Fred Astaire. The interaction of Sean Lavery-Fred Astaire and the three women is Remarkable !"

In addition to George Balanchine, I would also include Fred Astaire’s possible influence on Jerome Robbins. (Thanks to OnePigeon at BalletcoForum for suggesting all this). Does anyone have a work or characteristic in mind ? I think of the remarkably charming Der Rosenkavalier from George Balanchine’s Vienna Waltzes as something worth considering.

This one, previously mentioned, is the best glimpse that I can find for the moment into what ‘Lyrical’ might resemble and grow from. Lar Lubovitch "The Legend of Ten" Studio Showing https://www.youtube.com/watch?v=_Gk-6cmpoMs For a smile, try this. Twyla Tharp's "Waiting at the Station" https://www.youtube.com/watch?v=mgDkxoJCVd0

She will be performing Giselle, January 22 (a debut?). Hopefully there’ll be some video clips. This is a work that, somewhat similar to Swan Lake, requires a significant change in character from ‘Part I’ to ‘Part II” and a lot of sensitivity. I continue to be very interested in what manner this brilliant and highly expressive young artist performs such works. Also Alyona Kovalyova will be Myrtha, which should make it even more impressive and interesting. She will also be dancing George Balanchine’s Diamonds again, February 3.

Thanks, Quiggin, for your interesting post. I’ll try to keep it in mind as I hopefully see more works by George Balanchine and Alexei Ratmansky. Once again I’d like to include something that I posted elsewhere. Emeralds said: “Does NYCB need a next Balanchine or would it be better to have several choreographers who can all collectively continue the legacy of Balanchine and Robbins?” “….several choreographers who can all collectively continue the legacy of Balanchine and Robbins?” This seems like a good way of putting it, Emeralds. Energised by Gia Kourlas’ article, I do get excited about what Alexei Ratmansky could be capable of at New York City Ballet and about the possibility of him becoming similar in stature to George Balanchine and related in resemblance, but I’m not sure in what form exactly. “….several choreographers….” — I’d really like to see Christopher Wheeldon involved with the encouragement and perhaps creative assistance of Associate Artistic Director Wendy Whelan, who as I mentioned before probably had a hand in the creation of Christopher Wheeldon’s “After The Rain.” Alexei Ratmansky-Christopher Wheeldon-Wendy Whelan This is a combination that I wouldn’t mind seeing as the continuation of the Balanchine (and Robbins) legacy.

Thanks, BalanchineFan, for your comprehensive and informative comments. I'd like to say this again about my 'fascination' with the idea that Alexei Ratmansky could become another George Balanchine. It's because it's an exciting idea and because I think that it's somewhat possible, at least on an artist level, but it could involve refocussing and would require a major output of outstanding quality. I think that it's because he has exceptional ability, seems drawn to George Balanchine and that he's doing it at the New York City Ballet. I wouldn't want to imply that he should be an exact duplicate. You asked, what do I mean by George Balanchine's "solidity." I simply had 'consistent high quality throughout each work' in mind. I agree that George Balanchine was a master of "moving tableaux." An Alexei Ratmansky comparison would probably have to be centered around other areas.

Again, something that I posted elsewhere that I hope has enough interest to be added here. It’s an attempt to also clarify my own thinking about a rather new and multi-directional point of view that Gia Kourlas has suggested. Hi, Jeannette, and thanks for your comments and interest. I think that you can come at Alexei Ratmansky from at least two directions and you have focused on one of them, his classical and historical emphasis. This is totally valid. In a second instance it might be most interesting to go directly to the title of Gia Kourlas’ article and take it from there. “At City Ballet, Alexei Ratmansky Can Let His Imagination Run Wild” In this scenario, and overall, I tend to focus on Alexei Ratmansky more abstractly and not necessarily in terms of entire works, but rather in terms of bits and pieces, and the strong points of his general creativity. I haven’t really tried to analyse specifics, but there’s always something going on in any Ratmansky work that seems brilliant to me no matter what I think of the entirety. This is when I start thinking “Balanchine.” And when I think “Balanchine” in this way I think about his ability to condense so much interest and artistic genius and variety into a single capsulised work or parts of a larger work. Alexei Ratmansky’s Concerto DSCH and Russian Seasons come to mind immediately. So maybe if ‘We Let Our Imaginations Run Wild’ somewhat we can see a slightly reinvented Alexei Ratmansky, who takes all his creative strongpoints, ties them firmly together, and produces new crystalizations of ‘Balanchinian’ solidity, diversity and genius. This is just one way of looking at it, but it’s one that sort of ‘intrigues’ me at the moment. I’ve seen very little of Justin Peck so I can’t really comment on him except that I can see a sort of Jerome Robbins resemblance, perhaps more in his use of animation.

Deleted. Posted here by error. If you'd like to see this NYCB related post, it can be found here. https://balletalert.invisionzone.com/topic/47319-gia-kourlas-—-alexei-ratmansky-joins-nyc-ballet/#comment-444097

Vipa, I agree with you that it’s a long shot — but not an impossible one. And I agree that there’s always the artist on the horizon that many wish (and predict) to be the next George Balanchine or the next Anna Pavlova. Still the search and the proclamations do not tire me if there seems to be any reasonable merit. Also, I agree that if Alexei Ratmansky simply stays himself, doing what he’s now doing, he should be capable of producing more very fine works and this is more than enough. Yet, from what I’ve seen of Alexei Ratmansky's works, there is a special greatness. With exceptional focus, on an artistic level anyway, the idea of him being another George Balanchine is not an impossible one. And if Christopher Wheeldon were to enter the picture, not happening for the moment that I know of, it gets even more interesting. By the way, Christopher Wheeldon’s masterpiece, the “After The Rain” duet was quite possibly ‘co-authored’ in part, by Wendy Whelan, now NYCB’s Associate Artistic Director (in charge of new works?), which makes the idea of a Ratmansky-Wheeldon artistic union even more exciting. Yes, perhaps fantasy, yet an intriguing one — and not an impossibility.

Thanks, Vipa. This is an interesting area of discussion that I would like to respond to at another time. I’ve posted some thoughts elsewhere about Alexei Ratmansky joining the New York City Ballet that I’d like to include here. I think that ithey touch on some rather interesting possibilities, but because they do center around Gia Kourlas’ article and her opinions, rather than her factual accounts, it might best belong at the “Writings on Ballet” topic. https://balletalert.invisionzone.com/topic/47319-gia-kourlas-—-alexei-ratmansky-joins-nyc-ballet/#comment-444085

“At City Ballet, Alexei Ratmansky Can Let His Imagination Run Wild” Gia Kourlas — The New York Times https://www.nytimes.com/2023/01/06/arts/dance/alexei-ratmansky-city-ballet.html This is something that I posted elsewhere but would like to include here. Emeralds, I somehow believe that Gia Kourlas is alluding to an ideal possibility and it does have its fascination and indeed excitement if it should actually happen. She seems to be playing with the idea that Alexei Ratmansky could actually be the next Balanchine. He does have great ability but these would be huge shoes to fill and it would require an immense burst of excellence and perhaps considerable restructuring while already well into his career. I think that it’s possible, but it would require an output of unquestionable quality. It certainly would be something to see. Whether he could literally become the next George Balanchine, considered by many to be one of the two greatest ballet choreographers ever, is something that she seems to definitely be hinting at. She mentions “his love of dancing works by George Balanchine.” Her special excitement with him being at New York City Ballet could be taken as another literal ‘next Balanchine’ reference, this being the ‘House of Balanchine.’ Thank you for reinforcing my positive image of him, that “He’s also known for being a polite, patient and soft spoken person who is very easy to get along with.” On the other hand, his creations are considered very demanding on the dancers, as were George Balanchine’s. I personally would prefer them to be less so and would hope for this in a more ideal situation. I will say that dancers do comment that he’s such a nice and brilliant person that they do try to do their best for him. Also, thank you for reminding us that Alexei Ratmansky was indeed an accomplished dancer. It certainly could explain his ability to get inside the minds of such artists as Sara Mearns. Adding this dimension, mental elevation and guidance, could enhance a dance artist’s capabilities immensely. And back to your mention of Christopher Wheeldon for a moment. For me, it brings to mind a definite George Balanchine-Jerome Robbins imagery. Christopher Wheeldon often mentions the influence that Jerome Robbins had on him and his debt to him. I think that it’s often evident in Wheeldon’s works. Also I think that it’s possible to see as much a Balanchine-type depth and structure in Alexei Ratmansky’s works as it is to see a Jerome Robbins’ influence in Christopher Wheeldon's. I would say that in a Balanchine-Robbins comparison, George Balanchine was the giant, whereas in a Ratmansky-Wheeldon one, it would be much more equal. Still the idea of a new age of Balanchine-Robbins in the presence of Ratmansky-Wheeldon at ’The House of Balanchine’ (and Robbins) would be a remarkable occurrence.

I’d like to mention this. From Gia Kourlas at the New York Times. “At City Ballet, Alexei Ratmansky Can Let His Imagination Run Wild” https://www.nytimes.com/2023/01/06/arts/dance/alexei-ratmansky-city-ballet.html (thanks to Ian Macmillan at BalletcoForum) I think that the article can be included here for its informational value. Extended discussion of her opinions might be best at the Writings on Ballet forum. To summarise, I believe that she feels that he’d have a great amount of artistic freedom and access to dancers who could thrive with this at New York City Ballet. I think that it’s an interesting premise. I will offer a more general opinion. For me, Alexei Ratmansky has really great ability, probably genius. I like parts of his works very much. I do like most of such works as Concerto DSCH and Russian Seasons which tend to capsulise and focus his creativity. I think that New York City Ballet is a place where this sort of thing could really develop (as Gia Kourlas suggests). It’s possible that at New York City Ballet he could become a new Balanchine, or something close to it, and what better a place is there ? Added: This is a quote from the article that I like very much. "What happens when a dancer goes to the limits for such a choreographer? In a behind-the-scenes video about Ratmansky’s “Concerto DSCH,” the principal Sara Mearns describes a lift in which she is held above her partner with one leg extended to the side. “He said, ‘You need to look up to the sky like it’s the heavens, and then I want you to actually close your eyes,’” she says. “So I do, and it’s amazing and so magical.” "He didn’t just guide her body, he led her spirit."

Again, as mentioned at the Bolshoi topic, I’d like to call attention to Chinara Alizade’s very fine Act II dancing starting at 1:35:00, Act I starting at 9:00 and 35:30 and her wonderful facial expression during all these, especially starting at 1:48:20. https://www.youtube.com/watch?v=R4HIbwU7YzE&t=4s

A recent glimpse. https://www.instagram.com/p/CnDU4UypAaC/?hl=en

Chinara Alizade — Giselle I’ve now watched all of Act II and much of Act I in addition to repeated viewings of her dance highlights. The company, which is new to my viewing, has very nice qualities. It seems quite youthful, but also quite talented. It reminds me somewhat of ABT last summer when I saw a series of its Swan Lakes. Both may be experiencing a level of rejuvenation because of the several years of interruption and changes that may have resulted. The company has a definite charm and energetic attraction both in its dancers and in the nuancing of the choreography. Also the Corps de ballet women are delightfully lovely in appearance, reminding me somewhat of an entire company of Mariinsky Maria Iliushkina, childlike goddesses. Chinara Alizade, on the other hand, stands out as an absolute gem. She is the Prima performer. She reflects years of poetic development and refinement, while retaining all her vibrance and energetic attraction. Because of her ability it’s quite possible that she’s been able to develop artistically in a way the might not have happened if she had stayed at the Bolshoi. She’s probably been given a lot of encouragement to pursue her own artistic identity. With her Bolshoi excellence and her own vision she has become a poetic masterpiece. Both she and the company seem to compliment and reinforce each other. The company stands very well on its own. She’s wonderful ! Together they become something rather special.

Again, I’d like to say what a remarkable performance Chinara Alizade has given. I’d now like to continue this at the Polish National Ballet topic, because I think that it gives some added perspective into what she’s accomplished and also gives due recognition to that company and how it contributes to her artistic fineness. https://balletalert.invisionzone.com/topic/40326-polish-national-ballet/#comment-443921

I’d like to continue discussing Chinara Alizade (formerly Bolshoi) here for a moment because I think that it might go unnoticed posted at the Polish National Ballet topic, because she really does deserve the attention and because her Bolshoi fineness does remain very apparent. From the video I’d like to highlight her lovely and airy dancing at 9:00 and 35:30. The iconic duet dancing can be found at 1:35:00. Although physical prowess can lessen somewhat with maturity, artistry can grow noticeably. The elegance and refinement of her dancing is very evident, probably improved. Her expressiveness, almost always emanating in ballet from the facial expression, is truly embracing throughout — light and vibrant in the Act I village scenes, dramatic and transcendent in the Act II other-worldly setting. Although she’s dramatically compelling and artistically masterful throughout Act II, I’m most touched by her mixture of dreamy loveliness and deepest emotion at the very end (1:48:20 —) https://www.youtube.com/watch?v=R4HIbwU7YzE&t=4s I would say that she’s grown remarkably in artistic fineness.

I continue to watch the video clip of Lar Lubovitch's "Elemental Brubeck.” I’m very impressed to see this kind of dancing from ballet dancers. Their versatility is quite noteworthy. https://www.youtube.com/watch?v=TmGJh0LfGiQ

Could I offer some more ideas, perhaps a sort of outline ? “Lyrical” Here are some definitions of the adjective “lyrical” that I like. (an * represents one that I particularly like). *songlike lyric *melodic *musical *melodious rhapsodic *poetic (of literature, art, or music) expressing the writer's emotions in an imaginative and *beautiful way. the poet's combination of lyrical and descriptive power (Oxford Languages) “Lyrical” — as a dance style. It would contain lyrical qualities with the addition perhaps of charm, pleasantness, joyfulness.... High Art < > Entertainment High Art As dance it might also contain grace, flow, dreaminess, refinement…. An example…. “After The Rain” (Christopher Wheeldon)— as close to ballet as you can get without actually being ballet. . Entertainment An example…. “Let's Face the Music and Dance” (Fred Astaire (with Ginger Rogers)) Entertainment of High Art quality Christopher Wheeldon and Lar Lubovitch are two creators that, for me, are quite interesting when they work in this area.

From the ‘Do you remember Chinara Alizade ?’ Department here she is elsewhere, but lovelier than ever — Giselle. https://balletalert.invisionzone.com/topic/40326-polish-national-ballet/#comment-358126

Chinara Alizade — Giselle I just watched a few minutes so far but it’s really nice to see her. (thanks to keriluamox at Dansomanie)

With all his admiration for Fred Astaire, did George Balanchine ever wish for a collaboration ? I believe that I read that he did. Well, if he wasn’t able to get Fred Astaire, how about Suzanne Farrell ? Take a look at her performance in Der Rosenkavalier from his Vienna Waltzes. A female Fred Astaire, at least in the eyes of George Balanchine ? A tribute to Fred Astaire ? Intended or not, this dazzlingly beautiful creation certainly could be one.

Some more about Fred Astaire and ballet from The New York Times. “He was also a paragon among his professional peers. George Balanchine, the artistic director of the New York City Ballet and a man whose supreme standards rarely allowed for superlatives, called him, simply, ''the greatest dancer in the world.'' “Anna Kisselgoff, dance critic of The New York Times, gave this description of the Astaire genius: ''At its most basic, Mr. Astaire's technique has three elements - tap, ballet and ballroom dancing. The ballet training, by his account, was brief but came at a crucial, early age.” https://www.nytimes.com/1987/06/23/obituaries/fred-astaire-the-ultimate-dancer-dies.html And getting back to the overall idea of “Lyrical” (‘ballet related’) for a moment, for me, Christopher Wheeldon’s “After The Rain” remains very significant.

A ‘Cornerstone’ to what I’m trying to describe as “Lyrical Dance.” Officially posted. Fred Astaire and Ginger Rogers — “Let’s Face the Music and Dance” 😊

From a few weeks ago, here’s some behind the scenes with a few nice glimpses of dress rehearsals, etc. https://www.youtube.com/watch?v=8fvERfi_n2Q