SandyMcKean

I am the most pleased for Ricard Orza

Absolutely.

Her work in Coppelia was just charming.

And remember her in Emeralds....last year was it, or the year before? Such lyricism.

I don't know if this is a behavior that was introduced with the new software, or if it's always been the case.

I typed a reply. I was previewing the post before posting it. I thought I had put the cursor in the editable text box, but the cursor was actually nowhere (I likely clicked on the preview window instead of the dit window which has the effect of having the cursor disappear). I found an error in my text, and since I believed the cursor to be at that location, I hit the backspace key to erase a character. Hitting that backspace key took the browser back to the previous web page (which was the blank reply window). At that point you've lost the text you just typed.

It seems totally wrong for the company, whose aesthetic doesn't appear to have anything to do with the Romantic era.

Perhaps in these difficult times, it has more to do with the aesthetic of a segment of PNB's traditional audience that have been luke warm or even hostile about the direction Boal has taken the company. (In the interests of full disclosure.....I am most definitely not one of those audience members.)

..........and here is a ~30 minute interview from a couple of days ago btwn Rivers and Charley Rose (primarily on this movie):

http://www.charlierose.com/view/interview/11112

My local theater has now announced the schedule, and in addition to what was posted earlier here, it includes John Adams' "Nixon In China" on February 12. I'm so glad.

I note that the Met has made its roster of 11 HD operas for the 2010/2011 season into 12 operas with the addition of "Nixon in China". So all theaters will be showing this "extra" opera (altho I presume some might have scheduling conflicts).

In case, someone who is reading this doesn't know, the Met is doing its Summer Encore run right now. In the USA there is an opera at 6:30pm every Wednesday night this month. Eugene Onegin tomorrow night.....with lots of Puccini to follow.

Congratulations to all 6 dancers at PNB.

I am in full agreement with the 3 major promotions. Laura and Sara are clearly soloist calibre, and I'm tickled pink that Seth Orza has been made principal. I sort of thought that Seth needed 1 more year to polish himself, but I have never doubted that he was principal material. My prediction is that Seth will not only be a powerful technical dancer but also, as could be seen this past season in particular, he is rapidly learning to have his own voice that is very expressive of character and drama. He's a classic body type (thank your genes for that one Seth) and he has the strength to partner anyone.

God, I love this company!

Helene.....well whatever you did on the columns, it's certainly an improvement from my point of view. THANKS

Do you mean on the home page/forum index?

No. I am only talking about a list of topcs that results from some sort of search such as the automatic one that results from clicking on the link "View New Content" on the home page (a link I use everytime I go to the forum and the method I essentially use to find and read all topics).

If in "View New Topics", I could possibly widen the "forum" column by taking out space from the "topic title". However, that will only change the amount of scrolling needed to see the displayed number of topics. The number of search results per page is set by a specific parameter.

Yes, I do think making the "Topic" column somwehat more narrow, and thereby allowing a wider "Forum" column would result in more topics listed per inch of screen vertical real estate (and thereby requiring less scrolling to scan topics one might be interesting in reading). On my system the "Topic" column seems to be usually twice as wide as most topic titles require, whereas the "Forum" column restricts the subforum titles so much that it takes at least 2 or 3 lines to display the subforum name, and even 6 or 7 lines in some cases. I estimate twice as many topics could fit on a page if these column widths were re-adjusted. (It is less scrolling when one has more topics than can fit on a page that I am interested in.)

The only other option I can think of is to shorten the forum names.

OOPS.....my bad.

I see that in my original post I forgot to include the meat of my suggestion .

I meant to say:

If the column that contains this descriptor in a display of search list of topics could be made wider, then more topics could be listed in a single window of the resulting list.

The home page means more scrolling, though, because of the two info boxes (subscribed threads and new threads) to the right that take up horizontal real estate.

I note that some of the subforum descriptors are quite long (e.g., "Other Performing & Fine Arts: Performances, Exhibits, Films, and Events"). If the column that contains this descriptor in a display of search list of topics (especially in the list that results from a "View New Content"), then more topics could be listed in a single window of the resulting list. The existing narrow column when it contains so many words makes each listed topic abnormally "fat".

Of course this modification may be unavailable or undesirable for other reasons.

ONLY you with your steel trap mind could find a way to put toe shoes and The Science Guy together! You never cease to amaze me.

Very insightful Alexandra......

("The more things change, the more they stay the same.")

I believe Wadsworth is well known for his "relentless realism". I've heard more than one singer or artist comment on his obessive attention to detail. But I, for one, like this quality of his. I like how every move and expression seems motivated by nathural human reactions. The artists may complain about "too many takes", but they all seem to respect Wadsworth for his commitment, and like Hagan in the quote you give, eventually come around to appreciating the result that come from his apparently cast iron mind. I must repectfully disagree with Anne Midgett on this point.

(BTW, I did hear someone, at one of the pre- or post-lectures during the run, speak humorously of Hagan's epiphany on the benefits of Wadsworth's style....indeed, if I remember correctly the comment may even have come from Hagan himself.)

......how do we convince people that ballet is for anyone?

I don't think "convince" is the right concept. I suspect all of us ballet lovers convinced ourselves that ballet was for us once we saw it. A better question might be how do we get people from more diverse cultural backgrounds to give ballet a shot. (The suggestion of marketing is on the right track I think).

I am reminded of a situation we just had here in Seattle with the Seattle Opera. Seattle Opera commissioned a new opera "Amelia" this season (the first in over 27 years). In my judgment it is a wonderful opera, as well as being unique in one aspect. The opera deals in part with the Vietnam War, and uniquely contains some singing in the Vietnamese language (extensively in Act II). We have a large number of Vietnamese living in this diverse city. One rarely sees a Vietnamese person at the Seattle Opera, but not this time. There were lots of Vietnamese in the opera house (no doubt to hear what their native language sounded like in the western opera idiom). Indeed, I saw the opera 3 times, and it was clear to me that the number of Vietnamese in the audience increased with each proformance. They even came in families. I suspect the word spread within that community. My bet is that some of them even discovered that they liked opera and we are likely to see them return next season.

Indeed, I had my own personal experience with this "exposure" phenomenon: We use a painter on our house who came from Vietnam to America when he was a little boy. His whole life is entwined with his Vietnamese relatives (some of whom don't speak English). This guy has become quite successful in growing his business over the years due to his acumen with employee, client, and business management. He has some bucks now too. He was over here the other day giving me a bid to paint our trim. We got to talking -- as he and I always do (he's a very interesting person). I asked him if he had seen or heard of "Amelia". No he hadn't. In fact he knew nothing about opera at all. I preceded to tell him about "Amelia". I believe my words were fairly inspiring because I really, really loved this opera, and especially by how it showed the possibility of healing and understanding between Americans and Vietnamese who were directly involved in the war. He became very excited. He loved the idea that HIS language (he speaks perfect English too) was set to music (especially music that was specifically designed to reflect the tonal quality of the language). Had I spoken to John before the opera run was over, I'd bet dollars to donuts he would have attended. Maybe a large number of his family would have attended......who knows.

Thanks Jayne for taking on Ms. Kaufman .

It seems I often think Ms. Kaufman lives on another planet. Certainly she has the facts right, but that she doesn't seem to understand the obvious reasons for these facts is a puzzlement to me (much less indirectly blaming the system for these facts).

Maybe the "real" observation ought to be "Where are the blacks in the audience?" Maybe, just maybe, it has somelthing to do with what you were exposed to as you grew up, what sort of peer pressures you experienced as an adolesent, and what circles you run around in as an adult.....you think?

That's my understanding too (altho Sokvannara Sar left quite a while ago).

It's hard for me to believe given the current economic conditions that any promotions will occur. But when they do, I'd agree that Seth is on track to be principal as a strong, tall cavalier type male (altho I think he needs a couple more years.....in my judgment he has just broken out into his own personna this year), and Gilbreath could become a soloist at any time. I'd put Leslie Rausch on the list for principal in the not too distant future. Chalnessa Eames deserves a lot more praise that she typically gets IMO.

It was a wonderful evening.

Who was the woman in the evening dress who rushed on, then off, the stage after "Ordinary Festivals"? Also, one of the corps dancers was singled out (by Jordan I think it was) during the final bow? It was clear that the company was saying good-bye to this dancer (she had a swimming pool of tears in her eyes). From where I was sitting, I couldn't make out who this 3rd dancer leaving the company was.

Like Jayne, I was very struck by Choleric from the 4T's last night. Lindsi Dec danced the lead and was terrific, but it was all the other dancers behind her that really arrested my attention. I was once again struck by what a magnicent Balanchine company PNB is. These dancers "get" Mr B -- from the loftiest star to the newest corps dancer. PNB danced Choleric with such complete commitment and confidence that I leaned over to my wife and whispered: "PNB dances Balanchine better than any other company in the US, perhaps in the world." (Surely an exaggeration, and note that I don't know what I'm talking about in any case since I've seen so few other companies -- except on video -- but dag-gummit, there is just no way another company could be so "there", in every way, from every dancer, as when PNB dances Mr B's neoclassical works.)

there were a couple of rocky moments on Saturday night

I was there. Yes, there were a couple of slips (3 if I remember right), but in my judgment they were all minor. Likely the most distinctive slip was Seth Orza finishing a set of airborne spins in one of Franz's solos. At that point Franz lands on one knee in a pose. Seth basically fell over at that point (over rotation?). However, unlike Chocomel, I felt Seth had a terrific night. Yes, there were a couple of "goofs", but I say "so what".....it was Seth's debut as Franz, and overall he did just fine. That botched finish was his most obvious mistake. I was watching that entire sequence very carefully. I saw James Moore on Friday night, Jerome Tisserand on Saturday afternoon, and Seth on Saturday night. That sequence is very difficult, and I noted that both James and Jerome were not able to fully rotate the 720° airborne spins (sorry I don't know the french names for ballet steps). James and Jerome both spun perhaps 1 3/4 times and then had to correct to face front in the next step. Seth was the only one who actually did the full 720° airborne spin.....and he did every time. For my money the fact that he blew the final pose was minor compared to the fact that he attempted and succeeded in turning twice in the air, finishing the move facing the audience as it should be done.

Bravo Seth.....say I.

P.S. Having said that, of the 3 Franzs I saw, I'd have to give my gold star to Jerome Tisserand. He was elegant and expressive.

Mara Vinson and Jeffrey Stanton in Act II...................the pleasure was all mine. What a terrific performance. (I will see other casts today.)

It's been quite a year for Leslie Rausch.

I remember that the reviews of this movie, as a movie, were horrible. Did you think it is worth seeing this movie for the dance sequences themselves?

Yes, I heard Jenkins talk about this at a Q&A. He said there was a real possibility that this could happen. I don't remember if he said it would be the entire opera or just a compilation of the orchestral interludes (both possibilities were mentioned). At the time I wondered if Seattle Symphony might have the connections to get this done given Schwarz's involvement. Noramlly Speight always says "not possible" when asked about CD's of operas that the SO does.

Hello Helene,

I agree with a great deal of what you say about this opera. I wasn't expecting that because you and I often have very different opinions about new work (altho we almost always agree on the caliber of the performers). Bottom line: it doesn't appear that you think this opera has staying power, whereas I do.

I see Kate Lindsey impressed both of us immensely in her ability to create character so powerfully (not to mention her fabulous singing). I'm 100% with you on William Burden.....there is something I can't pin-point (but no doubt you can with your incredible ear) that captures me every time his voice raises up and pierces the air -- for example, in the last scene during the nontet when he wanders stage right removing his scrub hat comes to my mind. Like you, I was amazed how well the non-linear plot line worked -- I give credit to the director and lighting designer for that. You say "Gerard Schwarz, conducted the music brilliantly". I couldn't agree more. The orchestra positively sparkled. I understand that Schwarz has a particular passion for new music, so perhaps that is the source of his clear commitment to this music. The percussion and horns were particularly prominent, difficult, and superbly played I thought.

Interesting that you and I both loved the "I was never bored" line. I thought it the philosophical climax of the opera. The line doesn't sound like much isolated as it is in this paragraph, but in context of the overall interrelated themes of the opera, I thought it exceedingly powerful. Indeed, and as you know, I am in the midst of radically changing my lifestyle over the coming months, and that line spoke directly to me to have the courage to take the risk ("the risk is worth the love") in order to claim a life where I can each day say "I was never bored".

You say:

....apart from the orchestral interludes and Amelia's mad scene, as well as several a capella passages, none of the music was memorable, and I was more affected by the drama....

and I can't strongly disagree (especially since you excepted the orchestral interludes), but I will submit to you that it perhaps was the music that had you be so affected by the drama. I thought the music was particularly effective at creating drama in this opera (as it does in all opera of course).

Behind me, a gentleman commented that the music never rose above the paint by numbers movie soundtrack that one forgets as soon as one leaves the theatre.

I can't imagine a more ridiculoous statement. Richard Wagner is widely seen as the composer who invented the kinds of themes and orchestration that eventually lead to movie sound tracks. Puccini is also often seen in this light. It's pretty hard to fathom a description of Wagner or Puccini music as "paint by numbers". My suspicion is that whoever said this ridiculous comment is a lover of bel canto opera and sees anything that doesn't sound like Rossini or Donizetti to be "not-opera". Personally, my guess is that anyone who doesn't love Wagner and especially Richard Strauss is not going to like this music. Influences of both Wagner and Strauss, without being derivative, can be heard everywhere in this opera.

Perhaps it would have been better if a more melodious composer were in charge.

I must say this is puzzling to me. Hagan's score is chock full of melodies (far more than say Wagner would have). True they usually come in short bits (but not always....take Jane Eaglen's long aria based on the Navy Hymn for example), and not easily whistled on the way home perhaps, but Hagan's score is one of the most melodious I've ever heard in a modern opera.

Much of the libretto was banal and I was disappointed.

Amazing. I found the libretto to be perhaps the most beautifully poetic (and most definitely non-banal) I have ever heard in any opera regardless of era. Normally I am 70% about the music and 30% about the words. This is the first opera I have ever heard where I actually loved the words as much as the music (perhaps even more than the music). Indeed, probably the comment I have heard more than any other regarding "Amelia" is how strikingly beautiful the words are, and the depth of the themes of human experience it explores.

Oh well, that's art for you....what you love, I may hate. Perhaps this opera doesn't appeal to a huge percentage of the audience, I don't know, but judging from the superlative comments I've heard in both the Q&As I have attended (I will go to a 3rd tomorrow night), this opera will have an devoted audience (I even heard one lady call it the most beautiful and moving opera she had ever seen).