SandyMcKean

So, for those of you who may have been making last minute plans to get a dose of Sir Freddie, unless he's in the audience, it ain't gonna happen.

OOPS......that's what I meant....he's supposed to be in the audience (if he were an official part of the program, it wouldn't have been a rumor ).

I guess I should have kept my mouth shut.

Only one?

I don't really know. I don't know if he will be there at all for sure. But a well schooled little bird did tell me that FF will be there for at least one of the presentations. I'll be anxious to hear what actually happened from someone who goes to these persentations.

I saw this presentation on Tuesday at PNB (a sort of a dress rehearsal for the Guggenheim gig). It was fantastic for any serious ballet lover. You will learn a lot about Mr B's roots in the world of Petipa. We will also see some of PNB's best dancers including: Carla Korbes, Leslie Rausch, Benjamin Griffiths, Seth Orza, among others (many are NYC alumnus). The PdD from Apollo with Carla and Seth alone is worth getting yourself there. (There will be an introduction by PNB Director Peter Boal too.)

I understand there are very few tickets left.

P.S. Rumor has it that Frederic Franklin (at 95 years of age, I believe) will be there for one of the evenings.

I am going Saturday night, will try to take notes...

Hold on to your hat.....you will be going on an emotional roller-coaster: from deep sadness and shock to the elation of the human spirit unbounded. It brings tears to my eyes just thinking about it (I've been twice now and will go again next week).

P.S. And don't worry about the complexity of the plot (especially the shifting of time periods) like I did when I read the synopsis before the performance. It is all quite easy to follow in actual practise (of course reading the program can only help).

It's a smash hit.............or at least so I predict.

I saw this newly commissioned opera Sunday afternoon (its 2nd performance). I was thrilled and captivated. The music is goregous, the poetic libretto sublime, the sets stunning, the philosophical meaning profound, the story rivetting, and the singers were fantastic (especially Kate Lindsey as the grown Amelia). This is the first opera that Speight Jenkins has produced in his illustrious 25 years career as General Director of the Seattle Opera. Kudos to this brilliant man who was willing to take such a risk. IMO, he can be proud.

Judging by the audience's reaction when the curtain went down (and the reactions of the crowded Q&A session afterwards), I'm not alone in thinking that a superb piece of new art has just seen the light of day. For those of us who are old enough to have lived through the Vietnam War era, this new opera is particularly moving. New operas don't come along very often, and even fewer last......I think Seattle's new opera "Amelia" just might be in that rarified company (composer = Daron Aric Hagen; director = Stephen Wadsworth; Libretto by Gardner McFall; designer = Thomas Lynch; conductor = Gerard Schwarz)

Sandy you must stop watching Mad Men so much, you hunter gatherer, you.

..................(I can't help it, I just love 'em all.....seriously)

....the cultural pressure put on women......

And thank God such pressure is deserved. I love women. I love their shape and everything about them. If pressure maintains that goregous way they look, hurray for it. The most beautiful thing in the universe, as far as I am concerned, is woman.

Seth Orza scampering.......

I too saw what Helene is talking about. It was subtle, but it was there.

Then I saw another wrinkle in that same sequence. In the lift immedidately following the one Helene speaks of (where Orza had to "scamper" a bit to catch up to Vinson), he may have overcompensated because when he got his hand around Vinson's waist in preparation for the next lift, he was moving so fast (perhaps not wanting to be a bit late again) that his momentum transferred to Vinson and she accelerated a bit while she was in the air during a hop before the actual big lift. It was like she had a little jet fire while she was airborne that sort of propelled her forward. For me that entire sequence just went to show the energy both dancers were expending in order to put life into the speedy choreography that is "Square Dance".

volcanohunter,

I fully understand your comments. If I thought the performance was undeserving, I would have no problem leaving at any time. I would have nothing to show my appreciation for. I rarely, if ever, boo.....but I have from time to time refused to applaud. I have many times refused to stand up when most others were doing a Standing O for the simple reason that I didn't think a Standing O was deserved.

Like you, I believe most of getting up just as the curtain starts down, or soon after applause starts, is folks who feel they need to get to their cars in the parking garage in order to avoid the long lines getting out. Frankly, I find it embarrassing to see dozens and dozens of folks moving to the aisles and half running up the long aisles presumably to get home that precious 15 minutes early. Personally, I would never do that. If I didn't like the garage lines, I would find another place to park, or in some other way "handle it" as I say. Indeed before I got the cushy parking arrangement that by chance I now have, I did find another place to park besides the connected parking garage. It requires me to walk further, and to get wetter in our rainy Seattle climate, but I would never solve MY personal issues (except medical) by the expedient of not giving a good performance its due. And as for "reasons"....as one of my favorite literary characters says: "...if reasons were as plentiful as blackberries...." (or was it "blueberries"), in any case, I find that we humans are prolific when it comes to giving reasons.

WARNING....I'm going to be facetious.....

I tend to be on the side of those who really do need to leave for a train.....

I don't live a a big metro area. In Seattle we don't have trains to speak of. So I have a question for you big city folks......how do the train schedulers and the ballet managers coordinate such that the trains so often leave almost exactly the same number of minutes after the curtain goes down regardless of the program length? I would have thought that the 10:40 leaves at 10:40 regardless of whether "Sleeping Beauty" or a program of 3 short works has been programed.

There is little for me to say.....we are blessed in Seattle with a company, PNB, that is far superior to any company a city of our size has any right to expect, but we are also blessed with the likes of Helene and Sandik who review PNB's performances with such insight and detail. I've learned so much from the both of you.....thanks.

There is much I could say about this wonderful "All Balanchine" run. Carla Korbes' wonderful debut as Waltz Girl. The stellar performance of Carrie Imler in "Square Dance". Seth Orza homing in on his own voice in the male solo in "Square Dance" last Friday (Sunday afternoon I didn't think he was quite at the same level). Laura Gilbreath in Choleric turning her exceptionally long limbs into dramatic assets. And generally the dedication and belief all the PNB dancers showed in doing the Balanchine rep with power, skill, interpretive insight, and just plain having fun. But I won't (or did I just do it? ).

I do want to second what Helene says here:

I hadn't seen Mara Vinson in an allegro role for a while, including this role in the last run, and I missed her Odile; I wasn't sure how she'd tackle this. She was spectacular, using her formidable technique to create a whole and infusing it with joy and wit. She looked like she could have fit more in the music, and she really went for the big pas de chat lifts: Seth Orza looked like he had to scamper to keep up with her. Orza isn't as refined as Lucien Postlewaite or as precise as Benjamin Griffiths; instead his approach was more athletic, using a lot of space with fine energy, and it worked.

Quite frankly, Mara Vinson has not been one of my favorite dancers. She's terrific, but somehow she hasn't moved me.....until "Square Dance". Technically she is beyond reproach, but somehow the character and the thrill was missing. She did it for me in this difficult "Square Dance" role. Helene said "wit" and I can't agree more. She showed me not only the dance, but also what it is that she loves about the role. Mara seemed to just plain be having fun. Kudos Mara. And for me, her partner in "Square Dance", Seth Orza, had a break-thru solo on Friday night. It was just as Helene notes. He will refine things, but as Helene said "it worked". He owned the stage that night as I have not seen him do before. What a wonderful cavalier dancer he is becoming. Ballet is rarely long on those!

You are all convincing me to be more understanding about of early departures, at intermission and at the end, and also about their multiple and often legitimate causes. Thanks for that.

bart, you are more generous than I.

This discussion has brought me no closer to overlooking (or "understanding" if one prefers that more neutral word) audience members who leave as the curtain falls, or any time during the applause. Perhaps others are different than I, but when I go to the ballet (or to any performing art) I expect the performers to "put out" at the highest possible level. Much of the difference between a mediocre and a thrilling performance is derived from the willingness of the performers to put their personal concerns aside, and to get themselves into their art (at least while the curtain is up). The absolute least I can do to "give back" is to remain and demonstrate my appreciation (assuming it is deserved....which it almost always is). If I feel it is OK for me to leave due to some personal concern in my life, then I see no reason why I should expect the performers to give their all either. In addition, I don't buy for one second that the few minutes of clapping, hooting, or what have you, after the end of the performance is not important. I've never heard any performer ever say that they didn't love, absolutely love, hearing applause....and lots of it. I've heard more than one perforrmer, and even an artistic director, say when questioned by an audience member, not to worry if one claps at perhaps inappropriate times during a performance.....they say that they love applause, any applause, almost at any time. They admit to never getting enough.

Performing arts has an element of a contract between the performer and the audience. No performer would ever enjoy performing to an empty house....and they certainly would not be able to find the magic it takes to do a transcending performance without an audience present......not an indifferent audience, but a reasonably attentive and appreciative audience. Actually, it seems to me that all performers worth their salt ask for nothing more than that: attention and appreciation. Remarkably little really considering all we audience members ask of them.

I would never leave before the applause stops unless a medical situation was involved. Whatever consideration I might have, I would just handle it. Anything else is little more than a justification in my book.

Interestingly at this point, I wonder if current choreographers can be said to be influenced by Balanchine except indirectly.

Indeed......right on the money.

Seems to me all this "over influence" talk about Mr B makes about as much sense as to say that all of western philosophy is merely a direct restatement of Plato, Aristole, and Socrates....."Why can't these 18th century philosophers break out of the mold that these 3 Greeks inflicted on us all"......phooey, say I. What is wonderful is that we have great new choregraphy at all. Enjoy it.

What's the opposite of "dance deaf"?

Dance Enthralled

Dance Heavy

Dance Junkie

Dance Crazed

Dance Struck

Dance Moved

Fullington's remark sounds more like it applies to SAB as it soon was in New York rather than to the presumably more amateur and suburban group we see in that picture from that afternoon in White Plains, don't you think?

I'm pretty sure that I remember the context correctly, and that he was speaking about the students who were at SAB at the creation, and it was those students, for whom, after a year or so, Balanchine decided to make a ballet.

I heard Fullington's talk twice last week. He made this comment in both instances of those pre-performance talks. I remember the remark in the same way Helene does. (Note: Helene heard the talk on yet a different performance than the two I heard.)

I'm not sure which photo you are referring to, but I remember a similar photo in Taber's biography of Mr B. I thought I had the book around here, but I must have borrowed it when I read it. If you have that book, there is at least one photo on the Warburg estate of Serenade.

Right.

I didn't mean to say I knew that boredom was the real issue -- after all I've not seen the productions she was writing about. Perhaps the productions were as terrible and derivative as she says (she certainly knows far more about dance than I).

I just read so much negative criticism of new productions that I have to wonder what it takes to have some of these highly informed folks actually enjoy what they see. Does everything have to be a new and accepted masterpiece to get excited? I'm wondering, that's all.

P.S. Cynicism can be fashionable; it can be chic and erudite; it can also be useful when a balloon truly needs popping; but it can also be corrosive, serving little but its own purposes.

I finally read the article. Very frankly, these cynical pieces of criticism usually strike me, and for sure this one strikes me, as little more than the expressions of someone who knows a lot about dance, and who has been involved in dance for so long that they are now easily bored. Boredom does not always equate to the absense of creativity. It may simply be boredom within the obsever.....quite independent of the observed.

I'm not in the mood for a long post, but I have to say something. My something is: What an amazingly great ballet is "The Four Temperments" -- perhaps the greatest of all time, or at least the greatest of Mr. B's. It floors me every time. Then I think 1946.....are you kidding me! It could have been choreographed yesterday. It's not my favorite ballet, that goes to Agon, but I can't tell you why I put them in that order (Stravinsky, perhaps? the distilled quality of Agon much like a poem, perhaps?).

And this company does all 3 of this programs ballets so very well indeed (Serenade, Square Dance, 4 Ts). Maybe it's because we live up here at the ends of the earth -- the news just hasn't reached us yet that the era of Balachine is dead . He is still THE master for me.....I bow at his feet (at least when PNB does his work).

And what a night opening night was last night! Carrie Imler and Lucien Postlewaite in Square Dance were beyond beyond. PNB is a Balanchine company, and it showed last night. As Lucien said at the post-performance Q&A: "It feels like coming home" (this comment is in the context of how very different the programming has been this year, e.g., Dove, Sleeping Beauty, et al).

The 4 T's was top notch in my book. To those of you who lament lack of commitment or sparkle in some Mr B stuff you've seen lately -- come to Seattle, Mr B is alive well here.......with a spring in his step!

Well, THAT little detail, believe it or not, moved me tremendously. It just hit me right away, reminding me of a very similar scenario from the real life.

Silly? Are you kidding me???? That's it......that's "Dances". Robbins got to you; and for your sake I'm glad he did. I find it particularly striking that this moment that moved you so was about something you were remembering. For me, "Dances" is all about remembrance and remembering. It ain't a coincidence that your feeling was one of remembrance from your own life.

Cargill says all this extremely well; I won't even try to add anything.

P.S. cubanmiamiboy, in keeping with this theme, and quite seriously, your description of you remembering that plane, and of Cubans generally remembering planes, quite moved me......I totally got this about Cuban culture from your shared words......THANKS.

Part of the "Learn More" web page at PNB's website includes a 2 minute view of a rehearsal of Square Dance. The leads are Carrie Imler and Lucien Postlewaite (that being a treat in itself!). There is a great moment at 0:45 seconds where Lucien and Carrie mess up their hands and laugh. Then Peter Boal comes into the frame to correct things. CLASSIC!

Square Dance

Carrie Imler/Lucien Postlewaite

Yum Yum...............!!!!

Yes, I found it thoroughly enjoyable. But of course one has to like the whackiness of the opera, and then for this production this whackiness done even whackier......but done oh so cleverly IMHO.

P.S. I am a hard core Strauss fan, but I didn't realize until now just how goregeous this music is. I've only seen an Ariadne performance once before (Seattle Opera 2004) and I've never heard it on CD or radio. I don't think my ear wasn't really ready 6 years ago, but I guess it is now. My 2004 notes say I liked it a lot, but I don't remember hearing all that beauty packed into so small a space, and all the while surrounded by craziness. It was if Strauss was making fun of the entire world of opera. I particularly enjoyed the mercury quick shifts (from the let's say serious romantic darkness of the Composer to the nutty coloratora of Zebinetta) with snatches of beauty everywhere......like so many hors d'oeuvres.

Seattle Opera's Young Artists Program (YAP) hit it out of the park with its new production of Richard Strauss's Ariadne auf Naxos. Seeing/hearing an opera of this power and complexity in a relatively small but perfectly adequate theater (400 seats?) was a special treat.

I've become a big fan of the hugely creative, and sometimes brilliant, Peter Kazaras who runs the YAP and also stage-directed this opera (he also directed the recent Falstaff on Seattle Opera's big stage). Peter's inventive mind (he gives credit to his artists) solves so many problems in a way that not only works, but illuminates. How to fit a 38 piece orchestra in a pit built to hold far less? You don't....you put them on stage with the singers. How do you keep such a performance from turning into a concert staging? You have the orchestra face 90 degrees to the audience and build the set around the orchestra by connecting a high back stage with a low front stage via a staircase. I was particularly struck by Kazaras having the Composer character hang around during the 2nd act when normally the Composer would not be seen. The Composer has nothing to say or sing of course, but having that character there in the wings watching "his" opera being performed as he journeys from paranoid fear of things going wrong to being moved by love and passion invoked by the beauty of the music and by the characters of his own invention was in my book a stroke of brilliance on Kazaras' part. Overall the stage action seemed so married to the music that I swore to myself over and over again that the music simply demanded the pieces of stage business Kazaras creates......(I imagined Kazaras hearing the music on a CD in his living room while dozens of staging ideas flowed directly from the music into his imagination).

The voices in this production were so much beyond what I would expect in a young artists program, I was floored. As the lady sitting behind me said after we all peeled ourselves off the walls: "I thought it would be good, but I didn't expect to be moved!" Perhaps it was hearing such powerful voices in such a small theater, and maybe it was the fun that this cast was so clearly having, but what a wonderful night at the opera.

GO....if you possibly can......GO.