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Totally agree about "Dangerous Liasons"; it 'opened up' and 'realized' the play, and maybe having americans play the parts made the story/characters more accessible to modern viewers, than if british actors had done it, with all those latent connotations (at least in colonial minds) of superiority-superciliousness and a 'remoteness in time, place, class'. Though I like both play and film, the film of Amadeus has a slight edge for me because again, it 'opened the play up' with Prague's beautiful locations, and the weather, and the Tiln theater, but also for one particular scene... I've always wondered how to demonstrate 'genius at work' on film, and have many horrible hoary bio-pics of notables of the near and ancient past as examples. But Forman's "Amadeus" did it so very simply, that I still marvel at it: Mozart composing that serene, loving, opera duet(?), at a billiards table, while a family argument is raging outside the room between his wife and father. It's not the composing that explained the genius to me, but the fact that he could do that, while rolling a ball (without looking at it), letting it ricochet from side to side, and then picking it up and continuing the motion (again without looking at the ball), while simultaneously continuing to compose. However fictionalized it was, it's a simple amazing scene, of an amazing composer. I haven't seen that many staged musicals--though did see Cabaret in a regional production--But I've always preferred the film of Camelot to the play, because the characters aren't so childish. I was glad when R.Harris (A.J.Lerner?) changed the later revival play's script to match the film's language/characterizations and structure more, which I thought improved the play considerably. Regarding the acting, I won't comment since both play (original cast) and film have their good and bad points. The film also 'opened up the play' by going on location; mandating every prop, costume, set be created especially for the film in extreme detail, making good use of Warner's backlot and forest, and spending 5 months filming in Spain to have real castles to use ,(which except for Segovia and Coca, unfortunately got cut from the film.) So, because the language and characterizations were more natural, and the setting/locations real and beautiful, I prefer the film. I know I will think of other examples of stage to film, or filming stage to film, but those stick in my mind for now.

I have different memories of Grace Kelly... I think it's odd that we all remember her for "To Catch a Thief", or "Rear Window", (Hitchcock and his blondes), or for myself "The Swan", rather than her Oscar winning "Country Girl" or even "High Noon". Was it because her poise and distinctive voice/accent never quite allowed us to believe her in those other roles? Personally, whenever I heard her, I always remembered F. Scott Fitzgerald's description of Daisy Buchanan's voice in "Great Gatsby": (paraphrasing because I don't have it in front of me...) her voice was "the sound of money". Yup, that said it all for me. I also remember that she was a gracious, composed, private, and professional princess at the start of Lady Diana Spencer's ascension as the future Princess of Wales . It was sad Ms. Kelly died so shortly afterwards. I thought she (Grace) would have been a good role model for Diana, especially in the later years, when marital problems and the overwhelming (and annoying/obnoxious) overexposure in the press had begun to affect her and us. A beautiful lady. And of course, we must all be grateful for her love of ballet, and efforts to sustain it here in the US and elsewhere.

I agree carbro, that dramatic photos do not always impress like dancers in motion do. Personally, because the photo is (I think by F.Ferri) it's possible it's from an older pic, and the invisible Juliet is A. Ferri. At least it does look like her hand and arm (proportionally I always thought she had large hands, but was able to disguise it by her so graceful use of them.)

Did he raise the money from American donors? If that's the case, then he raised money worth substantially more than 1.3m dollars; however, only if he pays the US dollar equivalent in Euros in Europe, or if he spends his money in the US, does he have the additional buying power of the exchange rate. It doesn't help a person in Great Britain or Europe to know that his pound or Euro is worth 1.X US dollars when he has to buy something in Pounds or Euros. There was no way for American's to donate, because the Foundation wasn't registered in the US or with the IRS. Some American patrons (who also had ABT connections) have supported the company, but most of the funding has come from the Castilla-Leon government, and a few Spanish and international corporate sponsors. Like most money, it's what it buys that is most important.

Ok, I was there--all week. So was a 12-minute "loop" of my documentary's Trailer + 4 performance excerpts which screened first on a widescreen tv in the vestibule of "Studio5" prior to, and after, Angel's March 15th interview with Damian Woetzel; AND prior to every performance and during intermissions in the City Center lobby monitors. Did any BT members see it? Did anyone realize it was excerpts from the doc, and not just some generic footage? Did anyone read (or bother keeping) the Playbill program insert that explained the current status of the film? If not, you're not alone. During the "Studio5" interview, Damian asked about the location of the company, and seemed impressed by the ceding of the Palace of St. Cecilia by the Spanish royal family, and Angel's description of the site--but no one mentioned that the palace etc. was clearly visible in the trailer that was playing on that vestibule monitor! On March 15th I was allowed a poster/sign next to the widescreen tv, but, since I wasn't allowed to place any signs next to the lobby monitors, (supposedly because of NYCC union rules!?), unless I spoke to you personally--(once I realized that no one knew it was the documentary video screening in the lobby monitors, I made a point of visiting each (4) monitor and saying so to any viewers standing nearby)--I'm not sure the connection between the doc, lobby "loop" of excerpts, and Playbill insert was ever made. But anyways, the film was just one reason I was there. The other, or course, was to see the company and renew some friendships. Impressions of the ballet(s): STRING SEXTET I agreed with Macauley's comment that Angel's "String Sextet" was 'overchoreographed', but I also recognized that this was a first effort, and 'over-choreographing' is a common failing of many beginning choreographers. Except for a few moments in the first movement where I felt a noticeable disconnect between the first couple--mostly because of the choreography, not the dancers--I liked many things in it. There was inventive choreography in several of the movements, and good use of music in the adagio--(which thank goodness banished "Cruel World" from my mind). Joseph Gatti's dance with the six corps women in the 3rd movement was originally choreographed on Angel himself, so it's a "puffy" piece, which Mr. Gatti handled with his usual skill. I also liked the way the women circled around him, alternately pulled towards and eddying away from his turbulent center. There were echoes of T&V, also Symphony in C, and a lot of other neoclassical works by Mr. B or others in the choreography, but, Angel has a prodigious memory (muscle and not) and I don't blame him for incorporating some of it. I also thought the costumes were beautiful--especially the way the tutus 'lofted'. The dancers did say the bodices were stiff, but it is a formal classical work, not full of fluid plastique like SL. WALPURGISNACHT I wondered if this piece and the "Sunny/Solar Duet" that followed were chosen as an early homage to Vasiliev, who is being honored at a YAGP gala the following weekend. (VV was also originally supposed to be a Ballet Master at CBCL.) I thought both were very dated, but how many galas have we seen with similar excessivenes?! Joseph Gatti and Yevgen Uzlenkov (sorry but if it was Kiril Radev, it didn't look like it from where I was sitting) got gasps and ovations. Kazuko Omori was sweet, girlish, and flirtatious, but not a femme fatale or siren or bacchante. I still love her 180 degree grand jetes, not lofty, but great line. SUNNY/SOLAR DUET This was originally chosen by HERMAN CORNEJO, because he wanted to do something that no one here (or elsewhere?) had ever seen him do before. The problem was it was so obscure, there was no score readily available. (It was originally created for a single Soviet tv broadcast--mid 1950's, and afterwards most of the records of it were trashed. So, after many months of searching archives from here to Russia and back, an ancient videotape was discovered. And that's where this production's music was derived, after some efforts to clean it up). But it was dated, and didn't showcase HC's brilliant technique as effectively as usual. Adiarys of course was her usual technically skilled and delightfully expressive self. But the change was made to Black Swan pdd for future perfs and I, and many others, was glad. SOLEA Begins so slow and sweet, but gradually the speed increases, and so does the "competition" between brother and sister, while still retaining the mutual admiration and affection so evident in their relationship. After not seeing Angel dance full out in so long, I loved that blazing diagonal that flew across the stage, the expressiveness of his upper body, and the joyful abandonment to the music and movement. I thought the best performance was the Sat. matinee, it was the quickest, free-est, and most precise. But Saturday evening's version was a close second. And to see beautiful Carmen dance again, (she was seriously injured in late '08 and worked very hard to recover) well definately made me VERY happy. And after watching her in DGV, even more so. BLACK SWAN Hooray, NYC finally gets to see Herman Cornejo do Siegfried--even if only in excerpt. What fun. He did a few things differently, but mostly the variation was similar to Angel's. Adiarys used the harp/oboe (original?) variation music and choreography. Blazing fouettes as usual, but not the ones I saw her do in Spain. Now I'll really have to include that footage in the doc. DGV What I loved about this piece was the juxtaposition of corps and principals. The corps was often much more interesting to watch. All those sly references to trains: choreography that imitated signal crossing arms, Brit Rail logos, train tracks, levitating wheels humming along, always propelled by the score. Each principal couple was unique and interesting to watch for different reasons. Carmen and Sergey (him tall enough and secure enough to partner her) slowly winding/unwinding versus the increasing speed of the score; Herman and Adiarys sliding across the stage in parallel and profile and then contorting themselves; Ashley and Fernando, both capable of continuously fluid connections between each step (what is the word for that?! I forget); and Angel with Natalia Tapia (only months from having a baby) even in slo-mo, even when fast, her amazing flexibility and long lines in sync with Angel's instinctual use of epaulement to accentuate line. And those lunges on that hyper-extended knee --like some glorious ship's figurehead or auto/train hood mount--were both beautiful and cringeworthy. So as I wrote to someone recently...He came, they saw, he conquered. What else is new? Let's hope we all can move forward now. PS. Many thanks to Alex and Andrey, jah and Ann T-P, Drew S., and Matt B. AND Ross MacG for his artistry and kindness.

While there is almost always luck involved -- the article describes the fortuitous offer by the major of La Granja de San Ildefonso -- and the ballet environment in Spain is quite different than in the US -- although the lack of a classical company in Spain cut both ways -- Corella spent a focused six years to create the foundation (a school) and a company before he hired a dancer. He was heavily involved in the administrative aspects, and it took him substantial longer to raise the 1.3m Euros than it did Wheeldon. (I'm assuming that 1.3m Euros in Spain=1.3m dollars in North America.) Even had Wheeldon not walked away from Morphoses, from all published reports, they took a substantially different approach to creating a company, and had substantially different underlying aims. Hi Helene, good points all. Just some clarifications.... MONEY: 1.3M euros is substantially more than 1.3M dollars because the dollar is so low. When I was there in 2008 and 2009, the exchange rate was about 1.86 dollars to 1 euro. So almost equal to the British pound exchange rate. (For ease of math I would usually do 2dollars = 1euro and be glad I got any loose change back in my measly pockets.) Also, Angel and his family established the Foundation, because they decided to fundraise using a "northamerican" [their term] model of private & corporate investment, since the Spanish governments were not willing to participate at the time. In fact, though the Foundation is still headquartered in Barcelona, after 4 years of trying to gain the government's support, Catalunia declined to finance them. It wasn't until the Mayors of La Granja and Segovia decided to make the city a "World Cultural Heritage" site, and return Segovia to its past as a center of arts & culture, that the offer was made of the Palace of St. Cecilia.--which is empty and still needs to be renovated. There is NO school yet.. Angel & Carmen held a summer intensive last August at CB's "temporary" studios, and have toured the country doing "educational workshop/demos" for school children, but that's it so far. (There is a prospectus however that details the curriculum for the school when it opens, and an architect has been retained to build the new studios and renovate St. C's. It's going to be quite beautiful if it's ever finished.) But for Spain, Angel had to create a "product" first before people would invest in it. That product was CBCL. Prior to its inception in early 2008, for 7-8 years, Angel was touring small groups of dancers--mostly friends from ABT and NYCB--in order to prove that there were audiences for classical ballet in Spain and eventually gain support. So those tours, and as he put it "a lot of knocking on doors, and breaking down walls", eventually got people, and Spanish government ministers interested, and luckily (finally) La Granja-Segovia finally stepped in as "angels" for Angel. At the moment, I deeply understand the difficulties faced by Christopher Wheeldon and his company--being US based of course, I am very cognizant of funding issues, or lack thereof. I realize Mr. Wheeldon's purpose and business model were different; which is another reason why Morphoses was so intersting to me--as I've posted before, it was the PROCESS (of forming a ballet company) that intrigued me, not just the dancing. I wish him (and Morphoses) well.

And once again, there is no mention of, or links to the doc in these interviews or articles. This is especially egregious in Dance Magazine and Pointe, considering where the trailer has been posted for a year!!!--and until recently, driving almost 50% of the business to the site! (Wish I knew whether this was deliberate, or just cluelessness on the part of the editors/publisher who obviously have never heard of CROSS-PROMOTION!) Regarding AC's contractual obligations in this matter, I reserve judgement, but needless to say, my trust in their "good faith" has been greatly undermined. Meanwhile, I give thanks to all the dancers, choreographers, and technical staff who did remember, did appreciate it, and did try to help. I am VERY very grateful, and your good wishes and support, in however infitisimal a way, is what keeps me hopeful and moving forward.

Sorry, didn't know exactly where to put this... (It's a little OT) I haven't seen The Hurt Locker yet, not playing anywhere near, so have to wait for video or maybe mom's Netflix account to get it. But anyways... Does anyone remember a BBC series from ('70's / '80's ?) called "Danger UXB"? It was on PBS' Masterpiece Theatre. Of course UXB stood for 'unexploded bomb' (maybe because the general public wouldn't know what 'ordanance' was?) The series was about a WWII bomb-disposal squad, headed by a Royal Engineer, played by Anthony Andrews. The government thought the engineers would be the best to deal with the problem during/after the Blitz, but of course they had limited training or knowledge, technique was a matter of trial and error, and the German bomb detonators and designs kept changing. So even though every episode seemed to have the edge-of-your-seat diffusing sequence, because of the above, each case was different and affected the officers, rankers, and British public differently. I particularly remember an episode in which they tried 'dry ice' to freeze the detonator so it could be removed safely, and another episode about "butterfly bombs" which were of particular danger to children who might think they were an interesting toy, with tragic consequences. (spoiler) In a later episode, our hero, himself, was severely affected by a late discovery under a dock. BTW: Alistair Cooke was great as the host, because he had lived through the time in question and remembered many details which helped us non-Brits understand the action and consequences.

Does no one learn on this show--ie. how to dance better? When I found out Lysecek was going to be on the program, I was hoping a good instructor/choreographer would get him to use his line better, and yes, stop semaphoring without meaning.

I couldn't disagree more. I thought the dancing was fantasic. Truly creative, reflective of the what the "real" world is doing out on the streets with dance, and refreshingly not what I expected. I'll clarify, b/c I don't disagree: the dancing was good, but I think it was poorly presented for TV. As one dancer I know put it, "That was dancing, but not choreography." As far as being "from the streets," though, I'm not so sure...I think those styles have been commodified for a while now... Sorry, but I agree with Ray's friend..."dancing, not choreography". They seemed to be dancing 'through the music', rather than 'with the music'; certainly not that paraphrase of/by(?) Mr. B of "making the music visual." Hip-hop can be interesting, but it can also be like watching a gymnastic 'floor exercize' program--ie. 2-3 small dance steps and a lot of tumbling. (I was kind of amazed by some of those skills, however, if still not crediting it as dance.) Otherwise, ditto Sandra Bullock's and Helen Mirren's attire. AND maybe now I can finally respect the Academy for realizing that a LOT of women contribute to this industry behind the camera--and most especially as directors.

How sad, once more a ballet company is reduced to doing Nutcracker, in order to fund anything else. And to think I use to cheer that at least one company in the world wasn't doing Nutcracker each autumn/winter, and I could actually see some new/interesting choreography instead. Sorry, but I hate looking around each fall, and no matter which direction I face, all I see are Nutcrackers. I don't mind it once and awhile, but all the time, everywhere?!

bart, the picture was taken at the La Granja de San Ildefonso Town Hall. I'm not sure if it is from the July 2008 press conference I shot there, (prior to Corella Ballet's "Pre-Premiere" on the outdoor stage at the Royal Palace of La Granja) or a similar one held in 2009. BTW: Here is a link to some EFE footage shot of Corella's Swan Lake (Act1 - Herman Cornejo as Siegfried, Fernando Bufala, Kazuko Omori, and is it Maria Jose Sales?--sorry blurry video-- in the Pas de Trois). Some of the choreography (waltz and Siegfried menege) look a lot like ABT's (which I'm never quite sure how much is McKenzie's vs Petipas'.) http://www.informador.com.mx/cultura/2010/...vos-tiempos.htm

I always applauded Wheeldon's attempt to form a company that would be an 'incubator' for choreography and dancers, AND a collaborative effort with other art forms. It was fascinating to watch the attempt and process, and most times, the results. And I will always admire his efforts to move and promote CLASSICAL and neoclassical ballet. I am saddened that he left Morphoses, curious as to its future prospects, but wish all concerned success in their future endeavors. However... It has all been rather odd, because of my current documentary project...Several yeas ago, when I first thought of making a doc, I wanted to explore how three people created classical ballet companies despite supposedly aging, declining (in more ways than one) audiences, and an uncertain economy. I also chose three people who approached the problem from slightly different vantage points: choreographer, US dancer (also the rare female AD), foreign dancer. Can you guess who they were? Yes, Wheeldon, Farrell, Corella. But since AC started his project first, and I had more access at the time, that's who I filmed first. I didn't choose him because he was a star, or because of how he danced; I was fascinated by the young entrepreneur who convinced the Spanish governments, funders (eventually), and populace to support him, despite Spain having no classical ballet company for 20 years. As I kept telling him, it was the PROCESS I was interested in documenting, not just the dancing. Corella is succeeding (now even more admirable an accomplishment when others have not), Farrell is still surviving (hooray!), and Wheeldon?--despite his 'failure', doing a little of both, though on a more personal level. So, all in all, it was probably a good thing that I chose to narrow the focus and film whom I did, when I did. (Though, as a woman, I REALLY want Farrell to succeed too.) RE: Balanchine's "A school first..." : AC had to start a company first because, as he has said, Spanish funders won't invest "unless they can see a product first." So Corella Ballet became that product, and because of its success, hopefully now the residential school will follow. (It has a great site already.)

Colleen: You're too kind about my posts. The playbill does not seem to distinguish between the matinee and any other performance (if there is one) on Sunday (February 21). Here is what is indicated for February 21, for the performances where danseurs can be different: For 4: Matvienko, Carreno, Gomes, Cote (the same combination as I saw last evening) Morel et St Loup: Cote as Saint Loup, Gomes as Morel (same as what I saw) Remanso: HALLBERG, Desmond Richardson, Carreno (only common person is Hallberg to what I saw) -- This could be interesting because Hallberg's dancing is so refined, and the dancing I saw from Richardson is so... well, the opposite. On For 4, I did like it, but it seemed to me more "structured" than the other multi-danseur works in the program (pas de deux in Morel et Saint-Loup, and Remanso). The piece For 4 begins somewhat dramatically as the four danseurs are shown as dark shadows against a medium blue background. They move around a bit to create different poses, while still in the shadows, typically with their arms raised in various positions. When they emerge, they are all clothed similarly -- in dark pants (some are a blackish purple, others are a dark grey laced with forest green overtomes). Along the edge of each pant is a matched satin/other similar material trim -- like certain tuxedo pants. The top worn by each danseur is black, with some sparkly buttons and is translucent. One can see the physique of the men's torsos beneath the translucent black material. De Lux seems noticeably shorter than the others, and Cote and Carreno seem more refined in their dancing than Matvienko. The piece involves, in many places but not exclusively, the four dancers doing the same steps or doing the same steps one slightly after another in progression. Sometimes the four of them are side by side. Sometimes two of them are in front of the other two. They move and use different parts of the stage, but, to me, this work did not showcase the purportedly excellent qualities of the participating dancers. If I were to showcase a King, I would have chosen a work with greater technical difficulty and greater dynamism (not in the sense of kinetic energy, but in the sense of a work that aspires to do more) and more variation in the moves simultaneously conducted by the four dancers. To me, this work represented an opportunity cost rather than anything I didn't like. That is, there could have been so much more done to showcase the capabilities of the danseurs. Maybe you can report on your thoughts after viewing it? The solo portions of For 4 were more interesting to me than the portions where all four danseurs were on stage together. FYI: For4 was choreographed by Wheeldon for the original four KofD: J. Kobborg, E. Stiefel, A. Corella, N. Tsiskaridze. In the many articles and interviews at that time, Wheeldon specifically said he didn't want it to be about "tricks" but yet differentiate each King's technique--in unexpected ways--which I thought it did quite subtlely. (His example was: Tsiskaridze doing the adagio variation.) If I knew how, I'd link to all the old BT reviews of the 2006 performances, or I would check out the LATimes, Orange County Register, NYTimes and DM which all did stories on it. (But the California papers were the most detailed.) I know because I was there (LA and NY in 2006). Thanks, though, for reviewing the current "Kings" performances. I very much would have liked to attend, (but have to concentrate on a greater CCtr priority now), so it's great to read how they have changed and progressed.

The premiere performances of Angel Corella's version of Swan Lake in Valladolid are completely SOLD OUT, even though he is not dancing! Currently, opening night will be danced by Herman Cornejo & Adiarys Almeida. The other alternating couples are Joseph Gatti & Ashley Ellis, Fernando Bufala & Kazuko Omori. (Carmen and Iain Mackay appeared together in Galanes photo) FYI: Angel also is interviewed in the Feb/Mar issue of "Pointe", and Feb. ('Hollywood') issue of "Vanity Fair" regarding the NY debut of Corella Ballet. Though contractually obligated to help promote the film, he neglected to mention the existance of the documentary in both instances. (The "Pointe" article was shocking to me, considering where the Trailer has been posted all this time?!) There is also an interview with the NYTimes I have yet to see, but was informed by the CB company manager, that the doc wasn't mentioned there either. I tried to email Macauley to rectify this, but don't know if he'll ever see it. Are any BT'ers going to the CB perfs at NYCC? Maybe I'll see you, or you'll see something too?

Men: 1) Crickmay's color pic of Baryshnikov in the studio, taken during the filming of "White Nights". He's in a deep lunge at the barre, it's golden hour lighting, and the line is gorgeous. 2) B&W of Baryshnikov rehearsing "Other Dances" with Jerome Robbins--both in croise (or was it efface?) tendu en avant--from "Baryshnikov at Work" 3)A CU of Angel taken in Central Park. Very indirect lighting. It's one of the few taken of him, where he's not looking at, or seems aware there's a camera. I love the remoteness of his expression. (And the privacy of that remoteness). 4)Roy Round's pic of Marcelo Gomes in "Clear" 4th arabesque fondue in his book "Round About the Ballet". Perfect form, perfect line, perfect dancer. 5) Jesus Vallinas' photo of Angel and Paloma in Act2 of Corella Ballet's "La Bayadere". I want to use if for the film's p.r. Women: 1) Waldman's picture of Makarova in "Other Dances". I know it's partially the costume, but I love how he captured the impetus of the movement, as well as the form. The picture "flows" across the frame. 2) Makarova in Dying Swan (from her Autobiography). And in Swan Lake from an early '80's LATimes ABT ad. The fragility and strength visible in both pictures by one of the perfect examplars of those roles. 3) Gelsey in "Leaves Are Fading" (I think it's also by Waldman) with Ivan Nagy. 4) Maya Plisetskaya in attitude arabesque in a downspot--from a Bolshoi program book. (Tokyo 197-?) 5) Maya in Carmen from the same program. In pose and look (ie expression, not just costume) , I don't think I've ever seen a better Carmen. Too many? I've got a lot of wall space. (But mostly I keep them in my scrapbook/photo albums.)

Correct me if I'm wrong, but I believe the PBS "True West" with Malkovich/Sinise was part of a program series called "American Playhouse" which, for economic reasons, was produced by a consortium of 3-5 PBS stations--but staged/shot in either NY/LA. RE: Play vs. Film: "American Playhouse" was neither, it was American plays 'filmed' in a tv studio for television broadcast. I also remember out of 5 plays that season, a play with Swoosie Kurtz " ('House of Blue Leaves'? I don't remember what it was) and "Morning Becomes Electra" about the same time. "American Playhouse" was the first attempt to bring theater performances to primetime US television since the heydays of live television in the '50's & '60's, and an American response to the BBC's 'filmed' classics of English lit, then so prevalent on PBS. The program was also the precurser to "Great Performances." But of course, it all went under because PBS simply didn't have the budgets to sustain it. (Especially when Republicans--eg. Nixon and Reagan--kept trying to gut PBS completely.)

I have a Hartford Ballet Nutcracker I filmed, but it wasn't like that! The version I shot was very traditional. I still have the tapes--but don't think the playback format is available anymore, and transfers to something more current would cost too much. (But maybe some day, I can afford to get it done.)

Thank you innopac for posting this link. After 30 years of waiting, I've finally seen A Month in the Country again thanks to this 5-part YT post. Now I know why I always remembered it. What a lifetime of emotions and reactions, and exquisite dancing is compacted into so short a time. If only, if only they would release it on dvd, or (PLEASE! ) let another company a little closer than the RB do it. I do think most of the major companies could do it, but would like to see ABT (if Dowell ever lets them. He did let them do The Dream, so why not this?) And can think of many casts there. And considering it's a Russian story (play?),... the Kirov? (somehow I think the story is too small and intimate for the Bolshoi, but that's just MHO)

Ditto to the above. (et Merci bart for posting these Q&A excerpts.)

I don't know who would be up to the task of choreographing it. I would like the Corella Ballet to stage it as something unique to them (rather than becoming just another international company with the same old same old repertory.) The purpose of Corella Ballet, (besides the primary one of providing a classical company in Spain so Spanish ballet dancers aren't forced to emigrate to find a job--eg. at last count it was over 260), is to perform full-length classical ballets in Spain. Remember, for 20 years, there was no classical company in Spain. It was also very expensive for Spanish theatres to import foreign companies, or the larger, more technically proficient, professional companies. So, general Spanish audiences have had a very limited exposure to the "same ol', same ol'" classics and high calibre classical dancers that are SO familiar to us. (Of course I realize this was not so in the larger cities--but even Barcelona has always supported more modern and contemporary dance. Until, Angel has shown them otherwise.) So, although CB, like most international companies today, performs a mix of classical and contemporary repertoire, it is focused on classical works, thereby giving Spanish dancers opportunities they've never had. (BTW:All of the above info is in my doc) RE: original topic of this thread: I always thought Tristan & Isolde would work. There's all that Wagner music, or "Tintagel Suite" by ...? (sorry can't remember composer), and I think somebody at the RB did do a ballet called "Tintagel" but I think it was more about King Arthur?

Slightly OT, but just some FYI: 1. Betamax vs. VHS: Betamax was technically superior, 'winning the battle' but 'losing the war' of consumer choice. In those days, quality on tape was determined by two things: width of tape (wider could hold more info--e.g. Professional recordings were done on 2" wide 'quad' tape, and eventually 1"), or speed of recording (again allowing more info to be recorded). Both betamax and VHS used 1/2" tape, but the speed of the recording process was much faster on beta--besides being recorded in a slightly different set-up. Consequently, most beta tapes recorded for only 20-30 minutes--NOT the slower (more grainy) 2-4hr lengths of VHS. So guess which version the general consumer wanted to use to record? You guessed it: VHS for movies, sports, soaps. I always smile though, because, while the consumer was happy with VHS', professionals got to use the much superior next generation of 'beta'--betacam, which could, eventually in mid-1980's, record up to 60min/tape in the field. BTW: I also thank all gods that video-cassettes were invented for field shooting, and eventually betacams--ie. professional beta camcorders--so no more carrying 55lb vcr's on one shoulder, and almost 15lb cameras on the other tethered together by a 6ft. inch-wide cable with 27 pins. 2. Home Use: Actually, stations/networks/producers DID realize quite early there was an after-market once videotape was constantly used to record programs...However, there was also a years-long legal battle, (much as there is today over internet downloading etc.) concerning who owned the rights to this "ancillary product", and who made the profits from home viewers. Don't you remember how the movie studios and tv networks fought vcrs's because they thought it would end viewership of free over-the-air television and broadcasts of films--which networks and advertisers paid $$$ for? Don't you remember the studios wanted to outlaw vcr's or charge for each off-air recordings--(kind of like getting charged for PPV or internet downloads now). It was only potential profits from RENTALS that convinced them otherwise, and eventually made them realize that video cassette sales might work out too. Of course they were right about the decline and splintering of audiences--which has continued even more now--but until the profit$ and ownership rights were worked out, programs sat on the shelf after broadcast. There was also a real fear of what use a home-viewer would make of a program. (Pirating/copying?) Today, the usual broadcast window is 3yrs, then distribution overseas and thru those ancillary markets.--But the internet has made things happen quicker, so dvds are usually released soon after broadcast. It's those archived programs and finding the original rights holders again, that slows release now. BTW: My parents owned a betamax in the late 70's because I told them it had the better quality, but we could only record programs off-air, since the networks weren't releasing videos for home sale (see above.) I also bought the original vhs releases of the Makarova/Nagy SL (an Emmy-winning "Live from Lincoln Center" broadcast--did I ever cheer that win when I saw the Emmy broadcast!, but mostly because stupid network tv finally noticed artsy PBS), and the Makarova/Baryshnikov "Giselle" (which also won an Emmy--ditto hoorays from me)--my staff discount helped. But now can't get my old vcr to play them! And vcr's are getting hard to find. Also...If anyone knows how to search a BT thread, I think I posted a detailed reply (in '07?)concerning why more of these older PBS broadcasts are not on dvd now. Totally agree about Gelsey/Misha's T&V--the first time I ever saw T&V and what has always "stuck" in my head ever since. Also the first film I ever wanted to watch, the first time I went to the NYPL Perf.Arts! (That day, I also watched the Balanchine Trust/Archive (?) of Alicia Alonso teaching T&V to a very young Paloma Herrera & Angel Corella. What a brilliant artist Mme Alonso is/was, I've never learned so much in such a short time.)

The Port Authority bus/42nd St. subway station in NYC has also been doing this for years. Personally, when I've waited 3+ hours for a 4AM bus, it's nice to hear. I don't mind working out to somthing louder, more contemporary, with a beat, but when rushing through city stations, with too many worries in my head, it really does get me to take a minute, relax, and enjoy the music. I guess you'd have to ask the PA police if it has been a deterrent or not. The PA (likeNYC) is such a mix of races at all times, I haven't noticed any more or less of anyone there--but only see people trying to get from one place to another.

Maybe 4rmrdncr can pass the idea on to Corella! Some rewriting would be necessary, however, to fit the value and sensibilities of modern Spain and its (once again) large Muslim community. If any BT'ers are coming to see the company perform in NYC at City Center March 17-20, or attending Angel's March 15 interview/demo with Damian Woetzel, you'll have your chance to tell him. Of course, I'll be present too, and hopefully showing excerpts from my film. (Sorry, but dire economic necessity caused several delays in my ability to work on the film last year and consequently finish it in time for these performances. And how ironic that is, I certainly know.)