4mrdncr

Just saw this and had to comment. I have the same problem coming into NYC to see anything. No transport back to MA after 6pm, or Hartford, CT (from which I still have to drive 45minutes to home) after 10pm. Several times, I have wandered the city at night, or spent a few hours in an all-night cafe, waiting for the earliest bus/train back north--which leaves at 4:30AM. Not horrible to do in the summer, but very tough in the winter.

The same pair (Kobborg/Cojocaru) are also scheduled to perform at Boston Ballet's opening night gala September (or is it October?) 2009.

Thank you SO much for posting these links! I adored Curry for so many reasons... 1) Foremost for putting the ballet back into skating, and for trying so hard afterwards to incorporate it in his future endeavors. 2) For the perfection of his artistry (line, epaulement, grace, form, musicality) and technique (yes, those 'school figures', edges, form in the air or not in all his movements: preps, landings, spins, jumps, camels etc.etc.--faultless AND beautiful.) 3) The elegance he brought to everything, even informal moments. I miss his artistry very much. And if anything reminds me of the devastation caused by an insidious disease it was his passing. I waited many years to see something similar on ice, and it wasn't until Oksana Baiul (sp?) did "Dying Swan" and "Black Swan" at the Olympics that I did. But once again, the Americans overshadowed a great performance (D.Hamil in '76, and the Tanya/Nancy fracas later on) so once again, athletes overtook artists in the public's mind.

Don't be put off by the shape of the tiers or the fact that tiers 2 and up are hanging. They have great sightlines despite their odd shape. I don't remember them being particularly far from the stage--but compared to Lincoln Center, or the Dorothy Chandler Pavilion in LA maybe. I usually try to get Tier2 or 3 as close to the edges they meet at. I've also sat in Tier1 and the orchestra there and didn't have a problem. It's such an interesting space, and surprisingly not a problem for viewing, that I enjoy going there--even when I didn't enjoy the dancing I saw. Hope this helps. PS. It's also within walking distance of many venues for eating, shopping etc.etc.

A very interesting development. If Sascha is coming back to the USA, that would be great no matter which company he decides to join (or rejoin?). Another interesting development is that Matt Golding, former first soloist at Corella Ballet, and corps of ABT, is now a "second soloist" at DNB. I wish him all the best. (Quite a quest for international experience and different schools; it will be interesting to see how he develops.)

In January 2009 the trailer was posted here: http://www.dancemedia.com/v/1528 . Someone told me it's actually driving 50% of the business to that site. Now, if only I can monetize that somehow and finish the film.

Thanks for reviving this thread bart. Of course it's of much intereste to me as well. When I taught tv production and camera techniques (or had to train my all-male crews with nil experience filming dance) the point I made over-and-over, in every class was: TV is 2-D, and your goal is to make it 3-D. You can do that (without a 3-"crystal"?--ie. chip? camera) by three simple means: 1) Shoot on a DIAGONAL whenever possible and you get automatic perspective and depth within the frame. 2) Lighting--our brains are programmed to think something light is in front of something dark (ie. why your nose sticks out from your face--it catches the light on its bridge and a shadow under the tip. OR...a black circle on the floor is automatically thought to be a hole until you touch it. OR a hallway has more depth if the light/dark areas alternate; this reinforces the natural perspective, and creates tension.) 3) Having objects in the foreground, middle, and background which is the most obvious means. And corollary (4): the mechanics of optics means that when a camera is zoomed in the space between objects is compressed--(eg. the "traffic" on the freeways looks "bumper-to-bumper" because it was shot from an overbridge and zoomed in), AND consequently you also get a "running in place" effect. If a wide-angle lens is used, the opposite happens: space between objects is exagerrated, and apparent speed of motion towards/away from camera is faster. So how does this translate to filming dance?... The center shot is the safety, but is also the most 2-D and static. It is always more interesting to shoot on a slight diagonal. HD does give you a wider aspect ratio, but it also means you have to be that much more aware of what fills that frame, and the angle it's shot. And unless you use the above techniques in close-ups as well, you are still just as likely to get a disembodied "talking head" as not. Of course it goes without saying that I totally agree with everything Mr. Astaire said, and was glad he could enforce his vision with the clueless ones in Hollywood. PS. I tried to use all these techniques, (which I believe are visible) in the trailer to my doc on Corella Ballet. And used editing to make the camera "dance" so that the shots and edits were both musical. I didn't just want a collection of shots, I wanted them to dance to the music as well. Hope this makes sense.

Will a PAL dvd play in my computer? I had an NTSC dvd that (of course) wouldn't play on a PAL monitor (though I think the player itself was either NTSC or multi-region) but when we tried the computer, it worked ok. So back to the original question, will a PAL dvd play on my US computer's dvd player?

Gracias for posting your impressions and review of the Peralada Festival and debuts. The choice of repertoire there and elsewhere recently shows considerable range for the company, and the very astute mind of its AD. I would have liked to have been there, but have other committments with which you, et.al., are familiar. Otherwise, my only comment is... "Merde a tous..." (Carolina will understand that--and the unmentioned "les..." which hasn't changed.)

Is Decca under Opus Arte? I thought OA was owned by the ROH (or whoever is over them) and usually releases RB dvds? Let's see what happens in a few weeks.

My sentiments exactly. With deepest gratitude for all concerned. And yes, I remember her Act2, and so far, have yet to see a better.

I will never compare dancers by saying one dances "better" than another. They all dance "differently" from each other, and it is those differences that fascinate me. OT? But back to my point about famousness vs greatness: Both Nureyev and Baryshnikov were great, but they were famous for other reasons too... Nureyev may have defected in Paris, but it was in the UK that he danced (at least in the early part of his career in the West). And though Baryshnikov defected in Montreal, he quickly moved to the USA. So, though the French and Canadians may not have been as involved in Cold War competition as much, the USA certainly was, and its ally Britain was aware of it too. And that underlying motivation may have moved the government "spin doctors" of the time to make sure the other side knew it. I even have a cartoon from the time that makes that point: It shows a (supposedly) Russian ballet studio with some very large round babushkas/babkas (sp?)falling all over a barre, with a caption that basicly says "Well they aren't much to look at, but then again, if they defect, who cares!" Baryshnikov was put on the cover of TIME and Newsweek magazines, not because balletomanes were their editors, but because the story could be 'spun' for their generic audiences as a "coup" for the US, something of a 'thriller' in its logistics, and only afterwards as the chance to see a great artist in person here in the West. (Though I'm sure the ballet critics also championed them, (N&B), and pushed their stories to the popular/generic press, which further helped get the stories out.) Balletomanes aren't interested in the celebrity hyperbole and gushing headlines of the popular press, it is not "serious" ballet students/fans/critics who have to be sold on the significance of those artists, but rather, the general pop-culture centered audience, because that's what sells newspapers and magazines. So thanks for the history lesson Leonid, but that's not what I was saying at all. Nureyev is/was unique and different from Baryshnikov. But both of them achieved fame with NON-ballet audiences because the popular press covered them (for many of the reasons I mention above)--eg. even "People" magazine did a two page spread once--and not because balletomanes had already enshrined them both for other reasons entirely. Meanwhile, the popular press today rarely do; as we have so often lamented on BT. PS. Apologies for bad grammer.

Don't forget to add at least 2 inches to every female's height because of being on pointe. That makes a difference when placed next to a shorter partner.

What everyone seems to forget is that the principal reason Nureyev and Baryshnikov had "celeb power" was because of the political climate at the time and the fact they defected. The politicians and governments were involved in "one-up-manship" and to get a significant person or star of another country was a coup. Nureyev and Baryshnikov were made famous because NON-balletomanes promoted or wrote about them or put them on the news, so the 'street' knew who they were. But only those of us who saw them on stage or on film, understood who they were. If any of the male dancers named above have international star quality now--beyond their obvious technical/artistic abilities--they have had to work harder to get it. Though I do think the internet and advances in mass communication and social networking sites have helped publicize them to a wider (less knowledgeable) audience. And yes there is a difference between being famous and being great. Just a thought.

A (auto?)biography of Melissa Hayden was the first "ballet book" I ever read, and I wanted to see her live--but she had retired long before then. The first time I saw a ballet live, I was two years old. I think it was ABT, I know it was Swan Lake, I remembered the music forever after, and fell in love with ballet, though I had no idea what it was (other then v. small people--we were in a top balcony--dancing under green/blue light, like swans--my favorite bird at the time.) But when my family returned to Japan many years later, I loved Plisetskaya for her nerve AND verve. (In my company at the time, I remember Yoko Morishita for her elegance.) Margot Fonteyn for herself, and because we share a birthday. Back in the States...(ABT) Makarova and Ferri. Then Kirkland, Van Hamel, Jaffe. Then came the ten year break where I saw nobody/nothing and had to rely on memories, old videotapes, and the occasional satellite feed I caught late-night in 'master control' at work. I never saw NYCB live until very recently so my memories are of fuzzy tapes and old PBS/DiA programs. But of course I remember SF and PMcB (whom I did see live when she did "Bugaku" with her husband in Amherst.)

A little OT I know but I wanted to say... Thank you for the above accurate and wonderful description of both a balletomane and why my answer to most who ask me which dancer(s) I prefer is, "It's not that one dances better than another, but rather, dances differently." It's the difference(s) that matter to me. And only after I've thoroughly analyzed the how & why of those differences, do I finally figure out whether I prefer one dancer more than another. Like you said, "We look at a lot of work, and decide 'that means the most to me for reasons I can point to.'"

My latest cat (whom I've had for 10 yrs but actually inherited from my niece as a kitten when she started to treat him as a dog, and he ran away) is obsessed with drinking from the faucet. Since he's lived at my parent's house (no pets allowed in my apt.), she has tried numerous ways of breaking the habit (she thinks "it's unsanitary", of course the cat thinks the opposite in its quest for the freshest water): Get one of those cat "fountain" water dishes. DIDN'T WORK; HE SNIFFED IT BUT HATED THE SOUND OF THE MOTOR--WRONG PURR FREQUENCY? Turn on the hot water instead of the tepid/cold. HE FORGETS THAT BAD EXPERIENCE AND SOON AFTER IS BACK UP ON THE SINK. Lock bathroom door, so he can't push it open to entreat you. OF COURSE, HE'LL BE WAITING OUTSIDE THE DOOR TO TRIP YOU AFTERWARDS. Turn off the lights, leave the bathroom/kitchen, and try to ignore his malevolent or pleading stares from the countertop. IF YOU ARE OLDER, DEAF OR BLIND YOU ARE BETTER ABLE TO DO THIS. Stuff ears with cotten and try to ignore the "yowls" in the morning from downstairs, or if desperate, outside the door. UNFORTUNATELY I'M A LIGHT SLEEPER AND HE KNOWS IT. (Why I don't sleep over mom's too often.) (But unfortunately, I'm a "soft-touch" and will succumb to his entreaties sooner than later. Don't tell my mom.)

For everyone's info: I was the major source for that LA Times article: (The author Ms.Khouri saw my trailer, and contacted me. We spent an hour on the phone as I told her of contacts, locations, historical background, backstage info etc.etc.) All I asked in return for providing all that info was that the existance of my doc-in-progress was mentioned--one sentance would have sufficed. But as you see, that didn't happen. So no credit, nor acknowledgement of my almost 2yrs of work, nothing. Just wanted to set the record straight, since LA will never know now.

This isn't working for me. All I get is an ad, not a direct link to a video with VP on Letterman?

To: Sunday (not sure if you saw it,--and sorry to Moderators if posted in incorrect "Welcome" forum originally: I originally tried to send this as an email, but it wasn't set up to do so. So here it is again, apologies if I'm redundant. Bienvenidos "sunday" If you review the postings at the BT forum for Corella Ballet, you may notice some from me. I have been documenting (HD) the creation and development of Angel's new company from Jan'08-Jan'09. Currently, I'm still seeking completion funding, but in the meantime, you can view the 'trailer' to the film at: http://www.dancemedia.com/v/1528 I hope you like it. It includes footage from the company's performances of La Bayadere last year in Madrid at the Teatro Real. And Paloma Hererra and Adiarys Almeida. Both of whom were wonderfully kind to me and my film during my time in Spain. I'm glad you saw the recent performance at the Liceu and were able to speak to my dear friend CarolinaM who has done so much to explain and promote ballet in Spain. The Liceu is a beautiful theatre, and Barcelona is a beautiful city. Welcome again. I am very glad you have joined. 4mrdncr PS. Regarding Adiarys' Black Swan--I have footage of her and Angel in a "turning competition" after class one day. He did DonQ, she did Black Swan. I won't say who won.

Yes bart, a requirement of the funding by the government of Castilla Leon was that their name be included in the Company's name. It was incorporated into the company logo as well in early 2008 (Jan-Feb?) if I remember correctly. (I seem to remember viewing the possible choices of design/colors then.)

Oh no bart, don't you remember that wonderful cartoon with the skeleton still on hold to the IT helpdesk? The Wilis are the ghosts of all those who never got through to a live person, and expired. That's why they are so vengeful and don't listen to anyone anymore. PS. Our local symphony orchestra did a work this past season that incorporated cellphone ringtones into it. I'll try and see if I can determine what it was or who composed it.

...or standing in coupe (or once passe) to rest my ankle, or doing a swan ripple of my arm to stretch the tricep and unkink my elbow? And once, unthinking on the street, I did a battement and propped my leg on top of a box/bench/wall/fence? (sorry can't remember what it was but it was higher than my waist if not my shoulder) because I didn't feel like bending over to tie my shoe. Of course someone commented in passing. RE: turnout: the more tired I am, the more it shows. And even though I cannot go down stairs without turning out, I still managed to almost flatten three old ladies when I tripped. (Did I mention I'm a klutz when not in a studio?) I haven't managed to hit a rewind button yet, but several times have tried to hit "pause".

Bienvenidos "sunday" If you review the postings at the BT forum for Corella Ballet, you may notice some from me. I have been documenting (HD) the creation and development of Angel's new company from Jan'08-Jan'09. Currently, I'm still seeking completion funding, but in the meantime, you can view the 'trailer' to the film at: http://www.dancemedia.com/v/1528 I hope you like it. It includes footage from the company's performances of La Bayadere last year in Madrid at the Teatro Real. And Paloma Hererra and Adiarys Almeida. Both of whom were wonderfully kind to me and my film during my time in Spain. I'm glad you saw the recent performance at the Liceu and were able to speak to my dear friend Carolina who has done so much to explain and promote ballet in Spain. The Liceu is a beautiful theatre, and Barcelona is a beautiful city. Welcome again. I am very glad you have joined. 4mrdncr

Maybe being young works. (If the choreography is better?) I found this NYTimes article from 1997. Romeo was 21 at the time. Juliet? http://www.nytimes.com/1997/07/04/arts/lov...oung-again.html BTW: How old was Ferri the first time she did it at RB, or for that matter, Seymour (sp?) and Gable? Generally, though, I agree with most of the BT posters--and my old post--that technique was fine, but other elements of the NYCB R+J not.