4mrdncr

Great news if the commercial world is finally waking up. But I don't suppose Charlie Rose on PBS counts as a "late night talk show" to the rest of the pop world, because at least on that program, several current and former ballet dancers have appeared. Of course I will never forget when ballet dancers appeared on Mike Douglas (was it Makarova/Nagy?) long after Mr. Sullivan was no longer with us.

NINA's FAREWELL CURTAIN CALLS on YouTube. There are (so far) three postings on YouTube of Nina's farewell curtain calls--including the bouquets, confetti, hugs/kisses, the presenting and gleeful acceptance of Mr. Ormsby's baton, rippling swan arms & bourees across the stage, and the now famous "throw" (an interpolation into the black swan pdd, later repeated in front of the Met's gold curtain.)

Definately not. I saw her do Juliet with Angel Corella too. I think though, the notice may be referring to Herman Cornejo, because I believe this will be his first time as Romeo in NYC. (Of course he has already done it with ABT while on tour.)

I saw the Tues. performance. What do I remember? Details and a few differences. Pppd: Technically was fine, but one reviewer I read somewhere noted that Simkin danced for himself, not his partner. I agree. The partnering was perfunctory. It was there, it was professional, but they weren't a pair. He danced for himself, or at her, NOT with her. And when that happens I just see steps. Regarding Sarah Lane: I don't have a problem with her expressions or her smile because she always looks secure (in her technique) and happy/relaxed to be onstage. So I'm happy and relaxed too. Diana's technique was secure throughout the performance. I, too, loved her moments of interpretation within the choreography to explore/explain character, such as those pauses in the hops en pointe. I'm not sure I understand the differences everyone noticed in Diana's interpretation in Act 1. I thought it was MORE emotive than previously. This was the first mad scene I've seen in a long while where I thought "the poor girl has truly lost it", not simpy had her heart broken. She would be manic one minute, then collapsed inward and desolate the next, only to rise totally desparate at the end seeking solace, oblivion, escape, release?. What a ride! No wonder everyone was shocked. Angel's interpretation of Albrecht has changed in the last couple of years, but I would never say "bland". He's always aware of the moment and his partners. And now his Albrecht is less the cad, and more truly involved. I also agree with the poster who described it as "careless not cruel", more heartfelt than heartless. Technically it was clean, but missing the lightness and elevation of previous years. Previously, he tossed off the jetes en attitude in his solo with a nonchalant beauty of form, elevation and speed, but this year I think the technique was more deliberate(d). ACT2: DV: I remember the Fabrizio Ferri ABT program book's essay about why Giselle does those arabesque en dehors turns when released from the grave, and Vishneva was the embodiment of those words. I have never seen such speed; an effect outwardly of total release/freedom/abandonment; but inwardly (of course), one of total control of technique. I held my breath, then sighed with relief. Later, I did worry about how much romantic technique I would see in those long arms of hers, but they have softened over the years. The penche at the beginning of the pdd was perfection because, not only was it slow, it was concentrated, and allowed the rising leg to slowly push her forward. The developes around kneeling Albrecht were exquisite because they were held and not rushed to complete the fouette into arabesques. In the Grand Pdd, she remembered the rounded arms when en promenade, and didn't do the Russians' grand penche arabesque prior to the lifts across the stage (which, because it is "out & down" motion, I think ruins the upward float wanted in that part of the pdd. I guess Nina still did them the night before.) Vishneva's technique was perfection throughout, but some of that was also due to her partner... AC: Ok previous years the jumps were lighter and higher, maybe further and faster, but overall his technique was still clean, controlled, and recognizably him. I saw no problems with partnering at all in this act. That iconic overhead lift was still timed perfectly (though this time I thought he stood a little too close at the prep) so that Giselle simply floated up and took him with her. Angel was so still beneath her: No extra steps, or tilts, or shifting. Still and perfect, and so was she aloft. Later, she barely touched the floor en pointe before being lifted again in those small develope en avant hops back. In fact, the placement and phrasing of all those low quick lifts, (a killer to the--his--lower back), musically and technically enhanced the effect that his partner was weightless. And finally, for the first time, the Gpdd's arabesques/lifts across the stage were timed similar to the Mischa/Gelsey version I saw 25 years ago and always remembered--the long note was used for the LIFT not the arabesque, so that she barely touched the stage inbetween, again giving the effect of a weightless being gliding across the stage. As to his line: he still uses epaulement and mirroring more than anyone else I know at ABT. Case in point: look at the photo of Marcelo and Nina posted online (from NYTimes?) versus Angel and Nina previously ('07 or '08?). MW: Michele Wiles is very strong as Myrta, and therein lies some of the problem. It was TOO classical. I kept seeing Odile and Aurora, a pointed scintillated diamond, not a glimmering rounded moonstone. There was little or none of the rounded, circular, inward, downward Romantic technique visible. Just once, I wish someone at ABT would remember when this ballet was conceived and actually incorporate the Romantic technique more into the coaching. The corps were ok; sometimes fine, and then a little ragged at times. I was happy to see Stella Abrera dance. And Julio Bragado Young.

I wish I could have seen Herman, but I had a very limited schedule in NYC, so only saw Tuesday's performance of the triple bill. Just a few quick impressions... PRODIGAL SON: I had an odd reaction to this; similar to that after seeing Allegro Brillante in London two years ago: When I've seen Angel Corella do Balanchine, (except oddly enough in T&V), it's like watching something usually fluid and free enclosed in a box. The impetus and precision are there, but the underlying details are slightly at odds with the choreographic interpretation; almost "constricted". It was immediately obvious to me watching him with Ansanelli in London: Like the difference between a 90 degree angle (AA) and a sine wave (AC). This is absolutely not a comment on his overall technique or acting of the part which had many smart details and nuance. Just MHO. Kristi Boone from most comments I heard was a big improvement on Michele Wiles performance of the night before. She was assured and slinky, commanding and seductive, with a long line and extension, and some neat interplay with her partner (which I wish I could remember whether or not was part of the original choreography). She obviously had rehearsal time enough so that no major partnering difficulties appeared, and all the iconic poses were caught. My only complaint was the phrasing was a little quick in spots. Brava Ms. Boone, I wish I could see it again, AND the other casts. DESIR: Was what I expected. I agree with most posters here and with some of Macauley's criticisms too--the lifts do get a bit frenetic (and repetitive), but the dancing was fine. The central pdd was beautiful and more subtle--though I too kept thinking of other choreography to its Cinderella music, and I also liked Xiomara Reyes and Roman Zhurbin's abandon in their final pdd. The rest was interesting in parts, and pleasant enough to watch--you could always listen to the music if you were too bored. It will probably look good at City Center. I wasn't overly thrilled, I wasn't bored; like I said, it was pleasant enough, and light after Prodigal Son. ON THE DNIEPER. Okay all Russian/Ukranian et.al. speakers, how do you pronounce it? I heard a lot of mangled versions last night during the intermission. (I thought "Neeper" but may be way off.) My first reaction viewing the opening solo (other than yeah, I finally get to see Jose Manuel Carreno dance after that unchoreographed Piece d'Occasion at the gala) was a technical one: GIVE HIM A KICKER/RIM LIGHT/BACKLIGHT please! His military green costume blended perfectly into the busy (and murky) background, and from Dress Circle it was hard to watch his so controlled strong technique get swallowed up in the scenery. Unfortunately, the lighting was dim throughout the piece--Was this a deliberate low-key choice; an effort to "grey" the tone to blend with the sets/costuming? (No warm sunshine for this plot/story.) I did like the scenery, and its portability, but I did think a few too many trees were placed so that the dance felt constricted slightly and made me worry about blocking. I believe the corps dancers themselves acted as stagehands shifting it. But for me, it was very evident that the scenery's placement was a commentary on the action itself: now narrow and constricting, now overshadowing, now open and free. I was concerned by the excessive petals, snow, confetti onstage--especially after the slip I saw in PS, and then heard afterwards was a problem that had occurred repeatedly on the same spot with other dancers--but at least then I understood why the order of performance was changed so Dnieper was last: intermission would have been interminable if they had had to clean the stage before the next work could proceed. The cast was excellent. Vishneva of course owned the show. But Hee Sao held her own very strongly in a more passive role. Her technique and poignancy was excellent and made me wish I too could see her sylph. Alexander Hamoudi had the height and presence to make his role felt both for those onstage and off, and danced the quick and intricate choreography well. In essentially non-dancing roles, I tried to watch the details of the acting and mime sequences of the various parents (with many memories of Susan Jones abilities in my head). I also enjoyed (finally!) the classical details embedded in the choreography. A rejoicing for all concerned. Sorry I will miss the other performances, do keep the posts coming!

Thanks for posting abatt. I had heard something earlier and wondered. I hope Ethan Steifel recovers, I've not seen him dance a full length in a long time. Does anyone know if Herman danced ok on Friday (5/29)?

Gee, I'm sorry I offended. I admit I only saw him perform with ABT, (apologies again for being off by a year or two--why so picky!?) and it was limited to when ABT came to L.A., so definately less that all of you. However, what I remember was...stage presence to burn, a technique that exemplified 'russian', but not the control I saw in Baryshnikov. Sorry, but that's what I saw/remember. Maybe it was an off night? I used to go to see him perform without any qualms, and usually saw much to admire. And as I wrote before, felt bad that there was a mob of people backstage that night. Sorry about the spelling too, guess I typed too fast and added the "e" , but not because I didn't know how to pronounce his name--my ethnicity on mom's side makes sure of that.

Close-up views of faces are good for more drama, but dance is choreography and missing limbs (because of low seats, insufficient height, or large heads blocking views--my problem at the gala) should be a major factor in considering seating choices. For Swan Lake, like carbro, I prefer to be higher to see all the action onstage, and Ivanov's patterns. (And dare I say it, I like the first scene with the corps in the 4th act, (it was cut from the broadcast/dvd) which in its choreography really does resemble a flock of swans flying and settling onto a lake.) Also, if forced to sit in side areas, for Swan Lake (and Giselle) it's better to be slightly left (if facing the stage), because at least you won't miss any of the primary entrances.

I agree with Mel about the derivative choreography. I too saw many many instances of "plagarism". And I also agree it was lacking in cohesive motivation of characters, continuity of phrasing/choreography. I also told friends and relatives it was designed by children using Crayolas, and I too stopped watching several times to do other things (though kept it on in the background so I could listen to that--sadly--truncated score.) Thanks DeborahB for the post detailing the workings of the PBS national schedule and the constraints smaller stations must consider regarding programming/scheduling choices. Of course I know the system VERY well (primarily as a long-time employee, and later because of my graduate thesis on PBS funding and its consequences), and mentioned the situation more obliquely in my original post. Besides us, it is something the larger stations, and PBS itself, need to consider more. However, I understand the choice to do this production for LFLC... 1) As I wrote on another thread, R&J is an easy choice of ballet for the unitiated. At least they already know the story even if they don't understand the dance. 2) PBS already filmed ABT's R&J, and there are/were several other telecasts by PBS (I remember SFB's) and other foreign networks/dance companies (RB, Bolshoi, et.al.) broadcast or now available on dvd. So that's why NYCB now. 3) Those who have never seen another production, don't know how bad this is. Young, inexperienced, pop-culture saturated viewers want neon (flashy, Disneyfied) colors, shortened texts, AND youth, youth, youth. So it is no surprise the marketing and admins chose this version. 4) Regarding #3 above, I always remember what Zeffirelli wrote about his R&J film... Casting for Montagues: Apply to universites. Casting for Capulets: Apply to the streets. Costuming for M's: (old money)cool blues/greens. Costuming for C's: (nouveu riche) bright flashy reds/oranges. And since 1968 everyone has 'followed suit'. (Sorry couldn't resist the pun). Regarding camera placement. LFLC has filmed many times in the State Theater, they know where cameras are allowed to go. Also, if they did any preproduction, they have seen the performance at least once, and probably more, before the "live" broadcast, and should know the staging, choreography (generally as to stage direction and exits/entrances if not individual steps), light/music cues. In addition, there is usually someone from the dance company in the control room with the director helping to cue things. Therefore, once again I say: To still use the camera angles they did in the order they did, shows inexperience filming dance. That's all for now folks.

I didn't like the direction (and camera placements) during most of it--the side angles looked static and too low, and the cuts to the high angles were a little jarring at times. The center camera cuts also weren't great. The last act and tomb scene were better and the CUs worked well. As usual it was an all-male camera crew so as usual, I caught the missing details which showed a lack of experience filming dance. During intermission, Leslie Stahl (who also intro'd the program) interviewed Peter Martins, (she then flubbed actress Joan Fontaine for Margot Fonteyn--PM corrected her), and asked some good questions (though we've all heard them before), and some only a non-balletomane would venture. She then interviewed the technical director, who briefly explained the collaboration process that created the set: a triumvirate of Peter, Per, and Perry. (How's that for alliteration?!) Then they showed some video clips of rehearsals in which Hyltin and Fairchild were interviewed (which might have been the same ones aired on the NYCB website.) And finally, an interview clip of the NYCB music director rehearsing with the orchestra. There was also an offscreen announcer (I assume in the booth) who seemed slightly more knowledgeable. (Apologies for any misspellings or missing names--no program/notes in front of me. Also... in the interest of full-disclosure, I've never been a fan of this production; I prefer better sets, costumes, drama, and choreography. Still, the dancers were good, and I do like the more realistic swords and fight choreography.)

A few months ago, I saw a notice for just such a tour by an Australian travel company. During the 10-14 day tour to Spain, they were scheduled to attend 2 performances by Corella Ballet (in two different cities: the 1st at the beginning of the tour, the 2nd the final day of the tour at the Liceu in Barcelona), and also Victor Ullate's company, NDE, and even a flamenco performance. From the notice I read, this was not the first 'ballet tour' they had organized; but the first to Spain. Unfortunately, I can't remember the name of the travel company--I think it was one-word. Any Australian BT'ers know?

May 18th is my birthday too, and leonid's post was the best present I received this year. Thank you so much for posting these insights and memories.

And hopefully they will fix this on her bio: "She was promoted to soloist in 1998 and to Principal Dancer in 2009." Good luck. I've notified ABT of several mistakes I've seen in their principal dancer bios--missing roles, wrong dates, typos whatever--and I've waited two years now, and still not seen any of them fixed. Makes me wonder if there is anyone left there to notice or care.

After dancing professionally and going to see many companies regularly when younger, I had two big "lapses" neither of which was exactly voluntary. The first occurred when I was forced to stop dancing professionally because of injury, and more importantly, the company adjunct studio/facility I used (which was only 1hr from my home) disintegrated from lack of funding, and then the nearest professional schools/companies were over 2hrs away. This was too far, and too expensive (6 days/wk, 5-6hrs/day adds up fast) for my parents to support, so I had to stop. For two years I couldn't go to a live performance, or barely watch it on tv without crying for hours. Then I decided to go to college so I could work for PBS and do Dance in America. In college, I discovered one other person who liked classical music, opera, and ballet and we decided to split the cab fare and go see ABT--which used to come for a 2-3wk run to Los Angeles. Every other year, it would perform even closer: Shrine Auditorium, across the street from my apartment. Every night, I was there. This was in the 80's, and my roommate was related to one of the dancers, which helped. I also would go see Joffrey. However, when I graduated, it was a recession, and PBS had a funding crises (as usual) and hiring freeze. So my peripatetic tv career began, resulting in a second "lapse" of ten years. For most of that time, I lived/worked too far from any cities large enough to support a ballet company. My viewing (no way to attend) was VERY infrequent. Since most of the stations I worked at did not show all the GP or Live from LC programs---(Surprise! Not every PBS station buys the national schedule, and if they do, arts get shown at 3am)--I used to haunt "master control" trying to catch a satellite feed on a 2" monitor. (I couldn't record it because open-reel 1" tape is not a vcr). Finally, I returned to the East Coast, within 2hrs of Boston, (or closer when I live/work there) or 4hrs from NYC. I subscribed 5yrs to BB, then finally got the nerve to go alone to NYC and see what ABT and City Ballet were doing. The surprise was that Susan Jaffe, Amanda McKerrow, Julio Bocca, and Alessandra Ferri, all of whom I first saw at the beginning of their ABT careers, were now retiring. But then I discovered that ABT's latest claim to fame was its male dancers. So I decided to see why, by analysing how; ie. what made them special AND different from each other. Six years later, I've come to know them, and the Company. I also try to attend NYCB, (since they didn't tour, I had only seen them on PBS). I discovered new works, and new choreographers, and after attending classes and rehearsals (sorry I can't particapte anymore), was glad to discover I still remembered my training & technique. Sorry this is such a saga, but you did ask.

Thanks for the above confirmation of something I too encountered. BTW: I had a similar problem converting some HD footage I shot to dvd; a bad moire was visible on portions of the dvd, but not in the original footage. (I assumed bad codec, and/or because HD doesn't appreciate missing frames when compressed to standard dvd format(s).) I also found that attention to frame rate was critical, not only for capturing the movement (with or without intended blurs), but of course for changes in stage lighting too. And if the original footage is also being converted from PAL to NTSC or whatever...

As far as tattoos are concerned, I agree with the general consensus of this Board, that in performance of the classical rep, it could be a distraction. (Somehow I can't see Aurora in her pink tutu, and Desire in 18thc. court costume with tattoos, but Carabosse and her minions might not look too bad. And except for the fact that Odile is supposed to be the image of Odette, Odile with a tattoo, like Bourne's use of black leather, would certainly provide a not-so-suble intimation of her/his character; that is, if we didn't start analysing what the tattoo we saw actually was--and so distract ourselves from those 32 fouettes.) As for piercings, I have seen some health issues, that should be considered... (Assuming it is removed during performances or miniscule in size.) It is difficult to keep the pierced area clean with a constant influx of stage makeup and sweat, so I've known at least two dancers who abandoned them because they developed minor infections . And does anyone know what causes keloids? I wouldn't think those were very attractive either. Also, I've had many dentists/orthodontists tell me tongue piercings have caused several young people to require major reconstructive work done or even false tooth/teeth up front, because the constant tongue clicking (a temptation/habit hard to stop) had cracked the enamel and/or teeth themselves.

Rodeo and Billy the Kid were both filmed for PBS' Dance in America (or was it Live from Lincoln Center?). But again, a rights and/or money issue would explain why so many of those programs haven't been released on dvds yet.

Merci beaucoup. Thanks for posting. Really a treat to see the reality behind the pictures and stories.

I didn't watch much commercial television, but I loved "Maude". Edith, and MTM, and most women's roles on tv then were all dominated by men (husbands, fathers, news editors etc.etc.); the women would speak (squeek) up when pushed to it, but not like Maude. She was never afraid to speak up or speak her mind. And she was brutally honest with herself and others. I give thanks to all the writers who created my first feminist role model (sorry Marlo and MTM); and a great actress, who may have been typecast, but knew how to deliver a look or a line that went straight to our hearts. RIP dear lady. Just a thought: I wonder if the Golden Girls sequel series didn't work because Bea Arthur was no longer part of that ensemble, and the others had no one as strong (either as a character or person) to play against?

I was at both performances, for obvious reasons. Below are my impressions to add to the excellent reviews of the other BT attendees. WED. APR.22 - Stars...meet...Stars... All the YAGP winners who performed were impressive and interesting and did make me think we have much to look forward to in the future. * The opening piece, "Little Red Riding Hood", began with a normal classical idiom, but then interjected moments of drama and real-life movements and reactions: at one point it looked like children tusseling on a playground. I was actually most fascinated by the music, which was a modernization (like Ellington's Nutcracker) of the original Tchaikovsky. * The Jockey Dance was cute, but wasn't up to the RDB standard I was expecting. * I did like the duet for Hiroko Asami and Raphael Coumes-Marquet, but the lighting and costuming were very similar to many other works I have seen. The choreography, though, was interesting without being particularly distinctive, or dirivative, and unlike others that followed, didn't go on too long. * Mopey was one of those pieces I thought went on too long, so I started listening to the Bach instead. * I didn't make it to Morphoses this year, so was interested to see the Prokofiev pdd. Wheeldon's choreography is always interesting, and usually musically sensitive, however I did think it went on rather too long. (Which is something I seem to feel with many of his works this past year.) If he shaved it, I think it would still stand up fine, instead of making me feel he was determined to wring out as much as he could from every last note of music. * YAGP alum, and former ABT dancer, Matt Golding, is now a First Soloist with Corella Ballet. He partnered CB principal Natalia Tapia. I had never seen them do Flames of Paris before, either individually or together. They were fine, as I expected, and got the biggest applause of the evening up till then--(I think we were all getting a little tired of neoclassical pieces one after the other, that were each a little long, and were waiting for some classical fireworks.) FYI: Matt is tall, but not that tall. I think he's about Marcelo Gomes height. His technique and physique have both improved since last I saw him. (But don't get me wrong, he is always impressive, and is learning a lot at CB from his coaches--one of whom is the AD.) Yes, that was a quadruple or two from Natalia during the fouettes; she is a strong turner, with an elegant ethereal line, high extension, and beautiful articulated feet. I'm very glad the NY audience finally got to see her. * I thought the ABT corps women who opened the PDQ were ok, but needed to work on their Romantic technique, which was all over the place. It looked very "classical" to me, except when they were studiously trying to remember their "Romantic" technique. Of the more experienced women who did the variations, I agree Dvorovenko and Kandourova stoood out. (Irina D.'s hair looked its normal color to me when I saw her after the show.) * It's still amazing to me that Broadway dancers can pour it out, and still sing full-out, without losing breath. (They don't lip sync to playback do they?--even if its to themselves?) Mr. Kulish was good and deservedly got much applause. * I haven't seen D.Tidwell in ages. (Sorry, have never seen the tv show he was on.) So I did notice a slight weight gain, but I've noticed that on many dancers who aren't doing classical full-time anymore (myself as the first example.) Everyone here knows the aesthetic, and the strenuous work classical dance is, and shouldn't expect dancers who branch out to other avenues to continue it at that level if they don't need to. He still danced ok to me. * Marcelo easily assumed the underlying tension visible in all Fosse's work, but danced it with a more classical edge than Fosse's choreography warrants. (No problem applauding his performance though.) * I was so glad to finally see Tereshkina live (being in Spain during the Kirov's CCtr tour in April, and not having either time or money enough to catch them elsewhere.) I don't have much to add to the above posts re: Corsaire except both ballerinas were fine--Sarah and Victoria, while the guys were ok, but yes, missing some of the sizzle. Having witnessed a few mishaps this past year, I was worried by the fall, but was glad he was able to dance it through, and was still walking upright later that night. THURS. APR.23 PESTOV GALA: The crowd was VERY Russian so THROUGHOUT the performances....lots of wrappers and paper noises, and constant commenting/discussions to seatmates & those across the aisles. Finally, one exasperated patron next to me threatened to call security if they didn't desist. (The Russians thought it funny, and giggled. But at intermission, I told my friend--who also complained--that I agreed it was rude, and put Russians in a negative light here because of it. Maybe my comment was overheard, because the latter part of the evening was quieter.) * The opening by the graduating students of the J.Cranko School was fascinating to me to see as pedagogy by Pestov. To see how he worked each muscle and ligament through the exectution of technique was truly a learning experience. I hoped there were many in the audience to take note(s). But....OMG it went on for much too long because each exercize was repeated again and again...One tendus were done, couldn't we have moved onto the next sequence without having to see that each dancer knew how to do them!? * I've seen In the Middle pdd. too many times now, so the shock value has gone, but this was definately the 'sharpest' version I've seen. They really 'punched' the beats--and not only with Amatrain's hyperextension--very kinetic, sharp phrasing, and lacking the stiffness I've seen in others. I started more cynical than I ended, and left impressed. * I agree with everyone re Middle Duet. But was interested in how the choreography mirrored the escalating cacophony of the music. * I agree with everyone about Raymonda. It was ok, but not great. ( And I kept seeing Sylvie in my head unfortunately.) * Generally, good to see Sascha Radetsky again, but only one tango and music problems with Sinatra Suite surely added some tension. I've now seen this, and in '06 - 07: Cornejo, Carreno, Gomes, Corella, (and of course Baryshnikov many times previously) do the entire suite...And still not seen it. (Don't feel bad, Sascha you have good company) This time, "That's Life" (the only excerpt Radetsky and his partner Ms Plantadit did) was extremely fast, which gave it more punch--literally and figuratively--and I was very interested to see how a Broadway dancer interpreted it. But as I've noticed ever since Baryshnikov, it's still 'choppy' & 'broken into, v. distinct, separate, chunky phrases'. I never see the flow any more. Everyone gets it for an infinitisimle moment, and then forgets to follow through. (Xiomara was also present after the show, so don't know why her performance was cut either.--Time?) * I've seen Gopak a number of times too, but loved Saveliev. He made it exciting instead of just showy. * No problems with the Manon pdd. Tereshkina was fine, Marcelo was fine. I saw some slight compensations in the partnering, and also noticed the (maybe) excessive emotionalism, but that's their interpretation and so made it interesting to see for that reason too. But I also agree with an earlier post that in some ways it was just acting, not a reality that made me truly involved, so I probably analysed technique more as compensation. (Anyways, I remember a Ferri matinee a few years ago, that made our jaws drop, so it's tough to compare.) * Finally got to see Malakhov live and thought both neo-class/modern pieces too similar and rather dull, yet in part during the second piece: answering his romantic/emotional response to music/movement. But again to compensate for my lack of involvement, I watched the technique instead and ended by realising I really missed seeing him in a classical work. * The Corsaire pdt of course was very interesting to me. The costuming clashed slightly, (Ali's blue pants again were not in tune) and Lankadem's red was very bright--though appropriate when his Act1 solo was done as an additional variation.) I'm glad Joseph Gatti impressed everyone. He should. And Adiarys' charisma onstage and strong technique can do that even when she is still--so here she had no problems. And after seeing a 'turning competition between herself and her AD, the multiples, control, and solid balances were not surprising. Herman of course made me smile throughout. I'm glad they all were appreciated. (CB Company Manager, and former Pestov student, Matt Bledsoe also had his moment onstage.) * I've now seen Tsiskaridze do Carmen about 7 times, so my only reaction was: He danced it better three years ago for the Kings of Dance, and wasn't there a rose as a prop too? It is an effective piece though in its staging and excerpted choreographic ability to still convey the whole story. * Two of my favorites this night were Amatrain and Kamiskin in both works they did. Great versatility, great technique, great timing. To include a comedic performance in the rep that night was a great idea--especially as everyone got all the jokes. * I agree with everyone re Tereshkina and Shklyarov in DonQ. And hooray, she did the hops on pointe in the variation instead of the usual Kirov version retire/passe. And I saw someting VERY educational during that fishdive in the pdd which explained a lot regarding another I saw. The music for variation and coda was VERY fast; I was shocked, but Tereshkina kept up just fine. It was odd to see someone do the male's steps without really interepreting them. (An internal "verve" and understanding that wasn't present?) The piros were "pushed", as someone commented another does, and other tricks too without any mishaps, but I overall I thought "standard showy" not "hold-my-breath exciting". Together, though, it was a great end to an interesting evening.

You're right, I was able to do the links ok. (See my above post, where I added them.)

I must have been taught epaulement very early in my training because I never remember having to think about it, and never remember being correctly "placed". I just did it. And loved doing it. And yes, I do remember it had a lot to do with torsion and tension, efface/croise, shoulders, eyelines/chinlines, AND extending line. From my reading of this thread, I also agree with most posters concerning which schools taught it, and which didn't. I experienced the same thing. (It's probably why I was never that comfortable doing Balanchine. Today, if I love NYCB, it's not because of their epaulement.) RE: ABT After being away from viewing ballets for almost ten years, when I finally was able to see live performances again, I started analysing what I saw at ABT, especially its vaunted male dancers. (I was still familiar with its female principals, most of whom had been at ABT for ten years or more.) And then I started analysing one dancer, trying to see what he did, how he did it, and why I noticed. (I was very reluctant to follow the crowd, and wanted to understand the appeal.) I was not impressed by multiple turns or a high jump (I'd seen Baryshnikov and others past and present with same or similar abilities) or any other fine matters of technique I expected of a principal dancer. No, what I discovered was that Angel Corella had the most beautiful epaulement I'd seen in many years. Even if other areas of technique relax or fail, his epaulement never does. If he teaches anything to his new company I hope it's that. eg. Gene Schiavone's two photos of the same ABT Swan Lake Act2 pdd penche. In one is David Hallberg, in the other Angel Corella. Both are beautiful images of correctly placed dancers, but the epaulement is very different. You can see that same epaulement in Nancy Ellison's photo of the same pose in her ABT 'coffee table book'--actually I think it's a better pic since it's caught at the end, rather than middle, of the movement. I'll try to give another photo example if I can from photographer Jesus Vallinas took of Bayadere later. http://www.geneschiavone.com/gallery/v/Pri...AJ0254.jpg.html http://www.geneschiavone.com/gallery/v/Pri...proved.jpg.html

Sorry if this is a "dumb" question, but... What about Makarova's reconstruction/creation of a last act?

This statement got me thinking. I think it's become a mantra (cliche too?) for most arts organizations. But how true is it? SOME QUESTIONS I HAD... 1) What is a "new" work? Short, modern neo-classical vs. classical full-length (ie. 2 or more acts)? Or simply a new full-length story ballet? 2) Do younger audiences attend the shorter modern/neo-classical pieces because they are curious, or have shorter attention spans, or prefer more "modern" music? Or (here's a question for all you statisticians): Do they also come to the full-length classics, but the aging baby boomers are taking up more seats so the percentage of younger audience members able to attend is lower? Which 'format' do the younger audiences actually prefer? 3) And considering the very young - children - which do they prefer? Short or long? Story or not? 4) Or is it all a nurture vs. nature thing, and it depends how you were raised to appreciate the 'old' classics? PS. I usually tell people who ask about ballet, or which one to see: If possible, go see R&J because at least they will know the story, and won't feel lost if they don't understand the syntax. Sometimes I've suggested Corsaire because of the pirates and 'fireworks'. And Giselle because it's short--and again, easy to figure out. Only once have I suggested a short rep night to someone younger and new to ballet, and that was because I knew he was more interested in modern avant garde works. But don't let my biases skew the above questions or considerations.

Great minds think alike Carolina. From "Celaje" to "Bruch..." to "Clear", Ashley Ellis gets better and better. She is a beautiful dancer to watch and film, whether in class, rehearsal, or performance. I hope those of you who follow this thread also know that 5 Corella Ballet dancers (M.Golding, N.Tapia, J.Gatti, A.Almeida, and H. Cornejo) are scheduled to appear in New York at the YAGP next week. I'll be there (physically at least; mentally, the headaches are so painful, I don't want to think about it.)