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A true example of perseverence and dedication. I'm very happy for her, and all those who waited so long for it to happen.

Most stations have converted by now to acquisition utilizing the latest gen of digital or HD cameras, and broadcasting of same because of the mandates from Congress--which were almost a decade earlier than for all of us viewers. But I'm not sure how many stations are broadcasting exclusively in HD. Overseas--esp. Japan--I believe are much more advanced in both filming and broadcasting in HD. Over the last couple years, I've shot a lot of dance in HD, and own a few dvds of performances originally shot and/or broadcast in HD, (sorry no Blu-Ray dvds in my collection yet, and no HD tv set either.) Of course the first thing noticeable is the clarity. But lighting and focus are consequently much more critical. And like most HD, one has to be aware of framing. I also had a nasty surprise once when my original HD footage was copied onto a dvd; I don't know what the compression codec was, but a horrible moire appeared on the dvd that was defineatly NOT visible on the original tape. HD does not like missing info/frames no matter what compression algorithm is used. Of the HD performance dvds I've seen--ABT's Swan Lake comes to mind--the first thing I noticed was that stage makeup looks almost grotesque because the visual detail is so clear in HD. So my advice to anyone being filmed in HD is to tone down the makeup, the live audience may suffer slightly, but at least you aren't stuck with foot-long false eyelashes on your face forever afterwards. Otherwise, the clarity is stunning as usual, but again lighting, framing, focus are more critical. Film is much more forgiving. But either way, I wish the Lincoln Center/MET admins would realize that doing HD theatrical broadcasts of ballets might bring in comprable $ and audiences as the MET Opera now enjoys. FYI: Most HD is approximately 1100+ lines, while film is approximately "1500 lines" (if film used a similar format as video) so still a ways to go before HD will equal film. And of course there is a major difference between grain and pixels.

I've learned as much (or more) from watching rehearsals of partners, as well as participating in them. And of course, also viewing how problems and mishaps occur and are resolved.

That is an old interview with Ms. Rojo. And long before, Angel Corella did just that to create his company: start a foundation, and get support from governments, corporations, and private individuals. It is true that the various Ministers of Culture have a great influence--or not. But if Mr. Corella has succeeded at all, and before Ms. Rojo, it was due to 7 years of hard work, before his dancers or staff were even hired. The development of a new classical company under Mr. Ullate was met with consternation by many due to his previous experience, which has always been neo-classical. with an emphasis on a new repertoire not the full-length classic productions of the past.

My favorite ticket fiasco, was the year I became a "Golden Patron" (I think it cost my entire annual salary) so I could access the "Special GP Reserve" tickets, which I thought might be better seats than usual. And then I found out there were NO exchange priveleges at all, because I wasn't considered a subscriber!? So when I had to switch the nights I attended due to work commitments (or being unable to do that 4hr drive to/from the City) I had to "donate" my great (expensive) seats, and get whatever was leftover for the night I needed. You also don't get to attend any of the "events" free, but pay for them like everyone else. So what perks do you get?--The invitation to said events to hang on your wall.

Here is the link to the 4 most recent newspaper articles I found of "Corsaire" opening night. (If non-techie me does the link right.) Like "Swan Lake" last week, ABT's "Corsaire" received decidedly mixed reviews, and one rather negative. I think it depended on how seriously the critics took the plot, or the dancing. Herman Cornejo received the most consistant praise (no surprise there.) http://news.google.com/news?pz=1&um=1&...09SM&cf=all

Where are you moderators?!! Can we please get back on topic and tell us how ABT did in London, after opening night?!

Sorry, folks, I've known about this for 3 months, though couldn't say anything until CB posted it, which they did last month on their calendar page. Anyways, if I'm not there, I hope my film is.

Yes I will agree, it was a problematic performance; I noticed many many things, and was VERY concerned. My question is why? JET-LAG? Very possibly, and overwork in Spain, and a few other issues I can think of. FAST TEMPI? I thought that the coda was excessively fast at the end (more the conductor's fault than dancers'); consequently causing both dancers problems. (It was v. shocking to see Corella fall out of that turn.) However, the adagio and variation tempi were both ok, but again there were problems. (Why did Obraztsova just do retires/passes instead of the hops on pointe? Her variation, though technically clean, was VERY easy compared to others I've seen.) RAKED STAGE? Might have affected some things now that weren't affected last year. DISSAPPOINTMENT with his partner? No, unless he had no (or obviously limited) rehearsal time, which was probably true. But to say Corella should not dance there again? I thought that was a little excessive considering, at last year's Mariinsky Festival, he did a beautiful and technically fine Swan Lake with Tereshkina (my favorite dancer), suffered through Corsaire pdd with Samova ok, and then did fine in Wheeldon's "For4" and his "We Got it Good" solo. I also don't think the Mariinsky would be so stupid as to blame her for a bad night and affect her entire career over it. I've seen Corella in off nights, and I've seen him in great nights, that's normal for any dancer to experience. The question remains though, "Why now?" Thanks anyways for all your posts, it's great to have BT eyes there.

I'm a Boston University alumnus, and live only 30 minutes away from Hartford's Atheneum so I am going to try and attend some of these events--with Boston Ballet's performances at top of list. But the dates do overlap with those other two companies at Lincoln Center so it's going to be a long week, or longer shuttle.

Per Angel Corella's website he is to dance the DonQ pdd with Olesya Novikova. Thanks for all the reports Natalia and chiapuris and any others I have missed, it's been a joy to read.

It may look that way, but technically not; Corella is doing the same amount of performances during the Met season as he's done for the last three years, but not the same variety of roles. It all has to do with scheduling his time between his company in Spain, and the demands of ABT. His guest appearances with ABT in London this month and next (but not elsewhere with ABT) are probably for the same reason: London's proximity to Spain and his company. BTW: It would have been VERY tight for him to do that R&J with Vishneva on the 6th, and then get back to Spain for his company's second major debut in La Bayadere at Barcelona's Liceu Theatre July 9-11. I saw how involved he was with their rehearsals last August before the Madrid debut, and am sure it's the same now. (And I believe he's scheduled to dance Solor opening night.)

Ok, my ancient memory recalls... Les Sylphides (1st time I got to wear romantic length, and concentrate on that precise form/style, and made mom cry) but Giselle best. Stars & Stripes (couldn't stop smiling: because of the music, US flag backdrop in finale, and it was the Bicentennial--felt patriotic.) Serenade (ditto most others' reasons) Ancient Airs & Dances (because I knew the history of Respighi's music sources, and loved the costumes and choreography) A ballet my old company did to Enigma Variations, (sorry, name escapes me, but every time I hear "Nimrod" chills still go up me) And of course my all time favorite was Swan Lake. (All those rehearsals, I was in heaven: so proud and happy to be continuing that long line thru history of dance, adoring the music, costumes, and of course choreography; but tortured by perfectionist tendencies in 4-cygnets, and then heartbroken/crushed/forever afterwards stricken by never getting to dance it onstage because of the idiocy of the USAF.) What I remember most is the comraderie of everyone working together towards the same perfection of image/technique, and also just as friends. Trying to keep my eyelines correct, and being a stickler for linear placement/spacing, and correct epaulement. (Wish I'd had a chance to do Bayadere, but not sure back would stand it now.) And oh yes, I too worried about those ribbon knots, and where my shoe was darned, too much rosin/not enough, and one half-sewn costume threatening to come undone. PS. I hated doing Paquita for some reason--thought it was boring, even though music was "giddy" I wasn't.

I am so very very saddened by this. I know firsthand what her family must be going through having had many sudden deaths in my own family over the last few years. Both my heart and mind goes out to them, and all those touched by her personally and professionally. (A small aside:) In one of the online articles I read today, the author said "the show-biz wand tapped her" after she saw her mother in the film Camelot. The article goes on to quote Ms. Richardson as saying, "I still look at that movie and can't believe it. It still makes me cry, the beauty of it." This had much resonance with me, because of all the movies I saw as a small child, that was the one that made the deepest impression, and for a similar reason: I thought it was the most beautiful and in some ways profound film I had seen. I'm not the biggest fan of musicals, but that one stuck. And it was why I started paying attention to the Redgrave dynasty. I will always respect and regard them all for their talent and devotion to enhancing the quality of life of many less fortunate. My deepest sympathy to them all. PS. Why has no one mentioned her half-brother Carlo? (And cousin Gemma who is/was also an actress?)

Another CD that includes it is the complete Swan Lake by the Boston Symphony Orchestra with Seiji Ozawa; but beware, the tempos in this recording are often impossible to dance to. There is also a "highlight" disc by the same orchestra/conductor, which I'm sorry I don't remember has it or not. The first time I heard the music was in my Angel 4-disc phonorecord of the soundtrack to the Nureyev/Fonteyn film. I haven't listened to it for many years (now that cds and dvds are the norm) so apologies if my aging memory is confused.

Well now the latest news posted on his company website is that Angel Corella is appearing APRIL 11 in a gala for the "Open Dance Festival" (?) in St. Petersburg; not this month's Mariinsky Festival. He will be performing Stanton Welch's "We Got It Good" which was originally choreographed as his solo for the "Kings of Dance" tour. I sure wish someone could get their schedules straight. Apologies for earlier misinformation. (But don't rely on this either until you see him onstage.)

Sorry all popular or other dancers, but I've learned that when they stop to do a big show number it is best to avoid it. So usually I switch to another channel (PBS) for the duration of the number. I did see the beginning and end of one of the numbers from the composer/performer of "Slumdog Millionaire", but thankfully missed everything else. I don't suppose I missed any true ballet dancers. PS. I loved the emeralds on Jolie and the simplicity of her dress. One of the other actresses had some cabochon drops too though with teardrop platinum setting and some tiny sparkles (diamond accent?); I think I saw a necklace somewhere too. I guess 'green' is in these days.

? An interesting development regarding the March 21st date at the Mariinsky Festival: According to an interview appearing in the Spanish press yesterday, Angel Corella said he would be dancing in St. Petersburg on March 21st. I can only assume it's the Giselle with Vishneva. Though I don't see it yet on the Mariinsky site linked in the posts above. Does anyone know more about this?

Baryshnikov had one last year that used several of the effects you described, but of course they were modern dancers from a modern company, not ballet dancers. Most of the exhibits or 'coffee table books' I have seen that used dancers as the subjects/models without documenting a particular class/rehearsal/performance have been of modern dancers, not ballet. Maybe because ballet is considered too formal? Even when its not.

I breathed...I saw...and conquered the computer glitch. (for now). Thanks Cristian for that story, which I am sure many of us have contemplated doing at one time or another, and the warning of the result.

If you have (or can get) access to those primary sources, AND PAY FOR the permissions, releases, or rights to use such sources as documents, photos, prints, films, home videos, or the talent (dancers,choreographers, stars depicted). And if it's a document/photo/print shown within a video or film clip, then you have double or triple the work to secure those rights. Oh yeah, did i mention the E&O (errors & ommissions) insurance you have to get too, in case you spell a name wrong, or signify the wrong document's or film clip's importance? PS. The days of single sponsors (or only 3) for the majority of programs on PBS have been gone for decades.

Yes, for ten years I faced exactly that dilemma, except there were no dvds then, and videotapes were also nearly nil. Then, when I returned once to WNET and informed them, they were astonished that not all 380 pbs stations had chosen to show any arts programs at all; leaving me isolated, and bereft of both viewing pleasure and employment in the subject matter I cared most about. To see any ballet, I used to haunt 'master control' and look for satellite feeds when I thought a program might be airing in the more civilized world.

There are several regulations for credits (opening and closing) and underwriters required by the unions, guilds, broadcasters etc.. They indicate which credits are necessary, their order, and ultimately how they're presented. (For instance, PBS requires them to be over moving video unless it's a split screen--the better to keep people watching to the end and into the next program promo.) So I understand the long list, and the necessity of that list. Especially now, as I discover that rounding up all those funders is much more difficult when you are independent and not under the aegis of a series or station production team. Thanks so much bart for thinking of me.

Baryshnikov and Markarova in "Other Dances" and Martin's "Calcium Night Light" was either a "Dance in America" or "Live from Lincoln Center" program because I saw the original broadcast on PBS. Whether PBS still owns the rights to re-release it (dvd or otherwise) is always a matter for the lawyers and funders to decide--unfortunately. Later, I saw ABT do "Other Dances" in the '80's, and then not again until 2007 at a BB gala; at which time, I was astonished to see how much Misha and Natasha lived in those steps, no matter who danced them. And that is brilliant choreography, and a timeless gift to the dancers the work is set on. (I think I did a post about this on BT at the time.)

Oh yes I (still) am. I got to the site only once in the last 6+ days, but didn't view anything. And now I'm getting this message --and still NO access to the site "The proxy server received an invalid response from an upstream server GET/view/c51a4445d5fc66f3b0c7c88cc27e237ad04269e3 Reason: Error reading from remote server Apache/2.0.52 (Red Hat) Server at www.dancemedia.com Port 80 (BTW: Where is this proxy server? on my computer or theirs? Please don't make me retype all those GET numbers again! What the #$^#@l is going on?!! I am so sick of this!!)