4mrdncr

I'll try find out for you and let you know. For the time being there is no info on Corella Ballet website but I'll ask Some of the dates for the Spanish tour from now until January (with the inclusion of the Liceu dates in July) are posted on the Corella Ballet website. Sorry, forgot how to link. I'll try later.

Just a quick note: When Zefferelli was filming R&J c.1967-68 and concerned about accurately setting it in the late 15th-early 16th centuries, he used a historian & fencing master to train his young cast. They used the master's collection of 16th century rapiers, and at the conclusion of filming he presented one of them to...? (can't remember if it was Zefferelli himself or maybe Michael York?). But if you will notice, the swords used in the film are accurate for the time period. Historically, as the use of armor decreased as the use of gunpowder increased, maneuverability and skill became more important than brute strength, and the two-handed broadsword was replaced by the familiar fencing sabre, rapier, and foil, and the more elaborate than protective quillons and contre-guards.

Uh bart, I think you mean Keith ROBERTS, not Richards (who makes & uses a different kind of music). And yes L/S. America is on their radar for future visits. But first Madrid, and then 25 cities in Spain. Carbro is right to reference the Corella Ballet website for info as to who and what is pictured. Thanks to CarolinaM for posting the translated fotoescena article link on BT. Additional thanks to Jeanne Bosse for translating--I was astonished how much the syntax had improved! And remember, all the events described above (and more), were videotaped. Edited excerpts should be posted by Sept. to coincide with the Teatro Real performances, which I will also be present at.

I always thought the Shade scene was Solor's opium-induced trance/dream. And like a mantra used for the same effect, REPETITION is the theme. Therefore, though I love Mel's image of the shades' entree as "descending on the fog that falls off the Himilayas", I believe that they are Solor's mantra: a repeated, refracted, reflection of Nikiya. But a Nikiya in some SERENE otherworld. Maybe it's Solor's vision of Nirvana, or just "in the middle, somewhat elevated", but wherever it is, it is REMOVED from the here & now. And because it is Solor's mantra/vision/dream, two things affect how the corps dance: 1) The required SYNCHRONOUS REPETITION of course, but maybe even more important... 2) When observed AS A WHOLE, the corps should not only be synchronous, but as if they are Solor's BREATHS in and out. Watch the choreography, there are hundreds of examples--eg. the first entrance: the arabesque is the exhale, the temps lie and efface (sorry my computer can't do accents) 5th arms the inhale. Up-inhale, step step down arabesque fondue-exhale. And later when they are all in their rows, again it should be very visible--each synchronous step like a simultaneous slow breath in and out; a visible manifistation of a trance/sleep/serenity...the most blatant example being when each upstage row does that temps lie, and then "lifts off' and bourres back: like taking a breath and then slowly exhaling. Even during the more allegro sections it's all up/inhale then down/exhale. (I don't think that circle on the floor is just imitating the wilis going up and down.) 3) So... because they are "otherworldly", because they are reflections/refractions of Nikiya repeated over and over like a mantra, their expression should be a serene (but enlightened, not blank) separateness. IN THE PDD's: Many times Nikiya and Solor MIRROR each other's movements and give the illusion of two parallel figures, not touching. --ie. SYNCHRONOUS REPETITION again. (Though of course, practically speaking, to dance it, the principals do touch). But visually, the only time Nikiya & Solor actually "touch"--or directly "communicate"-- is when the she "whispers" in (or actually it should appear more as a 'breath' beside) Solor's ear so that he follows her. The scarf is a connection, but again, impersonal. (I'm not sure if it has to do with the Hindu mythology, or simply a more tangible manifistation of a curling of opium smoke swirling between the two.) AND FINALLY... After observing numeous numerous rehearsals of this scene recently, I overheard a comment by the AD overseeing the rehearsal I think appropos to this discussion: when the girls in the corps pause in whatever step, they should not just look out blankly, their gaze should be slightly lifted to that otherworldly realm: serene & sublime. Hope this helps and doesn't confuse the issue more. It's just my humble opinion (and some experience).

It's odd, but this is still something that must be explained to a lot of (experienced) ballerinas today. Only last year, I heard a ruefully funny account of just that conversation between two famous dancers doing Giselle at the Met. But I guess someone got it right, because when I saw the performance, she did appear totally weightless (and he later said his back was sore.)

OMG how did you know?! When I was dancing, many many years ago, the fad diet of the day was millet or seseame seeds and...soda water. We were also weighed every other week and had to be AT LEAST 5lbs UNDERWEIGHT. There was no medical supervision that I remember, even when a member of our comany became anorexic and ended up in Boston Children's Hospital for 6 months. Thank goodness all of that has changed for the better with proper supervision and medical staff at most companies. (And a few anorexic deaths and lawsuits to force them to do the right thing.)

I was saddened to hear this news a few months ago, and wondered what took so long for ABT or the press to announce it. But maybe Ms. Abrera will delay leaving ABT? Herman Cornejo lost both his sister and his wife to other companies, but he is still at ABT, and especially now, an important mainstay of their roster of superlative male dancers. So again, I am sorry to see Mr. Radetsky leave. Will he be a principal at DNB? (It is DNB, not NDT?)

My sister saw the touring production some years ago starring Richard Chamberlain ("looks good in a cardigan," was her reaction). Doolittle was played by Holloway's son, Julian. I agree with almost all the above. I've had limited viewing of Howard, (R&J, GWTW, 1/2 of Pygmalion), but I totally agree with what carbro says about Audrey Hepburn wearing that ballgown & jewels at the top of the stairs. I've always watched MFL for one reason only--to see a princess playing a peasant. And I could never wait until she turned into a princess. I, too, saw the touring production with Chamberlain. And though it was pleasant enough experience, my strongest memory is the Ascot scene, where the lords & ladies attending the races were lowered from above and positioned haphazardly: hanging in space against the backdrop/sky like that famous Maigritte painting. I've never forgotten it.

Thanks carbro. I was wondering why I couldn't remember the female dancers who appeared. Of course SF would have been invited to appear. The most SSts I got to see was when I had to edit entire seasons of shows to fit into pledge breaks. I finally learned to distinguish between Bert & Ernie, and Grover & Oscar the Grouch (the one that lived in a trashcan?). Luckily Big Bird wasn't too hard to figure out. I never did learn any of the human residents' names. But anyways, hooray for CTW etc. for putting ballet on the show.

I'll be happy to see the Feijoo sisters on Sesame Street (being a PBS person from Massachusetts, and attendee at BB too). I remember Nureyev & Miss Piggy's duet on The Muppet Show. And I think other dancers have been on Sesame Street in the past: Jacques D'Amboise? Villella? I forget. I didn't get to see Angel Corella on SSt. until that clip showed up on YouTube. I'm also old enough to remember reading a notice of the show's first broadcasts on US television, but I was living in Japan so couldn't watch it, and by the time I returned to the States, I was too old for such childish things. (I don't think they had dancers on the shows, until I was actually working in PBS).

If I don't get an ulcer first.

OK, I'll bite. And finally announce that... I have been documenting the creation and development of Angel Corella's company and school since January. I have shot over 30hrs of footage, am planning to return to Spain (for the 4th time) in a few weeks to film the debut at the Teatro Real, and am currently trying to fundraise the monies necessary to edit all the above into something coherent for viewing. I've already had several requests for footage from internet sites. The plan was to possibly air some excerpts from the documentary-in-progress in September to coincide with the Company's debut in Madrid. However, until the legalities are finalized, I cannot release the footage yet. Something the Company/Foundation in Spain has yet to realize is a necessity. There is also a plan to release a dvd of some of the performances at a later date. Merde to us all.

2) The impetus for the company (and 70% of the funding) comes from the Royal Family's foundation, which also donated the palace in Segovia that is the company's headquarters. 3) The name "Corella Ballet" is all about starting off with star recognition. AC hopes it will become the National Ballet of Spain (which must be conferred by the Spanish Government) or the Royal Ballet of Spain (bestowed by the royal family). 4) The official Madrid opening -- in September, at the Teatro Real -- will be Makarova's version of Bayadere, with Corella and guests Paloma Herrera and Gillian Murphy. 5) Next hurdle: starting a ballet school for ages 11-18. 6) Some very nice photos, too. It's clear that, behind the sunny exterior and sweet smile, there's a sharp intelligence and serious organizational ability and drive. Thanks, 4rmrdncr, for calling my attention to this article. Anytime. And here are my "edits"... 1) Actually, he started the Foundation in 1999, four years after arriving at ABT when he was only 24. 2) Well the Palace of St. Cecilia's still needs to be renovated; also the studios and ancillary residence buildings--the expected completion date is late 2009. In the meantime, the Company & Foundation have recently moved to a temporary location in the general vicinity, that should fulfill all their needs until the Palace etc. is finished. 3) And as I posted before, the name change was also at the request of (or a condition of?) a principal funder. It has never been about or for Angel, but rather for his country and the many Spanish classical ballet dancers who previously had no opportunities to live & work in their own country. 4) But not every night. The Corella Ballet principals will also have their chance to shine. 5) See #2 above. 6) The studio pictures were taken before the move mentioned in #2 above. And finally... This has always been a frustration of mine (and his): people see that face onstage, briefly afterwards, or in some photoshoot etc. and still think of him as a "boy" (even Macauley in his review of Giselle this year couldn't help it), when underneath there has always been a very serious, focused, and mature individual.

Jesus recently performed (ie. July) in Madrid. He is forming (has formed?) his own small contemporary ballet company. He is not, nor has plans to perform with, Angel Corella's classical company, which anyways already has a full roster of principal dancers.

Uh, I'm pretty sure ABT only "pauses" between the two scenes in Act 1: Court, and then Lake: The lights dim, the Lake 'overture' theme starts, drop comes down, Siegfried & Benno have their scene, then drop goes up, travelers come across, some smoke appears, and Siegfried enters upstage rt. (and hopefully still warmed up from his earlier exertions). I think a similar "pause" occurs between ABT's Ballroom & Lake scenes. (At least I remember a lot of noise behind the drops etc. as the sets were changed). However, I still prefer to think of SL as 4 acts: Court, Lake, Court, Lake rather than two scenes in Act one, but then a separation of scene into Acts 2 & 3. If you are going to keep them together in Act 1, why split them into Act 2 & 3? Simpler to just call them 4 acts, but then you scare away audiences who consequently expect a 4hrs long performance. Re: the question which started this latest version of this thread...I too remember an SL where Prince and Rothbart die, and Odette is left to bouree off with her swans. I didn't like it then or now. Personally, I prefer the traditional jump in the lake (yes, S & O jumping together would be nice, though I haven't seen it in MANY years). BTW: Had to smile at one Siegfried's gesture as he dropped Rothbart's torn-off wing onto R's writhing body--it was a cross between "so there" or "take that", and "eewww, nasty". It's on one of the clips from the VIII Mariinsky Festival.

Despite a deluge with lightning, then watching Angel, Keith Roberts (there to set "...Upper Room"), 2 principal dancers and the stage crew mop, sqeegy, & blow-dry the outdoor stage, only to get rained on immediately once more (actually it was another deluge), and freezing nights causing the resultant condensation to ice the stage...the show did go on: Both July 11th and 12th Corella Ballet performed Tippet's "Bruch Violin Concerto", Welch's "Clear", and Tharp's "Upper Room" to a sold out (if now thawed out) audience. CarolinaM, photographer Jesus Vallinas lending his expertise, Cynthia Harvey, and some former ABT colleagues were all in attendance. So was I. As Carolina, and numerous Spanish newsmagazines and newspapers have posted, Angel arrived home in Spain on the 9th to attend a Presentation Gala of the Company that night, had one day with his Company to rehearse and fine-tune what they had achieved during the 6wks he was away performing with ABT at the Met, and then, despite a rainy day and cold nights, performed Friday & Saturday. Angel, himself, only danced in "Clear" but of course was always present to comment, coach, and encourage his brave dancers. (David Richardsen was also present to set "Bruch..." and personally, his assurance that the rain would stop was (I think) the only reason the rain gods finally complied) BRAVO, BRAVA, BRAVI to all. My brain is rather jetlagged--only averaged 1-3hrs sleep a night in Spain, and none before arriving home late last night--so will post more later. Those interested in the Spanish press reviews, and interviews conducted the Thursday prior to the performances, can google "Angel Corella La Granja" and probably pull something up. If I was more technologically savvy, I'd post a link in the Links forum--so apologies to all for now.

Ok, I try again. http://www.angelcorella.org/ Once you get the opening page, (with a CU of Angel in center) you will see: "Corella Ballet espanol / english" listed on the left, and "Fundacion Angel Corella espanol / english" listed on the right. If you click on either language you should then be brought to the next page where you will find much more info, images etc. of the Company, school, and organization. And, of course, it's Artistic Director. (Last I saw, they were still working on the bios of all the dancers in the Company.) Good luck and enjoy. PS. The majority of the info has not been translated into English yet, (even if you do click on "english") but should be understandable by topic, if not a detailed history.

The Corella Ballet (formerly Compania Ballet de Espana Angel Corella) has a new website at corellaballet.org. (Sorry not expert at attaching links, and not sure it's allowed?) The website is almost completed. Some sections still need to be translated into English, and other minor elements added, but it is still of interest and informative, with some lovely images of the Company's school, staff, and dancers.

"Re-sign" is also used in the entertainment field. NOTE TO MODERATOR: Possibly OT below, so move to the general BB forum if necessary.... Every time I hear BB tout "the largest ballet school in N.America..." and all the touring to bring BB's artistry/technique to the world, I don't know whether to laugh or cry. I don't think they have ever toured/performed/or even offered a SI/workshop in western Massachusetts (and I do NOT mean Jacob's Pillow) since the late 1970's!!! And wouldn't it be nice if they had a branch outlet of their school (Springfield, Northampton, vicinity?--Berkshires have access to Albany) so W.Mass dancers wouldn't have to travel 2+hrs EACH WAY everyday, or spend $$$ to live in Boston, just to progress on a professional level. Newton is NOT, NO, NEVER WILL BE western Mass. not when it's barely 5miles from the center of Boston, accessible on the T, and within 128's ring--another reason I laugh/cry at BB's "west" designation of that site. And FYI: Worcester is in CENTRAL Mass., within the 495 ring, and still an HOUR or more away from the other half of the state. So..All kudos to ABT2 for coming to Mt.Holyoke last year. ABT's dancers/AD etc. drove 3hrs to come, and our own BB couldn't be bothered last year, this year, or ever. And such matters do influence whom I choose to support each year.

I thought of Ridley Scott and opera when I viewed the final scenes of "Gladiator"--especially when Maximus and Comitus are ascending in the lift to the stadium floor and all those red rose petals are drifting down (a rain blood?) to Zimmer's chorale (& rip-off imitation of Goretski.) VERY operatic, but unlike Coppola, not OTT.

Thanks bart, that's all I was trying to say. Her performance in Bayadere fine--post at will, otherwise the other forum is available for further discussions.

Yes, clutter is what it is beginning to be. This thread is supposed to be about performances and instead inevitably seems to devolve into a discussion of whether VP is great/or not, staying at ABT/or not, is better with.../or not etc.etc. Can we PLEASE have (though I thought there already was one?) a SEPARATE THREAD just to discuss her--whether in ABT forum or Dancers forum--instead of multiple multiple discussions of just her when I want to hear about various performances and dancers, not just long discussions of VP's technique. Sorry, if I'm grumpy, I do like her too.

Agree about Private Ryan, but not Schindler's List because of Spielberg's use of technical tricks, which were utilized for brilliant (if sometimes overrated/and borderline cliche effect.) For a (simple) example: his change of film "grain" during the Nazi and Jewish scenes: Fine grain/silk for the Nazi parties/high life, coarse grain, high contrast to give a newsreel effect for the Camp scenes. When I was in film school one of the first and best scripts I ever read was Raiders of the Lost Ark, because of the way it was constructed...Every page (and action in the film) set you up to expect a consequence/reaction, but when you turned the page something outrageous happens instead, thereby making the bottom of each page a "cliff-hanger" and forcing you to turn to the next page to see what happened. That's a true thriller action film. I also liked the fact that when Jones gets hurt, he winces, and is still sore many scenes later. I've never seen the complete Magnolia or Eyes Wide Shut, but thought Cynet's comments about TC and similar actors/films quite true (and funny). Interesting thought about Cruise analyzing himself publicly in his films. RE a few other films named...Shining was unsettling in beginning, but too over-the-top eventually to be scary. I did love the final ending with Jack joining the other ghosts in the picture, though, and glad it improved on the book. And speaking of "scary" films: There is an early scene in Poltergeist (another OTT film) however that was put in purposely to scare film majors (which it did--when I attended the premiere in H'wd.) My favorite scary film, though, was a small film with George C. Scott called "The Changeling". It starts slow, has a cliche sad story, but one great scene where George gets fed up with the ghost who's haunting his house, takes its small ball and drives many miles away, and drops it over a bridge...only to open the front door of his home and have the wet ball come bouncing down the stairs to meet him. One of the few times I have ever jumped--and that includes the first time I saw Alien. BTW: I'd love to see what Ridley Scott would do with an opera. (OTT? or not?) PS. I too thought Day-Lewis did a good immitation of John Huston in There Will Be Blood. His character was so one-sided and reprehensible I didn't know whether it was horribly written or horribly acted. I wanted a Hollywood history lesson, or at least a multi-dimensional character study and never quite got it.

Welcome toeprints to BT from a fellow member from Massachusetts, who also has many memories and viewsings of Boston Ballet and other companies. Maybe I will see you next season at BB performances? I haven't been in their new venue for a zillion years, so hope it's okay for BB and our views of them.

I used to smash/mash mine in doorjambs, stomp on the box, pound them with hammers, bend them (almost in half), scrape down the shank (since there were no half or 3/4 shanks then), put alcohol on them to soften, glue to harden, snip/sew/darn tips etc.etc.etc. Mostly because in my day, we had fewer choices of maker, width, shank, box, wings and I had to do everything possible to make them work. I also wore different shoes (and fixes) based on which ballet(s) we performed. Softest possible for Les/La Sylphide or Giselle, harder for the Petipas (4 acts and classical vs romantic technique meant a lot more pointe work!), and contemporary works. Did shoes (good or bad) affect my foot physiology? Probably, but more attention to such matters from schools/instructors would have helped too. They told us what brands were available, but rarely provided detailed analysis of which "models" would work best for our feet or technique. I remember that article about Gelsey and paying close attention to what she did to her shoes. I also own a book (I think titled: Ballet Shoes) which tells in detail what many famous dancers (mostly from '70's or earlier) did to their shoes to make them usable. I learned a few more techniques for "deconstructing" my shoes from them. I was very envious of those in larger companies, or more VIP than myself, who had a deal with individual makers or lasts.