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Totally agree--esp. about that purple boa. As for the princes' costumes being from another production... I actually thought they would look good in the ballroom scene in Swan Lake since they were (1) the same color scheme, and (2) Swan Lake's 16th century as opposed to SB's courtiers' 15th century. (Just my 'fashion police' comment for tonight.)

I, too, saw Monday's performance. ABT - Sleeping Beauty Herrera, Corella, Part, Raffa, Radetsky, Riccetto, Barbee, Jaffe, Luckett. (subs: Luis Ribagorda & Patrick Ogle) Just quick notes of changes (even more since I saw it --PH/AC, S.Lane/H.Cornejo--in California last July): * King's costume has eliminated the "Burget King" gold lame, and made it more in line with the Queen's glittering royal blue. (So nice to see Susan Jaffe again). * Yes, 4 princely suitors now look subtlely delineated from each other in sober colors and dare-I-say elegant (if not exactly historically correct) costumes? * The peasant girls/Catabaltte(sp?)'s spindle unpleasantness before the gate doesn't take as long--and no more red threads coming out of spindle. * The costumes for the peasants who dance THE waltz with the flower hoops/roundels have been toned down slightly--no more turquoise accents in mustard. * No more major fog effects and nice nap for Prince Desire, or male fairies providing an airborne slalom for him. (Thank all dance gods for those exisions!) in Hunt/Vision scene. The Prince now arrives with the hunt, mopes about like Siegfried a bit, dismisses the entourage, and then we're finally into the vision scene. The only fog FX utilized happens when the boat appears, and I liked the break-up pattern and shimmers to simulate a watery surface on the stage. * No more passive Prince at mercy of Carabosse waiting for Lilac Fairy to rescue him... He does get stuck to web still, but Lilac quickly releases him so he can immediately stab Carabosse with sword, and as she writhes, run up to kiss his sleeping princess and break the spell, thereby causing Carabosse & web to disappear into the black hole upstage. * No more cage for Princess Florinne (?!) & her Blue Bird. Costumes for both have also been toned down; hers is especially nice. So no more orange breasts and excess feathers. (But also no more resemblance to the real bird's colors). * Still no Puss & Boots, or RRH & Wolf (poor Tchaikovsky and his brilliant score). * Oh yeah, no more shower curtain. Oh well, I guess too much smiling (snickering) would have been bad for me. RE: THE DANCING: As usual, during the first two acts, I still have to pinch myself to stay awake, and open my eyes to the excellent dancing I see when something (finally) wakes me from my trance: eg. Lilac, the Fairies (esp. Valor which I used to dance), Rose Adagio (of course), putting Court to sleep (this time including King & Queen). And of course I woke up every time Angel Corella finally got a chance to actually dance instead of just being a dreamy prince or regal partner. I thought Paloma did fine technically, had much better phrasing than previously, and is emoting more strongly.

He is not listed on Corella's company's roster. And as far as I know, is not scheduled to dance with them. If I or perhaps those in Spain learn more, I am sure it will be posted.

I used to cringe all the time (70's-90) hearing British actors do an American accent, because, as observed above, it was either "Big Daddy" or "hillbilly", and never northern. Until I heard Jane Seymour (no not as a Bond girl, but shortly after in a tv mini-series--where I think she was Emmy nominated if not winning), and more, before she became a Hollywood actress. It wasn't exactly northern/New England but it was definately not that horribly exaggerated Southern everyone else at that time used. To my ears, it was the first time I heard that "mid-Pond" generic accent they all strive for now. Of course, most Americans can't do a British accent because they only concentrate on the pronunciation, and never the pitch/intonation which goes up and down very distinctly, and varies dramatically between the many regions/counties/cities/shires/countries in the UK. Gwyneth Paltrow did okay (Shakespeare..., Sliding Doors, Possession), because she understood this; though now, I'm beginning to think it's almost an affectation, the way she utilizes it. An interesting corollary to the above topic, is the case of Franco Nero (Italian, long-time companion, now husband, of Vanessa Redgrave). Though his accent is still distinctly Italian, he has played many many nationalities in films or television because his accent became more generic, and thereby unplaceable to Hollywood ears. Another person who has played many nationalities, usually without varying his accent, is Omar Sharif. He's Egyptian I think, but not sure if that is the accent one hears. So not a Russian in Dr.Zhivago, but the recent British mini-series of same, didn't have a Russian lead either or better accent.

I just saw that and it was magnificent! Why can't they do that on A&E or PBS? GOOD QUESTION. But there are mitigating circumstances... 1) There is NO A&E anymore, it's all E!, they've forgotten the A part. 2) As for PBS, there is only ONE station in the entire 350 station PBS system that ever produces or tapes dance and that's WNET's Great Performances "Dance in America" ,or rarely these days, "Live from Lincoln Center". (Of course PBS' "American Masters" has done a few bios, and ITVS/POV etc. have shown 1-2 docs over their ten+ year history). But, if it's not on their radar with enough lead time, they don't bother. Also, there are a lot of issues such as funding, broadcast, ancillary, & distribution rights--who gets what %? Mariinsky? PBS? etc.etc.--that would have to have been negotiatiated many many months ahead of time. I too, am regularly disappointed by PBS' lack of foresight regarding major dance performances, but do realise the realities required to produce it as well. And a monopoly is a monopoly, especially when the other PBS stations have no idea or interest.

Had to think (is it old age, or is it starting to blur?)... 2007: FEB: Returning to England after a 25yr absence, and seeing the Royal Ballet at the ROH, after a major refurbishment. I saw Swan Lake and remember the dancers, but even if the performance had not been good, I still would have smiled all night. I also saw ABT at Sadler's Wells, and no they were not as good. (I reviewed both perfs for BT). MAR: Chicago: ABT Romeo & Juliet - Corella/Reyes. A perfect seat, and a perfect performance. And I was able to do a 'good deed' for a dancer later. APR: Seeing ABT in rehearsal at their studios, and picking up mistakes and fixes before or at the same time as the coaches--proving (to me at least) that I hadn't forgotten everything I knew about dancing. And afterwards, a chance long subway ride with an ABT dancer, and an amazing, interesting, conversation. MET SEASON: ABT: "Manon" Wednesday matinee: Corella/Ferri. What a surprise program insert (Ferri filling in for injured Xiomara), and what an amazing performance, by Corella especially. And Ferri's consequent response to it. I was sorry it wasn't duplicated on Saturday. Ferri's retirement/ last R&J with ABT: Memorable for SO many reasons: She has always been my favorite Juliet, but I hadn't seen her do it live in nearly 20 years, (b) was interested to see how Bolle danced, but really missed others in the role, c)and of course, so saddend I would not see her perform again. "The Dream" performances (Cornejo's of course) and debuts. The horrors of ABT's Sleeping Beauty, and the gleefully wicked reviews by BT and others that made me laugh. Also the fact that someone, somewhere, must have read my post, and took my advice to revise it, so by the July OCPAC peformances, Prince Desire didn't sleep in the fog for most of the vision scene, and actually used a sword to escape from/kill Carabosse, thereby no longer just a passive prince (like his sleeping princess). NYCB: All the times I went to see NYCB, whom I had never seen live (as they never toured to "the provinces" where I lived many long years.) And seeing Benjamin Millepied sitting across the aisle listening to my conversation with an usher. Also my grimacing thru much of R+J, and longing for MacMillan. JULY: ABT at OCPAC, Costa Mesa CA.: I won't soon forget the radiant joy and control of Sarah Lane's debut as Aurora. Or Herman Cornejo's virtuosity. (And through sheer luck and long hours in the standby line, I got nearly the last ticket and happened to sit with S.L.'s aunt on one side, K.McKenzie on the other, and her mother in front of me. Evesdropping was most enjoyable.) It was good to be back in California again. SEPT: London, Christopher Wheeldon's Morphoses at Sadler's Wells. Observing & analysing the lighting, setting, dancers, and choreography of Fool's Paradise. I love how CW uses symetry and space and bodies to create tableaus amidst the movement(s). Also thanks for giving me a chance to see more Forsyth live. And finally, watching the contrast in training/styles/dancing between Corella and Ansanelli in Allegro Brillante. Oh yeah, the London weather was fine on the most important day, when I actually began a new dance adventure for 2008. Thanks bart for being interested, and starting this thread, which helped to remind me of many enjoyable moments.

"Corella Ballet" is the official name of the Company for now. The name change is due to a request (requirement?) of a principal funder of the Company, as are the performances in La Granja. The official Company debut is still the "La Bayadere" performances in Madrid at the Teatro Real in September 2008. Besides Barcelona, the Company will be performing in many other cities in Spain, but the full tour and dates have not been decided yet. There is a roster of dancers, but it hasn't been published yet. Once Angel's (and his Foundation & Company) website is revised, it will be posted there. Please remember, Angel and his Company are extremely busy now, so please be patient.

I actually saw it played on the piano in some movie called "Torrents of Spring" with Timothy Hutton. (I heard the music, rushed into the room, to see if there was any dancing, but no, just Hutton faking it on the piano. The movie appeared to be a period piece set in Eastern Europe, but I have no idea what the plot was, as I didn't stay to watch more.) I play piano by ear, and taught myself to play it and the Act 1 waltz, not too hard. One of the reasons, I think, that variation is seldom performed by companies doing S.L.: it adds another national dance to an already crowded ballroom, or there isn't a good enough violinist to handle it. (IMHO).

Really quickly becuz it's late and i'm tired, can't think of the many films I want to add now, and haven't read the entire thread. However... Totally agree about Spielberg being saccharine and predictable, and the only films he's done that I enjoyed were ... JAWS because it's funny, and I love the 3 Musketeers on the boat and the fact he made a movie out of bad weather and a busted robot shark. EMPIRE of the SUN, because it's the only film he's made with children I can stand to watch. (Malkovich, Richardson also help). SCHINDLER'S LIST - because of the TECHNIQUE (the different film stocks, angles, framing etcetc.) But don't blame Spielberg for dialogue--he didn't write the scripts, he just has to make them work. And sometimes he tries hard, but fails miserably; and sometimes he overcomes the silliness and banality and tone-deafness of the author(s) and makes something visually stunning if not exactly listenable. John Williams is predictable too, but so are Jerry Goldsmith, and John Barry, and Hans Zimmer (did we catch all those quotes from Holst's Mars and Goretski's 3rd Symphony in Gladiator?) and Horner. Totally agree about Diane Keaton in Godfather films.

As usual, no ballets in this local PBS area. But if you mean the 2005 Dance in America broadcast of ABT's Swan Lake, O/O was danced by Gillian Murphy, but Siegfried was Angel Corella, not Carlos Acosta. The program consequently won the Emmy Award for "Special Program".

Good question about Rosalind, and strangely true. Have you seen the other available MacMillan versions on dvd: Nureyev/Fonteyn (of course) and Ferri/Corella at La Scala? How do they compare to Roja/Acosta? I first saw Eagling and Merle Park do it live at the ROH, and then Ferri live some years later, and both stuck in my mind. It's been interesting to see these newer versions and compare--especially Ferri. Does anyone know if Cranko's is available on dvd?

I saw this production first at Boston Ballet long before it came to ABT, and don't remember gagging then. Also, in the many times I've seen it here since, the costume has changed from the one Julie usually wears (which always reminds me of an oyster) to variations on light-blue, to almost light pink, but never such a horrible clashing of colors as I witnessed this week. It's as if the errors of Sleeping Beauty were allowed to seep into Corsaire. And as I've said, it is easily fixed--use the pdd (not this pdt) if necessary. Obviously someone was very color blind to assume those blues were in the same tonal range. And please don't blame the lighting.

I saw the Gala and Tuesday's and Wednesday's Corsaire performances so was able to compare Cornejo's and Stearns' Conrad variations, Cornejo and Carreno (sorry, computer can't do tilda) alternate as Lankedam, and Carreno and Corella in the PDD/PDT. Cory Stearns is an ABT corps member given a principal role, which he did cleanly and carefully. Given his experience, I was satisfied, and of course realise that he still has a ways to go. Once he is more comfortable in the role, he should be able to relax enough to project a more expressive and nuanced characterization. I am happy he had the opportunity to peform as a principal, and hope to see him continue to grow in this or other roles. I, too, thought Irina was lively and interesting as Medora, but definately in control of the action and her partner. The insert in the Gala program said Herman was doing Lankedam's variation, but I thought it was Conrad's that I saw at the performance. Or was he just wearing the costume for fun? Still, at the Gala, and the following night's full-length, both in characterization and technique he was wonderful, and I was sorry he wasn't onstage more. (Gomes, of course, made an excellent pirate--something I thought even when he was still in the corps--and provided Paloma all the confidence she needed to fearlessly express herself in the pdd's.) It's always interesting for me to see different dancers perform the same role; and now I've seen everyone but Ethan peform Ali's role in the PDD/PDT. Watching Carreno and Corella perform Ali almost back-to-back was a wonderful, informative example of how two dancers can be superb technicians and artists and yet be VERY different. Carreno (IMHO) is the perfect exemplar of power and control, with his strong upright carriage, elegance, and so precise turns. To me he is "centered" "one with the earth". Corella, however, belongs to the sky: Fleet, soaring, graceful; with a beautiful epaulement--more visible on Wednesday, that always extends his (and his partner's) line up and out, and pirouettes that blur. He may plie mid-turn into the earth, but still spirals up at full speed; a take-off, not a landing. In some ways, he is truly unique. BTW: Kudos to his stamina doing 4 performances in a row. So much for the enjoyable part.... NOTE to ABT COLOR BLIND COSTUMER: PLEASE PLEASE HAVE YOUR EYES EXAMINED SOON!!! How could anyone put that 2nd act blue tutu against Ali's pants!!??!! Except for the two "creamsicle" peasant girls in Giselle, (you know the two orange girls amidst all those green/blues?), and the 4 poor unfortunate suitors in Sleeping Beauty, I have NEVER seen anything so egregious, and so easily fixed, in my entire life as a dancer and viewer.

Angel's original photo was taken when he was 19. The latest one is a still from the Freixenet commercial he did Nov. 2006 (age 31). If his hair appears lighter it's because the light (a 1K with chimera diffusion? in the production still I saw) was placed barely a foot away, close over his left shoulder. I'm glad he has a new, more mature, photo. (And since both Marcelo and Herman are bearded in the F. Ferri photos used in the ABT brochures, and so many dancers use the over-the-shoulder look for their headshot, that's nothing new either.) I also agree about Xiomara, they never do her justice.

Unless it was a "Live from Lincoln Center" broadcast, not Dance in America, which did air programs prior to 1977, so your date may be correct after all. The two programs are often confused by viewers searching for program airdates, or other information.

Last I saw, Boston Ballet recorded most of their productions with a Canon XL-1 or XL-2 digital video camera--which is a couple thousand dollars more expensive than a handy-cam. I think, though, it is simply a straight wide-shot for archival/training purposes, and not for broadcast or release. (Shame on WGBH). The videographer is usually visible (and approachable if not busy) in the back of the theatre next to the light board. The sound man is upstairs. Of course there could also be a few sureptitious cell-phones as well. RE: The Cornejos: Erica (and husband Carlos Molina) have been VERY busy rehearsing "Swan Lake" AND "In the Upper Room" which is scheduled the weekend following. They also were also substitute principals (hooray for me) at the matinee I attended, due to many recent injuries affecting casting. So applaud not only their abilities as dancers, but also their stamina and perseverence. Herman, of course, is finally getting his due at ABT, and the chance to explore and demonstrate his abilities even further through other ventures. I am VERY happy for him and his family.

Yes, Amazon has the best price, and I paid the same for my copy. I also pre-ordered a second copy for a friend through B&N and received a damaged copy with one picture horribly disfigured by what looked like oil droplets rained across it. Of course I immediately returned it, of course the idiot clerk thought the damage was intrinsic to the picture and put the copy back on the shelf for sale! Buyer beware. I also agree regarding the inclusion of unflattering pictures: faulty line, ballerinas with glazed eyes (white flash reflections I presume that could have been fixed in editing), odd expressions, limited casting. The choice of ballets was last year's Met season, nothing more. But all in all, I am glad that the book was published, and that after the retrospective volumes of other prominent companies, with lovely pics also, but mostly B&W--I am glad it was ABT that was showcased, and in color.

Mother and I will be there this weekend as well. Whatever the casting, although I do have favorites, I am sure I will enjoy it. I've always loved BB's Swan Lake, and hope it hasn't changed too much since I last saw it.

I once spent a very informative afternoon at the NYPL collection viewing: (1) the Balanchine Foundation(?) tape of Alicia Alonso coaching Herrera & Corella in "Theme", followed by a VERY insightful informative interview with Mme Alonso; and (2) a viewing of the Baryshnikov/Kirkland video. To see both tapes back to back really helped me analyse what I was seeing much better than my aging memory (and muscle memory) allowed. I had seen the PBS production when first broadcast, and subsequently live in Los Angeles many times over a 3wk run, but viewing it in CU on tape really helped. Unfortunately, as noted many times before, there are decades of broadcasts and probably more of "DinA" or "LFLC" that have never been released commercially. It could be a rights issue, or simply the obtuseness of the current administrators who can't see a revenue source when it's in front of them.

FYI: Susan Jones has just spent a week setting "La Bayadere" for Angel Corella's new company. Angel's prodigious memory & technique did the rest. Ms. Jones is expected to return later this summer to fine-tune, and Makarova, herself, immediately before the debut performances in September at the Teatro Real in Madrid. Yes, Iain Mackay is there. Joseph Gatti and Adiarys Almeida should be arriving shortly. The Company is very nearly at full strength; enthusiastic, disciplined, and determined. I stand in awe of what Angel Corella has accomplished already, and the energy and focus necessary to perform nearly full-time at ABT and elsewhere, and still oversee the continued growth of his Company.

There was a similar program (90min) on PBS' Frontline several years ago, which I also made sure every high school class I taught also had to watch and analyse.."The Merchants of Cool". The program specifically demonstrated how marketers infiltrate and manipulate teenagers into assuming a "popular" persona (not peer created as they think, but created by the marketers) and consuming a product (again, created more by marketers) that directly feeds the "lowest common denominator" segment or worse. There was also a follow-up program "The Persuaders" a few years later. Both are available on dvd. Thank you for posting, I will definately investigate the BBC program you recommend.

As I've said many times...Corella in R& J is a perfect synergy of looks, temperment, and technique. Something the ABT p.r./marketing staff seem to be aware of also, since he usually graces the R&J publicity (one-sheets, 'lobby cards', program covers) whenever it's performed. FYI: In several on-line and print interviews, and in the book Round About the Ballet, he explains his affinity for the role. He is very astute when analyzing it. PS. I understand your reaction to the 2005 Swan Lake video completely, but also thought his performance helped the clueless Emmy evaluators understand the story/role more, and perhaps contributed to the broadcast winning the award.

I am glad BT and others are still interested in the Ballet de Espana, and will try to post more. Thank you Cristian for the link re: Adiarys Almeida and Joseph Gatti. But let me say the Cincinatti Enquirer article's author is wrong about one thing: The FULL Ballet de Espana may not be performing until its debut at the Teatro Real in Madrid September 4-10, BUT a smaller version of the Company has been touring Spain for some months now; most recently in Tenerife, Malaga, Barcelona, Segovia, Bilbao etc.etc.. Most performances have been sold out and very warmly received. Between dancing with, and overseeing, his Company; guesting at the Mariinsky; performing with ABT in Chicago, and soon the Met season, Angel Corella is quite busy.

as well from me to all who posted. I am so very sorry to have to miss these performances, and so far, have been subsisting on BT posts, and those Russian YouTube clips from the Mariinsky Festival last month. (Where the unfortunate Somova is visible exhibiting every fault you have all described--such as hyper-extended knees, to go with her extended chin, and horrible fouettes.) But Tereshkina I love, and Vishneva, and wish I could see more. Thanks again to all.

Yes drb, THANK YOU so much for posting the link. I won't be able to attend the Kirov at City Center--how awful is that! I haven't seen them live for 20yrs! Therefore, these so-welcome videos have helped to allay my tears, and change them to a smile. What a gift BT members are to us all.