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Uh aren't we forgetting Baryshnikov?!

FYI: Boston Ballet is doing Cranko's R&J this February 2008. I guess they finally figured out it's a good ballet to do around Valentine's Day? And finally, after twenty+ years, I'll see it again. (Last time, was Joffrey in Los Angeles: very memorable, very dramatic, slightly more acrobatic than KM's for RB.)

Re: Don Juan. I have a picture of Nureyev in a version of this (c. early 1970's?), with I think Karen Kain?--possibly a one-act/pdd/divertissement for NBoC? So I guess it was done sort of. Don Juan would probably have been a good role for him; who today? Re: Tristan & Isolde. There are PLENTY of opportunities for group dances AND Irish dances (if we don't slavishly use all of Wagner)--since Isolde was at the Irish court when she first meets Tristan (injured, disguised etc.). And maybe we could have the marriage of Mark & Isolde with poor Tris moping around the edges a la Des Grieux in the Manon party scene? Not too mention a "knights dance"--hey it worked in R&J, and Raymonda has its knights etc. too of various nationalities. Personally though, I want to see the pdd's. But anyways, it can be done, and should not be too hard to do either. Gatsby and Streetcar are interesting as modern classics that could be translatable--LOTS of crowd scenes in Gatsby, and Gershwin incorporated jazz syncopation so why not a modern/film composer?--but both also seem more like something Bourne would tackle,than a true classicist. Did anyone ever see that "Liasons Dangereuse" ballet in London a year or two ago? Bet that had a few interesting pdd's.

A masterpiece indeed. Thanks to all, including the aforementioned superstars, for making me smile today. (I needed it.)

Of course WGBH Boston is showing it Nov.14 & 17, but 2hrs away at the other end of the state baby 'GBH, owned by 'GBH, can't bother to do the same. And the Hartford, CT overlap station either. But BOTH stations regularly show POV and Independent Lens, both of which are funded and produced through ITVS which helped create the Tallchief film!

Why do people assume not having children is a choice? If you have the opportunity--physically, personally, circumstancially, and then choose yes or no to have children, then it's a choice, but otherwise? So semantically (is that a word?)... 1)Is it a situation or an attitude Fournier is commenting on? If the latter, then she is insensitive to circumstance. 2) Bart is right, changing the generalized "us" to personal "me" does ameliorate it somewhat. 3) Ditto Aurora's experience. Apropos: a colleague of mine is a Superintendent of our school district, due to ovarian cancer his wife could not have children--his comment was, "I have 900 children 280 days a year to worry and care for." He said it with a smile. So, for all those AD's who don't have children, I say the same thing: You have 100+ people who respect you and look to you for guidance and care, that is a great responsibility, but it has its rewards.

Thanks again drb for posting the link. (I am not so technically adept.) Previously, I had visited the site, (English language version), but didn't see much beyond a generic announcement/dates of performance. It was great to see Mr. Yusupov's pictures; everyone looks healthy & happy. It is Filin and Tsiskaridz in "The Lesson" pics right? Having been in LA for the premiere performances of the KofD I was already familiar with the Lachman (for LA Times)and Paltera (OC Register) photos. It is interesting to note the change of costume for "For4" which I saw in another pic online, but wasn't sure if it was from the Bolshoi performances or a dress rehearsal/costume test prior. But anyways, THANKS again for the photo link, AND translations or relevant articles/comments.

I have thought about this SO many times. RE: MUSIC/COMPOSERS Yes, film composers would be the easiest translatable format. Film composers create scores using different tempos/tempi(?), to create very different moods, in distinct time allowance. But PLEASE choose a composer who understands melodic line. Williams comes first to mind, but I've also enjoyed scores by Rota (too bad deceased), Morricone, Corigliano, Horner, even John Barry! I was so disappointed with Goldenthal's Othello score. I thought his score to "Interview with the Vampire" was eerie/sad in the adagios, and grating/Psycho strings in the allegros, but even principal dancers have told me Othello is "all counts" since the score is nearly impossible to dance. (Kudos to Lubovich I guess for using it; but I do like the sets/costumes/staging). RE: PLOTS The easiest one that always springs to mind, and I don't understand why it has not been done everywhere (though I thing RB (eg.MacMillan) and other companies have tackled variations of it) is...TRISTAN & ISOLDE. It meets nearly all of bart's requirements: Simple triangle love story, with easily understood conflict(s), with maximum of 4-6 main characters. AND it has all that music, which doesn't necessarily have to be sung--we've all seen those albums of "Opera without Words/Singing". If Stanton Welch could do a halfway credible Mme.Butterfly, and MacMillan could use all those opera excerpts to create Manon, why not this opera? I also saw a memorable, interesting use of staging (can't recall all the choreography) of Hunchback of Notre Dame at Boston Ballet. It wasn't as 'grand guignole' as Dracula, or flashy as Cleopatra (too long and boring that in the middle), and was rather sombre/sad ending of course. Will probably think of more later, gotta run now.

Thank you SO much drb for posting. I was concerned about Johan's injury/recovery and wondering how our ABT contingent was faring. (I assumed Nicholai Tsiskaridze would not have any worries.) I am glad others were able to integrate the performance smoothly and all were well received. (Just a thought: I sometimes wonder if Angel Corella gets tired of being known/admired just for his turns. I used to watch Baryshnikov turn as much (if maybe not quite so fast), but he was also known for so much more; hopefully, Corella will be too some day.)

Hey, I'm a USC alum! Though I didn't know what the word football meant until my roommate dragged me to a game sophomore year--and even by senior year all I learned was...It takes 4 tries to go ten yards, then they either fall "down" or "punt". Besides that, I remember when ABT would come to Shrine across the street from campus, or the Music Center downtown, and I would go student rush every night instead of working on my thesis. So...you never know, maybe those football fans are also dying to go to the ballet, but peer pressure (or cattle drive crowds?) are forcing them towards the wrong venue?

Yes, there are a zillion obits out in the last two days--just through Google I found pages. I, too, saw the Moiseyev company when they toured USA many years ago. My mother's family is Polish/Russian?/? (we change every time the border does) so it was a treat to see them and see original national dances from the "old country". I am very sorry at his passing; he really did much for cross-cultural appreciation, versus the insensitive hardline 'Cold War(rior)' politicians. Glad the company survives and is touring still.

ABT Sat. 11/3 matinee: Baker's Dozen, Sinatra Suite, Leaves Are Fading, From Here on Out It's been SO long since I've seen Baker's Dozen. I remembered the Tharpian slouch, speed, humor and, as usual, the contrast between her 'natural' idiom of moves and the classical technique interspersed. So it was nice to see ABT try it, and yes I remember Craig Salstein, who seemed to truly enjoy his brief solo, and be most comfortable performing it. Also, for someone who can be so cool and collected in classical pieces, it was nice to see Michele Wiles 'cut loose' and even emote a little in this work's pdd, and last year's "In the Upper Room". Ah "Sinatra Suite", as I've posted before, I have a history with this work, with VERY strong memories of it's originators dancing it. Last year I saw all 4 male leads dance it, and each brought something (or forgot something) different in it. This time, it was only Herman Cornejo and Misty Copeland (who was injured last year, and unable to perform it at CC--I did see her do it in London last February.) Personally, I felt this time like those patients who have their right & left brains' connection split to relieve epilepsy. My left brain kept telling me that Cornejo and Copeland were doing each step very correctly, in most cases beautifully correctly, in one case inspiringly correctly...but...my right brain was squirming uncomfortable because it all seemed to be danced in slo-mo, CHUNKILY (ie. contained sequences of steps, pause, followed by another sequence of steps), in short: There was still no fluidity/musicality?/FLOW between or through it. Where was that sort of snazzy slink I remember so well? Or the snap in the songs other than "That's Life'? How could it be danced so perfectly on a technical level, but feel 'put together' step-by-step, rather than just 'gliding' thru it? I don't think it's something that can be taught, it has to be felt, so maybe everyone just needs more comfort in the role to relax? None of the women has gotten that develope en avant-into-fouette-to (2nd?) arabesque right yet, or the pop-up on the full-split. And none of the men, that almost full stage slide Mischa used to do AND time to slow down with the music. Ditto the changed speed mid pirouette. But Herman did almost hit the floor before the fouette into 4th arabesque with fist to sky. So all in all, it is definately improved since last year, but I still missed some who performed it then. I hadn't seen "Leaves are Fading" live in 20 years! I am so glad it is back, and that I saw it. Stella Abrera was as mentioned previously by others, "breathtaking" exquisitely perfect, and better than Julie Kent who danced the central pdd with Marcelo Gomes. I love Julie and her line, but this time it was Abrera who shown as soon as she made her entrance. Michele Wiles and Alex Hammoudi also made an interesting couple in their pdd, if not quite the innate comfort with the 'breath of phrasing' that is so required in this work. Please don't mothball it again, ABT! But rather, make it a centerpoint in a Tudor retrospective in his 2008 memorial year. Maybe a lack of sleep last week finally made itself apparent during the final work, but it was hard for me to really pay attention. I saw some things that were interesting, and some things that were reminiscent of others--a little Balanchine, a little Forsythe, a little Wheeldon even (and actually wished I saw more of him)-- but would really need to see this again when I was more awake, or more focused, or maybe could appreciate it more than a kind of bland "okay...but" reaction.

Case in point: Myself and two other (rather well-dressed, younger than I) females squashed into a Green-Line T on the way into Boston (and unfortunately Fenway) to see Boston Ballet's Gala Oct.12. The train was full of Red Sox fans, some of whom had been partying since long before they stepped onto the train. One rather confident (and boistrously loud) young man tried to pick-up the young woman sitting across from me with a rather one-sided conversation. He made sure to mention his beloved baseball team, the AL playoffs etc.etc.etc.. when she had the temerity to ask "Who are they playing?" (I didn't know either.) Well, you should have heard the bellow, echoed all down the train by the astonished Sox fans, that she didn't know or could be so uninformed, uninvolved, or just plain too dull to know. (As I said, I didn't know either--and from her rolled eyes, neither did the third girl.) For the next 10 stops, that was the entire conversation: How there could be anyone in the Boston area who did not know all, or support all, concerning the Red Sox. Ok, I'll admit, I am glad when the Red Sox beat the Yankees (who've won too many, and are too smug about it), but I don't follow them, unless they mention on the news they won the World Series. Which I guess they did--again?

Have any BT members seen the Kings of Dance performances in Russia yet? (Bolshoi this week, Mariinsky this weekend, Perm next week.) Just curious what Russian (or otherwise) knowledgeable audiences thought of the American and W.European training & aesthetics evidenced by their respective representatives? Anyone know if Ethan did the Christie or Fosse solo? Is Johan recovered well enough? Did a fifth dancer from the Bolshoi also appear? How was The Lesson, better than at OCPAC or City Center last year? Did everyone rotate through the Teacher's part as originally planned? Too many questions? Sorry.

I usually hate horror/slasher anything--maybe because my film background tips me off way to early. So yes, I tend to appreciate the Polansky films more, and they did give me reason to pause when I got my first apartments alone in the big city(ies). I like suspense, and below are two small instances... "The Changeling" starring George C. Scott (and others I presume, but don't remember at all.) Typical plot of bereaved widower etc. going to work/live alone in a big old house in the country, but I will never forget...the stuck piano key that worked, and esp. a wet ball bouncing down a stair. Oooo! The beginning (NOT the middle, and definately NOT the over-the-top end) of "Poltergeist" (which I saw at its premiere in Hollywood) and Spielberg's inside jokes to us film-students: Watch for the edit when the kitchen gets re-arranged...there isn't one. Or the 'squeeze-zoom' as the mother is sucked down the upstairs hallway. And for tension in the ordinary: can anyone forget that frantic counting between lightning bolts illuminating a sinister toy? Oh yeah, I remember those C. Lee and P. Cushing films too. But my favorite Dracula is still Langella. (With affectionate remembrance of Gorey, and his "Gilded Bat".)

Saw Saturday evening (10/27)--but ONLY first two pieces to prevent stranding in NYC; am returning for Saturday matinee (11/3) so will see Millepied's piece then. That's it this season, hard to get away and do that single-day 8hr roundtrip. But anyways... After my first viewing of Clear by it's original cast, I've since come to observe it to see the contrast between steps created for a particular dancer vs. a new cast. And Saturday night, it seemed as if JMC was performing it all in slow-motion. He can be so elegant, strong, pulled-up, and controlled, and in Petipa this works wonderfully, but in this it was lugubrious in the connecting steps, with truncated arms as well as legs (was it a flexibility issue?), and though he did those many many turns cleanly, I still felt the push into the floor more than the freedom of flight or spin; like he was thinking hard the whole time. During the pdd, I again felt like I was seeing both performers think too hard while doing it--as if they were still in a studio. I definately agree with all comments re Blaine Hoven, who has so improved this last year and is excellent in Clear (his form, line, extension reminded me of Gomes). Sascha Radetsy too did an amazing tour that woke the audience up, amidst other fine work. But after seeing Cornejo, Stiefel (last year), and now Carreno perform, only Herman has come close to equaling Corella in the central role. *Note to all those who wonder what the point of the ballet is... If you consider it as a view thru a microscope, it becomes pretty obvious; a perfect illustration, yet oblique enough to be beautiful. Bravo Mr.Welch. Is it just me? Or is all of Elo really beginning to look repetitive? I've seen so many works for Boston Ballet, and now ABT, it is all starting to blur together. In this case, though, I appreciated the central solo for Mr. Gomes that seemed to illustrate the conflict between a confined physique and a free-flowing expression rather well: Amazing contortions in static poses, and then the full out extension and elevation of Gomes' so expressive form. Ditto Herman Cornejo giving the work it's only major movement and lift...and thrills. All the women did fine, given the quirky moves and pointless action. I was proud of them. (and felt sorry for them too.) The kabuki skirts were confining, constricting, and slowed all movement to mimelike robotics. As a metaphor for Mr.Close's health:ok, as a means to dance no. The sheer vs. strategic cut-out leotards were awfully reminiscent of those for C.Wheeldon's Liturgy et.al. across the way. Agree with others about music--which I liked (and again felt sorry that the choreography so underutilized it in the beginning), and artwork, which I also liked. (Q: Wasn't there supposed to be artwork on the interior linings of the costumes too?) I would go to hear that pianist do that music again--and enjoyed watching/listening to him, when the choreography failed to retain my attention. Somehow it seems (IMHO) more of a gala piece than a continuing, on-going rep work.

I love this topic! These came to mind most recently... 1)The following because I love alliteration and have always loved the poem; moreso now when it reminds me of a particular dancer: The first line of McGee's "High Flight": "Oh, I have slipped the surly bonds of earth and danced the skies on laughter silvered wings..." 2)This from a speech by actor Russell Crowe at the BAFTA awards some years ago. I seem to remember he was 'a tad upset' when it was cut from the broadcast (whether inadvertantly or deliberately, I don't know.) "Western cultures are often criticized for their focus on performing arts. However, singing, dance, theatre, film and all forms of creative expression serve to ignite the intellect, propel emotional development and availability, and reward us all with stories of humanity and the triumph of the human spirit." 3)And this more recently: (sorry for any mistranslations) from Angel Corella: "Dance is a form of self-expression; it's part of our self, part of our culture, part of our lives...it's really a form of art, and art is a way of communicating in a more spiritual way. It's a way of communicating our souls without having to use any words..." (interview 7-21-07, posted online but not sure if I can name site?) -----and in a similar vein: "Classical dance is not a whim of a few, but an art of the highest order that moves the masses. The public needs (classical) dance to feed their souls. It is the most direct way to connect because it is pure feeling." (interview 10-13-07 prior to performance in Cordoba , published in print/online www.abc.es)

Yes, I agree with dancerboy re the placement/stances in gymnastics generally in opposition to and consequently affecting ballet form, though the flexibility is an advantage. My teachers strongly discouraged us from skating because, even though the upper body carriage may be pulled up, the downward emphasis and 'stroke' (sorry if wrong terms) into the ice would build up the wrong muscles in the legs. Or maybe they were afraid my ankles would be even more likely to get messed up if I did both skating and ballet? I also found out later in life that riding was much more difficult than my younger days because of my turn-out, and consequently the 'torquing' sensation in my knees could make it excruciating--don't know what the poor horse thought as it felt my leg pressures constantly changing as I tried to compensate; but keeping my back straight was not a problem. I remember Katherine Healey too. In that "A Young Skater/Dancer? book, and boohoo that tear-jerker film--which I only saw because SHE was in it. The first time I saw her was when she was about 7-8 doing "Papillon" piece for John Curry (my favorite skater). Then some 8-10yrs later in the (first?) Jackson IBC where I think she competed in the Jr class? Then lost touch, and didn't even know she had spent so much time back in ballet. But recently saw those major multiples thrown into the fouette mix in some clip posted online (YouTube?) but not sure how old it was.

When I was forced to stop dancing professionally, not being anywhere near NY or another cultural mecca for dance, I had only one other example of a "dance related" career in front of me (other than teaching children at a 'dolly dingle')...PBS' Dance in America or a miracle job at the BBC shooting the RB at Covent Garden. So this straight-A student went to the top film school in the US, and double majored so I'd be well-rounded PBS producer-director. I did the semester abroad at Cambridge and worked on a Granada program, but no in to anything dance related. (Oh yeah, won the student EMMY sr.yr.--but not for a dance film.) And when I graduated, the US was in a recession, Congress tried to gut all funding for PBS, there was a hiring freeze, and for almost 5++ years, Dance in America was never seen outside of NY or other LARGE cities' stations--forget the 200 or so smaller PBS stations. So I settled; working at those smaller stations, mostly doing docs or 'magazine-format' programs because that's cheapest for PBS stations to do. Drama takes big bucks, as do performance programs (see other post on BT re this.)That I managed to do 2 dance films in college and 3 performance films at the various stations I worked at was due to endless persuasive tactics, much negotiation with funders and production heads, and constant re-training of my usually entirely male crews. It was not a "loveless marriage" because my heart will always belong to the ideals of PBS. But that inner fulfillment/passion/joy I felt when dancing? That has been few and far between. I think for my mid-life crisis, I'm going to try and transition to something more dance related to fill that still very deep hole. Though BT has helped do that in the meantime.

As always, VERY many thanks for sharing your knowledge, experience, tips etc.. I have visited Bookings.com while surfing web and did appreciate the comparisons offered. I did not know about the discount thru shopathome.com and will definately investigate using it. Unfortunately, I took French and Latin in H.S. (mediaeval history interest at the time, and my family is French). So any Spanish I've learned has been very generic...The above has allowed me to read it ok, and because of a very good radio program every Sunday on our local NPR station, and the Spanish television cable networks, I'm getting better at diciphering content at speed during conversations by those from Latin & South America. I'm still fascinated by that 500 year old Hapsburg lisp evident in the Castillian Spanish accent, but only rudimentary at disciphering it. (Apologies to Mr. Corella et.al.) So Pimsleur to the rescue? Thanks again.

Ok, in addition to the $3-400 on top of my ticket price & the 8hr transportation grind every time I come to NYC--(went 12 times this past spring/summer and 6x last fall), I've been to LA twice, London twice, and Chicago. And most of the time, I was very glad I went--if not always for the performance, then for chance to meet/greet, observe, & socialize with other like-minded balletomanes. I am trying to plan a trip to Barcelona early next year. Probably going indep./alone, probably bringing some expensive equipment that needs to be protected. And I am NOT fluent in Spanish--in fact though I read it ok, and can understand somewhat if I listen closely, no practice speaking it. I DO KNOW Catalan is the language in Barcelona, so even more a problem linguistically. ANY tips, advice will be very welcome--eg. lodging (near Tivoli theatre?), transport, security, tickets to perfs, ways to save $? Thanks in advance.

Oh yes, don't I know that, having dealt with torn ligaments, "frayed" tendons, ankle sprains, and possible stress fractures. Six weeks is good, 4-6 months seems to have been my average. And then, the weakened joint, ligament, tendon can be prone to re-injury of lesser or greater severity, until finally surgery may be necessary, requiring an even longer recovery period. (Ethan Steifel a case in point.) So yes, pray for minor injuries with minor recovery times. Note to SanderO: I once offered my unused ticket on BT, and was willing to overnight mail if necessary. But I don't "bail" just because my favorite dancer is not dancing as originally scheduled--I don't come because I am saving myself the extra $300 it costs me (in addition to my ticket) EVERY time I come to see an ABT/NYCB performance in NYC other than a matinee.

Like the original post on this thread, I too pay double (sometimes triple) every time I go to NYC to see ABT because I have to factor in 8-hr transportation and hotel costs in addition to my ticket. And because of work schedules (and distance) I usually can only attend on weekends, which makes chances to see X or Y more limited as well. So I try to second-guess casting, or wait till it's announced. When I had exchange priveleges, it was nice, but not lately. Once, though, what started off bad eventually turned out ok... I had just purchased a ticket (and being last-minute, it wasn't cheap)at the CCtr b.o. to see a dancer perform , and as I was leaving, bumped into that same dancer on the street, where I was informed they had just cancelled. (Nice of the b.o. to forget to inform me!) But perhaps seeing my disappointment, I was assured that they were dancing the next night (unscheduled of course)--and luckily I also had a ticket for that performance. So as someone posted, it may not be what you expected, but sometimes it works out ok. Unfortunately, this past MET season, I lost the price of three center-GTier tickets due to last minute cast changes, or cast changes that occurred and then were reversed at the last minute, and consequently AFTER I had already "donated" my tickets back to ABT. Now I'm just wondering if those "donations" are also tax deductible or am i really out the $$$? An instance of NOT ok.

(Sad but true, my memory of lots of Balanchine pdd's is limited--mostly because so little chance to see them--except old videos or DiA b'casts--so what follows is mostly from other touring companys.) Yes, of course White Swan and all aforementioned above Act2 Giselle. But, as I see more and more dancers (if not always partners) do them, I am becoming much more critical of HOW they are performed. (Case in point: Giselle. That double overhead lift can look very different depending on timing, placement, and chemistry of partners. As do the pique arabesque lifts in the 2nd pdd depending on the phrasing.) White Swan of course is all about phrasing and chemistry. And as a former dancer who rehearsed both White Swan and Giselle, but never got to perform them onstage, each step is still ingrained in this adagio dancer's muscle memory. The thrill of Tchaikovsky pdd for me was when I immediately recognized the music as coming from SL. I do love that 'fish' with interlaced arms, the male variation, and the give-and-take between female & male parts in the coda. Corsair only with certain dancers. Bayadere Act1's almost step-for-step re-do of other Petipa, and Shade scene for the epaulement/cambres MacMillan's R&J balcony & bedroom pdds--but sometimes prefer bedroom pdd because less time and number of steps (not to mention running back & forth across stage) forces the dancers to concentrate more into a smaller space. And though not a pdd exactly, I love these two in Manon: Party scene where she is being held aloft by the men (with poor Des Grieux following/pining below), and the seduction scene with Monsieur GM and her brother. Neo-classical: (Balanchine) Apollo & Terpsichore (Forsyth) In the Middle... (love the speed, attack, and totally off-center moves) (Taylor-Corbett) Great Galloping Gottschalk (Dying Poet) for sweet lyricism Ditto Leaves are Fading for same, and phrasing. Most Wheeldon--for geometric constructions which makes me wonder if/how he sees bodies in space before/during/while choreographing? After the Rain is interesting (I've seen it 3x with Wendy, but Jock had already retired)--but A LOT of the effect is due to the choice of music; somehow I NEVER get any lumps in my throat while watching it. Conversation Piece by (Vancouver? Ballet) Clear, because of the exquisite line & closure it brings to the whole piece Symphony in C--only seen twice (sad but true again) so have to review exactly what Theme & Variations But my all time favorite (excepting White Swan/Giselle) was one my old company did to the Nimrod variation of Elgar's Enigma Variations. (The storyline was the basic romantic triangle & complications). It started so exquisitely slowly with a develope a la second downstage L into an arabesque penche, (like Giselle?), and then just built from there. You forgot to breathe during it. (Also liked the later pdd, when the erring husband seeks--and finds--forgiveness from his gentle stoic wife. Don't remember exact Enigma variation.) Oh yeah, for pure kitsch: Arabian Dance from Nutcracker. (Musically though, my favorite is the Sugarplum/Cavalier pdd)

Not cover to cover yet, only spent 2hrs skimming thru various chapters while in a Borders in Islington, London. They had LOTS of copies, prominently displayed, but thought I'd wait to get back to the States (and hopefully better prices) before purchasing. Much of what I read was contained in that recent PBS Great Perfs. broadcast as far as info, it just went into more, and more, and more detail. IMHO what did come through was the very indominatable will of it's subject, his insatiable quest for more...(fill in the blank), and a certain refusal to acknowledge obstacles or consequences--to good and bad effect. As I said above, this was only my brief impression, from a very cursory read.