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Ok, here goes my videotape 101 explanation (with this caveat: I'm not a certified video engineer and have an aging memory)... First let me state that the beta format did win over VHS, but only in the professional world--(see below for why it lost at home) PROFESSIONAL USE: In the old days...(at professional facilities) the quality of the tape was determined by the WIDTH of the tape--wider width allowed more info to be recorded so better quality. Most professional recordings were made on what we called "2-inch quad" tape--the tape was 2" wide and came on reels the size of a car hubcap. (We used to move them around the station by grocery cart). The recording machines themselves were the size of a large washing machine. Eventually, (1970's?) the engineers got the quality to be just as good on 1" tape and now the reels were the size of a small dinner plate. Consequently, the recording machines were smaller, and there was even a portable version (it weighed 55lbs, the camera on my other shoulder weiged 25lbs, and I weighed 102lbs then, so you figure out how easy it was to shoot in the field!) Shortly afterwards, 3/4" U-matic (the name actually indicated the shape of the tape path over the 'heads') cassettes were invented making it easier to shoot in the field. But the vcr was still separate from the camera. Studio and multi-cam mobile units still mastered on 1" until at least the late 1980's. So my guess is most of the "Dance in America" or similar time-period recordings were on 1" tape and earlier versions on either 2" or film. (I still have many masters on 3/4" and it's getting difficult to find anyone who can transfer them outside of NY/LA) Finally, (Sony) Betacam (NOT betamax which is different) was invented, where the vcr was actually an integrated part of the camera--ie. a camcorder--rather than two separate machines, and betacam cassettes were smaller, lighter, and easier to pack/carry. (hooray!) By then, the quality was determined not by the width of the tape, but by the size of the recorded 'slant-track' and speed of the recording; in beta, more slant-track was laid down (ie. allowing more info to be recorded) during each pass over the heads but consequently using more tape so the cassettes weren't as long because of this. Beta-SP was the next upgrade (cassette size, tape width remained the same), and now there is Digi-beta etc.etc.etc. HOME USE: Sony's Betamax was intended for home use. The beta name again came from the shape of the tape-path, and like its professional cousin used wider slant-track so recorded more info, but also used more tape in the process so cassettes weren't as long. THAT is why beta was better than VHS (or even S-VHS), and also why beta lost out to VHS for home use.....VHS tapes lasted 2-4 hrs depending at what speed you recorded; the same beta tape only recorded 1hr or less. So what do home users record most?---movies and sports, so the tape with the longer record time won--even though home-viewers still had no idea how much the quality sucked in comparision to beta. The other factor affecting image quality is the cameras in those days...Professional studio cameras required enormous amounts of light, and had lag and flare problems. Chip cameras helped to improve that, as did so many of the digital innovations used today. So finally...The quality of a commercially available DVD depends on many factors, but probably the performance's original recording format, and original camera and lighting situation(s) affected it most.

I noticed an overlap in CBCL's and the Mariinsky's performance schedule in BCN. Are they really there at the same time? CBCL is doing a rep program at the Tivoli (my favorite theater to shoot in so far) and the Mariinsky full-lengths elsewhere (Liceu?) I wonder how that will affect the box office of CBCL. Did they know before-hand? Of course, I hope they do fine, and show that they can compete with the Mariinsky. Any BT/BA posters (Carolina? Sunday?) who go to either performance(s) please let us know what happens. Gracias

I, too, caught the Sunday morning live broadcast by awakening early (7am), picking up mother, and driving another 45 minutes. But I also had time for coffee because the theater staff were there but the doors were still locked. I think we had about 10-15 people (mostly older adults, a few young children) arrive for the performance itself. I hope the Tuesday evening performance is better attended, but with absolutely NO publicity of any kind anywhere, (no ads in local/regional newspapers, or even a mention in the monthly regional "arts" magazine: Preview MA) I doubt that will happen. I agree with all the comments expressed above: NOT SO HAPPY: Z's tutu too short, and camera placement a little low so ... The bland beige backdrop looked like a street scene from 19th c. St.P! Where were the thorns?!!! An ivy overlay of the backdrop didn't express much passage of time, certainly not 100 years and the stationary pillars for the wings didn't convey a forest (though I tried to ignore that) The costumes didn't change to show a 100 years; it still looked 18th century. Most other productions I've seen have a definate change between 17th century styles and 18th century.) Zhakarova's extensions were expected and not surprising, but I'm beginning to think it's a lost cause to complain anymore since the consensus is ballet as acrobatics. Her epaulement was interesting--all neck and arms, NOT shoulders; very classical up/out/strong motion, no softness here! Lilac fairy danced okay, correct, but bland. She did smile, but it was a tight smile and never varied. That was annoying, so were her hands which varied between dropped third finger and little paddles. The mime for the Lilac Fairy's fix rushed by so fast I never saw it. And having all the courtiers exit except for the six at the back who froze instead of slumped in sleep didn't help anyone know what actually was happening. (The lack of thorns/vines etc. growing over all didn't help either.) The cameras missed EVERY entrance by Hallberg except one. You would look up and suddenly he would enter frame (in a pdd or whatever), with no idea how or where he materialized from. And missed the final curtain call, after making us sit thru the usual Russian mid-perf bows of everyone from the lowest corps on up. I liked the camera staying in FS most of the time, but for EVERY male variation they cut to a close FS which didn't give any perspective when a menege occurred or other jumps. I could appreciate DH's beautiful form/line etc. without ever being sure the ballon was what it should be. I hated that. (In future, I think sitting further back in the theater--so the screen appears like a large tv--might help the overall view.) HAPPY: Amazing to see it live. Amazing to see the inside of the Bolshoi. Mother was impressed, but I had seen many other countries theaters with similiar abundances of gold and red. (She was also concerned about what the ladies were wearing--kept asking if they 'dressed up' in Russia vs. here.) The tutu bodices of Aurora (and probably most of the solists/corps) were smooth, supple and easy to dance in, not boned horrors. The sparkles and jewels were subtle, elegant, and perfect. (How come the tops were fine, and the tutu itself so wrong?) The men's costumes also were extremely beautiful (loved the colors/jewels) and looked comfortable to dance in. (I could commiserate with dancers at other company's productions.) I went to see David Hallberg's historic performance--if only because now the rest of the world would see and appreciate his 'debut' with the Bolshoi. He was gracious & composed in the interview, and as usual, the perfect prince onstage. (I thought I saw Princess Florine?--wearing blue & feathers--wishing him success during the background in the pre-show backstage views) I am VERY VERY grateful that the Cinemark theaters of Hadley, MA had the courage to show these broadcasts (despite the lack of publicity) when other larger towns/cities remain ignorant and mired in the gutters of pop culture.

I think the PBS broadcast will be a "live-on-tape" of the previous night's performance. According to the blurb above, the "Live from Lincoln Center" staff/crew is doing the cinema distribution (& taping?) so it doesn't make much sense to do the same thing twice. Instead, think of the PBS broadcast as a 'delayed broadcast' of the cinema version.

After reading the linked reviews of BB's recent R&J performances, I was struck by two things: 1) The reviewers (despite writing for 3 different papers) appeared to copy each other in what they noticed and didn't notice--each devoted lots of paragraphs to costumes/sets/mise-en-scene, and especially Prokofiev's score and the merits of BB's orchestra's performance, and less to the dancers or choreography. 2) All three reviews also decried the lack of a 'reconciliation scene' as in the play--and were surprised the performance simply ended with the deaths of R&J. So, all I could conclude was that the Boston papers had hired music critics to review the ballet and none of them had ever seen it performed before--though one had noted previous BB production's choreographers--either live (or extremely sloppy homework) on DVD. A sorry day for Boston to have to rely on critics/reviewers who seemed to be 'born yesterday'. Even if the reviews were all extremely positive.

Are they paid outside of union contracts? Do you have any idea of the range? Puppytreats, check out the 990 forms of any ballet company, and you will get the top 5 people's salary list--which often includes 1 or 2 principal dancers, and can probably extrapolate from the other financial information required by the IRS. Otherwise, there was a long thread on Ballettalk/Ballet Alert about salaries (with most of the salary ranges from corps to principal for at least the top 5 world companies. Sorry, I'm not adept enough at searching this to post a link, but maybe others can?)

I've been trying to get to Boston and get tix to this for a while--but weather and family circumstances constrained me. Hopefully I'll see it this week and can report afterwards. Also looking forward to seeing the three former Corella Ballet dancers who are now soloists at BB. I saw Joffrey Ballet do Cranko's "R&J" and "...Shrew" several times during the '80's in L.A., afterwards I saw all the versions BB did and am glad they have finally chosen to stick with Cranko's. I like Cranko's staging and general choreography best, but MacMillan's pdd's more. I was also fascinated by how much of Cranko was incorporated into MacMillan's choreography. I'm glad someone besides me remembers Smuin's (actually I seem to remember more details of the pdds than other.)

Les Sylphides was one of the first ballets I danced in Japan. I have many many fond memories of it, and the music. I also remember working hard to convince the authorities at my local USAF base to schedule a performance, watching the auditorium fill (surprise surprise to macho soldier/pilots) and reading the very funny translations (from french to japanese to english) in the press previews and reviews. I think it is one of the few ballets I can watch any company dance and still find something to enjoy, even if it is not a perfect performance.

Ok, the truth is I found the editing of Square Dance extremely choppy, with several 'holes' in continuity that actually made my stomach turn at one point. I couldn't decide what I didn't like about the diagonal views except that the height was different from how I shot, and maybe that's why it didn't work for me. But I love the music and choreography and the dancers were okay--but agree about the male solo, and Delgado's grin (which I noticed, and wished I didn't.) Solid Gold dancers indeed. I (unfortunately) still remember that show and can see the similarity, but as I said, still wondered why her choreography of this has been copied so often in more recent contemporary work by others? I must admit I fell asleep at one point in the middle of WS. The diagonals in that only worked once or twice, and I don't think the editing improved at all. So overall, I too was surprised and disappointed that Diamond and Bhargava did what they did. I also noticed the 'cramped studio' which may have affected a lot of things. Whew! I feel so much better getting that off my chest! PS. I was v. glad this was broadcast on Oct.28th here because I was not able to tape it, or see any repeats because I have been without heat or power since the Oct. 29th blizzard knocked down a tree into my drive taking down all wiring. (I am getting very tired of eating pbj's!) I heard a policeman say that after Springfield, MA has now experienced a tornado, microburst, earthquake, flood, and now iver 700,000 without power, the only thing left is for them to discover a volcano in my back yard. Happy Halloween!

During my dance career I danced on that 'sailcloth' flooring many times. As Mel said, it was very like heavy duty canvas. The problem dancing on it was not necessarily the friction, but rather watching for any slight wrinkles, which could catch a tip and trip you. However, I don't remember having to use as much rosin. (I thought they used to use it for some R&J performances, but maybe I'm just confusing things.)

Of course this is exactly what I did when I filmed Corella Ballet from the first rehearsals in April '08with Susan Jones helping to set/coach it, with Angel and Carmen, and later (Aug-Sep '08) with Makarova. I have nearly 40hrs of footage to edit. Wish I could show it to you.

While watching MCB on PBS, (of course), and appreciating the dancers/dancing (of course), I was actually even more interested in the camera angles/editing choices (of course) and the couple times I saw what appeared to be a high-angle cam on a wire--or maybe it was just a dolly/truck--but either way, still interesting to see in an arts video production and not a football telecast. I didn't catch all the credits, so didn't see if a robotic cam used. It was also interesting to notice the cuts to certain angles, and when they occurred...Sometimes the jump from a high to low angle in a single cut was slightly jarring, but eventually I got used to it, and some of the other angle choices started to remind me of a lot of my own work. (Did anyone notice what I wrote many years ago about diagonals adding depth to tv's 2-D image?) This isn't my favorite Tharp work but watching Twyla Tharp's "Golden Hour" made me realize how many choreographers have since copied the blocking and moves used by her in this work and others. Can't contemporary choreographers come up with their own moves anymore? A borrowed move, or even series of steps maybe, but the blocking of whole sequences? Come on! Where is the originality? Or do newer choreographers believe they are just rehashing a 'classic' a la a new version of SL that still retains the requisite set pieces? But if they copy Tharp, she should get the credit. Personally, I preferred "Square Dance" -- but then again, there are a lot of standard 'Balanchine' moves in that, too, which get repetitive when seen in many many other works by him. I've never seen "Western Symphony" before and agree that in this case dancing in a cactus field may not have been the best choice for a 'translight' projection. I did appreciate the choreography (of course) and the MCB dancers seemed to enjoy dancing it, which given the constraints of filming, was probably asking more than the norm. Thanks again to PBS for remembering to include ballet in its arts fest, and finally showing another company than 'the usual suspects' in NYC.

Especially since they film so much of it and just stick it in the library :< Although that's common nowadays I think. I know in New York nearly every significant Broadway production (and more and more Off and regional productions too), since tyhe late 70s with some earlier examples has been filmed for the Lincoln Center Archives at the NYPL. Most of these can be viewed as I'm sure you know--if you got here and make up a valid sounding excuse--they're only harsher with certain titles usually due to copyright holder reasons. But these can never be released in a commercial format, largely as it would just be so cost prohibitive. I suspect it must be the same with ballet (although at least with a lot of ballet you wouldn't have to worry about paying the music, and maybe even choreography, fees as they're public domain). Though Mr. Tchaikovsky or Mr. Petipa may be long gone, that doesn't mean they are public domain and anyone filming the ballet can do it for free. Permission must be granted, and usually the payment of license fees are still necessary for filming/distribution of ballets...both to choreographers (or their trusts), and to the composer (if living or if they have an estate)/orchestra that performed it/music publisher/music distributor of the music or CD/DVD etc.etc....Case in point: for "In the Upper Room" I had to get permission (and in two cases,pay a fee) from both the choreographer AND music publisher, AND music distributor, AND Mr. Glass' representatives.

Macmillan: I have DVDs of Fonteyn/Nureyev, Ferri/Eagling, and Ferri/Corella. I also have the DVDs mentioned above of Wiseman's "Ballet" doc--with the Ferri/Bocca balcony, bedroom, and tomb scenes, and the "ABT...Now" PBS b'cast, which as mentioned above, also has a Ferri/Bocca balcony pdd (which I don't think is danced as well as other times they have performed it--very rushed, misplaced/sloppy partnering missteps, but of course dramatically not a problem.) And finally I have a video of McKenzie/Makarova, and maybe a very old SFB (Smuin?) pdd. I agree with most comments... Fonteyn/Nureyev for historic and dramatic intensity. And Ferri in BOTH of the DVDs available--her younger/eager/fearless self with Eagling, and the more experienced dramatic actress of the later version with Corella. The RB dancers (not just the two stars) are beyond compare in their ability to enhance a scene by their portrayals and dancing, (whereas the La Scala dancers are awful) but I do prefer the filming of the Ferri/Corella version--it's better lit, better sets, better costumes, I thought the choice of angles and editing worked very well, and in Corella, Romeo has superlative technique. (If there is a quibble about his dramatic technique, one must remember Corella was only 23 when this was filmed, whereas Eagling was about 10 years older when the earlier version was filmed, with many more years of living and dancing experience behind him.) Lavrovsky: I have the Bessmertnova version because it was shown on U.S. television (I originally thought PBS, but from an old clipping I have, I think it was actually--please resuscitate me as I keel over--shown on network television!) I think the year 1976 is right--I recorded it on our Betamax at the time--which is why I'd be glad if a DVD was available instead. I've seen the Ulanova version, but only from libraries. But definately both films/dvds would be good choices to watch. Cranko?: I've seen Joffrey and BB perform this in full, and watched clips of Haydee/Cragun on YT, but don't know if a DVD is available yet. I hope so, because this is a version to watch--and definately compare to the Macmillan versions which followed it. I would also agree with POB, but not having seen it in many many years, would defer all comments to those persons more familiar with it. Is the NYCB version on DVD yet, just to mix things up a bit? To conclude: I don't believe this ballet would be hard to photograph because no matter the choreography: the plot is known, the action can be anticpated, and there are bound to be many dramatic as well as visually interesting blocking/placements of dancers in every scene. Enjoy and good luck with any inadvertant lighting difficulties.

NPR did a story on the poet (and the fact that most of us in the USA probably would not be familiar with his work). They also had him reading his work and a (simultaneous?) english translation; it was very good and I really enjoyed listening while stuck in traffic. There is probably a transcript or aural version of the story at the NPR website.

Interesting if true, and PBS scheds hold for all sites. Also would like to see this, since I never have, (I tend to avoid Nuts unless desperate) and it seems so iconic. However...didn't we just have SFB's Nutcracker on PBS a few years ago (2009/10)? Sure wish they would do something new... looking forward to MCB mixed Balanchine rep, and am hoping the glimpse I saw of what looked like SFB's "Little Mermaid" in the promo for the PBS Fall Arts Fest was a sign of things to come in 2012. Unfortunately, ballets are rarely or never posted in the PBS Pipeline listing that I peruse now and then.

Congratulations to all concerned in the making and subsequent success of this film. There are some noted similarities in Ms. Kargmann's and my background that I'd like to explore with her sometime. However, my main concern at this critical point in time of my own documentary is how "First Position" was financed. Were there any questions (and/or answers) about that during the Q&A?

I thought that was her in the CBCL's publicity pic of the 2011-2012 season's Sleeping Beauty (Act.III) with Yevgen Uzlenkov?

It was my idea to tie the film and CBCL's LA performances together. I told the USC staff I was an alum, and I was making a doc about the company, and they thought it was a good fit. I'm glad they did. The LAMC was unhelpful, and obstructive, though the venue was beautiful as always. BTW: Every time I come to NYC it is an 8hr round-trip bus (trains are more expensive and less accomodating times), and costs me between $100-$300 on top of the ballet ticket price (depending on whether I could attend a matinee thereby saving on hotel costs or had to stay over); which is why I liked Fourth Ring NYCB tix, but had to save up for many months to attend ABT at the Met, or anyone else at NYCC. I didn't attend any CBCL perfs this year, because I simply could not afford it. I have never received a comp ticket from either AC or his company (though 2008-09, while filming, I had free access).

Ok, I'll admit it, I'm clueless too...Where is the download stored? Is it on my computer's hard-drive? Or an iTunes server somewhere? Or in "the cloud"? Is my 'account' with all the music/films/novels etc.etc.etc. that I might want to view/own stored somewhere (electronically or not) that I then log-into to view whenever, wherever? The reason I've never bought an iPod is because no clerk could ever tell me what size I needed for hour-long classical ballets/symphonies etc. rather than a few 4-minute songs or 20minute albums. Now I have the same questions concerning video since I know how much HD eats up memory. (Apologies if any tech terms I used are ludicrous, as I said, I'm not very proficient in its use yet.)

As a side note to the general discussion...When Corella Ballet appeared in LA last November, USC, which has a series for its students to expose them to international arts, sent a contingent of 100 students to Corella Ballet's opening night's performance. As an alumnus of the university's film school with detailed info about the company, I was invited to give a pre-performance lecture to the students about the company and my documentary. So, even if CBCL did not perform at USC, the students (and their admins) still made a point of attending, and learning about the company and ballet, and hopefully will now attend other ballet performances at the LAMC or elsewhere. My only problem that night was that no one (USC or LAMC) had provided a large screen monitor to show my trailer + clips and I consequently spent the previous 2-days frantically trying to find one at less than an extortionist's price.

So I guess Corella Ballet was lucky to be invited to perform at the University of Washington in May? If I remember correctly, they were not the only dance company to perform there this past year--though the only classical company. (Correct any details at will.)

Many thanks for posting this. I was pleasantly surprised when I heard the music because I had filmed Corella Ballet performing "Celaje" (choreographed by George Birkadze) to the same music in 2008. And like the videographer here, I, too, tried to use more angles than a static "front of house". It was very interesting to see what Mr. Peck and Ms. Taylor did to the same piece.

Angel Corella could not perform due to injury. He wrote a very nice letter of apology to the audiences (and people of Japan) that was posted here: The Japanese translation is at the top, and Angel's hand-written message is at the bottom. http://ja-ballet.seesaa.net/article/216832803.html As always, I hope I posted this link correctly. Meanwhile, Corella Ballet will be performing this week in La Granja de San Ildefonso (near Segovia), where I believe Angel and Carmen were to perform "Solea". My best to them both, and of course the Company.

Do any of you--CM, cubanmiamiboy, bart etc.(?)--know how/who I could contact at the above spanish-language media companies about my documentary film? I think they might be interested in showing it, if I can ever finish it. (Funding still a major issue.) BTW: Please remember, I may have learned (fast) to understand spoken/written Spanish at a very fundamental level, but am hardly fluent enough to do a major distribution negotiation. Is there anyone there who would understand English? Or does anyone know anyone who could translate effectively?