4mrdncr

Many thanks Batsuchan for the translation, and confirming that whatever version of "Google Translate" I am using actually works quite well! (Though it took me 3 tries to get it to work, since it kept doing a simultaneous translate of the link into English without actually opening the page. Consequently, I had to open the link from the kanji version, and then do a translate. Good thing my aging brain remembered some kanji.) But enough of that...What about the performances?

Me too, until I saw the subheading of "congratulations" and then I understood to whom it referred. I also agree with Helene's post--wish we had an RTR here.

Hopefully, I can do this link - just a post with pics of the company in Japan. (This and other articles found through JapanArts.) http://ja-ballet.seesaa.net/article/215887438.html Anyone BA members who can translate the kanji or post re the performances, please do so. Domo arigato....

I haven't subscribed to either NYCB or ABT in the last couple years because of cost, schedule (I often have short notice of days off so I can attend a performance), or casting (at ABT I'm more particular). My NYCB tix have always been in the 4th Ring because it was the only way I could afford to go with the added transportation costs. So now I'm a little confused...If you are a subscriber, no 4th Ring available; but if not, you can still purchase a seat in the 4th Ring? Someone please explain, my two NYCB brochures didn't. And I'd like to get at least one ticket this season, but preferably not deplete all my savings to do it. Thanks to all who can respond.

Thanks for the posts re the performance(s)etc. And thanks for the traffic reports. As a former long-time SoCal girl, I was wondering how the "Carmageddon" was affecting ABT's box office--or not, glad to say. All weekend, I've been trying to negotiate alternate routes from my former Long Beach home to the LAMC in my head, and waking up very relieved I was still on the East Coast.

Just a quick note... RE: All-Shakespeare... ABT did do an all-Shakespeare ("festival" was their term) during a Met season (I think it was 2007?). They did "The Dream", "R&J", and "Othello". But not on the same night of course. Personally, I love Shakespeare, so I thought it was a grand idea, and a chance to see three very different choreographers' take on it. (I think I also saw Cranko's R&J at BB shortly thereafter. Wish they would do his "Taming of the Shrew" too, I haven't seen that since Joffrey days in LA) RE: A Month in the Country... Yes, this is my favorite as well. And I can think of LOTS of ABT casts I'd like to see do it. But there was a thread here a few years ago where acquiring this ballet was proposed, and we were told then that The RB (or is it Dowell?) owns the rights, and said that it will never be done elsewhere. (But maybe now , this is no longer so?) Personally, I always thought AC could play the tutor; he certainly understands, and I've certainly observed, what it's like to have fans from all stratas of society want him personally, professionally, or both. I'd also like to see the complete "Raymonda" live at least once in my life. In the meantime, I go to those performances I enjoy, and can afford, and otherwise, I wait for better times.

Many thanks for this post. I danced Stars & Stripes in my former life and haven't seen it since (except for that brief clip of Julie & Ethan in "Center Stage"). Has PBS/DiA ever released a dvd of this?

I agree about lost work time by smokers due to "fag breaks" (something I still see at my work) and of course the consequent illnesses resulting from smoking generally. And though, as another poster said, I am sure those smoke-breaks are also a means of meet/greet/gossip between employees, there are other means to do that--eg. plain old "coffee breaks?" Or "water-cooler" talk? Though my experience is that email & instant messaging/texting have taken over much of that. Anyways, your post brought back a lot of memories...I, too, would get sick in a car with smoker(s) and have to crack the window and lean out like a dog just to breathe. (I use to detest the carpool with the mother of one of my fellow dancers because she chain-smoked the entire 1.5hr trip up and back, while I was dying in the back seat wondering how I was going to take class without vomiting when we arrived.) I also avoided pubs when I was at school in the UK, or clubs when home in the US because of my physical inability to tolerate smoke. (I was almost a teetotaler anyways, so didn't miss that aspect as much--but the comraderie of fellow students/new acquaintances was curtailed because of it.) I also spent a ferry Channel crossing on the deck during a storm because the smoking inside the cabin was making me more sick to my stomach than any waves/wind/spray outside. (We had some big waves, lots of white-caps, and a very strong wind, but do not think it was a Force 11--you were very brave.)

I agree that Marcelo is a great dancer, but FYI much of what you describe above is part of the McKenzie SL choreography already, NOT an inspired-by-the-moment invention of Marcelo Gomes. Watch the PBS video and you'll see the same motions in Act II when Siegfried first spots the swans arriving etc., grabs his crossbow, 'sees' something wonderous/odd and precipitously leaves only to return to discover Odette. Ditto, the Act III BS variation with turns a la second (ie.with the leg extended) and then pounding the door after Green Monster Rothbart appears in a puff of smoke and slams them shut. The collapse to the floor in Act IV (though in the video its in response to the storm and corps swans leaping past in close proximity)is also seen in the video so I assume part of the original KM choreography. But as you say, Marcelo Gomes has marvelous balance, and NO ONE at ABT does a sissone like he does. He is a great dancer (technically and artistically), a sensitive actor, and strong partner. And I am very glad he is at ABT and that you got to experience his many performances there.

Just adding a quote from Robert Greskovic's recent (6/29/11?) review of ABT's "Swan Lake" where he applauds them for hopefully educating audiences that the story is not the same as "Black Swan"['s], "...notion of a nutcase dancer who is driven by an ignorant and pompous director to think of herself as a demonic waterfowl."

I'm sorry, but this whole discussion has become rather specious. To say that dancers are so weak and impressionable that when they see an etoile or lesser star smoking they will too, doesn't say much about their strength of character, purpose, or intellect. When the perils of smoking are so known and publicized today, I think most dancers can make the choice not to smoke. If they are still worried about weight, then there are nutritionists on staff at many companies who could probably recommend something more healthy than smoking. When I see a dancer who smokes, I wonder why they would so wilfully injure the body that is their instrument? They are not only shortening a dance career, they are shortening their life. They are hurting themselves. And I wonder what insecurity or need inside them would cause them to override all sense of health, ambition/ability, future life or career, to destroy it, however slowly? Of course, I believe some of the addictive impulse (which smoking is surely part of) can be hereditary. But then again, I know lots of people whose parents or idols smoked, and yet they chose not to, and in many instances, tried to get the person they admired in most other ways, to cease and desist.

I have a fiction book at home (trade pbk edition), only skimmed so far, that is about the discovery of a supposed Shakespearean play, and of course the machinations of all involved to find it, keep it, and then maybe release it and reap the royalties forever after. Since I bought the novel at the same time as another book, I don't remember if the title was "Codex" or "Book of Air & Shadows". Whichever, whatever, they had me and my hard earned cash at "Shakespeare". PS. I have a degree in Med/Renn history but am certainly NOT a scholar/expert. However, I've always hoped Shakespeare wrote the plays because I like to root for "the little people" who never rule or get inordinantly rich, but still aspire to, and often achieve, greatness however anonymously.

Thanks Amy. I agree.

To me, this entire thread is major deja vu. Three years ago, Boston Ballet did the same thing NYCB is doing. First BB subscriptions/ticketing restricted and/or closed the Upper Mezz/Balcony sections at the Wang Center (I was very upset about that), then BB was forced to move to a smaller venue (for many reasons, not just lost ticket revenue), and now, even at their 'new home' at the Opera House, the upper reaches are often restricted or priced to oblivion. (So much so, that I informed them that it was cheaper for me to pay for 8hr RT bus/train to NYC, and go to NYCB or upper altitude seats/standing room at ABT, than it was to attend BB!) I prefer elevation at the ballet, but elevation in altitude rather than prices. Despite my 'reservations', however, BB has had good years fiscally. This may be due to choice of repertoire (though I am not a fan of Jormo Elo at all), or the fact that the Opera House is at least 1000 seats smaller than the Wang Center was and so easier to fill. BB, too, used the argument of a more "intimate" seating/venue for audiences to sell the move to the Opera House. Lately, I've also tried to economize by choice of location for transportation: I've started driving the 40min to Hartford because, even with more expensive parking & gas prices, I save $15 every trip than if I took the bus/train from Mass., and don't have to rush from matinees in order to catch the last ride home.

ABT did it often in the late 60's-mid seventies. I recall Fracci, Kirkland and Makarova as The Sylph, though I'm sure I also saw others. And they revived it just a couple of years ago. Sorry, the ladies in the restroom were referring to THE LESSON. I know ABT has done La Sylphide many times before now.

I saw both RDB matinees this past weekend. I've never seen Napoli live, so that was nice. I liked the sets, but remember a video from earlier (and I assume the home stage?) with a much bigger bridge. I enjoyed the performance and dancers. Though overall I thought it was good, there were only two times I went "Ahh, there's the Bournonville (sp?)technique I remember. And then went "ahh" again to see it performed so easily and joyously. I, too, loved the beautiful sets and lighting of La Sylphide and yes, the 3-D quality without a reliance on drops. Overall, the dancing was really fine in this. I thought Kupinsky's James had lovely clear technique in his variation in Act 1, if missing some of the ballon. I thought Staeger's Gurn had the height, but his turnout was not always there, which greatly surprised me and made me wonder if my 4th Ring seat (though exact center and towards the front) was distorting something (I know it was hard to judge ballon). Also noticed some dancers tilted the raised leg's foot up, others did not; which is the more correct? Macauley mentioned in his review the Sylph's descent from the window via a "dark toe lock" to simulate her floating down. From what I saw, the Sylph did the arabesque on a rounded pad that looked to me kind of like the top of a round stool (about 8-9" in diameter) that then descended from window to floor. It was a nice effect,but its affect didn't make me believe she floated to the ground. (Unfortunately, I later changed my center seat for the 2nd act to sit with a friend--who was many rows in front but more to the side, and so missed much of the reverse ascents the Sylph made into the trees to fetch the nest and berries etc. :-( I loved the big finale dance in Act 1 with the corps; just watching the patterns was fascinating. I wonder how much was based on actual Scottish or other folk dance moves? Everyone, even the small child, danced very very well. So precise, coordinated and consistent with each other--I caught many small glances between dancers, and rows, and groups as they circulated through the movements. Better than a drill team for precision, and much more graceful, with fun AND flair. However, my main concern in both performances was the way the sylphs did arabesque penches. Every single time they would get about halfway or 3/4's down, and then drop their backs so there was a slight hitch before they came up into releve and moved forward. At first, I just thought someone's balance and lapsed slightly, but then when it happened every time, I began to wonder if it was a Bournonville technique issue? Does anyone know the answer to this? It really began to bother me becasue I was always taught the rising leg PUSHED the body forward, so the back was always held in tension with it; dropping the back broke everything: line, momentum, control, tension etc.etc.etc. I was glad Madge was played by a woman. It makes a lot more sense regarding her possible motivation(s) and the overall plot. Unlike the two women I overheard in the restroom state how they saw it years ago at ABT--Did they ever do it? I think not. I saw "The Lesson" several times previously when the original "Kings of Dance" performed it at the OCPAC and again at City Center. (Because they couldn't fit the set for Le "Jeune Homme et La Morte" at NYCC.) I thought the RDB's Tomas Lund was much more casual, 'loose', flowing in his movements than what I remembered of Johan Kobborg and Angel Corella (whom I saw do it twice each in both venues--filling in for injured Ethan Stiefel, and Tsiskaridze do it once.) A friend of mine described Lund as "creepy" but Angel as "scary". I know I thought AC much more powerful/forceful in his actions, while Kobborg seemed to follow the more subtle progression from innately inhibited to not that a BT poster above hoped for. I liked the girl (sorry don't have program in front of me, so not sure who danced.) She caught youth's earnest eagerness to please despite increasing doubts and misgivings, and then the ultimate desperation quite well, but I also remembered and missed Alina Cojocaru's precision in some of the steps. (BTW: in the KofD performances at CCtr, Bojesen performed the girl and was quite good, if a more mature presence than Cojocaru's sweet innocent.) As always,JMHO of all above. I also saw ABT's "Coppelia" with AC/PH. All I will say now, is that, like most, I danced in Coppelia from a young age to older, and have many fond memories. And missed much of the dancing this time. The stage seemed very empty at times. More later.

Why didn't I see this post a week or so ago, when I spent three sleepless nights trying to write that grant?!

Of the dancers I knew, it was about 50-50 who smoked and who didn't. For the women, I thought it was mostly due to weight issues, but some had parents who smoked so that may have contributed to their choice of habit. For the men, I think it was more just the usual social reasons back then. Of course I have also noticed more people smoke in Europe and Japan than in the USA now. Spain was pretty blatent. But I also remember, the Tube in London was the first smoking & NONSMOKING separated cars I ever saw on a subway 25yrs ago--and will ALWAYS remain eternally grateful for that. (And deplore the idiot airline industry that allowed smoking for so long on such long flights! Thank goodness the stewardesses finally sued!) My father smoked, he also lived half his life in L.A., and for a number of years near the San Pedro oil/petro-chemical plants! He had major emphysema/COPD problems, claimed to be so allergic to the smog his body produced massive histamines (sorry if I'm getting any medical issues muddled), and though never got cancer (good genes spared him there), had an abdominal aortic aneurysem (sp?)which he survived, only to die of a massive heart attack and only 20% lung capacity 2yrs later. And me? I can get an asthma type attack (chest pain, bronchial tightness, headache) from barely breathing someone's cigarette smoke. In a room, in a building, even 50yds behind a car going down the road, and I can tell if they're smoking or not. Everyone has a right to smoke, but when one particle of their smoke gets in my lungs, they just destroyed my right not to smoke. Sorry, but I totally agree with every ban they devise, unless a smoke is both downwind and a good 200 yards away from me. (I will get off my soapbox now, and put my pointe shoes back on.)

Thanks for posting this, really good to observe/contrast/compare. My choice is easy... 1)Baryshnikov (also because I LOVE the camera tracking (or more correctly "trucking") right with those sautes, and the beautiful changes in ecarte he does) 2)Radetsky (He's so clean and tight, with no excessive/extraneous steps in between, and in the final series of double tours etc., beautifully articulated straigt-leg degage/ronde de jambe en l'air(Sorry, for mushy terms, brain is forgetful/older now.) The one and only time I got to speak to Sascha R.a few yrs ago, I told him it was one of the best versions I had seen in a very long while. He's paid his dues a long time at ABT (even with forays elsewhere), hope he gets a good break soon. I thought Edur was interesting and clean, but didn't especially like (my usual complaint with this variation) all the changes in choreography. PS. I have LOTS of footage of Angel in this, from almost every angle (including a grid shot version just for fun)from 2009, and in a rehearsal by a Japanese crew from much earlier, but I also think there is a YT version shot by ? in Spain with I think Xiomara from 4-5 years ago, if anyone is interested in finding/viewing it.

I think that may have happened under Baryshnikov (Susan Jaffee?) but never under Kevin. IMO his slowness to promote dancers to principal (especially women) is terrible & may prompt some worthy dancers to leave ABT. What's the point of being promoted to principal when you're past your prime? At NYCB principals are generally around 20 yrs.old. At ABT it's more like 30 yrs old. The quick promotion of Boylston is a step in the right direction. Hope Simkin named principal soon! I don't recall of anyone who was promoted to principal from the corps de ballet at ABT.Susan J. was a soloist for a season or two before being promoted to principal dancer. Ditto Angel Corella, who went from the back of the corps in Spain, to ABT soloist (Apr.'95), to ABT principal (Aug.'96) by age 20. A very fast ascent, (and under McKenzie). But to get back to the original topic... I am VERY happy for Ms. Boylston, professionally & personally, and look forward to watching her achieve even greater success in the future.

I'll be at the matinee of Bright Stream tomorrow too. I've already got tickets for the RDB next weekend. (Gotta work during the week unfortunately so I can pay for my ballet tix.) Wish I could have seen lots more of course. Mother didn't want to come (she only comes to matinees anyways) because she says she only likes "sad ballets" Lucky for her there are enough of those.

Thanks for all of the reviews. I had tickets to that DV/MG matinee, but couldn't attend after all because I had a grant due and was trying to get it done. I would very much have liked to see them together--its been 2yrs since I did. And have never seen this ballet complete, only excerpts. (I agree about the choreography: pdds do have too many lifts, and the general choreography can get long & repetitious in many places. Great dancers though, help make it greater art. Sad to have missed it (again), but glad for BT and the detailed reviews. Thanks again.

THANK YOU THANK YOU Christian for posting these clips, they're wonderful. I've never seen "Raymonda" in its entirety, so these excerpts helped me put both the plot and dance into context. I also liked all the medieval touches. And, of course, it was great to see Dudinskaya & Sergeyev, since I only know them from VERY much later in their careers--esp. when they helped coach/stage SL at BB, (and I think later helped Ms. Holmes with "Le Corsair"?) Those 'in the know' correct my fading memory if necessary.

So of course I went to see ABT's "Giselle" at the MET Wednesday evening, though would have liked to see the matinee too. I had rushed, and because of that, forgot many things and had to rush around more when I got to a hot/muggy (but thankfully dry) NYC. (More on the ballet later, except to say I saw a noted change in interpretation from previous perfs, and in some of the choreography--though from recent BT posts this week concerning others in performance, it seems to be the new ABT standard. And the AC/XR pairing as usual was magical.) It was also nice to see friends and acquaintances who had flown in especially for this performance. And that night, the weather cooled, cleared, Lincoln Center's construction seemed almost done, and the city lovely. All was well with the world...or so I thought. Then I got home to Springfield, MA. And found out otherwise. My house is intact, and my 80hrs of HD footage (thank all dance & weather gods) but the next streets over from me are shocking. All I could think on that long long bus ride home from NYC was...Ballet, and a certain dancer, and "Giselle" that night saved my soul. In years past, when the blizzards were bad, I used to think, "Somewhere in the world it is warm, the sun is shining, and flowers are blooming." Now I think, "Somewhere in the world, the lights go down, the dancers appear, and for a time, all's right with our souls, our lives, and the world." Thank you ABT. Thank you Angel & Xiomara. Thank you all who love ballet. With wishes for the safety and health of all who have suffered in these terrible storms/weather patterns. --4mrdncr

Matthew Golding is now a principal with the Dutch National Ballet, his recent Don Quixote choreographed by Alexei Ratmansky is now on DVD. He guested in Tokyo Ballet's La Bayadere in April and he was terrific, good technique, fine partnering, tall and long limbed. He might have grown to a principal candidate in ABT but he chose to dance major roles earlier, he said in an interview. ABT has lost a major talent. I have a lot of footage of Matt learning Solor from Angel with Herman Cornejo, and Iain Mackay. Having watched him in class, rehearsals, and performances with and without Angel, I agree with your assessment of his talent and ABT's loss.