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And if it's not noted yet already--is there a Fall for Dance 2010 thread yet? If so, please move this post to that thread--Angel and Carmen Corella will also be performing "Solea" the day before ABT's appearance. "Solea" was choreographed by Maria Pages and was premiered during Corella Ballet's U.S. debut at City Center March 2010.

This month's (JULY 2010) Dance Magazine (or was it Pointe?) issue is generally about race issues in dance/dance companies, and there is a discussion and picture of a blue-faced Moor (I think in Petroushka rather than Othello) in an article by Joseph Carman. The ballet company wanted to excize any racist overtones in its depiction, and chose the color blue. I'm glad Blue Man Group didn't sue them for any copyright violations.

Yes Carolina, it's strange that CB isn't at the Liceu this year, though they did appear at the Coliseum earlier. Maybe the theatre was already booked up this year so CB had to find other venues? (And no Tivoli either) Or is the company trying to reach a wider (more diverse?) audience? PS. I actually find Google is a lot better at translation/english syntax than other services--eg. Babelfish. But it seems translations are a problem everywhere these days...e.g. on PBS from a journalist working at the European Union headquarters in Brussels... ENGLISH: "out of sight, out of mind" GERMAN TRANSLATION: "invisible idiots"

Ugh! and Why? Why? Why?! Are all narrative films of ballet about (to quote 'perky') "mentally unstable, backstabbing shrews"?! Do I want to see another film about that NO! Not particularly. I am SOOOoooo sick & tired of 'same old, same old' storylines in most Hollywood films about ballet, and the occasional forays into fantasy land of Broadway-to-Hollywoood adaptations! (I have the same questions concerning "Titanic" films: Why are they always about poor boy/girl vs. rich boy/girl?!) Is there NOBODY with any sense of history or reality left in Hollywood?! Or sensitivity to classical (vs. modern, contemporary, abstract etc.etc.)arts? It's like some continuous blind spot: the writers don't know anything about the reality or mentality of artists/classical musicians/dancers lives and thoughts (Hollywood etc. is too caught up with explosions and chase scenes), so these writers fantasize every stereotype/cliche they think they know into their scripts, and then the producer-directors, despite hiring a few experts to advise, slavishly bow to the bean-counter 'suits' or glitz-meisters of La La Land to excize anything that could be "so slow/boring" as an intellectually stimulating discussion or normal reactions/actions. I thank all gods that Mr. Wiseman and other documentarians exist for their efforts to show the reality of dancers' life and work. At least most docs I've seen demonstrate that, though they may have a few issues like the rest of the human population, dancers are disciplined, determined, sensitive and generous people. (FYI: Mr. Wiseman will receive a Lifetime Achievement Award this year from the Aademy?--Gee it only took them nearly 40+ years to wake up and realize how deserving he was!) APOLOGIES to ALL for the rant. (BTW: I am, of course, very glad Katherine Bigelow won the Best Director Academy Award, but I'm still waiting for the day the Academy powers-that-be award a woman director for making an epic of ideas, rather than an action pic. Until they give a Best Director award to a film without a single explosion, chase, or F-word, I will never trust anyone there to have read anything other than a comic book.)

Thanks for the links and info. I wonder if it's significant that the first and last time I ever saw the mural 'in situ' at O'Neals' was on my birthday this year? And shortly thereafter it was inaccesible/closed? Serendipity, synchronicity, karma? many thanks to all dance gods.

Hello Barbara: I have to work every night that week until 6pm, but am only 2min away from Mass Pike so can probably arrive at JP by 6:45/7pm no problems if traffic isn't bad. I, too, want to arrive earlier and have time to peruse the museum/archive, shop, and exhibits etc. if I can. After discovering that two people at work are also dance enthusiasts or former dancers too (though not ballet) I managed to convince one to attend with me. The only day she could go too was Sat. 7/24 so that's when I'm trying to get tickets. (I've also thought about just going myself alone on Thursday.) But anyways..Yes, it would be great to meet you too! (All the times I've been to the Met or elsewhere to see various performances I've never met anyone from BT--though of course I know we have all been there together somewhere--so this would be a 'first' for me.) RE: Dining--Last time I attended I was alone so just brought fresh fruit, some healthy munchies, and had a coffee to stay awake--(I had an early morning at work that day, and not much sleep the night before), so cannot comment on the actual food at the major dining facilities but there is a restaurant and coffee shop and small concession stand on the grounds. Whatever works for you and my work colleague is fine with me.

Yes, Jacob's Pillow is in western Mass., it's in Lee/Becket, off of Rte.20 (Exit 2 on Mass Pike). I live only 40 minutes away and have been there several times either for a performance, or also as a student at workshops. I saw Nina Ananiashvili & State Ballet of Georgia there a few weeks ago. It is a beautiful site, and it was great to be there and be surrounded by dancers and audiences and scholars who appreciate dance in all its forms. The Pillow is not hard to get to, but after you leave the highways, Rte.20 is only two lanes with no divider, so I guess traffic maybe could back up a little, but I had no problem the last time I drove there. Gotta check my work sched, but I very much want to go to this too. Maybe if other BT people go we could meet?

I was at the Osipova/Hallberg matinee, but as posted earlier could not attend the evening performance afterall (luckily a fellow BT person was able to use my ticket)and I've seen both Vishneva and Gomes last year and before. I agree with most of the BT posts regarding this performance, and it definately kept me on the edge of my seat. Visible throughout were Hallberg's immaculate line and beauty of form, Osipova's lightness, girlishness, impetuosity and fleetness of movement; there were many times she almost lunged towards Romeo. With the small binoculars I inherited from my late father, I was able to see (from the last row of Family Circle) the details of Osipova's quite detailed acting abilities, and Hallberg's too to a degree, and again I agree with BT posts above. I, too, thought Misty the best harlot; Stella seemed older and more elegant and Melanie too frivolous. Blaine Hoven was excellent as Benvolio, his form and elevation were quite impeccable. (I also noticed Matthews lack of elevation/energy as Mercutio. I have seen others do Mercutio, and agree Cornejo is the GOLD standard, but others have also had more energy than Matthews did Saturday. Was he tired? Injured? Perhaps a long week of performing for him?) However, there are some things in this matinee performance that quite surprised me--and not in a good way...(I know I am deeply in a minority) 1) The phrasing/timing of the two principals was very inconsistant: sometimes DH/NO were ahead, and sometimes so far behind the musical cues I almost fell out of my seat from unconsciously leaning forward to 'push' them along. (I don't know how many times I said "late" under my breath.) There were a lot of moments,too, when they were very far apart in the balcony pdd; it made for some very fast footwork to reach the other partner and keep time with the music. It was beautiful BUT scary to watch because it seemed so headlong. 'Emotionally' a good thing, 'technique-wise' I'm not so sure. 2) details, details, details in that technique. Overall it was fine: they both have beautiful feet, and legs, arms, and faces; he so elegantly classical, she so light, and fluid, melting one moment, rushing forward with such momentum the next. But the details I've seen before in others--epaulement, attention to line NOT of oneself but from one partner to the other, synchronization, was often not there and the lifts were not always so smooth--eg.Act1 ballroom pdd. 3) In Romeo's ActII solo, where were those scissor-like sissones?! I SO missed seeing Marcelo then. David leaped high but his beautiful legs barely hit 45 degrees, never near Corella's 180, or with the power of Marcelo. The slow attitude turns were rushed, no plush paused landings here, and while the carriage was high, I missed the epaulement--they just looked brushed over. Ditto as Romeo circles Juliet playing the mandolin/lute in Act1 variation. Kudos for Jared Matthews doing all three frog leaps in the Mandolin dance. Who did the cartwheel? SIDE NOTE: the list of lovely nuanced moves Ambonnay noticed in Acts 1 and 3, are part of the original choreography, but how one reacts/dances them is what changes. There were also 3 slips on the center downstage floor, (sticky? or slippery?) nicely saved by both Hallberg and Osipova. Didn't I say "edge of my seat" already above? CONCLUSION: Memorable, defintately. Priveleged to be there, YES. But details, (and people) I missed too. VERY sad about O'Neal's. I specifically took my mother there to show her the mural, but as noted by others it was closed up, but a sign posted about being back after summer?

Zefferelli also hinted at a relationship between Lady C and Tybalt in his film. As bart mentions above, 1) There is Lady C's line with the Nurse, and in the film, her sour expression/frown as she says it and a consequent knowing reaction by the Nurse. 2) Lady C's impassioned pleas to the Prince after Tybalt is killed, But I also think there is a strong intimation of the relationship in the ballroom scene, (moreso in this film than is written in the play) when Lady C admonishes her arguing men... 3) I believe the line is: "...or for shame I'll make you quiet". Usually it is delivered to Tybalt who has caused a disturbance by exhorting Lord C to expose/eject Romeo. But in this case, there is a pause in Lady C's delivery and she distinctly addresses the line to her husband. A possible hint to him to 'be quiet, or else I will announce past indescretions (by her with Tybalt, or Lord C with ?) and shame you.' Sorry this is all OT from ABT's performance. I'll try to be better after I see it this season.

Unfortunately, it seems that the video isn't available any longer (it says "an error occurred"). I was just able to access it. I'm not sure why. Not anymore, it was withdrawn "according to a copyright claim by the George Balanchine Trust" per YouTube's announcement at the top of the page.

My memories of the Beatles are a little skewed by my age at the time: 1) When I was quite young, seeing my cousin kissing all the pictures/posters of the Beatles on her bedroom walls--I thought that VERY strange. (She also gave me my first pair of (used) pointe shoes) 2) Hearing most of their songs on the radio when I lived in Japan, and not having much idea what they looked like since we didn't watch TV. 3) Seeing "Yellow Submarine" in the theater, and not realizing the 'real' Beatles were at the end of it. 4) Listening and reading the program notes for "Sgt.Pepper's..." album in my uncle's living room with the patent leather wallpaper, lava light, and paper-mache 'cave' he made on their front porch. 5) Hearing the music, and seeing the fireworks for a Rolling Stones concert at the nearby LA Coliseum from the basement of USC's Library--I had a term paper due, and didn't really appreciate the Stones, then a few days later learning of John Lennon's death, and experiencing the absolute silence on campus the next day, while a loudspeaker played Imagine.... But I always liked Ringo best for many of the same reasons you have all mentioned above already. I'm glad he had a happy birthday. I was also thinking that most of the Beatles managed to stay married to their spouses "till death do them part" (And yes, I know a few were married more than once, but not to the excessive degrees seen today.)

I,too, must thank hydraulix for posting the photos, and all others for their perceptive comments on these POB performances of La Bayadere. I am very interested for a number of reasons: (a) having filmed La Bayadere, I'm always interested in other versions and other stagings (b) I'm half French, so anything about France is also of interest. ©* Kevin Rhodes is the maestro of my home symphony orchestra (10+ yrs now), and has done much to advance its technique and popularity. (He also once programmed an evening of ballet music including Swan Lake-Black Swan pdd, Prokofiev's R&J-this was an incredibly long excerpt from all three acts in logical order, not the usual orchestral suites, AND played at the correct dancing tempos (finally!) as part of the Symphony Orchestra's subscription season. *someone please tell the computer editing program that a "C" with parentheses around it is NOT a copyright symbol! UNE GRANDE MERCI A TOUS

Ambonnay, the 3 Harlots, while they are not in the play, in this instance (I believe) serve the purpose of showing Romeo's maturation as an individual and lover. His frivolous play with them, is in contrast to his more serious encounters with Juliet. Because we don't have Shakespeare's language to explain Romeo's thought-processes and change in attitude, Macmillan used the harlots. Cranko had gypsies, though not used in quite the same way. I do think there are other ways to convey Romeo's maturation, but then it wouldn't be MacMillan without the undertone of sex in some of the byplay. The thoughts/actions of Fr.Lawrence/Laurence? are extraneous to the thoughts/actions of the two principals and their immediate families, which is what a ballet (which again cannot use Shakespeare's glorious language to convey inner arguments) should concentrate on. The costuming is almost correct for the time period--15th century Italy. And thank goodness it is only costume sleeves that are long, and not the extra long pointed toes on the shoes (which some 15th c. aristo-fops even held up with small chains attached to their knee garters!). But I do worry about ease of movement and overheating for the dancers. For some other 'takes' on that time period's clothing, see Zefirelli's 1968 film. (Last year, the costumes from the film were on display at Columbus Center, I was in heaven since I have loved them since I was v. small.) I'm VERY glad they wrote a tribute to Ms. Parkinson in the program/insert. She deserves every honor.

I have a Center Parterre ticket to the Sat.July 10th evening performance available. (I am already attending the matinee that day so can meet up at LCtr vicinity. Then must return with mom back to MA, or get stranded overnight.) Thanks to all who replied. I'm set now (July 7).

Not sure if I worded this correctly for moderators (please fix if necessary) but... TICKET AVAILABLE: To save myself the expense of having to stay overnight in NYC--I am willing to offer up my ABT R&J Sat. July 10th evening Ctr.Parterre ticket (at a discount?) to any ABT/Vishneva-Gomes fan/BT poster, who might be interested. I am already attending the matinee performance (Hallberg/Osipova) that same day with my mother (and she needs to return to MA shortly thereafter) so I could meet the prospective purchaser at LCtr/Met--or nearby--immediately before/after the matinee, and then leave with mom. Email/PM me if this is feasible for you. (My cellphone doesn't receive emails, just texts) (I have seen both Vishneva and Gomes peform R&J several times--though only once together, so I don't feel completely awful about missing them now. And if my finances were better, or superheated NY/MA weather more manageable for my aging parents, I'd probably stay.)

Not sure of the fan base in Spain, (everyone I know was sorry to see them leave) but both Adiarys and Joseph got plenty of chances to show off at Corella Ballet. And of course, I have the footage to prove it. Still, I am VERY glad they will be at Boston Ballet, which is much closer to me than Spain. And just to remind everyone, there is another BB-CB connection already: Erica Cornejo dances with Boston, while her brother, Herman,is a principal at ABT and Corella Ballet.

Lazaro Carreno is guest ballet master at Corella Ballet. So yes, this is all very interesting.

I remember a ballet competition on tv: the (first?) Jackson IBC. It was probably on PBS. I know Katherine Healey won the jr gold that year, not sure if Carreno won the Sr. Men. I do remember Bruce Marks was a judge. I thought I'd never get the chance to see a competition, (since Varna was a long way away and NY wasn't evolved yet?), so I was very glad that someone somewhere decided to do a documentary (Reality Shows weren't the norm at that time) of a ballet competition and let us diehard fans of ballet and PBS watch it.

In 2007 (or was it 2008?) I saw Alessandra Ferri replace an injured Xiomara Reyes in a "Manon" matinee performance. In that instance, only the injured dancer was replaced. Neither Ferri nor her partner in that matinee had ever performed the full-length (or probably even the pdd) together before. I will never forget that performance. And according to other BT posts after it, neither will many others. Two days later, however, when the same original cast was scheduled for "Manon", even though Xiomara was still the only one injured, both principals were replaced --and this time Ferri (who substituted for XR again) danced with her usual partner of that season. I was told this was the standard procedure at ABT-- to replace both partners, not only the "injured" principal if only one partner cannot dance. (I never forgot that performance either, but for an entirely different reason than previously; something I made sure ABT knew.) Of course I was also at that "Swan Lake" last year, where Irina D. danced Odette, and Julie Kent (who was originally scheduled) only danced Odile. That was very strange, (It reminded me of my very early dancing days, when doing SL always meant a search for who could do the 32, and a resultant change of cast midway in every performance, until we finally had someone who could do it all.) Poor Siegfried. Thanks for all the posts for SB, SL, and other season performances. Very limited finances this year curtailed a lot of my ballet viewings, so very grateful for all comments, viewpoints, opinions.

I understand how the wide viewership of YT can be a means of disseminating knowledge about a dancer or company, and possibly leading the viewer to pursue an interest by attending a performance or buying a video...But what about the filmmaker? Or all those technicians TenduTV mentioned in his post? If the filmmaker is NOT being paid by the dance company to advertise them, or YT or other distributor is NOT paying the filmmaker for their footage, or downloads, and a dvd is not available, then the filmmaker makes nothing and has worked weeks, months, in some cases years, with no remuneration so viewers get a free view. Maybe it's just me, maybe it's the economy now, but I don't think that is fair. Escpecially, when it is the theater owners, or dvd/distributors who get the 'lion's share' of any profits that are made from viewers rushing out to buy a ticket or dvd after viewing something on YT.

I'm interested in your analysis... did this seem shot to encourage the moment to be uncomfortable? Working from memory now, but I don't know if it was uncomfortable to me because I wanted to see a FS (so I could see the dancer/choreography) or because I understood what was going to happen plotwise, and was internally wincing. The use of a CU, of course, was probably to pull us into the scene to better see the acting and action--ie. to make it more 'visceral' and subjective, than distant/removed and objective. I also noted it was mostly shot on diagonal. (I did think the buckets were a very interesting prop effect to indicate a disembodied death--kind of like the back scrim descending in C. Wheeldon's VIII to indicate Anne Boleyn's fate.) On the second late-night viewing, I immediately recognized and better understood the 'choreography' of that scene when viewing the previous solo rehearsal.

Just quick notes until I can write more... RE: the dancing: I just tried to follow the previous comments of BT'ers of who was who and what was what, and kept my own thoughts about technique. But I did notice that battu sequence everyone mentioned. And also paid attention to Jose Martinez when I could recognize him, for other reasons as well. ( I also tried to spot our local symphony orchestra conductor, Kevin Rhodes, who is the conductor for the POB, was present at some of the filming, and is much esteemed there from what I've heard.) I was glad to see Wiseman (or his cameraperson?) use handheld and many of the same angles I did to film. So problems I was worried would be noticeable, I did notice he had too, but they did not distract from the action, and my attention. Phew! Also noticed in the long sequence from Medea?--(I assume so because of the blood and children etc.), the camera stayed in a medium-shot/CU throughout most of it, rather than the usual FS or wider shots used previously in other dance segments. Though always fascinated, by the agility and precision of the dancers, the more modern pieces definately got rather repetitive and boring for me. I liked the pdd of (McGregor's?) piece, but the rest looked too much like a combo of Forsythe and Elo to me. I also longed for pointe shoes after so many bare feet. I danced Paquita (who doesn't?) a very long time ago--and probably not a complete version, so because I don't remember as much as I should, this was nice to see in rehearsal and performance at POB. The two funniest moments for me were (1) my mother's comments that these 'modern' (her term) choreographers were too 'full of themselves interrupting movements to go on and on about the deep meaning behind each little movement when the dancing--(ie. choreography)--didn't show any of that.' (It reminded me of a favorite cartoon I have of an art teacher droning on about the 'major emotion & angst' expressed in an abstract painting, that turned out to be titled: Pink Snow Bunny.) And (2) when mother also said, "the mind was willing but the body weak", and decided to give up and go to sleep since she had already dozed off during most of the modern dance sequences. (Mother also commented 'your film will work better because it has a story'--ie. story arc. But of course she is biased, and doesn't know that that is not usually the point of a Wiseman film.) Interesting the repetition of static shots of stairways and halls. I was trying to see if it was because of changes in lighting as the day progressed, or in order to separate different sequences or themes of action? Also interesting to start the film with shots of the basements and mechanics rather than the 'beauty shots' of dancers or golden architecture, to really show this is a 'down & dirty', truly behind-the-scenes view of the POB) Liked the ext. high angle wide-shots of Paris and the sunrise/sets of course. And there was one sequence I loved the nat sound,(can't remember exactly where) --but again was glad I had thought to do similar when filming. That's all for now, may add more later.

Ballet stars are not pop/media-stars in the USA--even in NY. The majority population of NYC does not know or care. Several times I've walked on NYC streets in that neighborhood or rode subways with a so-called "ballet star" and no one recognized anyone. I've never seen ABT provide an escort for D.Vishneva or other guest artists. Most of the stars seem to leave after a performance with family, business colleagues, or friends--NOT some escort service provided by ABT/Met/NYPD whoever. Whether security cameras cover all those LCtr neighborhood streets is something I guess only Homeland Security or NY City Hall knows. I've also seen many "stars" of ballet on the streets of NYC in broad daylight too, and no one recognized them or stoppped them going about their business. Like many Hollywood 'stars', during the day I think most are glad of the anonymity and chance to do errands/whatever without interruption. But late-night, maybe not. (As I wrote above, the streets are rather dark and empty then--esp. Amsterdam, but Columbus/Bway aren't much better. I used to be afraid to pass CP until I noticed the NYPD vehicles usually park around Columbus Circle at night.) PS. Thanks "sunday" for wishing for gentlemanly accompaniment, but since I usually go to the ballet alone, I don't expect anyone afterwards.

Heck, no! Let her be afraid enough to go to work to the peaceful Segovian countryside! What? Did you see the smiley in the header of the post? Corella Ballet is based in La Granja, a little town in Segovia province, Spain. So, that was intended as a (perhaps lame) joke I understood it. But sorry, a little lame. I would rather dancers came to Corella Ballet because they want to, not because they feel threatened/afraid elsewhere and had to. This whole thing with Osipova has unnerved me a bit, because several times I have walked the 5-7 blocks from LCtr back to my hotel alone at 1 or 2am. And I'm the same height she is, though probably not as diminutive otherwise.

1) I was surprised by and v.glad to see Sascha Radetsky's variation in that otherwise silly film "Center Stage". 2) Another strong memory was watching a performance from the overhead catwalk(s)--a rather different perspective than most-- and seeing two technically proficient dancers, assured and comfortable with each other, yet joyful and playful onstage, who, when the curtain swung closed afterwards, both visibly limped offstage. (Both were recovering from injuries at the time.) I agree with most of the comments from other BT posts about various dancers using it to show off their own virtuosity instead of of Mr. B's, but this also makes me really question, 'what is the original that everyone keeps modifying to fit their abilities?'