rkoretzky

I LOVE Maria's Dark Angel. She is my current favorite to see in the role, and the Dark Angel is my favorite role in Serenade, and Serenade is (at least in the top three) my favorite ballet. For me it is not the height of the arabesque (although the height is awe-inspiring, and I am one who is impressed by that), it is the time that Maria takes--nothing is rushed--and the bit at the very end of the downward scale in the music as her leg is raised just a bit more, just as that gorgeous last chord (which the orchestra seems to hit right on the money) sounds. I feel so inarticulate, as if I am fumbling for the right words--because words do not convey the swelling in my chest when I see that bit of choregraphy and hear that bit of music. Cargill--I am a great fan of Sofiane Sylve. I was at the ballet on Jan 18--the Midsummer performance where she devoured the stage in the first act and didn't reappear. I've never seen a Hippolyta quite like her--and am very concerned about what she might have done to herself. Any word about her? Dale? Anyway I digress. I found Sofiane's Dark Angel unsatisfying. I had the sensation that she was rushing it. For me, it wasn't in sync with the glorious music. But if she will only please not be badly injured, I relish the thought of seeing her in it again.

Very difficult instrument, the horn. Every orchestra that I have ever heard in live concert has had occasional problems with horns--the Philadelphia Orchestra and New York Philharmonic, and all the rest. Sometimes what comes out of the instrument is satanic. I've had a Kyra performance of "Valse Triste" ruined by the horn introduction. Ditto for Bizet. Even given the difficulties of the instrument--these are professional musicians. Presumably they have all graduated from conservatories. I would think they would be mortified at the sounds they sometimes create. I agree with much of what has been said previously. This season I was privileged to hear a rendition of Apollo that was magnificent. The quality is uneven, but I don't think the orchestra as a whole is ever truly horrible. For some reason, the orchestra generally sounds quite wonderful in Saratoga, even given the conditions of outdoor performance--humidity, etc. For the record, imo Andrea Quinn has hit the mark more often than not in recent performances that I have seen. I think she is doing a wonderful job. And re the recent thread about Hugo Fiarato, what a pleasure to see him on the podium again, after his recent health problems. He is a grand favorite in Saratoga, as well as NY, and was given a resounding ovation upon his return here last summer. I had the honor of chatting with him briefly. What a gentleman--but his tempi are sometimes too SLOW now, at least in my opinion.

Quite right, Oberon. I have been known to start applause at the end of the MND scherzo, especially if Peter Boal is dancing....or the end of a brilliant variation in Ballo or Square Dance.... Is the difference tempo? Something that is fast and bravura is rewarded with applause while something that is slow and lyrical doesn't create that same mood? Or is it timing? You applaud at the END of something...but again not if it's slow? No answers here, just the questions. Other opinions eagerly sought.

Oh dear. I think I am going to sound witch-y now. I've also been at performances where the arabesque in Serenade received applause. Ditto the Apollo swim. Ditto the Bizet penchee. I can't abide it. These (and many others) are moments of sublime beauty. The ballet is not a circus act where something catches one's eye and is rewarded by applause or cheers. I love the fact that the audience would be so moved by something magnificent...but I hate the thought of hearing applause at those times. I may well have been the woman who muttered "gorgeous"--I've been known to do that..but I cringe at the thought of clapping, or hearing clapping.... Interesting that an opera stops for well-loved and beautifully performed aria, but a symphonic performance is not usually halted by applause (except between movements, but that is another issue for discussion). I wonder how the dancers feel about this.

Eva Natanya is not guesting with the RB, she is a member of the company and I believe she joined as a First Artist, comparable to senior corps at NYCB. The RB's website is notoriously behind schedule--they are still listing "joiners and leavers" as of 2002 if I am not mistaken. This change has been in the works for Eva for quite some time. I have known about it since the summer, and from an unimpeachable source. In fact I was dying to share the information here, but felt that I had to keep a confidence. Interesting that Manhattnik commented on the penche in "Prayer", because (and we did have this conversation briefly, over the summer--remember?) Eva's last performance as Prayer on the SPAC stage brought tears to my eyes--it was that radiant--and perhaps there was a difference between her NY and SPAC performances--that being that her future with the RB was on the way to being set in place. Truly she danced with a joy and a serenity that was palpable. What a loss for NYCB.

Well I just skimmed through the review of the Balanchine program very briefly (because I am leaving in a few hours for Paris, to see the program!) and it seems to me that the Balanchine Trust is indeed the "culprit" in the change from Palais to C. My French is OK, but not terrific--someone correct me please if I read it wrong. So I'll post my own impressions on the other side. A bientot!

Hi everyone, Since I'll be away for the next two weeks, I'm missing Ballet Nacional de Cuba at City Center Oct 15-19. I'd like to see them and have found out about a performance at SUNY Stony Brook on Sat Oct 25. That could be a possibility--but does anyone know what they will be doing in-between, or after the 25th? I know it is an extensive tour, including the west coast and south, but does anyone know of any other northeast performances? Connecticut? Massachusetts? Both states are mentioned on their website. Thanks.

Merci--thank you for your good wishes, and cyngeblanc, for putting the mystery of what it will be to rest. I admit to some disappointment because we planned this trip (which we knew we wanted to take, but might not have scheduled at this precise time) around this rare opportunity to see the one ballet that Balanchine created for POB, that we have never seen, and that we may never see! I love "C", would never turn down a chance to watch it and look forward to this chance, but would have chosen a different program to see in Paris. Alas, I am still so fortunate to be able to do this, and will post here all about it! Au revoir, RK

Bonjour! We are leaving on Wednesday for our France trip and really thrilled about it! Who has seen the POB program that we will be seeing on Friday the 10th? So....which version is it? If it is "C", I have come to terms with that, albeit with some disappointment. If it is "Palais", what a treat! Estelle, will you be in Paris on Friday and Saturday? It would be so wonderful to meet. Socalgal, enjoy the rest of your trip. We'll compare notes at the end of the month.

Has anyone been to "Our Show" --the weekend program in February planned and coordinated by the MCB dancers? In 2004 it will be February 21-22. As it turns out, I will be in Florida that week for a family event and could plan to attend, although it would involve a rather long drive I would be happy to do so. anyone?

I'm really upset about this! Having seen Symphony in C over fifty times during the past 30 years of NYCB watching, and having never seen Palais de Cristal, I was counting on a very special opportunity. I guess that proves that one should never count on anything in ballet---injuries, program changes, pregnancy (yes I was also planning to see Darcey Bussell in Sleeping Beauty in March), whims of ADs... But I think I might have planned a different trip, were it not for this Balanchine program in Paris. Estelle, I think I will do as you suggested and write a letter to the Director. My French is passable but I would want this to be absolutely correct. If I sent you the text of a letter by PM, would you be kind enough to translate it? Your English is perfect.

NO!!!!!! I planned this trip around the opportunity to see "Palais de Cristal". This is really a disappointment, if it comes to pass. Estelle, merci! I would love any and all suggestions for restaurants and activities in Paris. I've been there many times, but there is always something new to discover in that magnificent city. And we do plan to do the Opera tour. Possibly the sewer tour too, since we haven't done that--why not? Socalgal--yes sorry to miss you as well. I had to plan this trip around the Jewish holidays, which limited my opportunities. Luckily for us, POB also fit into our plans--well I made sure of that. We'll also be in Paris only two days this time, we are going on a river cruise from Avignon to Chalon and then renting a car for a few days. It should be fabulous? And what is your itinerary?

SAY WHAT????? 'I don't see that the direction of the museum is going to change. We're looking to put in place an educational program to interest more people in coming into the museum and to emphasize (inclusiveness) in forms of dance and region and diversity of membership. We also want to build our volunteer base,' Smith said. "Burgering, the fifth director of the museum since it opened in 1986, said he was fired due to 'a conflict of vision between the board and myself. We had a different vision about where the museum is going.'" These two quotes appeared in the SAME article of the Saratogian newspaper! Mr. Smith has been appointed "Interim Director". The last such person stayed a few years, an eternity in Dance Museum history. Mr. Smith does call himself a "dance scholar". I've never seen any evidence of his scholarship, and I am acquainted with him. OK. People, if you have visited the museum in the past year, under Jacques' direction, please question this so-obvious contradiction. Please write to the president of the museum board, to the editor of the Saratogian, please. PM me and I will give you specifics. Nothing can be done to save Jacques' job, but this is just wrong.

I am SO thrilled to be going to POB too! We're going to France for my (insert number here) birthday. I wanted desperately to see this program because: 1. I have never seen Palais de Cristal and 2. I have never been to the Garnier. We're going on Friday, October 10. Will anyone else from BA be there? If so, please let me know so that we can meet and say bonsoir! The performance must have sold pretty well, because the only seats that were available were inexpensive--I think 20 euro each. But I am just so excited to be going!!!!

Giannina, I'm with you on this! The day before this announcement I booked tickets to take my daughter to London for her spring break/birthday. I made sure that Darcey was scheduled for a performance, thinking that this might be one of her last seasons. I'm consoling myself by being happy for Darcey. I hope it all goes well for her, and that she finds herself back in the company for at least a little while once her leave is over. You know-- in the dance world, we can never count on seeing anyone. At least she isn't pulling out due to a painful injury! I AM kicking myself for spending an additional day in York (which is a gorgeous place) the last time I was in England, instead of going to the RB. The program didn't excite me, but Darcey was scheduled. I have never seen her in live performance--I hope I do someday! And hey, a trip to London is always a good thing! We'll still go to the RB, the theater, I'll spend a couple of days at a conference--didn't that work out well? I also got a great deal--the airfares are unreal. PM me if you want to know about a great company for European packages.

Hey BW! Thanks for the good wishes, but sadly For Art's Sake is defunct, at least for now. I don't know why Mae trotted that old news out again--it has been years since there has been any activity from that front. Small group, not enough time to do volunteer things, not enough commitment from the majority of members. I suppose if we reach a crisis point here--no ballet and/or orchestra--or severely curtailed-- for summer '05 (everything is in place for '04), maybe it will goad some more people into activity. For now...banging one's head against the wall.

Ballet Alert Community: The following is excerpted from an email I sent to a BA buddy this morning, in response to an email that he sent to me. It expands on my comments in the Saratogian newpaper of yesterday morning, that you can find in the "links" thread. Since my cover is now totally blown anyway(not that I had much anonymity here to begin with since I didn't have enough imagination to come up with a moniker), I have decided to exorcise my distress by subjecting all of you to it. Thank you for letting me do so-- I don't know what the problem with the museum is, but I suspect that like most issues that arise among human beings the root of it is a quest for power. It's really a damn shame that they can't seem to get it right there--ever. I really do think the world of Jacques. He comes from a modern dance background (as did Toni Smith, two directors ago) but he is eclectic in his interests, and so open to exploring all types of dance. Personally I've always wanted to see more ballet there, and one director ago Siobhan Dunham WAS a ballet person but she didn't last very long either. It's a really tough place to work. The relationship between SPAC and the museum is strange and confusing. On the one hand, SPAC "oversees" the museum and Herb Chesbrough (SPAC director) is on their board. But after years of going back and forth on membership lists (one list or two?), they now apparently maintain separate lists(?). I do somewhat regret talking with Mae Banner--she called me at work on Friday and her first words were "WHAT DO YOU KNOW? (answer--not much) because I am paranoid about my job at SPAC. People have been fired from that place for doing less than criticizing a decision that Chesbrough may or may not have been part of. I earn a tiny amount of money there, but it was never about the money--I love the place and I love working there. I hope I am still an employee next summer. I'm so distressed by our current culture in the United States. That's part of what I was trying to say in my comments. We don't value people--the corporate world has always had these types of "clear out your desk by the end of the day--you're done here" attitudes, but now that has spilled over into the non-profit world, arts, education. A friend's husband was recently fired from the United Way in just this manner. The assistant director of our library system--same story. Jacques spent a year getting his green card (he is Dutch), he and his wife bought a house here, they have two little girls--one is an infant. The librarian, has breast cancer. I am heartsick. The corporate mentality is rampant all over SPAC--NYCB and PO are money losers, so they are in jeopardy. Not unique to us either--there was a similar article yesterday about the Ravinia Festival and the problems that CSO has had there. It all comes down to a question of what we value--and we need look no further than the current occupant of the White House to learn the answer to that question. Martha Argerich, Andre Watts, Lang Lang--all appeared at SPAC this week to less than sell-outs. Marvin Hamlisch sold out and then some--and it was a good show, don't get me wrong, but come on! Those of you who know me and my family know that my daughter, a sophomore at Barnard, is a talented musician who has also taken years of ballet class and continues to do so. She has decided to pursue a career in arts administration. I have always encouraged that path (indeed I would consider it myself if I were 19). But what kind of world am I encouraging my child to enter? My older child is getting a masters in education--he will be a superb teacher--but again what kind of world will he be facing? Does "do what you love" still hold true in 2003? I think I'll go have a good cry. So sorry to be such a downer on this beautiful late summer morning!

Am I correct in my memory of Cynthia Lochard, another of the few African-American females at NYCB? Certainly none of the women have risen above the corps, whether or not that is blatant racism, there is certainly something going on when a dancer the calibre of Aesha Ash is allowed to slip away.

There was also a very funny episode of Ellen deGeneres' show that parodied the Lucy episode. I can't remember the entire plot, but somehow Ellen finds herself in a ballet studio, where she is expected to place one leg on the barre. Of course she can't get it there, and says to the girl next to her (with lovely form), "gee you must be popular!". Hilarious.

Information please from anyone who has seen Mark Morris's "Gloria" to the Vivaldi score. I love this music so much--it is my favorite choral work. I have enjoyed what I have seen of Mark Morris, but frankly haven't seen much and have not had the chance to see this piece. I am so tempted to come into NY next week for Mark Morris as part of Mostly Mozart, even though it would mean giving up a night of the Philadelphia Orchestra at SPAC. Help me decide, please--if you have seen it. 1. Is it the entire choral work? 2. Is it performed often? (will I have another chance?) 3. The tough one: is it good? Thanks!!!

Hi Bellepoele5! You say tomato, I say tomato....I agree that Ashley was flirtateous, extremely so in fact, but I saw deadpan, not broad smile. The deadpan interpretation in this movement is what I prefer, rather than a big grin, so perhaps I saw what I was hoping to see. And yes, once again, she is extremely strong with powerful legs.

Bobbi, I again had a senior moment and couldn't recall seeing Bouder at all before the third week, so I checked the program and saw that she was listed in the corps of Glass Pieces. Honestly I don't recall picking her out in that piece, but for me part of the appeal of Glass is that the corps is rather amorphous, so I don't look carefully at faces, but more at what the figures are doing. As for her Western--very very deadpan. No grin or smile. I thought her bourees were very smooth and light.

Duh! I knew that about Carnival--brain cramp, senior moment, whatever. In any case, it wasn't enough Ashley, not even close. As for Chaconne--I had a fleeting thought: "is that Megan?" on a brief glimpse, so I am sure you are correct. Thanks!

Another 3 week residency of NYCB at SPAC has come and gone. The time flies by so quickly--we only wish that February would pass the same way, but alas it doesn't. I had the chance to meet up again with some BA pals, and meet a few new ones--always a pleasure. There was not a single sold-out performance. A few matinees came close and some evening shows did well too, but I remember many fully sold outs in the distant past. In fact, the first time my husband and I came to Saratoga as newlyweds, to look for an apartment, we couldn't get tickets to a Saturday matinee. The Baryshnikov years had fantastic attendance. But I don't worry about it anymore. In past seasons I lost sleep, worrying that NYCB and SPAC would end their relationship because of plummeting numbers. I have decided, though, that since I have no control over this issue, I won't waste time being concerned about it. Since SPAC is almost exactly twice the size of the NYS Theater, if we are half full, that is a sell-out at home. Why should we in the Capital District, with a fraction of the population and a fraction of the financial resources, be expected to do better than the metro NYC area? SPAC has hundreds of partial vision seats--in some the angle is so bad that you miss 50% of what is on the stage. I don't blame anyone for not wanting to sit there. There is always talk that SPAC will become a venue for rock concerts only. This has become more of a concern since Clear Channel Entertainment took over the "special events" at SPAC several years ago (along with most of the rest of the "popular" entertainment industry :angry: ). Even Neil Young was pitching for CCE-- sad indeed, from a venerable old rocker like him. But CCE is giving most of the big shows--The Eagles, Fleetwood Mac, Cher, Billy Joel/Elton John--to the Pepsi Arena in Albany, which is also under their control--and SPAC gets the umpeenth tour of Crosby Stills and Nash--not that I don't love them, I do--but please! They don't have the draw anymore of the major tours. The rock shows can bring in huge bucks--plenty to subsidize our NYCB and Phil Orch--so I say, bring 'em on! We'll have two nights of Dave Matthews Band, and at the end the place will be a pigsty and will reek of vomit. (sorry, so graphic). It's a small price to pay for the money that will be generated, money that will help keep Balanchine and Ormandy as a presence in the theater that was built for them. Sad, but true. I've talked more about SPAC than NYCB. If you're still with me, I'd love to offer a few closing thoughts on the latter: Ashley Bouder, in her only SPAC appearance (unless she was buried somewhere in the corps and I didn't find her), was a knockout in 2nd mvt Western on closing night, filling in for Ansanelli. This girl is strong! If she can only stay healthy, what a wonderful future she can have. Her legs are like iron, never a sign of a bent knee from her, and yet she has a beautifully soft upper body quality. Aesha Ash, in her final SPAC and NYCB appearance--absolutely tore up the stage in 3rd mvt Western. She held back nothing. The arabesque releves were sky high, the smile on her face told the whole story. She is on her way to Switzerland and Bejart, and it is NYCB's great loss. Here was an opportunity to make a bit of history--to name the first African-American female soloist (principal!!!, imo) in NYCB--and they blew it bigtime. Very upset about this. What in the name of heaven was Megan Fairchild doing on the stage last night in the corps of Western? I also thought I saw her in Chaconne corps on Friday night--uncredited in the program--Friday being her off day, between Coppelias. Way to go! Even if she wanted to dance, she should not have been permitted to do so. She managed to get through all 4 Coppelias beautifully, how about a break for her? The Russian tour starts soon enough. Jennie Somogyi and Nilas Martins--put them together whenever possible. Jennie brings out the very best in Nilas, and that is far better than I ever thought. Size-wise they are a great match, but aside from that, she seems to inspire him to greater heights, literally! REALLY happy to see the smile on his face! Shaun O'Brien. I did take the night off from my SPAC job to hear his talk. I've heard him speak about NYCB before--we are so fortunate that he lives here in Saratoga--but every time is a revelation, and a hoot. No notes, no moderator asking him questions--just Shaun speaking about his experiences. He was very careful in his assessment of current events at NYCB, but what a pity that he (and all the others) are not called upon to coach their roles. There is so much that he could impart, if other egos were not in the way. Adam Hendrickson played Coppelius far too young--well he is far too young for the role, imo, and he didn't stay in character consistently--but we have THE Coppelius right here. He could have been so helpful. What a waste! Carnival of the Animals. Poorly marketed here in Saratoga--there should have been a huge feature article in the Saratogian and interviews with the local TV stations in Albany--and yet the audience size was respectable. Note to SPAC: Put some money into advertising! That could have been a sell-out. Personally, I liked it. Arch Higgins is a wonderful baboon--aside from that, he had one appearance as Lysander or Demetrius, can't keep them straight--and that was it. Come on, the guy is a soloist and tall, and he does a nice job--give him some work! I loved seeing Chris Redpath on the stage again, what a treat for us, and what a lovely bittersweet little dance...and in the finale, what a beautiful developpe a la seconde--Chris, you've still got it! The two tortoises, delightful. And for John Lithgow--there are no words to adequately describe the hilarity of his elephant and the wittiness of his libretto. So it isn't classical ballet--it brings an audience, even without good advertising it did very well. The audience sees Chaconne, Barocco, Symphony in 3 Mvts, Western, and maybe someone sees something else that (s)he likes. There is a new audience member! Chris Wheeldon has taken the over-played, sometimes boring (no, it isn't my favorite music ) and brought it to life. The GALA. Take out Liturgy and program it on several nights when the afficiandos will see it and appreciate it. Put in Carnival of the Animals. (take out Glass too, so the program won't be too long). Then you have a perfect gala evening--a curtain raiser (Walpurgnishnacht), Thou Swell and Carnival. We already have dates for next year's SPAC season. 49 weeks to go!!!!