rkoretzky

Oh no, not Yvonne Borree! has she really done it? I can't even imagine it. The Siren needs to be menacing, she needs to attack--this is not her strong suit. It seems that she is cast in everything, whether she is suited to it or not. Now I will contradict myself because Wendy Whelan is also cast in everything. I noticed in the spring season and at SPAC that she seems to be giving herself a bit of a break, but for years she was on every night, two or even three times. That said, I think she would make a frightful Siren! Plenty of menace there. I will also second or third the motion for Aesha Ash. She would be fantastic. Is anyone at NYCB listening????

My understanding is that Stuart will be taking some time off, and then he would like to do some Broadway work. This info comes from a friend of mine who spent some time with him recently in Saratoga. As far as I know, he and Maria Kowroski are still a couple and he is happy about his decision.

You know just what to say! Of course Concerto Barocco and Agon are sacred. LOL. I'll have to think about this some more and get back to you. I am on my way out--to SPAC--to hear the Philadelphia Orchestra in an all Tchaikovsky program. It is so wonderful to be getting back into the mainstream of life!!!!

I admit to a fascination with reworking themes. For example, I love Romeo and Juliet and West Side Story, King Lear and A Thousand Acres, The Comedy of Errors and The Boys from Syracuse, La Boehme and Rent, Madame Butterfly and Miss Saigon, etc. I like the concept of a universal theme that transcends historical periods, and I like to try to figure out the parallels. I have seen a recent production of The Abduction from the Seraglio in Edwardian dress that was thoroughly enjoyable. But for me, the best example of this playing with time is Dance Theatre of Harlem's Creole Giselle, which I have only seen on video, but I think is masterful. So, IMHO, it can work to take a piece out of its time and place.

Had a lovely evening at SPAC with a few Ballet Alerters. This will be my last post on the NYCB season at SPAC, unless I go directly from my hospital bed to closing night on Saturday. What do you all think? Possible? I want to say that it has been a pleasure to get together with a number of you, and I look forward to lots more good times. Just a couple of highlights from the first half of the final week: I like Hallelujah Junction! I'm surprised frankly. I don't much care for most of Adams' music, but there were some lovely melody lines going on there along with the minimalist drone. I also don't always appreciate Martins' choreography...no secret there. I did find this ballet a bit long and repetitive, but I loved the energy and high spirits. A second and third viewing of Vespro did not change my opinion. It is grotesque and I cannot imagine that it is not painful to dance. I cannot understand why it is in the repertory for winter. The Bach Concerto impressed me not at all, but that is because it was the first ballet on the gala program and no one who works at SPAC gets to see the first ballet on the gala--at least not enough to be able to concentrate. The dancing looked sweet and inocuous enough and the music is lovely. So that I would like to see in winter season. Aesha Ash and Kip Houston were darling in Explosions Polka and Yvonne Borre and Nicolaj Hubbe pulled off the second movement of Vienna Waltzes quite well. Yvonne was GOOD, really good. I like Hubbe in just about everything I have seen him do. As much as I love Jeny Ringer, she needs to grow into the Merry Widow and I am confident that she will. I was veryhappy to see Rachel Rutherford have a shot at the first section. Well done. On the whole, Vienna Waltzes isn't my favorite to watch, but it goes nicely on a summer evening--once. Alexandra had asked about the little mites in Circus Polka. Sorry I forgot to answer--it is about half and half--local kids and imports from SAB, Pittsburgh, Rock, etc. Prodigal with Damian Woetzel and Maria Kowrowski: this ballet packs a real emotional wallop--anyone who has ever had a headstrong child can certainly relate. This afternoon's audience was unfamiliar with the ballet, and I think they were stunned by it. I like Damian in this part, even though it is not my favorite ballet--I would rather see Peter Boal, but Peter is my current favorite among the men (and has been for a while). Damian did a wonderful job with both of today's performances, imho. Maria, however....I really love Maria as a dancer. I adore her extension especially. But watching her in Prodigal and then watching her in Monumentum/Movements--well I just didn't see any differences. I don't see personality emerging in her roles, but her technique is so superb that I love to watch her. And Bizet--on my all-time top list. This afternoon was a great performance. Jennie Symogyi was crystalline in the first movement and Ashley Bouder looked like the Cheshire Cat in the third. She was having the time of her life. Carmena was wonderful, but I kept thinking that stylistically he does have more of an ABT look. I'd love to see the other cast, but alas I won't. That's it for me. Must get some sleep. Thanks to all of you for listening to me....enjoy the rest of the summer. I'll be back.

Jenifer Ringer as Swanhilda.

Can't wait for my brochure to arrive in the mail! Is this info anywhere on the website? I've looked and can't find it........

Kate: I do agree with you about Carmena--I caught his Four Seasons during the winter season and was wowed, and hasn't his name surfaced with regard to ABT recently? And Alexandra: I, too, have heard grumblings and rumors every season. But I also sense a dichotomy at this point between the loveliness that we are seeing on the stage and the bitterness that does seem to lurk backstage. I don't feel that this is an especially healthy time for NYCB. Between the Homans and Gottlieb articles, the fact that the State Theater doesn't sell out except for Nutcracker and that the SPAC at twice the size of NYS Theater looks downright empty a lot of the time, and the fact that many veteran dancers who have given years of service and are looking exquisite rarely show up on stage, the fact that there are certainly more retirements coming from the principal ranks....well I am somewhat worried and depressed about this. What we see in front of the curtain is looking quite wonderful. What is happening behind is a worry.

Hi tango: When I use the term "debut" with NYCB, I mean the first performance in a particular role, not necessarily a first performance as a soloist, principal or whatever. Is this what is commonly meant? Anyway, to answer your other question, that will open something of a Pandora's box I think. No one really seems to understand how roles are given or taken away in this company. Indeed I had a quite disturbing conversation Saturday night with the parents of a long-standing member of the NYCB corps. There is quite a lot of dissatisfaction and unhappiness there. None of this should come as any surprise, but I have been just as happy as a ---- in ----- for the past few weeks with NYCB here in Saratoga, and I have not wanted to know that there is trouble in paradise. But after having this conversation, it wouldn't shock me one bit to see many more defections.

I don't know whether any of these roles were performed in NY, but the Saratoga audience was treated to a few debuts in the past two days. Notably, the Daniel Ulbricht/Ashley Bouder "Tarantella", which I believe was a true debut? Certainly so, if one judges by the amount of interest that was generated by members of NYCB. I saw members of the company who rarely, if ever, come to the house to watch, coming in for this 8 minute sensation. Having fully absorbed the Balanchine dictum that "ballet is woman" I usually give most of my attention to the ballerina, however I could not take my eyes away from Daniel Ulbricht. The guy flies. There must be a wire somewhere! I was expecting this, after having seen him leap off the bar last week in Fancy Free. And he certainly did not disappoint. The elevation was fantastic, but equally so the light and soft landings, which have been a benchmark for the entire company for these two weeks. I just can't stand the noise, and it hasn't happened. Ashley Bouder did a fine job too, but the star of that ballet was Daniel. The pique sequence at the end, with his tambourine at her feet was extremely well-done, but Daniel Ulbricht does have a little way to go in terms of partnering--my only (small) criticism. And because of his height, he may not have those opportunities in abundance. NYCB certainly does have a number of these small men who are incredible jumpers right now. Last night was certainly a night to watch the men, as Peter Boal gave a stunning performance in Opus 19, the Dreamer. I must admit that it has taken me a while to appreciate this ballet. I find part of the Prokofiev score melodic and lovely, and parts of it unbearable. For me, this is one that I must see a few times and it grows on me each time. Tonight it was the best that I have ever seen. I also enjoyed Morphoses more the second time around. I emphatically do not agree with Gottlieb that Wheeldon's piece is the only good thing to come out of this year's Diamond Project--in fact I think that Haiku is much much better. But I think that both pieces are keepers. Showing my preferences here-I wish that Chris Wheeldon would make something pretty, to pretty music. I loved Slavonic Dances, and wish we could see it again. Working backwards.....Thursday afternoon's matinee also featured a few debuts. Alexandra Ansanelli fell on her entrance in "My One and Only", scrambled to her feet so fast that you might have missed the fall if you weren't watching carefully, immediately nailed the fouttes with power, and received a well-deserved round of applause. Other than one little slip toward the end of her variation, she was wonderful and sparkling. I also enjoyed seeing Abi Stafford. Raymonda Variations. I am happy to say that this was the best dancing that I have seen from Yvonne Borree in quite a while. She doesn't have the fire of Jenifer Ringer, but she has a lovely airy quality and she seemed more relaxed and less nervous this afternoon. She floated through the pas de deux, even smiled. I don't think she is particularly strong, in comparison to the other dancers, and she is sometimes off the music, but when she was on, today, she was on and it was a delight to watch her. Glenn Keenan was MUCH better in that fiendish first variation than she had been in the last performance. Instead of hitting the side of her shoe in pointe, she was right over the box, and what a difference that makes. Thank you, Michael, for bringing her to my attention. I am also happy to say that Lindy Mandradjeff came though in Variation II. Do those two resemble each other or was I imagining it? Alina Dronova will grow into Variation VI, I think, and that is the purpose in giving the younger corps these opportunities. However, Ashley Bouder and Abi Stafford are much better matched to each other in that little competition. I missed Abi in her part. Today is another double-header, including the gala/horror show. I'll be back......and, just as some of you have been doing, please post or message me with anything special you'd like me to watch for.

We're into the second week of the NYCB SPAC residency, and we've had a retirement, a premiere, a circus and the movies. Kathleen Tracey's final performance was glowing. She was a radiant princess--and I think it was the perfect vehicle for her exit, now that I have seen it. In a marvelous surprise for her, her father and one of the brothers were on stage as flag-bearers in the final tableau. Her sister was watching from the wings. She was presented with an enormous bouquet of pink roses. Maria Korowski was also presented with a bouquet, which she placed in Kathleen's arms with a reverance to her. It was so touching and a truly special moment for us, because we seldom witness a retirement here. I had a conversation with Kathleen yesterday. She was touched by the event as well, and since she is a quiet person, she really didn't want more hoopla than there was. It was perfect. The rest of the performance was pretty wonderful too and the orchestra sounded fantastic with that difficult score. Morphoses, the new Wheeldon piece and a Saratoga premiere, was done to music expertly performed by the Flux quartet. I just wish I liked the music! I didn't. I found the choreography interesting, if not compelling. I'll take another look tonight. Last night was an all-Robbins bill, featuring the usual adorable sprites bringing the house down in Circus Polka. It was a hot humid night and the Interplay cast suffered for it--after two impeccable performances last week, this one was sloppy. It did noticably cool down by the end of the first intermission, and Peter Boal and Wendy Whelan, and an outstanding ensemble gave a mysterious and stirring Opus 19, the dreamer. Peter Boal must be mentioned, because he is another of those NYCB treasures, who has elevated the level of male dancing and partnering so wonderfully. In Opus 19, the ballerina is really the partner however, because the piece is all about the male, and oh how elegant and secure he is in every movement. I'm Old Fashioned was fine--once you've seen the gimmicks, you've seen 'em, and I don't care if I don't see it again for a while. but is certainly was fun, Fred. I've had a lovely time with two charming gentlemen who are posters here: Farrell Fan and Bobsey. I'll tell more later, right now I have to get to work at SPAC.

Estelle, thank you for reminding me that this is an international forum and that many posters here don't feel an intimate relationship with a company. It is only because NYCB has spent summers in my town for the last 36 years that I have been fortunate to gain this knowledge. If I must admit to the truth, I am a little lazy and took short cuts. But no more--you are correct and I apologize. Au revoir....

Calliope, I also wondered about the Firebird choice. I have already seen Kathleen and Rachel both, and I liked Rachel better in the part--not that it is a huge part either, but Kathleen did mention that she likes wearing that gorgeous costume and being a princess. OTOH, Kathleen did a lovely job as the Dark Angel in Serenade. And I would be surprised if there were a huge deal made anyway, but I'll surely let you know. It is rare that we witness a retirement here in Saratoga, but I understand your feelings completely.

Yes she is. I posted a thread on "DANCERS".

I had heard a rumor about her retirement several weeks ago and I am sadly confirming it. I had a brief conversation with her recently where she said that Tuesday night she will dance for the last time as the princess in FIREBIRD. I have really enjoyed watching Kathleen develop. She is one who has truly become a better and more complete dancer each year, and while I am sad to see her go, I credit her with retiring while she is at the top of her game. She is very excited about future plans--a quote: "there are so many things I want to do". Best of luck, Kathleen, and thank you for choosing SPAC to give your final performance, it is a honor.

Some impressions from the first week of residency: SERENADE: On the whole, I do prefer the "second" cast of women, but in the 4th movement there is no one who can wring your heart the way that Darci can. Maria has the most beautiful arabesque but Kathleen's is breathtaking too. I'd also like to mention Kip who was heart-breaking with Darci last night. There is no way to get around the fact that technique slips away after such long careers, but mature emotion transcends. A special mention to the corps, the essence of Serenade. After a slighty shaky opening night, they got better with each performance. RAYMONDA: Wonderful performances from young corps girls. Those demi-solo variations are killers. I watched Glenn Keenan carefully, but actually preferred Faye Arthurs, who is being given lots of opportunities and is making the most of them. Glenn was very lovely, but she wasn't completely on her pointe. Faye has very exact and clean technique. She reminds me of Margaret Tracey at the beginning of her career and I can see her evolving into that repertoire. Next week I think we are seeing a debut from Lindy M. I've seen her make a few big mistakes and I'm watching with interest. I remember her as an SAB kid doing roles here at SPAC. Yvonne did quite nicely in her turn, although there were passages where she was completely off the music. She doesn't have the fire that Jeny Ringer has. FANCY FREE: I already pretty much blasted this ballet as a dated piece of nonsense. Guess I was in a bad mood that morning. I've watched it twice more. Still don't really like it and would so much rather see just about anything else of Robbins, but I've tried to disregard the story and focus on the music--which is great, what's not to like about Bernstein?--and the wonderful opportunities for a few guys to really show off. Last night I was knocked out by Daniel U. in the Tom Gold part. His leap off the bar was the closest to flying that I have ever seen on that stage. Ben, covering Damian's role, needs to develop more of a swagger--Damian does so wonderfully. However, immediately following FF, Ben did "Jeu de Cartes" with all his usual flash. Pretty amazing. however...JEU DE CARTES: I don't get it. I don't know where the choreography is going. I can't see the structure of the piece, it looks repetitive to me and like a lot of running around. I do like the new corps costumes quite a lot, but think that the principal costumes, with the exception of Damian's, are over the top. It was danced well--I just didn't like it. Music is great though and I could see that it created choregraphic interest. Balanchine was not satisfied with his own choreographic efforts--a hint maybe? FIREBIRD: Two very different interpretations, both wonderful to watch. Maria was a regal firebird--she took her time with every movement. Alexandra was a sprite--very fast and darting through the same movements. I think of Ivan as a silly part. There isn't much for him to do and the costume is foppish (that hat!) but I have seen Charles do the part so many times that I just expect to see him. Much as I admire James (and I do), I think Charles should stick with it. Rachel is a gorgeous princess. She also had her part in G MAJOR, but more! more Rachel! Kathleen will give her last performance with NYCB on Tuesday night in the princess role. I hate to see her go. She has grown so very much and is retiring at the top of her game. INTERPLAY: If you ever find yourself planning to attend a SPAC matinee, try to see Interplay. IN G Major would be a pretty good choice too. These Robbins ballets with outdoor settings that feature a bunch of kids romping around are perfect on a summer afternoon. Dances at a Gathering also works for a matinee, so if anyone is listening, bring it on next year! So many ballets are lost in daylight. Prism was done at a SPAC matinee and it was pretty flat because it is so dependent on lighting. Haiku would be the same way. It is spectacular and wonderfully creative--I certainly hope and expect that it will be a keeper. Friends of mine who play in the orchestra and usually play cards backstage during their off times, were watching Haiku, mesmerised. But it needs the lighting, so I hope not to see it at a matinee. Now I realize I have said more about lighting than about Inteplay so... INTERPLAY is just a lot of fun. I wouldn't sit too close though. It is so athletic--well I know that dancers sweat, but I'd rather not see the sweat flying. Just maintaining my own facade. It's not a masterpiece, but it is thoroughly enjoyable. I also enjoy I G MAJOR and get much the same feeling from it, although jazzy sensual Ravel and playful Gould don't share much communality the two ballets have a similar structure and the same feeling of a bunch of very young people having a very good time. Both have been done very well at SPAC, with a terrific debut by Daniel in Interplay, a lovely pas de deux with Carla Korbes and Stephen Hanna, and Wendy and Damian, both playing somewhat against usual type in a really languid pas in G MAJOR. Also great ensemble work in both. I had a chance to meet BW and her family last night. That was a treat, and I'll be seeing some of you this week.

I was at the NYCB matinee at SPAC just a little while ago, and after the second ballet, a member of the company appeared in the section of the theater where I work. I invited her to have a seat, at which point she glanced at my SPAC ID and asked me if I write for Ballet Alert! I had forgotten that my name is plainly there and I had forgotten that I couldn't think of an alias when I began posting here so I use my name. So I was a little taken aback--at first--and then this charming young woman and I had a lovely conversation. She was very aware of which writers on BA like her and which don't--she referred to this board as "addictive" and mentioned that a number of company members read it religiously. Truthfully it started me thinking about what I may have said over the past year. I know that Alexandra has said a number of times that many people in the ballet world do read this board, but having this conversation really brought it to reality for me. Somehow I thought that we were writing somewhat in a vacuum--for each other--but not for anyone else's eyes. I only say this to remind everyone that it is nice to be important, but it is more important to be nice--and let's say what we need to say and let those chips fall--but let's also remember that there are human beings who see what is being said about them--and I think we can try to say things in a constructive and positive way. I haven't reneged on my pledge to try to write short reviews of as many performances as I possibly can. I always forget how busy this short season is, and how quickly I become caught up. I am meeting BW tonight and tomorrow I'll have time to post some impressions of the past three days.

Sorry Patricia, gotta respectfully disagree. With a few very notable exceptions (Barber, Morgen, what else?) I think Peter has terrible taste in music. But then again, I am no fan of 20th century minimalist music, which seems to predominate in his choices. Don't like Adams. Don't like much of Glass. Don't like Rouse. My daughter played "Infernal Machine" in one of her orchestras recently. We were both curious to see what on earth could be choreographed to it because it sounds undanceable to us. Did anyone see it? What did it look like?

Brrrr. If you come up, bring a sweater. Our always unpredictable upstate weather showed true colors again last night, with a gorgeous but mighty cool evening. Of course by tomorrow we could be roasting again....just be advised. Vintage Balanchine, brand-new Evans, and anachronistic Robbins were the order for the second night of NYCB at SPAC. I respect, if I don't love, Raymonda Variations, for the incredible difficulty, especially for the demi-soloists' variations. Very well done last night, with a few little slips here and there, notably one from Ashley Bouder (!). Glenn Keenan does have lovely pointe work as was indicated recently by one poster, but I did miss Eva, because I like her so much. In rehearsal yesterday afternoon, Glenn had to do her variation twice. OUCH. In my eyes, Jenifer Ringer can do almost no wrong--I disagree totally with Gottleib on this and would love to find time to post my opinion of his article-- she is secure and radiant in this part. I love the turning duel between Ashley and Abi too--and I vacillate between the two in terms of the "winner". I don't even know where to begin to talk about Haiku because I saw it in NY and wasn't too impressed. What a difference a few weeks makes! Or maybe the difference lies in where I was sitting. As much as I treasure my membership in the 4th Ring Society and truly enjoy sitting there, some things just don't come over well up there. Don't get me wrong--I liked but I wasn't keen on seeing it again. Eating those words now! I caught the rehearsal and I knew that I would love it with the addition of lighting, which is ingenious, and those lovely deep red costumes. The intricacies of the choreography didn't come across to the 4th ring, but did they ever from just a few rows from the stage. A few things that I did notice in both perfs--Albert uses silence very well. He is not afraid of it, rare I think, especially for a new choreographer. Anyway, I bless NYCB for bringing it to SPAC, and I do feel that it is a keeper, one of the gems that does arise from the Diamond Project. Changed my mind completely! Not going to say too much about Fancy Free except that in my mind it is dated, completely non-PC (not that I am such a freak for political correctness), and doesn't show male attributes in a positive light. It was well-danced, but I don't like it and don't feel the need to see it ever again. Bring me Dances at a Gathering, In the Night, even Brandenburg if you want to bring me Robbins. Don't bring me this nonsense. Wow--I didn't expect to put that across quite so strongly. I guess I have never like FF, but haven't put it into words before. Matinee and evening today. Gotta go!!

My daughter pointed out to me last night that Monique's name is already stricken from the roster! I thought she was staying with NYCB through the end of the summer and that we would have one last chance to see her here at SPAC. What gives? Alexander Ritter IS here and was great in Agon last night. What a loss for NYCB!!!

Flo: The good news is that there are always tickets available for evening performances and frequently for matinees too. The bad news is that there are always tickets available.... I haven't seen a sell-out in years. SPAC is an enormous theater--over 5,000 seats. At twice the size of the NYS Theater, which sadly isn't selling out either, a sell-out would be amazing. Lawn seats are always an option too, although I would really recommend coming inside. Come! Come! And let me know when you are coming. From another thread: thanks for the heads-up on Glenn Keenan. I'll be watching her tonight in Raymonda. And Faye Arthurs does Variation I on Saturday. She was a demi-soloist last night in Gershwin, and I liked her very much. So I'll be looking for her too.

Good morning! they're here! they're here! Opening night was an all-Balanchine bill, highlighting three distinct periods in his choreography. Strange weather conditions caused a few problems, but on the whole, a marvelous evening. Beginning with Serenade and a rare bobble by Darci--it was a cool but very humid evening and I think the stage was damp and slippery. No one actually fell but there was more slipping and sliding around than I have ever seen in one evening. In the Agon pas de deux, Jock and Wendy's breath could be seen rising in misty clouds around them. Today is a picture-prefect day and when the curtain rises tonight on Raymonda things will look very different. As it was, even though it made dancing much more difficult, the atmospheric conditions made for a misty and mystical Serenade. It is my own opinion that the SPAC season should always begin with this masterpiece, perfect as it is when danced outside at dusk. Imagine it. It has a totally different look when done inside. My preferred cast of women (Maria, Jeny, Jennie) goes up tomorrow night. However, each opportunity to see Darci now is one to treasure. She is calm--that is my word for her now--serene and secure in every movement. She is a master of the gesture, so vital in this piece--everything she does is imbued with meaning. Kathleen is an austere and grave Dark Angel and Yvonne started off quite well, and pretty much fell apart mid first movement, sadly. I like Yvonne and I want her to do well. I always catch my breath when she makes her first entrance because it usually starts OK and I think it will be fine--but then so often she just crashes, loses focus, whatever you want to say. I can't remember the last time I saw Jock dance so well as he did last night in Agon. He has trimmed down and he was fantastic. Agon was sharp and clear and as always when done well looked like a brand new piece rather than 45 years old. There is always something new to see in Agon--what a masterpiece. The evening ended with a rousing Who Cares. The ensemble was right on the money. The young corps and apprentice girls were together, snappy, smiling and just tickled to be there. What a treat to see them at the beginning of the careers, and know what is ahead. My fav Jeny Ringer was spectacular in Patty McBride's part (my former fav). Jeny just gets better and better. I don't feel the same about Janie Taylor sadly--yes she is lightning fast and so daring and her technique is dazzling, but I am not seeing the growth, not right now at least. I enjoyed the other Jennie. Her fouttes are on the dime--strong and secure, no traveling around the stage. Oh Nicolaj was delightful, as usual. There were a few more unfortunate slides as the stage got wetter and more slippery. I couldn't tell if anyone was seriously injured--there might have been one. It was a rousing and wonderful welcome back for our company. Now let's hope for drier weather and big crowds. Later........

You have picked a wonderful program for your first SPAC evening. Or I guess it picked you--but no matter. It is wonderfully varied and I think you will thoroughly enjoy it. Do you already have your tickets? If so, where are you sitting? My daughter will be working that night--I so wish I could be there. I am kicking myself for scheduling this surgery at this time, but there are reasons to do it then. I'm not sure that the new ballet you will see will be "Haiku" however. The numbers that are assigned to "NEW BALLET" are different in NY and Saratoga. I will find out what is on the program that night and post it here. (Something tells me it is the Mahdaviani piece, "In the Mi(d)st" which I have not yet seen.) As for the others--I'm Old Fashioned is a Robbins piece which takes off on the partnership between Astaire and Rogers. It took me a long time to really enjoy this one because I wanted to see "ballet". But it is clever and it has a magnificent finale and the last few times I have seen it I have LOVED it. Symphony in C. Whole threads have been devoted to individual movements in the choreography--not musical movements, but one MOVE. It is one of my favorites in the repertory. I cannot see it enough times. To me it has everything--lightning speed and precision (hopefully), a blindingly beautiful adagio in the second movements, jumps, turns, a dazzling finale with what looks like the entire company of corps women in white tutus all doing the same move. I've probably seen it close to a hundred times, and I am still heartbroken to miss three of the four performances at SPAC. I could go on and on but maybe I'll give someone else a chance to expand? And I'll reiterate--I think NYSSA is the greatest! My husband and I are both close to tone deaf--although we love music dearly we have zero talent, and yet we have produced a daughter who went to the orchestra school for three summers and loved every minute. So I know what you mean when you say that you are learning about your daughter's passion. Enjoy it! PS Yes-- "In the Mi(d)st".

I look forward to meeting you, expecially since I have enjoyed reading your posts on these boards so very much. I too mourn the loss of Lou's and Mother's (both owned by the Goldsmith family--did you know that?), but breakfast at Compton's (Lou's replacement) is pretty decent and everyone goes there. In a more serious vein, I am so sorry for the passing of your wife. I'll be at every performance that week (gotta go when I can since I'll miss the tail end of the season) and we'll have some great chats I'm sure. You know where to find me.....right? I'll also be at the Kirov on July 15 (dark day at SPAC) if anyone else will be??? and thanks for the good wishes, FF.. I will be just fine, but I admit I'm nervous.

Dear BW: I would LOVE to meet you on the 13th. Specifically--as you come down the hill and face the stage, look to the extreme right for a number "14" on the back of a chair. That is where I will find you, at the first intermission. Your daughter will adore the NYSSA program. My daughter has many friends who went through the ballet program, she herself did the orchestral program for three years. It is the best training, wonderful instruction, great kids...I can't say enough good things about this. So glad you enjoyed your mini-trip to Saratoga. We'll make more suggestions when we see you....and I notice that you are just outside of NY. My daughter is starting college in the fall--at Barnard. We are so excited for her!! See you on the 13th.