Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Ginny Kanter

  • Posts

  • Joined

  • Last visited

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Avid fan
  • City**
  1. The New York Times brings the sad news of Georgina Parkinson's passing yesterday at 71( http://www.nytimes.com/2009/12/19/arts/dan...amp;tntemail1=y ).
  2. Like kfw, I was happy to have this parting memory of Kistler's dancing to bracket my first, a blazing Walpurgisnacht many years ago. She glowed. Lovely! Although no one else has yet mentioned her, I also found Jennifer Ringer ravishing, whether moving as though wafted by a perfumed breeze or flying through a spirited waltz. I last saw Liebeslieder so many years ago that the cast included Farrell, von Aroldingen, and, I believe, Stephanie Saland. The opportunity to see it again was a priceless gift. Does NYCB often present Concerto Barocco and Les Gentilhommes on the same program? There are many obvious parallels, and I enjoyed both. Wise, though, to have the incomparably sculptural Wendy Whelan in between, another gift. When the programs were first announced, I was somewhat disappointed to miss a chance to see Dances at a Gathering, to say nothing of the rest of the other program. I still hope to see Dances at a Gathering again, but this was a magical afternoon.
  3. Has anyone read his memoir (Ballet Mystique: Behind the Glamour of the Ballet Russe)? Somehow I hadn't quite gotten around to this prior to the sad news of his passing. Just as well in a sense, because this period when we're all mourning his loss proved a perfect time. He obviously held deep convictions about the responsibilities attendant upon those who would be danseurs nobles or pass on the torch by teaching. There were periods early on when he survived on next to nothing, soldiering on in pursuit of his dream. His observations of others are quite interesting. Clearly he had a deep love and respect for his mother and his beloved Preobrajenska. His views of Danilova, Massine, and Serge Denham are strongly felt. Among more recent figures in the dance world, he admired Kirkland, Makarova, and Cynthia Harvey. It's a lovely book with many wonderful photos, just what one might expect having seen that lovely film clip of him at the reunion of the men of the Ballet Russe.
  4. Marga, I'm so glad this copy has gone to a good home! As Richard53dog rightly notes, the interviews are marvelous, too, including a touching one with Spessivtseva in her old age, at the institution where she lived after her breakdown. If only a DVD of this were possible! It's special in so many ways.
  5. Is anyone looking for a copy of the rare VHS Portrait of Giselle, in which Anton Dolin prepares Patricia McBride for the role of Giselle and then discusses the history of the ballet? There are also wonderful clips of past Giselles including Fracci, Markova, Makarova, and Spessivtzeva. The four copies available on Amazon range in price from $125 to $349.95, but it is currently available as a Buy It Now listing on eBay for $29.95 in an auction ending November 22. Free shipping to boot. If I didn't already have a copy, you can bet that this one would be gone! It's a remarkable film.
  6. Because ABT dances so little in DC these days, I can't remember having seen much of her in the past. However, I simply couldn't take my eyes off her in the peasant pas de trois this year. She was stunning. There might as well have been no one else on stage. She is a dancer I will very much be watching for in the future. I'm delighted to see that someone else feels the same way.
  7. ...AND Feijoo... (and I did made a mistake mentioning Cojocaru, who wasn't part of the thing...) Yes, indeed Feijoo. Thanks. How did I leave her out? Are you sure Cojocaru wasn't shown as well? My list has also an arrow showing Cojocaru between Bussell and Dupont. It was off to the side, and I somehow omitted that in my haste as well. I'm thinking were more than ten dancers, at least at one time.
  8. I was so thrilled to find this that I jotted down the names. In order, they were (alas, that past tense) as follows: Alexandrova Bussell Dupont McBride Obratsova Seminova Venus Villa (English National Ballet; there is presently a YouTube clip of her rehearsing TchaiPas) Vishneva Irina Zavilova (Peter Schaufuss Ballet)
  9. Already excited by the prospect of the Kirov Bayadere, I was thrilled at the opportunity to see Lopatkina for the first time. (Very generous matinee casting on the past of the Kirov.) She does indeed have the remarkable instrument others have remarked upon. In fact, when I revisit the performance in my mind, I see a succession of gorgeous images of line and plastique, separated by ... shutter clicks, almost a series of still images. By contrast, I see the flow of dancing of everyone else, especially the three shades, all of whom gave me great pleasure. Perhaps this is simply a function of the riveting quality of Lopatkina's line. Tkachenko faced a daunting task. Given her build, demeanor, and costumes (which seemed an off note, almost a dance-recital conception of opulence and not especially flattering to her), how could she possibly be more regal than Lopatkina? I look forward to seeing her in other roles. And I particularly look forward to seeing more of Novikova, Gonchar, and Konduarova. Wouldn't have missed the afternoon for anything.
  10. Belatedly, I was so sorry to learn last month of Lowell Smith's death. He was indeed riveting in dramatic roles and equally compelling in a different way, full of strutting sass, in lighter ballets such as Troy Games. For many years. DTH programmed Troy Games at almost every Saturday matinee at the Kennedy Center. While we might have preferred a bit more variation, it was always a joy to see Lowell Smith. A search for more information about his life and death turned up several memorable quotes. He turned to ballet rather than modern dance, for example, because he had no interest in rolling on the floor. He was also much drawn to the idea (and I paraphrase here) that there was only one correct way to do something in ballet. After his retirement, he was apparently a sought-after teacher. From what I've read, he had much wisdom to pass on. What a shame that this phase of his life was cut short.
  11. Canbelto, I'm so glad you brought up this topic! Reading biographies of Jerome Robbins and Lincoln Kirstein has made me crave a biography of Nora Kaye in the worst way. In addition to being a major figure in dance during the 1940s with ties to multiple companies and the larger arts world, she was obviously an intelligent woman with a strong personality. Every little scrap of information makes me want more. Others include Tanaquil LeClercq, Cynthia Gregory, and Suzanne Farrell. The existence of the Farrell autobiography helps, of course. And wasn't Gregory planning an autobiography at one time?
  12. He was also wonderful in Sleeping Beauty--very much the prince.
  13. After seeing Ballets Russes, I wrote to the company with the same idea. I received no response, but perhaps if enough people take up the cause. . . . How wonderful it would be to have not just one but two such treasured films.
  14. I can't tell you how excited I was to receive Farrell's Notes from the Ballet! Many thanks to the person who came up with the idea--Michael Kaiser? Farrell herself? The opportunity to read Suzanne Farrell's comments on upcoming ballets will certainly enrich my experience as a subscriber. I also look forward to hearing more about the Balanchine Preservation Initiative. Is the title Artistic Advisor for Kennedy Center Ballet a new one, or has this long been associated with her role as Artistic Director of the Kennedy Center's Suzanne Farrell Ballet? In each case, what a priceless resource! I eagerly await the next notes.
  • Create New...