Ginny Kanter

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 ).

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.

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.

I'm so glad!

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.

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.

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.

...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.

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)

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.

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.

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?

He was also wonderful in Sleeping Beauty--very much the prince.

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.

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.

I couldn't agree more--just unforgettable. I've treasured the memory for years. If only more of Kirkland's performances had been filmed.

Would just like to add that my CDs arrived amazingly quickly. Wonderful collection.

Reyes and Carreno's Romeo and Juliet was truly memorable. Are they dancing together often now that Susan Jaffe has retired and if so, in which ballets? If only I got to see ABT often enough to be able to expand upon this topic! Interesting thread--thanks. By the way, I've seen enough to agree that every Gomes partnership seems special. Am I correct in assuming that ABT dancers appreciate him just as NYCB dancers appreciated Jock Soto? I'd be very interested to learn how the two are thought to compare as partners (apart from the obvious differences in height and repertory).

Natalia, you're right about the programming, especially on weekends. (Given the distance we have to drive, we never get to see Tuesday-Thursday programming, which can be more interesting.) I'd give anything to see Bright Stream, for example. On the other hand, we've been spared more of The Merry Widow and (the nadir) Dracula during the Kaiser era. "Kaiser-at-the-KC" would probably be an interesting theme in its own right, as you suggest.

It's true that we barely get more ballet than during the Kennedy Center ballet Dark Ages. However, where Ballet West and the Houston Ballet once figured heavily in the subscription series, we are now seeing the Bolshoi and Kirov regularly, and the New York City Ballet has returned. No disrespect to either Ballet West or the Houston Ballet, but neither is a world-class company equal to the Bolshoi, Kirov, and NYCB. While I'll always want more ballet (more, more!!) and dream of a return to the golden years, I'm profoundly grateful to Michael Kaiser for improving the caliber of ballet in Washington.

As always, kfw's review has added to the pleasure of savoring a performance. It was just wonderful to have the Miami City Ballet back in Charlottesville (after almost 30 years if memory serves). And in an all-Balanchine program to boot! The newly renovated Paramount Theater now seems consecrated. The theater has been beautifully restored, and the sight lines are excellent. As kfw said, it is situated on a cobblestoned, tree-lined pedestrian mall full of sidewalk cafes, bookstores, and boutiques of all kinds. As if that weren't enough, it is more or less within walking distance for us. Perhaps the gods are counterbalancing the travel usually required for us to see ballet! However (isn't there often a however?), the stage is very, very small for dance, perhaps the smallest in town. The program was probably one tailored to such locations. Even so, every one of the ballets filled the stage. How the Russian National Ballet managed to squeeze Swan Lake onto it remains a mystery to me. (Because many people were led to think that this was *the* major Russian company, the performance was sold out before tickets went on sale to the general public, so I'll never know. Take-a-number swans, perhaps?) Given the long absence of the NYCB from the Kennedy Center, Tchaikovsky Pas de Deux was the only ballet on the program that I've seen multiple times. It was a pleasure to see it again, to see Donizetti and Pas de Dix for the first time in many years, and to see Sonatine for the first time, all admirably danced. Sonatine was a revelation. The subtle dark blue of the costumes seemed entirely suited to the subtle gravity of the ballet. Seay and Shimuzu danced beautifully. The ballet seemed entirely sufficient counterbalance to the three fizzier ballets. I was pleased to see Roma Sosenko listed on the program as ballet mistress. When she was a member of the NYCB corps many years ago, my eye was always drawn to her. I expected to see her rise through the ranks. With the death of Balanchine and the damnable NYCB-Kennedy Center orchestra impasse, I was unable to follow her career in those pre-Ballet Talk days, but she is a dancer I've thought of often over the years. It's good to know that she now has an important role with a fine Balanchine-oriented company. What a fine evening! I hope the Miami City Ballet will return soon.

kfw, I'm so glad that you got to see Saturday's performance and agree with us that it was very special. Thank you for sharing your impressions. I'd been hoping to see a review of the post-Friday performances in the Post. You've made up for that lack with your wonderfully informed comments! As Saturday season ticket holders, we've seen a number of Romeo and Juliets over the years. (Fortunately I love the music, the dancing, and the court pageantry if not the sword fighting.) However, I can't remember a more fully realized Romeo or Juliet. If I've seen finer dramatic characterization in any role, it doesn't come to mind at the moment, and the dancing was its equal. Perhaps when Saturday's spell abates, I'll begin thinking more clearly again. I did find myself remembering some dancers who made strong impressions in past productions of R&J: for example, Ethan Brown's chilling malevolence as Tybalt and Wes Chapman's gay insouciance as Mercutio. It's a tribute to ABT that there have been so many strong performances over the years. Of course, that can be said of many ABT ballets, but R&J is still very much on my mind. I suspect it will remain so at least until NYCB arrives next month with its creative programs. I'm very much looking forward to the Russian program.

Reyes and Carreno were stunning in the Saturday afternoon performance. We saw superb dancing very much in the service of the drama, and the most convincing ardor I've ever seen in a production of Romeo and Juliet. In every respect, it was a performance to remember and cherish. The whole afternoon was wonderful. There were many fine performances. Stella Abrera was gorgeous, over the top, iconic as Lady Capulet, and Gennadi Saveliev brought subtlety and complexity to the role of Paris. Susan Jones was wonderful, as always, as the nurse. The harlots were joyously vulgar. (Is this, as I suspect, a fun role? I can't remember a dancer who didn't seem to enjoy dancing it.) Judging from the audience reaction (and the absence of dry eyes, in our vicinity at least), others shared our sense that we had seen something very special. "That's why people go to the ballet," commented my husband as we left.

This afternoon I came across a link to streaming audio of a wonderful Australian Broadcasting Company interview of Irina Baronova conducted on Oct. 27, 2005, by Richard Fidler and Jane Fynes-Clinton: http://www.abc.net.au/queensland/stories/s1491340.htm Based on a somewhat hurried search, I didn't see the link elsewhere on Ballet Talk. Even if it hasn't been posted, I'm not sure I've posted this message to the most appropriate location. What I am sure of is that the interview is a treasure.

A Swan Lake in which Siegfried shows no interest in Odette/Odile, little interest in anyone else, and seemingly not a great deal of interest in dancing is a curious one indeed. It has no core, no heart, no soul. There is no reason for the ballerina to be working so hard. We're still mulling over the Saturday matinee performance in which the most heartfelt applause of the afternoon went to the Italian princess for coping with aplomb when one of her shoes came completely untied. (Yes, this was a show of support for a dancer in a dangerous situation, but it didn't in itself preclude more enthusiastic applause for the principals' pas de deux or pas de trois.) There were moments to enjoy in this production, but they didn't come in the expected places. Nan Wang's Benno was nobler of line and bearing than Patrick Lavoie's Siegfried. Tanya Howard was a fine wench. Still, the queen picked her imperious way down to the dock not a moment too soon. By all means send the lad on his way! High time! After a first act of three-by-three-by-three repetitive dancing by the prince's ostensible pals, the differentiated choreography for the princesses was welcome. Their handlers/hucksters/ambassadors also took individual approaches to their task, and the members of the court reacted differently to the succession of princesses. For example, whispering and knowing smiles greeted the Spanish princess. (Julie Hay brought an un-Iberian porcelain prettiness reminiscent of Moira Shearer to the role but danced with appropriate spirit.) As soon as she finished, the male members of the court promptly sat down again. A small but pleasant touch was the drifting movement of some subgroups of black swans, which was subtly avian. Still, most of the Kudelka interpolations--the skip added to the swans' entrance, the bourrees added to the cygnets' dance--hardly seemed improvements. It would be very interesting to know how Kudelka explained this production to the dancers, how they feel about it, and how Karen Kain feels about it. She will surely be very good for the company. I look forward to seeing the National Ballet of Canada again in a different program. (Another opportunity to see Suzanne Farrell's production of the Balanchine Don Quixote would be particularly welcome!)