artist

and I'd audition! bart, I love Andre Rieu!

or JO-sef.

Thank you very much Marga. Funny how just today a teacher of mine jokingly said what a cerebral freak I am because of these things I'm interested in and the wealth of knowledge I've attained from subjects of the higher intellect. And how I'm a 'wierdo' for listening to classical music in HS and having my favorite ride at DisneyLand be Small World and not indulging myself in the 'normal' teen life. He said I should be a foreign exchange student in an uncommon place like Estonia... Anyways, back on track: Reviewing jorgen's post on the 1st page, it seem Sizova has the 2nd syllable stressed - not the first. I have always heard it as the latter from world traveling dancers and others but perhaps they're wrong as jorgen's info is from the dictionary. Paloma Herrera - do you pronounce the 'h'; in spanish you don't, but she is from Argentina... Damian Woetzel Lourdes Lopez Suki Schorer Jacques d'Amboise Alina Cojacaru Nathalie Nordquist Marie Lindqvist Tanaquil LeClerq Alla Shelest Mathilde Kschessinska Daniel Ulbrecht Darci Kistler: DAR-see KISS-ler Sterling Hyltin: Ster'ling hill-TEEN I'm leaving most of these without my input just so that I can double check with you guys as I'm sure you'll probably be more accurate. Is there a thread for ballet pronunciations? I know I could surely use one.

Thanks Didn't know how to make the sound in writing and, as we can see, every letter and syllable makes a huge difference. and thanks to you, too, Marga. off topic but I'm curious: How does everyone have such a plethora of knowledge about languages? Did you study it in school or was it from traveling and learning or just on your own? How long did it take to acquire such skill?

Kyra Nichols: KEER-a NIK-ols (like nickels - the currency) Tatiana Riabouchinska: Taht-YAHN-ah Ree-boo-SHIN-ska Tamara Toumanova: Tam-AHR-a Too-MAHN-ova Irina Baranova: eer-EEN-a Bare-AHN-ova Tamara Karsavina: Tam-AHR-a Kar-SAV-ina Olga Preobrajenska: OL-ga Pray-o-bra-JEN-ska Rene Blum: Rah-NAY Bloom Alexandra Danilova: Dan-EEL-ova Alessandra Ferri: FAYR-ee Alicia Markova: ah-LEE-sha mar-KOHV-a Natalia Makarova: na-TAHL-yah ma-KAHR-ova Mikhail Fokine: Michael Fo-KEEN De Basil: De Ba-ZEEL (Vassily ?) Alla Sizova: SEE-so-va (is it eye-a ?) ---- Olga Spessivtzeva: Spess-EEV-sev-ah ? Ninel Kurgapkina: Ni-NEL Ker-GAHP-kin-a ?? Galina Ulanova: youll-AHN-ova ? Leonide Massine: MAA-seen or Ma-SEEN ? Anna Pavlova: PAV-lo-va or pav-LOW-va ? (in America it's just AN-ah, but is it AHN-a ?) Nina Ananiashvili ? Ninette De Valois ?

http://ballettalk.invisionzone.com/index.php?showtopic=22435 http://www.musicweb-international.com/clas...FilledeGand.htm http://www.balletmet.org/Notes/Giselle.html

and maybe many years of experience?

Thanks for that great review. How do you write like that? I just mean to say that it's informative, clear, and to the point. It makes me want to see this opera now!!! How wonderful it all sounds...

In addition to this liveability article, almost a year ago there was the happiness ranking in which Copenhagen won. Some factors to this scoring: http://news.bbc.co.uk/2/hi/5224306.stm some of these could be acknowledged in the criteria

rg, don't ever think of not sharing these treasures with us!! For me, the pics work now. It's exactly how you said; photos are visible and then enlarge by clicking. Before, I got the same file name link and error message but everything is fine now.

San Francisco Ballet also sells signed (and I think used) pointe shoes.

I'm glad that there are those who realize acrobats is not ballet. To those who think it's all about high lifts and multiple tours...

When I click the link it tells me: Sorry, but you do not have permission to use this feature. If you are not logged in, you may do so using the form below if available.

So am I. Hopefully it's only temporary and possibly due to the upgrade.

This is exciting. The site keeps updating and changing as I search around. It's become a lot more user-friendly and even more fun to visit and post! Thanks so much Helene and everyone else for making this site all the more wonderful.

This affects many of the lower economic classes today as they can't afford classes. Then their talent is somewhat overlooked by those who can pay to get in. Isn't this what's happening in Russia, too? American companies aren't subsidized by the government so they rely on their clients' money rather than treating talent first. Then ballet suffers. Well, perhaps this is where scholarships come in but there's a lot of unseen talent out there. Maybe it's like first pay first serve. >This is just what I think, remember As for tougher upbringing enriching artistic quality, I think despite hardships or not it depends on the person. Surely there might be more depth since one would have to work harder in that area and strive to become what others already are, but those who weren't raised like that aren't limited and doesn't mean they didn't have to suffer in different areas. If you're raised one way - you're used to it. If another is raised another way - they're used to that. But going from one to the other...

Maybe sometimes it satisfies the audience to repeat phrases with the same parts of music like how one goes back to the chorus in a song. It becomes easier for them to recognize it and become more familiar. When they see a phrase once, they just 'see' it. When they see it twice, they recognize it. More, and they can capture it. Or sometimes repetition is visible as part of the theme of the dance. Always going back to one step to tie in the movements together.

I was just adding these pictures to my computer and the last one came up as 'MFKesmeralda'. ...that might have been rg's guess to the unidentified pic...

When I read the title of this topic, what popped in my mind is what I hear the radio announcer say time and time again: ...the Ballet Music from the Opera.... It [the ballet section] doesn't have it's own name, just that it's from whatever opera. Thinking of Amadeus, Mozart was shown to compose his music and set aside a certain part for ballet scenes. In other words, he had music intended for dancing, hence, "ballet music".

I do like that idea. I think it would help the arts in a way of exposure to a variety of audiences. Yes, money is always the issue, but in the long run I think it'll help for the better of ballet in getting more (who don't ordinarily watch) to view it and then it goes on from there. Anything to help!! Sorry, too, for off topic.

Yes, thank you. I know I'll be going back to it often. And, Does this have a channel for tv, hence the name?

Does Guillem come to the US a lot? Is it normally the east coast? And I just noticed that she'll be at Berkeley May 5/6. That I might be able to do. Regardless, I have to go to one! http://www.calperfs.berkeley.edu/presents/...vents/sg_ak.php

I was thrilled when I heard this on the radio yesterday. She's coming here?!! I can't believe it! But I don't think the dates are workable for me, but I am crossing my fingers to attend. Any info on tickets? Thanks for the link dirac. Edited to add: Tickets are available at http://www.uclalive.org

me too. I also like the 1947 one with the young boys training at the barre. Their arms in second have definitely excelled from earlier years. You can see how hard the training was being amplified in those days. The Bolshoi is spectacular.

How wonderful this all sounds. You know me, I love Ravel. I think I'd like Rioult's mix of contemporary and ballet; more freedom to allow creativity I guess. I wonder if I'd like it - I would love to see it!