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Sorry for such a late reply; my internet isn't working (and actually I've begged a friend to let me use her internet!) I saw Program 6 on April 12 (Elemental Brubeck, Concordia, Symphony in C). It was magnificent! This was my first time to see these pieces and this company and was truly pleased with everything. Costumes fit the dances well with bright colors and flowy dresses for Brubeck, cool purple and blue leotards w/ bare legs for Concordia, and gorgeous white tutus and black unitards for Sym. in C. Soloist Rory Hohenstein in Brubeck was brilliant technically in his fire engine red unitard. His sissones and jumps were sharp and clean. Katita Waldo and Ruben Martin were just lovely. In her orange dress she melted away with such grace. The audience really responded well to them. The corps had a lot of strong energy running across stage in their dresses. A lot of positive remarks made on this ballet. In the more contemporary Concordia, the dancers' leg muscles were put out on focus. But as lovely as they were, the dancing was all that mattered. The choreography was very creative. This is why I can't wait after a week after I've seen a ballet - I actually can't remember anything from it. It wasn't bad at all - I just enjoyed it for that moment and then it left. Well, the world premiere was the night before the 12th, so that made it more exciting. I don't have the program on hand, but the choreographer seemed very interesting. (maybe I'll edit to post a quote from him if my internet cooperates) And the much beloved Symphony in C was spectacular with clean movements. Tina LeBlanc just sparkled with her cute face, though smaller in height than the other dancers. Also, Yuan Yuan Tan was pleasing with gorgeous long lines and enrapturing eyes. All of the men excelled in their grande allegro. The pas de deux of the 2nd movement was cherishable and sweet. Tan was right on her turns and no one seemed out of place. In the more jumpy 3rd movement, all of the grande jetes had flight and lightness. Suspension in the air made it seem effortless though I know how tough it is on those dancers! Kristin Long was also very sweet and had clean technique. I really liked it when the 4 soloists danced together. It was sublime to see which dancer excelled in which piece and movement. They all brought something unique to the stage. I also like it when the corps members lined the border of the stage to make a box around the soloists. But I felt this warm, comforting feeling when all of the corps and soloists were on stage at the same time. It was marvelous to see them in unison. Their jumps were all together: The woman who staged it would tell the dancers to 'bounce out of fifth' in order for them to be together. And, yes, they were spot on! Bizet's music was wonderful and I could really picture this ballet being called the Crystal Palace. With the white tutus and tiaras, everything was glamorous from head to toe. A quote from the program said how brilliant the complexity of this ballet is with 3 ballets going on at once - one for the corps, one for the soloists, and one for the principals. Sym. in C is truly a magnificent piece. Overall, everything was just brilliant. The arms of the dancers were held and lengthened. The choreography throughout was great as was all of the staging. I would definitely see this company again. Well done by the San Francisco Ballet.

ok, I saw a clip from this ballet on CAS and couldn't stand it. I don't think I even finished it all. It seemed a little uncanny and quite annoying. Maybe this is why I don't like it. I guess I'm just used to the 'classical' rather than the spritz of elite dancing and turns.

Does all music composed for ballets reflect on the story and/or the characters or the other way around or is everyone different? What comes first: Is it story to music to choreography or music to story to choreography <see bottom> I was listening to the radio (of course classical) and it was said that in Rimsky-Korsakov's Scheherazade the violin was meant to reflect the scheherazade telling her stories in attempt to not be killed and the other louder instruments were to mirror the king and his attacks. Is this what all composers think when they compose - to know the story first and then choose instruments to reflect upon the characters? Or do they generalize their music to the story and then the choreographers set it accordingly, making it 'fit'. But if so, then wouldn't throughout the whole ballet this would have to apply? That's a little hard, for the violin, for example, to always be recognized as one part, etc. I'm most likely making too big a deal and overanalizing (yet again), but I'm a little curious what goes on. [add] Actually, now that I think of that, it's both. Some compose for music's sake and then ballets get created from them. Then there are others where the choreographer is hired to make music for their idea. So nevermind on that question! So I guess I'll restate my question: When the composer knows the story does he choose certain instruments to reflect the character or just composes to the story? Or is this just turning into my stupid dying swan instrument/body connection?! aah, the more I re-read this the more pointless this topic seems. Sorry for these weird relations. I don't know what is going on in my head!

This reminds me of a little anecdote someone from RSB told me. Also very controlled and 'aggressive' with his dancing, he said that he was always chosen to dance the ? Movement from Symphony in C (the one with all of the jumping) because he was one of the only that could execute those soaring leaps and magnificent revoltad-like jumps instead of getting the more known [1st (?) movement] pas de deux/adagio. Here's something I found that agrees to your opinion, jrhewit: >funny how this is from DanceView! : http://www.danceviewtimes.com/intl/2003/paris2.htm I sort of do the same unless I see that the dancing is outstanding, like when I saw ABT's Giselle, the Peasant PDD danced with Xiomara Reyes and Herman Cornejo brought more to me than anyone else. I suppose, too, it's the position of the role. Whoever is titled the main character inevitably gets the claim. In any situation, audience members are mainly watching the PDD rather than the corps. Though the PDD wouldn't be the same without the corps de ballet, the couple are the ones who wins the bows. Same with the Effie/James/Sylphide connection.

ooh, I just love analogies. I can definitely picture your simile being related to the shades' dancers. Thinking on things I see on CAS, underwater plant life could be the music video for the Shades' piece! It would be unbelievable to hear that gorgeous piece of music while viewing the serene footage of the water life. Great simile, Hans!

I am referring to the scene from the Kingdom of Shades with the corps members dancing simultaneously. I didn't specify any cast so just say (if you want) what company with which dancers. If it was a live performance, which company was it? And, of course, please tell why. artist

Yuan Yuan Tan? And as for Sylvie Guillem, is it Sylvee or Sylvia?

In regards to her retirement in March from La Scala and June from ABT, what are some memories of her that you can reminisce on? What do you think were her greatest/strongest of emotions and/or technique - in terms of specific roles/ballets? Are there any performances that you've seen that you wish were on dvd? What recordings would you recommend that would typically spotlight her zenith?

Too bad I don't live in NY.... I can't wait to hear how her performances turn out. Don't forget to tune us unfortunates in on the overwhelming news and outcome!

aahh, yet again I am very behind in news. I have never seen her live, wishing I could have in R+J in particular. She has always appealed to me because of her gorgeous line and especially her emotional performance. The only clip I have of her is the wonderful R+J Bedroom PDD with Wayne Eagling. Oh, how I love her. I looked at ABT's schedule and it seems they won't be in CA until mid-July. I guess I'll never see her....

Me, too. So much for international tours, I guess I'll just have to go to Sweden to see them! What a bummer!

Like an 'it factor'? It's either you have it or you don't. You can't really change it. The 'it factor' would most likely be something a wide range a viewers would have to entail for it to be the reason.

and Peter Martins?

As for the clapping bit, it's happening in some sports, too. I think it’s intended as an acknowledgment of the applause, a kind of ‘thank you, I think you’re great too,’ but it just looks odd. Maybe it makes them feel better

wow, how wonderful that was. I was never able to see her live or anything - though I might have seen a small clip I think - but after listening to that I feel closer to her and as if I knew her somehow. How bittersweet all of those stories were as each dancer reminisced on what they thought Melissa brought to them the most. She seems a truly great and powerful lady who impacted many. "Generous" was one of the many key words used to describe Ms. Hayden. Her virtuosity on and off stage seems to be one of the reasons why she was able to dance with such vitality. Thanks for sharing her with us!

How wonderful and lucky! I truly think this will make a big difference and impact in the long run for these kids. Just to be able to learn this art is a gift in itself that'll inevitably expose them to many other artforms along with developing a sensational, priceless creativity. Enjoyment alone is intangible. And the commitment and discipline of not only the instructors but the kids is a lesson in its own. Hopefully the company will be looked at as role models so that others can enable kids in their cities to participate. This could start an inspirational chain reaction of creativity! How great it is to help others! Good for the Colorado Ballet and VOA! THANK YOU and who knows, unexpected talent could be out there.....

Yes, thanks, that is a great article. If you click on 'more articles in the arts', you can find Increasingly in the West, the Players Are From the East http://www.nytimes.com/2007/04/04/arts/mus...nted=1&ref=arts or just scroll down and click it here http://www.nytimes.com/pages/arts/index.html : They stress on how, for them, it is all about the prizes and the teachers have to teach their students to 'tone it down a bit' and learn some 'dignity.' It is becoming, how dirac put it, like a rat race. artist

I agree dirac. That 'transition' into a woman is very important in the ballet, without it R+J wouldn't be the same passionate story. I'm not sure if putting young people in it is a good idea, but surprises and unexpected nuances do occur that could change everything!

for me, it's anyone who stands out. I see always a few corps members that reach out to me, though they blend in with the rest, they have a different and special quality that I like. And I think it is the soloists' job to enthrall the audience. And yes, we all know, without the corps there would not be a ballet. They are the ones who make the soloist look better as they are like the emphasizing background to a painting. But then the soloist has been through those many years of corps work.... so I think i would 'honor' the soloist.

not too much different from all the previous posters: Maya Plisetskaya, Ekaterina Maximova, Galina Ulanova, Olga Lepeshinskaya, Irina Kolpakova, Nina Kurgapkina, Anna Pavlova, Tamara Karsavina, Olga Spessivtzeva, Alla Sizova, Irina Baranova, Alla Shelest, Tamara Riabouchinska, Tamara Toumanova, Sylvie Guillem, Natalia Makarova, Cynthia Gregory, Alessandra Ferri, Alina Cojacaru, Galina Mezentzeva, Eva Evdokimova, Alicia Alonso, Altynai Asylmuratova all of these are actually seen or unseen and some by small clips

Vladimir Vasiliev, Yuri Vladimirov, Rudolf Nureyev, Mikhail Baryshnikov, Farouk Ruzimatov, Patrick Bissel, Fernando Bujones, Vladimir Malakhov perhaps ones I haven't seen: Vaslav Nijinsky, Carlos Acosta

I thought these were good questions that needed some good answers and opinions. To add: Does superior technicality add to one's 'greatness'? Especially in these times, technical advancement has become of importance, pretty much mandatory, no? Perhaps one's 'greatness' has to do with how they connect with the audience, i.e emotional artistry and how they convey the character being performed. But then everyone feels differently about their warmth/coldness. Maybe it's the connection that results from partnering; maybe one dancer brings out the best of another in PDD. Looking back on historical examples of the 'great' ballet dancers, what do you think made them great? For example, Ulanova, Vasiliev, Maximova, Pavlova, Nureyev, Baryshnikov....the list goes on and on. I think that it was a mix of both technicality and emotional genius. But, of course, for me it is mostly the artistic quality that prevails. What are your thoughts, if this has not been mentioned before?

I've been reading [finally] the April 2007 issue of Dance Magazine and many choreographers get their ideas from their dancers. What they do inspires the choreograper to suit both their needs: Mats Ek says, Boris Eifman states, Donna Uchizono replies, The same seems to be true with choreographer Jorma Elo. As with many of these choreographers, music also has a big impact on their works. Are all choreographers musical; is this a necessity? Is this term defined differently because I know some contemporary/modern teachers/choreographers that don't seem they have musicality since they don't finish on the certain phrase of counts, but they say that they "move through the music." Implying that being very structured with counts is more for classical ballet rather than modern.

I knew I was born in the wrong century! It should have been 1890 - not 1990!! Yes, this is exactly a huge reason why I still participate here because I know there are people still alive that understand and regard this issue as a problem. I think the new choreography is sort of disrespectful and insulting to romanticism. I think this is concerning as many people disregard old classics and try to generate new material. Where's the raw creativity and unique artstyle? Clearly, this has become a worldwide 'epidemic' and the audience currently views classics as a ballet 'improvement' as it has become recreational to the eye. I, too, believe the style of romanticism is more elegant and reflects true beauty. It is an irreplaceable loss. I have many times asked older dancers if we would be able to go back to the early 20th century dancing where more focus was on emotive dancing than acrobatic technique and have many times gotten the reply, "No." But I think that (not only in my dreams) if enough people [who understand this] get together and try to flush the audience with art reality, maybe this style could disseminate and wouldn't be lost, rather, regenerated. If we could get with the few wise teachers of the past, view old videos, and learn and understand the true romantic style, maybe a small little company could form with dancers that have been trained to this degree. Of course, this means that this appreciation will have to be reestablished amongst the little ones and a new form of teaching and schooling would need to occur, but wouldn't it be for the better? But we'd have to do it right. We don't want to reinvent. We want to rejuvenate. Bring back the spirit of the past. (So much for dreaming.... ) After all, the audience is trained to see those classical styles. Now we have to re-train their puny little eyes and influence their ignorant brains to fit the standard of ballet as we once knew it long ago!

Jiri Kylian has been becoming more known. With his more modern/contemporary works, he is sure to have more than just a temporary impact on dance as it becomes fresh and new. His humorous pieces are of a liking to the audience, though that doesn't mean he'll stay. But I think good things will happen to this guy as he does more and more in the future and companies start performing his works live more often. And just thinking of audiences and future, perhaps Mathew Bourne's Swan Lake will stay due to the innovative style and different approach to a classic. Many people are always looking for unique works and something that will bring them out of the "classical" status quo.